Critical Justification 1

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CRITICAL JUSTIFICATION 1JAMIE SAMMAN

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HOW TO USE THIS BOOKA quick breakdown of how this book is structured

Page layout

Page notes

Chapter title page layout

TITLEDescription of activity and why it was done.

Reflection point.

Just a tad more informal

CHAPTER NUMBERChapter Title

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Process icons

Feedback icons

Success/failure stamps

Matter Studio

Refl ection point

Wildlife Trusts Peer group Lecturer

Butterfl y Conservation

Finding

Sutton Seeds

What does this mean moving forward

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CONTENTS

Design and Conservation

CHAPTER 112

CHAPTER 2Butterfly Conservation Background

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CHAPTER 3What would the world be like without butterflies?

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CHAPTER 4Findings and Directions

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CHAPTER 5What can traditional coppicers do for butterfly conservation?

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CHAPTER 6How can wildflower gardens be made better for butterflies?

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How can methods of recording be improved?

CHAPTER 756

CHAPTER 8How can collaboration with farmers and land owners be made easier?

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CHAPTER 9Refined Brief and Feedback from Collaborators

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CHAPTER 10Look and Feel

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CHAPTER 12Next Steps and Major Issues

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CHAPTER 11Brand Guidelines

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INTRODUCTION“Since when did you love butterflies?”

Findings

Matter feedback

Reflection

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KICK START FROM MATTERDuring a placement at Matter, they stressed the importance of knowing clearly, early on, what you want to do for the final major project.

Think about what interests you, but try to avoid projects where you might end up just designing for yourself.

Mabel’s input was much appreciated

I needed to buck my ideas up. Fast.

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IN THE NEWSUsing online news articles to browse stories. Among them was the news that the UK’s butterflies were in decline.

BBC News, 14 OCT 2013

The Telegraph, 02 AUG 2013

The Guardian, 23 JUL 2013

BBC News, 26 MAR 2013

it’s not all doom and gloom!

Weather dramatically affects butterfly numbers in the short term.

Because I couldn’t think of a decent proposal off the top of my head, I looked to the news for inspiration.

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DRINKING FOUNTAINSA third of drinking fountains in the UK are currently in disrepair, so what can be done to make drinking water more accessible?

BUTTERFLY DECLINEWith the butterfly population continuing to fall in the UK, what can be done to protect a once common species?

SPORT IN SCHOOLSPrimary schools across the UK have recently received large grants from the Olympic initiative to fund better sport in schools. How can design use these funds as an opportunity to promote and encourage sporting activities?

RUBBISH ON STREETSWhat can be done to reduce the many bags of rubbish left on streets and in public areas?

BABY CHANGINGHow can the packaging of products like baby wipes and nappies be made easier to use when changing a baby?

POTENTIAL PROJECTS

The Matter team thought the 2 above had the most potential.

5 post card sized proposals were produced, for the Matter team to decide which was most interesting.

We think the access drinking water one has more scope than butterflies, because you could do an exciting rebrand of tap water.

I was confident that a redesign of current baby changing products had the most promise.

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INTRODUCTION

THE BRIEF

What can design do to help the diminishing numbers of UK butterflies and moths?

Summary and Reflection

I decided to choose butterflies because it seemed a relatively untouched in the world of industrial design.

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Dig around a bit and find out some background knowledge on the subject.

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CHAPTER 1Design and Conservation

Findings

Matter feedback

Reflection

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INITIAL OBSERVATIONSMind mapping initial thoughts about why people conserve wildlife and what stops people conserving wildlife, highlighting some interesting areas.

Though this was useful for expressing thoughts about the area, it was entirely subjective and I didn’t feel confi dent in some of the assumptions I made.

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VISUAL EXPLORATIONExploring design and conservation using Pinterest by collecting various images that relate to the title.

The majority of designs for wildlife conservation were either small scale (e.g. bird boxes) or apps.

This project will not be a flat pack chair made of sustainable wood!

This research was valuable in that it revealed examples that I decided to analyse in more detail.

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CASE STUDIES4 case studies of design and conservation projects which identified how previous conservation based design projects could be improved.

SEED PODAaron Colfer

NATURE’S PLAYGROUNDNational Trust

URBAN BEEHIVEPhilips

THE HIVEPlymouth University Students

Most of your case studies seem to be about bee conservation, try not to get sucked into just bees.

I began to realise that many of the case studies were niche. It was time to look at the bigger picture.

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THE BIGGER PICTUREUsing statistical evidence from the Butterfly Monitoring Scheme to answer the question: ‘why butterflies?’

Woodland deforestation is a major cause of butterfly and moth decline as it destroys habitats on a large scale.

These statistics provided good top line reasoning but not any insights for me to design from.

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KEY QUESTIONSConstructing a set of questions to give the project some structure and validation, as they were written with help from Tim Nicholson of Natural England.

Tim stated that conservation practices would be different between rural and urban areas, and suggested that catering for both would be difficult.

I felt that some of the more emotionally based questions had the most promise.

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Planning out what needed to be explored and how it was going to be explored encouraged decision making about what looked promising.

TIME PLAN

I didn’t stick to this plan at all, particularly the prioritising and duration parts. I also realised that some of the questions were similar.

These are pretty darn similar

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Below I’ve highlighted the barrier (involving farmers specifically) which proved to be the biggest barrier which took longer than 1 week to overcome.

This proved to be a serious problem

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CHAPTER 1Summary and Reflection

This section involved a lot of desk research. Though this didn’t provide any worthy insights, it provided some useful background knowledge.

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The topline statistics about the decline of UK butterflies will be useful when introducing my project to anyone unfamiliar with it.

I need to actually speak to people to gain some genuine insights.

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CHAPTER 2Butterfly Conservation Background

Findings

Reflection

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CHRIS WINNICKSpeaking to the chairman of the Butterfly Conservation Trust’s Cumbria branch about what conservation activities the trust does and why butterflies are important.

Butterflies are a great barometer for biodiversity in general.

They are a source of joy and wonder not just for butterfly enthusiasts, but for children and gardeners across the UK.

Chris helped validate my project in general by explaining why butterflies and moths are so important.

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STEVE DOYLEEmailing Steve who works closely with farmers and developers to negotiate how land that is inhabited by butterflies is used.

Small scale introductions of butterflies have failed in the past.

The best way to negotiate with farmers is to explain that they could receive a grant.

I found Steve’s input very intellectually heavy (some of our chats became geography lessons) but useful.

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DARRELL SMITHTalking to PhD student Darrell Smith, who has studied how woodland management affects butterflies in North West England at the University of Cumbria.

Darrell mentioned how wildlife corridors for butterfl ies are often planned into urban areas. However, because I asked him quite rough questions, the answers he gave were vague.

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DAVID HARPLEYThe conservation manager of the Cumbria Wildlife Trust suggested how best to take the project forward.

David believed that the only way to make a signifi cant impact was to increase funding to current conservation practices involving woodland and agricultural management.

Domestic habitats have nowhere near as much benefit to butterflies as woodland management (coppicing) does.

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SAM ANSELLUsing the Forestry Commission website to research the work of coppicer Sam Ansell and how he is benefiting butterfly conservation.

I didn’t get to meet Ben

Fogle. Gutted

Sam was hard to contact because he lives in the woods and doesn’t regularly use his phone or email. I could have tracked him down, but I was beginning to fi nd less and less of a design opportunity in coppicing.

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The knowledge I gained from speaking to experts was phenomenal.

That said, a lot of them seemed to believe I was doing a geography project.

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The insights gained at this stage became the basic starting point for a number of the directions I proposed later.

I must be sure to communicate the design aspect of everything I’m doing.


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CHAPTER 3What would the world be like without butterflies?

Findings

Butterfly Conservation Feedback

Reflection

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Asking the general public what the world would be like without butterflies and getting some emotional responses.

TALKING HEADS VIDEO

This chap was one of the only people who genuinely didn’t give a monkeys about butterflies. Target user?

Paula

One interviewee, Paula, recalled how she and her family would go on walks to spot butterflies. Paula also spoke about how she would love some sort of “box of flowers for butterflies.”

Seems a bit wishy washy, how is this going to help the butterflies?

I had a crash course in film making, during which I learnt the need for a microphone. My sound was rubbish.

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CHAPTER3Summary and Reflection

Although the video exercise didn’t reveal any problems, it made it clear how strangely emotional people get about butterflies.

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Paula’s comments about going for butterfly walks and a flower box for butterflies will be kept in mind!

I now felt ready to start making some decisions as to what to do next.


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CHAPTER 4Findings and Directions

Findings

Butterfly Conservation Feedback

Wildlife Trust Feedback

Reflection

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A map of all insights uncovered from research revealed patterns in the findings that formed design opportunities.

MAPPING OUT FINDINGS

This was the fi rst time I had looked at all of my fi ndings in one place, and it allowed me to spot what to do next.

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DIRECTIONSTurning the design opportunities into different directions showed how the project could take a number of varied routes.

DIRECTION 4Can collaboration with land owners and farmers be made as easy as possible?

DIRECTION 3How can methods of recording butterfl ies be improved?

DIRECTION 2What can be done with the specifi c food plants of each species?

DIRECTION 1Can traditional coppicers help butterfl y conservation?

I was most drawn to direction 2, due to the fact I could see the potential for some in-the-home design outcomes.

We would never do any conservation activities in peoples’ homes or gardens. The impact is tiny.

Direction 4 could be a year’s worth of study in itself.

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SWOT ANALYSESThe directions were critiqued to choose which would be the best to pursue.

Do I really want to spend my final year

collecting twigs and bracken?!

I was feeling increasingly uninspired by the coppicing direction, because I struggled to see any potential design outcomes.

Coppicing is brilliant for creating a network of habitats perfect for butterfl ies.

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I had mixed feelings about the recording and farming directions, but I had begun to lose interest in the coppice opportunity. Conversely, I was excited by the potential for butterfly conservation at home.

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Due to coppice being one of the most beneficial conservation activities, I didn’t discard it at this point. Instead, I looked further into it.


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CHAPTER 5What can traditional coppicers do for butterfly conservation?

Findings

Lecturer feedback

Reflection

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SAM ANSELL’S WORK

A visit to Vicarage Park Primary School where Sam’s coppice sculptures are on show highlighted ways for traditional coppicers to make their work more accessible.

Using coppice to create storytelling sculptures (e.g. Billy Goat’s Gruff story scene) is an excellent way of engaging children.

Unfortunately, I went to Vicarage Park on a weekend, and I feel seeing how the children interact with Sam’s work could have been really interesting.

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Weaving some coppice to get a better understanding of how coppicers work and the nature of their craft.

COPPICE EXPERIMENTATION

The coppice weave made for a good presentation piece, but it didn’t really reveal any other insights into how coppicers work.

Coppice weaving requires an understanding of the properties of different wood types.

The design opportunities are pretty limited here. All it seems to be leading to is a campaign promoting what coppicers are already doing.

LAURA

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This broke about an hour after

hand in. Poor craftmanship!

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This section confirmed my assumption: coppicing is not worth pursuing.

It was quickly evident that there was not enough of a design problem to solve.

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What this means going forward

Coppice was now discarded as a direction because it simply didn’t offer enough of a design opportunity to create something that would be interesting and that I’d enjoy creating.

This meant I got to turn my attention to the direction which excited me most.

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CHAPTER 6How can wildflower gardens be made betterfor butterflies?

Findings

Lecturer feedback

Suttons Seeds feedback

Reflection

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CUSTOMER JOURNEY MAPMapping out the journey of someone wanting to plant wildflowers identified points at which butterfly friendly flowers could be promoted.

Designs which cater for the whole gardening experience (from in store to planting) could be exciting.

I realised the end of the journey map (people seeing butterflies on the flowers they’ve planted) leads directly into the other aspect of conservation I’m looking at: recording butterflies.

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CUSTOMER EXPERIENCE RESEARCHCapturing various points in the journey through B&Q when purchasing wildflower seeds to get an idea of how seeds are currently displayed.

That’s a lot of seeds, which made for a pretty

confusing and unengaging display

The RHS is currently promoting bee friendly flowers in B&Q. Could this be done for butterflies?

I never actually understood how customers felt about the in store experience. Interviews may have been more appropriate for this.

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CURRENT SEED PACKAGING RESEARCHExamining the details and structure of existing packs highlighted opportunities to create a more exciting and practical packaging design.

You’re a designer, start thinking a bit more creatively!

It may have been less constrained if I’d looked elsewhere for packaging inspiration as opposed to what seed packs are already out there.

SIMON

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WILDFLOWER SEED PACKS IDEASUsing some of the points highlighted in the journey map and customer experience activities to have a focused idea generation session.

This is something we’ve been looking at, we’re currently undertaking a butterfly project similar to this.

I may have been focusing too much on making slight changes to existing packs, which could have stifled my creativity.

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A few of the ideas were quickly mocked up in paper and card to visualise them in 3D and allow interaction with the design (e.g. opening of packaging).

QUICK MOCK UPS OF IDEAS

I was able to explore physical interactions like tear strip openings. I also got a much better understanding of the material that the idea would be made out of.

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PLANTING TRAY BAGA bag with a card insert at its base that tears off and can be used as a planting tray, making it great for people who don’t have the space to grow lots of flowers.

The bag is good, but stay away from flow wrap seed packaging. Go a bit wild.

SIMON

The thinness of this paper meant the tear strip didn’t work as well as expected as it just ripped into the body of the bag, but the premise of it is interesting.

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An idea about how the bag could be used as a mini greenhouse in which to grow flowers, making the packaging feel less disposable.

GREENHOUSE BAG

It became clear that polyprop, glue and masking tape are not my tools of choice

As the pictures below suggest, polypropylene was the wrong material for this bag design, as the folds didn’t work properly due to the plastic’s rigidity.

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In the back of my mind, I could hear the conservationists telling me that there are other, more effective, ways to protect butterflies than this.

But I needed to start getting my hands dirty with some actual designing.

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I thought there were definitely more pack archetypes to explore, so I intended to revisit this opportunity if I could justify pursuing it.

Before all that, though, I turned my attention to another aspect of conservation: recording butterflies.

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CHAPTER 7How can methods of recording be improved?

Findings

Butterfly Conservation feedback

Matter feedback

Lecturer feedback

Reflection

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ANALYSING RECORDING SHEETSChris Winnick provided some existing recording methods which were useful when analysing the recording process.

A lesson in how to suck the fun out of butterflies: make a load of graphs

At a glance, I thought the recording sheets were very scientific and probably quite inaccessible to the public eye.

The reason this stuff looks so dull is because we need the results to be as scientifically accurate as possible.

Having incorrect data about butterflies is worse than having no data at all.

FLIGHT PERIOD INFO

BUTTERFLY TRAIL ROUTE MAP

LOG SHEET

IDENTIFICATION CHART

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RECORDING ROLE PLAYReconstructing how someone might go about recording butterflies to gain a deeper understanding of the process of spotting and logging butterflies.

There are a number of points in the recording process that are not user friendly. These present opportunities to make it more enjoyable and engaging.

There are some good insights, but the whole process looks totally boring to start with and not engaging!

The only reason I knew which site to go on to find out monitoring information was because Chris told me about it.

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IDEAS GENERATIONGenerating fun product, graphic and user interface ideas that were focused around the points in the video meant they were well grounded.

Take it more conceptual, look at other similar family activities/games you could borrow from.

The ideas I produced were well grounded, but many were fairly safe.

ALMOST

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IDEAS MATRIXA synthesis of all the various ideas, with similar ideas in groups, which could be sent to collaborators for feedback.

You’re very focused on existing methods and bettering them. Start using your imagination about how to encourage more butterflies.

This ideas sheet took far too long to make. I should have spent less time scanning in post its and more time selecting a few ideas to send to collaborators.

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QUADRAT IDEASRedesigning a quadrat, a tool that Chris Winnick said is used to count caterpillar eggs.

The vast majority of recorders do not and will not use them.

Most recorders are of the Joe Public type who won’t be looking for eggs or vegetation types.

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Butterflies flying past too fast and being hard to identify could be tackled by catching, observing and releasing them using a net.

NET IDEAS

The vast majority of recorders do not and will not use them.

Nets are more associated with and are mostly used by collectors who in my opinion should be hanged from the nearest tree.

To avoid being hunted down by packs of angry conservationists, I shall not be designing a net.

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Butterfly trails are ideal for recording butterflies on, but the routes are hard to find from the website. A storyboard could also make the recording method easier to understand.

TRAIL FINDING AND STORYBOARD IDEAS

Butterfly trails are something I’d simply love to do more of.

There are problems though in that most of the best routes are on private land or have access problems.

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A magnifier/viewing tool could help when closely inspecting and identifying butterflies.

VIEWER IDEAS

At the moment it looks a bit mundane. With some better reasoning behind it it’ll be there. Think about where the caterpillars come in.

DA

VE O’LEARY

ALMOST

The viewer design could be a really enjoyable children’s toy, but I’m unsure about how accurately it could record butterflies.

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These interventions aim to make identifying butterfly species accurately and quickly as easy as possible.

SPECIES IDENTIFICATION IDEAS

These are much more practical than the more scientific ideas. It would be good to include some examples of how to avoid common identification errors.

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It was great being able to generate ideas and have them validated or destroyed by the conservation trust.

Matter were keen for me to move away from recording products entirely. They envisaged a less scientific approach.

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Some of the selected ideas were quite safe, but I hope to develop them and push them further.

Matter were right that some of the ideas were very scientific, but I won’t be moving away from methods of recording.

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CHAPTER 8How can collaboration with farmers be made easier?

Findings

Butterfly Conservation feedback

Lecturer feedback

Reflection

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Leaving some land next to hedgerows uncultivated could have benefits to both butterflies and farming practices.

FARMING COLLABORATION TIMELINE

Information from conservationist Steve Doyle about how to best negotiate with farmers and land owners was displayed as a timeline and presented opportunities for design interventions.

You are certainly right to look at it from how a farmer might see it.

A higher level stewardship scheme grant is often the most persuasive tool.

By getting the information off Steve and doing the brainstorm with Chris, I was able to get 2 opinions on the matter.

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The points in the timeline were illustrated and grouped into 4 stages, which made thinking about ideas for each stage easier.

FARMING FLASH CARDS

I made sure the flash cards were visually stimulating, and I felt the illustrations told a story well.

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BRAINSTORM WITH CHRIS WINNICK

Getting Chris to think differently about the farming subject validated some of the ideas and revealed room for improvement in others.

Farmers need to be shown how much gap next to hedgerows to leave and how to maintain the gap.

A grant alone isn’t enough, it needs to fit what the farmer currently does.

I should have filmed this!

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Chris ranked the ideas in each section by order and importance, showing how they could work in a sequence.

CHRIS’S DECISIONS

Chris said this one about preserving hay meadows didn’t make any sense, so that’s why it’s all alone down here

Chris liked almost all the ideas, but he said there were a few that stood head and shoulders above the rest.

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IDEAS TO BE TAKEN FORWARD

Some of the ideas were discarded because trying to execute all of them in a service or campaign could confuse the message.

When communicating inforamtion to farmers, I would have to drive home the benefits of the grants.

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The key thing to reflect upon in this section is the mistake I made of not speaking to a farmer. Consequently, all of the ideas are what the trustees think may work.

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The top priority for this area is now to contact and collaborate with a farmer.

Without their input, the project will remain in ‘concept’ state and will lack real world application.

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CHAPTER 9Refined Brief

Findings

Lecturer feedback

Peer group feedback

Reflection

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The knowledge gained from the 3 areas could be combined in 1 system that would look at engaging gardeners, families and farmers with butterfly conservation.

REFINED BRIEF

LAURA

You need to contact your stakeholders now and start showing them stuff to test how it works. Especially the farmers!

I was still talking about my idea in terms of a system at this point, so the brief was vague.

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PEER GROUP INPUT

Other members of the group know the project well so discussing the final solution with them was as useful as hearing from a lecturer.

You need to create a really tight link between these target audiences. Is there something you can do with point of sale?

I kept saying that the 3 areas linked together, but they weren’t as tightly knitted as they needed to be.

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This was a map of deliverables and showed how they worked in a sequence. It showed all the different elements that had to be designed.

HOW IT ALL FITS TOGETHER

LAURA

You need to make some serious decisions about what you’re actually going to deliver at the end.

As soon as I mapped out all the deliverables, I worried I might be spreading myself too thinly.

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At this point, it was unclear what was actually going to be designed as the final outcome. This was because the brief lacked clarity.

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I identified the target audiences for each section of the brief, but I need to find real user cases to bring the proposal to life.

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CHAPTER 10Look and Feel

Findings

Matter Feedback

Reflection

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Collecting images of product details which reflect the above phrase acted as sources of inspiration and began to create a brand aesthetic.

‘SIMPLY VIBRANT’

Your Look and Feel is vague. Narrow your audience, because is ‘Simply Vibrant’ really appropriate for a farmer?

Upon reflection, this would have been a far more worthwhile exercise if I had clearly defined my target user before I did it.

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RULES OF COLOUR, MATERIAL, FINISHA discussion with a peer highlighted that the use of 1 vibrant colour per product could make for a more refined colour palette and unite the designs under a coherent identity.

The CMF pyramid is going to get used in the coming weeks!

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‘ENGAGING VIBRANCE’Creating a Look and Feel of products with a single colour added tighter aesthetic constraints and made it look more specific visually.

I decided to make a more human focused mood board (what Matter recommended) later in the project.

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CHAPTER 10Reflection

Matter’s point that the user should inform the Look and Feel was spot on.

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From now on, I will keep my target user at the forefront of my mind when making design choices, and not get sucked into just creating a big collection of nice looking images.

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CHAPTER 11Brand Guidelines

Findings

Reflection

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BRAND MARK INSPIRATION AND TONE OF VOICEExisting brand marks provided some design cues to borrow, and a 1 line summary of the tone of voice of the project gave some design constraints.

Flat icons with block colour background are really easily adapted to work in various different sizes and shapes.

I focused mainly on logos incorporating wildlife in a colourful way, to keep in line with my Look and Feel.

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BRAND MARK DEVELOPMENTA brand mark could be a valuable tool in uniting some of the design outcomes and creating visual cohesion.

I came to an idea for the brand mark early on and stuck with it. If I was doing a more brand centred project then the idea exploration would have been larger.

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LOGO DEVELOPMENTA logo combining the brand name and brand mark was developed otherwise the brand mark would just be a butterfly icon and would be incredibly hard to recognise.

BUTTERFL Y C ONSER VATION

Too disney?

Boring as hell!

Carry this forward

Looks like everything on Pinterest

Too industrial

Similarly, I decided on the brand name ‘Flutter’ quickly, because I knew there were more important things to be doing than thinking of names.

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LOGO REFINEMENTIt seemed wise to make a quick decision about the logo (a small part of this project) and focus on the other more pressing matters at hand.

The thin, uppercase typefaces seemed the most suitable at first, but after experimenting with a slightly more childish lowercase font, the decision was made to use that logo.

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The graphical guidelines were created to ensure that any product, pack or graphic design fits into the brand’s appearance.

GRAPHIC GUIDELINES

These were quite self indulgent and, in all honesty, I should have been out speaking to farmers instead of doing this.

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TONE OF VOICE DEVELOPMENTCollecting user-oriented images for 3 target audiences with 3 very different demographics, to create an appropriate tone of voice for each.

Trends and patterns in the pictures I collected were noticeable.

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TONE OF VOICE GUIDELINESUsing keywords to group similar pictures together, 3 distinct tones of voice were established which were appropriate for the 3 target users.

Personality traits (e.g. humble, delightful) hinted at the personalities of the possible users.

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CHAPTER 11Reflection

Matter suggested using the values of an existing brand such as Robinsons or Crayola and not creating my own guidelines.

I decided to dismiss this, as it adds another layer of complexity to the project that may be unnecessary for the trust.

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I will be designing the guidelines of my brand in a way that sets strict constraints, to make sure that any outcomes fit into the identity.

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CHAPTER 12Next Steps and Major Issues

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Findings

Lecturer feedback

Reflection

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Defining the brief for the final major project to pin down exactly what needs to happen next.

FINAL REVISED BRIEF

I felt a sub-brand was a more appropriate name for the brief than a service redesign, but I will be careful not to create a set of tacky merchandise.

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AMBITIONCreating a vision for the deliverables to be shown at the end of the project, which encouraged some decision making about what it should be.

I was keen to solidify some tangible designs at this point and to imagine how they would be delivered as a branded package of work.

You could carry on as you are now, without any farming aspect to it, and it could be just a nice package of work.

MARK

That’s another way of

saying it would have no

integrity

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SYSTEM BLUEPRINTTo get a better idea of how all the elements of the system work, some blueprints will be designed.

A better service blueprint than the one in the previous brief will be produced, that looks into the links between stakeholders in more detail.

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THE FORGOTTEN FARMERSThe most challenging aspect of this project also happens to be the one that has been paid the least attention.

Throughout the past few months, I have been reluctant to get out and actually speak to a farmer about their experience with butterfly conservation.

As a result, the proposal at the moment is based upon the experiences of conservationists when talking to farmers, and does not reflect the needs of the farmers.

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KEY ISSUES TO ADDRESSFor this project to avoid being merchandise for kids, it needs to address a series of issues quickly.

I realised I need to act fast. The questions below are numbered in priority.

Why would a farmer care?1

What scale of farmer is this for?3

Is there something you can do to involve the farmers’ chi ldren and as a result their parents?

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Can you l ink the hedgerow corridors with outdoor butterfly trai ls?

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TIME PLANNINGThings will start to unravel if a comprehensive time plan is not followed.

Critical Justification 1

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