Recently we were having a brainstorm about how to further implement our collaborative process with clients. Our clients love being part of the creative process instead of waiting for the “Big Reveal”. It made me start thinking about why this process has resonated so well with the people we work with.
When I was a teenager, we had a “steady”. This meant you could only date that one person, you did everything together… kind of like being engaged without rings (and quite often without “privileges”). We tended to go on dates as a couple… movies, concerts, protest marches, parties. Since that time things have changed. Teens, 20 and 30-somethings now travel in packs. “Dates” are quite often done as part of a group. Couples form more casually and occasionally formalize into something tighter, like a marriage.
As newer generations of professionals take on leadership positions in their companies they bring their upbringing and values with them into the workplace. This is only natural… we all do it. So that brings me to the creative process.
We used to use a formal process of doing our homework (research, info gathering, kickoff meetings, creative brief), doing some creative work and then showing the results to the client in a big reveal. That worked fine when our clients were people used to “going steady” and doing things in a formal manner. That system no longer works now that the clients come from a different world perspective. This is where collaboration comes in.
In order to get the best results in today’s world, we need to update our systems to adapt to the newer generation’s way of working. Collaboration mirrors the upbringing of our client’s lives. When we work out opportunities and roadblocks as a team (including the client) we find solutions much faster. This has helped immensely with budgets and timelines.
People have asked me what the advantage is for the clients that we keep touting collaboration and transparency. There you have it: fitting with the work style of our clients to achieve better results in a budget and timeline advantageous manner.
Whether he knows it or not, Bryan Zug and his fellow geeks at IgniteSeattle, have introduced me to the concept of “life-hacking”. Sometimes all it takes is a new term to open you mind to an idea that was lurking there the whole time. Like a mischievous computer programmer who can “hack” into the bank and steal your money, each of us has our own unorthodox ways of getting things done. Once we recognize these self-made tools, we can better use them to our advantage, and avoid our weaknesses. Sometimes that’s just what you have to do: Hack it.
Like myself, my wife, Nikki, is a graphic designer. She is talented, creative, and truly smart - but she gets a case of the nerves when speaking to new clients, especially on the phone, at initial interviews, etc. She forgets what she wants to say, can’t process new information thoughtfully, and basically just wants to exit the situation as quickly as possible. After years of trying to overcome this through all the recommended techniques, we have gained little ground. But if you ever get an email from her, you’d think - correctly so - that she is one of the smartest, most articulate designers you have ever met. Her ability to see the problem for what it really is, break it down into manageable chunks, and clearly express complex ideas is nothing short of impressive. Her vocabulary and manner of writing, are at the highest level of professionalism and mastery of the language. How she speaks (publicly) and how she writes… it’s like two different people. Email is her hack.
There are times where a phone call is more appropriate than an email - but there are times where a good result is more important then impeccable etiquette. Judge the situation. Assess your strengths and weaknesses, and if you need to, hack it. Once you are enlightened to your own little hacks, you can use them consciously when you need them. Just identifying them helps, and recognizing the whole concept is the first step. Thanks, Bryan for a consciousness-raising word/concept.
Now and then I come across a product like this genteel pendant light set that makes me happy. It’s the eureka moment that speaks to me, even if I don’t necessarily want to rush out and buy it (although I probably would if I had a place in my house for these guys). I love the two disparate objects combined to make something different. It just works.
For me, having a great idea like this that clicks into place is enormously satisfying and what drives me to be creative in the first place. The “click” happens not when the idea is just interesting and different, but when it meets a multitude of criteria — does it say something unique? does it have longevity? will people connect with it? does it communicate the brand?
Learning to put unlike things together is key to making great ideas that work, and I believe it is learnable. In fact, honing this skill was one component of our company retreat earlier this year. And the more we use skills like this the better we get. Part of that is looking for the great ideas out there, especially those outside your everyday experience. Will knowing about lamps made out of hats lead to a smashing idea in our next ideation lab? Maybe not, but keeping our brains primed for creative thinking will.
A simple rule for developing breakthrough ideas
On May 14 I spoke at the University of Washington on the use of process within strategy and design projects. During this presentation, hosted by design faculty member Annabelle Gould, I articulated what I see as the major tension within process: repeatable versus unexpected. That is, a process should be the result of a proven methodology that can be applied over and over again—you don’t want to have to make it up as you go each time you start a new project. At the same time, you don’t want the same process to start churning out the same results. Generating the same results is great for homogenizing milk, but not in creative endeavors. For us, new ideas are entirely the point. So we want an expected approach to yield unexpected ideas. That’s the tension.
For creative professionals, a great process is a repeatable approach for putting yourself in position to connect with the unexpected. Note that I think it’s about putting yourself in position to connect with the unexpected, not that the process itself will spit out new ideas. That’s what your brain is for.
When it comes to using process to get to great ideas, I apply what I call the New/Different Rule. Creating new, unexpected ideas is the result of either:
1) Putting yourself in position to receive new information that helps you think about something in a different way.
Or . . .
2) Creating a different way of brainstorming so you come up with something new.
The first is usually about research. While the term research can sometimes sound a bit overstarched and monolithic, research can be a fantastic means of debunking assumptions. And that’s all about getting access to new information that will help you think about something in a different way. When we started working with the Seattle Symphony, one of the assumptions we were working with was that celebrity guest artists were important to have on the cover of sales materials because their celebrity images sold tickets. However, the research we did with subscribers and other ticket buyers revealed that the truth was citizens identified their patronage with the orchestra—not the guest artists. They were passionate and definitive about this. This new information fueled our creative explorations in a totally different direction.
The second is about architecting better brainstorms. During my talk at UW, I revealed a dirty industry secret: most brainstorms don’t work. I’ve been doing this for 10 years, and I’ve participated in plenty of brainstorms that didn’t generate anything more than some interesting tangents and maybe some toilet humor. Coming up with breakthrough ideas requires a more thoughtful approach to the brainstorms themselves. Putting “brainstorm” on the calendar and then hoping for the best isn’t enough. Last summer when we were concepting for Boeing’s communications at the 2007 Paris Air Show, we structured our brainstorm around a different question: what are the bad ideas? I know this sounds counterproductive, but it worked. Sure, we came up with some stinkers, but we also came up with some concepts that eventually inspired the idea. And we never would have arrived there without approaching the brainstorm in a different way.
So there you have it. The New/Different Rule. Put yourself in position to receive new information that helps you think about something in a different way. Or create a different way of brainstorming so you come up with something new. I’d love to hear how it works for you!
How much vision goes into a design project? Most of us would agree that you have to start with a good creative brief, with plenty of strategy, brand vision, and objectives to draw from. You have to consider your target audience, the personality and tone that you are trying to convey, and the primary message, at very least. Done. We’re past that. Once all the important strategy and branding objectives have been decided, there is still plenty of room for differing and unique executions. How do you start the process of building a layout? Flipping through reference books? Sketches? Start right in with a layout program? Where do new compositions come from? Is it a random process, an exercise in experimentation and discovery? When I see a completed layout I sometimes wonder: Did the designer know it was going to look like this when they started? I’d like to explore a few options that I have tried over the years.
Draw from existing materials.
I had to mention this, just to be thorough. Of course, when creating a piece that is part of a greater collateral package or identity system, we use the elements and compositions that have already been established. But I’m talking about developing new ideas here, so lets put this one aside and explore a few others…
Probe your subconscious.
Albert Einstein (smart guy) said that he has his best ideas while occupying one of the three B’s: Bed, Bus, or Bath. I too have experienced a few of these joyous “Eureka” moments while showering, driving, or lying in bed. I don’t know if this is probing your subconscious so much as just letting it air out. Either way, you can be sure there are a lot of good ideas already in there, and the ceaseless chatter of our conscious minds is just mucking them up. Find a way to let your brain go blank, and see what rises to the surface. Biking is a great way to clear the slate.
Steal it.
Legendary animator Richard Williams, attended acting classes, taught by actor Michael Caine (Austin Powers’ dad). In Williams’ book The Animator’s Survival Kit he quotes Caine: “If you see some actor doing a piece of business that you admire - steal it (pause for effect), STEAL IT! (audience shock and horror)- because they did.” Naturally, I’d recommend drawing inspiration from someone else’s design, more than lifting it directly. Make it your own. Odds are that whomever you were inspired by, was inspired by someone else, and so the evolutionary process goes.
Use a formula.
I don’t think I’d suggest this kind of thinking, but sometimes it can get you past a creative block, or at least past a deadline. You know what works, odds are you’re trying to be too creative or too ambitious. The clock is ticking and you’re staring at a blank page. Sometimes we spend so much time waiting for the perfect idea, that we skip plenty of great ones.
Take inspiration from something completely unrelated.
I once read in a forum on poster design (http://www.gigposters.com) that one could look at the clothes they are wearing at a given time, and use those colors in their project. That’s a start, how about composition? Look at a city skyline or a bunch of random advertisements stuck to city light post. Take an existing design, turn it sideways and crop it real tight. There are infinite possibilities if you look around. I once based a package layout on the unique shape of the backpack worn by a motorcyclist who was in front of me on the way to work that morning - It was a winner, everyone loved it, and it looked nothing like a backpack when I was done.
Imagine what your design hero would do.
This one has worked for me a few times. Instead of going down your usual paths, imagine what the end result would look like if executed by your favorite inspiration or competitor. You have to squint your eyes and try not to hover over one thought for too long. When you see that award-winning logo or show stopping identity set, all hazy in your mind’s eye, chances are that it is your own unique creation. The trick is capturing it before another thought replaces it.
Imagine what it would look like in context.
Picture your brochure sitting on a coffee table. What does it look like? Imagine your logo in frosted glass on an office door. Perhaps these are just ways of tricking your subconscious into giving up its best creative secrets. You never know what’s already in there, and you only have a moment to capture it before it evaporates like a morning fog.
Work around the content.
This is less of an inspiration and more of a situation in which we often find ourselves. You know how long the content is, you know which photos you have to use, now make it all fit and make it look good. Trying to organize a lot of content into a sensible and attractive presentation sometimes leaves you with only a few solutions from which to choose. This is what brought it up - this is the rut. I think that even in this situation, we can reach a little farther.
We get so caught up in the day-to-day and the deadlines that we can forget the great many places that creative inspiration and new compositions can come from. You could look at this as a list of ways to fight creative block, or maybe just a reminder to take the time to get back to where your own best ideas come from. Instead of attempting to give you a list of answers here, this is more of a question - What works for you? Where do new ideas for layout or details come from? I’d like very much to hear from you, with your own little tricks or thoughts on the subject.
