The Role of a Designer? Encourage More People to Become Designers

By Tucker ViemeisterTue Oct 27, 2009 at 2:39 PM (Fastcompany.com)

It’s fun being a designer. We designers use our hands, heads, and hearts. We get to invent things and then make them into real things–things that we want. We use our heads for strategy, tactics, science, and thinking ahead. We actually make things with our hands: drawings, models, and samples. And we use our own emotions to connect with the hearts so that people will want what we created. The combination is what makes being a designer so interesting and valuable.

Tucker Viemeister

My father, Read Viemeister was an industrial designer–so even as a baby I could hear him brainstorming ideas, watch him make renderings, and then build stuff in the shop. I wanted to be President (back then that was more normal) but I saw that designers changed the world in better ways.

My mother, who was into politics, went to Antioch College and thought that Horace Mann was speaking to her when he said, „Be ashamed to die until you’ve won some victory for humanity.“ She may have been „pro choice“–but I had no choice. She made me use my head as well as my talent. I was destined to be an industrial designer–by nurture and nature.

Years later, Steven Holt, then editor of ID Magazine visited me at Smart Design and began telling us about one of our projects. He pointed out references, metaphors, and semantics apparent to him in the design. His riff was actually reverse-engineering the meaning of our work–starting from the result, he wove an explanation transforming our normal thing into some kind of cultural emblem. This was all news to us!

A few years later we hired this intern who was formerly an archaeologist. Beth Mosher had switched to industrial design because she could have more impact designing new artifacts rather than trying to reconstruct a culture from old artifacts. Once I visited the Nixon Library in Yorba Linda, California, with designer Lorraine Wild–and we saw an exhibition that actually changed history before your eyes! You can go there to hear different tapes that let „you decide for yourself“ if Nixon was guilty of any crimes. (But the Watergate Gallery is currently closed!)

Even the smallest designs have political ramifications, so everyone is a politician on some scale. Everyone is a designer; some people do it professionally or more consciously than others. But everybody at least designs themselves: In the morning they pick out what clothes to wear. (That’s a good example of design quality–some people are really good at making themselves look good, some people wear the same clothes every day. But that’s a choice, too, whether they know it or not).

Design is basic: It is what separates humans from other animals. Human choices are what make big changes in the world (and giant meteor collisions). I encourage good design by doing it myself, teaching other designers and showing people how they can make a difference too. I like Huckleberry Finn’s fence painting technique: Make it fun. The goal is to encourage more people to be better designers. I’m writing a book about a great example: my dad Read Viemeister, whose whole life was about good design.

Tucker Viemeister

I may have had a head start in my career–now everyone else needs to see that they can use their hands, heads, and hearts to design a better world!

Read Tucker Viemeister’s blog What’s Cookin‘?
Browse blogs by our other Expert Designers

Tucker Viemeister leads the Lab at Rockwell Group, an interactive technology design group combining digital interaction design, modeling, and prototyping for hotels and restaurants, casinos, packaging, and products. The LAB seeks to blur the line between the physical and virtual, exploring and experimenting with interactive digital technology in objects, environments, and stories. Tucker also co-founded the collaborative Studio Red with David Rockwell that was dedicated to innovation for Coca-Cola. Since joining Rockwell Group in 2004, Tucker has been instrumental in the design and development of jetBlue’s Marketplace at the JFK International Airport, „Hall of Fragments,“ an installation that opened the Corderie dell’Arsenale at the 2008 Venice Biennale, a „living wall“ for the lobby of the Sheraton Toronto, the traveling Red Lounge for Coca-Cola, and MGM City Centre in Las Vegas.

http://www.fastcompany.com/blog/tucker-viemeister/whats-cookin/no-choice

IMD Tommorrow's Challenges: Anything Can Be Branded – It Takes Stamina and Renewal

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By Professor Dominique Turpin – October 2009

Anything can be branded, from toothpaste and tourist destinations to cartoon characters and Chinese revolutionaries. Professionally managed celebrity brands have been around for several decades; one of the most famous, Elvis Presley, has been so successfully handled that he has sold more records – not to mention coffee mugs and calendars – since he died in 1977 than while he was alive. It looks like Michael Jackson will be 2010’s top-earning celebrity brand – making an almost $250 million from beyond the grave.

Professionally-managed branding of athletes is a slightly more recent phenomenon but it’s undoubtedly big business. For example, David Beckham, the former England captain, managed to take his popularity on the field and turn it into a brand worth an estimated £200 million thanks to endorsement deals including Vodafone, Adidas, Pepsi, Brylcreem and Marks and Spencer. He almost certainly learned a lot about how to build a personal brand from his pop star wife, Victoria “Posh Spice” Adams, who already had a strong brand in her own right when they met. Together, they merited a great deal of tabloid coverage. Interestingly, when Manchester United sold him to Real Madrid in 2003, some analysts suggested that the Spanish club was more interested in buying his brand than his sporting ability.

But creating a strong brand for a real person – one that lasts and that means something commercially – takes more than good looks and a famous spouse. In fact, it starts from exactly the same principles as any brand strategy. First, any great brand must have something different and distinctive. For a footballer, this is likely to mean world-beating talent. Second, the brand’s messages must be simple, consistent, clear and easy to communicate. (Executives who are building their own personal and professional brands can learn from this as well. Many try to communicate far too much with their brand; it’s better to emphasize one or two things that make you unique.)

On top of this, for a footballer to become a successful brand he must represent moral values or ideals, such as professionalism, tenacity and team spirit, that will make him valuable to the companies that endorse him. When companies link themselves to celebrity brands it’s because they want the values associated with them to transfer to their own brands. For example, a business that sells men’s grooming products may link itself with male athletes who are seen as healthy, attractive and successful.

However, companies must be wary of relying too heavily on celebrity ambassadors. Famous names should never be the main driving force behind a business’s brand or it will run the risk of the celebrity’s personal brand overwhelming that of the product or service. This can result in people remembering the celebrity but not the product they were paid to endorse. Ultimately, corporate and product brands need to be built on, and be able to stand up on, their own distinctive merits. Careful use of celebrities can enhance or strengthen existing product brands but it should not be seen as a way of creating a brand.

The other big risk for companies is that celebrities may behave in a way that’s inconsistent with the values that they were brought in to represent. When this happens, it threatens not just the individual’s personal brand but that of any associated products; this is one of the areas where it is most certainly not true that any publicity is good publicity. After all, a company that recruited a celebrity athlete based on his wholesome, hard-working and sportsmanlike image would be less than enthusiastic about keeping him on if he was caught taking performance-enhancing drugs, for example.

From the celebrity’s perspective, the downside of interlinking brand and personality is that misbehaviour that may once have been seen as purely private can seriously damage his or her brand commercially even if it is not linked to their core activity. For example, when the Brazilian footballer Ronaldo was hit by a scandal involving transvestite prostitutes in Rio de Janeiro it didn’t affect his ability to find the back of the net but it did lose him an advertising contract worth $4.8 million per year. Clearly the mobile telephone company involved no longer wanted its name linked with his activities.

For both athletes and businesses the best way to maintain and develop a brand is by stamina and renewal. Many brands disappear or experience a decline simply because they lack a regular stream of innovations, whether in the product itself or the way in which the brand is communicated to the public. For a player coming close to the end of his professional career, the challenge is always to continue to make news, either as a player, an individual or in association with the brands or products that he or she endorses. For example, George Foreman, a former world champion boxer has made over $150 million from the sales of his barbecue grills, a sum that is substantially more than he earned as a boxer. But he still has a way to go before he matches Elvis!

Dominique Turpin is Director of the International Seminar for Top Executives. He also teaches on the Orchestrating Winning Performance and Strategic Marketing in Action open enrollment programs and in IMD’s Partnership Programs.

Source: http://www.imd.ch/research/challenges/TC063-09.cfm

original post: IMD Tommorrow’s Challenges: Anything Can Be Branded – It Takes Stamina and Renewal Posted in Manchester United News

Paul Smith for Evian

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Following its annual trend in partnerships with Fashion Designers through 2010, Evian has linked up with one of the most creative designers, known for his sense of fun and optimistic attitude Paul Smith.
The new exclusive Evian bottle is designed with a festive theme in vibrant colors – with a nod to the famous Paul Smith stripes – which elegantly underlines the purity of the natural spring water from the French Alps.

Take a strong brand that can look back to a long history, one that surpassed changing times without deviating much from its core values and design. How can you give it new spin, improve the way people perceive it, present it from a different angle? Add a human. Add a charismatic human, one that is not too remote from the product. One that fits. One like Paul Smith.

A Plea to All Creatives: Stop Going to Work

BY Joe DuffyMon Oct 26, 2009 at 10:01 AM

published at fastcompany.com

We are living in interesting times. Never before have we been so connected. Our ability to interact is nearly unlimited. Technology is a most formidable tool, the driver, a catalyst in the laboratory of life.
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Designers thrive on the information available to us through this newly heightened era of connectivity. That said, information is not enough. We need inspiration to continue to stretch and truly reach our creative potential. I don’t believe that inspiration is sufficiently served up in even the most compelling office environments, nor among the most creative cultures. So we need to get out of the office. Design how you’re going to work. Dial it into the rest of your life and vice versa. Be purposeful about what you do, where you are, where you really need to be in order to be happy and productive.

What makes you happy? When do you feel most inspired? What is it that generates new ideas and fruitful energy in your life? Find those things. Nurture them. Respect them. Being someplace, like in the office, for appearances sake is futile.

When I am happy, I am more creative and more productive.

When I am productive, I feel accomplished and happy. When I’m happy, I am most creative. It’s a good, not a vicious, cycle.

Fresh ideas come from fresh minds. Fresh minds need constant and new stimulus. Sometimes it’s about escape–seeing a performance or experiencing fine art. We’re lucky in Minneapolis, I can walk down the street and take in live theater at The Guthrie or hike over to The Walker and view their latest show of contemporary art.

It could be about forcing yourself to see anew, with an open mind, like spending time with kids and remembering how to look at creative problem-solving from a more innocent perspective (my granddaughter Mia taught me how to loosen up the grip on my paintbrush).

painting

It may be about finding the beauty and design inspiration in the constantly changing and renewing cycles of nature–get out and ride a bike.

go outside

We live in a world where burnout is rampant. No wonder why, when we now have the ability to be connected, 24/7. We have to ask ourselves what we want to be connected to. There have always been workaholics but today we see many of those behaviors shunned by a new generation of people seeking greater balance in their lives. We now have the ability to blend what we do for a living, what we’re passionate about and every other facet of our lives into a much healthier/happier life, a designed life. I honestly can’t remember the last time I had a bright new idea while sitting at a desk.

Now that we have the ability to dial up, to log in, to upload notes, and download drafts from almost anywhere, we also need to learn the power of powering off and shutting down to charge up, sometimes for a few hours, sometimes for a few weeks.

The business of design is about collaboration at its core. At times this is best accomplished face to face in an office setting. At times it will require working outside of normal office hours as we cross time zones and latitudes. It also will require the occasional all-nighter or the work-thru-weekend–it’s the rollercoaster way the business of design works. But these are all more palatable and have the potential to even be energizing if we realize the opportunities that being connected really affords us as creative business people. You shouldn’t try to achieve the normal 9-to-5 routine in an endeavor that is not conducive to it.

I look forward to going to the office now that I don’t consider it „going to work.“ For me it’s actually the more social aspect of creating design. Because I’m not going there out of habit or for the sake of appearances, it’s just another interesting facet of everyday life and it helps keep things in balance.

Balance = happy = creative = productive. Repeat.

[Feel the Music and Go Outside by Erin Hanson]

Read Joe Duffy’s blog Duffy Point of View
Browse blogs by other Expert Designers

Principal and chairman of Duffy & Partners, Joe Duffy is one of the most respected and sought after creative directors and thought leaders on branding and design in the world. Joe’s work includes brand and corporate identity development for some of the world’s most admired brands, from Aveda to Coca-Cola to Sony to Jack in the Box to Susan G. Komen for the Cure. His work is regularly featured in leading marketing and design publications and exhibited around the world. In 2004 he founded Duffy & Partners as a new kind of branding and creativity company, partnering with clients and other firms in all communication disciplines. Also in 2004, he received the Medal from the AIGA for a lifetime of achievement in the field of visual communications. His first book–Brand Apart–was released in July 2005 and in 2006, he was recognized as one of the „Fast 50“ most influential people in the future of business by Fast Company.

http://www.fastcompany.com/blog/joe-duffy/duffy-point-view/plea-all-creatives-stop-going-work

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Name the Volt – GM asking the consumer to name the colors

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After developing and marketing what promises to be the world’s first mass-produced extended-range EV, the folks at GM are too tired to come up with names for all the paint colors, so they’re asking for your help.

Apparently not satisfied with “kinda silvery and greenish” as a description of the exterior color of the pre-production Chevy Volt shown above, the General is asking for help from the general public to officially name the color for press and marketing materials. You can enter — and eventually vote — at chevroletvoltage.com.

The three top vote-getters win a trip to the L.A. Auto Show, while first prize gets their own addition to GM’s paint codes and the chance to drive a pre-production Volt. Props to anyone who submits “Autopia Emerald.”

We’ve always driven home whatever color is on the lot — or whatever color our mom chose before she handed the car down to us. Still, for some buyers, color matters. According to GM’s Global Color and Trim guru Chris Webb, 39 percent of consumers “will walk out of a dealership and purchase from another brand altogether if they can’t get a vehicle in the color they desire.”

While the Volt looks good in the various shades of gray and black that the public has seen so far, we can’t imagine anyone turning down a car as eagerly anticipated as the Volt because they don’t like how the paint looks. Heck, we bet it would sell in Mary Kay pink with profane graffiti covering the hood. The Volt is about what is — and what isn’t — under the hood, not what’s covering the exterior.

Name the Volt’s Color, Win a Prize

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Fastcompany.com: The Six "Wow" Features of Windows 7

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By Kate Rockwood

„We set out to ask: What’s the Windows way to do something?“ says Sam Moreau, Microsoft’s head of user-experience design for Windows 7. „We had to make sure that we took care of Windows as having an authentic soul.“ He knows you may be snickering, especially if you use Vista. „Vista tried to do a lot of things, and the places where we didn’t finish the job are the places people feel,“ he says.

The early positive reviews suggest that Moreau has helped make Windows 7 much more satisfying to use. Engadget called it „fast, painless, and complication free,“ and as Gizmodo charmingly notes, „Even the Mactards will have to tone down their nasal David Spadian snide, at least a little bit.“

Silencing Mac snobs is merely a side benefit of Moreau’s official goal: Quiet desktop clutter and shave seconds off of daily tasks. „Windows‘ point of view is about adding value and solving distractions,“ he says.

A career Web designer, Moreau was an unlikely choice to pull this off. „I was told that was the point,“ he says. In turn, he amassed his own band of architects, artists, and writers who could bring fresh perspectives to Windows 7. We asked Moreau and his team to tell the tales behind six buzzed-about Windows 7 features.

Vista opened with a series of blinks and beeps that reflected the under-the-hood technical operations. With Windows 7, Moreau wanted to mask the mechanics with stirring cinema. Writer Rolf Ebeling led the design of the 105-frame sequence. „It was nerve-wracking when Sam leaned into my doorway and asked, ‚How good is your animation?‘ “ says Ebeling. He used swirling fireflies that coalesce into the Windows icon to foreshadow the operating system’s use of light. „As a journalist, I knew I needed to make the point quickly, but how do you get the tone just right and make it something people want to come back to again and again?“

Windows Vista used a sheet-of-glass effect on the task bar, but Moreau and company made it more realistic. Industrial designer Stephan Hoefnagels studied physical properties of everything from Audi taillights to bioluminescent sea creatures to lava lamps, and then crafted more than 90 prototypes to make the task bar’s light look „energetic and alive“ and the refraction realistic. „As you hover over an application, the tile glows, but as you move, the light trails and follows you,“ he says. Rather than cast a monochromatic aura, Windows 7 pulls color from the application (Firefox, for example, burns orange). „The task bar is the face of Windows, but the icons are the stars of the show.“

Windows 7’s wallpapers eschew placid landscapes for psychedelic anime turtles and slick Seattle streetscapes. „Choosing the safest options would have been the Microsoft default, but we wanted to provoke a strong emotional connection,“ says Denise Trabona, a former design director for MSNBC. She also broadened the range of photographers and illustrators, to reflect Microsoft’s global reach, and added architectural pics into the mix for the first time. She says, „Our guidance to the artists was straightforward: Give us light and energy.“

A pop-up menu of application-related shortcuts, Jump Lists is a powerful feature hidden behind a right click. In one prototype, the design team indicated the feature with a button and an arrow next to each icon, but a few players balked. „There’s a tremendous amount of functionality hidden behind a kitchen’s cabinets and drawers,“ says Joey Pitt, who worked as an architect before joining Microsoft. „Rather than an immediate cacophony of labels and flashing signs on every drawer, it’s better for users if the experience unfolds over time.“

Aero Shake’s back-and-forth mouse motion has its roots in a feature called Aladdin, which allowed users to „rub“ a window to keep it hovering temporarily in the foreground. „Aladdin was fun,“ designer Hoefnagels says, „but at some point, the rubbing got tiresome and it was like, Okay, let’s just click over.“ Aladdin’s on the cutting-room floor, but the gesture’s whimsy became the Aero Shake. Use your mouse to vigorously „shake“ an open window and watch the others fly closed. A gimmick? Maybe, but users rave about its ability to quickly declutter desktops.

Lisa Cherian, an industrial designer and design teacher, raised more than a few eyebrows when she first joined the Windows 7 team and asked nondesigners to diagram how they’d train an alien to brush his teeth. „What we need in a software environment is the concept sketch,“ she says. „In industrial design, you return to it again and again: ‚This is what I’m making. This is what it feels like.‘ It’s essential to your focus.“ Employing that industrial-design discipline, Cherian created a concept sketch for Libraries, a feature that lets users easily access and sort their pictures, music, and video no matter whether they’re buried deep in a file folder or stashed on an external hard drive. Returning often to the sketch helped rein in the feature creep that threatened to choke the project.

See the whole article at:
http://www.fastcompany.com/magazine/140/windows-into-the-soul.html

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Rumor: Bing to Get Its Clutches on Twitter's Feed Before Google

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BY Kit EatonWed Oct 21, 2009 at 7:22 AM

We’ve heard suggestions like it before, but apparently Microsoft is now very close to securing a connection to Twitter’s digital data stream to get live Tweet search powers into Bing. Google’s execs will surely be foaming at the mouth at the news.

Bing and TwitterBack in July we reported on an experimental connection between Bing and Twitter that gave Bing users access to a real-time search on certain „prominent“ Tweep’s Tweets, and it was only a few weeks ago that more rumors popped up of talks between Google, Microsoft, and Twitter for a full access plan.

All of that seems to have concluded with a deal between MS and Twitter that’s absolutely ready to pop, according to AllThingsD’s sources. MS executives and engineers have apparently been busy chatting and problem-solving with Twitter right up to yesterday–all of which could point to an announcement at the Web2.0 conference which starts today.

It’s big news for Bing–even if Google follows not too far behind, since it’ll be beating its arch-rival to the real time data prize, garnering much press coverage and excitement along the way. And it represents a significant step for Twitter too, placing it as a significant player on the real-time data stage with enough negotiating power to avoid an exclusivity deal with Google, Bing or anyone else. The rumors seem to be suggesting that Twitter’s ad-avoiding plans may also be about to change, with embedded Bing or Google ads on Twitter’s site being a part of the deal.

Twitter’s clearly very much on the surge right now, though even while Comcast’s CEO is noting it’s such a powerful tool it’s „changed the culture“ of Comcast (thanks to consumer complaint Tweets) Twitter’s own CEO Ev Williams is carefully restating that Twitter’s business model is still not revenue-centric. Speaking to BusinessInsider, Williams remarked that the team was spending „97% of our efforts trying to improve the product“ with a view of building-in long term value. Letting Microsoft tap into the flow of Tweets will clearly generate cash for Twitter, but it tallies somewhat with what Williams is saying–it doesn’t require too much effort or front-end adaptation on Twitter’s behalf, which won’t distract from the business of pushing Twitter’s powers onwards and upwards.

http://www.fastcompany.com/blog/kit-eaton/technomix/rumor-bing-get-its-clutches-twitters-feed-google

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Ford Spending 25% of Marketing on Digital and Social Media

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Ford goes digital!

Ford Motor Co. this year will spend 25% of its marketing dollars on digital media, more than twice the amount spent by the industry.

Read more at BusinessWeek The Auto Beat

Want Teens to Notice Your Product Placement? Use the Web

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fastcompany.com:

Teens and college students are skipping or tuning out traditional advertising more and more, minimizing screens or muting the volume. Being able to be part of the content youth consume or even creating branded content is one way brands can make sure their product is seen, and advertisers are spending millions of dollars to ensure that happens. The problem, as our research shows, is that even when teens and college students do notice product placements, it doesn’t necessarily change their feelings about that product.

Product placement aimed at kids and teens is not new. Toy companies began placing their products on children’s TV shows back in the 1950s on programs like Romper Room, you might have noticed the queen bees of Gossip Girl using Verizon phones like the LG Chocolate, the orange EnV, or Motorola Krzr–all part of an integrated deal with the wireless carrier. For many marketers product placement remains a viable way to create brand awareness among young people–but with this generation having been marketed to on multiple screens pretty much since birth, does product placement even work?

The answer is yes, but not in the way marketers are hoping. We found that 72% of teens and 77% of college students notice product placement, and the top three products they notice on television shows are beverages, cell phones, and cars. But only one in seven report that those product placements have any effect on their perception of the brands.

But it turns out there is one „product“ teens and college students say they not only notice but actively pursue: Web sites. 38% of teens and 26% of college students noticed Web sites in a TV show or movie. And 53% of them reported going online to check the site out.

Web sites

So while we don’t have tangible evidence that the products youth notice most are having much of an impact, we do know that getting your Web site featured on a popular TV show or in a film is a great way to drive youth awareness, not to mention traffic. Maybe we’ll start seeing fewer soda cans on TV, and more characters playing a game on the soda maker’s Web site.

About Youth Pulse, Inc.
Ypulse is the leading authority on tweens, teens, collegians, and young adults, providing news, commentary, events, research & strategy. Our integrated platform comprises www.ypulse.com, a daily newsletter, conferences and an online research community: www.surveyu.com.

Here s the link to the article on FastCompany.com:

http://www.fastcompany.com/blog/anastasia-goodstein/youth-pulse/when-using-product-placement-reach-youth-web-sites-stand-out