For the summer of 2019, DK and friends are co-creating the zine series, ‘In the Vernacular’. Free to apply. Apply here.
Select candidates will be invited to register (programme fee is USD $160) at this page.
Don’t miss the chance to be part of an international conversation in which new and different others DK has personally connected with in real life or on the internet are gathering to share, learn, and continue to discover ways of taking old ideas and breaking into the new.
WHEN. 1- 30 June 2019.
WHAT IT IS. Architects, designers, graphic artists, graphic illustrators, and writers are invited to co-create the series with Design Kompany’s A. Spaice. Hosting the conversations in asynchronous online exchanges, DK will gather the key points of the emerging dialogues and create custom prompts every Tuesday. To more the direction of the conversation so as to come up with a coherent set of thought to then pack into weekly digital zines. These, together, will get us talking, and talking together, in S P A C E.
‘The whole is something other than the sum of its parts.’
Join DK and very small handful of others at this new, and different, style of conversation salon. Our theme is ‘The Prospect of Beauty’. Discover the parlor games ‘Art of Not Knowing’ and ‘Excerpts of Note,’ as shared in similar small scale salons in Tokyo, London, New York and Hanoi. Welcoming the very curious and looking forward to receiving you. A meetpoint, and programme, to be emailed to registered guests *only.* Advance bookings only. (Ticket sales close at midday on Wednesday, 1 Nov.)
AN 8-WEEK or 12-WEEK online programme that prompts you to ask questions designed to elicit self-awareness. Reflection. Connection. Discovery. It’s a 1:DK conversation that is exploratory and emerges, week over week. You’ll be able to choose-your-own-adventure as we go, selecting from the grab-bag of more than 100 prompts that DK have built over the 2014-2016 period when we had hosted something else, called the ‘cojournal.’ Discover and share, co-discover with us. By invitation only.
LISTEN TO this interview Victor Jimenez, a seasoned entrepreneur and popular podcaster, did with DK’s own Akira Morita. The two are close friends, and talk regularly across the world about topics related to performance, learning, being better, and growth.
Today in S P A C E we’ll discuss. In a parallel conversation that may also take place on this day, we’ll open the comments for the topic of, ‘What is Design Thinking,’ on the comments pages below. Possibly also on facebook, depending on interest there.
Check in on 30 May throughout the day [ICT timezone], to see what’s unfolding. #designthinking
A CONTINUATION in virtual space of conversations near and far about things related to ‘fromness.’
Where are we from, what that means to us each individually, how multi-local identities shape who we are.
This is a build on something that we had run online last year, a series of 12 conversation starting prompts designed to open this kind of discussion. It was called ‘Home & Away’. Welcoming back those who participated, inviting those just connecting now to mix, together, in this one-week conversation, ‘Discovering Origin,’ in virtual S P A C E.
7-DAY PASS. Be part of it when you join us with a 7-day pass, here’s how to get it.
Editor’s note: First published in S P A C E in 2017, this short Q&A about the creative process still rings true today to those of us at DK who remain very curious about how to continuously improve on what we make.
OFFLINE CONVERSATIONS lately are turning to the process itself, and, to take it further, discoveries that happen on the way to ‘making.’ Maybe it’s in the air? Looking back on what creative people have told me about this work of making, I recalled something I learned from science podcaster Jai Ranganathan. (Find him on twitter at @jranganathan.) We had met at a science conference in NC’s Research Triangle Park. That was the kind of place where bunches of people convened to share tips on making science interesting to a general audience, more or less, and I discovered Jai was set to instruct scientists at University of California Santa Barbara on how to use social media.
DK: What do you need to think about when opening a wide-open project like a podcast? That’s a pretty big blank canvas.
JR: First, define your purpose. Then, what’s your scope? Do you want to be a local brand? Have a national audience? If you want a large audience, people really go for video.
DK: OK. So if you know your purpose, then what? Any tips?
Think about where can you add value. Ask businesses, ‘What’s a problem you have?,’ and then share, ‘Here’s how we might solve it.’
Give your product away so people want to know more.
You can do latest tips. Interviews. You could have seminars.
Just get started. Do it frequently. Keep it short—2 minutes.
DK: Wait, so you just have to be prolific?
JR: You don’t have to be flashy, or always funny, or the best-looking. But you have to be compelling in your voice. Be engaged, animated, and interesting. DK: But what about talent?
JR: Talent is overrated. You have to be interesting/entertaining first, or else it doesn’t matter what you have to say!
DK: How do you do that?
JR: Boring podcasts are that way because people are checking boxes off a how-to list, as opposed to doing something that’s really them. Anything creative like this—podcasting, video, or writing—is about deciding what you want to say, and what’s your way of saying it. How to make thatyour own is key.
DK: How did you get into this?
JR: I was doing my postdoc in conservation biology. If you’re not a scientist, your job is to write papers. I was disenchanted after a while. How likely was it that what I wrote would lead to action? So as a hobby, I started interviewing scientists. I’ve always really liked radio. Someone found me and offered to pay me to do this, so now I have $2,000 broadcast-quality equipment and I make a good living. But, I had hoped more people would listen.
DK: What can others learn?
JR: It takes a while to figure out what you’re doing and why the heck you’re doing it. Don’t make it too scripted. You can have a script, but don’t read it. Imagine somebody giving a talk and reading a script–it’s death! And you know, you have to like doing it. And keep doing it, that’s key. Don’t wait to get good. No one sprouts out of the earth fully formed.
The creative process involves tangible actions juxtaposed with the intangible mystery of creativity. It often suffers under a linear approach and blossoms when you dare to ask “why don’t we try ….” It’s what makes something more than just an idea. It offers a result via the marriage of imagination, analysis, and action.
After all this time, I have learnt that the creative process never looks like this:
In fact, the creative process of logo design truly is impossible to diagram, although many of us try in order to put our clients more at ease with it. It can’t really be put into distinct phases although many of us also try to do this in hopes that potential clients will feel more comfortable investing their time and money. In truth, I have found that the creative process requires a leap of faith from everyone involved. Its elusive nature manages to move a project forward, backward and sideways simultaneously.Â
The creative process is chaos wrapped around structure and held together by a sprinkle of magic dust.
The studies on Processed Identity show that while all designers approach projects in a unique way, the creative process—the time spent reading, writing, having conversations, organizing, editing, prioritizing, mind mapping, creating mood boards, sketching—”is essential to developing a deep understanding of a client’s needs. It’s what inspires and enables us to create something beyond the generic and adequate. In my experience as a logo designer, the creative process has proven to be my most valuable tool.Â It’s also crucial to a wide range of other disciplines including science, philosophy, architecture, art and writing.
We have all experienced occasions where it is clear the creative process has been minimized. It’s not difficult to recall poor user interfaces, cliche solutions, and ideas executed with seemingly little thought as to how the end user will engage with them. In contrast, by embracing and investing in the creative process, it’s possible to create moments of joy, satisfaction, and delight.
It is unfortunate that the creative process is constantly in need of protection from budget cuts, deadlines and non-believers. It seems to be the first corner cut. You need clay to make bricks[*]. It takes time, energy, dedication, and the willingness to build, knock down and build again (over and over).
I have learned that I best serve my customers by looking at the logo as simply a by-product of the creative process. I have also learned that protecting the creative process is essential and non-negotiable.
About the Author
Steve Zelle is a logo and brand identity designer based in Ottawa, Canada. He operates as idApostle and is the founder of the community driven design website, Processed Identity. You can reach him through his website or on Twitter.
*Paraphrased from: “Data! Data! Data!” he cried impatiently, “I cannot make bricks without clay!”, The Adventures of Sherlock Holmes, The Adventure of the Copper Beeches, Sir Arthur Conan Doyle.