Monday, November 30, 2009
Getting Meta
"Wikipedia contains facts about facts. It's a collection of facts from other places.
Facebook doesn't have your friends. It has facts about your friends.
Google is at its best when it gives you links to links, not the information itself.
Over and over, the Internet is allowing new levels of abstraction. Information about information might be worth more than the information itself. Which posts should I read? Which elements of the project are at risk? Who is making the biggest difference to the organization?
Right now, there's way too much stuff and far too little information about that stuff. Sounds like an opportunity."
Does all of this constitute a dilution of information? Are we so used to second hand internet materials that raw, unadulterated data would blind our sensitive eyes? Seth brings up a good point... the information about the information is becoming more and more important. Where is this data coming from? Does this source know what their talking about? Do I trust these web surveys when data can be so easily, and anonymously, falsified?
via Seth Godin
Facebook doesn't have your friends. It has facts about your friends.
Google is at its best when it gives you links to links, not the information itself.
Over and over, the Internet is allowing new levels of abstraction. Information about information might be worth more than the information itself. Which posts should I read? Which elements of the project are at risk? Who is making the biggest difference to the organization?
Right now, there's way too much stuff and far too little information about that stuff. Sounds like an opportunity."
Does all of this constitute a dilution of information? Are we so used to second hand internet materials that raw, unadulterated data would blind our sensitive eyes? Seth brings up a good point... the information about the information is becoming more and more important. Where is this data coming from? Does this source know what their talking about? Do I trust these web surveys when data can be so easily, and anonymously, falsified?
via Seth Godin
Spider Silk
"For its weight, spider silk is stronger than steel, but--unlike steel--it can stretch up to 40% of its normal length"
In my mind, the most effective new technologies are those that mimic or actually include the processes and designs of the world's most prolific and creative designer: Mother Nature. The applications for something like synthetic spider silk are endless, including some probably horrendously overpriced tapestries...
via core77
In my mind, the most effective new technologies are those that mimic or actually include the processes and designs of the world's most prolific and creative designer: Mother Nature. The applications for something like synthetic spider silk are endless, including some probably horrendously overpriced tapestries...
via core77
Sunday, November 29, 2009
"How to lose an argument..."
Ooh, I like this. Especially the first rule. By making something into an argument when the other person has approached a situation as a discussion, you become the bull in the china shop. How does this apply to design? I'm not entirely sure, but I'm pretty sure it has everything to do with being a responsible human being and human beings have to work and there are some humans who's work is designing things. Got it? Or have I gone down the slippery slope of flawed logic?
1. Have an argument. Once you start an argument, not a discussion, you've already lost. Think about it: have you ever changed your mind because someone online started yelling at you? They might get you to shut up, but it's unlikely they've actually changed your opinion.
2. Forget the pitfalls of Godwin's law. Any time you mention Hitler or even Communist China or Bill O'Reilly, you've lost.
3. Use faulty analogies. If someone is trying to make a point about, say, health care, try to make an analogy to something conceptually unrelated, like the space shuttle program, and you've lost.
4. Question motives. The best way to get someone annoyed and then have them ignore you is to bypass any thoughtful discussion of facts and instead question what's in it for the person on the other end. Make assumptions about their motivations and lose their respect.
5. Act anonymously. What are the chances that heckled comments from the bleachers will have an impact?
6. Threaten to take action in another venue. Insist that this will come back to haunt the other person. Guarantee you will spread the word or stop purchasing.
7. Bring up the slippery slope. Actually, the slope isn't that slippery. People don't end up marrying dogs, becoming cannibals or harvesting organs because of changes in organization, technology or law.
8. Go to the edges. This is a variant of the slippery slope, in which you bring up extremes at either end of whatever spectrum is being discussed.
via Seth Godin
1. Have an argument. Once you start an argument, not a discussion, you've already lost. Think about it: have you ever changed your mind because someone online started yelling at you? They might get you to shut up, but it's unlikely they've actually changed your opinion.
2. Forget the pitfalls of Godwin's law. Any time you mention Hitler or even Communist China or Bill O'Reilly, you've lost.
3. Use faulty analogies. If someone is trying to make a point about, say, health care, try to make an analogy to something conceptually unrelated, like the space shuttle program, and you've lost.
4. Question motives. The best way to get someone annoyed and then have them ignore you is to bypass any thoughtful discussion of facts and instead question what's in it for the person on the other end. Make assumptions about their motivations and lose their respect.
5. Act anonymously. What are the chances that heckled comments from the bleachers will have an impact?
6. Threaten to take action in another venue. Insist that this will come back to haunt the other person. Guarantee you will spread the word or stop purchasing.
7. Bring up the slippery slope. Actually, the slope isn't that slippery. People don't end up marrying dogs, becoming cannibals or harvesting organs because of changes in organization, technology or law.
8. Go to the edges. This is a variant of the slippery slope, in which you bring up extremes at either end of whatever spectrum is being discussed.
via Seth Godin
"Eloquent Ode to the Simple"
Konstantin Grcic's new exhibit at the Serpentine Gallery in London poses this to the visitor: What impact do boring, everyday (even "ugly") objects have on your everyday life and does this impact give them artistic value? Does functionality and ubiquity give objects weight without which, they would be meaningless?
Grcic asks this with shipping containers, car batteries and laptops. Grcic himself has brought these questions about functionality to his own design work, preferring to find inspiration in practical considerations.
i.e. Chair_One, which NYT describes as "unapologetically technocratic:"
Consider the objects in your daily life and what meaning they have because of the simple fact of their function.
via NYT
Grcic asks this with shipping containers, car batteries and laptops. Grcic himself has brought these questions about functionality to his own design work, preferring to find inspiration in practical considerations.
i.e. Chair_One, which NYT describes as "unapologetically technocratic:"
Consider the objects in your daily life and what meaning they have because of the simple fact of their function.
via NYT
Catnapping
Besides the adorableness of this product, it raises a design question that I never really pondered...
The way we sleep is pretty boring. 'Round about the time one hits puberty, fun and exciting beds become oh so tween passe. Our mattresses and frames all have approximately the same shape, same functionality and often, the same color palette.
Let's ponder for a minute the space saving options that we often encounter: the bed risers. The lofted beds. Not exactly the most creative ways to riff on a classic.
Granted, there are a whole host of practical issues related to why we all seem to sleep the same (design of the room itself, portability, the geometric issues related to multiples in said bed, etc.), but when has practicality ever really stood in the way of visionaries?
For now, let's just imagine some human-sized versions of the kitty shelves above and all give a collective "awww."
via core77
The way we sleep is pretty boring. 'Round about the time one hits puberty, fun and exciting beds become oh so tween passe. Our mattresses and frames all have approximately the same shape, same functionality and often, the same color palette.
Let's ponder for a minute the space saving options that we often encounter: the bed risers. The lofted beds. Not exactly the most creative ways to riff on a classic.
Granted, there are a whole host of practical issues related to why we all seem to sleep the same (design of the room itself, portability, the geometric issues related to multiples in said bed, etc.), but when has practicality ever really stood in the way of visionaries?
For now, let's just imagine some human-sized versions of the kitty shelves above and all give a collective "awww."
via core77
Thursday, November 19, 2009
FA 27: Project #3 "Aspirational Goals"
1. Be successful as a freelancer or own my own business
2. Finish the musical I've been working on
3. Have some of my music licensed for film/by another artist
4. Do something creative every day
5. Make my job something I love
2. Finish the musical I've been working on
3. Have some of my music licensed for film/by another artist
4. Do something creative every day
5. Make my job something I love
Spiral Jetty
I love BIG art. Scale of a piece can be a statement all in itself. Robert Smithson's Spiral Jetty at Great Salt Lake in Utah is just such an piece. I love how he took something that was mostly a utilitarian object and turned it into a statement. The grand scale of it makes it all that more interesting (i.e. to truly see the whole thing, you have to be flying above the jetty). One of the other considerations of the piece is the corrosive nature of the lake. The basalt rocks are now white with salt crystals. Not only that, but the drought that brought the jetty back above the water line has allowed visitors the "opportunity" to leave their own mark on the piece (graffiti, carrying off actual pieces of rock). This raises a whole host of questions about preservation and curation that are addressed in this NYT article. One actually serious problem is that of silt buildup which, over time, might actually threaten to cover the piece entirely. Observers of art are, understandably, unused to the realities of art that changes.
Perhaps it's an entirely new way of thinking
via NYT
Perhaps it's an entirely new way of thinking
via NYT
Breakthroughs and drips
"Breakthroughs and drips
There are only two ways to win in the market.
You can create a breakthrough. A promotion so powerful that people can't help but engage. An innovation so remarkable, people can't help but talk about it. A pricing strategy or ad campaign that breaks the mold and is worthy of attention. This takes huge guts and substantial investment.
Or you can win with consistent benefits, delivered over time. You win by incrementally earning share, attention and trust. This might take years.
Almost all marketing attempts to do neither of these, and of course, fail. Painless and quick are rarely associated with 'successful.'"
This makes complete sense. It's a concept that eludes a lot of people. While the most surefire way to win consumers and grow your business is to have something phenomenally innovative and attractive, another good way to build your legacy is by doing something that might not be extraordinary, but is done well and delivered perfectly over a long period of time. What a concept! Give people a good product or deliver a good service and they will pay you for it!
Shock and awe.
via Seth Godin
There are only two ways to win in the market.
You can create a breakthrough. A promotion so powerful that people can't help but engage. An innovation so remarkable, people can't help but talk about it. A pricing strategy or ad campaign that breaks the mold and is worthy of attention. This takes huge guts and substantial investment.
Or you can win with consistent benefits, delivered over time. You win by incrementally earning share, attention and trust. This might take years.
Almost all marketing attempts to do neither of these, and of course, fail. Painless and quick are rarely associated with 'successful.'"
This makes complete sense. It's a concept that eludes a lot of people. While the most surefire way to win consumers and grow your business is to have something phenomenally innovative and attractive, another good way to build your legacy is by doing something that might not be extraordinary, but is done well and delivered perfectly over a long period of time. What a concept! Give people a good product or deliver a good service and they will pay you for it!
Shock and awe.
via Seth Godin
Corvette Stingray Concept
Check out this video about a new Stingray concept model. I'm no car junkie, but this one looks great. I've always been interested in the concept models car companies put out versus the actual cars that people will buy. While most people would be impressed by a futuristic design, the majority of people would not actually buy a car that looked like that. Why is that? What is it about ultra-sleek designs that turns the average consumer off?
Now, the obvious answer would be price. I would be curious to see what would happen if car manufacturers made a futuristic model like the Stingray a low-priced product. Would people then flock to purchase it? My guess is still no.
There's something in our collective consciousness that prevents us from moving too far into what many would call a "futuristic vision." It takes a slow and steady pace to enact big change. But what if it was a sea change in the way all manufacturers looked at cars?
via core77
Now, the obvious answer would be price. I would be curious to see what would happen if car manufacturers made a futuristic model like the Stingray a low-priced product. Would people then flock to purchase it? My guess is still no.
There's something in our collective consciousness that prevents us from moving too far into what many would call a "futuristic vision." It takes a slow and steady pace to enact big change. But what if it was a sea change in the way all manufacturers looked at cars?
via core77
Wednesday, November 18, 2009
Stefan Sagmeister: "Trying To Look Good Limits My Life"
STEFAN SAGMEISTER
To the casual outsider, the world of Stefan Sagmeister might seem like a dysfunctional pit of rock n' roll hobnobbing and nudity verging on the edge of what might be considerably more than just bad taste. However, a closer look at the man and the process reveals a sponge-like sensitivity to a variety of disciplines outside of design and a surprisingly regimented methodology of, essentially, creating creativity.
BACKGROUND & WORK
Stefan Sagmeister was born in 1962 in Austria. After completing his studies in Graphic Design at The University of Applied Arts in Vienna, Sagmeister studied at The Pratt Institute in New York City on a Fulbright scholarship. After a brief stint at the Hong Kong office of Leo Burnett, he returned to New York to work at M & Co. with Hungarian designer Tibor Kalman. When the company folded in 1993, Sagmeister formed his own firm, Sagmeister, Inc. Clientele have included AIGA, magazines, fashion designers, perfume manufactures, universities and a whole smattering of musical artists including Lou Reed, The Rolling Stones, OK Go, Talking Heads, David Byrne, Aerosmith, Pat Metheny and Brian Eno. (1) He won a Grammy Award for his work on the Talking Heads' box set, "Once In A Lifetime" and continues to design for a wide range of clients. (2)
IRREVERENCE & INGENUITY
The work Stefan Sagmeister has done so far is indeed thought provoking and some has even garnered him a certain amount of celebrity due to its controversial nature. One piece that earned him criticism and (unwanted) praise was an album cover for the hard-core metal band Pro-Pain that featured a simple black and white photograph of a naked autopsied female torso. Sagmeister has indicated that because of the unexpected "positive" reaction from some of the band's fan base, he would probably not design the CD cover the same, given the opportunity. (3)
Pro-Pain The Truth Hurts, 1994 (http://rateyourmusic.com/release/album/pro_pain/the_truth_hurts/)
AIGA has commissioned several posters from Sagmeister and they have been equally as provocative as his other work. One poster featured a nude Sagmeister himself with information about a lecture actually carved into his skin, symbolizing the "pain" that comes with the production of each of his design projects. (1)
AIGA Lecture Poster, 1999 (http://www.designboom.com/eng/interview/sagmeister.html)
An advertisement for a Hong Kong design awards show organized by the Southeast Asia Association of Accredited Advertising Agencies (4A's) further demonstrated Sagmeister's ability to pull inspiration from a variety of sources, utilizing factory painters who created art reproductions and an irreverence that was sure to rankle the generally reserved nature of Asian businesspeople.
Southeast Asia 4A's Design Awards Show, 1992 (http://designmuseum.org/design/stefan-sagmeister)
Since the painters could only reproduce existing art, Sagmeister himself became the model for the "rear view" panel. (3) The above listed designs are some of the more controversial ones that have come out of Sagmeister, Inc. The company has produced a number of more conventional designs, but all have the signature edge that goes along with Stefan Sagmeister's work.
AIGA Biennial Conference, New Orleans, 1997 (http://www.designboom.com/eng/interview/sagmeister.html)
David Byrne, Feelings, 1997. (http://www.designboom.com/eng/interview/sagmeister.html)
A UNIQUE WORK FOR A UNIQUE STYLE
Sagmeister, Inc. has become a leader in the creative industry. One of its most fascinating ongoing "projects" is the self-imposed sabbatical Sagmeister has implemented approximately every 7 years, his first in the early 2000's. He is currently taking his sabbatical in Bali. In interviews (5) and on his website, Sagmeister has indicated that the reasons for the sabbaticals are many, but most of all, he found himself coming up with the most creative ideas during periods of rest and that building creative time into your routine is the only way to really ensure that that "down time" will actually happen. The sabbatical periods tend to give way to a whole host of blog-worthy quips, including the title of this article.
Much of Sagmeister's work has featured creative use of typography and his own handwriting has appeared so often that some have remarked it has almost become a typeface of its own. Take for instance a 1996 poster for Lou Reed:
Lou Reed, Set The Twilight Reeling poster, 1996 (http://www.designboom.com/eng/interview/sagmeister.html)
When asked about the overall "style" of his firm, Sagmeister responded, "For a long time we prided ourselves not to have a style which to uphold became impossible. This is because if you really switch your stylistic approach from project to project, it is impossible to come up with a new one on a weekly or monthly basis, without ripping-off either historical styles or a particular designers' style. Although it would not cover all of our work, I would say we are probably best known for our hand-made quality." (1)
It is this handmade quality and attention to detail that has made Stefan Sagmeister one of the leading designers in America (and certainly in Bali) today. Whether its album covers or tongue-in-cheek posters for stuffy advertising associations, it's easy to see the ingenuity and creativity that has given Sagmeister, Inc. a great measure of success. One can only hope that this year's sabbatical will yield even more interesting and innovative work from Stefan Sagmeister.
-----
(1) DesignBoom, Stefan Sagmeister Interview, May 23rd, 2006. (http://www.designboom.com/eng/interview/sagmeister.html)
(2) Sagmeister, Inc. (http://www.sagmeister.com/), Accessed 11/16/09.
(3) Harper, Laurel. Radical Graphics. San Francisco: Chronicle Books, 1999.
(4) DesignMuseum, "Stefan Sagmeister." (http://designmuseum.org/design/stefan-sagmeister) Accessed 11/17/09
(5) Heller, Steven. "Stefan Sagmeister: Designer on Sabbatical." Print Magazine, Feb. 2009, p. 34
To the casual outsider, the world of Stefan Sagmeister might seem like a dysfunctional pit of rock n' roll hobnobbing and nudity verging on the edge of what might be considerably more than just bad taste. However, a closer look at the man and the process reveals a sponge-like sensitivity to a variety of disciplines outside of design and a surprisingly regimented methodology of, essentially, creating creativity.
BACKGROUND & WORK
Stefan Sagmeister was born in 1962 in Austria. After completing his studies in Graphic Design at The University of Applied Arts in Vienna, Sagmeister studied at The Pratt Institute in New York City on a Fulbright scholarship. After a brief stint at the Hong Kong office of Leo Burnett, he returned to New York to work at M & Co. with Hungarian designer Tibor Kalman. When the company folded in 1993, Sagmeister formed his own firm, Sagmeister, Inc. Clientele have included AIGA, magazines, fashion designers, perfume manufactures, universities and a whole smattering of musical artists including Lou Reed, The Rolling Stones, OK Go, Talking Heads, David Byrne, Aerosmith, Pat Metheny and Brian Eno. (1) He won a Grammy Award for his work on the Talking Heads' box set, "Once In A Lifetime" and continues to design for a wide range of clients. (2)
IRREVERENCE & INGENUITY
The work Stefan Sagmeister has done so far is indeed thought provoking and some has even garnered him a certain amount of celebrity due to its controversial nature. One piece that earned him criticism and (unwanted) praise was an album cover for the hard-core metal band Pro-Pain that featured a simple black and white photograph of a naked autopsied female torso. Sagmeister has indicated that because of the unexpected "positive" reaction from some of the band's fan base, he would probably not design the CD cover the same, given the opportunity. (3)
Pro-Pain The Truth Hurts, 1994 (http://rateyourmusic.com/release/album/pro_pain/the_truth_hurts/)
AIGA has commissioned several posters from Sagmeister and they have been equally as provocative as his other work. One poster featured a nude Sagmeister himself with information about a lecture actually carved into his skin, symbolizing the "pain" that comes with the production of each of his design projects. (1)
AIGA Lecture Poster, 1999 (http://www.designboom.com/eng/interview/sagmeister.html)
An advertisement for a Hong Kong design awards show organized by the Southeast Asia Association of Accredited Advertising Agencies (4A's) further demonstrated Sagmeister's ability to pull inspiration from a variety of sources, utilizing factory painters who created art reproductions and an irreverence that was sure to rankle the generally reserved nature of Asian businesspeople.
Southeast Asia 4A's Design Awards Show, 1992 (http://designmuseum.org/design/stefan-sagmeister)
Since the painters could only reproduce existing art, Sagmeister himself became the model for the "rear view" panel. (3) The above listed designs are some of the more controversial ones that have come out of Sagmeister, Inc. The company has produced a number of more conventional designs, but all have the signature edge that goes along with Stefan Sagmeister's work.
AIGA Biennial Conference, New Orleans, 1997 (http://www.designboom.com/eng/interview/sagmeister.html)
David Byrne, Feelings, 1997. (http://www.designboom.com/eng/interview/sagmeister.html)
A UNIQUE WORK FOR A UNIQUE STYLE
Sagmeister, Inc. has become a leader in the creative industry. One of its most fascinating ongoing "projects" is the self-imposed sabbatical Sagmeister has implemented approximately every 7 years, his first in the early 2000's. He is currently taking his sabbatical in Bali. In interviews (5) and on his website, Sagmeister has indicated that the reasons for the sabbaticals are many, but most of all, he found himself coming up with the most creative ideas during periods of rest and that building creative time into your routine is the only way to really ensure that that "down time" will actually happen. The sabbatical periods tend to give way to a whole host of blog-worthy quips, including the title of this article.
Much of Sagmeister's work has featured creative use of typography and his own handwriting has appeared so often that some have remarked it has almost become a typeface of its own. Take for instance a 1996 poster for Lou Reed:
Lou Reed, Set The Twilight Reeling poster, 1996 (http://www.designboom.com/eng/interview/sagmeister.html)
When asked about the overall "style" of his firm, Sagmeister responded, "For a long time we prided ourselves not to have a style which to uphold became impossible. This is because if you really switch your stylistic approach from project to project, it is impossible to come up with a new one on a weekly or monthly basis, without ripping-off either historical styles or a particular designers' style. Although it would not cover all of our work, I would say we are probably best known for our hand-made quality." (1)
It is this handmade quality and attention to detail that has made Stefan Sagmeister one of the leading designers in America (and certainly in Bali) today. Whether its album covers or tongue-in-cheek posters for stuffy advertising associations, it's easy to see the ingenuity and creativity that has given Sagmeister, Inc. a great measure of success. One can only hope that this year's sabbatical will yield even more interesting and innovative work from Stefan Sagmeister.
-----
(1) DesignBoom, Stefan Sagmeister Interview, May 23rd, 2006. (http://www.designboom.com/eng/interview/sagmeister.html)
(2) Sagmeister, Inc. (http://www.sagmeister.com/), Accessed 11/16/09.
(3) Harper, Laurel. Radical Graphics. San Francisco: Chronicle Books, 1999.
(4) DesignMuseum, "Stefan Sagmeister." (http://designmuseum.org/design/stefan-sagmeister) Accessed 11/17/09
(5) Heller, Steven. "Stefan Sagmeister: Designer on Sabbatical." Print Magazine, Feb. 2009, p. 34
Tuesday, November 17, 2009
Future Languages
"When talking about making the future tangible, many people expect visual information, projections aimed at the mind’s and the physical eye that ’show’ how the world around us might look different physically. Yet of course the future has many less physically tangible, yet nevertheless experience related aspects that render it a whole new world. Subtlety in bringing those to life is an art.
One such element is language. Although the dynamics of linguistic evolution differ per language as well as geographically, it only takes a brief look back in history to realize that language evolves over time, influenced by accelerating societal change – also spurred by new media and communication technologies. What will language be like in 50 years time? There are many ways in which language can be futurized: neologisms (futurespeak), subtle references to societal changes (e.g. mass migration leading to mixing of words and sounds, new technologies leading to different behaviours), different rythm or length of sentences, new typographical signs, new ways of naming old things, etc.
Director Michael Winterbottom did a great job in turning language into a core ingredient of his subtle way to bring the future to life in Code 46. Now, Dutch National Poet (dichter des vaderlands) Ramsey Nasr wrote ‘Mi have een droom’ (I have a dream), a poem set in Rotterdam in the year 2059, written in a future language, with elements of urban rap and melting pot slang."
How long will it be before "text speak" becomes the norm in business situations? In international politics? I agree that so much focus is placed on the gadgetry and overall "look" of the future." What about the way we act? What will change about how we think, interact with each other?
via Pantopicon
One such element is language. Although the dynamics of linguistic evolution differ per language as well as geographically, it only takes a brief look back in history to realize that language evolves over time, influenced by accelerating societal change – also spurred by new media and communication technologies. What will language be like in 50 years time? There are many ways in which language can be futurized: neologisms (futurespeak), subtle references to societal changes (e.g. mass migration leading to mixing of words and sounds, new technologies leading to different behaviours), different rythm or length of sentences, new typographical signs, new ways of naming old things, etc.
Director Michael Winterbottom did a great job in turning language into a core ingredient of his subtle way to bring the future to life in Code 46. Now, Dutch National Poet (dichter des vaderlands) Ramsey Nasr wrote ‘Mi have een droom’ (I have a dream), a poem set in Rotterdam in the year 2059, written in a future language, with elements of urban rap and melting pot slang."
How long will it be before "text speak" becomes the norm in business situations? In international politics? I agree that so much focus is placed on the gadgetry and overall "look" of the future." What about the way we act? What will change about how we think, interact with each other?
via Pantopicon
Monday, November 16, 2009
Choosing your customers
"Choose your customers, choose your future
Marketers rarely think about choosing customers... like a sailor on shore leave, we're not so picky. Huge mistake.
Your customers define what you make, how you make it, where you sell it, what you charge, who you hire and even how you fund your business. If your customer base changes over time but you fail to make changes in the rest of your organization, stress and failure will follow.
Sell to angry cheapskates and your business will reflect that. On the other hand, when you find great customers, they will eagerly co-create with you. They will engage and invent and spread the word.
It takes vision and guts to turn someone down and focus on a different segment, on people who might be more difficult to sell at first, but will lead you where you want to go over time."
Oooh, this is something I've never heard of. In my fairly educated view of business, I would think that one should never balk at ANYONE who wants to give you their money. Perhaps a better way for Seth to say this is that you should always be aware of your target market (that, I understand).
Finding great customers is harder than he's making it sound, I think. Most business will fall into the above mentioned category of pandering to all comers. Sure, marketers talk about those elusive trend setting customers, but how do you actually go out and find them? That's what I want to know. Do you hire some lowly design graduate (or an unpaid intern) and make them scour blogs for people who seem like they know what they're talking about?
via Seth Godin
Marketers rarely think about choosing customers... like a sailor on shore leave, we're not so picky. Huge mistake.
Your customers define what you make, how you make it, where you sell it, what you charge, who you hire and even how you fund your business. If your customer base changes over time but you fail to make changes in the rest of your organization, stress and failure will follow.
Sell to angry cheapskates and your business will reflect that. On the other hand, when you find great customers, they will eagerly co-create with you. They will engage and invent and spread the word.
It takes vision and guts to turn someone down and focus on a different segment, on people who might be more difficult to sell at first, but will lead you where you want to go over time."
Oooh, this is something I've never heard of. In my fairly educated view of business, I would think that one should never balk at ANYONE who wants to give you their money. Perhaps a better way for Seth to say this is that you should always be aware of your target market (that, I understand).
Finding great customers is harder than he's making it sound, I think. Most business will fall into the above mentioned category of pandering to all comers. Sure, marketers talk about those elusive trend setting customers, but how do you actually go out and find them? That's what I want to know. Do you hire some lowly design graduate (or an unpaid intern) and make them scour blogs for people who seem like they know what they're talking about?
via Seth Godin
Stair Solutions
Core77 has been doing a series on solving the various engineering and design conundrums that come out of the necessity of stairs. One of the posts covered making use of the space between and under one's staircase. My favorite idea (conceived by London-based Levitate Architects):
If my current living situation didn't require that I throw out anything non-essential, I would be a ridiculous pack rat when it comes to books. The unfortunate part of this... I dislike bookshelves. Ta-da! Perfect solution.
via core77
If my current living situation didn't require that I throw out anything non-essential, I would be a ridiculous pack rat when it comes to books. The unfortunate part of this... I dislike bookshelves. Ta-da! Perfect solution.
via core77
Tuesday, November 10, 2009
A side project...
The Hofstra Chamber Singers are giving a concert of the "Liebeslieder Walzer" by Johannes Brahms. The posters lacked a little something... So, taking my cue from the by-line "and other Choral Delights," I did a quick mock up of my version of the poster.
You like?
FA 27 is certainly improving my Photoshop skills.
You like?
FA 27 is certainly improving my Photoshop skills.
The Linz Hocker
Not only is this a great example of environmentally conscious, future-inspired design, it's an art installation! The product launch features a room filled with Linz Hocker stools. Visitors are able to take away a stool from the piece, thereby slowly dismantling the installation and disseminating the stools all around the city.
In a way, it's representative of the way information spreads. You start with one idea, tell 20 of your best friends and eventually it's everywhere; a part of the collective consciousness of a community.
(click)
via core77
In a way, it's representative of the way information spreads. You start with one idea, tell 20 of your best friends and eventually it's everywhere; a part of the collective consciousness of a community.
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via core77
"Fabulous" from Seth Godin
Just an exceptionally inspiring post from Seth:
"Fabulous"
This is so cool: because we only look at things we want to look at, only talk about things worth talking about, the amount of fabulous in the world continues to rise exponentially.
Even though we're at the tail end of the great recession, think about all the cool stuff in your life. Not just stuff you can buy, but experiences, works of art, innovations of all kinds... the bar has been raised for what you need to do to be noticed, and the market is responding.
Not only do I notice more fabulous, but it sure seems as though the creators of it are more engaged, dedicated and yes, joyful, than I can remember. If there was ever a moment to follow your passion and do work that matters, this is it. You can't say, "but I need to make a fortune instead," because that's not happening right now. So you might as well join the people who can say, "I love doing this."
There is certainly something to be said for seeing more "fabulous" in the design world today. It's very true that in this market, you can't simply put out a mediocre product and expect to reap fantastic fortunes. You have to be innovative. You have to be visually striking. You have to have something so unique that it is simply impossible for people NOT to want what you have to offer.
Words to live by even in a normal economic climate...
via Seth Godin
"Fabulous"
This is so cool: because we only look at things we want to look at, only talk about things worth talking about, the amount of fabulous in the world continues to rise exponentially.
Even though we're at the tail end of the great recession, think about all the cool stuff in your life. Not just stuff you can buy, but experiences, works of art, innovations of all kinds... the bar has been raised for what you need to do to be noticed, and the market is responding.
Not only do I notice more fabulous, but it sure seems as though the creators of it are more engaged, dedicated and yes, joyful, than I can remember. If there was ever a moment to follow your passion and do work that matters, this is it. You can't say, "but I need to make a fortune instead," because that's not happening right now. So you might as well join the people who can say, "I love doing this."
There is certainly something to be said for seeing more "fabulous" in the design world today. It's very true that in this market, you can't simply put out a mediocre product and expect to reap fantastic fortunes. You have to be innovative. You have to be visually striking. You have to have something so unique that it is simply impossible for people NOT to want what you have to offer.
Words to live by even in a normal economic climate...
via Seth Godin
Wednesday, November 4, 2009
"Don't treat people the same, find the ones that matter more to you, and hug them"
From "Some people are better than others" by Seth Godin
"1. Kindle readers buy two or three times as many books as book readers. Why? I don't think it's necessarily because using a Kindle leads someone to read more books. I think it's because the kind of person who buys a lot of books is the most likely person to pony up and buy a Kindle. I know that sounds obvious, but once you see it this way, you understand why book publishers should be killing themselves to appeal to this group. After all, the group voted with their dollars to show that they're better.
2. Walmart and other mass marketers are now offering top bestsellers for $9 or less each, about $5 less than their cost. Why? Why not offer toasters or socks as a loss leader to get people in the store? I think the answer is pretty clear: people who buy hardcover books buy other stuff too. A hardcover book is a luxury item, it's new and it's buzzable. This sort of person is exactly who you want in your store."
This sort of research has always interested me. The way in which certain people's specific behaviors will dictate a thousand other set behaviors. Some of these seem like the golden key for marketers. I also love that quote... "Don't treat people the same, find the ones that matter more to you, and hug them."
Applies just about everywhere in life.
via Seth Godin
"1. Kindle readers buy two or three times as many books as book readers. Why? I don't think it's necessarily because using a Kindle leads someone to read more books. I think it's because the kind of person who buys a lot of books is the most likely person to pony up and buy a Kindle. I know that sounds obvious, but once you see it this way, you understand why book publishers should be killing themselves to appeal to this group. After all, the group voted with their dollars to show that they're better.
2. Walmart and other mass marketers are now offering top bestsellers for $9 or less each, about $5 less than their cost. Why? Why not offer toasters or socks as a loss leader to get people in the store? I think the answer is pretty clear: people who buy hardcover books buy other stuff too. A hardcover book is a luxury item, it's new and it's buzzable. This sort of person is exactly who you want in your store."
This sort of research has always interested me. The way in which certain people's specific behaviors will dictate a thousand other set behaviors. Some of these seem like the golden key for marketers. I also love that quote... "Don't treat people the same, find the ones that matter more to you, and hug them."
Applies just about everywhere in life.
via Seth Godin
DEATH BY POSTERIOR PAPERCUT.
This is an awful idea. And so totally not "green."
Yes. This is like a giant Post-It chair.
via core77
Yes. This is like a giant Post-It chair.
via core77
Bauhaus
I've always heard the term "Bauhaus" thrown around and never really known what it means. This NYT article on Margarete Heymann piqued my interest and sort of led me down an interesting path.
(From Wikipedia) Staatliches Bauhaus was a craft/fine arts school in Germany founded by Walter Gropius. Protoges of Gropius would go on to define "Modernism" in the 20th century, especially when it came to architecture (Mies van der Rohe led the Bauhaus for a time. See earlier posts on Philip Johnson and van der Rohe). One driving concept behind the "Bauhaus style" was the desire to unify craft, art and technology. One need only look at the skyscrapers of the 20th century to see the extensions of this concept.
Now I know!
via NYT
Tuesday, November 3, 2009
Amazing Wine Cellars!
As an aspiring oenophile, these make my palette water. I am in complete agreement with the original blogger on this one... I don't care that they're indulgent, I would want one if I had enough cash! They also bring up some interesting points about use of basements in the human race's imminent space problem.
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via core77
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via core77
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