Sometimes it’s appropriate to use this principle to help you make a decision. Other times it’s appropriate to scrap the old and build something new. Figuring out when to do what is the hard part. Knowing how to frame the decision is a good start.
There’s this moment from the show Project Runway that I wish I could find on youtube. In this moment, a contestant is up on the stage receiving critique from the judges. As I remember, the judges liked his work in this round and were giving him positive feedback. Relieved, the contestant starts crying and says, “I had such a hard time with this challenge [sob]. One minute I was happy [sob] the next minute I was in tears and questioning myself….”
At this moment, judge and world-famous designer Michael Kors interrupts the contestant to point something out. He holds up his left hand, points to the contestant and says, “You know that feeling that you are having right now? [long pause]. That feeling [another long pause]. It. Never. Goes. Away. [hold silence].”
When I heard him say that, I felt such relief for the contestant and for myself as a creative person. I thought, ‘If Michael Kors, one of the most famous and successful designers in the world, felt that he needed to stop this contestant to share this insight about his own creative life, then it must be true and it must be important.’
Self-doubt and questioning, this is what creatives do. It’s just how they work. Yes, it makes them a little crazy and it drives their friends a little crazy too (especially the accountants!). That tortured artist thing isn’t a myth. It’s real as alluded to in a well known Kors quote, “Fashion isn’t for sissies.”
So what can we do about this doubt? As with most things that are hard, be mindful of it, even accepting of it. And learn how to manage it. Because that feeling? That feeling that you’re having about your work right now? It. Never. Goes. Away.
TAKE IT FURTHER
I recently scored some bargain hides in OKC and mailed them home to Ithaca. They arrived last Thursday and bit by bit, over the past week, I’ve been working toward making a full-scale leather bag.
You can see my iterative prototyping here: https://photos.app.goo.gl/wySRTm8M2rdiyWke9
I started with a tiny prototype just to learn how the stitching would feel in this material. But it was so tiny that I couldn’t even turn it inside out when it was sewn up. So I moved up to a half-scale version of the bag, first in EVA foam. This prototype was really quick and gave me some good intel–I just wanted to see how the bag would hold up when I turned it inside out after sewing. Turned out ok.
From there I moved to a half-scale in leather. From this prototype I wanted to experience each step of the process: cutting and preparing the leather, gluing and clamping, sewing, and turning it inside out. All went well except for the proportions. When I turned it inside out, it was too tall because the leather, unlike the foam in the previous model, brought the side seams in significantly.
But my prototypes gave me the confidence to move to full scale even though I hadn’t yet gotten the proportions I wanted. I made proportional adjustments in my full-scale template then cut and prepped and glued and sewed. I rushed through the rivets a bit because I was running out of time, but overall I am very pleased with the bag. I’ll carry it around with me for a week before I make another, just to test how it behaves in the wild. But I have a feeling that I have a design that’s close to production ready.
Hoorah! Now the question is, can I buy myself a fancy rivet press? Uh, tools are cool.
Seth Godin posted a piece last week titled “Embracing Externalities.” “Externalities” is a concept from the field of economics that is used to describe the side effects of industrial activity. For example, the pollution that gets dumped into the river by the factory is considered an externality to the factory’s business model.
In Godin’s piece, he asks the reader to reject this concept. He admits that rejecting it, in theory, isn’t that hard to do. The hard thing is to create and put systems in place to dismantle the concept. Sure this would be challenging but it’s not impossible.
We value ourselves as innovators, don’t we? Let’s innovate our way to a more sophisticated system–one that embraces externalities.
Read Godin’s original post here
TAKE IT FURTHER
Circular Economy – Ellen Macarthur Foundation
I was going through my pinterest boards this morning and saw this silly snowflake with my name on it. My name starts with an X which is rare in this country. It’s not something that I see in the media very often. Anyways, it made me giggle.
For the tutorial on “Name Snowflakes” from which this image comes, click here
To see more beautiful snowflake designs and templates that are made here in Ithaca, check out Mariellen Brown’s site here
I picked up these bargain-bin hides while in OKC this past week. It feels freeing to have so much (cheap) material to work with. I’m going to try out a bunch of things in weeks to come.
These hides are milled which means that they are soft and don’t have as much structure as the veg tanned scraps I’ve been working with. But I still think they can hold the shape of a basket if I keep it small enough. We’ll see! If all else fails, these babies can make a whole lot of straps and book covers.
for more studio snap shots, see my google photo album: https://photos.app.goo.gl/PKaNMFj8ScEsxeK58
I adore this “zero-waste” project from Thessaloniki titled “Print Your City” in which they reclaim plastic waste and process it so that it can be fed into giant 3D printers to make these lovely benches/planters.
See more on the project here
originally posted on this blog in June 2013
Philosopher Don Ihde identifies a phenomenon he calls “The Designer Fallacy.” It takes its cue from an idea in literary theory called “Intentional Fallacy,” which refers to the mistake of thinking that the meaning of a text is restricted to what the author intended; it’s presumed that meanings emerge from texts in various ways. Unintended “meanings” often emerge in design as well. End users of designed objects use them in ways that the designers never intended. The results of this new use can be good or not so good, but I just heard of a good unintended use of a design: there was a bit today in the NYTs on people using parked bikes from NYCs new bike-sharing program in an interesting way:
In a fit of urban guile more likely to affect gym memberships than program memberships, some New Yorkers seem to have identified the newest, cheapest way to tone their lower bodies: hop aboard the seat [of a NYC bike-share bike] and pedal in place — with the bikes still locked — as if the stations were rows of exercise equipment.
Creativity is everywhere, isn’t it?
read the rest of the NYTs piece here
abstract of The Designer Fallacy here
collection of this fallacy at play here: Thoughtless Acts
I’ve never understood why people make jokes about basket weaving. Think about it: What skill could be more useful than making an object that carries things from one place to another, using materials that you have lying around? I happen to have a lot of tyvek and a little bit of leather, so I’ve been designing tyvek baskets with leather handles (at half scale for now). I think these vessels are sweet and I like imagining filling them up with fruit in summer.
I love all kinds of baskets and if I had the right studio space (which would have to include a sink), I’d definitely take up weaving.
TAKE IT FURTHER
Swamp Road Baskets are the most beautiful baskets, made here in The Finger Lakes
I love this modern spin on Shaker Baskets by Studio Gorm
My BASKETS board on pinterest
If you read this blog, then you know that I’m interested in techniques for harnessing collective intelligence. Why? Because the complex problems we face require participation from a diverse array of stakeholders. Why? Because diverse participation, when done right, leads to better outcomes.
If you do a lot of teamwork, then you know that it’s easy to fall into the pattern of letting a few people on the project team dominate the majority of the conversation. A great technique for engaging the entire team, and thus arriving at more creative results, is write-storming. What write-storming does is it carves out time and space for all team members to engage in quiet writing and reflection. The ideas that individuals generate during a write-storming session can then be drawn on for group discussion.
I’ve been doing write-storming in one form or another for years but I really like how author Leigh Thompson maps out the technique. I’ll summarize here: Write-storming sessions are short, like 5-10 minutes. In a session, team members work silently to generate a lot of ideas on their own. Each idea should be written on an individual index card in legible hand-writing – I recommend all caps for legibility. Then the cards are collected, shuffled, redistributed, and read aloud for discussion. It’s important that the ideas remain anonymous so that the team can focus on the work and not on egos. The next step is for the team to categorize the cards and flesh out the ideas that have the most potential. I recommend fleshing out an array of ideas from conventional & easy ideas to unconventional & challenging ones.
TAKE IT FURTHER