Week 10 - Collaboration

Class Format

This weeks class was concerned with reflecting and acknowledging failure within the design process. The Maeda reading also looked at finding a 'return on failure'.

 

Group Exercise

Discussion

Discuss these questions in relation to a group creating a design in collaboration

1. What are the 3 best things about your efforts for this year’s exhibition?
   - My engagement, cooperation and articulation.
2. Did you manage time well?
   - Mostly
3. Did you manage materials well i.e. test prototypes?
   - Yes
4. Have you researched installation methods?
   - Yes
5. Have you made a shortlist of the essentials for the last WEEK?
   - Yes
6. Have you made a shortlist of the essentials for the last DAY?
   - Not yet, waiting for the contingencies to kick in.

 

Failure

In regard to creative collaboration & the exhibition discuss these questions - write a paragraph on each and use examples;

1. List and describe 2 areas of failure in your preparation for the exhibition
   - I have been a little unreliable in that I have missed a couple of arranged meetings with my conspirators. The computer in front of me failed in that it is a public computer with CS3 installed, when I had created my design in CS5. 
2. Describe how you could realistically improve on this next time you exhibit.
   - Better time management. The development of a timeline at an early stage would certainly assist with this. I have been getting more organised and this course has in some ways forced the issue.

 

Research

Video

It fairly straight forward what is going on with this video 'Famous Failures'. 

 

Images

Insert images and comment

Reflection

Failure should be allowed for in the design process, even embraced. The allowance of contingencies for time or to create alternatives would be the most obvious, this is effective time management of failure. The less obvious up side to failure is where the failure of a concept within a particular project does not mean it will fail in another project.

Week 10 - Origination

Class Format

Todays class was concerned with the ninth chapter 'Failure' from Maeda's 'The Laws of Simplicity'.

Group Exercise

Reading Quiz

Answer the following questions as succinctly as possible in your own words;

1. Using this years exhibition as an example, describe an aspect of your work or something you have worked on, where you have found a symbiotic relationship that is both complexity and simplicity.
   - I really see this type of relationship occurring throughout my creative process, but if I had to pick one aspect I would say the collaborative process has embodied this notion the most obviously.
2. Provide a conceptual example of a situation that has arisen during this project where you have had a return on failure?
   - A return on failure occured when the relatively simple first pattern design was simply not working. The alternative required the addition of pleats effectively making the design more complex.
3. Homework: Provide a short explanation and example of how FAILURE can be turned around using the law LEARN. Describe how this relates to the TIME law.
   - A failure always leads to an investigation of how it happened. This investigation invariably leads to an increase in knowledge, a key aspect of the law 'Learn'. This process has a knock on effect with the 'Time' law. A well planned creative process will include an allowance for contingencies. 

 

Research

Video

Insert video and comment

Images

The final product of the helmet cover project.

 

Reflection

Failure is an opportunity to find a better way, which is my optimism talking. This is Maeda's mode of thought when he talks about finding a return on failure.

Week 09 - Collaboration

Class Format

Todays class looked at the advantages and disadvantages of making comparisons.

Group Exercise

Discussion - Reflection

Discuss these questions in relation to a group creating a design in collaboration;

1. What is the difference between reflection and criticism?
   - Both enter into a discourse about the given topic. Reflection has positive connotations and I would say is more introspective. Criticism carries a negative implication and implies an external source.
2. Can you reflect while you are designing?
   - Yes and it is important to do so.
3. Do you set aside time for reflection?
   - Indirectly. When something is not feeling quite right.
4. Do you make notes on your reflections?
   - Absolutely.
5. When is the best time to reflect?
   - Throughout the design process.
6. Do you compare your work to work by your heroes?
   - Yes.
7. How do you benefit by comparison?
   - Definition leads to knowledge. Knowledge is power.
8. What can be a disadvantage of comparison?
   - Unreasonable or unbalanced comparisons could lead to false conclusions.

 

Task 2 - Moving On / Encouraging solutions

In regard to creative collaboration: discuss these questions - write a paragraph on each and use examples;

1. Are you brave enough to move on and adopt new and unexpected ideas?
   - Yes, the collaborative work completed as a part of this unit is a good example. When I began this course I, like most people, had preconceived ideas about the what I was going to create. The basics like a portfolio, website and a personal branding could be taken as a given. As for individual projects I approached the course with an open mind, but a cover for bicycle helmets? I really did not see that one coming.
2. Describe how you have encouraged others with a solution to their design problems
   - Here are some of my pearls of wisdom that I have shared with others over the course of the semester; 'What matters in the end, is that you are happy to put this design forward as your work',  'When I am designing something, I ask myself would I buy this, eat this, wear this, talk about this, etc.', 'Imagine yourself from the perspective of your target audience, sure a ten year old boy may be a little difficult, not to mention creepy, but...' and 'You are so doing it wrong'.

 

Research

Video

Found this while looking for something else and decided that I just needed to post it somewhere. Enjoy.

Images

Insert images and comment

Reflection

I think overall I am a good person to work with collaboratively, particularly in the discussion, reflection and criticism areas. I also have an ability to lighten the mood, which I think of as having the effect of greasing the wheel (although I am kind of mixing my metaphors here). I just know from my perspective that I feel more creatively engaged if I am enjoying the process.

Week 09 - Origination

Class Format

Todays lesson was about chapter 8 'Trust' of John Maeda's book 'The Laws of Simplicity'. Although it may seem like they do sometimes to our little squishy brains, computers do not 'guess' as he suggests, they simply 'do' based on a predetermined set of parameters.

 

Group Exercise

Reading Quiz

Answer the following questions as succinctly as possible in your own words.

1. Provide an example of a situation where you have to have trust – in the same vein as the author in his swimming lesson example. What made you trust in this situation and how did you feel?
   - I learnt how to drive in 2011, previously I cycled everywhere. When I drive a car I feel that I am giving an amount of trust to the vehicle and further to the other motorists with which I share the road. A vehicle is a complicated mechanism and when I operate one I am trusting that it will perform as expected. Beyond knowing how to operate it, I have little knowledge of how a vehicle actually works.
2. Where in our exhibition do we need to instill trust? Give examples. How are we going to achieve this?
   - In an exhibition such as this we need to trust our peers as it is with them we are collaborating.
3. What strategies are used to instill trust? Examples? Where do we need to employ this in this year’s exhibition? How are we going to do this?
4. If you could “undo” any aspect of the preparation for the exhibition to-date, what would you “undo”? With this in mind, what would would you change now in your preparation strategy to overcome having to “undo” anything?
   - Wow, that is one convoluted question. Basically you are asking; how would I 'undo' a preparation decision and at the same time avoid changing this decision. There is also a typo in the question where the word 'would' is repeated.
5. Homework: How are you using the laws in relation to your contribution to the student exhibition? Provide a short explanation and example for each of the laws so far.
   - so we have this text about simplicity from which you have again extracted complicated questions. I can understand for the most part why you have done this as it is exemplified in Meada's fourth law 'Learn' (particularly the repeat aspect), but honestly this is getting tiresome. 'Reduce' - we have reduced the number of deigns that we are printing. 'Organise' - we have created a timeline. 'Time' - we have organised our time. 'Learn' - we have learnt stuff from our research. 'Differences' - we have researched different fabrics and printing techniques. 'Context' - we have shifted our focus to adult consumers. 'Emotion' - we have used emotive designs. 'Trust' - Cherill and I trust one another. 

 

Research

Video

I do not really have a tangible link between this video and this weeks topic. I am posting it because it is pretty and was created by a recently graduated design student, Kyle Mowat from Canada's Sheridan college. This came in via an RSS from The Fox is Black

Images

Insert images and comment

Reflection

I would never say that my computer 'guessed' anything. It would probably annoy me if started doing so and prompt me to investigate in order to put a stop to its presumptuousness (wow, that's a hell of a word). My computer does happily surprise me, but only when it performs a predetermined action that I had forgotten that I had told it to execute.

Week 08 - Collaboration

Class Format

Todays brief discussion dealt with the notion of moving on in regard to ideas. Blog entry looked for examples in our experience where an aspect of flexibility has been required of our ideation process.

 

Group Exercise

Discussion

Moving On. Discuss these questions in relation to a group creating a design in collaboration;

1. Have you had to abandon any exhibition design concepts so far?
   - Yes
2. If so, was it hard?
   - Yes
3. Do you think it is easy to miss a better idea if it is not the first one?
   - Yes
4. Do you have any techniques for creating unpredictable ideas?
   - Yes
5. Is logic the best way to attack a design problem?
   - No
6. What other problem solving methods could work?
   - Randomisation, research
7. Do you ever doubt your design decisions?
   - Absolutely
8. Do you ever consciously put on “another hat” to get inspiration?
   - Yes
9. Describe somebody opposite to you in relation to their design approach?
   - Cherill
10. Could you imagine designing like them?
    - Yes

Encouraging Solutions

In regard to creative collaboration:

Discuss these questions - write a paragraph on each and use examples;

1. Describe how you have contributed to design solutions for other group members.
   - I have maintained an active contribution to our groups design solutions through communication.  Having an open dialogue has been vital to our groups progress with the project. 
2. Describe how you have challenged designs by other students in your group.
   - By opening a dialogue within the group about whats bugging me. I have also suggested alternatives to design proposals which have bugged me. That might make it in as one of the designs; helmet covers that look like big bugs, we could do a cute bug for the kids. I would prefer a life like cockroach however. But mostly, I just lead with making fun of their pets.
3. Are you flexible when others suggest design improvements / changes?
   - Certainly, well at least I try to be and it most definitely depends on you design team. Working as an Artist in Residence in a secondary school on a collaborative mural was a great test of my responsiveness to flexibility. Young adults are like gurgling fonts of ideation and for me knowing what to be flexible with as well as not became the most important distinction to make.
4. Choose a design that group input has changed radically. Post before & after images.
   - The template would be the element which has changed the most significantly for me. Initial design research indicated that an essentially round piece of fabric. Further practical template application suggested the same oval shape with two triangle pleats at the front and back.
5. Describe the process of shifting the design solution radically.
   - Practical template application suggested an oval shape with two triangle pleats at the front and back. We created from this a modified paper template and applied it to a piece of fabric. Tested and noted any further alterations on the template as these could be allowed for when cutting and stitching. This was perhaps not the most radical shift in the design solution.

 

Research

Video

This video shows the design process as an evolving thing, a notion to which I identify. I want to drink one those eucalyptus things right now!

 

Images

The original  iPhone patent application from 1985 from Design You Trust via Jay Mug. Imagine the heartache Apple's designers had letting go of this ideation gold. I particularly like the futuristic font used. 

 

Reflection

I've stated elsewhere on this blog that I try not to be precious with my ideas. The topic this week is pertinent to that notion inviting elaboration. Working collaboratively especially I think it is important not to take yourself too seriously. Being open with your ideas is the first step and enabling the change of your own is the second. Do not be afraid of the collaborative process - it will help you.

Week 08 - Origination

Class Format

Todays class was concerned with Chapter 6, 'Emotion'. The class then shared prototypes of the various projects we have been working collaboratively.

 

Group Exercise

Reading Quiz

Answer the following questions as succinctly as possible in your own words
10 mins: Cut & paste into your blog and start answers / 10 mins: Open discussion

1. When Maeda uses the “Feel, and feel for” principle, he is drawing on peoples connection to a very personal experience: feelings. List 3 ways that would make use of this principle to visitors of your exhibition.
   - Design objects or images which illicit an emotional response.
   - Juxtapose the positioning of objects or images to illicit an emotional response.
   - Create an environment (lighting, sound, smell) to illicit an emotional response
2. What is animism? Why do you think the “Tamagocchi” craze of the ‘90s became such a craze? How can you apply this to your exhibition?
   - '...the belief that natural objects, natural phenomena, and the universe itself possess souls.' (reference). Meada extends this to all objects. The electronic devices gave people an emotional response or emotional investment. 
3. Name 2 products that you have purchased that gave you that feeling of “Aichaku”. What feelings did those products evoke? Was it the feeling that sold the product to you?
   - My computer gave me a feeling of achievement and possibility. Hope sold it.
   - My wedding rings affirmed my love for my wife. Love sold them.
4. How do the references to emotion relate to the simplicity/complexity relationship discussed in Law 5 - Differences?
   - Emotion increases complexity while tempering the perceived coldness of simplicity.

 

Research

Video

I will be using this research space to give you bits of the interview I recently had with Nick Bland, local Author Illustrator. Beginning with a brief career biography. Nick has 14 books published through Scholastic Australia. He has had four of his titles interpreted as interactive ebooks for mobile platforms via Wheelbarrow, of which he is a co-founder. He has won several awards, the most notable and recent being the Children's Book Council of Australia - Early Childhood Book of the Year 2012 (link). He is also just a good bloke.

This is a very brief excerpt from our conversation. I recorded almost 40 minutes of audio and I have used about 39 seconds here. The program used here is iPhoto, a program that I begrudgingly find myself returning to occasionally. Loading a theme and photos, editing them and exporting it all in twenty minutes is just too tempting. The audio was treated separately with rudimentary trimming in Quicktime player.
Also on the technical side uploading to blogger directly always results in a tiny chunk of video, as it seems to automatically down sample it and it looks rubbish. To get it to play here at the correct size, the simplest solution I found was to upload the video to Youtube and insert the iframe for that in the code here. There may be a solution in the blogger dashboard well buried.

 

Images

To the right is a detail of one of the images from the video (click to enlarge). It is a preliminary sketch of a character for the book he is currently working. From here separate sketches move into photoshop where correct scale is determined and colours are initially mapped. I could really identify with Nick's creative process, especially the outdoor office. Which is where he was working when I dropped in...

Yet another appearance of the insidious Myatt Media logo, it is still in its under coat stage here.
Finally to the left an image of Nick found here. Overall Nick and I had had a great chat, probably made easier because we are both Wagait Beach locals. A quick final note about the video above in that it will remain here for about the next six weeks. After showing it to an interested party it was decided ...

 

Reflection

Creating an emotional response in the viewer is an important consideration for a designer. I would say that it is unavoidable and that the conscious consideration of emotion is simply intelligent design (that was an unfortunate turn of phrase, although perhaps designers do have god like qualities at times!). 

Week 07 - Collaboration

Class Format

Todays class was essentially a large discussion. In particular about how we link our own sense of worth with that of our ideas.

 

Group Exercise

Vanity & Ego

Discuss these questions in relation to a group creating a design in collaboration

1. Are you capable of being vain about your art & design?
   - Yes
2. Do you have a healthy ego?
   - Yes
3. What defines an unhealthy ego?
   - An ego where pride has given way to vanity.
4. When others want to change your ideas, do you get offended?
   - No, within reason.
5. When you are asked for opinions on other’s work, do you compare it to your own?
   - Yes
6. When you are asked for opinions on your work, do you compare it to others?
   - Yes
7. If somebody plagiarised your work, would you be proud?
   - Yes, kind of.
8. What is the difference between pride in your work, and vanity about your work?
   - Pride can be encouraging, while vanity is self inflating ("or being a tosser" - Mark).
9. Do you expect others to listen when you speak?
   - Sometimes. I'm pleasantly surprised when it happens.
10. When somebody else speaks are you thinking about what you are going to say next?
    - No, I'm listening
11. Do you form opinions about others quickly?
    - I am reserved with my judgement.
12. What percentage of your judgements about others talents are right?
    - 55%

 

Idea Evolution

In regard to creative collaboration:

Discuss these questions - write a paragraph on each and use examples.

1. Do you have a strong belief in your personal ideas?
   - When I am passionate about what I doing. I have an analytical approach to my ideas so when I am conceiving them I have confidence that I can back them up with data.
2. How do you evaluate your personal ideas over a period of time?
   - Considering the sum of the whole and analysing whether it is a fair representation of myself. Do all of these ideas together convey a sense of my identity. I consider this as a kind of creative truth.
3. How flexible are you in changing your mind about the value of your ideas?
   - If a particular thread of thought is not performing as I wish, I usually already have a back up in mind. An idea is not a solid tangible thing and it should be treated as such - it is a changeable evolving notion.
4. How flexible are you in changing your mind about the value of others’ ideas?
   - Again, I am not precious about ideas. Especially the ideas of others. I also believe that being overly precious with your ideas can stagnating effect.
5. Does hanging on to your old ideas block new ones?
   - No, my short attention span wouldn't allow it.
6. Are you slow or fast in moving on when an idea has burnt out?
   - I would say that I am fairly fast, but I do tend to push an idea to the very end before I give up on it. I have been witness to others who will not give up on a dead idea and it is disconcerting.

 

Research

Video

Eckhart at first made me laugh, then got a bit dull, then got me interested again until he began amusing himself and started a bit of creepy intellectual giggling. It totally creeps me out that intellectual giggling.

 

Images

This is more or less on topic, it is an iPhone application which can put a dollar value on your design ideas. It has been specifically built by and for designers from a variety of disciplines. The developers splash screen is here and the app. is available form the iTunes store for FREE here (where I took a screen shot for the image above). While this screenshot shows the hourly rate in USD, the application is not restricted to the American continent. During setup the questions it asks about your location, education, experience and expenses are thorough and comprehensive. You can also specify the details of a particular job and it will calculate a price based current market value in combination with your profile information. It is also cloud based and as such your information and project history is available across multiple platforms. I can see this type of application as being especially useful for new designers

 

Reflection

For the most part I would say that I rely on an instinctive reaction to the development of ideas, whether they be my own or those of others. There is always this innate sense that this is working or that it is not. I do, however as I have stated, have a predominately analytical approach to the creative process. This may seem conflicting, but I feel it is the interplay between these states which moves my creative process forward and sure - they do argue often. Sometimes the numbers add up but it just does not 'feel' right. At others the numbers seem broken while the idea feels solid.
I am certain that all creatives consider the underlying structure of their process in a unique way, if in fact they even attempt to define it. I actually find it quite fascinating and a dynamic, evolving source of enquiry.