Monday, July 28, 2008

Urban Art

Urban art adalah seni yang mencirikan perkembangan kota, dimana perkembangan itu kemudian melahirkan sistem di masyarakat yang secara struktur dan kultur berbeda dengan struktur dan kultur masyarakat pedesaan. Saat ini seni bukan lagi sekedar berlatar belakang tradisi tapi justru lebih merespon tradisi-tradisi baru terutama di daerah perkotaan yang secara demografis dihuni oleh anggota masyarakat yang sangat heterogen.

Urban art lahir karena adanya kerinduan untuk merespon kreativitas masyarakat yang tinggal di daerah perkotaan dengan segala problematikanya. Maka munculah usaha dari sekelompok orang untuk memamerkan dan mendatangkan seni ditengah-tengah masyarakat dengan cara melakukan kebebasan berekspresi di ruang publik. Ekspresi yang ditampilkan adalah ekspresi yang mencoba memotret permasalahan-permasalahan yang kerap terjadi dan mendominasi masyarakat urban mencakup masalah sosial, ekonomi, politik dan budaya. Melalui media seni dan dilatarbelakangi oleh pertumbuhan dan kapitalisasi kota itu sendiri. Zaman sekarang seni bukan lagi sebuah representasi yang ditampilakan digaleri saja, tapi sebuah media ekspresi yang bertarung di fasilitas publik dengan media lainnya seperti iklan di TV, billboard iklan, poster promosi, baligo dan lain-lain. Semua media ekspresi tersebut mendominasi dihampir setiap fasilitas publik.

Urban art berhasil memangkas hubungan yang berjarak antara publik sebagai apresiator dengan sebuah karya seni. Menggantikan fungsi seni yang tadinya agung, klasik, murni, tinggi serta tradisional. Seni diposisikan sebagai sesuatu yang konservatif dan sarat dengan nilai pengagungan. Urban art berhasil meruntuhkan nilai-nilai tersebut dengan cara menghadirkannya ke tengah publik melalui media-media yang erat dengan keseharian masyarakat kota. Bila menarik elemen lokal dalam urban art, lukisan di bak truk dan becak adalah contoh urban art.

Tujuan urban art lebih berakar pada perbedaan sikap politik, anti kemapanan, vandalisme dan perlawanan terhadap sistem dominan dimasyarakat. Bentuk konkret urban art bisa bermacam-macam sepanjang karya seni itu mengusung spirit dinamika urban. Di kota Bandung kita bisa melihat semua ekspresi semangat urban itu dalam berbagai bentuk. Seperti komunitas musik punk yang kerap menggelar street gigs di bawah jembatan layang Pasupati, seniman tradisi yang rutin menggelar kesenian pencak silat di taman Cikapayang atau juga lukisan-lukisan mural ditiang-tiang jembatan layang Pasupati.

Pada akhirnya urban art berhasil dikomodifikasi oleh komunitasnya sendiri. Bentuk-bentuk kesenian terutama seni mural dan grafiti sekarang terutama di kota Bandung lambat laun berhasil menjadi sesuatu yang mempunyai nilai ekonomis. Banyak para seniman mural dan grafiti yang mengekspresikan ide mereka dengan para pemilik distro atau clothing di Bandung. Para pemilik distro ini memfasilitasi para seniman tersebut dengan menyediakan space/lahan untuk berekspresi. Selain memberikan nilai estetika pada toko, mereka juga ikut memberikan penyaluran terhadap keinginan seniman tersebut untuk berkarya.(AH)

dikutip dari: (http://bandungcreativecityblog.wordpress.com)


Tuesday, July 15, 2008

How to Find your First Graphic Design Job!

You’re pumped! You‘re ready! All the classes with the best instructors have prepared you to succeed in the world of graphic design. But how do you go about landing your first REAL graphic design job? The very first thing to do is to create an effective resumé. Though there have been many discussions as to whether or not to show your creativity, I prefer to let my credentials to the talking. However it is a personal choice. If you decide to be a little more flamboyant, do so with a certain amount of professionalism.

To create a prize winning resumé, you will need to provide a job specific cover letter. An effective cover letter is like making a first impression. It may be the only contact you have with a potential employer, so make it count! You will need to be specific, including the position you are inquiring about and why you are interested in becoming associated with this company. Do your homework. If you don’t know much about the company, find out more about it before jumping into the fire. Your cover letter will convey this research and will let them know you are serious indeed. You will need to include a summary of skills that relate to the position as well as any experience you may have acquired through internships, or live jobs done in a classroom setting. If you have never done a cover letter before, look at sample to familiarize yourself. I found a great one at About.com when I typed in “sample cover letters”.

Cover letters are usually one page and you really want to think about what you are saying to this employer on paper. I can not stress enough the importance of double checking your grammar, punctuation and spelling. Take the time to sketch out roughly what you want to say before committing it to file and printing the “SHOW” copy. This is no different than setting the stage to start a new graphic design project. If you don’t draw out your map you certainly will never get to where you’re going.

Now that you have grabbed the prospective employers attention with a perfectly written, well articulated cover letter, it’s time to get down to the nuts and bolts; your resumé. For graphic designers, this document is slightly different than the average resumé in that you will need to be aware and use industry terminology. I have put together a basic outline and term definitions where needed to help.

I. Contact information

Name (Use your proper name, no nicknames)

Address (Street, Town, State, Zip)

Phone (Area Code) XXX-XXXX

Email Address (If you don’t have one, go to AOL or Yahoo for a free one)

II. Objective

What do you plan to accomplish through working in this particular area of graphics?

III. Education

List the most current first. If you completed more than one type of schooling at a time, list the most prevalent to this position first. Here is a sample of how it might look:

2008 BA University of S. Carolina/Liberal Arts

2007 AA Huntsville Community College/Commercial Art

2006 AAS Des Moines Area Community College/Graphic Technologies

2005 Diploma Bucklin R-II High School/Art, Math, English

IV. Skills

Skills are what you are good at, like page layout or cost estimation. But an employer wants to know how much you know, so you might consider using the following terms to assess your skill levels.

Proficient-Well versed and knowing how to implement and use without direct supervision. Can you do the job without someone looking over your shoulder every five minutes? Or better yet, without you running to them every five minutes asking how to do something?

Skilled-You have a working knowledge of what you are required to do with minimal supervision on the finer points. This is where most graduating students are assessed. They know how to use the programs they just haven’t got the practical applications under their belt yet.

Familiar-Just what it says. You are familiar with a program or skill needed but lack practical training to produce results. I am familiar with variable data but I do not have the training to implement it. You do not want more than one of these on an effective resumé. It shows a lack of training in various areas if you have several. Focus on what you do know, not on what you don’t.

V. Graphics Related Experience

Again, list your most current experience first. When I was studying for my degree, I went out of my way to volunteer for live jobs that would come in as well as taking an active part in my student government and other related projects so that when I graduated, I had a fairly impressive number of accomplishments to draw on. This is an excellent area to list out internships, work study jobs and other related opportunities you’ve taken advantage that relate to the position you are applying for.

VI. References

Include a copy of any letters of recommendation that you have received in connection to work you have done. If this is not possible, list 3-5 names with contact information of past employers or instructors that are willing to give you a great reference. Remember to ask and never assume they will do this. It shows a lack of professionalism and may come back to bite you. Case in point, you are a great design student and your projects get straight A’s, but you only show up half the time. This is not good material for a reference. Always put your best foot forward.

Keep your resumé simple. Most employers don’t have time to read a novel. They tend to take a few minutes to assess your potential and go on to the next prospect. Keep your resumé to about 1 ½ -2 pages plus the cover letter. This is why your first impression is crucial! Keep it simple, keep it elegant, and keep it professional.

Now that you have created an award winning cover letter and an absolutely stellar resumé, where do you look to find a job? The answer is anywhere and everywhere and all points in between.

1) If you are getting ready to graduate, check out the college’s job placement office. Many times they can give you suggestions to improve your job seeking skills and have applications on file from area employers.

2) The local Job Service office is a great place to look as well. If you register for work and post a resumé online, you can be notified by email of jobs matching your skill set.

3) Local Graphics Associations. These are the potential employers all gathered in one room. Most students are offered an introductory price that is very affordable. This is not only a great tax deduction it is a wonderful resource. These people are happy to answer questions about the industry and help you with insider tips on how to do different things. And they get to know you and your talents. Spend the $10 for dinner and surround yourself with your peers. You will not go wrong by doing this!

4) Newspapers/Shopper Papers. Depending on the size of the city you live in, this can be fairly productive. Be careful though. Do not randomly send your personal information out unless you are totally comfortable with the person you have made contact with. Ask for the name of the company if it is not provided and check them out before you jump in.

5) The Internet. I love the Internet for job searching. I don’t have to spend my hard earned money on gas not to speak of the traffic and finding a place to park and all the other headaches that go with job hunting. However, make sure you are hunting in the area you want to end up. If you put out resumes three hundred miles from where you live, you are either going to have a long commute or you’re going to move. The Internet is a truly wonderful place to start your search, but nothing beats a face to face interview. If you decide to post your resumé on one of the job sites, stick with well established sites such as CareerBuilder.com, Job.com, and Monster.com.

6) Carry business cards with your name and contact information. Since we are in the business of creating visual graphics, show some of it off here. These come in handy when meeting new prospects and possible employers and will leave a small remembrance for later. Basic business card stock can be found at any Wal-Mart or office supply store for under $10. Print them on your regular printer at home. Or if you want to have them done check out the local print shops. You may be surprised at the amount of attention you get there. You might also consider asking for referrals from these shops if you plan to do freelance.

All of these ideas and suggestions work. I know because I’ve used them, sometimes frequently. The bottom line is to get your name out there. Make your presence known and look everywhere. Graphic design jobs can come up in the oddest places. I once got a job working for a waste management company that wanted to rework their corporate image. My trash guy had one of my business cards and gave it to his boss. As they say, the rest is history. They called, I got the job and they are still loyal customers after two years. Who would have guessed finding a job THERE? (By Lois Knight) www.allgraphicdesign.com

Monday, July 14, 2008

So, You Want to be a Graphic Designer… Now What?

I recently received an email from a young man who stated that he “likes to draw” and wants to become a Graphic Designer, but wanted to know how to get started. At first I thought the obvious answer was “get a graphic design education,” but after more thought I realized it isn’t always that simple.

With today’s continually rising tuition costs and the cost of hardware and software that is so necessary in our industry, simply going out and “getting an education” isn’t always possible. Whether you’re right out of high school, a Mom looking for a career she can do from home, recently out of the Military or simply someone who feels they have a knack for design and is ready for a career change, consider that you have a few options on how to gain the skills you will need to pursue your dream job. But first, ask yourself some questions:


1. Why do you want to be a Graphic Designer?
The answer to this question is very important and can have direct impact on if you can make it in this highly competitive field.

If you wish to be a designer simply because you have a friend who makes a lot of money and you want to make lots of money too, then you should probably reconsider your options. The success of most designers comes with time, effort, skill and knowledge. Granted, there are some designers out there who are born with phenomenal skill and require little effort to do what they do best, but the majority of us work hard to keep up with the latest trends, maintain excellent customer service to our clients and continually stay educated on the latest hardware and software. There is a certain amount of skill required to becoming successful as a designer, and it’s no easy task. If you’re in it simply for the money, be prepared to make very little your first few years out of the gate, or nothing at all if you’re just no good at design.

If you want to be a designer because you feel you have some artistic abilities or your friends often compliment you on that great birthday invitation you put together for your sister, then you might have something going for you. It is definitely not a requirement that you posses the ability to draw, but it certainly helps. In my personal opinion, most artists (visual, musical or otherwise) have a natural eye for color, shape and composition. Call it “right-brained” if you will, but it’s commonly the case that naturally artistic people are drawn to more artistic fields – and graphic design is one of them.


2. Do you feel you have what it takes to be a successful Graphic Designer?
Just touching on the point I made above, some sort of artistic eye or creative flair is often helpful to becoming a designer, but there are many more traits required.

Are you willing to learn? Technical knowledge of the programs used to create today’s layouts is a MUST, so you need to ask yourself if you’re tech-savvy enough (or willing enough) to learn how to turn what’s in your head into tangible, print-ready collateral. It’s not a matter of learning one or two programs… to be truly successful, you will need to know a very wide variety of layout, illustration and photo manipulation programs, as well as web authoring programs and coding languages if you wish to pursue website design.

Are you good with people? While you may think all graphic artists work individually, that’s not always the case. Entry-level designers often start working in a team environment, so you’ll need to be able to work with other designers and under a manager or Art Director while you gain valuable skills. If you have aspirations of becoming a freelancer and want to work on your own, then you’ll need to be able to communicate well with potential clients.


3. Can you take criticism?
Oh yes, your work will be criticized. Just because your Mom loves the Mother’s Day card you made for her in MS Word doesn’t mean someone out in the world will pay you for it. Be willing to accept criticism for what it’s worth and use it to improve your abilities. If someone tells you your design stinks, you need to be able to smile, shrug it off, and find a way to make it better. If you’re the type of person who doesn’t believe anyone else’s opinion matters, you are going into the wrong type of business. As a Graphic Designer, you’re serving others, not yourself. It’s going to be your job to create good design (and defend it), but ultimately make your boss or client happy!


You’ve answered “Yes” to all the questions above… now what? Steps to becoming a designer:
OPTION A:
Get an advanced education from a Graphic Design School or University Graphic Arts program.


When I started in the world of graphic design 11 years ago there was adequate competition, but nothing like there is today. Since computers took over and re-shaped the art of design, knowledge of the fundamentals as well as design software is key to being competitive. Education in the field of design is almost essential nowadays, and is by far the most thorough means of diving into the field.

Find a school that offers a degree in Visual Communications or Graphic Design (or some variant thereof) who will teach you the fundamentals of creating masterful design, as well as the technical programs used to execute your ideas. From typography to layout, InDesign to Flash, you’ll need to know it all. You can gain much of this knowledge from Art Institutes, Universities or Graphic Design technical schools. Find one that’s right for you, your budget, and your situation. Talk to different schools and find out if they offer scholarships or grants and apply for them all. Student loans are constantly going skyward and, often, simple things like filling out an application or sending in one of your latest artistic creations is all it takes to get free money for school.

Teach yourself to become a graphic designer - self study to become a designer with no formal design education

OPTION B: Self-Study

I personally believe this is the more difficult path, but if your situation hinders your ability to train at a school, then your only other option is to learn on your own, and you can certainly do it.

First, I suggest learning the programs. You’ll need to know how to use a professional layout program (sorry folks, Word and PageMaker are not industry standard) such as QuarkXPress or InDesign, as well as photo manipulation and illustration programs. Adobe has made it very easy to get all the programs you need out of one box with their Design Suite (which includes InDesign, Illustrator, Photoshop, Acrobat and a few other programs), so that may be the way to go. It’ll cost you roughly $1200 (USD), but that pales in comparison to the cost of college tuition.

Go through the tutorials, read the manuals (Adobe actually makes them fairly easy to follow) and gain as much technical knowledge about the programs as you possibly can, then start volunteering your work. If your nephew’s 3rd birthday is coming up, offer to design his invitations for free. If your neighbor wants to sell his house, offer to design his flyers for free. If your friend is starting their own business, offer to design them a logo and business cards (yep, for free). Do whatever you can to put your newly gained skills to use, but don’t do it for money… do it for portfolio pieces. One of the most wonderful things about the Graphic Design field is that the emphasis is not on your degrees or education, but on your portfolio. This is how you will be judged. This is how you will be hired. Your portfolio will ultimately determine your success.

Show off your quality graphic design portfolio as a professional graphic designer yourselfOnce you’ve established a quality portfolio with pieces you’ve designed for yourself as well as others, be prepared to show it off. Get a nice portfolio case or find a creative way to present it, and start applying for jobs. Most companies will require electronic pieces to be emailed to them or a link to an online portfolio of some sort, but eventually you’ll need to bring those pieces (and more) into your one-on-one interview. If you’re determined to be a freelancer, you’ll be showing these pieces to potential clients and it will be your job to convince them that you’re the person for the job.

When you’ve accepted your first professional position, remember to always continue learning and improve skills and portfolio. It will be satisfying to you, and you will only become more successful.

I hope this article has helped the young man who emailed me and answered questions for those of you with dreams of becoming a professional Graphic Designer. If you have any questions or comments I encourage you to contact me through my website at www.ellephillips.com.

Technorati Tags: graphic design career, graphic design careers, design careers, design career, design education, graphic design education, design school, graphic design school, be a designer, be a graphic designer, become a graphic designer, become a designer, design advice, graphic design advice, how to deisgn, how to graphic design, design career advice, graphic design career advice, design tips, graphic design tips, design career tips, graphic design career tips. (www.allgraphicdesign.com)

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Saturday, July 12, 2008

Creative Thinking

RAMuch of the thinking done in formal education emphasizes the skills of analysis--teaching students how to understand claims, follow or create a logical argument, figure out the answer, eliminate the incorrect paths and focus on the correct one. However, there is another kind of thinking, one that focuses on exploring ideas, generating possibilities, looking for many right answers rather than just one. Both of these kinds of thinking are vital to a successful working life, yet the latter one tends to be ignored until after college. We might differentiate these two kinds of thinking like this:

Critical Thinking Creative Thinking
analytic generative
convergent divergent
vertical lateral
probability possibility
judgment suspended judgment
focused diffuse
objective subjective
answer an answer
left brain right brain
verbal visual
linear associative
reasoning richness, novelty
yes but yes and

In an activity like problem solving, both kinds of thinking are important to us. First, we must analyze the problem; then we must generate possible solutions; next we must choose and implement the best solution; and finally, we must evaluate the effectiveness of the solution. As you can see, this process reveals an alternation between the two kinds of thinking, critical and creative. In practice, both kinds of thinking operate together much of the time and are not really independent of each other.

What is Creativity?

An Ability. A simple definition is that creativity is the ability to imagine or invent something new. As we will see below, creativity is not the ability to create out of nothing (only God can do that), but the ability to generate new ideas by combining, changing, or reapplying existing ideas. Some creative ideas are astonishing and brilliant, while others are just simple, good, practical ideas that no one seems to have thought of yet.

Believe it or not, everyone has substantial creative ability. Just look at how creative children are. In adults, creativity has too often been suppressed through education, but it is still there and can be reawakened. Often all that's needed to be creative is to make a commitment to creativity and to take the time for it.

An Attitude. Creativity is also an attitude: the ability to accept change and newness, a willingness to play with ideas and possibilities, a flexibility of outlook, the habit of enjoying the good, while looking for ways to improve it. We are socialized into accepting only a small number of permitted or normal things, like chocolate-covered strawberries, for example. The creative person realizes that there are other possibilities, like peanut butter and banana sandwiches, or chocolate-covered prunes.

A Process. Creative people work hard and continually to improve ideas and solutions, by making gradual alterations and refinements to their works. Contrary to the mythology surrounding creativity, very, very few works of creative excellence are produced with a single stroke of brilliance or in a frenzy of rapid activity. Much closer to the real truth are the stories of companies who had to take the invention away from the inventor in order to market it because the inventor would have kept on tweaking it and fiddling with it, always trying to make it a little better.

The creative person knows that there is always room for improvement.

Creative Methods

Several methods have been identified for producing creative results. Here are the five classic ones:

Evolution. This is the method of incremental improvement. New ideas stem from other ideas, new solutions from previous ones, the new ones slightly improved over the old ones. Many of the very sophisticated things we enjoy today developed through a long period of constant incrementation. Making something a little better here, a little better there gradually makes it something a lot better--even entirely different from the original.

For example, look at the history of the automobile or any product of technological progress. With each new model, improvements are made. Each new model builds upon the collective creativity of previous models, so that over time, improvements in economy, comfort, and durability take place. Here the creativity lies in the refinement, the step-by-step improvement, rather than in something completely new. Another example would be the improvement of the common wood screw by what are now commonly called drywall screws. They have sharper threads which are angled more steeply for faster penetration and better holding. The points are self tapping. The shanks are now threaded all the way up on lengths up to two inches. The screws are so much better that they can often be driven in without pilot holes, using a power drill.

The evolutionary method of creativity also reminds us of that critical principle: Every problem that has been solved can be solved again in a better way. Creative thinkers do not subscribe to the idea that once a problem has been solved, it can be forgotten, or to the notion that "if it ain't broke, don't fix it." A creative thinker's philosophy is that "there is no such thing as an insignificant improvement."

Synthesis. With this method, two or more existing ideas are combined into a third, new idea. Combining the ideas of a magazine and an audio tape gives the idea of a magazine you can listen to, one useful for blind people or freeway commuters.

For example, someone noticed that a lot of people on dates went first to dinner and then to the theater. Why not combine these two events into one? Thus, the dinner theater, where people go first to eat and then to see a play or other entertainment.

Revolution. Sometimes the best new idea is a completely different one, an marked change from the previous ones. While an evolutionary improvement philosophy might cause a professor to ask, "How can I make my lectures better and better?" a revolutionary idea might be, "Why not stop lecturing and have the students teach each other, working as teams or presenting reports?"

For example, the evolutionary technology in fighting termites eating away at houses has been to develop safer and faster pesticides and gasses to kill them. A somewhat revolutionary change has been to abandon gasses altogether in favor of liquid nitrogen, which freezes them to death or microwaves, which bake them. A truly revolutionary creative idea would be to ask, "How can we prevent them from eating houses in the first place?" A new termite bait that is placed in the ground in a perimeter around a house provides one answer to this question.

Reapplication. Look at something old in a new way. Go beyond labels. Unfixate, remove prejudices, expectations and assumptions and discover how something can be reapplied. One creative person might go to the junkyard and see art in an old model T transmission. He paints it up and puts it in his living room. Another creative person might see in the same transmission the necessary gears for a multi-speed hot walker for his horse. He hooks it to some poles and a motor and puts it in his corral. The key is to see beyond the previous or stated applications for some idea, solution, or thing and to see what other application is possible.

For example, a paperclip can be used as a tiny screwdriver if filed down; paint can be used as a kind of glue to prevent screws from loosening in machinery; dishwashing detergents can be used to remove the DNA from bacteria in a lab; general purpose spray cleaners can be used to kill ants.

Changing Direction. Many creative breakthroughs occur when attention is shifted from one angle of a problem to another. This is sometimes called creative insight.

A classic example is that of the highway department trying to keep kids from skateboarding in a concrete-lined drainage ditch. The highway department put up a fence to keep the kids out; the kids went around it. The department then put up a longer fence; the kids cut a hole in it. The department then put up a stronger fence; it, too, was cut. The department then put a threatening sign on the fence; it was ignored. Finally, someone decided to change direction, and asked, "What really is the problem here? It's not that the kids keep getting through the barrier, but that they want to skateboard in the ditch. So how can we keep them from skateboarding in the ditch?" The solution was to remove their desire by pouring some concrete in the bottom of the ditch to remove the smooth curve. The sharp angle created by the concrete made skateboarding impossible and the activity stopped. No more skateboarding problems, no more fence problems.

This example reveals a critical truth in problem solving: the goal is to solve the problem, not to implement a particular solution. When one solution path is not working, shift to another. There is no commitment to a particular path, only to a particular goal. Path fixation can sometimes be a problem for those who do not understand this; they become overcommitted to a path that does not work and only frustration results.

Negative Attitudes That Block Creativity

1. Oh no, a problem! The reaction to a problem is often a bigger problem than the problem itself. Many people avoid or deny problems until it's too late, largely because these people have never learned the appropriate emotional, psychological, and practical responses. A problem is an opportunity. The happiest people welcome and even seek out problems, meeting them as challenges and opportunities to improve things. Definition: a problem is (1) seeing the difference between what you have and what you want or (2) recognizing or believing that there is something better than the current situation or (3) an opportunity for a positive act. Seeking problems aggressively will build confidence, increase happiness, and give you a better sense of control over your life.

2. It can't be done. This attitude is, in effect, surrendering before the battle. By assuming that something cannot be done or a problem cannot be solved, a person gives the problem a power or strength it didn't have before. And giving up before starting is, of course, self fulfilling. But look at the history of solutions and the accompanying skeptics: man will never fly, diseases will never be conquered, rockets will never leave the atmosphere. Again, the appropriate attitude is summed up by the statement, "The difficult we do immediately; the impossible takes a little longer."

3. I can't do it. Or There's nothing I can do. Some people think, well maybe the problem can be solved by some expert, but not by me because I'm not (a) smart enough, (b) an engineer, or (c) a blank (whether educated, expert, etc.) Again, though, look at the history of problem solving.

Who were the Wright brothers that they could invent an airplane? Aviation engineers? No, they were bicycle mechanics. The ball point pen was invented by a printer's proofreader, Ladislao Biro, not a mechanical engineer. Major advances in submarine design were made by English clergyman G. W. Garrett and by Irish schoolmaster John P. Holland. The cotton gin was invented by that well known attorney and tutor, Eli Whitney. The fire extinguisher was invented by a captain of militia, George Manby.

And so on. In fact, a major point made by recent writers about corporate excellence is that innovations in industry almost always come from individuals (not research groups) outside of the area of the invention. General Motors invented Freon, the refrigeration chemical, and tetraethyl lead, the gasoline additive. Kodachrome was invented by two musicians. The continuous steel casting process was invented by a watchmaker (fooling around with brass casting). Soap making chemists turned down the problem of inventing synthetic detergents: those detergents were invented by dye making chemists.

In a nutshell, a good mind with a positive attitude and some good problem solving skills will go far in solving any problem. Interest in and commitment to the problem are the keys. Motivation--a willingness to expend the effort--is more important than laboratory apparatus. And remember that you can always do something. Even if you cannot totally eradicate the problem from the face of the earth, you can always do something to make the situation better.

4. But I'm not creative. Everyone is creative to some extent. Most people are capable of very high levels of creativity; just look at young children when they play and imagine. The problem is that this creativity has been suppressed by education. All you need to do is let it come back to the surface. You will soon discover that you are surprisingly creative.

5. That's childish. In our effort to appear always mature and sophisticated, we often ridicule the creative, playful attitudes that marked our younger years. But if you solve a problem that saves your marriage or gets you promoted or keeps your friend from suicide, do you care whether other people describe your route to the solution as "childish?" Besides, isn't play a lot of fun? Remember that sometimes people laugh when something is actually funny, but often they laugh when they lack the imagination to understand the situation.

6. What will people think? There is strong social pressure to conform and to be ordinary and not creative.

Here are some overheard examples:

Creative Person: "I like to put water in my orange juice so it's less sweet."
Ordinary Person: "You're weird, you know?"

Ordinary Person: "What are you doing?"
Creative Person: "We're painting our mailbox."
Ordinary Person: "You're crazy."

Creative Person: "Why don't we add a little garlic?"
Ordinary Person: "Because the recipe doesn't call for garlic."

Ordinary Person: "Why are you going this way? It's longer."
Creative Person: "Because I like the drive."
Ordinary Person: "Did anyone ever tell you you're strange?"

The constant emphasis we see in society is toward the ruthlessly practical and conformist. Even the wild fashions, from those in Vogue to punk rock, are narrowly defined, and to deviate from them is considered wrong or ridiculous. Some peoples' herd instinct is so strong that they make sheep look like radical individualists.

So, what will people think? Well, they're already talking about you, saying that your nose is too big or your shoes are funny or you date weird people. So, since others are going to talk about you in unflattering ways anyway, you might as well relax and let your creativity and individualism flow.

Almost every famous contributor to the betterment of civilization was ridiculed and sometimes even jailed. Think about Galileo. And look what happened to Jesus. Quotation: "Progress is made only by those who are strong enough to endure being laughed at." Solutions are often new ideas, and new ideas, being strange, are usually greeted with laughter, contempt, or both. That's just a fact of life, so make up your mind not to let it bother you. Ridicule should be viewed as a badge of real innovative thinking.

7. I might fail. Thomas Edison, in his search for the perfect filament for the incandescent lamp, tried anything he could think of, including whiskers from a friend's beard. In all, he tried about 1800 things. After about 1000 attempts, someone asked him if he was frustrated at his lack of success. He said something like, "I've gained a lot of knowledge--I now know a thousand things that won't work."

Fear of failure is one of the major obstacles to creativity and problem solving. The cure is to change your attitude about failure. Failures along the way should be expected and accepted; they are simply learning tools that help focus the way toward success. Not only is there nothing wrong with failing, but failing is a sign of action and struggle and attempt--much better than inaction. The go-with-the- flow types may never fail, but they are essentially useless to humanity, nor can they ever enjoy the feeling of accomplishment that comes after a long struggle.

Suppose you let your fear of failure guide your risk taking and your attempts. You try only three things in a year because you are sure of succeeding. At the end of the year the score is: Successes 3, Failures 0. Now suppose the next year you don't worry about failing, so you try a hundred things. You fail at 70 of them. At the end of the year the score is Successes 30, Failures 70. Which would you rather have--three successes or 30--ten times as many? And imagine what 70 failures will have taught you. Proverb: Mistakes aren't fun, but they sure are educational.

Myths about Creative Thinking and Problem Solving

1. Every problem has only one solution (or one right answer). The goal of problem solving is to solve the problem, and most problems can be solved in any number of ways. If you discover a solution that works, it is a good solution. There may be other solutions thought of by other people, but that doesn't make your solution wrong. What is THE solution to putting words on paper? Fountain pen, ball point, pencil, marker, typewriter, printer, Xerox machine, printing press?

2. The best answer/solution/method has already been found. Look at the history of any solution set and you'll see that improvements, new solutions, new right answers, are always being found. What is the solution to human transportation? The ox or horse, the cart, the wagon, the train, the car, the airplane, the jet, the SST? Is that the best and last? What about pneumatic tubes, hovercraft, even Star Trek type beams?

What is the best way to put words on paper? The word processor? Is that the last invention? How about voice recognition, or thought wave input?

On a more everyday level, many solutions now seen as best or at least entrenched were put in place hastily and without much thought--such as the use of drivers' licenses for ID cards or social security numbers for taxpayer ID numbers. Other solutions are entrenched simply for historical reasons: they've always been done that way. Why do shoe laces still exist, when technology has produced several other, better ways to attach shoes to feet (like velcro, elastic, snap buttons, and so on)?

3. Creative answers are complex technologically. Only a few problems require complex technological solutions. Most problems you'll meet with require only a thoughtful solution requiring personal action and perhaps a few simple tools. Even many problems that seem to require a technological solution can be addressed in other ways.

For example, what is the solution to the large percentage of packages ruined by the Post Office? Look at the Post Office package handling method. Packages are tossed in bins when you send them. For the solution, look at United Parcel. When you send a package, it is put on a shelf. The change from bin to shelf is not a complex or technological solution; it's just a good idea, using commonly available materials.

As another example, when hot dogs were first invented, they were served to customers with gloves to hold them. Unfortunately, the customers kept walking off with the gloves. The solution was not at all complex: serve the hot dog on a roll so that the customer's fingers were still insulated from the heat. The roll could be eaten along with the dog. No more worries about disappearing gloves. (Note by the way what a good example of changing direction this is. Instead of asking, "How can I keep the gloves from being taken?" the hot dog server stopped thinking about gloves altogether.)

4. Ideas either come or they don't. Nothing will help. There are many successful techniques for stimulating idea generation. We will be discussing and applying them.

Mental Blocks to Creative Thinking and Problem Solving

1. Prejudice. The older we get, the more preconceived ideas we have about things. These preconceptions often prevent us from seeing beyond what we already know or believe to be possible. They inhibit us from accepting change and progress.

Example problem: How to connect sections of airplanes with more ease and strength than using rivets. A modern solution is to use glue--glue the sections together. We probably wouldn't think of this solution because of our prejudice about the word and idea of glue. But there are many kinds of glue, and the kind used to stick plane parts together makes a bond stronger than the metal of the parts themselves.

Another problem: How can we make lighter weight bullet proof windows? Thicker glass is too heavy. Answer: Use plastic. Again, we are prejudiced against plastic. But some plastics are not flimsy at all and are used in place of steel and in bullet proof windows.

Another problem: Make a ship's hull that won't rust or rot like steel or wood. Solution: Use concrete. Our prejudice is that concrete is too heavy. Why not make lightweight concrete? That's what's done.

Final example: How to divide a piece of cake equally between two kids so they won't complain that one kid is preferred over the other: "You gave him the bigger piece; you like him better! Waaaah!" Solution: Put the kids in charge of dividing the cake. Our prejudice is that immature, selfish kids can't do the job. But the solution, one cuts the cake, the other has first choice of pieces, works very well.

2. Functional fixation. Sometimes we begin to see an object only in terms of its name rather in terms of what it can do. Thus, we see a mop only as a device for cleaning a floor, and do not think that it might be useful for clearing cobwebs from the ceiling, washing the car, doing aerobic exercise, propping a door open or closed, and so on. (Later on in the semester, we will be doing "uses for" to break out of this fixation.)

There is also a functional fixation of businesses. In the late nineteenth and early twentieth centuries the railroads saw themselves as railroads. When automobiles and later airplanes began to come in, the railroads didn't adapt. "That's not our business," they said. But if they had seen themselves as in the people transportation business rather than in the railroad business, they could have capitalized on a great opportunity.

Similarly, when the telephone began its rise, some of the telegraph companies said, "That's not our business; we're telegraph companies." But if they had said, "Hey, we're in the communication business, and here's a new way to communicate," they would have grown rather than died. Compare Western Union to AT&T. And have you heard of those big calculator companies Dietzgen or Pickett? No? Well, they were among the biggest makers of slide rules. But when electronic calculators began to rise, they didn't know what business they were in. They thought they were in the slide rule business, when they were really in the calculator business. They didn't adapt, they didn't accept the challenge of change and opportunity, and they fell.

And there's a functional fixation of people, too. Think a minute how you react when you see your pastor mowing his lawn, or your auto mechanic on a television show promoting a book. Stereotyping can even be a form of functional fixation--how many people would laugh at a blonde quoting Aristotle? Too often we permit only a narrow range of attitudes and behaviors in other people, based on bias, prejudice, hasty generalization, or limited past experience. Think of those statements like, "I can't believe he said that," or "Imagine her doing that," and so on. But recall the proverb, "The goal of my life is not to live down to your expectations."

3. Learned helplessness. This is the feeling that you don't have the tools, knowledge, materials, ability, to do anything, so you might as well not try. We are trained to rely on other people for almost everything. We think small and limit ourselves. But the world can be interacted with.

If you are in need of information, there are libraries, bookstores, friends, professors, and, of course, the Internet. And there are also city, county, and state government agencies with addresses and phone numbers and web sites. There are thousands of government agencies that really exist and that will talk to you. Contact the EPA if you're working on air pollution or pesticides. Get some government publications. Call your state senator or federal congressman for help on bills, information, problems. Contact the manufacturer of a product to find out what you want to know about it.

If you are technologically poor, you can learn. Learn how to cook, use tools, make clothes, use a computer. You can learn to do anything you really want to do. All you need is the motivation and commitment. You can learn to fly an airplane, drive a truck, scuba dive, fix a car--name it.

4. Psychological blocks. Some solutions are not considered or are rejected simply because our reaction to them is "Yuck." But icky solutions themselves may be useful or good if they solve a problem well or save your life. Eating lizards and grasshoppers doesn't sound great, but if it keeps you alive in the wilderness, it's a good solution.

Perhaps more importantly, what at first seem to be icky ideas may lead to better solutions--de-ickified analogues of the original. When doctors noted that some unsophisticated natives were using giant ant heads to suture wounds, they imitated this pincer-closing technique by inventing the surgical staple.

Psychological blocks prevent you from doing something just because it doesn't sound good or right, which is a pretty ridiculous thing. Overcoming such blocks can be really beneficial. Navy commandos in Vietnam overcame their blocks and put on women's panty hose when they marched through the swamps and jungle. The pantyhose cut down on the friction and rubbing from the plants and aided in removing the dozens of leeches after a mission. Overcoming the block to using your own blood to write a help note could save your life someday if you got kidnapped.

Positive Attitudes for Creativity

1. Curiosity. Creative people want to know things--all kinds of things-- just to know them. Knowledge does not require a reason. The question, "Why do you want to know that?" seems strange to the creative person, who is likely to respond, "Because I don't know the answer." Knowledge is enjoyable and often useful in strange and unexpected ways.

For example, I was once attempting to repair something, without apparent success, when an onlooker asked testily, "Do you know what you're doing?" I replied calmly, "No, that's why I'm doing it."

Next, knowledge, and especially wide ranging knowledge, is necessary for creativity to flourish to its fullest. Much creativity arises from variations of a known or combinations of two knowns. The best ideas flow from a well equipped mind. Nothing can come from nothing.

In addition to knowing, creative people want to know why. What are the reasons behind decisions, problems, solutions, events, facts, and so forth? Why this way and not another? And why not try this or that?

The curious person's questioning attitude toward life is a positive one, not a destructive one reflecting skepticism or negativism. It often seems threatening because too often there is no good reason behind many of the things that are taken for granted--there is no "why" behind the status quo.

So ask questions of everyone. Ask the same question of different people just to be able to compare the answers. Look into areas of knowledge you've never before explored, whether cloth dying, weather forecasting, food additives, ship building, the U.S. budget, or the toxicity of laundry detergents.

2. Challenge. Curious people like to identify and challenge the assumptions behind ideas, proposals, problems, beliefs, and statements. Many assumptions, of course, turn out to be quite necessary and solid, but many others have been assumed unnecessarily, and in breaking out of those assumptions often comes a new idea, a new path, a new solution.

For example, when we think of a college, we traditionally think of a physical campus with classrooms, a library, and some nice trees. But why must college be a place (with congregated students and faculty) at all? Thus, the electronic college now exists, where students "go" to college right at home, online. Correspondence courses have existed for years, too, beginning with the challenging of the school-as-centralized-place idea.

When we think of an electric motor, we automatically think of a rotating shaft machine. But why assume that? Why can't an electric motor have a linear output, moving in a straight line rather than a circle? With such a challenged assumption came the linear motor, able to power trains, elevators, slide locks, and so on.

Problem: We make brandy, and for this special edition of our finest kind, we want a fully-grown pear in one piece inside each bottle. The bottle is narrow necked. How can we do it? As you think, watch for the assumptions you are making. Possible solutions (assuming fully grown pear): close the neck or bottom after insertion, use a plastic bottle like heat-shrink tubing, change to a wide mouth bottle. If we do not assume a fully grown pear: grow the pear from a bud inside the bottle.

3. Constructive discontent. This is not a whining, griping kind of discontent, but the ability to see a need for improvement and to propose a method of making that improvement. Constructive discontent is a positive, enthusiastic discontent, reflecting the thought, "Hey, I know a way to make that better."

Constructive discontent is necessary for a creative problem solver, for if you are happy with everything the way it is, you won't want to change anything. Only when you become discontent with something, when you see a problem, will you want to solve the problem and improve the situation.

One of the hallmarks of the constructively discontented person is that of a problem seeking outlook. The more problems you find, the more solutions and therefore improvements you can make. Even previously solved problems can often be solved again, in a better way. A constructively discontent person might think, "This is an excellent solution, but I wonder if there isn't another solution that works even better (or costs less, etc)."

Another mark of constructive discontent is the enjoyment of challenge. Creative people are eager to test their own limits and the limits of problems, willing to work hard, to persevere and not give up easily. Sometimes the discontent is almost artificial--they aren't really unhappy with the status quo of some area, but they want to find something better just for the challenge of it and the opportunity to improve their own lives and those of others.

4. A belief that most problems can be solved. By faith at first and by experience later on, the creative thinker believes that something can always be done to eliminate or help alleviate almost every problem. Problems are solved by a commitment of time and energy, and where this commitment is present, few things are impossible.

The belief in the solvability of problems is especially useful early on in attacking any problem, because many problems at first seem utterly impossible and scare off the fainter hearted. Those who take on the problem with confidence will be the ones most likely to think through or around the impossibility of the problem.

5. The ability to suspend judgment and criticism. Many new ideas, because they are new and unfamiliar, seem strange, odd, bizarre, even repulsive. Only later do they become "obviously" great. Other ideas, in their original incarnations, are indeed weird, but they lead to practical, beautiful, elegant things. Thus, it is important for the creative thinker to be able to suspend judgment when new ideas are arriving, to have an optimistic attitude toward ideas in general, and to avoid condemning them with the typical kinds of negative responses like, "That will never work; that's no good; what an idiotic idea; that's impossible," and so forth. Hospital sterilization and antiseptic procedures, television, radio, the Xerox machine, and stainless steel all met with ho-hums and even hostile rejection before their persevering inventors finally sold someone on the ideas.

Some of our everyday tools that we now love and use daily, were opposed when they were originally presented: Aluminum cookware? No one wants that. Teflon pans? They'll never sell. Erasers on pencils? That would only encourage carelessness. Computers? There's no market for more than a few, so why build them?

Remember then that (1) an idea may begin to look good only after it becomes a bit more familiar or is seen in a slightly different context or clothing or circumstance and (2) even a very wild idea can serve as a stepping stone to a practical, efficient idea. By too quickly bringing your judgment into play, these fragile early ideas and their source can be destroyed. The first rule of brainstorming is to suspend judgment so that your idea-generating powers will be free to create without the restraint of fear or criticism. You can always go back later and examine--as critically as you want--what you have thought of.

Proverb: "A crank is a genius whose idea hasn't yet caught on."

6. Seeing the good in the bad. Creative thinkers, when faced with poor solutions, don't cast them away. Instead, they ask, "What's good about it?" because there may be something useful even in the worst ideas. And however little that good may be, it might be turned to good effect or made greater.

Example problem: How can we get college students to learn grammar better? Solution: Spank their bottoms with a hickory stick. This isn't a good solution, partly because it's probably illegal. But should we just toss it out? Why not ask what's good about it? (1) it gives individual, attention to the poor performers, (2) it gives them public attention, (3) it motivates other students as well as the student being spanked, (4) it's easy and costs nothing. The next question is, Can we adapt or incorporate some of these good things into a more acceptable solution, whether derivative of the original or not?

We easily fall into either/or thinking and believe that a bad solution is bad through and through, in every aspect, when in fact, it may have some good parts we can borrow and use on a good solution, or it may do inappropriately something that's worth doing appropriately. And often, the bad solution has just one really glaring bad part, that when remedied, leaves quite a good solution. In the above example, changing the physical spanking to a verbal spanking changes the entire aspect of the solution while keeping all the good points we identified.

7. Problems lead to improvements. The attitude of constructive discontent searches for problems and possible areas of improvement, but many times problems arrive on their own. But such unexpected and perhaps unwanted problems are not necessarily bad, because they often permit solutions that leave the world better than before the problem arose.

For example, the first margarine was made from beef fat, milk, water, and chopped cow udder. It wasn't extremely tasty or healthy. Then about the turn of the century a shortage of beef fat created a problem. What to use? The margarine makers turned to vegetable fats from various plants and the soybean, corn, and sunflower oils they used are still used today. The margarine is healthier and tastes better.

Or think about exams or papers. When you don't do as well as you want, you think, "Oh no!" But actually, you have a good insight into what you don't know and still need to learn. You are aware of the geography of your knowledge in a much more detailed form than before the errors showed up.

8. A problem can also be a solution. A fact that one person describes as a problem can sometimes be a solution for someone else. Above we noted that creative thinkers can find good ideas in bad solutions. Creative thinkers also look at problems and ask, "Is there something good about this problem?"

For example, soon after the advent of cyanoacrylate adhesives (super glue), it was noted that if you weren't careful, you could glue your fingers together with it. This problem--a permanent skin bond--was soon seen as a solution, also. Surgeons in Viet Nam began to use super glue to glue wounds together.

Another example, also involving glue: 3M chemists were experimenting with adhesives and accidentally came up with one that was so weak you could peel it right back off. Hold strength, shear strength, all were way below the minimum standards for any self-respecting adhesive. A glue that won't hold? Quite a problem. But this problem was also a solution, as you now see in Post-It Notes.

9. Problems are interesting and emotionally acceptable. Many people confront every problem with a shudder and a turn of the head. They don't even want to admit that a problem exists--with their car, their spouse, their child, their job, their house, whatever. As a result, often the problem persists and drives them crazy or rises to a crisis and drives them crazy.

Creative people see problems as interesting challenges worth tackling. Problems are not fearful beasts to be feared or loathed; they are worthy opponents to be jousted with and unhorsed. Problem solving is fun, educational, rewarding, ego building, helpful to society.

Miscellaneous Good Attitudes

1. Perseverance. Most people fail because they spend only nine minutes on a problem that requires ten minutes to solve. Creativity and problem solving are hard work and require fierce application of time and energy. There is no quick and easy secret. You need knowledge gained by study and research and you must put your knowledge to work by hard thinking and protracted experimentation. You’ve surely read of the difficulties and setbacks faced by most of the famous inventors--how many filaments Edison tried before he found a working one, how many aircraft designs failed in the attempt to break the sound barrier. But planning to persevere is planning to succeed.

2. A flexible imagination. Creative people are comfortable with imagination and with thinking so-called weird, wild, or unthinkable thoughts, just for the sake of stimulation. During brainstorming or just mental playfulness, all kinds of strange thoughts and ideas can be entertained. And the mind, pragmatist that it is, will probably find something useful in it all. We will look at several examples of this later on.

3. A belief that mistakes are welcome. Modern society has for some reason conceived the idea that the only unforgivable thing is to fail or make a mistake. Actually failure is an opportunity; mistakes show that something is being done. So creative people have come to realize and accept emotionally that making mistakes is no negative biggie. One chief executive of a big American corporation warns all his newly hired managers, "Make sure you make a reasonable number of mistakes." Mistakes are educational and can lead to success--because they mean you are doing something.

Sir Francis Pettit Smith, one of the early developers of the screw propeller, tried one design in 1836. During the test, half of it broke off--what a failure--but then the boat increased in speed substantially, revealing the efficiency of a new design, formed from a mistake.

In sum, as Vergil once said, "They can who think they can." Having the proper positive attitude about generating new and useful ideas and solving problems is really a large part of the whole process.

A few years ago, the pipes in my mom's house had finally rusted through and I was faced with the task of finding a plumber to get a bid. Knowing how much they charge for small repairs, I knew that doing a whole house would cost a fortune. I thought, "You know, I'd really like to do this job myself, but I wonder if I can." My neighbor happened to be around once when I said this, and he said, "Oh, you can do it." Just that simple expression gave me the positive attitude I needed to do it. So I did.

Characteristics of the Creative Person

  • curious
  • seeks problems
  • enjoys challenge
  • optimistic
  • able to suspend judgment
  • comfortable with imagination
  • sees problems as opportunities
  • sees problems as interesting
  • problems are emotionally acceptable
  • challenges assumptions
  • doesn't give up easily: perseveres, works hard
source : www.virtualsalt.com

Brainstorming

Generating many radical and useful ideas

Brainstorming is a useful and popular tool that you can use to develop highly creative solutions to a problem.

It is particularly helpful when you need to break out of stale, established patterns of thinking, so that you can develop new ways of looking at things. This can be when you need to develop new opportunities, where you want to improve the service that you offer, or when existing approaches just aren't giving you the results you want.

Used with your team, it helps you bring the experience of all team members into play during problem solving.

This increases the richness of solutions explored (meaning that you can find better solutions to the problems you face, and make better decisions.) It can also help you get buy in from team members for the solution chosen - after all, they have helped create that solution.

Brainstorming and Lateral Thinking

Brainstorming is a lateral thinking process. It asks that people come up with ideas and thoughts that seem at first to be a bit shocking or crazy. You can then change and improve them into ideas that are useful, and often stunningly original.

During brainstorming sessions there should therefore be no criticism of ideas: You are trying to open up possibilities and break down wrong assumptions about the limits of the problem. Judgments and analysis at this stage will stunt idea generation.

Ideas should only be evaluated at the end of the brainstorming session - you can then explore solutions further using conventional approaches.

If your ideas begin to dry up, you can 'seed' the session with, for example, a random word

Individual Brainstorming

When you brainstorm on your own you will tend to produce a wider range of ideas than with group brainstorming - you do not have to worry about other people's egos or opinions, and can therefore be more freely creative. You may not, however, develop ideas as effectively as you do not have the experience of a group to help you.

When Brainstorming on your own, it can be helpful to use Mind Maps to arrange and develop ideas.

Group Brainstorming

Group brainstorming can be very effective as it uses the experience and creativity of all members of the group. When individual members reach their limit on an idea, another member's creativity and experience can take the idea to the next stage. Therefore, group brainstorming tends to develop ideas in more depth than individual brainstorming.

Brainstorming in a group can be risky for individuals. Valuable but strange suggestions may appear stupid at first sight. Because of such, you need to chair sessions tightly so that uncreative people do not crush these ideas and leave group members feeling humiliated.

How to Use the Tool:

To run a group brainstorming session effectively, do the following:

  • Define the problem you want solved clearly, and lay out any criteria to be met;
  • Keep the session focused on the problem;
  • Ensure that no one criticizes or evaluates ideas during the session. Criticism introduces an element of risk for group members when putting forward an idea. This stifles creativity and cripples the free running nature of a good brainstorming session;
  • Encourage an enthusiastic, uncritical attitude among members of the group. Try to get everyone to contribute and develop ideas, including the quietest members of the group;
  • Let people have fun brainstorming. Encourage them to come up with as many ideas as possible, from solidly practical ones to wildly impractical ones. Welcome creativity;
  • Ensure that no train of thought is followed for too long;
  • Encourage people to develop other people's ideas, or to use other ideas to create new ones; and
  • Appoint one person to note down ideas that come out of the session. A good way of doing this is to use a flip chart. This should be studied and evaluated after the session.

Where possible, participants in the brainstorming process should come from as wide a range of disciplines as possible. This brings a broad range of experience to the session and helps to make it more creative.

And again, it's worth exploring the use of computer-based tools for group brainstorming. As long as you're reasonably quick with keyboard and mouse, these significantly improve the quality and effectiveness of a brainstorming session.

Key Points:

Brainstorming is a great way of generating radical ideas. During the brainstorming process there is no criticism of ideas, as free rein is given to people's creativity (criticism and judgment cramp creativity.)

This often makes group brainstorming sessions enjoyable experiences, which are great for bringing team members together.

Individual brainstorming is best for generating many ideas, but tends to be less effective at developing them. Group brainstorming tends to develop fewer ideas, but takes each idea further. Group brainstorming needs formal rules for it to work smoothly. (www.mindtools.com)




Friday, July 11, 2008

How to find creative ideas

Discover inspiring creative ideas through simple research.
By Alan Sharpe

Should you spend three weeks writing a headline? Probably.

When David Ogilvy landed the Rolls-Royce account, he spent three weeks learning about the car. In his reading, Ogilvy came across this statement, written by an engineer: "At sixty miles an hour, the loudest noise comes from the electric clock." Ogilvy made that elusive fact the headline for what became the most famous car advertisement of all time.

All great ads contain a big idea well executed. But how can you find that elusive big idea for the product or service you are promoting? Through exhaustive research.

Learn first-hand
  • If it's a cruise, take it. If it's a car, drive it. If it's a drink, swig it. If the shoe fits, wear it.
  • Visit the plant.
  • Work in the store.
  • Read the label. What, exactly, is anti-bacterial fluoride? And why should your prospective customers care?

Ask questions
  • Talk to customers. Why do they buy the product or service?
  • Schmooze with dealers and distributors. How does your product compare with competing products? Advantages and disadvantages? What single benefit motivates customers to gladly hand over their cash?
  • Sit behind the one-way mirror during focus groups. Participants often say things that you can take word-for-word and turn into winning headlines and subheads, even a big idea itself.
  • Talk to salespeople who move the product for a living. They usually have the best grasp on what differentiates the product in their marketplace.

That's what Rosser Reeves did when he worked at Ted Bates & Co. on the M&M Candies account. He interviewed the president, John MacNamara. Only after careful questioning did Reeves discover that the big idea for M&M's was inherent in the product. M&M's were the only candy in America that had chocolate surrounded by a sugar shell. Thus was born the memorable (and profitable) positioning line, "M&M candies melt in your mouth, not in your hand."

Study the literature

  • Read the marketing plan–how does your product or service stand out from competing offerings?
  • Read the company annual report–look for pithy testimonials from satisfied customers.
  • Read articles about the company. What does the trade press say about your features and benefits? customer service? reliability? warranty? reputation?
  • Read questionnaires and surveys conducted with customers and partners. Why are they satisfied? or peeved? What can your advertising do to change that?
  • Read the ads, brochures and sales letters produced by your competitors. How do they position themselves against what you are offering. What can you do in response?

Bud Robbins had well-known competitors. He worked for an ad agency on the Aeolian Piano Company account. The national sales manager for the firm explained to Robbins that the only real difference between an Aeolian grand piano and a comparably priced Steinway or Baldwin was the shipping weight–the Aeolian was heavier. Robbins asked why. "The Capo d’astro bar," replied the sales manager, who proceeded to crawl under the piano, and point to a metallic bar fixed across the harp and bearing down on the highest octaves.

"It takes 50 years before the harp in the piano warps," said the sale manager. "That's when the Capo d'astro bar goes to work. It prevents the warping."

Robbins took that product feature and made it the differentiator in his first ad, which was so successful that it created a six-year wait between order and delivery.

Study the category
  • Visit libraries and bookstores. Review books that describe the category that your product or service occupies. Discover what consumers are doing, what they are buying, and what appeals to them.
  • Read the consumer and trade publications that your target audience reads. Discover the issues that affect their lives, and think of ways to position your product or service to meet those needs.
  • Visit industry websites, looking for changes in consumption and purchasing behaviour that you can capitalize on.
  • Read white papers, looking for technology trends in your industry (the wireless revolution, for example, or the imminent disappearance of 35mm film in favour of digital photography).

You can't jump from nothing to a great idea. You need a springboard. And the best springboard is the information you gather through exhaustive research.
(http://www.sharpecopy.com/tips/find_big_ideas.html)

POP ART MOVEMENT

Pop Art was one of the United States’ major artistic movements of the 20th century - aside from Abstract Expressionism, it was probably the biggest. It actually was first coined in Britain in 1955 but unsurprisingly the Americans took up the consumerist cause with much greater effect and conviction, and became the pioneers of the movement. Pop art and pop culture refers to the products of the mass media evolving in the late 1950s and 60s and also to the works of art that draw upon popular culture - packaging, television, advertisements, comic books, the cinema. Pop art was the medium that made real the breaking down of barriers that had existed for hundreds of hears between high (old-fashioned) art and mass culture.

In America, Pop Art is often considered as a counter-attack against Abstract Expressionism because it used more figurative aspects in its works. It was also related closely to Dada, an earlier movement (largely French) that poked fun at the highbrow and serious nature of the art world and also used everyday objects and mundane subjects. Warhol’s rows of Campbell’s tins of tomato soup are equivalent to Marcel Duchamp’s bicycles and urinals placed in galleries.

The Pop Artists favoured commercial methods of production, not dissimilar to the subjects they were using, as it meant that unlimited reproductions could be made. And this is typical of the perio because Pop Art happened out of a crucial time - it was inseparable from the prosperous and affluent era post-World War II. It was a time of enormous economic growth for the States and America was fast becoming a voracious consumer-orientated society. It was the beginning of the age of commercial manipulation, celebrities, exhibitionism and instant success. It was also the beginning of the age of homogenisation - of uniformity in commercial franchises, restaurants and languages or dialects.

Britain wasn’t too far behind the glossy commercialism found in the States although the British artist’s interpretation of the pop-culture was a bit more romantic than the Americans - a bit less brash perhaps. Our artists (like Peter Blake, David Hockney, Allen Jones and Richard Hamilton) didn’t create giant hamburgers in the style of Claes Oldenburg, nor did they paint Diana Dors with quite the same consequences as Andy Warhol found with Marilyn Monroe. They found their inspiration from America, not from Britain particularly, and so to them Pop Art was ‘an unhibited hymn to a civilisation half-real and half-imagined, a wonderland of pin-ups and pin-ball machines’ (Edward Lucie-Smith). They were more detached from it compared to their American contemporaries.

Pop art is lots of things that high-art isn’t - it’s mass-produced, it is expendable, it is low-cost, glamorous, witty and encourages big bucks, bright lights and big celebrities - there’s no sign of the impoverished artist slaving away in a tiny studio in this movement. However, it’s light-hearted sensibilities have been negated by some critics; Harold Rosenberg described Pop art as being ‘Like a joke without humour, told over and over again until it begins to sound like a threat… Advertising art which advertises itself as art that hates advertising.’

Is Pop art a serious comment on the contemporary condition – are the Pop artists cynical of the growing mass-media, material culture or is it simply just popular art – accessible, bright and glossy? (Rose Troughton - Artsworld- www.getpopart.com)