Our client design briefs are, generally, quite complete and fully understood. (When they are not, we follow our own survey form to facilitate writing a brief.) As a result, we are able to write a concise project proposal that outlines goals for the first step, expected outcomes and parameters for the following steps.

Our first phase creative explorations can then be quite broad. All options are viable concepts and fully address all the parameters listed in the project brief. Curiously, feedback sometimes avoids comment on what has been presented and, instead, focuses on what has not been presented.

When this happens, phase one feedback suggests a broader range of exploration, rather than a process to narrow the field through careful refinements. This is both counter-productive for the project as well as unprofitable for the designer; creating an impasse.

There needs to be structure in the way early concepts are evaluated and how feedback is communicated. From both sides of the equation, let’s look at how improve the effectiveness of Phase One evaluation and feedback:

Designer: Rationalize the Phase One Concepts
Though, it might seem to be apparent from the project brief and approved proposal, be sure that Phase One ideas are, one-by-one, supported with a written, objective explanation as to how they answer the parameters of the brief and why they are being recommended. Avoid subjective terms, such as, “we like.” Provide written reasoning as to how each concept achieves the goals agreed upon in the original brief and the project proposal. It needs to be in writing even when there is a verbal review, since the designer will not be present to support the concepts as they progress through the client organization.

Client: Evaluate Each Concept
Likewise, the client should respond in writing to each one of the concepts presented. What are the Pros and Cons, Positives and Negatives, Assets and Liabilities for each concept? (Avoid subjective answers, such as “we don’t like…”).

In this way, each concept will have a better chance of moving forward into a refinement step that is more rationally defined and the project will be less likely to expand and create issues with timing or cost. Even the feedback on concepts that don’t move ahead is valuable and will help to build better understanding of overall decision-making.

Concept Rationale and Feedback
Follow a simple, written framework to support each concept and facilitate more concise feedback for Phase One design presentations. A good way to do this is to include the concept rationale on the same page as the concept. Encourage the client to do the same on the return. Here’s an example:

Example: Concept Rationale and Feedback (PDF)

Discipline
Both Designer and Client must be disciplined to provide written rationale and detailed feedback. It is all too easy to allow familiarity to become an excuse for shortcuts.

Finally, remember that refinement steps are generally expected to narrow the field of options and not to expand on them. If the latter is happening, then it could be an indication that the phase one brief was not sufficiently detailed or the phase one concepts presented were not fully understood.

Sometimes (wink, wink, nudge, nudge, say no more) it’s difficult to get decision-makers to focus on the big-picture and to avoid the distraction of details. This is especially true early in strategy or concept development.

Here are some suggestions:
# Spread all the concepts out. Set aside those that connect based on your first, gut instinct. Move quickly.
# Set aside those that, instinctively, don’t seem right. (The “include” method is preferred - as in option 1.)
# Group concepts by any agreed similarity or other criteria. Choose standouts from any group.
# Group concepts by purely visual themes. Choose one standout design from any group.
# Use the “Eye Doctor” method. Go two-by-two and decide which one is “Better or Worse,” “Better or Worse.” Only the “Better” moves forward to the next comparison. Think on your feet.
# Use comparisons to facilitate feedback with simple language and visual support. “Concept X is a winner, but it needs to say ‘spectacular’ more strongly… like concept Y does.” Consider the ideas eliminated by other methods, too.
# Score each concept on rating scale(s) of your choosing. Compile total scores. Three or more participants.

Sounds like a good idea, but certain labels within the product line read as follows:

ORTHO ecosense™ brand*
*not intended to imply environmental safety…

Marketer’s plan to pre-approve production companies called ‘absurd,’ ‘shortsighted’

Count me in on “absurd” and “shortsighted.”

This initiative from P&G seems to be aimed, first, at producers rather than strategists, but still unsettling. As principal and founder of a brand strategy firm of 3 decades, I’ve been on the receiving end of exactly the same “process” more than once applied (with devastating results) to creative and strategy. This includes demands for “transparency” (most despised biz-speak) and requests for firm revenues by client, expenses, staff salaries, et cetera, no matter public or privately held.

For new readers: I have ended and declined R.BIRD client relationships worth $millions defending our value against client proposals toward commodity.

In this creativity-online.com article, one excerpt sums up my reaction:

“When you’re in a world blasted with so much imagery and you need to stand out to make a difference, you want to get the most talented, most creative people to make your stuff stand out. The way to do that is not to bully their creative choices or create a shallower talent pool.”

As example: R.BIRD was very recently tendered an RFP from a major national brand. The RFP came to us (surprised?) via a third-party, procurement agency. Despite that, we considered the problem and wrote our recommended response with rationale, process and cost. The response was,”Fill in the rate card only.” The result of such a process endorses an ever-shallower talent pool of resources best at reducing costs and nothing else.

In college, I studied fine art: Drawing, painting, and printmaking. I even traveled to Rome and Florence to study art history. As an aspiring illustrator, I had three significant influences at the time: Leonardo, Frazetta and Dean.

Today, while cleaning out my browser bookmarks, I found a link, that I saved as many as 10 years ago, to an artist I admired for the same reasons as the aforementioned trio. His works are, at the same time, fantastic, powerful and artistically sensitive.

Take a look! Pascal Blanche

P.S. As I acknowledge influences in this post, I must include Professor of Art and Dean of Humanities and Fine Arts, Emeritus, at State University of New York, James Mullen, (and more ) who taught all fortunate to be in his classes, “how to see,” the most valuable skill I have ever learned as an artist and creative thinker.

Late this evening, I made the time to review a presentation by Alessandro Finetto, Director Global Consumer Design, Whirlpool Europe, at DMI’s Realities conference 13 in Europe.

My big takeaway from Mr. Finetto’s presentation is this:

He knows, instinctively as a designer, that 250 new product introductions in one year is, plainly and simply, too much. Why? The costs are high for development, delivery and risk versus reward. Simple.

It is no longer reasonable to throw out every idea under the sun, because one of them will surely succeed. Venture capital firms know this, too, and they are much more particular about how they spread seed money today.

However, new product design and exploration is not less needed in such an economically challenged environment, but more important than ever. It must continue.

Design and innovation is an extremely efficient method. It involves fewer, and more specialized, team members that require relatively small budget percentages. The results, simultaneously, develop innovative opportunities and filter the results to rational, yet intuitive and discrete, resource commitments.

In other words, now is the time to expand innovative and creative explorations, rather than to contract or eliminate them.

Your thoughts, please.

Inspired by this article in the New York Times, I’m going to try some creative marketing and offer our book on package design, Patterns:The Book, at a special price every Tuesday!

According to author, Motoko Rich, Amazon (via the Kindle) has effectively set the bar for delivery of digital book content at just about $9.99. For many non-paper book buyers, that’s the limit.

Authors and publishers who differ claim that the reader is paying for content, not medium, and the price should be set accordingly.

As both author and publisher, I do agree and disagree with some features of each opinion. But, let’s see what happens in this real-world test! For a limited time, we will offer Patterns: The Book (PDF) for just $9.99 every Tuesday.

That’s:
* Less than $1 for every category report
* A little bit more than a nickel ($0.06) for each observation
* Or, about 5 cents per page!

$9.99 on Tuesday

I’ve always been fascinated with web site analytics.

My favorites, I rely on every day, are:
* Mint, and
* Google Analytics

Now, add to that list:
* Quantcast

Quantcast is very interesting, because its data analysis and presentation is more Marketer-focused (demographics, et cetera) versus the Webmaster (Time on page and so on).

Check it out. I’m going to be watching.

I was astounded to see, that when comparing our domain to that of a major competitor, our female audience was nearly doubled. Now, I must know why.

Lately, we’ve found ourselves looking, first, to digital or online publishing before anything else. Why? Practical reasons, really: faster, more portable, easily updated. My current favorite for R.BIRD publications is ISSUU. Publisher and user experience seems flawless and there are further options for embedding and customization of UI.

I like this platform so much that we used Issuu for first preview of our book, Patterns: about design in consumer packaging.

Wacky Packages, first introduced by Topps Chewing Gum nearly 40 years ago, are back in the form of a coffee-table-worthy book to be prized by casual curators everywhere.

Wacky Packages were a series of stickers and gum cards made in the late 60s and early 70s. I looked forward to my weekly trip to the local “five and dime” to collect the latest. And it probably did cost a nickel.

Ted Anthony of Associated Press put it this way, “Wacky Packages turned the supermarket into a buffet of obnoxious jokes, bad puns and skeevy illustrations.”

My bedroom headboard and high school notebooks were plastered with these wacky pack stickers when they first appeared. Schoolmates and I loved these irreverent blasts as pure comedy - completely unaware of their social context… or fateful prediction of career. (My bed was even covered with a Wacky Packages quilt - still in my possession!)

Imagine a time when commercial creativity was largely free from analysis… a time when reckless expression and social satire was encouraged and rewarded. (Thank you, Andy.)

Check out a complete collectors reference here:
Gregory Grant’s Wacky Packages Web Page

What’s your favorite?

There’s no mistaking the trend in brand and packaging design toward more streamlined brand identity and packaging. Suddenly, it seems, marketers are beginning to appreciate how simplicity and clarity go hand in hand to create more aesthetically pleasing presentations and more memorable communication.

Now, Maxwell House follows the lead of Pepsi (see Now Koke Smiling Too ) and many others with a revolutionary evolution of brand mark and packaging.

Most noteworthy in the new design is the absence of the trademark “good to the last drop!” slogan and cup. This is no small change. The overall look of the brand and package is a significant departure from tradition. Like Pepsi’s recent redesign, “departure from tradition” seems to be the mantra of the day.

While we may applaud openness to change - and we’re not talking incremental tweaks anymore - the consumer will quickly send a message to Maxwell House coffee bean counters: thumbs up or thumbs down ( see Caught Up In The Competition ).

Change always invites critique. So, assuming we endorse “change,” since without it designers would have little to do, I have some comments on the execution of this particular example:

The Logo - Pro: I think the strategically rounded Optima-like font selection is right on. Con: The off-center stack and poor kerning creates a train-wreck effect for me. I can’t stop looking.

The Yellow - Pro: Once again, great ®evolution. The introduction of warmer colors is a big plus and creates a sense of sunny, greet-the-day warmth that was surely lacking in predecessors.

The Cup - Pro: The oversized blue mug and its shadow preserves the presence of Maxwell House Blue. Con: Where’s the coffee!? The brobdingnagian cup, though serving a purpose, seems too much in my face and contributes nothing to appetite appeal or sense of coffee-drinking experience ( see Research in Package Design for Coffee ).

The Beans - R.BIRD did some work for Yuban many years ago and much attention was given to presentation of the bean. After dozens of illustrative and iconic iterations, we were still unimpressed even by our own work. The same goes here. If the bean is obligatory and given focus, there must be a better way. These beans, enlarged and in a ringed spotlight, don’t sing either.

The Brew Strength - The before package wins hands down with a highlighted color bar that was easy to understand. The new “triangle->medium” solution lacks context and seems more appropriate to an interactive environment (a web page, for example) where active involvement reveals additional meaning and relationship.

The Last Drop - Absence of the heritage coffee cup drip, the “good to the last drop” slogan and the steaming coffee image leaves no clear communicator of flavor or experience, which I feel is lacking in the new design.

Balance - Nothing in this layout is on center. Everything is off balance - as an element or even line by line. I’m not sure what the rationale might have been, but to my mind it creates a sense of instability that undermines confidence.

Kraft and the Maxwell House brand teams deserve credit for their courage to champion such a broad change in presentation of the brand and packaging on shelf.

Designers and coffee drinkers out there, what do you think?

Edition #3 for Separated at Birth
(Yes, it’s been way too long.) Yet, due with this post.

During a recent client commissioned Patterns report we came across this astounding matchup:

On the left is Diet Pepsi MAX. On the right, Gillette Series Gel. The coloring (structural and graphic), typography and electrified arcs are remarkably similar. Great minds think alike?

Desktop Eutopia!

I’ve been longing for pre-OSX and pre-Vista days, when customizing my desktop and UI (Mac or PC) was a pleasurable distraction that I devoted a certain amount of time to every day, like reading a good book on the train.

Since modern (read: less open) operating systems like OS X Leopard and Windows Vista have been introduced, such a pursuit has become more complicated while sitting atop shifting technological sands.

So, my attention moves toward what I can more easily do to tweak my daily user experience at the desktop. And the simplest thing is: changing my desktop wallpaper.

I’m pretty picky about such things, being a designer, mind you. So, finding a fresh collection required some diligence. I’d rather go with basic gray when there’s so much bad wallpaper out there, people. And, there is.

Hallelujah, today, I found desktop wallpaper euphoria when I discovered the works of artist, Vlad Gerasimov at Vladstudio.

Vlad’s works are rich with emotion, depth and detail. There is variety in color and feel enough to satisfy just about any ephemeral desire. The wallpapers are available in aspect ratios and resolutions to fit a wide range of resolutions, including dual monitor setups.

I highly recommend - and encourage - everyone to visit and support Vlad’s work with a lifetime subscription to Vlad’s daily desktop pleasures.

Thank you, Vlad.

Enjoy!

Mike Rohde takes note-taking to a higher level with his fantastic and engaging sketch notes.

I first became aware of Mike’s sketchnotes from the first, and surely not last, Seed Conference featuring Jason Fried 37signals, Jim Coudal Coudal Partners and Carlos Segura T26 in Chicago.

JF confirms that, indeed, Mike’s furious scribblings on Moleskine happen in real time. Amazing. Sitting next to Mike Rohde anytime, anywhere for anything must surely be an exhilarating experience.