The creative routines of famous creatives has been popular internet fodder this year. The Pacific Standard thinks this obsession and trend of emulating famous artist’s habits is problematic, to say the least. The larger picture, says Casey N. Cep, is that most artists did not always followed these routines they’re known for anyways. In the end they would have still produced genius work regardless of the kind of breakfast they ate, hours they worked, or whatever office supplies they used.
The idea that any one of these habits can be isolated from the entirety of the writer’s life and made into a template for the rest of us is nonsense. What none of these lists tell you is that sometimes these highly creative people weren’t waking so early on their own, but were woken by domestic servants. Or that some of these highly productive writers also had spouses or children or assistants enlisted in the effort. Or that often the leisurely patterns of drafting and revising were possible only because generous familial support made the financial demands of everyday life irrelevant.
Some of the more scandalous aspects of these artistic routines are also tragically stripped of context. The writer who never wrote without a few gin and tonics died young from cirrhosis. The journalist who relied on barbiturates died of an overdose. The painter who once said it was impossible to paint while listening to music married a violinist who then played constantly in his studio.
We often talk about process at 99U, so we think this is a great debate. Are we interested in the routines of great artists because we think replicating parts of their process will be what we were missing to succeed all along? While we believe strongly that the creative process matters, it’s worth contemplating whether it’s our process that needs tweaking or the work itself. It’s easier to put the fault on something we can change easily and control, like a routine, than it is to dig into the deep, personal issues within the work we’re putting out.
Read the rest of the article here.
Adam Akhtar of Highfive has a great—albeit surprisingly simple—tip to add visual tags to your notebook or moleskin for organizing your notes. All it takes is your notebook and a pen:
The back of your notebook will act like a tag list or index. Every time you create a new entry at the front of the book you’re going to “tag” it [in the back]…
Now you’d go back to the first page where the [note] is and on the exact same line as the…label you just wrote you’d make a little mark on the right edge. You’d make this mark so that even when the notepad was closed the mark would be visible. After repeating this for various [notes] you’d now have various tags visible on the notebooks edge.
The process is very easy to use, and can be paired with other “hacks” for an added organizational boost (like using different colors for different topics). If you still use a physical notebook, this is one approach you’re definitely going to want to consider.
Figure out what you stand for and what you believe in, and use that as your point of difference. In a crowd of designers, how will you stand apart? If you’re guilty of leading with what you do, start with why you do it and articulate that on your materials, website and social channels. Find out where your talents and values meet, and use that to leverage the power of your purpose.
Your “why” is a powerful driving force for your life and career. It provides a common goal that directs your actions and provides the dedication to get there. In addition, passion is contagious. Your excitement will excite others who will want to get involved in what you do. As leadership expert Simon Sinek says, “people don’t buy what you do; they buy why you do it.”
The sooner you share your ideas, the sooner you will find a solution that works for everyone. Try to collaborate with your clients during the design process instead of simply presenting to them at the end. That’s what digital strategist Michelle Campbell learned during the SXSW Interactive Festival:
At agencies, we’ve grown used to spending weeks on one idea only to have it thrown away at the last minute. If we opened up this process to more sharing — among ourselves and our clients — we’d have more time to build and evolve better ideas.
Your clients may not know much about design, but they are experts in their industries. Getting their feedback early on will prevent you from getting attached to an idea that isn’t going to work. Campbell reminds us:
… we often rely on people with the word “creative” in their title for ideas, but we forget that inspiration isn’t taught. It comes from real life, and anyone can bring that to the table.
A recent study found that the average worker loses approximately 80 hours per years as a result of disorganization. That’s nearly two weeks of vacation! When invoices, receipts, contracts. and drafts are piled up everywhere, you’re likely to waste hours shuffling papers from one pile to another.
Ann Gomez of Clear Concept Inc. emphasizes the touch it once principle:
Process each task the first time you touch it.
Triage effectively with Gomez’s one touch rule – as soon as you get it, act on it, delegate it, file it or throw it away. And don’t just stop at paper – this principle easily applies to phone calls, emails and social media notifications.
It’s a simple trick to help you batch your work into scheduled, focus blocks: you won’t open an email until you’re ready to give it your full attention, or you’ll decline to accept your coworker’s rough draft until later when you know you’ll have the time to sit down and do it.
There are two leading problems with the average brainstorming session, as researchers at the Kellogg School of Management explain :
- In a typical six- or eight-person group, three people do 70 percent of the talking.
- Early ideas tend to have disproportionate influence over the rest of the conversation.
One of the researchers (as well as author of Creative Conspiracy: The New Rules of Breakthrough Collaboration), Professor Leigh Thompson, remarks that the dominant people don’t realize that they’re doing most of the talking. “In fact,” she says, “they vehemently argue that meetings are egalitarian.”
The solution to these lop-sided meetings is brainwriting, instead of brainstorming. Thompson describes brainwriting as “the simultaneous written generation of ideas.” She breaks it down the process as such:
Step 1: Write just one sentence each. For the first five or 10 minutes of your next idea-generation meeting, every team member writes down one good idea or one proposed solution on, say, each of a small stack of index cards.
Step 2: Consider the idea, not the source. When the timer goes off, all cards are submitted anonymously and taped or thumbtacked to a wall for the whole team’s consideration.
Step 3: Put it to a blind vote. Team members signal their interest in an idea by marking it with a sticker or a Post-it note. Everyone gets a limited number of stickers and, if done right, the best ideas emerge quickly.
In an interview with The Guardian, designer Tom Dixon comments on how counterculture has become mainstream, leaving no room for rebellion in design:
I’ve got a theory that it’s almost impossible now to be countercultural because everything is endorsed. Look at the Metropolitan Museum of Art’s show on punk. There’s nothing that isn’t authorised. Everything in fashion and in furniture has become super-legitimised. By the time it’s out there and blogged, it’s over.
Instead designing for or against trends, Dixon strives for his work to have staying power. Products are created for a specific purpose or “as ideas suggested themselves.” Either way, it’s always on his own accord and not because of what others are doing.