The Art of The Critique
by Paul Armstrong
Sep
3rd
2009
Any good designer will tell you that their designs have no personal attachment to them. This may be partially true. All designers infuse their personality in all their work (unless it happens to not be their work; but that's an entirely different matter). When working in a studio or multi-designer environment the work that you poured your thoughts, time and (sometimes) heart into can come under attack in The Critique.
The Critique is usually an informal conference or gathering where a group of people look at concepts and propose ways of improving upon that concept. There are many ways a critique goes down, but here are a few ways that I have seen, been subjected to and occasionally been guilty of:
- The "I Didn't Design It So I Hate It" Critique A studio can be a very hostile environment. Surrounded by designers competing for that one client that will allow them to reach their design glory and fame, mixed with dashes of artistic moodiness and ego makes for a explosive mix; especially on critique days. 80% of the time, this is what embodies the critique. Passive aggressive comments about color, layout, the over-done nature of the design and that is overall "sucks".
- The "Crop Dusting" Critique The preferred studio environment is that of open spaces and work areas. Whoever thought of this ought to be shot. This "open" environment instills as sense of discomfort, lack of privacy and paranoia in the designer. Usually an art director (often unrelated to the specific project) will walk by, see your design, and make a passing and uninformed comments; such as "I don't like that at all", or "That sure needs some work". These comments are neither constructive (they give no concrete direction of change for the designer) or informative (the concepts are usually being worked on, not meant for critique, thus exasperating the designer).
- The "Vague and Pointless" Critique The main focus of a critique should be to clearly, calmly and constructively give the designer the tools to improve upon their concept -- through color, layout, grid or element suggestions. Often the commentary ranges from wildly over dramatic ("I hate this color palette, I see it all the time on everything"), to objectively unimportant ("I'd like to see more organic floaty thingies").
Many critiques fall into one or all of these categories, mostly because we are never taught how to give a meaningful and useful critique. Here are a few of my rules that I follow when critiquing work:
- Know the client parameters of the design If the clients objectives, needs and goals aren't readily know or told to you, ask the designer or art director what those are. Without that, your critique will be baseless and often unhelpful. It's better to keep your mouth shut than to suggest something that isn't within the scope of the project ("I'd like to see this the brochure larger and in full color", when the client had asked for a 2 color mailer).
- Open with what you like about the design You know what your mom always told you, if you can't say something nice then don't say anything at all. Always open a critique with the at least 3 things you like about the design. Positive encouragement helps bolster the confidence of the designer, while making them receptive to hear your criticisms. It also makes you search further than your gut reaction (stripping away your personal preferences).
Discussing things that are merely based on your likes and dislikes are unimportant. So what if you don't like Univers Ultra Thin or background gradients, rather than inject your personality into the critique think about why it is that you don't like those things before opening your mouth. Informed opinions, coupled with reason and evidence will not only allow you distance your opinion from fact, but open discussion, education and/or dialog. If you don't have evidence or fact, then learn it (read books on design theory, design history, typography and current trends so that you'll better understand your own likes and dislikes and how to communicate them). - Explain what and how you'd improve the design, not what you don't like If you like having enemies and hostility in your workplace then just list everything you don't like about the design. Not only is it harsh, but it comes across as petty and mean spirited. Rather than list what you dislike (which is usually opinion based), talk about what you'd improve and how you'd improve the design.
The "how" is very important. Discussing how you might improve the concept allows for an open dialog on design but gives tools and means for the designer to improve the concept. Point out overused or cliched visual device, discuss the color palette and how it accentuates to the tone and mood of the project, observe balance, white space, hierarchy and informational importance. Your how can turn a concept from mediocre to excellent, especially when done well. - If you love it, then say so Just because its a critique doesn't mean you have to find things to dislike or pick apart. If you like it, then say so. Say what you like and why you like it and then shut your mouth.
If you keep some of these techniques in mind you'll begin to critique with more effectiveness, receptivity and team work; and maybe educating yourself and others around you.
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Is creativity important?
by Paul Armstrong
Apr
25th
2008
Most people think of two things when they hear the word "creativity", the first is typically associated with an artist (like Picasso or Shakespeare or Beethoven) and the second is, "I'm not creative". Its true that most of us can't be creative in the same way the masters of their crafts are creative, but that doesn't mean that creativity can't be found inside of you. Creativity isn't the sole property of fine artists, but the practice of finding unique solutions to a given problem. Problems are an intimate part of life; some problems much larger than others and some just won't have a creative solution (there are only so many ways you can brush your teeth or put on your shoes), but there is never a shortage of challenges in life. Fear keeps us from using creative methods to solve problems. Fear of breaking the rules. Fear of failure or ridicule. Instead we settle for the status quo, but continually solve our problems with the same -- failing -- solution. Next time you're faced with a problem, rather than recycle the same patterns, take off your shoes and get your feet wet Try something new. Get out of the box. You might fail, but you'll have at least tried.
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Just because you can, doesn't mean you should
by Paul Armstrong
Apr
24th
2008
I frequently read the blog Church Marketing Sucks to get an overall feel for what is "abuzz" in the world of churches, creativity and marketing. I find myself nearly ashamed at what is heralded as "creative" marketing and design within the padded walls of the church -- which more often than not mistakes style and imitation for creativity, besides being about 5-8 years off current trends. But one blog title caught my eye. I was curious when I saw a post that references a piece written by Michael Iva entitled "100 Ways To Kill A Concept". The article (a PDF download) is well written; though most of the items are redundant, and full of many designers nightmares. But concepts go far beyond the realm of designers, concepts are ideas. Ideas are creativity. Creativity is embedded in everyone. In his opening paragraph Iva states:
"Most of the time, somewhere along the way, a person’s idea gets changed before their concept transaction is completed. Sometimes their concept lives and evolves, but more often it dies. Once a concept is conceived, persuading someone else to buy into that concept usually causes any of the following circumstances to happen (particularly in business, marketing & sales, the arts, science, government, and any entrepreneurial venture)…"
The basic premise of the piece is that in order for you concept to survive the onslaught of excuses for its demise, you must become adapt at selling concepts. But the premise doesn't take into account one very important foundation: creating a concept. This then begs the question -- what is a "good" concept? Merely being creative and having a concept neither makes it good or worth fighting for. Concept development isn't just about research or execution, but about the solidity and pertinence of your idea. How does one make an idea that is both unique, creative and applicable?
A Good Concept is Hard To Find
"... your scientists were so preoccupied with whether or not they could, they didn't stop to think if they should." -- Dr. Ian Malcolm (from Jurassic Park)
One of my favorite movie quotes (above), when Jeff Goldblum's character Dr. Malcolm reacts when he discovers that there is a plan to recreate, rebirth dinosaurs. The same can be said for concepts. Just because you can, doesn't mean you should. All ideas start with a fundamental understanding of the problem, which is the definition of creativity: the unique solution to a given problem.
To start at the beginning is to start where everyone else has stood. Everyone starts at the blocks. Your first thoughts out of the gate are the same thoughts as everyone else out of the gates. Write them down, crumble up the paper, and toss them away. You're pulling from a dry well -- if you thought it, the likelihood of someone else having thought it (and executed it for the exact same problem) is pretty high and its best to just move beyond that.
Write down keywords, word associations, phrases, definitions, synonyms of the everything even remotely related to the problem, this allows you explore the problem from a variety of angles. Learn your competition. Learn the market. Learn what others have done -- successfully and unsuccessfully (there's nothing worse than repeating someone else's mistakes). Allow yourself to explore every possibility between the successesand unsuccesses. If you've done your research, seen what is being done, what has been done, you'll know the general limits and parameters of where you should go and can freely run toward more unique solutions and concepts. The hardest thing to learn, or even recognize, is when a concept is not worthy pursuing.
Not all concepts and ideas are worth the battles -- either because they are far too advanced for the current audience or mindset, or simply because they aren't good. Marketing, design and communication failures aren't for lack of being creative, and certainly not for lack of being fought for; but more for lack of appropriateness, timeliness and intended market. If you know to develop a concept, than you'll know if you concept is worth fighting for -- which doesn't mean you won't run across the "It's not us", "I don't get it", "This will never work"'s. Knowing you will face a harsh audience with a solid, well researched, and worthy concept allows you engage in a battle for its fruition.
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The customer experience of Church
by Ryan Hartsock
Apr
16th
2008
FAST COMPANY has an insightful article in their latest issue about the future of customer experiences and how Apple has created nirvana for many customers and employees at their stores.
They have a section discussing the experiences in some of the world's largest service-industry companies such as Gap, Starbucks, The Container Store, and UPS. Alex Frankel worked at all of them in an undercover project and described his experiences with each in his new book "Punching In" which the article excerpts:
• Gap was "my gulag. I constantly waited for the end of my shift. Tortured with repetitive music and constant folding".
• Starbucks he describes as "a company with a company culture akin to kindergarten, where employees are taught to play well with others...".
• UPS offered "a highly regimented job but just enough independence for workers to feel energized."
Ouch...how would our volunteers at Four Corners or any volunteer-intensive church describe their experience though? Meaningful? Fun? Spiritual? How can we keep a keen and watchful eye for our volunteers' experience without losing our primary focus on new faces? Hmm...
The Apple mantra in their stores is to "reinvent retail". Training for each employee is carefully designed...ask questions of the customer to understand their needs, get permission to fire away and digging deeper to ascertain the best products. Apple's three P's: Position, Permission, Probe. Apple is trying to set a culture of employees less as sales people and more as distributors of needed information.
"When employees become sharers of information, instead of sellers of products, customers respond."
As churches move toward a more volunteer intensive environment, we cannot ignore the fact we are much like a customer experience at one of the above listed stores. We cannot deny religion has been commoditized for good or bad, and people look at many of their life experience opportunities as customers. They want information on our 'product' (i.e. where's the children's ministry? what does your church stand for? what kind of music do you sing? etc.) How we meet this challenge may decide the future for many of us...
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Modernista!
by Ryan Hartsock
Apr
16th
2008
Communication Arts recognized the ad agency Modernista! for their Interactive achievement. If you've never heard of Moderista! you're not alone but there is little doubt you've seen their work for the RED campaign, MTV, Hummer, Cadillac, Gap, Napster and more.
A crazy fact from one of Modernista's many projects...the U2 music video "Windows in the Sky" took 4 months, 2,500 man hours and a huge number of clearances from bands ranging from the White Stripes to The Beatles.
Keep an eye on these guys...I think they're just getting started.
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Long time, no speak
Thursday, September 3rd, 2009
It's been months, well, almost years, since we've done much updating around these parts. There are several reasons for this, but those are all excuses. The fact remains that we still have many resources available to you for free. We'll be doing our best in the coming months to provide new, fresh designs for you to choose from, but in the meantime know that we're still here, its just quiet.
Welcome to TheChurchBox.com
Wednesday, April 16th, 2008
Welcome to all of you to the very "beta" launch of TheChurchBox.com. There are still a few blemishes and unfinished parts to this site, and you'll most likely notice ongoing changes and updates as we move forward on the site (based on feedback and our own schedules and timelines to update and enhance the site).
We hope that everything goes according to our plan and that your experience with us will be worthwhile. Please let us know of any issues or problems you might experience during your visit here, and we'll be sure to do all we can to fix whatever issues might arise.
