Why is Human Vision So Important In Design - Here is why.

Designers get tremendous amounts of visual information while our brain processes them in a very complex and statically unknown way. Designers have been using specific tools to aid in modeling via vision friendly products augmented to existing hardware and software. 

One of these technologies is Visual DHM (Digital Human Modelling) which combines a cost effective visual tool system to analyze visual information on both a qualitative and quantitative scale. DHM technology simulative human interaction with the product virtually allowing designers to solve ergonomics issues in the early design process via manufacturing workstations and rapid prototyping systems. Improving this new technology with gestural interfaces makes the future very exciting for designers in particular as related to the AR and VR revolution that is now dawning in the design and manufacturing world.

                               

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When do Creatives Need an Innovation Policy - As soon as they want to make designs real. Here’s How

When do Creatives Need an Innovation Policy? As soon as they want to make designs real. Here’s How. 

  In Creative Industries & Innovation Policy we see the entire model for the dessimination of design and innovation through the lens of simple internal policies that can push what is creative and breakthrough into the hands of users who may or may not know of their needs, desires or outcomes of the efforts of the parent firm. In this model, we see the delight and therefore unknown and sometimes pre-validated success. What ever company wants and what every user desires: design and innovation success.

                               

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The Approach of Scientific Research & Design Breakthroughs – Get it out Fast.

What’s the key to getting scientific research and design breakthroughs into the hands of users. Put it into the hands of users. Fast. 

  In Approaches to Marketing Scientific Research Services we see the fastest models and material examples of the key factors to bringing design breakthroughs to the market: fast models. Backed by validated scientific factors and user experiences, the models become as simple as fail fast and fail often – and written in 1998. 

                               

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The Creative Sector Inside Innovation ? Yes, But How?

How can Design define Target vs Cultural and still Innovate? Here’s how. 

  In Placing the Creative Sector in Innovation we see the key differences between Target Product & Profile and Cultural Product & Process to ferret out the most difficult of new product development capabilities. In this we see the clear path: utilizing them both fills the entire process and edges. Design is not either or but often and, therefore more than can be achieved holistically than the sum of it’s parts. 

                               

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Emotions, Design & Entrepreneurship

What makes a good designer and good entrepreneur succeed? 2 types of emotional controls that you’d never guess. 

In Emotions and Entrepreneurial Opportunity the clear link is made between “trait emotions and state emotions influence evaluations in parallel ways towards appraisal tendencies linked with emotions determine choices that entrepreneurs & designers make in stressful situations that ultimately lead to success. 

                               

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When You Can’t Entre, Intra & 3M Knows How It Works.

With a multitude of vocabularies, terminologies and models, in action, it’s the pizza man model that remains: a team large enough to eat one large pizza together and be satisfied. But how can this be done easily? 

Anything more and there are too many people for the 1^st critical juncture of any innovation mindshift. In particular and very carefully articulated in Innovation at 3M Corporation we see the simplicity in relying heavily on selecting a talented core team of 4to 6 people (and even 6 is too mich) from marketing and technical departments. At 12 to 15 hours/week immersion fosters creative thought and maximum momentum with each person spending 1/2of their time on the project. The rest of the time, it’s other projects in the pipline and keeping the emersion going. 

                               

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How Can Groups Achieve Simple Team Creativity? Here’s how.

How can Groups Achieve Simple Team Creativity? Here’s how.

Surprisingly in the design game, it is just as much about psychology as it is about scientific capability for certain design models to illicit specific tangible differences that outweigh other particular models. In an interview with Paul Paulus we see in Group Creativity the possibility of alternative models for group creating cohesion and increased creative output while having group dynamics be factored into a more robust output when ferreting out alternative solutions – group creativity dynamics at work.

                               

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The Virtuous Cycle of Discovery and Creation

Why such a virtuous cycle: discovery and creation? Because there is no other way to justify value & there is nothing wrong with it. 

In The Virtuous Cycle of Discovery and Creation we see the clear indication that finding something and creating something can be as simple as sniffing and eminating although through 5 specific propositions we see alternatives for how firms are able to leverage this investigative capability for usability and therefore design success. What makes it work? Relentless trail and error: the mark of innovation.

                               

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What was Philippe Starck Thinking ? Whatever he wanted. That’s why.

Why would design 1 be considered good and another considered not. And sometimes you just have to sit back in awe and watch as it is bantered about. But there is a good reason. 

In What was Philippe Starck Thinking ? we see sometimes there is no reason even though to dig further as to why it is or is not important rather showing respect to the notion that ‘no design works unless it embodies ideas that are held in common by the people for whom the object is intended’ if they were orange juice squeezing fishermen. But then we see the key factor: artistic intent has no boundires including the very public case of the engineer who “adjusted” Starck’s Juicy Salif in the most miniscule ways to make it useable and was sued for it. So What was Phillpe Starck thinking? Does it really matter after 50,000 units? Not really. 

                               

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