The Third Shoe

Yesterday I was having lunch with Tracy Urquhart, our awesome creative operations manager, and I was talking about being disappointed when creatives take my direction exactly and bring nothing else to the table.

Tracy said that one of her first jobs was selling shoes for Nine West. When a customer asked to see a shoe in a certain size, she would bring that shoe in the size the customer wanted. She’d also bring a second pair that was similar, maybe a slightly different model or different brand. Then she’d bring a third pair. Something else completely. Something surprising. Something the customer wasn’t asking for at all. But maybe–based on a hunch, something they said, maybe based on their style–something the customer would really love.

This is a perfect metaphor for what we should always be doing. Whether you’re addressing feedback from a creative director or client, bring what was asked for. But don’t stop there. Is there another way to do it? Maybe the direction was to emphasize a point more in the voiceover of a spot, but there’s a better way to solve that same issue visually. What other ways can you solve that specific problem?

But don’t stop there either. What else is there? How can you completely turn the problem on its head? What can you do that’s radical and surprising? What is your gut telling you? It may be completely wrong. That’s fine. You’ve already done what’s asked. But there’s a chance that third shoe just might just be more spectacular, more right than anything.

An Interview with Andrew LeVasseur, Head of Experience Design at VCU Brandcenter

At the VCU Brandcenter’s annual recruiter session, there’s a small group of tinkerers and builders and mad scientists who sit in the same room as art directors and copywriters, but kind of off to the side. Instead of ads, their tables are littered with drones and robots, hacked toys and games, tablets with app prototypes. Tangible things, things they’ve actually built. They are a new breed, a new creature in the industry. Until now, they’ve been called Creative Technologists.

I love talking to them about their work. I have a whole different set of questions than when I talk with the art directors and copywriters. Things like “What the hell is this?” “How’s it work?” “How did you make it?” “What’s this button do?” “Have you patented it?” And, usually in the back of my mind, “Wow, is this even advertising?”

This track—Creative Technology—has just been renamed Experience Design. We caught up with Andrew LeVasseur, the head of the Creative Technology/Experience Design track to get his take on VCU Brandcenter’s approach to technology and user experience, the future of the program and the reason for the name change. 

 

What’s your background? 
I have worked for top agencies like Razorfish (Seattle) and The Martin Agency (Richmond).  I have also launched and helped grow multiple start-up companies. My brand credits include Barclays, Best Buy, Capella University, Capitol One, Harrahs Entertainment, Hawaiian Airlines, Holland America, Microsoft, Michelin – BFGoodrich, Verizon FiOS, Weight Watchers, among others.
My focus areas include brand strategy, user experience design, information architecture, interaction design, software, information systems and process design, technology and new media, applied research and analytics.

What’s your role at the Brandcenter? 
I joined the VCU Brandcenter as an adjunct in 2009 where I played a large role in establishing the Creative Technology track (a precursor to the Experience Design track). As head of the Experience Design track, I help shape the vision, curriculum and course content.  As a professor, I teach multiple courses focused on strategy, design and technology.

Why the name change from Creative Technology to Experience Design? 
The Creative Technology track has successfully been in operation for 6 years and the name “Creative Technology” has served a specific purpose for the times we were in.  We’re renaming the track to better align with the direction of the industry, the career opportunities for our students, and to reflect more specifically the titles and roles our graduates are assuming in business. 
So what does an Experience Design student do? 
Experience Design students concept, design, prototype and build ‘experiences’ that push the envelope of what is technologically possible.

While at the VCU Brandcenter, Experience Design Students will:

  • ·       Study new and emerging user participation platforms like digital, social, mobile, and experiential (IoT). 
  • ·       Identify new and imaginative ways for brands to engage with users across platforms. 
  • ·       Design ads, interfaces, apps, wearables, robots, flying machines…things yet to be imagined.
  • ·       Balance strategic, tactical and technical project demands to bring ideas to life in both form and function.

Here is the Fall 2015 Course List:

Semester 1: Business of Branding, Creative Thinking, User Experience Design, Physical Computing 1

Semester 2: Strategy & Design, User Participation Platforms, Visual Storytelling

Semester 3: Creating Gravitational Pull, Experimentation, Physical Computing 2

Semester 4: Innovation, Persuasion, Indivituation

 

What kind of people are you looking for in Experience Design? 
We accept students from very diverse backgrounds and believe that the more variety in experience, capabilities and skills make for richer collaborative design.  That said, we want students who have a passion for business, design and technology, and who are: 
Culturally-Curious/Tech-Forward:  Are you fascinated by the world around you and the impact of
technology and new media on culture and people?
Creative Problem Solvers: Do you see challenges as design opportunities and have the capacity to
find creative design solutions? 
Interdisciplinary: Do you possess a combination of business, design, and technology
experience?  But want to develop a deep specialization and practice in experience design. 
Productive Team Members:  Do you welcome new ideas and play well with others? 
Thinkers + Makers: Are you equally comfortable developing concept, design, and prototypes?  
Strategic, Tactical and Technical: Can you address the strategic, tactical and technical challenges
that come with any complex design project?
If this sounds like you, we’re still accepting applications for Fall 2015
How about the students graduating. Can you describe their skills?

Breadth and Depth. You’ve heard it before, but the industry requires talent that gets the big picture, but also brings something unique and differentiated to the creative exercise.  We focus on developing talent that has strong foundation in concept and craft.  Dependent on their unique ambition and interests, our students also develop an area of specialization while at the VCU Brandcenter. For some XDs, it is user-centered design and related UX disciplines (UI, IA, IxD, Front end-development).  While others are passionate about concepting, designing, building and trialing new experiences that push the envelope of what is technologically possible.  While other students are focused on the production of dynamic multimedia content for new environments.  There are so many emerging opportunities out there, that we leave it up to our students to shape their own views and invent their own visions of the future.   

See the portfolios of current Experience Design students and the current student showcase.

 

Where are some of your graduates working today? 
Since we started, we have placed upwards of 100 CT/XDsOur graduates are in high demand and have gone on to work in the top agencies, client-side, and in successful start-up companies.  They work for global brands, on award-winning work, and some have been recognized as leaders in our industryOur graduates operate under multiple titles in the industry (and this is a good thing).   

 

Any predictions on where this track is going? 
This track is uniquely positioned within our curriculum to be looking upward and outward to what is new and next. What are the trends impacting our industry, where might we experience disruption, how does that point to new opportunities for brands, and what capabilities and skills will we need to develop to lead the creative industry?  That is why we will need to constantly evolve, question our assumptions, and expand our base of knowledge and ability.  It is also the same reason we are hard to define.  That might not be a bad thing after all.
In the spirit of change, I’d love to hear from you. alevasseur@vcu.edu

 

 

The VCU Brandcenter Master’s program, part of VCU’s School of Business, has been recognized by Creativity Magazine, the 4A’s, Ad Age and BusinessWeek as a top graduate program in advertising, marketing, digital media, and design + business.  

The Brandcenter is known within the advertising industry for its intensity, and the students who graduate from the program earn valuable real life experience to develop brands on a global scale. 

The VCU Brandcenter is more than a portfolio school. Students earn a Master’s of Science in business that complements their portfolio of work. This portfolio could contain ad campaigns. It will definitely contain strategically thought out and creatively conceived solutions to business problems. Brandcenter students concentrate in one of the five tracks. They study within their given track, as well as collaborate with all tracks on team projects that culminate in presentations to their faculty, peers and often real world clients.

 

 

Creative vs. Creative Director

There’s an article in CA‘s Interactive Annual by Xanthe Wells called “Promoted to Fail.” It includes  this chart from Rob Schwartz.

I love it. It’s true. Absolutely true.
But if you’re a young creative with aspirations of becoming a creative director, don’t just jump to the right-hand column. Embrace the left side. Be about your book. Have lots of ideas. Worry about now. It’s what you need to do now.
Someday, you’ll realize you’re more concerned about the client than your book. You’ll know what finding the idea feels like. Unifying won’t sound so lame and kumbaya-ish.
Nothing wrong with either column. Just know where you fall. And play your part as best you can.

It doesn’t have to be what you think it has to be.

I’m a fan of Stephan Sagmeister. I like his book. I like his TED talks. Maybe I’m suckered by the Viennese accent, but I think he does fascinating work.

Sagmeister was asked by Adobe to “make an interpretive graphic of their logo.” A lot of creatives would have come back to Adobe with just that. A different version of their logo. Sagmeister gave them a game show. The first episode is below. But you should view the entire experience here.

https://player.vimeo.com/video/87875328?color=ffffff&title=0&byline=0&portrait=0
Episode 1, Sagmeister X Walsh from Sagmeister & Walsh on Vimeo.

I work at The Richards Group. And though I’m not on this account, one of our most famous campaigns is the Chick-fil-A cows. This is one of the longest-running, most-awarded advertising campaigns around. And the Cows were completely off-brief. Not even close. The idea was at odds with the original strategy. It took guts to present something off-brief to the clients. And it took guts for the client to buy it. But it’s done pretty well for both parties.

We all approach assignments with pre-conceptions. And sometimes we’re able to overcome them. But even then, we still stay within expected parameters. Yes, we have clients to answer to. And yes, we have to be grown-ups and deliver what we promised. But don’t let that stop you from doing something more.

It doesn’t have to be what you think it has to be.

 

The 30 Most Creative Women In Advertising

How many amazing, world-class female creatives can you name? (Go ahead, post them in the comments section, I’m curious.) Not just good female creatives, but Cannes-jury-level female creatives. Off-hand, I can think of four or five. And a couple of them aren’t really in the business anymore. I know there are more. But unfortunately, they don’t come as easily to mind.

There are lots of women in advertising. But not on the creative side. At least not in my experience. If you’re a female writer or art director, I hope you can change that. I hope you can put your stamp on the industry. Here’s a list to get you inspired. It’s The 30 Most Creative Women In Advertising according to Business Insider.

Go through the list. See how many of these women you already know. You probably already know their work. See what they do, and how they do it. Then, go do it yourself.

Guys, you may want to pay attention, too.

Moving and Working Overseas

Having worked overseas, I get a lot of questions from students about how they can work abroad, too. I published pretty much all I know in this free ebook. But my experience is hardly comprehensive.

I recently traded emails with Tripp Jakovich, a creative working in Shanghai. I asked Tripp to share his advice on moving and working overseas. Here’s what he had to say:

 

Back in October I decided to take my chances abroad in hopes of starting a career amongst the heavy hitters of the advertising world. So I set my sights on Shanghai, China. It wasn’t a completely random decision. Having used to live in Beijing and a working knowledge of the Mandarin language, it seemed like a reasonable venture.
Within two weeks, not only did I meet a multitude of inspiring individuals, but I also landed a job as a copywriter at an international agency.
The ad industry flourishes in cities like Shanghai. With more brands establishing themselves in the Chinese market, it only makes sense that agencies are following suit and setting up shop. After months of learning about the opportunities to be had, I compiled a few reasons why and how one might start a career overseas (in advertising or otherwise).
1. The Whys
–       Go out, see the world and challenge yourself. Find out what you are really capable of. If you can make it on your own in a foreign country, you can likely be successful anywhere.
–       Creative curriculum is prominent in Western education. In my experience, it seems artistic minds are in short supply in developing countries. Their more basic needs drive educative focuses, so creative education isn’t really necessary. For cities with growing ad scenes, there is a huge demand for people who have learned to control and communicate the creative process.
–       You will get chances to prove yourself no matter how experienced you are. I have been given responsibilities and opportunities that I never would have had in the US because of my limited amount of time in the advertising field.
2. The Hows
–       As always, do your research. I used both WeChat as well as LinkedIn to search for people who were working at companies in which I was interested. By merely reaching out to them, I was able to get a number of different interviews. Don’t be afraid to ask.
–       Get lost and connect. Go explore the city and meet people along the way. Get lost and find your way back home by asking directions. Stop at a bar, buy someone a drink and pick his or her brain. If that person has any jobs leads or connections, your desire to learn will leave a good impression.
–       Take the plunge. Just go for it, no extensive plan needed. Don’t have a job lined up just yet? Hire a headhunter a few months before you leave.  Set up some interviews for when you arrive. Meet people and find work through new contacts.

–       Have faith that it will work out. It always does in the end, doesn’t it? You will find a way and when you do, your fight to success will make you mentally stronger and more confident in your abilities.

VCU Brandcenter launches Experience Design Track

Whenever I go to the VCU Brandcenter’s recruiter session, I get so inspired when I talk to the Creative Technologists. They make some crazy-cool stuff. Tangible, with real-world applications. To be honest, the thought has crossed my mind… “Dang, I should go back to school and learn to do what these cats are learning.”

So it’s exciting to hear the news that the CT track is evolving. It will now be called Experience Design. The curriculum concentrates on the conception, design, prototyping and building of brand experiences  – pushing the envelope on what is technologically possible.

From the Brandcenter:

“We are experience designers.  We dream things.  We make things.  We break things.  And then, we do it again.  We don’t define ourselves by the things that we make.  We do define ourselves by how those things make others think and feel and act. That is why, on any given day you might find us making any number of things:  ads, interfaces, apps, wearables, robots, flying machines, … whatever it takes.”

Last year’s students were in high demand. They will continue to be so as agencies and brands see their increased value. Students interned and were hired by companies like Coca-Cola, The Barbarian Group, BBH, The Martin Agency, AKQA, Deutsch LA, and R/GA, to name a few.

 The track is run by Andrew Levasseur. Here’s what he has to say about it.

If you’re interested, here’s some more info. This is without a doubt where the industry is headed. It’s not surprising to see the school one step ahead.

Cris Carter on Stuart Scott

You probably saw the news a couple weeks ago that Stuart Scott, ESPN sports anchor, passed away after a long battle with cancer. Many moving and inspirational things were said about Stuart. He was indeed one-of-a-kind. You could see in the genuine reactions how much respect and love his colleagues had for him. One reaction that really struck me was Cris Carter’s. I can’t figure out how to imbed the video, but you can see it here, at about 5:10.

“He was a role model for me. He talked, on Sportscenter, like me and my friends talked. He did it his way and was great at it.”

That, for me, summed up why Stuart Scott was so revolutionary. Before Sportscenter, sports news was kind of like the other news. The guys on Sportscenter talked about sports like fans, like a bunch of guys just hanging out watching a game. They changed the way sports were covered everywhere. Scott, in particular, brought a unique voice. He wove hip-hop references into his coverage and connected with young people everywhere–urban African-American kids because he sounded like them and young white kids because he just sounded cool. Someone could have–probably did at some point–tell him that he wasn’t talking like a serious sportscaster. But he did it his way. He believed in his voice. That’s what made him great.

The Accidental Creative by Todd Henry

I read a handful of books on creative thinking and management every year. Some are more helpful than others. The Accidental Creative by Todd Henry is one I found full of good advice from both perspectives. In a nutshell, Henry’s focus is on practices that help us make the most of our creative resources (time and energy). It also has some good advice about managing a creative environment. 
My review is below, along with some random notes (I post reviews of everything I read on my personal blog). 
Additionally, Henry runs The Accidental Creative podcast. And he has a new book out, Die Empty. I haven’t read that book. If anyone has, let me know what you think of it. The title’s a little cheesy, but he usually has smart stuff to say. 

Anyone who works in a creative industry knows the pressure that comes with having to solve creative problems against a deadline. Or being required to generate ideas every day within the constraints of budget, timing, politics and the chaos of the modern work environment. This is a book on applying rigor to the creative process. This is not meant to confine creativity—Henry cautions that structure should not be confused with formula. Formula is a prescriptive process. Structure is a scaffolding within which surprising creative solutions can still flourish. By understanding the rhythms of creativity, its inputs, its enemies and various tricks of the trade, one can learn to coax ideas out reliably. As Henry says, “people who succeed are often those who do the little, everyday things that other won’t.”
Henry identifies elements of the process for creative individuals as well creative teams, some of the barriers that can hinder creativity and gives some practical tips for working more productively as a creative person. I’ll include somewhat random notes and my favorite slide-worthy quotes about creativity below, but in general what I love about this book is that it articulates process problems I experience all the time, both at work and with my own projects, both as a creative and a creative manager. Identifying the barriers is often more helpful than the solutions because the barriers sometimes become so ingrained in the way we work that they become invisible. Shining a light on them, naming them and calling them out as problems is critical.
We all want a greater sense of purpose in our lives and in our work. We want to feel that our efforts contribute to a greater good, and that our personal goals align with our professional ambition. That all our motivations are in sync. What this book provides is a pragmatic and sometimes inspiration outline to better align our individual goals with our professional realities (and vice versa). It’s a handbook for becoming a more productive, more reliable, happier creative person.
NOTES:
Key elements of the creative process
Focus: Know your true objective. Articulate it. Be aligned with team members on what this is and constantly check back against it to maintain alignment.
Relationships: Identify and build the relationships that positively empower your process. My buddy Jon, when I asked him what advice he’d give a younger version of himself, called this one out. In a nutshell, he said that you only have so much time and energy—focus on the relationships that push you to grow and make you stretch.
Energy: Establish practices around energy management. You have to maintain a healthy, sustainable lifestyle in order to maintain a sustainable creative output.
“It’s all too easy to waste the energy we need for important creative objectives on unproductive or unfocused behaviors.” (e.g. constantly answering email) [p116] The opportunity cost of sitting in unproductive meetings or answering emails, dealing with politics and other BS has a huge opportunity cost. Which, smartly, Henry defines with this quote: “You can have anything you want, but you can’t have everything you want.” [p128]
“You are defined by what you say no to.” [p130]
Stimuli: Beauty in, beauty out. Austin Kleon says creative people are a mixtape of everything they consume. Be purposeful with what you put in. Henry suggests you have a defined “study plan” and figure out a way to keep what your study provokes—the ideas you come up with—organized. A notebook, note cards, whatever—but return to those notes from time to time. Study can be inspiration for ideas, but not if it’s quickly forgotten.
Hours: The tension between possibilities and pragmatics is the source of most of the burnout, frustration, and conflict within teams. “…it’s difficult to stay excited about the work when we feel that practical limitations will ultimately prevent us from really doing something we believe to be truly great.” [p23] Henry dedicates a chapter to the various types of tensions that can cause strife within a team, but they are all variations of possibilities vs pragmatics.
Assassins of Creativity (I love that name)
Dissonance/Unclear Objectives: Everyone not being on the same page with the “What” and, more importantly, the “Why?” The common purpose for existing as a team is…? If everyone can’t answer that, you got problems. If there are differing objectives, the boat will go in circles, maybe sink. The creative process, without proper management, will naturally trend toward entropy. In the generative portion of the creative process, this can be normal. But to be successful, the creative process also requires decisive pruning (convergent thinking). This is where a clear objective is critical—it is the guide to what is pruned away and what is left to flourish and given more resources. Lack of a clear goal invites chaos.
Unnecessary Complexity: Maybe Einstein said it best: “Make things as simple as possible, but no simpler.” Included in this section is a point that I think Henry glosses over too quickly, which is that complexity can lead to obfuscation of how an individual contribute to the overall mission of the organization. Daniel Pink, in his TED Talk, lists this understanding as one of the three key motivators in the workplace.
My favorite illustration of this point is a story. In 1962, JFK was touring NASA’s space center. He saw a janitor mopping the hallway and broke away from his group and walked over to the janitor. As the story goes, he said, “Hi, I’m Jack Kennedy. What do you do here?” The janitor replied, “I’m helping to put a man on the moon, Mr. President.” Whether or not that story is true, it’s a great illustration of an ideal. Every member of the team must know how their efforts contribute to the project, and their goals must be in line with the goals of the project and, ideally, the organization. It’s not only good for cohesion, it’s good for motivation.
Fear: Fear can take any number of forms, all of which cause hesitation or, worse, paralysis in the creative process. The creative process, specifically the generative part of it, relies on momentum and energy. Fear drags its big heavy feet in the mud. Henry describes the forms that fear can take, and he makes the point that while fear of failure certainly exists, fear of success can be even more stifling, especially to an individual. Comfort is the enemy of success, “the single biggest factor that causes creative to shrink back from opportunity.” [riCardo Crespo, p56]
“Fear of success is often more destructive than fear of failure because it’s masked in the guise of wisdom.” [p59]
Comparison: This is, I think, a specific manifestation of fear rooted in our insecurity that our final product won’t be good enough. We compare it to our past work, the expectations placed on us by our co-workers, benevolent (or malevolent) overlords, or to our industry heroes. We don’t see our work measuring up, and it plants a deadly seed of doubt. This can be crippling, particularly early in the process, when a germ of an idea will never live up to a fully realized, polished and celebrated project. There may be a time to compare our work to others, but early in the creative process is not that time.
“It’s great to stand on the shoulders of giants, but don’t let the giants sit on your shoulders.”
-Stephen Nachmanovitch.
Said less poetically, “there is a form of oppression that emerges when we allow the work of our influences or competitors to drive our creating in an unhealthy way.” [p62]
Miscellanea
Creative Rhythm: In order for us to create, we need to get into the zone, the right headspace, whatever you want to call it. We need to be able to focus. This is the most important element in our work—time to think—yet the modern work environment conspires to steal this time from us. Make sure you structure time into your day to actually think about things. Put it on the calendar if you need to. Good ideas rarely come about when ticking off menial tasks and answering email.
The Ping is technology and culture colliding. It is the constant sensation that an email has come through, a need to check in on social media, etc. It prevents us from truly being present in any task or situation. When I’m writing, I’ve anecdotally experienced that it takes me 15-20 minutes to get to anything good. So if I’m only spending 10 contiguous minutes on any task, I’m denying myself the ability to do my best work. Linda Scott calls the way we live and work “continuous partial attention.” Again, structure time into the day to do these things, or time when menial tasks and Facebook updates are off limits.
Assumptions: “We develop systems to replicate our past successes—or to prevent replicating our past failures—but all we really do is fossilize these processes and create rigidity in our life.” [p72] We make assumptions that we reinforce time and again, each time deeper ingraining those assumptions and making it more difficult to think in new ways. What are those assumptions? Stepping back and literally your assumptions can be one one way to break through creatively.
The Big Three. One suggestion Henry makes to help focus is to define “The Big Three.” Creative people tend to have many irons in the fire. It allows them to self-medicate with distraction. His suggestion is to pick three. Identify the three top priority projects (not tasks, projects) and focus on those. Dedicate time, bandwidth and any other resources to accomplishing those three projects. In addition to resource management, this sends a signal to your brain that these projects are the ones that are important. It relieves your mind of trying to solve 15 things at once. This is true in a collaborative environment as well.“One of the greatest gifts any creative leader can give to their team is to regularly refine focus by utilizing the practice of establishing the Big 3.” [p86]
Relationships. Henry dedicates a section to the importance of building and maintaining important, inspirational relationships. Meaningful connections, rather than maintaining relationships of necessity. Be structured with it—create a group that meets regularly to share ideas and provide motivation.
Unnecessary Creation. I engage in this quite a bit, personally. Take time to make things that don’t need to be made, that won’t be judged, that are important for no other reason than they are personally fulfilling. Creating work for ourselves, under no pressure from anyone else (or ourselves), with no expectations, is a great way to explore ideas and a pressure release valve—the urge to create has been temporarily relieved. And the feeling of “getting lost” in your work is, from my experience, therapeutic. It can be meditative, can lead to total immersion, what some refer to as “in the flow.”
Quotables:
“You can’t wait for inspiration. You have to go after it with a club.”
– Jack London
“An idea that is developed and put into action is more important than an idea that exists only as an idea.”
–Edward de Bono
“Few things in life are less efficient than a group of people trying to write a sentence.”                                                                      -Scott Adams (Dilbert)
“Creativity is a natural extension of our energy.”
–Earl Nightingale
At the beginning of every season, Vince Lombardi would give a talk to his players. He would start that pep talk by holding the ball in the air and saying to the professional football players around him: “Gentlemen, this is a football!”