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Creativity

The Paradox of Creativity

Creativity doesn’t blossom when it’s a free for all. Creativity needs constraints.

Educational systems tend to place an emphasis on a way of doing things, rather than giving the tools necessary to complete the task. I remember several arguments with my high school English teachers. They would insist on a particular interpretation of a passage—usually heavily influenced by Freudian interpretations that reduced everything to a narrow range of possible meanings.

In retrospect, it’s probably not surprising. My English teachers were educated in an age where deriving meaning from text and subtext was heavily influenced by Freud. Their teachers probably gave them the standard readings and expected them to repeat them on the tests. They weren’t encouraged to find their own interpretations, so how could we expect them to act any different towards us?

In biology, at a conceptually opposite end of the education spectrum, the experience is generally no different. Most people get a job in a lab, then pursue PhD research along the same lines and end up carrying the mantle of whatever researcher they apprenticed under. It’s not surprising that the majority of biologists are researching some protein eight steps down a cascade chain, waiting for the next new thing to open up in their field so they can jump on discovering protein four of that cascade. Generally, there is a lack of big ideas.

The Apple Tree Problem

Imagine a tree on a hill accompanied by a group of people who have no knowledge of botany or horticulture; they can only describe what they see. A person observing the tree from a distance will be able to say it looks like a tree of such and such a height, the leaves are green, and the trunk is brown. A person a bit farther up the hill will say well a certain section of the leaves are brown, and the trunk has ridges. As people get closer and closer to the tree they will only be able to better describe things they already know about. But no matter how close they get, they can’t get any truly new information about the tree. They’re stuck in a single way of looking at the tree: get closer and closer until you can describe it better. This is pretty good analogy of the way science generally operates.

Now imagine a new person looks at the tree, but instead of getting closer, they step around the other side. What do they see? A red, spherical object. This is something new that no one could describe before and never would if they never bothered to look at the other side of the tree. The person is still solving the same problem (the same box)—describing the tree—but they’re taking on a differerent perspective, leading to new solutions.

This is the way most creativity works: making associations to create ideas that weren’t there before. In this case it’s applying “walk around the object” to a domain where people are only using “walk toward the object.”

In Search of Big Ideas

At the other end of the spectrum is “out-of-the-box” thinking. This was championed in many circles, especially business ones, as a way to unleash creative impulses and come up with the next big thing. When you think out of the box, anything goes.

But, the truth is that it’s as ineffective in generating great solutions as is giving people a single set of tools to solve problems. When anything goes, it tends to block people from generating any ideas as they don’t know in which way they should start thinking about a problem.

Creativity doesn’t blossom when it’s a free for all. Creativity needs constraints.

The Creative Paradox

Creativity is a paradox: it requires an odd blend of open idea generation but with the restriction to a specific problem with specific constraints. It requires new ways of seeing the same problem.

Great Cult Brands are exemplars of creativity, giving us new ways to think about old businesses: Harley-Davidson gave us new ways to think about motorcycles, Apple about computers, and Oprah about talk shows. They moved beyond business as usual and industry status quo, and in doing so, they entered into their customers’ hearts.

What sort of boxes are you using in your organization? Are they turn-by-turn roadmaps or do they allow people to map their own course to the destination, with room for detours on the way?

5 Ways to Cultivate a Collaborative Organization

Each employee has knowledge and information that can serve the organization.

Management guru Peter Drucker coined the term “knowledge worker” in 1959.1

He differentiated knowledge workers from manual workers, forecasting that new industries will employ mostly the former.

Late in his life, Drucker wrote, “The most important contribution management needs to make in the 21st century is similarly to increase the productivity of KNOWLEDGE WORK and the KNOWLEDGE WORKER.”2

Knowledge work emphasizes the need to solve an ever-changing host of problems. This non-routine, problem-solving ability requires an individual to be a creative thinker who can assimilate new information and share it with others.

Today, every employee can and should be perceived as a knowledge worker—part of the creative class. Each employee has knowledge and information that can serve the organization. Everyone has ideas that can uplift the whole.

A Shift Toward Collaborative Cultures

The traditional organizational structure with clearly defined positions and a hierarchy of command-and-control, however, inhibits the free exchange of ideas. Here, some individuals are paid to think while everyone else is paid to carry out orders.

Without broad input—without the sharing of knowledge among the collective—decisions are made in a vacuum. And, as a consequence, value creation suffers.

The goal, then, is to create a collaborative culture that promotes the sharing of knowledge. Here, information flows in multiple directions simultaneously and all employees are skilled at creating, acquiring, and transferring knowledge.

An organization that is successful in accomplishing this difficult feat will have an unprecedented edge over the competition.

5 Ways to Promote Learning in Your Organization

To accomplish this goal, leaders must establish and foster the conditions necessary for supporting their knowledge workers and become learning organizations.

Here are some of the necessary conditions for an environment where knowledge workers thrive:

1. Promote Employee Autonomy

Self-determination theory highlights that human beings are driven to be autonomous. This means fostering an environment where employees are self-directed and self-managed.

The responsibility for productivity must fall on the knowledge worker. As Drucker suggests, “Knowledge workers have to manage themselves. They have to have autonomy.”3

2. Commit to Constant Learning and Improvement

Knowledge is perishable. “If knowledge isn’t challenged to grow,” Drucker explains, “it disappears fast.”4 Unlimited information access and full transparency are necessary but insufficient. Knowledge workers must also be empowered to leverage the free exchange of information, transforming it into higher understanding and the creation of new knowledge.  

How can your organization design an environment that promotes new knowledge creation and collaboration where employees challenge each other (in nonconfrontational ways) to build on each other’s ideas?

3. Establish Psychological Safety

A consistent theme in humanistic psychology is that positive mental health and creativity are cultivated in environments where individuals feel psychologically safe. When employees fear being cut down or marginalized for disagreeing with a colleague or a manager, learning stops. When people are afraid to ask naive questions or own up to their mistakes, they shut down.

Corporate cultures that unconsciously promote a fear of failure can not develop a learning organization. Individuals must feel comfortable expressing their thoughts and feelings about their work. (Tools like the Six Thinking Hats Method can be helpful in this regard.)

Addressing this issue is no small task. Fear of conflict runs rampant in most organizations. The importance of building trust among employees and cultivating emotional intelligence are prerequisites that can’t be overstated.

4. Celebrate a Beginner’s Mind

This concept from Zen philosophy reminds us to adopt an attitude of openness to new ideas. Leaving preconceived notions and beliefs at the door when you enter into a dialogue or brainstorm with colleagues, helps individuals seek out new ideas and novel approaches to problems.

When employees are encouraged to adopt a beginner’s mind, they are more prone to explore the unknown and take risks.

5. Enable Time for Reflection

Learning and change can only occur when your people are given time to reflect. They need to have the time freedom to experiment and tinker around with new ideas and perspectives.

In a society that obsessively promotes “bigger, faster, better,” such reflective time is rarely valued. Instead, employees are overwhelmed or overstressed by deadlines and other pressures, which impairs both analytical and creative thinking. As a consequence, opportunities are missed, problems are misdiagnosed, and learning is compromised.

The 21st Century Learning Organization

You have an organization of knowledge workers. Taking steps to promote a learning organization will allow your company’s greatest asset—your people—to shine.

Today, it’s an imperative initiative for any business leader committed to competing and thriving in the years ahead.

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The Ultimate Guide to Creating a Company Vision

a vision isn’t just about building a productive organization. A vision is the first step in building brands with diehard loyalty.

A vision gives you clarity on what you should and shouldn’t do. It forces you to stand for something instead of being for everyone. And, it gives you the confidence to make those decisions: when you have a vision you believe in, you’ll have the emotional wherewithal to fight for what’s best for the organization over the long-term, not just today. 

Having a vision isn’t just about trying to achieve the vision. It’s about turning your company into the type of organization that has the potential to achieve the vision. 

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Reward The Creative Process, Not The Outcome

To create a company where creativity is driving force, you have to reward the creative process--the behavior--not the outcome.

Yet everyone should be cautious not to make something impossible that nature would not allow, unless it would be that one wanted to make a dream work, in which case one may mix together every kind of creature.Albrecht Dürer, Four Books on Proportion1

When people think about creativity, they typically think of it in terms of three Ps: Person, Problem, and Product. A person solves a problem in a new way and creates a new product.

The problem with thinking about creativity in this way is that it ignores the fourth and most important P: the Process.

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Fail Forward

When you’re creating innovations, you’re likely not going to get it exactly right the first time. You’re going to fail. 

Failure’s relation to producing creative results has to do with how people perceive failure. It is related to what psychologists call goal orientation. Goal orientation operates at the individual level and is driven by both individual and environmental factors. Continue Reading

Constant Learning Increases Creativity

Innovation is usually the result of connections of past experience. But if you have the same experiences as everybody else, you’re unlikely to look in a different direction.Steve Jobs in Roger von Oech’s A Whack on the Side of the Head

Highly creative people don’t have special abilities. But, many of them naturally do what others have to train to do.

And, training to be creative begins with constant learning. 

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Sending Love – Designing a Stamp For The U.S. Postal Service

 By: Greg Breeding – President & Creative Director at Journey Group.

I’ve served as an art director for the U.S. Postal Service for seven years. It’s a curious and delightful job and one that has brought me a great deal of creative fulfillment throughout my tenure. The process is quite fascinating, involving not only folks from the Postal Service but also American citizens who’ve been selected to help decide appropriate stamp subjects. Yet, as an art director, one of the most rewarding aspects of my work is developing relationships with the artists themselves.

The stamps I art direct — such as Johnny Cash or Batman — are typically assigned to me, but every now and then, I get to pitch my own ideas. There’s an open call to propose topics for ongoing series of stamps, such as those that feature the American flag or celebrate holidays or love. While there’s no shortage of creative ideas floating around my work/life atmosphere, as a designer and as president at Journey Group, it’s knowing when to capture the right idea that’s key — and then where to find the perfect collaborator.

Part I: Art directing and designing a stamp

The Love series started in 1973 with a stamp by pop artist Robert Indiana, and stamps from the series remain a favorite choice for those mailing valentines, wedding invitations or love letters. As an art director, Love stamps present an engaging creative challenge. You want to pitch something fresh and new, but the subject also needs to appeal to a broad audience — and reference the soaring emotion of love without being too saccharine or melodramatic.

As I was pondering ideas I had banked away, my colleague, Mike Ryan, creative director at Journey Group, campaigned to have Anna Bond design a stamp.

Anna Bond, for those who may not recognize her name, is the creative genius behind the wildly successful Rifle Paper Co. I first met Anna about 10 years ago when she was just beginning her design career and have kept up a long-distance friendship with her since then.

“Since I was little, it’s been my dream to design a stamp. I’ve always said that’s one of my top-five career goals.” — Anna Bond, Rifle Paper Co.

I, along with the rest of the world, love her vintage-inspired illustrations and aesthetic sensibilities. Upon hearing Mike’s suggestion, I knew she’d be the perfect illustrator for a Love stamp, and I had a hunch she would be up for the challenge. In 2015, Journey Group interviewed Anna for a feature story for the Postal Service website Beyond the Perf.

When Anna was 8 years old, she was given her grandfather’s stamp collection in a binder.

“I didn’t realize it, but looking back, it’s obvious that I was drawn to the graphic design of stamps,” she said. “Since I was little, it’s been my dream to design a stamp. I’ve always said that’s one of my top-five career goals.”

With the help of the team at Journey Group, I was excited to help make that dream come true.

The work

I struck up a conversation with Anna at a stamp show in New York, and we met for coffee to brainstorm about the future stamp. She was immediately on board, and I was delighted about the collaboration that was taking shape.

A floral design felt like both the obvious and right choice for this stamp, based on the series and on Anna’s aesthetic. I am also a sucker for hand-lettering, and I have always loved Anna’s loose, cheerful script on her stationery. We agreed that the design should be in the middle of the plate, with the word “Love” written in her script and surrounded by her signature flowers.

Anna began to work her magic, and in short order, we had two leading designs, one version on a dark green background and one on a white background. The stamp with the white background was ultimately chosen as the final design.

The result

The Love Flourishes stamp, which released on January 18, promises to be a thrilling success.

Anna and I were present for the First Day of Issue ceremony in Love, Arizona, and I was delighted to receive affirmation that Anna was the right choice. The audience was composed of many stamp collectors, as well as many fans of Anna’s work.

Part II: Translating stamp art

We were thrilled with the final stamp, and we were equally excited to extend the stamp’s success to another product that we work on at Journey Group: the Postal Service magazine USA Philatelic. For the spring 2018 issue, we knew that the Love Flourishes stamp would make a gorgeous and eye-catching cover.

Journey Group’s art director Ashley Walton and production designer Brittany Fan were enlisted to translate the stamp art to the magazine. Inspired by the stamp artwork, Ashley wanted to make the two-dimensional design come alive by using actual flowers and paper cut-outs for the cover.

With this concept in mind, Ashley and Brittany trekked to Washington, DC, to hunt for flowers at wholesale markets. A particular challenge was finding flowers with the right color, texture and feeling that would evoke Anna’s illustration — without knowing the exact names of the seemingly countless floral varieties.

Arriving with their arms full of flowers, Ashley and Brittany worked with photographer Len Rizzi to prepare the shoot in his studio, including laying out the design with hand-cut paper shapes and type, styling the flowers and mounting them in foam core, and managing consistent shadows, despite the differing depths of the material.

The team wanted to conjure up a cover that was soft, romantic and delicate and yet would stand up well next to Anna’s original artwork.

From start to finish, we were delighted with how the partnership with Anna Bond played out. As a person who works intimately with stamps, it was a pleasure to work with someone who still loves using stamps and sending mail through the post.

“It’s so special to receive a letter in the mail these days,” Anna said. “I’m used to getting mail that I don’t want to open, so I think a letter automatically makes you feel good because you know someone put effort into it. It shows they care.”

Anna’s effort and care with this design emphasizes the key to any successful creative collaboration. As an art director, what I’ve learned is that you give someone like Anna basic parameters and boundaries, and then you let her go. That’s when it goes well. The hardest and best thing I do as an art director is select the right artist. If I do that, the work flows beautifully. Choosing Anna for this project was the right call for the right time, and I loved helping her work find its way onto a stamp.

About the Author of this Post:

For Greg Breeding, strong communication—visual or spoken—is always about clarity. A graphic designer at heart and by trade, Greg’s decidedly Swiss perspective is shaped by years designing magazines, art-directing postage stamps for the U.S. Postal Service and taking an annual pilgrimage to (where else?) Switzerland to study the craft. Since co-founding Journey Group in 1992, he’s brought strong design thinking to many client relationships, building rapport through genuine interest, well-told stories and a subtle Southern drawl.

Two Keys To Making Brainstorming Work

Brainstorming is about producing ideas. It's not about picking a solution.

If you’re like most businesspeople, you’ve entered problem-solving meetings excited to devise a solution, but then left feeling like you wasted valuable time.

Often, the solution is similar to something already in place or it was brought up early in the meeting. It feels like the meeting could have been more easily accomplished in an email that didn’t take you away from your desk.

With results like these, it’s easy to question the value of brainstorming. And, it’s understandable why most businesses don’t devote time to regular brainstorming sessions.

What is Brainstorming Really?

Most “brainstorming” meetings look something like this: A bunch of people get in a room and suggest solutions to a problem. People comment on the ideas as they come up. Eventually, one mediocre idea triumphs.

But, this isn’t brainstorming.

Brainstorming, as conceived by advertising executive Alex Osborn, consists of coming up with as many ideas as possible (wild or tame), without passing any judgment.

Brainstorming is about producing ideas, not picking a solution.

This why most problem-solving meetings produce poor solutions: they fail to set aside time to focus solely on generating ideas.

Ideation + Evaluation = Less Ideas

By not focusing solely on idea generation, what ends up happening is that the meetings become a free-for-all with anyone being able to say what they want, whenever they want.

It may seem like this the best way to encourage people to think freely and create a steady flow of ideas. But, it does the opposite: it causes people to fixate on ideas and have their thoughts drift toward existing solutions.

As creativity researcher Patricia D. Stokes observes, “Free to do anything, most of us do what’s worked best, what succeeded the most often in the past.”1

Additionally, allowing people to say anything they want combines the processes of ideation and evaluation. Ideation activates a different part of the brain than evaluation. And, by switching back and forth between these two modes of thinking, you impede the ability of either function to work at its maximum level. In short,  switching between ideation and evaluation hinders the generation of ideas.

These sessions end up resulting in a battle over a narrow range of ideas. And, that isn’t brainstorming.

Evaluating solutions should come after the brainstorm has ended, not as part of the brainstorming session.

Creating an Environment of Openness

The brainstorm leader’s goal is to make sure that communication isn’t forced in one particular direction. The leader should help keep everyone on track and set an open, nonjudgmental tone for the session.

The leader must make it clear that there will be no criticism of ideas. The goal is to get as much feedback, ideation, and data out of the group as possible—not to discuss a specific solution.

This method is contrary to the way most people approach group brainstorming. The goal is not to come into the meeting with an idea in mind and then try to win people over to your way of thinking.

Brainstorming isn’t an essay contest or a debate. Evaluating and deciding on a solution comes later. It is essential that the leader makes this distinction clear.

Focus exclusively on generating ideas without judgment. This forces people into being more open and receptive, creating optimal conditions for idea generation.

Facilitating the Art of Listening

The most important factor in producing ideas in a group brainstorm is listening to other people’s ideas, without constantly focusing your attention on the solution you want to champion.

Hearing is a passive act of sensing sound. Listening is a conscious, active process that requires you to give your full attention to the person speaking.

Creating an attitude of openness by not allowing evaluation in the brainstorm makes it easier for people to listen. It’s harder to fixate on a solution when there’s no chance that a decision will be made. The natural impulse to prove a solution becomes minimized.

The creative process is the result of linking ideas to existing memories or ideas and creating new combinations. By listening to others during a meeting, you have the opportunity to receive new ideas that can combine with your own ideas and memories to create more new ideas.

Ideas propagate ideas.

Generating as many ideas as possible is important, as there’s a direct correlation between the quantity and quality of ideas: the more ideas generated, the greater the quality.

Like Ray Dolby, creator of the Dolby NR noise reduction system, advised, “You have to have the will not to jump at the first solution, because a really elegant solution might be right around the corner.”2

Two Keys to Making Your Brainstorming Sessions Work

Establishing an environment of openness and listening to others creates the best conditions for brainstorming.

Remember:

  1. Create an environment of openness. Only produce ideas; don’t evaluate them.
  2. Actively listen. Pay attention to what others say. Ideas propagate ideas.

Focusing on openness and listening will vastly improve your ability to generate original and valuable ideas.

Everyone I’ve taught these keys to—whether in my creativity workshop or when I introduce them before leading meetings—has found them to be valuable in their own work. I hope you do too.

_______________________

Why You Should Play at Work

 

In a society that values goals and results, it’s easy to see why play isn’t valued by adults.

Play is a state more than it is a thing. Play involves doing something enjoyable for its own sake. There is no goal aside from enjoying the experience.

But, play is not a trivial activity: play makes people happier, it helps develop empathy, it reduces stress, and it strengthens resolve.
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