Creating Creativity in a Conceptual World

I was sitting outside on a beautiful sunny afternoon eating lunch when my lunch partner, who also owns his own business, asked "Do you Love your job?"  My response was "Yes, I really Like what I do for a living"  He responds, "But, do you LOVE what you do?"  I was taken back.  What the hell kind of a question was that?  I was insulted.  Didn't he know how hard one works to be able to work for yourself?  

I've since been grateful for this experience because it allowed me to figure out why I didn't say "YES! I LOVE MY JOB".  It's this: Because IT'S A JOB. I am well aware that it is a privilege to get to do what I Enjoy doing for a living; however, the bottom line is - IT'S A JOB.  And since it is a Job, it requires Work!  And...some days I Love my work and other days I Like my Job...and, other days, I don't Like it or Love it.

My Job requires me to be creative.  As an Artist/Designer, companies and businesses rely on me and my business partners to come up with ideas (creative ideas - good ideas) that will provide their clients/guests/consumers with positive experiences.  Those ideas don't come about sitting behind the desk.  The most creative ideas come about while driving, walking the dog, sitting at a recital, knitting or simply taking a shower.  

WHY? 

Why do creative ideas come about while we are on autopilot?   

Because we are lousy at multitasking.  Our brains are biologically incapable of processing attention-rich inputs simultaneously. Studies show that a person who is interrupted takes 50 percent longer to accomplish a task.  Additionally, he or she makes up to 50% more errors.   John Medina explains what happens in our brain as we try to multitask.  Here is my version/summary: 

To paint a painting from a cold start, your blood quickly rushes to the anterior prefrontal cortex  to alert your brain that you are about to shift your attention.  Embedded in that alert is a two-part process that takes several tenths of a second:  1) the finding of neurons that will allow you to do the painting task.  2) encoding a command that will rouse the neurons so you begin to paint.  When the task is interrupted, by something as small as an email alert, your sensory systems pick up that alert.  And, because the rules for painting and the rules for responding to the email alert are different, your brain must disengage from the painting before it can process the email response. 

Worse yet, if your email becomes emotionally engaging - the emotional program (limbic system) is triggered and it can take up to 90 seconds for one of those programs to surge through our body and be completely flushed out of our blood stream.  And, you can remain in that state of emotion past the 90 seconds if you choose to let that circuit continue.  

The result: It becomes challenging to fully engage in a creative concept or problem solving process since your left-brain wants to dominate the tasks.  Once the right brain if allowed to take over and remain "at play" the process of creating becomes richer.

Image by Mercedes Benz: Left Brain- Right Brain

So when I go to work, my office needs to at times become a studio and be flexible to take on many different forms.  In order to create creativity I need to be in the Flow.  And to do that, I need to be in the Right frame of mind. 

"When we are creative, we are absorbed, fascinated, and involved in an interaction with our medium, which can be people as well as canvas and paint, the page or screen on which we write, the plants and earth that we garden, or the materials in the laboratory or studio with which we work.  In the creative encounter there is an absorbing, unpossessive love and a sense that we are engaged in soul work."  ~ Jean Shinoda Bolen, M.D.

While both hemispheres work intimately with one another when it comes to just about every motion we undertake, they also process information in uniquely different ways.  It is the left brain that is superb at predicting what we will think, how we will act, or what we will feel in the future - based upon our experiences.  In our right brains we understand metaphors, we dream, and we create new combinations of ideas. 

Since creativity is mostly a right-brain function, it is important to keep the left-brain out of the picture - by resisting distractions.  The left-brain is dominant and speedy and is very prone to rush in with words and symbols, and taking over jobs it is not good at.  It is why we are better at drawing images when they are turned upside down.  The left-brain becomes frustrated, bored and gives up and allows the right-brain a chance to take over. 

The drawings below were done by the same student with the left image 

drawn using the left-brain and the right image drawn using the right-brain: 

Drawing on the Right side of the Brain is a teaching method designed to access creativity.  Developed by Dr. Betty Edwards.  

The mastery in a craft or skill is spurred by the experience of Flow - that motivation to get better and better at something.  An artist (art-ist), one whose soul is expressed through the skills of ones craft, must want to be creative above all else.  If the artist in front of the canvas begins to wonder how much he will sell it for, or what the critics will think of it, he wont' be able to pursue original avenues.  "Creative achievements depend on single-minded immersion". New York Times, Dr. Csikszentmihalyi

 "When we put off being or completing a creative idea, we escape judgment and failure.  When we give a creative dream form, shape, color or design, it can travel without us to new lands.  It then has its own life and is able to speak for itself." SARK (Her 24-hour Inspiration Line: 415-546-3742).

The Autumn of Multitaskers by Walter Kirn
Illustration by: Istvan Banyai

I've learned that I'm able to strengthen my creativity by: 

Eliminating Distractions by creating an interruption-free zone.  This allows me to get fully engaged in my right-brain thinking. 

Taking Risks.  I was once devastated when I watched a teacher tear her watercolor painting from the board and stuff it into the sink and turn on the water.  I said, "It looked so nice and now you ruined it." She assured me that she didn't ruin it, but she did something she had never done before.  If you want something you've never had, you have to do something you've never done.

Taking Action and Finding Inspiration.  I used to wait for inspiration; however, it often works the other way around - first the action, then the inspiration.

My Job depends on being creative. And I must Work at getting into a creative mind - the right frame of mind.

Art With A Heart

YOUR VOICE IS YOUR SUPPORT

Go to www.CuriousAndCreative.com and tell us 

WHAT HAS CREATIVITY DONE FOR YOU? 

We will be producing a poster with comments to support 

awareness and funding for future programming.

Opening Event

September 23rd 6-8 pm 

Conrad Hotel 

50 West Washington Street

Indianapolis, Indiana

What would we be missing without creative minds?

Where would we be without creative minds?

Amid the harsh reality of education budget cuts in Indiana, arts programs are commonly the first programs reduced or removed in schools.  Alternative solutions are being created in some communities so that students can still have access to the arts.  And now, one Indianapolis-based group is not only keeping the arts alive for area students, but is working with a renowned five star hotel to allow them the ultimate showing of their work.

Over the last two years, over $300 million has been cut from education budgets in Indiana.  In many school corporations, programs such as fine arts, music, band and dance have been scaled back or cut entirely due to these cuts.  Many communities have relied on museums, churches, after-school programs, community centers or other volunteers for alternative outlets.  One example is Jenny Kiser, a teacher in Lewisville, Indiana, who sought out a grant to run an art program that applies art into other areas of academics.  A particular lesson may be utilizing Andy Warhol’s classic “soup cans” works to illustrate cylinders for mathematics.  Similar type programs have popped up all over the state to try to help with the lack of arts, but in other areas students are still being deprived.

Art with a Heart is a non-profit organization started in 2002 by an art teacher, Carol Conrad, and several of her supportive friends and co-workers.  Their dream and mission was to expose art to at-risk children who would not otherwise have the opportunity to do anything artistic.  Almost a decade later, the organization serves over 1,200 children each year through after-school programs, honors art classes, week-long summer camps and even Kindergarten classes.

“While being able to express themselves creatively is fun and rewarding to the kids,” explains Executive Director Andrew Lee, “most importantly, our programs also incorporate educational components such as problem solving and critical thinking skills.” 

Earlier this year, Lee made the acquaintance of two art consultants in the city, who were impressed with the organization and their mission.  GK Rowe is the creative director for Q7 Associates, an Indianapolis marketing and experience design firm.  Chris Mallon is the owner of Editions Limited, a well-renowned art gallery in Broad Ripple.  Both Mallon and Rowe have served as curators for the Conrad Hotel over the last two years, planning quarterly shows in The Alcove at the Conrad, a unique event space inside the hotel.

The Artist's Way: A Secret Skeptic

I recently had a conversation with a friend regarding quantum theory.  This is an area I have been fascinated with for about the past seven years and I started thinking about the concept as it relates to experience design and everyday life with a purpose.

Several years ago I skipped the book and watched the popular video "The Secret"  that gives advice on how to live your life to obtain happiness using the laws of attraction; or, the attraction factor.  After watching the video (there are two versions) I have to say, I'm a skeptic by nature and I consider myself a Secret Skeptic.   The boiled down concept suggests that "the way you think can manifest your realities"; which I think can be misleading.  It gives the impression that if you want a new red sports car all you have to do is vision yourself driving one and eventually the universe will deliver.  Story boarding and daily visual meditations can materialize a Ferrari with you behind the wheel.  I am however open to ideas that cause us to pause and evaluate how we think and act.

I think we can all agree that the start to a good day can begin with a hot cup of coffee or tea, yet that goodness can be spoiled quickly with the simplest of things such as a broken coffee maker.  Several years ago I read a book that changed my life for the better - The Artists Way by Julia Cameron.  It helped me understand the "enemy within" which is our core negative beliefs. 

"Most of the time when we are blocked in an area of our life; it is because we feel safer that way.  We may not be happy, but at least we know what we are - unhappy." The Artist Way by Julia Cameron

The movie "What the Bleep Do We Know" came out after I had read this book and tied together the concepts in the Artist Way with the science of quantum theory.  It offers a visual theory/experiment by explaining the process of how the molecular structure of water can be changed through the simplest form of energy - our thoughts.  Considering this is just a theory, doesn't it logically make for better practice to think positively about our day, life or situation?  A study from the Mayo Clinic in 2002 reported that people who expect misfortune and see the negative side of life don't live as long as those with a more optimistic view.  Additionally, positive thinkers had fewer problems at work and in other daily activities, less pain and fewer emotional problems, and increased energy.

I personally don't think the Universe gives a damn about us winning awards, driving shiny sports cars, or swimming in oversize homes.  I do think that we as human beings do care to live fulling and completely in our own skin doing the things that we are most passionate about with others.  I don't want to sound like a nay-sayer, but let's face it, doesn't some of the most challenging times in our lives seem to be the most important?   And, I think if we are living fully to our ability, a way is always found - I'll find the wheels I need to get the job done - it just might not come in the shinny red leather, new car smell I'd hoped for - and, I'll "learn" to be grateful ;) 

A supervisor of mine once told me, "There will come a time in our lives when someone will need our talents and skills as a means of their survival and it will be that way for everyone."  To me this means, be true to yourself and honor your true talents because someone's life, including your own, might depend on it.

Design by Committee

“A CAMEL IS A HORSE

  DESIGNED BY A

 COMMITTEE”   — Sir Alec Issigonis

Most people don’t like to work on projects that are Design by Committee.  The road ahead suddenly looks dim when there is a realization that a group of people will be convening to give their subjective opinions.  

How many times have designers dropped off a proposed plan that was well received in the initial introduction; however, received the call the next day with a critique that was made by a family member that isn’t even involved in the company project?   

From my personal experience, it has been and can be challenging working on Design by Committee projects that have little to no structure.  Having worked on multiple projects that incorporate creative thinking, creative solutions, organizational dynamics, communication skills, and artists from all mediums, I designed a system that is easy to use and works well for groups that are working together to develop creative solutions.

If you use this organizational tool, please give me feedback on ways to improve the process by commenting or emailing.

Another similar resource using a different approach to navigate a design-by-committee including the history and how and why they fail can be found at sixrevisions.com: How to Navigate Design by Committee by Andrew Follett.

      Identify the committee’s charge or objective.

It is critical to take the time to define the necessary objective that the committee members will be responsible for achieving.   The initial charge, responsibility or duty of the committee should be clearly defined and limited in scope.  If there are multiple objectives, they should be addressed separately so the committee can focus acutely on each initiative.   

Example 1:  Healthcare design committee is charged with the task of art selection for patient’s rooms.

Example 2: The committee is being charged with developing a mission statement.

Example 3:  The committee is charged with developing creative solutions to increase member donors.

“The brain constantly receives new inputs and needs to store some of them in the same head already occupied by previous experiences.  It makes sense of its world by trying to connect new information to previously encountered information…present knowledge can bleed into past memories and become intertwined with them as if they were encountered together.  The typical human brain can hold about seven pieces of information for less than 30 seconds!  If something does not happen in that short stretch of time, the information becomes lost.”  Brain Rules by John Medina   

      Identify all the end users: 

The committee should identify the end-users. Good behavioral design should be human-centered, focusing upon understanding and satisfying the needs of the people who actually use the product.  

 In Example 1 above, the primary end-user would obviously be the patient; however, patient’s family and friends along with clergy will also interact as an end-user.  Identify the characteristics of your end-user using statistics where possible such as demographics, psychographics and lifestyle segmentation.  

“Our broader culture tends to prize L-Directed Thinking more highly than its counterpart, taking this approach more seriously and viewing the alternative as useful but secondary.  But this is changing – and it will dramatically reshape our lives.  Left-brain-style thinking used to be the driver and right –brain-style thinking the passenger.  Now, R-Directed Thinking is suddenly grabbing the wheel, stepping on the gas, and determining where we’re going and how we’ll get there.”  A Whole New Mind by Daniel Pink.

      Identify the fundamental function:

What is the purpose of the project, product or services being designed?  Compile relevant information that will enhance the end-user experiences. 

In Example 1, it is the intention of the artwork to enhance a patient’s recovery process.  It may also need to meet the design standards of the hospital using Evidence-based art practices. 

“Many design professionals focus on appearance, in part because this is what can be appreciated from a distance and, of course, all that can be experience in advertising or marketing photograph or print illustration  Most designs fail because designers and engineers are often self-centered.  Because most people are unaware of their true needs, discovering them requires careful observations in their natural environment.  The trained observer can often spot difficulties and solutions that even the person experiencing them does not consciously recognize.” Emotional Design by Donald A. Norman  

 

 A university was expanding the campus with new facilities.  When it was time to decide on where to place the sidewalks, the university president was reluctant to make a decision at the frustration of many of the contractors.  After the buildings were built and the students had an opportunity to use the facilities – he allowed the sidewalks to be poured and instructed the contractors to follow the paths the students had already made on the property.  

 

      Identify current challenges and obstacles:

Ask why is there a need for a new system, product, program or service?  Identify the problems or challenges with the current situation or identify what is missing that needs designed.  A bucket list or punch-list of items will be helpful when reviewing alternative and creative solutions. 

Example 1, challenges and obstacles may include budget restraints along with intrinsic functions such as cleaning the artwork in a health care environment, securing the work so it is safe.  Additionally, the challenge may be in finding images that meet Evidence-based art practices.  

 

“When we analyze a big, complicated problem -- like malnutrition in Vietnam, or a married couple nearing divorce, or a business on the verge of bankruptcy -- we seek a solution that befits the scale of the problem. If the problem is a round hole with a 24-inch diameter, our brains will go looking for a 24-inch peg to fill it. So, naturally, the experts on malnutrition in Vietnam wanted to talk about poverty and education and sanitation systems.

Our focus, in times of change, goes instinctively to the problems at hand. What's broken and how do we fix it? This troubleshooting mind-set serves us well -- most of the time. If you run a nuclear power plant and your diagnostics turn up a disturbing signal once per month, you should most certainly obsess about it and fix the problem. And if your child brings home a report card with five As and one F, it makes sense to freak out about the F.

But in times of change, this mind-set will backfire. If we need to make major changes, then (by definition) we don't have a near-spotless report card. A lot of things are probably wrong. The "report card" for our diet, or our marriage, or our business, is full of Cs and Ds and Fs. So if you ask yourself, What's broken and how do I fix it?, you'll simply spin your wheels. You'll spend a lot of time agonizing over issues that are TBU.

When it's time to change, we must look for bright spots -- the first signs that things are working, the first precious As and Bs on our report card. We need to ask ourselves a question that sounds simple but is, in fact, deeply unnatural: What's working and how can we do more of it?”  Switch: Don’t Solve Problems—Copy Success by Dan and Chip Heath

 

      Enter a brainstorm session:

Creative types like to introduce their ideas.  Each member of the committee should have the opportunity to speak independently without interruption.  The facilitator should determine the length of time given to each member when they have the floor and discourage any cross-talking or “conversation”.   Interest should be given to provide a “safe” environment for members to expose radical ideas and concepts without negative feedback.  Every idea and concept should be validated and recorded. 

“Human decisions can be about outcomes as large as whether to take a job, or as small as what to have for dinner.  In such situations, our brains are called upon to integrate extremely disparate types of information.  Unfortunately, our brains are not naturally equipped to do a good job at integrating complex quantitative facts, probably because they evolved primarily to negotiate social situations and survive natural threats, not to do quantitative puzzles.  Classical economic reasoning assumes that individuals are able to evaluate costs and benefits rationally, but the brain’s methods of estimation are not good at making such valuations.  The payoffs of extremely low-probability events, such as winning the lottery, do not appear to be represented accurately in the brain.  If we don’t have any intuitive idea of what it means when a probability is below, say, one in one hundred, then the incredible unlikelihood of a lottery payout is not scored rationally.  Even though long-term losses are virtual certainty, just one anecdotal story of a big winner remains a motivating factor that is weighted out of all proportion to any reasonable expectations.  So people persist in buying lottery tickets, a fact exploited by financially strapped governments everywhere.”   Welcome to Your Brain by Sandra Aamodt

   

      Select the top optimal solution from the brainstorming list and evaluate the outcome through the Design by Committee process assessing the possibilities through steps 1 through 4.

The committee should collectively select the top optimal solutions or concepts generated from the brainstorming session.  Process the prospective solutions through the same process by evaluating the potential outcomes and how they measure up against the identified objectives as they relate to function and end-user needs.

Evidence-based Art in a Conceptual Age

Rolling through the hospital walls I looked down the hallway seeing my mother fade into the distance as I was surrounded by a group of strangers dressed like aliens gathered to take me away for "investigation".  I was 2 years old when I first went into the hospital for surgery.  The color of the medical teams scrubs and the terrazzo flooring and florescent lighting is permanently engraved into my memory.

As I grew up, I was dragged unwillingly to visit family members in the hospital.  My olfactory system can identify my not-so enjoyable experiences every time the electric doors of the hospital exhale its breath into my face.   My experiences with nursing homes were even more disturbing.  As elder family and friends required assistance in their daily tasks I struggled with keeping my past experiences suppressed and my connection with my loved ones faded.  At 99 years of age, my great grandmother gave up her license - and most of her life.  She used to drive regularly every other weekend to visit.  She left her single room apartment in the city and moved into a suburb nursing home.  At age 100, she had a roommate that talked erratically, took her things unknowingly and her environment was full of awkward noises and unpleasant smells.   At age 102, she passed away in a place where she was openly honest about saying "I don't like it here". 

Today, we are seeing signs of living in a Conceptual Age with more focus on creativity and empathy.  A time when doctors and physicians are taking acting classes to become more empathetic to enhance clinical care through deepening their connection to their patients.  A time when hotels are boasting about "Art Experiences" and health care providers are looking to the hospitality industry as a way to enhance a patience recover through good design practices.   

This brings me hope, since I will some day be among the many who will need a place to call home or a place where we can go to heal when we are in need of medical assistance.   It makes for good practice to give attention to our environment and understand how it can heal us, or hurt us. 

I recently completed an informative paper about Evidence-based Art through Q7 Associates that gives a collaborative overview of the concepts being discussed around art placement in health care facilities.  The concept is taking on more attention.  Although it may seem like a small part...if it can it help a patient s recovery process isn't it work it? 

Evidence-based Art paper.

National Culinary Arts Month: Fine Art of Experiencing Foods

As a kid growing up I survived on a steady diet of Pop-Tarts, Eggos, Hot Dogs, Spaghetti O's and PB&J's. As a result, I had a bad relationship with food. I waited way too long to eat, rarely would I drink water and frequently loaded up on sugar and caffeine. As I got older, things got worse. I once returned to my desk with my fourth Mountain Dew in one hand and a Honey Bun in the other before noon. This has gotten out of hand. This explains why I was irritable, cranky, frustrated and had frequent headaches. Things needed to change...and, they did.

When I moved out of my parents house I vowed to do two things. One, I would light the candles in my house. (We had candles, but only for looks - never for lighting?). Two, I would never let plastic containers touch my table. I grew up in a house where it was perfectly acceptable to put the plastic butter dish on the table. Mustard container, chip bag, the pot or pan itself with a serving spoon. Today, I now have an enjoyable relationship with my food experiences. Food in our house is a spiritual experience. I learned most of my tips from this book - A Home for the Soul.

Making a meal is the primary act of soulmaking. Few activities delight the soul with such directness and immediacy. Each task of cooking-selecting the ingredients, washing them, chopping for slicing, mixing, and cooking-nourishes a different facet of the soul. Selecting allows us to become aware of the flavors that will delight the soul. Each food contains more than vitamins and minerals; each offers particular qualities of consciousness to savor, such as the sweetness in a string bean, tartness in a raspberry, sourness in a lemon, earthiness in a potato. Washing the food begins with the transformation and recalls the ritual purification that begins many sacred observances. The cool water pouring from the kitchen faucet can be soothing and refreshing. While scrubbing the vegetables we can feel the beautiful forms of nature. Cutting, chopping, grating, and grinding are precise movements that allow the skillful interaction of mind and body. These actions break down the separateness and isolation of each ingredient, enabling it to blend with other foods and spices. Each slice reveals amazing colors and shapes. Combining the chopped food-stuffs into new forms by mixing the ingredients in blows, kneading bread dough, or stirring herbs into soups, we can experience the harmonious blending that begins an act of re-creation.

I took this book to heart and today, my experience with food is not only enjoyable, but an important part of my day that I look forward to each day - each meal. I have now gotten to where I can make a meal plan for the week - this took awhile. And, my trip to the grocery store now includes the iPod, grocery list and reusable bags. Once home, the transformation begins.

I have a couple of large plates and bowls that I keep available for fruits and vegetables. Herbs will stay fresh in water and they smell and look great on the table.

The food preparation is important for me. I like to get all of my ingredients, utensils, pots and pans together before I start to cut, chop or slice anything. This includes thinking about what types of plates I want to use - mix matched or a set, napkins and different ways to fold them, glasses etc. Keep in mind, none of this is formal.

I'll select some music for the evening - now is a good time for a glass of wine.

And, let the rituals begin...

I eat off of an artist's table. My first dinning room table was purchased from an antique as a fixer-upper that never really got the fixer-upper; however, that table hosted many wonderful memories. It held sturdy over tearful moments drinking coffee with friends, served up birthday cake, held a hand of card games, dressed up for more formal affairs and expanded to make room for one more welcome guest. My sister-in-law now has this table. We gave it to her when my partner found a steal on a Ralph Lauren table that seats 15+. Although excited about the find, it didn't suit our house so we gave it to the parents - who, in turn gave us their table. This turned out to be the better deal. My partner's father is an artist and he used this table as he painted in the kitchen. Although he has several studio spaces, this seemed to be the most creative space. This table has paint splotches all over - and, we love it. It serves our daily meals with pride and we wouldn't have it any other way.

Our Artist's Table - paint splotches and all!

Our table is deserving of my time. It is where memories our made and shared. It is where we nourish our bodies and come together to share our days. I take pleasure in setting the table and I do it with pride. I let nothing plastic touch that table. Potato chips are great - in a bowl. Salt dishes and pepper mills look great on the table and are fun to use. Water pitchers are handy to have, are appealing and can be an experience to use.

I might mention that most of the dishes I own are not of much worth. But, they are of great value to me - chips and all. It's what gives it character.

This flower printed plate was a given to me as a gift and it's the only one I own!

Sitting down at the table is now an enjoyable and replenishing experience for me. I happily reclaim this moment each time I sit down at the table and light the candle before dinner.

At Q7 Associates, we are all about experiences not only in our designs, but in how we live our lives.  I'm pleased to share such experiences with my colleagues.   If you are a foody, please check out Q7 Associates', Tiffany Garritano's blog.

Experience Design: A Return on Creativity

I'm preparing for a second meeting this week where I have been asked to explain our design process as it relates to Experience Design. This is important considering the current economic situation, companies are concerned about their ROI. However, more importantly the question becomes what is your [ROC]Return on Creativity when it comes to investing in your company's marketing campaigns?

We are now living in a Conceptual Age, first explained by Alen Greenspan as "The growth of the conceptual component of output has brought with it accelerating demands for workers who are equipped not simply with technical know-how, but with the ability to create, analyze, and transform information and to interact effectively with others." New findings in the neuro-movement such as neuroaesthetics and neuromarketing has confirmed we are living in the Conceptual Age of the 21st century. We now have quantitative data through science that can enhance design and marketing strategies; additionally, it is becoming obvious that "There is a mismatch between what science knows and what business does" Daniel Pink.

GET THE MESSAGE
We know that we only perceive a fraction of what is going on in the world from studies done related to "change-blindess". Additionally, a recent report by NeuroFocus explains, "We have found that 75% of all content - not just advertisements - is not neurologically optimal". Too much information can be sensory overload and the information is filtered. So, best measures for getting the message is to keep it simple and stand out.

SET THE STAGE
A standard formula for information processing can be 3 units of 7 (such as your phone number or social security no.) for retaining information in short-term memory. Studies have indicated that a clear and simple message generates more engagement by end-users and that an end-users "attention and retention is strongest at the beginning and end of a message". (Social-Brain.com) The Left-brain keeps us on task and helps us move about the world swiftly and it takes some shortcuts to get us where we need to go. John Medina, author of Brain Rules, reports, "Vision trumps all other senses. Visual processing doesn't just assist in the perception of our world. It dominates the perception of our world." Having a better understanding about how the brain processes information can enhance the desired response. Simply placing text or content on the right side of an image is one effective way to simplify the processing of information since the Left-brain processes analytical information while the Right-brain is best at interpreting images.

GET ENGAGED
Creativity is not always synonymous with effectiveness since an emotional side of a design may be more critical to a product's success than its practical elements. it is better to understand how your message will be perceived. How will your end-user interact with your message? Telling a story is the best way to get your end-user engaged in your product/message/design. You don't need to write a lengthy story, but develop the visual and contextual information so that it resonates emotionally with your end-user. A person looking for a drill bit isn't really looking for a drill bit, they're looking for a hole.

CREATE AN EXPERIENCE
How will your design be used, handled or experienced? Is your design universal? Understanding how your design will translate into function is a key to the end-user's experience. An early example comes from the early 1950's when the Betty Crocker Company introduced it's ready-made-cake mix. Just add water. The product failed when it first hit the supermarket shelves. A study conducted by market researchers found that "The customer felt no sense of accomplishment, no involvement with the product. It made her feel useless, especially if somewhere her aproned mom was still whipping up cakes from scratch" (Donald A. Norman, Emotional Design). The solution to the problem was simple - have the cook add an egg to the mix and "thereby putting pride back into the activity"