admin – Katja Maas Multidisciplinary Design Services http://designagility.us Maas means more Tue, 14 Jan 2020 00:56:18 +0000 en hourly 1 https://wordpress.org/?v=5.2.4 https://designagility.us/wp-content/uploads/2018/10/cropped-Maas-means-more-32x32.png admin – Katja Maas Multidisciplinary Design Services http://designagility.us 32 32 Copyright Infringement or Death? Part One http://designagility.us/the-problem/copyright-infringement-or-death-part-one/ http://designagility.us/the-problem/copyright-infringement-or-death-part-one/#respond Mon, 13 Jan 2020 20:47:10 +0000 https://designagility.us/?p=2033 Copyright Infringement or Death? Part One I just stumbled on an article about music copyright infringement and wondered whether this law suit will result in the death of something important... Something that can change the world, transform understanding, bring people together and inspire generations? Could this bring about the death of music? Am I right [...]

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Part One

I just stumbled on an article about music copyright infringement and wondered whether this law suit will result in the death of something important… Something that can change the world, transform understanding, bring people together and inspire generations? Could this bring about the death of music? Am I right to be worried?

When a “Vibe” becomes the basis for infringement, the song title Blurred Lines is ridiculously ironic

The Rolling Stone article I am referring to (found here) tells the story of a 2013 song entitled “Blurred Lines” by Robin Thicke and Pharrell Williams. Following its success, the artists were accused of infringing the copyright of a Marvin Gaye song called “Got to Give it Up” which they openly talked about as having inspired them to write the song.

In the five years since a court ruled that “Blurred Lines” infringed on Marvin Gaye’s 1977 “Got to Give It Up,” demanding that Thicke and Williams fork over $5 million to the Gaye estate for straying too close to the older song’s “vibe,” the once-sleepy realm of music copyright law has turned into a minefield.

What does this mean going forward? Apart form the obvious massive surge in law suits and equally massive win for insurance companies… it could mark the end of music – couldn’t it? The Guardian, reporting on the outcome of the appeal, quoted the two-to-one outnumbered appellate judge, Jacqueline Nguyen…

Jacqueline Nguyen, argued that the songs “differed in melody, harmony and rhythm” and said the verdict “strikes a devastating blow to future musicians and composers everywhere”.

The Guardian, (article)

A devastating blow… A blow that devastates… To devastate – to destroy or ruin. “The city was devastated by a huge earthquake” Perhaps the future, the dictionary example of the word in use will read “Music was devastated by the Blurred Lines decision.”

Copyright Before

Copyright used to be about protecting lyrics and melody against plagiarism and exploitation. Infringement meant that if you deliberately concealed copying a lyric or a melody you found yourself in trouble – fair and square. Sound reasonable? Yes, I think we’d agree.

Copyright Now

Far more abstract qualities of rhythm, tempo, and even the general feel of a song are also eligible for protection — and thus that a song can be sued for feeling like an earlier one.

I question “eligible for protection.” Is this fair and square? How can this be right? This is no longer about plagiarism. How can courts justify putting influence and other abstract qualities of art (which in itself is inherently emotional, poetic and ambiguous) like mood or feeling on trial before a jury. It boggles the mind. I have always believed that opinion and criticism was the domain of critics not the courts. Am I that naiive?

Lets not forget the purpose of a legal system in society… Quick search on Google reveals:

Laws provide a framework and rules to help resolve disputes between individuals. Laws create a system where individuals can bring their disputes before an impartial fact-finder, such as a judge or jury.

A framework – something strong and supportive. Rules  – a set of explicit or understood regulations or principles. Impartial – unbiased, fair and just. A fact – something known to be true.

What constitutes “straying”? How close is “too close”? Exactly what defines a “vibe” and which “vibe” are we focusing on? How “impartial” must you be to answer these questions? What vague ideas rather than “facts” are you seeking? Blurred Lines indeed!

How can this be “law” and not a waste of the court’s time and the destruction of one of society’s cornerstones and humankind’s great differentiator (creativity/artistic expression)? At this rate Marvin Gaye’s name will become the scorn of music, composers and musicians – hardly a legacy the artist deserves. No composer can compose or songwriter write because nothing is original and the building blocks are now incendiary. Personally, I’m leaning towards thinking that the insurance companies are in serious financial trouble and looking for the easiest target to drain wealth from to stall going under. Errors and omissions insurance…

“can run from $20,000 to $250,000 a year” Joe Charles, senior vice president at insurance provider Alliant Insurance Services

What will the outcome be?

READ Part Two and find out

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]]> http://designagility.us/the-problem/copyright-infringement-or-death-part-one/feed/ 0 Copyright infringement or death? Part Two http://designagility.us/the-problem/copyright-infringement-or-death-part-two/ http://designagility.us/the-problem/copyright-infringement-or-death-part-two/#respond Mon, 13 Jan 2020 20:46:49 +0000 https://designagility.us/?p=2012 Copyright Infringement or Death? Part Two Try to imagine a world where no artist dared to be influenced or inspired by another artist that came before them? Try to picture what the history of art would look like if DaVinci's work had never been created. Or Picasso's for that matter. In music, there would be [...]

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]]> Copyright Infringement or Death?

Part Two

Try to imagine a world where no artist dared to be influenced or inspired by another artist that came before them? Try to picture what the history of art would look like if DaVinci’s work had never been created. Or Picasso’s for that matter. In music, there would be no Beethoven because there was no Mozart. There would be no Coldplay without Travis. What shallow, narrow-minded rubbish would constitute music or art in such a sad and fearful world? Nothing could ever come before… There would be no springboard for the new. Art and music would be perpetually dysfunctional wheels reinvented without context.

Who would be the next target for litigation with these new abstract parameters? Actors perhaps? I’m sure there is equal scope there – indeed the definition of “acting” pretty much ensures there is. Painters? What about use of colors, mood, feeling and subject matter…. hmmmm “red” “blue”  “melancholy” “abstract” “male” “female”  “sunflower” yup – endless scope for repetition which means endless scope for “infringement”. Designers? Filmmakers? No creative individual will be safe unless these new blurred abstract concepts are returned to rational rules.

You must be wondering if there is a justification for all this fuss. I’m putting the audio of both tracks from the case that changed the game down below so you can listen for yourself.

   

Personally, I agree with the outnumbered appellate judge, Jacqueline Nguyen and don’t think they are the same. I do however accept that they have both used a distinctive sounding instrument (in the percussion – the tin cow bell) and thus sound somewhat similar. But “similar” is not “the same.” And “similar” in human evolution as in art is about change and progress. Necessary for evolution.  Essential for growth. Critical for survival.

What if this song never existed?

That’s a hard question to answer. How can you tell across time what the precise effect any single tiny act has on everything else. Chaos theory suggests that there is significant impact. My mentor, Milton Glaser and many Buddhists advocate “One thing leads to another and everything is connected.”  And, I just watched “Its a Wonderful Life” again recently…

Here are a few things that I can guarantee wouldn’t exist…

I have always preferred my friend, Toni Menage and her band, Project Orange’s cover of this song and if it wasn’t for her cover I wouldn’t have made this cute wee video with my kids and their friends and a big old box… that reminds them of simple pleasures and taught them about the magic of editing…

And Weird Al Yanovic wouldn’t have made this brilliant video on literacy in a time when grammar is no longer taught in schools (I’m talking about in the US – I’m sure the developing countries have such essentials covered. Developing countries… hmmm, I guess that means we are not developing… which means we are in decline… what a depressing thought – but I diverge) and at the same time smart phones are dumbing down the population at an alarming rate. LOL LMAO WTF …

And Post Modern Jukebox wouldn’t have created their Blue Grass version (that really makes me question the courts what are you thinking about). It certainly doesn’t have any relationship with Marvin Gaye’s song, in fact it demonstrates the essence of Blurred Lines has even greater difference.

The Future of Copyright Infringement

It stands to reason that the natural progression of all this is that future musicians and songwriters cannot use the same instruments… or any chord anyone has been used before… or even the same number of beats in the bar… because they absolutely will be infringing on something they can be sued for under these vague parameters. What would that mean? That would be the death of music, would it not? Is that important? Would there be less joy or empathy in the world? Does that matter? Would there be less coming together of communities? When there is less joy and more isolation is there more or less spending? The answer to that will likely determine if things are encouraged to go this far… (Oh I’m such a cynic!)

One Thing Leads to Another or Everything is Connected

A lecture title from my mentor Milton Glaser given to Edinburgh Napier University. A truth if you work in a creative field like I do. Absolutely everything is connected. Of course one thing leads to another. How can it be any other way? Creative imaginations just make connections that others don’t, but the connections exist and are there to be made.

I have to finish on this article if only because it so poetically landed on my lap when I was searching for everything is connected… Apparently there is now scientific proof that might undermine what is happening in the courts.

Ubiquitous Interconnection is revealed by The science of “vibes”

Sometimes a person, creature, or thing really resonates with you. Full article

In a Dec. 5 post in Scientific American entitled “The Hippies Were Right: It’s All About Vibrations, Man!” lawyer and philosopher Tam Hunt explains a new theory of consciousness he developed with his colleague, psychologist Jonathan Schooler, at the University of California at Santa Barbara.

(I’m hoping… you can’t be sued for being conscious can you?)

_____________________________________________________________________

Creative Strategy? A fancy workaround. What could that look like?

Option One. Follow the UK and at least use ethical academic scholars on decisions that could lead to the death of an art form that advances society. (Can you tell I’m mad about this?)

Option Two. Capitalize on the freedom that religion has here in the states and start a new religion worshiping Creativity… followers could be called Creatives… core values wrapped around connection, community, generosity and continuity, pillars – honor your inspiration, create, do no harm, and be kind … (That could be cool.)

Option Three. We could all agree not to pay insurance companies and not to sue eachother. (Ha!)

Option Three B. The Gaye Estate and all other subsequent winners of a similar cases publicly give the awarded money back and draw a sharp line in the sand to protect the future of humanity. (Make my day!)

Option Four. All American artists and composers move to Scotland or another safe country out of reach. (Go Scotland!)

Option Five. If the Hunt and Schooler theory is true and everything is connected, then perhaps nobody owns anything since the beginning of time and there can be no intent because everything is a vibration and we can’t help but spontaneously align… (Thank you science!)

What do you think? Option Two? 😉 Option Four? Ahhh! Option Five! No? Perhaps something else altogether? Comment down below…

 

Footnote. I would like to link to this essay “Influence, Imitation and Plagiarism” but it doesn’t exist online, it can only be found in the back of the book Art is Work by Milton Glaser. I recommend reading the full essay but here is the bit I thought was useful to remind the legal system of the boundaries and hopefully encourage them to move the lines back… or refrain from doing immeasurable harm (depending on how you want to look at it).

The difference between influene imitation and plagiarism by Milton Glaser

READ Part One Here

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]]> http://designagility.us/the-problem/copyright-infringement-or-death-part-two/feed/ 0 Ten and a half things you might not know about Side Effects http://designagility.us/uncategorized/ten-and-a-half-things-you-didnt-know-about-side-effects/ http://designagility.us/uncategorized/ten-and-a-half-things-you-didnt-know-about-side-effects/#respond Sat, 20 Jul 2019 10:36:12 +0000 https://designagility.us/?p=1992 The post Ten and a half things you might not know about Side Effects appeared first on Katja Maas Multidisciplinary Design Services.

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]]> http://designagility.us/uncategorized/ten-and-a-half-things-you-didnt-know-about-side-effects/feed/ 0 A hero is a hero is a hero http://designagility.us/insights/a-hero-is-a-hero-is-a-hero/ http://designagility.us/insights/a-hero-is-a-hero-is-a-hero/#respond Mon, 08 Jul 2019 03:14:09 +0000 https://designagility.us/?p=1966 A Hero is a Hero is a Hero Archetypes are fundamental and that's why they are universally understood, but how they evolve into your Brand leaves plenty of scope for originality. Brand archetype theory is not meant to be viewed as a formulaic “instant identity” to solve all your branding problems. Rather, it provides [...]

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  • game of thrones sister - Google Search
  • Daenery - Google Search
  • HD wallpaper: Game of Thrones, Season 6, Emilia Clarke, daenery targaryen | Wallpaper Flare
  • Hero Character in Hunger Games - Jennifer Lawrence
  • stranger things eleven - Google Search
  • james bond connery - Google Search
  • james bond - Google Search
  • james bond - Google Search
  • wonder woman - Google Search
  • GOT hero - Google Search
  • merlin - Google Search
  • dr who - Google Search
  • dr who - Google Search
  • dr who - Google Search
  • monsters inc - Google Search
  • incredibles - Google Search
  • superman - Google Search
  • hobit - Google Search
  • harry potter - Google Search
  • harry potter - Google Search

A Hero is a Hero is a Hero

Archetypes are fundamental and that’s why they are universally understood, but how they evolve into your Brand leaves plenty of scope for originality.

Brand archetype theory is not meant to be viewed as a formulaic “instant identity” to solve all your branding problems. Rather, it provides structure and acts as a sounding board to help determine how you can best convey the meaning of your brand to those you are trying to connect with. – Nyla

1 2 3 Steps to Building a Strong Brand

A Young & Rubicam study of over 13,000 brands and 120,000 consumers confirmed that the more profitable brands were also the ones that aligned closely with a single archetype, rather than those who had “confusing” brand archetypes, or identified with multiple archetypes. So,

1. Prioritize – identify which is your dominant archetype and commit to it.   MAAS Creatives can help you navigate this process.

2. Differentiate – in the same way that all the heroes you see on this page are different from each other, we can help you identify what makes you and your business unique and then shape your brand personality until it is equally distinctive in the marketplace.   This is what MAAS Creatives excel at.

3. Personify – consistently apply your brand personality across the board – don’t compromise or deviate, don’t think a particular platform or application is “different” or “unimportant” – internally and externally, its all one.   MAAS Creatives know how to manage this.

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]]> http://designagility.us/insights/a-hero-is-a-hero-is-a-hero/feed/ 0 From Derelict to Chic http://designagility.us/insights/street-art-transforms/ http://designagility.us/insights/street-art-transforms/#respond Sun, 07 Jul 2019 16:07:01 +0000 https://designagility.us/?p=1952 From Derelict to Chic STREET ART TRANSFORMS From Derelict to Chic An artist with passion and imagination can transform anything. Street art has transformed Bushwick in Brooklyn in to the seventh most chic neighborhood in the world according to Ann Wintour of Vogue (Click here for the full list). Perhaps it will be [...]

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From Derelict to Chic

STREET ART TRANSFORMS

  • Seven 30-Foot-Tall Dayglow Totems Placed in the Desert by Ugo Rondinone
  • Alain Bernegger, Le Beaucet, France, Motifs sur le sable (2015)
  • Spencer Byles, Sculpture No 7, A Year in a French Forest. 2011-2012
  • My parents were in town the other week, so on a particularly beautiful September Sunday, my mum and I headed to Hyde Park to visit this year's Serpentine Pavilion. The yearly structure is an event in the architecture world, as well as in the London cultural scene. (I previously wrote about London's 2013 Serpentine Gallery Pavilion and, I must say, it's still my favorite one.)
  • edith-meusnier-land-art-04
  • 1015972_1527474194196270_2593794672755670343_o
  • It's not difficult to identify a mural that has been completed by Eduardo Kobra. The Sao Paulo-based street artist has a signature approach filled with vibrant colors and geometric shapes that merge together to form the portraits of many very prominent figures. He uses a combination of painting, airbrush, and spray paint to produce the enormous works filled with a lively spirit. His most recent large-scale work is titled Peace.
  • Street-Art-by-L7m-14
  • By L7m - Located in Brasil
  • Dois pássaros street art on Rua da Moeda #Recife, #Pernambuco
  • Rio De Janeiro
  • אמנות רחוב 1
  • 😍 😍 😍 ⠀⠀➡ siga @greenmebrasil *********⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀#greenme #brasil #arte #natureza #art #nature #instaart #instanature #france #europe #beleza #vida #picofday #picoftheday @oakoak_street_art
  • Flügel …
  • São Paulo, Brasil - Street Art & Graffiti - This selection of street art comes from the Minhocão region. This is a tough area but honestly some of the most detailed art work exists below the overpass. Totally unexpected art in this section of São Paulo. Wherever I am in the city...you find incredible pieces of work. Original photography from R. Stowe.
  • street art geant sur le bitume sao paulo par tec 1 Street Art géant sur la chaussée par Tec tec street art photo image brésil bitume
  • Kobra
  • Artist collective: Favela | Rio de Janeiro, 2010 | Street Art Today - 15 Dutch Street Artists You Must KnowStreet Art Today

From Derelict to Chic

An artist with passion and imagination can transform anything.

Street art has transformed Bushwick in Brooklyn in to the seventh most chic neighborhood in the world according to Ann Wintour of Vogue (Click here for the full list). Perhaps it will be transformative for you too when you take a piece of street art home with you.

Ever wondered how to, or where to buy street art?  How do you find the elusive source? How do you know you are buying the real thing?

You can find the real deal and even watch it happen before your very eyes when you visit any of my friend and client’s pop-up beer garden galleries in and around Bushwick and Brooklyn, New York and in Wynwood during Miami Basil…

www.brooklynbeergarden.com

WOW WOW WYNWOOD!

I visited Wynwood in Miami for the first time. The Brooklyn Beer Garden was there. I helped hang their exhibition.

Thanks to Josh, Don and Rebecca of MM&H, I discovered that Wynwood’s transformation from derelict to chic was in fact strategically planned by a developer named Tony Goldman – the force behind the revival of SoHo and South Beach, he had a knack for seeing thriving, artsy neighborhoods when others could only see urban plight. He enabled and encouraged street art by making it legal. Goldman’s vision was that the entire Wynwood neighborhood would become a canvas for urban street art. The result is a stunningly painted, incredibly colorful, ever changing, lively and energized community driven by artists – with very valuable real estate! In the center are The Wynwood Walls, where the best of the best street artists from around the world are invited to paint on a series of features walls.

Pictures down below…

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]]> http://designagility.us/insights/street-art-transforms/feed/ 0 Faces Faces Everywhere! :-) http://designagility.us/insights/familiar-faces-pareidolia-archetypes-and-branding/ http://designagility.us/insights/familiar-faces-pareidolia-archetypes-and-branding/#respond Sun, 07 Jul 2019 12:44:48 +0000 https://designagility.us/?p=1919 Do You See What I See? Is it a magic trick? What does it mean to your brand? Faces! Faces Everywhere! :-) Pareidolia helps explain why Archetypes work so well in Branding Connect Can pareidolia help explain why archetypes are powerful? Pareidolia is a psychological phenomenon that causes people [...]

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Do You See What I See?

Is it a magic trick? What does it mean to your brand?

  • The punk mop face.
  • waterbottle creature looks like he should be on Easter Island
  • A little goofy, but content
  • 30 Times Everyday Objects Hilariously Look Like Something Else #BemeThis #Pareidolia #FunnyFaces #Creepy #OpticalIllusions #LaughingFaces #Funny
  • Austin Healey Bug Eye Sprite.....this was my first car...it was in the shop more than it ran!!!
  • Eu Tentei Parar de Beber, Mas as Latas Ficaram Tão Tristes...
  • Faces pareidolia
  • Peek-a-boo
  • A slated roof with two windows looking like eyes
  • Faces in things
  • Things With Faces (Pareidolia)
  • De Zwitserse kunstenaars Francois en Jean Robert (broers) hebben er ruim 20 jaar hun hobby van gemaakt: gezichten zoeken in alledaagse voorwerpen. Het verschijnsel heet Pareidolia en we hebben naast een aantal van hun werken ook allerhande foto’s van internet geplukt voor je!
  • Laughing bottle opener (Picture: AARIENNE VAN SCHOONHOVEN/MERCURY PRESS)
  • Colorful !!!
  • Surprised door knob by xollob58, via Flickr
  • 30 Times Everyday Objects Hilariously Look Like Something Else #BemeThis #Pareidolia #FunnyFaces #Creepy #OpticalIllusions #LaughingFaces #Funny
  • Pareidolia (faces at different locations). Another happy meter
  • I saw it!
  • Objects are people too: the quirky world of facial pareidolia – in pictures
  • Face in an unexpected place

Faces! Faces Everywhere! 🙂 Pareidolia helps explain why Archetypes work so well in Branding

Connect

Can pareidolia help explain why archetypes are powerful?

Pareidolia is a psychological phenomenon that causes people to see patterns in a objects, to see familiar things in random forms. Particularly, people see faces in places where there isn’t one.

Why do we do this? We can’t help it. It stems from a survival mechanism. Recognizing patterns protects us from danger. Pattern recognition helps us learn faster, predict outcomes and make decisions quicker. Patterns help us form relationships. Familiar patterns draw us together into communities. All of these outcomes help us live better and survive longer.

But why is seeing faces particularly relevant? We see faces more than anything else because connection to and relationships with other human beings is most important to us, and our survival as a species.

Relate

Archetypes are patterns. According to Carl Jung, archetypes are universal, archaic patterns and images that derive from the collective unconscious and are the psychic counterpart of instinct. We can’t help recognize them when we come across them because they are embedded deep in our unconscious. They help us navigate society, be part of a community, understand the roles of those around us and understand how to respond appropriately.

Why is this useful? Whether it’s to survive or simply to save time we use archetypes to decide quickly whether to connect or whether to move on.

If your Brand identifies as one of the twelve archetypes it will expedite familiarity and can drive connection. If your business does not have a recognizable brand personality you will appear ambiguous, and your audience will not be able to relate to your brand and therefore will instinctively shy away.

Why archetypes work for business.

To your audience, archetypes are familiar and personable. They are hardwired into the human psyche so that we recognize and relate to them easily and immediately. Identifying with an archetype helps to characterize / personify your business by making it recognizable, familiar and relatable. The more familiar, the more human, the deeper and faster a relationship with your audience flourishes.

Archetypes are powerful because they are intuitive in the same way pareodolia is. People want to find patterns. They want familiar. They want connection. They want to know what to expect. They want to know how to respond. As a business you do not need to work hard and invest heavily to force responses to happen. They can happen naturally when adopt this science as part of your strategy.

Relationships are the goal of successful business. Don’t under estimate the power of your archetype in achieving your goal. Learn more here.

Does your Brand suffer from multiple-personality disorder?

Where archetypes are concerned, less is more. Almost as bad as not identifying with any archetype is identifying with too many archetypes. Actually, “two” is too many. Think of it like this, if your trusted adviser had two faces would you still trust them?

Archetypes provide clarity efficiently so that you can communicate meaningfully, build trust and strengthen relationships with your audience. Diluting that in anyway is counterproductive. 🙁

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]]> http://designagility.us/insights/familiar-faces-pareidolia-archetypes-and-branding/feed/ 0 Archetypes – Who are you? http://designagility.us/insights/archetypes-who-are-you/ Sat, 20 Oct 2018 12:56:50 +0000 https://designagility.us/?p=1695 The first minute, raises the seemingly simple question..."Who.... are.... you....?" Branding - what if you've got it wrong? Start with "Who you are" More often than not it's a gut feeling. You are looking at some piece of communication, your website, your brochure and saying to yourself "I don't [...]

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The first minute, raises the seemingly simple question…”Who…. are…. you….?”

Branding – what if you’ve got it wrong?

Start with “Who you are”

More often than not it’s a gut feeling. You are looking at some piece of communication, your website, your brochure and saying to yourself “I don’t like this. I don’t know why, but it doesn’t feel right.” That’s where my client was at when they approached me with “We need a new website.”  I decided to first answer the question “Exactly why was the current website so wrong?”

Looking beyond their website’s “professional” appearance, this question meant we had to first explore their archetype. The answer revealed what goes wrong when you don’t identify your archetype correctly.

Archetypes are Business Critical

If you are a successful global brand – you won’t need to read any further. You will know all about archetypes because your business has to communicate to, and instantly resonate with, people from different cultures around the globe. You will know that this can only be achieved by applying psychology. Yet this facility to establish trust and communicate clearly is just as important locally.

In the case of my client’s website, it very quickly became clear that the reason it was so wrong was because the archetype was wrong. Their web designer had positioned them as the Explorer when they were not. That explained why although it looked “professional” it felt so wrong to them. They would look at the site and feel in their gut this was not who they were. The communication was off. Incongruous. It was causing confusion, discomfort and ultimately distrust, because they were presenting themselves as something they were not. Anyone who wanted to recommend them couldn’t direct people to their website because it didn’t represent their experience or what they wanted to say about my client.

In a one day workshop we explored their audiences, priorities, values and defined their archetype. We had a clear path forward with a framework to build upon. (They were SAGE just in case you are wondering).

Once you know who you are you can begin

When it comes to communication the most powerful form is storytelling. Stories are seen as gifts. Authentic stories resonate.

Your archetype is the hero of your story.

When you identify with your archetype you tailor your messaging, define your audience’s expectations and establish a relationship. Your audience will instinctively understand who you are and what their relationship with you is. They will understand what to expect of you. This is huge and it happens in a matter of milliseconds. What it means can last much longer. Your audience will hang around to find out more about you rather than shying away from your ambiguity. This is the opportunity you need to do business. To grow.

When you identify with your archetype it will guide design choices as well as marketing, communications strategy and even business decisions, like who to partner with.

Archetypes for Leaders and Entrepreneurs

As the leader of your organization you should take the test. Answer for yourself and the business and it will be true for your business. You are the driver of your business. Your values and your priorities will be what makes your business different for its competition.

Below is the list of the twelve archetypes. I have removed their labels. Read the values and discover your archetype. Your true archetype is the one that resonates most deeply with you. The key is at the end of this page.

For me, I am the Magician – no matter how many times I complete the tests. What matters most to me, what is core to me is that I make things happen, I find win win solutions, I help make dreams come true. The way I do it is with creativity – so ARTIST/CREATOR does resonate, but is more about HOW I do it than WHAT and WHY.

Identify With Your Archetype:

Remember its not about ‘generally agreeing with’ – its about your core. What is fundamentally true to you. What drives you. Your WHY.

1.

Motto: Free to be you and me
Core desire: to get to paradise
Goal: to be happy
Greatest fear: to be punished for doing something bad or wrong
Strategy: to do things right
Weakness: boring for all their naive innocence
Talent: faith and optimism
Also known as: Utopian, traditionalist, naive, mystic, saint, romantic, dreamer.

2.

Motto: All men and women are created equal
Core Desire: connecting with others
Goal: to belong
Greatest fear: to be left out or to stand out from the crowd
Strategy: develop ordinary solid virtues, be down to earth, the common touch
Weakness: losing one’s own self in an effort to blend in or for the sake of superficial relationships
Talent: realism, empathy, lack of pretense
Also known as: The good old boy, regular guy/girl, the person next door, the realist, the working stiff, the solid citizen, the good neighbor, the silent majority.

3.

Motto: Where there’s a will, there’s a way
Core desire: to prove one’s worth through courageous acts
Goal: exert mastery in a way that improves the world
Greatest fear: weakness, vulnerability, being a “chicken”
Strategy: to be as strong and competent as possible
Weakness: arrogance, always needing another battle to fight
Talent: competence and courage
Also known as: The warrior, crusader, rescuer, superhero, the soldier, dragon slayer, the winner and the team player.

4.

Motto: Love your neighbor as yourself
Core desire: to protect and care for others
Goal: to help others
Greatest fear: selfishness and ingratitude
Strategy: doing things for others
Weakness: martyrdom and being exploited
Talent: compassion, generosity
Also known as: The saint, altruist, parent, helper, supporter.

5.

Motto: Don’t fence me in
Core desire: the freedom to find out who you are through exploring the world
Goal: to experience a better, more authentic, more fulfilling life
Biggest fear: getting trapped, conformity, and inner emptiness
Strategy: journey, seeking out and experiencing new things, escape from boredom
Weakness: aimless wandering, becoming a misfit
Talent: autonomy, ambition, being true to one’s soul
Also known as: The seeker, wanderer, individualist, pilgrim.

6.

Motto: Rules are made to be broken
Core desire: revenge or revolution
Goal: to overturn what isn’t working
Greatest fear: to be powerless or ineffectual
Strategy: disrupt, destroy, or shock
Weakness: crossing over to the dark side, crime
Talent: outrageousness, radical freedom
Also known as: The outlaw, revolutionary, wild man, the misfit, or iconoclast.

7.

Motto: You’re the only one
Core desire: intimacy and experience
Goal: being in a relationship with the people, work and surroundings they love
Greatest fear: being alone, a wallflower, unwanted, unloved
Strategy: to become more and more physically and emotionally attractive
Weakness: outward-directed desire to please others at risk of losing own identity
Talent: passion, gratitude, appreciation, and commitment
Also known as: The partner, friend, intimate, enthusiast, sensualist, spouse, team-builder.

8.

Motto: If you can imagine it, it can be done
Core desire: to create things of enduring value
Goal: to realize a vision
Greatest fear: mediocre vision or execution
Strategy: develop artistic control and skill
Task: to create culture, express own vision
Weakness: perfectionism, bad solutions
Talent: creativity and imagination
Also known as: The artist, inventor, innovator, musician, writer or dreamer.

9.

Motto: You only live once
Core desire: to live in the moment with full enjoyment
Goal: to have a great time and lighten up the world
Greatest fear: being bored or boring others
Strategy: play, make jokes, be funny
Weakness: frivolity, wasting time
Talent: joy
Also known as: The fool, trickster, joker, practical joker or comedian.

10.

Motto: The truth will set you free
Core desire: to find the truth.
Goal: to use intelligence and analysis to understand the world
Biggest fear: being duped, misled—or ignorance.
Strategy: seeking out information and knowledge; self-reflection and understanding thought processes.
Weakness: can study details forever and never act.
Talent: wisdom, intelligence.
Also known as: The expert, scholar, detective, advisor, thinker, philosopher, academic, researcher, thinker, planner, mentor, teacher, contemplative.

11.

Motto: I make things happen.
Core desire: understanding the fundamental laws of the universe
Goal: to make dreams come true
Greatest fear: unintended negative consequences
Strategy: develop a vision and live by it
Weakness: becoming manipulative
Talent: finding win-win solutions
Also known as: The visionary, catalyst, inventor, charismatic leader, shaman, healer, medicine man.

12.

Motto: Power isn’t everything, it’s the only thing.
Core desire: control
Goal: create a prosperous, successful family or community
Strategy: exercise power
Greatest fear: chaos, being overthrown
Weakness: being authoritarian, unable to delegate
Talent: responsibility, leadership
Also known as: The boss, leader, aristocrat, king, queen, politician, role model, manager or administrator.

Which one best described you?

1. The Innocent; 2. The Everyman; 3. The Hero; 4. The Caregiver; 5. The Explorer; 6. The Rebel; 7. The Lover; 8. The Creator; 9. The Jester; 10. The Sage; 11. The Magician; 12. The Ruler

Take the Quiz

If you want to double check your outcome try this test (it’s one of my favorites of all the ones out there) Very interesting questions to challenge you. I recommend taking screen shots as you progress through the seven questions. How you prioritize reveals as much about what’s important as what is least important. Really helpful if you are developing a framework and guidelines for others to follow.

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]]> It’s not the story http://designagility.us/insights/569/ Thu, 20 Sep 2018 20:31:58 +0000 https://designagility.us/?p=569 It's not the story, it's how you tell it. (or Take 40, 8:00pm - Day 3) This has become one of my all time favorite ads. I can watch it over and over. My memory of the first time I watched it – being captivated, amazed by the precision – [...]

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It’s not the story, it’s how you tell it.

(or Take 40, 8:00pm – Day 3)

This has become one of my all time favorite ads. I can watch it over and over. My memory of the first time I watched it – being captivated, amazed by the precision – will never leave me. The single, six minute shot is riveting. More so nowadays because our world is dominated by television content jammed with a million super-fast cuts. Robert Carlyle’s effortless delivery and flawless pacing is incredible. The single shot holds you in suspense the entire six minutes as the story unfolds in pace with Carlyle’s brisk walk.

WHAT IS DIFFERENT?

Before watching this ad I wouldn’t look twice at a Johnny Walker whisky. There were others that I liked. This ad changed that. This ad made me like the company. The human story helped that. But, that wasn’t what made the real difference. It was how the story was told with its casual humor juxtaposed against a brisk walk and precise props. I liked them for no other reason than what the ad made me feel. Unlike other ads, I didn’t feel manipulated. It simply made me smile and want to show it to someone else.

This ad is an example of a creative piece of work that, in my opinion, adds up to so much more than the sum of its parts.

WHAT DID IT TAKE?

There’s a behind the scene’s interview by  with director, Jamie Rafn on AdAge. This excerpt is from that interview. You can read the full interview here.

What made you choose Carlyle in the first place and how did he meet/exceed your expectations?
I literally cannot overstate how brilliant I think Robert is. He was the natural choice for the role. In terms of expectations I think I only had the ones anyone would have had about Robert. He’s our DeNiro. He’s a legend and it did worry me slightly that he might not take the project seriously and might be difficult to direct. Nothing could have been further from the truth. He was incredibly easygoing, charming as hell and incredibly professional. It was really interesting actually. I often wondered what it is that made someone like him as successful as he is. There are of course all the things you’d expect – like the talent etc. But the thing that really struck me was just how hardworking he was. The pressure he put on himself to get it right was amazing. The take we ended up using was the last one of the last day — take 40 at 8 p.m. By the time we finished that take there was this collective euphoria in video city. The light was gone, everyone was shattered and desperate to get to the pub. Robert sidles up to me and asks me if I wanted him to go again.

HOW WAS IT DONE?

From a discussion about this ad going on in steadicamforums. (I’m not the only one wondering how did they shoot that.)

Ed Moore: Got a reply from the DIT :

The job was at least a year ago now, so some details are getting sketchy in my memory – I can’t remember what lens it was but I think it might have been an Ultraprime, and I guess a 24 or a 32mm judging from how close Bobby was to the camera.

It was a rickshaw, pulled by two grips, with a garfield mount plus steadicam, operated by George. I’m not sure if the beginning and end were stabilised, but they didn’t need it – I remember there was a tiny bit of very organic, non-distracting movement in the original, so I think they have taken it out.

They have done zooming in post on the actual frame during the shot, which ends up being a contrazoom, as the camera is coming further away from Bobby, but they have simultaneously zoomed in on the picture. Watch the background at 1.29 for eg. It’s horrible. Again, unnecessary, as they seem to have done that just because they wanted a slightly tighter frame. I think there’s another one later, but I don’t have time to look for it now.

We had one half day for technical rehearsal, then two days shooting for just this one take. I think we did about 30 in all… I’m pretty sure the one they used was the very final take of all three days.

How much preparation was needed?

From the interview with the director (mentioned above)

My producer (Steve Plesniak) and I did loads of prep. The moment we got the brief we went off to Hyde Park with an HDV camera and started walking it through. Steve would read and drop index cards with things like “cow” written on them while I staggered backwards with the camera. By doing this again and again we could work out the spacing between the props and areas where we might need more or less. We then transferred that process up to Scotland on the recce, so that by the time we were ready to shoot we were very well prepared and knew exactly what all the potential problems were from a technical point of view.

So true…

Nobody throws a glass away better than Robert Carlyle! — Lawrence Karman

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]]> Velocity—Design in Realtime http://designagility.us/insights/velocity-in-realtime/ Thu, 20 Sep 2018 19:13:15 +0000 https://designagility.us/?p=564 Velocity—Design in Realtime The "live design" Skype call lasted just over seventeen hours and the 90 page city operational plan was complete. A typical design process: Step one. Designer takes the brief. Step two. Designer goes away and develops a concept. Step three. Designer presents concept(s) to client. Step four. Designer gets feedback and iterates [...]

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Velocity—Design in Realtime

The “live design” Skype call lasted just over seventeen hours and the 90 page city operational plan was complete.

A typical design process: Step one. Designer takes the brief. Step two. Designer goes away and develops a concept. Step three. Designer presents concept(s) to client. Step four. Designer gets feedback and iterates and refines the project until it meets the client’s objectives. This process typically spreads over a few weeks.

The Velocity project was not a typical project and it needed a very different process to deliver its objectives.

The project arrived with barely 24 hours before it needed to be presented, in its entirety, to the steering group (my client’s client). It still had sections that had to be written and editing was needed throughout. The design, which was started from scratch, needed to get up to speed immediately and then stay one step ahead as new content was written. In less than a day, a year’s groundwork and all the elements that constituted the Velocity Operational Plan would need to be transformed into a 90 page document ready for external review.

DESIGN IN REALTIME

How was this going to be possible? There was no time for the traditional working methods. There was not enough time to send proofs and edits back and forth by email. It was going to be a whirlwind job. Without question is was going to be a collaborative effort However, we were in different countries so collaboration was going to be via Skype, so that we could maximize the speed of the process. No time would be wasted on “lost in translation” or “blind alleys.” No time lost on sleep. The client in their office in Scotland, with everything they needed to hand and me in mine, in New York, with everything I needed. I shared my screen and they would see the book come together instantaneously. On my part, it was going to take a diverse range of skills including the cheek to design in real-time, on camera with no breaks.

BELIEF IS PIVOTAL

I have learned the importance of belief when it comes to work. When I worked with Milton Glaser, he would say “If you believe you can, then you can.” and in turn “If you don’t think something is possible then its absolutely not.” I am an optimist. I entered this project confidently. I totally believed that we three could pull off this 90 page, full color, all singing, all dancing operational plan that was jam-packed with charts, data, illustrations and maps, in less than 24 hours.

THE PROCESS WAS EXHILARATING

For the first time ever, my clients could see the design process evolve, adapt and change as we worked. This fueled their confidence and drove us forward. The entire process was totally fluid. There were no interruptions and nothing was a problem. Everything was handled on the spot, any potential sticking point or problem was pounced upon by whomever had the solution.

THE CULTURE CODE IN ACTION

When I think about what it felt like, it reminds me of a book titled “The Culture Code” by Daniel Coyle. He describes highly successful groups and how they work together as one. They waste no time on hierarchy, or roles. The have no egos to navigate around. They are so totally focused on the task at hand and what it needs to get done, that they think and act as one.

When Coyle describes the necessary conditions he emphasizes the importance of safety. On the face of it, this project doesn’t appear very safe. From my perspective everything was going to be exposed – all the experiments, the trial and errors visible for all to see. It doesn’t sound very safe for my clients perspective either, they had to trust one individual who was 5000 miles away at the other end of a digital interfacc. Maybe that was what made it thrilling. Charged it with energy because it felt like high risk. Perhaps that was what made it work so well. We were all taking big risks and all had something to lose. This equally shared risk put us in a unique position of having to totally trust each other to make this work.

IN THE END

“Visceral” was how Julie Tait described the experience. “Unbelievable” was Jackie Shearer’s take.

The Skype call lasted just over seventeen hours. The document was complete and it was good!

After the review process, the document was further added to, finishing up at 150 pages. The outcome, an ambitious plan, can be used as a model operational plan for other cities interested in implementing new forms of public consultation combined with sensitive mapping.

Glasgow’s Operational Plan is an aspirational approach to partnership working led by Glasgow Life, Glasgow City Council, Creative Scotland and Clyde Gateway. It articulates a collective and cultural response to the impact of the Commonwealth Games 2014 and sets out the potential of a strong and coherent city framework for delivering one of the most ambitious programmes of art in the public domain that Scotland has experienced.

The entire publication can be accessed and read online at ISSUU.com, just click on the link below.

VELOCITY  Art For A Changing City

“Katja works at the speed of light – it’s faster working with her 5000 miles away than it is with someone around the corner”

Julie Tait, Director

Culture Republic

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]]> Interpersonal Intelligence and Visual Communications http://designagility.us/insights/interpersonal-intelligance-and-visual-communications/ Sun, 05 Aug 2018 19:37:20 +0000 https://designagility.us/?p=1301 Interpersonal Intelligence model applied to marketing, design and visual communications I have found that applying Interpersonal Intelligence to my work as a creative, consistently delivers better results and greater impact. Let me explain how and why. It began with my client SGA, a leader in the field of developing c-suite sales [...]

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Interpersonal Intelligence model applied to marketing, design and visual communications

I have found that applying Interpersonal Intelligence to my work as a creative, consistently delivers better results and greater impact. Let me explain how and why.

It began with my client SGA, a leader in the field of developing c-suite sales capabilities. They commissioned me to refresh their brand and develop a new website for them. In order to experience their work firsthand, they invited me to attend their annual leadership workshop.

My first introduction was to Interpersonal Style

The leadership workshop was brilliant! I was blown away. I discovered so much about myself, my strengths, my weaknesses how others saw the experience of working with me. At the same time I learned equally much about the others attendees. If you haven’t tried it, using an interpersonal style model to understand yourself and others on a deeper level, and to inform how you interact with others is liberating. It completely changed me.

I returned home inspired and itching to apply my knew knowledge. The first thing I worked on was a digital tool. An app. Something that SGA’s clients could keep with them and update as needed. An extension that adds a layer of valuable insight to their contacts llist. Eventually this would be something that SGA would replace their handouts with at the end of the workshop.

The benefits of diversity – How my work influences and informs

Around that time I was working with two intelligence clients; a Cyber Security company run by a former CIA director of security and Culture Republic, a Scottish audience data, research and intelligence organization for the Arts and Culture sector. Their work inspired me to rename SGA’s methodology “Interpersonal Intelligence” because, what SGA delivered was actionable. It wasn’t just data or information. It was what to do with it. They had developed tools to help you use it, mechanisms of how to apply it. They had shifted it to intelligence. Actionable insight.

Interpersonal Intelligence applied to Design

For me, I wanted to see if I could apply this new intelligence in a practical sense to my work. I wanted to explore whether this could impact the effectiveness of my work. So, from then on, when a client told me they need a certain outcome, I would consider the means of achieving it from four different directions. As a designer, and similarly marketing, advertising and public relations, knowing your audience is the most important thing. You can’t possibly communicate an idea to someone if you don’t know who they are. However, if the science of interpersonal style is true, then that knowledge isn’t enough. What matters more is how you are communicating with them. In the same way language works, you might know everything about someone, but if you don’t use the language they speak – it doesn’t matter. They will never understand you. Interpersonal style is similar to language that way. If you don’t communicate in the way they like—they won’t want to understand you.

For marketing, I saw interpersonal style model as a further layer that one would add after the audience profile and buying personas were established. Interpersonal intelligence would be applied after the target market is fully identified. In other words, you would now know that your audience (however clearly defined they were) would still fall into four groups. And, that those four groups need to be communicated to in very different ways. Whether this is through a single piece of collateral or across multiple different media.

The difference between one-to-one interactions and remote communications is that you will never meet face to face and you cannot change or adapt on the spot. You will never know what style they are so you must build in all four into your communications strategy.

There are four main interpersonal styles. Different institutions use different names, I will use the ones SGA uses.  Drivers, Expressives, Analytics and Amiables. You can be one with a hint of the others, but in relation to design and communications that’s not going to matter. The important thing to understand is that whomever your audience is made up of, whether its a group of CEOs or a bunch of teenagers you have to assume that all four types are present. Each type responds to a communication delivered in a particular way. Sometimes the styles are similar and sometimes they are opposite. e.g. either fast or slow, detailed or summarized, dazzling or down to earth, results orientated, brief and to-the-point or measured, detailed and supported with evidence and so on. I have developed my own little rubric that I use. You can create yours.

Start to think about the how you would communicate an idea or an initiative to each of the four types. How would this new understanding change what you do and how you do it?

For an example of this theory applied to my work, you can visit suite.com, SGA’s new website. Starting with the animated header and moving throughout the site, it considers the four groups. In words, in color, in graphics and in content throughout the site.

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