The idea of making isn't just reserved for handmade bikes, artisan pickles, and Arduino helicopters. The future of making is a product of our human needs and the possibilities we create through technology. This is about a larger shift towards making and the unexpected movements that might occur. It's about how everyone from you to your grandma might design, make and consume products or experiences in the next 10 to 15 years. In this SxSW Interactive session Joi Ito, Director of the MIT Media Lab, and Tim Brown, CEO of IDEO, will host a conversation that considers how we might fashion new tools for the future and then how those tools might influence our lives.
Great innovation, and thus products and services people care about, lies at the intersection of the customer’s latent desire and your solution. Innovation then is not always about giving people a slightly better version of what they’ve got, or have demonstrated that they need, even if that is what you’re equipped to deliver and how you profit today. Sometimes it’s about rewriting the future for a customer who doesn’t know what will matter to him in five years time, in a market that doesn’t yet exist.
More from Jiwa in her book Difference: The one-page method for reimagining your business and reinventing your marketing.
Yesterday I shared a lively interview with Michael Wolff only to discover a few hours after I posted it that Wally Olins, the other half of legendary Wolff Ollins, had died. Creative Review has a lovely tribute.
Wally Olins, co-founder of Wolff Olins and chairman of Saffron Brand Consultants, has died aged 83. CR editor Patrick Burgoyne pays tribute
The Financial Times once described Wally Olins as "the world's leading practitioner of branding and identity" and it's hard to disagree with that assessment. Certainly Wally didn't as, in typical style, he placed it in a prominent position on his website.
For 15 years, Frere-Jones and Hoefler seemed charmed. They made typefaces that rendered the stock charts in the Wall Street Journal readable and helped Martha Stewart sell cookbooks. They created an alphabet for the New York Jets, based on the team’s logo. And they saw their lettering chiseled into stone as part of the rebuilding of the World Trade Center. Last year, the duo won the AIGA Medal, the profession’s highest award. It seemed to be one of those rare situations whereby two successful soloists had combined to make an even better supergroup. Hoefler was asked if there were any troubles in their working relationship for a video produced for the AIGA in 2013. “We do have a longstanding disagreement over the height of the lower case t,” he said. “That is the only point of contention.”
Not quite. In January, Frere-Jones filed a lawsuit against Hoefler, saying that their company was not actually a partnership, but a long con in which Hoefler had tricked him into signing over the rights to all of his work, cheating Frere-Jones out of his half of the business. “In the most profound treachery and sustained exploitation of friendship, trust and confidence, Hoefler accepted all the benefits provided by Frere-Jones while repeatedly promising Frere-Jones that he would give him the agreed equity, only to refuse to do so when finally demanded,” the complaint charges. Frere-Jones is asking a court to grant him $20 million. Hoefler won’t comment on the suit directly, but the day after it was filed a lawyer for the company issued a brief statement disputing the claims, which, it said, “are false and without legal merit.” (About Gotham’s creation, Hoefler writes in an email: “No one is disputing Tobias’s role in those projects, or my own, for that matter. [Our] typefaces have had a lot of other contributors, as well — everything we do here is a team effort.”) According to the company statement, Frere-Jones was not Hoefler’s partner but a “longtime employee.”
Here is a short film of the two of them, shot not too long ago, and yet during better times.
A great infographic from Info We Trust:
How do creatives – composers, painters, writers, scientists, philosophers – find the time to produce their opus? Mason Currey investigated the rigid Daily Rituals that hundreds of creatives practiced in order to carve out time, every day, to work their craft. Some kept to the same disciplined regimen for decades while others locked in patterns only while working on specific works.
There are enough data to visualize a portion of the hundreds of creative lifestyles.