We’ve all been there. Suddenly a project feels just like the last. It’s the same IA, the same design, the same headline, the same creative brief, all over again. And while you’re confronting that monster of monotony, the word innovation rings in your ears (mocking you, maybe just a little).

So what do you do when you feel like you’re banging your head against the wall? It’s easy to throw around that million dollar word—innovation—in meetings and goal statements, but how can you make it not a noun or an adjective, but a verb. How do you put innovation into action?

Here are some tips and tactics for moving past the burnout phase (you know, when you want to just stick your head in the sand) to look at a problem or project with fresh eyes.

1. Rephrase the question or problem you’re trying to solve. Better yet, write down a whole series of questions (aim for 10) relating to the problem/project.
2. Think in terms of action. Make a list of verbs describing what you want your product/design/copy/etc. to do (or incite other people to do).
3. Walk away (literally). Take a break and do something physical, even if it’s just a walk around the block. Let your subconscious do the heavy lifting for a little while.
4. Keep an inspiration folder that you can turn to when you’re stuck on a problem. Stash magazine pages, images, designs, layouts, ticket stubs, text and anything else you find interesting or inspiring in the folder.
5. Form a focus group to discuss the project.
6. Look at the problem from a different vantage point. How might the point of view of an ant on the ground or an alien from outer space provide some new insight?
7. Reconsider the methodology. Ask yourself, “How would _____ think about this?” For example, how would a scientist, a painter or the President approach the problem? 
8. Free write—grab a piece of paper, a pen and a clock and find a quiet space. For 10 to 15 minutes, free write on the subject at hand. Don’t cross out words or edit as you go. And above all, don’t judge your ideas. Just aim to keep your pen moving the entire time.
9. Change your self-talk or inner dialogue. Beating yourself up or constantly mulling over how impossible a task is won’t help. Instead, engage in a positive inner dialogue. Be confident that you will create an effective solution for the task at hand.
10. Find novelty—change your environment by heading to a new locale or listening to different music. See what kind of new associations or perceptions arise from the change.  

So, what works for you? What strategies do you use to move from stagnation to innovation? We’d love to hear your ideas!

As a web designer, are you a strict adherent to the school of “above the fold,” or more of a rebel (with a cause)? What about your clients? What side of the fold do they stand on?

Signal vs. Noise (the blog from 37signals), posted this great image and conversation starter from Paddy Donnelly, a user experience designer, information architect and blogger:

What’s your take? Is the ‘above the fold’ rule still one to live by, or is this one rule that’s made to be broken?

Let’s take a quick (completely unscientific) poll here.

How many of you carry a sketchbook around with you?

Now, how many of you have traded in your old Moleskine or scrap paper for a digital sketching tool (or you’re holding your breath until there’s a tried and true stylus for the iPad)?

Whatever mode or mechanism you choose, what’s the role of sketching as part of the creative process, and how is technology supporting—or maybe even changing—that process?

Most designers and visual artists rely on sketching for a number of reasons. In her post Prisoners of Logic on Design Observer, Jessica Helfand talks about sketching as “a clearinghouse of subconscious thought,” a way to (ideally) move past logic and experiment with freedom of form. On another note, visual and web designers may use live sketching in meetings to make the discovery process more engaging, dynamic and collaborative. Sketching is also an integral step in designing user interfaces and experiences (and we’ve talked before about the pros and cons of computer-based sketchy wireframes).

And, of course, since designers of all types are pre-programmed to show, not tell, sketching is simply part of the thought process.

With that said, we’re interested in knowing what you find more useful—old school pen and paper (like Jason Robb on UX Booth supports in this blog post) or digital tools like Cintiq or Brushes on the iPhone? (And while you’re contemplating that question, check out this time-elapsed video showing how Jorge Colombo drew The New Yorker’s June 2009 cover by virtually finger painting using Brushes. . . it’s pretty sweet.)

So the question remains: does the convenience of a multitasking tool like a phone, digital display or software win out? Or do you relish the tangible nature of hand grasping pen? Whichever you prefer, the only non-argument seems to be that sketching remains a prevalent and important part of design in all forms, whether as a problem-solving approach or simply a means of finding inspiration—and maybe even sheer enjoyment. 

Image: Jorge Colombo’s June 2009 cover for The New Yorker was created using Brushes on the iPhone.

Designers and developers will be falling in love all over again (with the web, that is) at Mix10. The year’s biggest designer/developer love fest is right around the corner—March 15th to 17th in Las Vegas—and the action-packed lineup is one you won’t want to miss.

To put it in their own words, Mix is all about “exploring the art and science of creating great user experiences” while also investigating the interplay between design and technology. Seeing as we at FILTER are rather smitten with the convergence of design and technology ourselves, we couldn’t have said it better.

Over 3 days, Mix10 will offer a glimpse into the next generation of ecommerce, technology, mobile, design and more. (Can you feel the butterflies already?!)

Curious about who else will be there? Mix draws a sharp crowd of designers, developers, strategists, information architects, visual designers, UX professionals and digital marketers (plus other web-savvy professionals). Whether you’re a designer, developer or a hybrid devigner, you’ll no doubt feel the love at Mix10.

(Planning to attend? Share your comments, experiences or thoughts about Mix here on our blog!)
  

In response to the crisis in Haiti, FILTER launched a donation drive last week, matching contributions from employees and staff 1:1. In total, over $20,000 was raised and donated to the American Red Cross for their Haiti relief operation.

Thank you to all who generously donated, and our thoughts go out to those affected by the earthquake in Haiti.

Design truly can make a difference.

Human-centered design confronts a range of social problems, from distributing clean drinking water to developing new medical technology. And as aid and supplies continue to be mobilized to relieve earthquake-stricken Haiti, I’m reminded of design’s potential and the many, many ways design can make a difference.

In light of Haiti’s recent tragedy, an article by Ernest Beck on designobserver.com, State of Shelter, examines one of the many prongs on the wheel of human-centered design: temporary housing. Beck shows a number of conceptual developments and prototypes for emergency shelters intended to replace the old tents and tarps often used in the wake of a natural disaster.

Although the examples shown in this article (I’m sure many, many more exist, including a few here) have great potential for providing emergency shelter, none have been implemented on a large scale. Whether due to issues with production, distribution, affordability or simply timing, these ideas are still just that.

Reading Beck’s article—which again, points to a small piece of a rather large picture—I was both filled with optimism at the positive social impact design can have and confronted with questions about the implementation of new solutions (and how many more disasters may occur between now and then).

Obviously these issues are far too large to be dealt with in a single blog post, but the article did prompt me to dig a little deeper into human-centered design, not only in the context of emergency relief and disaster preparedness, but generally as well.

This is barely skimming the surface, but if you’re looking to stimulate more thoughts and ideas on making a difference through design, here are a few organizations and resources to get you started. Please feel free to comment and add to this list of links—it’s by no means all inclusive!

Design for the Other 90%
Through partnerships both local and global, individuals and organizations are finding unique ways to address the basic challenges of survival and progress faced by the world’s poor and marginalized.

Design that Matters
Design that Matters (DtM), a 501c3 nonprofit based in Cambridge, Massachusetts, creates new products that allow social enterprises in developing countries to offer improved services and scale more quickly.

Institute for Human Centered Design [Adaptive Environments]
The Institute for Human Centered Design (IHCD). . . is an international non-governmental educational organization (NGO) committed to advancing the role of design in expanding opportunity and enhancing experience for people of all ages and abilities through excellence in design.

Design Corps
Creating positive change in communities, through design.

GOOD
GOOD is a collaboration of individuals, businesses, and nonprofits pushing the world forward.

Article: Greater Good
Adam Mack and Aaron Sklar of IDEO discuss the three tools that will make the strongest contribution when designing for social impact.

Resource: Human Centered Design Toolkit
For years, organizations have used Human-Centered Design (HCD) to arrive at innovative business solutions. In collaboration with the Gates Foundation and non-profit groups IDE, ICRW, and Heifer International, IDEO has specially adapted this process for NGOs and social enterprises that work with impoverished communities around the world. The resulting HCD Toolkit helps organizations understand people’s needs in new ways, find innovative solutions to meet these needs, and deliver solutions with financial sustainability in mind.


Book: Designing for the Greater Good: The Best in Cause-Related Marketing and Nonprofit Design
This first-ever book of its kind, Designing for the Greater Good, features hundreds of illustrated examples of the best nonprofit and cause-related design worldwide, plus 24 inspiring case studies and insights into great nonprofit branding campaigns.

It’s easy to think of a map as objectively-driven, a simple tool for accomplishing the goal of getting from A to B. But as with any work of design, even the most (seemingly) simple of lines or typefaces are the result of a multitude of choices and subjective interpretations and negotiations.   

So while it may seem like a mere information graphic serving a distinct and linear purpose, a transportation map is also an artifact laden with hints of a people’s aesthetic tastes and rumors of a place’s character.  Rachel Berger, a graphic designer in San Francisco, writes in an article on Design Observer (A Makeover for the BART Map): “Ultimately, how a transit map looks communicates information about the people who designed it, the people for whom it was designed, and the place it represents. Certain transit maps have come to symbolize the very spirit and character of a place.”

Comparing the old and new BART map may beget the age old (or perhaps annoying) question of form versus function. For the sake of geographical accuracy, the old map risks capriciousness with its meandering lines, whereas the new version turns the loose twine of the tracks into a taut tightrope of unabashedly straight lines.   

Looking beyond the design, Berger eloquently considers the map’s significance as she mulls over old versus new, commenting, “Transit maps hold a vital position in the visual culture of the places they represent: they often frame a visitor's introduction to a new city and are the focus of the weary commuter's stare day after day, year after year. A transit map provides a set of instructions for how to traverse a city. It influences behavior, prescribing our movements by guiding the paths we take and in so doing, has the power to actually shape a city.”

So when it comes to the BART map—or really any information graphic intended for public use—which do you prefer? The old, geographically-driven version or the updated (perhaps simplified) geometric one? Should character and personality play a part in the design of something like a transportation map? Can such a graphic be objectively designed?

What’s your take?  

Image from designobserver.com.

Did organization top your list of resolutions? Or, like me, are you gazing at some December 2009 calendar which is still hanging on your wall, purely for posterity’s sake?

Of course as a creative professional, organization is key. The more organized you are the more time you have to spend doing what you love. With the New Year, I’m always eager to organize and find some new sources of inspiration. Here are just a few of the many, many planners and calendars that caught my eye in at least one of those departments. If you’re on a creative organization kick too, maybe one of these will get you going on the right foot.

Daily/ Weekly Planners

I like to have something small and portable that I can keep with me and update frequently. While meetings are also scheduled on my Outlook calendar and phone, I like to include a few handwritten notes before and after meetings too (plus I prefer to have a paper backup in case of an untimely technology meltdown!).

Moleskine’s daily, weekly, and monthly planners and notebooks are simple, practical and sturdy. Or, Action Method offers tools for productivity and project management, including the Action Book and Action Runner, both designed with creative professionals in mind. And for true right-brainers, there’s also the Bubble Planner, which provides space for organizing information visually.

Letterpress Calendars, Wall Calendars and More

Now for the inspiration piece. I love finding a new calendar to hang somewhere in my office or home where it will not only mark the time but set the tone for the year ahead as well. There are so many stunning examples out there, but here are a few that I’m finding hard to resist:

1. A gorgeous die cut calendar made from recycled paper which could easily be repurposed into another work of art at the end of the year (from A Little Hut)

2. A great letterpress wall calendar from seesaw, with colorful, playful designs

3. This brightly colored wall calendar from vanhoosedesign on Etsy (which reminds me of dot candy)

4. The Typographic calendar from Pentagram

5. An irresistibly illustrated, hand-printed poster calendar from 1canoe2 on Etsy

6. And finally this wonderfully minimalistic limited edition letterpress calendar from AisleOne

Now go forth, organize and prosper!

Our friends over at Getty Images are looking for some creatively-minded folks to share their opinions and participate in upcoming usability studies. Your input will help shape changes and improvements to Getty Images. Plus, you’ll be generously compensated with a gift certificate for your time.

Interested? More information and the form to sign up is located on the Getty Images Blog (it’s an old post but the information and the form are current—we promise!).

Go on and lend your opinion for the sake of customer research (and maybe even some good karma).   

Sharpen your typography prowess with The Font Game, designed for the iPhone and iPod touch, and see if you really know your sans from sans serifs. The game features 657 font samples, 3 levels of difficulty to suit your mood, and you can post your results directly to Twitter and check the Hall of Fame.

The Font Game (which I found on swiss-miss) is designed by John Boardley, Justin Stahl and Kari Patila. Check it out.