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Friends,

I have some news about a new chapter of my life, personally, professionally and geographically. Last month I accepted the offer of a new position and have joined IBM as part of the leadership team of IBM Design, a new business unit based in Austin, TX that will infuse this massive organization with design of all disciplines (visual, strategic, interaction, research, product). This is an opportunity that has emerged very unexpectedly over the last few months. It will give me the chance to help build a design office at a global scale—in a company with a breathtaking design heritage—and to work with the young designers who will be the core of this office. It’s a dream gig that came to me out of the blue (pun intended). I’m thrilled and stunned and a bit overwhelmed, but energized and inspired by this new adventure.

While I will dearly miss my beloved City of Lakes, and the amazing design community there, I look forward to turning a new page and settling into a new awesome (and weird) community.

To be continued…

Doug

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Here are some notes and links for the MN Do-Gooders Marketing for Fundraising panel discussion that I am participating in on March 18, 2013.

Top crowd funding sites:
Kickstarter
IndieGoGo
StartSomeGood
RocketHub
Pozible
Causes.com
Razoo
Crowdrise

Here are a couple good posts that list these and other funding sites with additional commentary and info on each one:
Forbes: Eight Crowdfunding Sites For Social Entrepreneurs
Hongkiat.com: 10 Crowdfunding Sites To Fuel Your Dream Project
PlanToStart: Top 10 Crowdfunding Sites for Entrepreneurs

Additionally, check out these resources:
AIGA Design For Good
Start Up Weekend
Minnesota Cup: Breakthrough Ideas
Rock Health

In the final installment of this three-part series, Michele Ronsen and I discuss the complexities of the entrepreneurial process, including the adjustments designers can make to our business model.

In the second of this three part discussion on emerging trends in design, I discuss Design for Good, the AIGA initiative to activate design-driven social change with Michelle Ronsen of Academy of Art University in San Francisco.

Academy of Art University interview, part 2 from Doug Powell on Vimeo.

I originally met designer Michele Ronsen at the AIGA Business Perspectives for Creative Leaders program in 2007 when the program was still in its original home at Harvard Business School (now at Yale School of Management). We hit it off back then and have continued an ongoing dialogue about various design-related issues. Last spring, while on a visit to San Francisco, I stopped by the Academy of Art University (where Michele teaches in the graduate design program) to discuss the emerging trend of design-driven social change. This video is part 1 in a 3-part series.

The AIGA Gain Conference was held October 8-9 in San Francisco. This year, the conference had a theme of Design for Social Value and featured speakers such as Emily Pilloton, Robert Fabricant, and Ravi Naidoo. It was an invigorating two days of challenging and inspiring discussions that illuminated the possibilities and challenges that lay before the design community as we venture into new territory. Here are my opening remarks for the conference.

My name is Doug Powell. I’m a designer and the national president of AIGA. It is my great pleasure to welcome you to the 2012 AIGA Gain Conference. The Gain Conference has its roots right here in San Francisco and, in fact, right here at the Yerba Buena Center for the Arts. In the year 2000, the AIGA Risk/Reward conference, which two years later became the Gain conference, was held here. 

Risk/Reward was a bold move for AIGA at the time because, rather than celebrating design excellence in the purely aesthetic way we had come to expect it, Risk/Reward challenged the audience to consider the many influential factors–in addition to aesthetics–that made designers successful. At the turn of the millennium, as the profession and practice of design was hitting its stride in new ways, the bold move of Risk/Reward was perfectly timed. The proof of this lay in the subsequent five Gain Business of Design conferences, which became one of the most popular AIGA programs.

Twelve years later designers have found profound new ways to influence the world around them bringing the process of design to complex social problems on the local, regional, and global scale. Designers are having a major impact on issues such as healthcare, sustainability, and education, issues once the proprietary domain of academics, policy makers, and business leaders. 

AIGA members in our 66 local chapters and more than 200 student groups are among the leaders in this new movement initiating change-oriented projects and programs in communities as diverse as Brooklyn, Birmingham, and Johannesburg, South Africa. In response to this groundswell of member activity, one year ago AIGA launched Design for Good our initiative to ignite, amplify, and accelerate design-driven social change. As the profession and practice of design once again turned an exciting and challenging new corner, it was time for another bold move. So to punctuate the successful first year of Design for Good we have returned to San Francisco and returned to Yerba Buena to once again ask important questions about the new ways in which designers are working.

Let me make one thing very clear: this Gain conference will not be simply a pep rally for social design, although I suspect and hope that we will all be sufficiently inspired by what we will experience over the next two days. This conference must reach beyond the motivational and begin to ask the tough questions that will be required in order for design-driven social change to become an embedded, sustained, and meaningful effort, not just a short-lived trend.

These questions include: What are the new models for a design practice that will enable this work? What are the sources for funding, and how do we access them? Who are the established individuals and organizations we should be aligning ourselves with? How do we measure the effectiveness of our work in a way that will resonate with our new partners? And what skills will designers need to acquire in order to function effectively in this new role as change agents?

 To address these questions, we have assembled a roster of the early leaders in this emerging practice area representing a diverse range of business settings, geographic regions, and philosophical points of view. Our goal is not to provide answers, but to provoke more questions, to ignite conversations and connections, and ultimately to inspire you all to return to your own communities better armed, informed and prepared to make a positive difference.

I recently had the pleasure of presenting at the TEDx Art Center Design for Social Impact conference in Pasadena, CA. This student-organized event was one of the best produced and most content-rich one day design events I have been a part of. The speaker roster was packed with some of my favorite design thinkers including Terry Irwin, Allan Chochinov, and Cameron Tonkinwise, as well as a few new favorites whom I had never met before like IDEO.org Fellow Robin Bigio, artist Victor Hugo Zayas, and designer/musician Spencer Nikosey. Congratulations to student co-chairs Erik Molano, Mariana Prieto and the entire student planning committee. Here’s the video of my presentation:

It’s a rare treat when the “mainstream” media turns their attention toward the topic of design, and that happened recently when Minnesota Public Radio invited me to be a guest on the June installment of Bright Ideas: Fresh Thoughts on Big Issues, hosted by reporter Stephen Smith. We taped the hour-long show in front of a live audience at the MPR Forum in St. Paul. The discussion was lively and wide-ranging with a focus on design for social value and other new ways that designers are working. Check out the video of the show posted here.

I had the rare privilege to deliver the commencement address recently at the College of Visual Arts in St. Paul, Minnesota. In preparing these remarks, I asked my Facebook friends to contribute advice and words of wisdom. The response I got was overwhelming! Thanks to all who contributed—I couldn’t possibly include all the comments, but please know that the collective whole had a tremendous influence on these words.

 
To the members of the faculty and administration; my former colleagues on the CVA board; parents, friends and family members; and of course today’s graduates of CVA, it is my humble honor to be with you today to help celebrate this remarkable life moment and impressive achievement. The honor I feel is compounded by the deep connection I have to this school, which began more than 15 years ago when my good friend John DuFresne called me to say that he had just taken the position of chair of the design department at CVA and would I be interested in joining the adjunct faculty and teaching typography. Serving on the faculty for those three years was energizing, and it cemented my connection to this school. In the years that followed, my kids attended summer programs at CVA, I served on the board of trustees, I have helped to plan the CVA Leaders of Design program for the last several years, and my brother Andy is a long time member of the illustration faculty here. Indeed the Powell family roots at CVA run deep and strong.

Recently CVA has helped connect me to an experience I had long forgotten. On occasional Saturday afternoons I’ve been quietly sliding into the CVA studio building on Selby and Grotto for the weekly open figure drawing session. Before I began doing this I had not made a piece of art purely for the fun of it in probably 20 years. I had completely forgotten the sheer joy of transforming a blank sheet of paper into…well, in my case, a sheet of paper with a bunch of scratchy marks all over it. For me this is a mesmerizing activity through which I’ve rediscovered why I became a designer in the first place—the pure thrill of making art just for the fun of it.

I come to you today from several distinct points of view. First and foremost, I am a working designer with an independent practice focusing on design for healthcare. I am also the president of AIGA the professional association for design, a nearly 100 year old organization with 22,000 members in 66 local chapters and over 200 student groups, including one right here at CVA. Finally I am a parent of two amazingly talented young adults; our son Zev has just completed his sophomore year at Washington University in St. Louis, and our daughter Maya will be starting her own art and design education next fall as a freshman at Maryland Institute College of Art in Baltimore. So as I prepared my remarks for today, I was thinking about this palpable milestone through each of these three lenses.

It is a remarkable time to be entering the world empowered with the skills of that an art and design education builds. Terms like “design thinking,” “innovation,” and “creative problem solving” are now commonly used in even the most traditional quarters of business and government. When my wife Lisa and I graduated from art school nearly a quarter century ago, the essential question on our minds was “how are we going to make a career out of this?” While I don’t want to dismiss the significance of that important question, and the subsequent answers prompted by it, it strikes me that the essential question facing today’s generation, and this class of graduating artists and designers is something quite different.

Our country and world are faced with challenges of an almost unthinkable scale. In virtually every aspect of society—from healthcare to the economy, politics to the environment—we are broken. The leaders who have been trying to fix these massive problems are running out of ideas and are looking for help. I believe artists and designers—creative thinkers—are uniquely qualified to contribute meaningful answers to these critical social questions. But wait, creative thinkers can make a meaningful difference? How could that possibly be? As Amanda said earlier in her excellent valedictorian speech, “we are the weirdos.” We’re the quirky, flaky outcasts who hang out on the edges of society, how could we possibly have something meaningful to contribute? Let me make the case for you with three points:

First, when the traditional leaders of business, academia, or government address these big issues, they are trying to find the shortest line between problem and the solution. They are trying to be as efficient as possible. They are trying to eliminate risk. Creative thinkers, on the other hand, embrace risk, because we know that by embracing risk we will find truly surprising and innovative ideas.

Second, creative thinkers are experts at making the confusing clear. One of the basic skills we learn in a school like CVA is how to push our ideas beyond the obvious, we constantly refine, synthesize, and clarify. The result of this process is creative solutions that resonate.

And third, the quality that is absolutely central to our work—whether we are fine artists, illustrators, photographers or designers—is a quality that is so often ignored by other disciplines. That quality is empathy; the ability to identify on a purely human level with the audience, the user. We know them. We understand them. And we are their advocate.

Risk. Clarity. And empathy. These three qualities are so absent in our world today. These are the qualities that creative thinkers will always bring.

My own journey as a creative thinker has informed my ideas on this topic. Nearly ten years ago, after Lisa and I had run our design business for more than a decade, our daughter Maya was diagnosed with Type 1 diabetes. This was a life changing experience, and an enormous challenge for our entire family, and in the process Lisa and I discovered a glaring need for kid-friendly, visually oriented tools for kids and families living with this disease. Using the skills that we learned in art school, we responded to this need by developing a set of design-driven learning tools, which we eventually built into a successful business called HealthSimple. Had Lisa and I been encountered with this challenge without the skills we developed in art school and over the subsequent years as professional designers, we might have recognized the glaring need, but we would not have had the skills to find a creative, innovative, and human-centered solution that we did.

In my role as AIGA president I’ve spent the last year traveling around the country visiting communities where designers are making a difference. In Birmingham, AL, Hartford, CT, Grand Rapids, MI, Savannah, GA, and right here in the Twin Cities, designers are engaged with local community leaders using the creative process to develop surprising and innovative solutions to issues as wide ranging as improving the water quality of a polluted river system in central AL, to helping Somalian immigrants integrate more successfully into their new neighborhoods just across the river in Minneapolis. In each of these communities we are making the case that this approach is more than just a novelty; that the creative process is an important method that can lead to real results—and not just to create cool posters, logos, and pieces of public art, but to address the core issues of these complex problems. Creative thinkers are emerging as leading figures in this new movement.

Just last week I had the opportunity to sit across the table from Dr. Howard Koh, the U.S. Assistant Secretary of Health—one of the highest-ranking public health officials in the country—to talk to him about how design and designers can help Americans live healthier lives. It was an amazing experience, but you what amazed me most about it? Dr. Koh did not need to be convinced of the power of design. He already knew. Indeed it is a remarkable time to be a creative thinker.

So it occurs to me that the essential question facing those of you graduating today is this: How can I apply my skills as a creative thinker—those skills that I have learned in my years here at CVA—to make a meaningful difference in the world around me? Your opportunity to make a difference is massive. And your potential to improve the human condition is epic. I believe this generation of creative thinkers—your generation of artists and designers—will change the world.

OK, that was all very serious, so let’s mix this up a bit. All of the online tips for how to write a commencement address tell you that the formula for a successful address includes a section that is serious and aspirational, and then a section that is filled with advice and wisdom. Add in some witty anecdotes and you are pretty much good to go. So I just finished the serious and aspirational section and now I’m going to get into the wisdom and advice. So where does a commencement speaker turn to find wisdom and advice? Yes, of course, Facebook.

Last week I posted the question to my Facebook friends of what advice they would offer to an audience of talented young people on the doorstep of their life as creative professionals, and here are a few of the responses I got:

  • (Nick Zdon) The best part of being a ‘creative’ is not being rich.
  • (Michael Vanderbyl) Design is not a job it is a lifestyle. You will spend the rest of your life caring passionately about things others cannot see…and that’s a good thing.
  • (John Moe via Meghan Wilker via Twitter) Young People: When you become an adult, pretend that you know what you’re doing. That’s what ALL OF US ARE DOING.
  • (Bruce Johnson) Mitt Romney says they should borrow money from their parents.
  • (William Roberts) Make sure to keep a small bottle of scotch in the work desk drawer. You’re gonna need it.

I asked my dad if he had any advice to offer. Those parents in the audience can probably identify with the sheer horror my parents faced when they found themselves with not one but two kids in art school. At the same time! So, Dave Powell has this advice: “Tell them to get a job.” (pause) “No really, tell them not to get discouraged by what they read in the newspapers or hear on TV about the job market. There are opportunities out there and they have to be aggressive in searching them out. Also, their first opportunity might not be the perfect or dream job, but it adds to their qualifications until something better comes along.”

I didn’t have the heart to tell my dad that this generation doesn’t read newspapers or watch TV. I asked him why he never gave me that advice and he said “You never asked.”

I want to add one piece of advice of my own to this list, and it actually comes from some of the Facebook comments I got along with some really interesting conversations I’ve had recently. It’s about the importance of relationships and collaboration in the creative process. Amanda and Laura both spoke with great spirit about the incredible connections you’ve all shared in your years at CVA. Clearly those connections have been a huge part of your experience here. Yet when we get into creative profession, many of us have a tendency to be loners. We work in isolation, and we separate ourselves from things and people who might surprise us or challenge us. Somehow we forget that surprise and challenge can also inspire, enrich and elevate our work. I have had the incredible good fortune to have a partner in life and work and design who always surprises me, who relentlessly challenges me, who enriches and inspires me every day. And who has elevated my work to a level I never thought possible.

So, College of Visual Arts class of 2012, congratulations! You will do amazing things. And remember, when you need a break from saving the world, grab your sketchbook and stop by the Grotto building some Saturday afternoon and we’ll make art together—just for the fun of it.

Thank you.

In the nine months since I became AIGA national president I’ve had the pleasure and privilege of visiting more than a dozen AIGA chapters and student groups in design communities as rich and wide-ranging as San Francisco, Oklahoma City, Washington DC, and Sioux Falls, South Dakota. On these visits I’ve spoken to hundreds of designers about what they are seeing and experiencing in the profession, and what they are looking for in a professional association. As you can imagine, these conversations are as diverse, passionate and nuanced as the AIGA membership itself, yet most of the questions I’ve heard can be grouped into three general categories: “How can I make the case for the value of design to my clients and potential clients in the midst of a challenging economy?” “How can I continue to build my skills to remain relevant in a shifting and fiercely competitive job market?” and, from many designers at the beginning of their career, “How can I build my career by doing work that I am passionate about, and that makes the world around me a better place?”

For me, these three questions symbolize the complexity of our profession during this dynamic time of change, and as a working designer with an independent practice, these are questions I find myself asking often.

So how does a membership organization with a rich 100-year history and scarce resources respond to the changing needs of its constituency? This is the central question I’ve been asked to help answer during my term as president. In 2009, the AIGA leadership—led by a previous president and board—took a bold step in addressing this question by developing and launching a strategic vision for AIGA that reflected the current realities of the profession and world based on direct input from our members. In collaboration with our remarkably talented and dedicated 15-member board and staff, I’ve been working to respond to this call for change and implement this vision—a responsibility I take very seriously and am deeply humbled by.

A recent opinion piece on a design blog by AIGA medalist Paula Scher was highly critical of this “new AIGA,” specifically using the AIGA Justified design competition as evidence that the organization has lost its way and abandoned all interest in celebrating design excellence. In her piece, Paula connects the failings of AIGA to me personally in a baffling rant that includes claims about cutting down trees and endangered species (design Darwin-ism?). I have been an admirer of Paula Scher’s design work for many years, and I have an appreciation for the broad point of view she is expressing in this blog post. I believe strongly that we must find a balance between striving for our ambitious vision of change and honoring our cherished history. However, to single me out by name in this article and suggest that I have “mowed down” a valued AIGA program is profoundly inaccurate, insensitive, and inflammatory. The courtesy of a phone call before publishing such a statement would surely have resulted in a better understanding of my point of view and a more balanced view of this important issue, but apparently that was not the intent. Instead the tone of this piece has reduced a valid debate to the level of a cable news talk show where fact is obscured by rhetoric.

While I’m tempted to engage in a tit-for-tat response to Paula’s claim, frankly I’ve got work to do today so I’m going to keep this at a high level. I’ll refer readers to Ric Grefé’s thoughtful contribution to the comment stream of Paula’s post for a more detailed articulation of AIGA strategy. Suffice it to say that AIGA has taken many forms over our 100 year history, in fact Paula gives an overview of the many past AIGA design competitions in her post. What this tells me is that AIGA has always been willing to reinvent our competitions and other programming to match the evolving context of the time. I’m not sure if we have fully succeeded with Justified, but I believe it is a valid reflection of the complex time in which our members are living and working, and a strong response to the feedback we have received.

I look forward to continuing the vigorous and respectful discussion of design, professional, and cultural issues I’ve had with so many AIGA members during the rest of my term as AIGA president and beyond.

I hope you will join me later this month as AIGA will celebrate excellence in design by honoring the 2012 class of medalists: Ralph Caplan, Elaine Lustig Cohen, Armin Hofmann, and Bob Vogele at our annual gala: Bright Lights. As we approach the centennial of AIGA in 2014, we must continue to reflect on the richness of our shared past while tapping the immense creativity of our nearly 22,000 members to envision design in the next hundred years.

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