Category: Design
Diseño de experiencias
Reflexiones compartidas para el Laboratorio de Diseño Integral de Sistemas de la Información. UAM Santa Fé
Hace tiempo que me tope con el libro de Ellen y Julia Lupton, Diseña tu vida, en el conocí la pregunta “Qué te permite”. A través de una graciosa lectura, viví las primeras descripciones sobre nuestras interacciones con objetos de la vida diaria desde ese punto de vista nuevo. No se trata de usar el objeto como esta diseñado para ser usado, si no ver al objeto como ese medio que me permite hacer tantas otras cosas.
El encuentro en mi caso, con las posibilidades del diseño, han estado mucho más tiempo relacionadas con necesidades comerciales y eso me ha enseñado que vender esta lleno de posibilidades para el diseño. Afortunadamente el mundo está girando a gran velocidad y ustedes ahora cuentan con otros recursos, ahora cuentan con más experiencias de las que podrán capitalizar.
Con ese fin les comparto una selección de episodios de un programa que escucho con mucha frecuencia y hace ya años. Se llama 99% Invisible. Visítenlo y sobre todo, les recomiendo escuchen la selección que he hecho para ustedes. Estoy seguro que encontrarán ideas, principios y puntos de vista sobre temas que ya conocen y otros de los que no se imaginaban. Agregue un par de vínculos adicionales pero la verdad es que cada Podcast y sus ligas, ya contienen suficientes referencias para que ustedes tengan una buena inmersión en el.
Hay tres episodios que me parecieron los más relevantes.
Las interfaces gráficas futuristas en su mayoría son azules.
http://99percentinvisible.org/episode/future-screens-are-mostly-blue/
En 10 mil años
http://99percentinvisible.org/episode/ten-thousand-years/
Si hay tantos letreros que dicen que no entres, entonces debe ser un gran lugar.
http://99percentinvisible.org/episode/episode-83-heyoon/
Hay muchos otros que podrán disfrutar, aquí sus ligas:
- http://99percentinvisible.org/episode/walk-this-way/
- http://99percentinvisible.org/episode/episode-41-the-human-human-interface/
- http://99percentinvisible.org/episode/episode-49-queue-theory-and-design/
- http://99percentinvisible.org/episode/episode-62-q2/
- http://99percentinvisible.org/episode/episode-30-the-blue-yarn-download-embed-share/
- http://99percentinvisible.org/episode/inflatable-men/
- http://99percentinvisible.org/episode/holdout/
- http://99percentinvisible.org/episode/episode-31-the-feltron-annual-report/
- http://99percentinvisible.org/article/little-green-men-iconic-pedestrian-lights-signal-change/
- http://99percentinvisible.org/episode/la-mascotte/
- http://99percentinvisible.org/episode/episode-60a-two-storeys-language-bites-and-the-memory/
- http://99percentinvisible.org/episode/episode-59-some-other-sign-that-people-do-not-totally/
- http://99percentinvisible.org/episode/episode-33-a-cheer-for-samuel-plimsoll/
- http://99percentinvisible.org/article/always-read-plaque-mapping-10000-global-markers-memorials/
- http://99percentinvisible.org/episode/octothorpe/
- http://99percentinvisible.org/episode/episode-12-99-guilt-free
- http://99percentinvisible.org/episode/episode-09-99-private/
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
Suerte y quedo atento a sus propuestas.
Federico
Federico Hernández Ruiz
Artist, Photographer, Designer & Consultant
I am passionate about identity; either as a concept, an expression or characteristic shared
by all things. I’m passionate to discover its expressions and find what triggers the best of each.
#fedehndz #idocare4design #idocare4 #federico #Hernandez-Ruiz #LaboratoriodeDiseñoIntegraldeSistemasdelaInformación (Nora)
https://idocare4design.wordpress.com/2016/04/25/federico-hernandez-ruiz/
An incomplete manifesto for growth. Via Bruce Mau
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as
beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your
practice.
13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ——————————. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software. The problem with software is that everyone has it.
25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”
28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not device-dependent.
30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a ‘charming artifact of the past.’
31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic– simulated environment.
34. Make mistakes faster. This isn’t my idea — I borrowed it. I think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up something else … but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people. Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.
Heres’s the link to the one of the sources with the PDF published. http://umcf.umn.edu/events/past/04nov-manifesto.pdf
First Things First Manifesto 2000. Via Emigre
Various authors
I may add myself to this. Federico Hernandez-Ruiz
Here’s the link to the original post: http://www.emigre.com/Editorial.php?sect=1&id=14
And a copy of the 164 manifesto written by Ken Garland along with 20 other artists.
http://www.designishistory.com/1960/first-things-first/
Ten guidelines for effective front-panel design. Via: PackWorld
While there are no hard-and-fast rules in front-panel package design, here are some guidelines to help you define your brand on today’s cluttered retail shelves.
1. Determine the brand “position.” Know your company and your brand and your core values. Ask the hard questions again and again, and don’t underestimate the savvy of today’s consumers. Is there a unique value proposition? What is the primary product benefit, lifestyle advantage, or convenience gain? For a new brand or brand extension, remember that getting noticed is often the most important goal.
2. Explore the competitive environment. Use differentiation in a category for one goal—giving consumers a reason to pick up the package. Go to the retail environments where the package will live, and ask these questions from the perspective of the brand:
• Who am I? Do I represent something tangible? Do I inspire trust?
• What makes me special? Where do I fit in among competitors?
• Why would they buy me? What’s the most important benefit or advantage?
• How can I connect with consumers emotionally? What cues can I use?
3. Settle on a hierarchy. Information organization is a critical element of front-panel design. Broadly, the importance of the information hierarchy goes: 1) brand; 2) product; 3) variety; and 4) benefit(s). Analyze all the messages you want to convey and put them in order of importance. This doesn’t necessarily mean that they’ll be in that order, top to bottom, on the package, but it’s a good reference point to start with. Having a very organized, consistent information hierarchy across multiple product varieties helps your customer find the variety they desire and allows for a satisfying experience. Saving the shopper time in picking out a product should always be a priority.
4. Make one element the hero. Is the personality of the brand strong enough to stand on its own? Determine what is the most important single idea to communicate about your product. If you’re going to “own” something, what is that something? Align secondary brand messages under the primary umbrella message. If your brand is the hero, consider “locking in” a tagline with the logo. But make sure you’re committed to that tagline for the long haul. Otherwise, look for inspiration outside the category, which can often lead to breakout design. Use shapes, colors, illustrations, and photographs to reinforce the hero of your brand story. Above all else, make it easy for repeat buyers to find you the next time.
5. Keep it simple. Less is often more—communication-wise. Be succinct, both verbally and visually. Three main visual cues are all that the typical eye will tolerate. Successful package design is often an exercise in constraint. Remove overloaded messages on the front panel. Limit marketing claims and benefit statements. Any more than two or three, and the points will be counterproductive. Too many benefits will dilute the core brand message, and it will actually cause the consumer lose interest in the store aisle. Remember, most packages have secondary panels for more information. That’s where shoppers look when they want to learn more. Use the secondary panels, but don’t skimp on design for those either. If secondary panels are unavailable, consider a hangtag to tell a deeper brand story.
6. Manage stakeholder expectations. Expect some stakeholders to want to put all the information or marketing claims they have on the front panel. Remind them that a package is not an advertisement. Be prepared for the counter-arguments by having a repeatable design development process. Back the process up with checkpoints and transparency and show progress with visual aids. Explain how the process is both expansion and contraction, and have everyone sign off on the process before starting. Quickly develop three to five options so you can establish a common language to talk about the objectives. Be prepared with questions and suggestions should a stakeholder come to you with a printer or converter already in mind before design begins.
7. Communicate value visually. Of course, having a transparent window that shows the product inside is almost never a bad idea. Consumers want visual confirmation of the choices they make. Aside from that, you can say things non-verbally with shapes, design, graphics, and colors. Use the elements that will best communicate attributes and equities, sensations and feelings, emotional associations, and textures. Create an association with a sense of place. Suggest use occasions with graphics that have the elements of that use occasion. Involve a lifestyle. Today’s consumers judge products in relation to how the values of that brand fit into their values and lifestyle. Create a singular “reason to believe” that is capable of closing the sale in isolation.
8. Be mindful of category-specific rules. Each retail category has its own conventions. Some should be followed religiously. Some are important because bucking the convention can set a newcomer brand apart. For food products, however, the product itself should almost always be the hero. Spend the money on production and printing to create a photorealistic representation of the ideal serving suggestion. Conversely, for pharmaceutical products, the brand and product’s physical characteristics can be secondary—sometimes even unnecessary. The parent brand logo may not need to be on the front panel. Instead, emphasize the name of the product and what it does. Across all categories, though, it’s advisable to err on the side of less clutter on the front panel.
9. Don’t forget findability and shopability. Learn how consumers shop the particular category you’re in. Make sure they won’t be confused by the format or the information hierarchy. Remember, cognitively and psychologically, colors communicate ahead of everything else. Next come shapes. Words matter, but mostly as a support role. Words and typography are for reinforcement, not high-level brand communication.
Findability can be either about having a brand-first strategy or about creating a “blocking” element in the store aisle that draws shoppers in. Shopability is about having a consistent system of colors, shapes, materials, or front-panel hierarchy that guide both new and repeat shoppers in finding the specific product and variety he or she desires. If there are multiple lines under a parent brand, consider good/better/best strategies that indicate each value proposition clearly and succinctly. For instance, the relative strengths of different products in a line can be indicated by “strengths,” or relative saturations, of color.
10. Plan for future brand extensions. A brand that is flexible enough to extend to other categories also has a core brand identity that it owns. After that, a successful brand platform is one that can grow by adding product varieties or lines, or extending outside its original category. Test the versatility of a front panel’s design by applying it to new products and to new categories. Look at a wide swath of imaginary products and extensions, not just the flagship variety. Make sure they all work together, united as a brand but easily understood as separate offerings.
Even plan for future redesigns of your core product line. Don’t inhibit the future growth of your brand by creating a platform that is not both extendable and flexible.
FDA Proposes Most Significant Update to Nutrition Facts Labeling in 20 Year
The nutrition facts label as you know it will likely be changing soon, thanks to significant changes supported by the Obama administration:
“Our guiding principle here is very simple: that you as a parent and a consumer should be able to walk into your local grocery store, pick up an item off the shelf, and be able to tell whether it’s good for your family. So this is a big deal, and it’s going to make a big difference for families all across this country.”
– First Lady Michelle Obama
“The U.S. Food and Drug Administration today proposed to update the Nutrition Facts label for packaged foods to reflect the latest scientific information, including the link between diet and chronic diseases such as obesity and heart disease. The proposed label also would replace out-of-date serving sizes to better align with how much people really eat, and it would feature a fresh design to highlight key parts of the label such as calories and serving sizes.”
– FDA Announcement
“For 20 years consumers have come to rely on the iconic nutrition label to help them make healthier food choices. To remain relevant, the FDA’s newly proposed Nutrition Facts label incorporates the latest in nutrition science as more has been learned about the connection between what we eat and the development of serious chronic diseases impacting millions of Americans.”
Some of the changes to the label the FDA proposed today would:
- Require information about the amount of “added sugars” in a food product. The 2010 Dietary Guidelines for Americans states that intake of added sugar is too high in the U.S. population and should be reduced. The FDA proposes to include “added sugars” on the label to help consumers know how much sugar has been added to the product.
- Update serving size requirements to reflect the amounts people currently eat. What and how much people eat and drink has changed since the serving sizes were first put in place in 1994. By law, serving sizes must be based on what people actually eat, not on what people “should” be eating. Present calorie and nutrition information for the whole package of certain food products that could be consumed in one sitting.
- Present “dual column” labels to indicate both “per serving” and “per package” calorie and nutrition information for larger packages that could be consumed in one sitting or multiple sittings.
- Require the declaration of potassium and vitamin D, nutrients that some in the U.S. population are not getting enough of, which puts them at higher risk for chronic disease. Vitamin D is important for its role in bone health. Potassium is beneficial in lowering blood pressure. Vitamins A and C would no longer be required on the label, though manufacturers could declare them voluntarily.
- Revise the Daily Values for a variety of nutrients such as sodium, dietary fiber and Vitamin D. Daily Values are used to calculate the Percent Daily Value on the label, which helps consumers understand the nutrition information in the context of a total daily diet.
- While continuing to require “Total Fat,” “Saturated Fat,” and “TransFat” on the label, “Calories from Fat” would be removed because research shows the type of fat is more important than the amount.
- Refresh the format to emphasize certain elements, such as calories, serving sizes and Percent Daily Value, which are important in addressing current public health problems like obesity and heart disease.
“The proposed updates reflect new dietary recommendations, consensus reports, and national survey data, such as the 2010 Dietary Guidelines for Americans, nutrient intake recommendations from the Institute of Medicine, and intake data from the National Health and Nutrition Examination Survey (NHANES). The FDA also considered extensive input and comments from a wide range of stakeholders.”
“By revamping the Nutrition Facts label, FDA wants to make it easier than ever for consumers to make better informed food choices that will support a healthy diet. To help address obesity, one of the most important public health problems facing our country, the proposed label would drive attention to calories and serving sizes.”
“The Nutrition Facts label has been required on food packages for 20 years, helping consumers better understand the nutritional value of foods so they can make healthy choices for themselves and their families. The label has not changed significantly since 2006 when information on trans fat had to be declared on the label, prompting manufacturers to reduce partially hydrogenated oils, the main source oftrans fat, in many of their products.
The changes proposed today affect all packaged foods except certain meat, poultry and processed egg products, which are regulated by the U.S. Department of Agriculture’s Food Safety and Inspection Service.
The FDA is also proposing to make corresponding updates to the Supplement Facts label on dietary supplements where applicable.
The agency is accepting public comment on the proposed changes for 90 days.”
Via: http://www.thedieline.com/blog/2014/2/27/fda-proposes-most-significant-update-to-nutrition-facts-labeling-in-20-years?utm_source=The+Wrap&utm_campaign=586a3a2c8e-The_Wrap_Weekly_03_03_14&utm_medium=email&utm_term=0_f0d332d430-586a3a2c8e-230013793
To Lure Customers, Appeal To All 5 Of Their Senses Via: Stuart Leslie @ fastcodesign
STUART LESLIE, PRESIDENT AND FOUNDER OF 4SIGHT INC, OFFERS SIX TIPS FOR PACKAGING YOUR PRODUCT AND CAPTURING CONSUMER ATTENTION.
WRITTEN BY Stuart Leslie
We know that consumer purchase decisions are often made quickly and subconsciously, but there are opportunities where it’s possible to influence a consumer’s perception of a brand. People often make buying decisions by using all five of their senses and once product designers discover what each of these sensory influencers are, they can develop packaging that strategically speaks to consumers at each stage of the decision-making process. It’s ultimately about designing a complete experience–one that supports the brand every step of the way.
At my company, we developed the 4sight Sensory Lab, pictured above, to uncover these answers. Here, for example, cold beverage drinkers known to prefer their drinks not simply cold, but chilled to the perfect temperature, are taken through a progression of exercises that mimics the various points of contact that consumers have with a product.
We identify which bottle shape, size, color, material, and texture promises that sense of cold refreshment at first glance. As the test subjects move closer, details such as condensation and frost become evident and when they are handed several bottles, each chilled to the exact same temperature–but made of different materials, textures, shapes and finishes–they provide feedback on which one feels like just the right cold.
In the Sensory Lab, our process helps us ensure that at each stage of interaction with a brand, consumers receive the right information, enabling them to see, feel, hear, smell, and taste the value of the product. Here, we’ve identified the six stages that lead to a first purchase or a repeat purchase:
THE FIRST GLANCE
This is the first impression at a distance, seeing the product in someone else’s hand, on the shelf, or across the room. It’s the first visual promise of what a product will do for your senses. For Pom 100% Pomegranate Juice, the distinctive profile of the bottle featuring those fully rounded spheres, allows the distinct dark red color of the juice to catch the attention of a shopper. It promises a bold, robust taste. A new entry into the tequila segment, SX Tequila chose a distinctive, curvaceous bottle with smooth lines and frosted texture to communicate the sense of a smooth-tasting, chilled beverage.
THE INSPECTION
Here, consumers take a closer look and this is where details begin to hint at tactile sensations. Flowing details etched into the structure of the Aquafina water bottle strongly suggest the refreshment that the product provides.
Image: Flickr user Sheep R Us[/caption]Orangina, meanwhile, promises its fresh orange flavor through a dimpled finish on the bottle that suggests you are consuming straight from an actual orange.
THE PHYSICAL INTERACTION
Next, consumers make that first physical contact and combine the visual with the tactile experience. When grasped, the gentle curvature of the Febreze bottle and the angled spray head convey the soft and pleasant aroma that will fill the air. The smooth, diagonal neck on the new Miller Lite Bottle promises a refreshing flow of beer while the bold taper from the neck to the body provides a strong and confident grip for the hand. Adding the texture of the hops etched in the glass provides further engagement.
THE OPENING
When the consumer makes a physical step towards consumption or use of the product, there’s another opportunity to solidify your brand’s perception. When the foil cover is peeled off of a can of San Pellegrino, it offers the sensation of actually peeling fruit. It also incorporates a crinkling sound, which adds to the sensory experience at opening.
CONSUMPTION OR USAGE
The point at which the product is consumed or used and here, all five senses can be at play.
A smooth metal tip on Clinique’s Even Better Eyes product provides a refreshing and reviving cold sensation on the skin. For Gerber Good Start, the designated scoop holder on the side of the container provides for a clean usage experience and preserves the product for future consumption, as fingers do not contaminate the powder.
THE COMPLETION
There’s another opportunity to create a pleasant user experience when the product is disposed of or put away for later use. Wrigley 5 Gum incorporates a lock feature and embossed details to convey a secure and clean resealable pack. The Oreo cookie package also utilizes the sense of sight with a resealable film to promise lasting freshness. Once the film is replaced after each usage, it recreates the look of a fresh, unopened package.
In The Sensory Lab, we’ve gleaned significant insight into how the five senses influence consumer decision-making at six pivotal points. Incorporating a similar approach in your design process will help insure your package effectively communicates key brand attributes at each and every point of influence.
[Image: Shopping via Shutterstock]
Here is the link to the original article: http://www.fastcodesign.com/3024657/6-tips-for-making-a-powerful-first-impression?partner=newsletter
Comentario sobre el artículo “Starbucks Reinvents The Coffee Cup”
La experiencia con las marcas nos debe de suceder a través de todos los sentidos. Starbucks ya lo sabía y cuándo muchos podrían haberse preguntado qué más podía mejorar en sus tiendas, es cuándo tocan uno de los puntos más evidentes y al mismo tiempo el más importante, el vaso en el que bebes.
Starbucks Reinvents The Coffee Cup. fastcodesign.com
The coffee brand abandons its ubiquitous paper cup for a new highly styled version aimed at tea drinkers.
- Imagen tomada del artículo original. (3020733-slide-s-5-tevana-new-design-sleeveless-cup.jpg)
Tal vez Starbucks no es el mejor café, pero al sumar todos los puntos de contacto que van desde la apariencia exterior del lugar, las señales, la decoración, los muebles, la música, la barra, el orden de los productos, la lectura, el trato, el ticket, etc, etc. La suma de todo, sí hace al mejor café.
¿Puedes decir lo mismo de otros productos?, la verdad es que son contados.
¿Te imaginas cómo debería de ser la experiencia de pollo Bachoco o Pilgrims?, Los espectaculares de Bachoco son famosos, pero ya no son suficiente. Ni que decir de Gelatinas, Polvo para hornear o escobas. Todas y cada una de las categorías o familias de productos están llenas de oportunidades. La diferencia recae en como son vistas por los dueños, directores y mercadólogos, por las tiendas y por la gente que convive con ellas.
Claro, puedo suponer que muchos me van a decir que no se puede llegar a tanto. ¿Será?. Yo veo múltiples posibilidades y opciones. Aunque yo trabajo con empresas grandes y pequeñas estoy seguro que se puede llegar mucho más lejos, mucho mejor. Con detalles tan sencillos como… el vaso para llevar la bebida de Starbuck.
Mucho se habla de innovar, yo los invita innovar. A vivir conmigo este mundo del que tanto se habla de ideas, de nuevas soluciones. Ese mundo esta aquí y yo contigo.
Buen fin de semana.
Aquí el vínculo al artículo original.
http://www.fastcodesign.com/3020733/starbucks-reinvents-the-coffee-cup?partner=newsletter
Federico
Federico Hernández Ruiz
Consultor fundador en asimetagraf
Identidad y la propuesta de nuestras empresas.
Por: Federico Hernández Ruiz
En nuestro entorno y quehacer como empresarios hay una constante que aparece una y otra vez, esta constante es como debe ser la propuesta. Nos referimos a la propuesta de servicio o a la propuesta de producto.
Muchos de nosotros como empresarios definimos un producto o servicio y creemos que lo que sigue es comercializarlo para lo cual están las áreas de mercadotecnia y ventas.
La verdad es que todos comenzamos haciendo una propuesta con lo que tenemos o lo que creemos que debe de ser, esto no es un mal inicio. Es más, es el mejor inicio que hay, solo que este debe estar enriquecido por un halo de duda. A lo que me refiero es, lo que hemos mandado al mercado es una propuesta y como tal puede ser bien solamente recibida, bien recibida o incluso puede ser rechazada. Si concebimos que lo que hicimos fue una propuesta y que estamos reconociendo lo que la gente o el mercado quiere, entonces podremos mejorar o cambiar nuestra propuesta. Y es justo ahí donde muchos nos atoramos. Creemos que lo que proponemos es lo adecuado y que solo debe ser mercadeado o vendido adecuadamente, pero eso no es del todo cierto.
Efectivamente, mercadotecnia nos ayudará muchísimo. Sus técnicas y procesos facilitarán la manera en que nos comunicamos con la gente pero siempre necesitará contar con la clara identidad de la empresa. Si esta identidad tiene oportunidades no atendidas, mercadotecnia y ventas se verán limitadas en sus capacidades para entregar un mensaje claro, contundente y con la fuerza necesaria no solo para entregar, sino para que la gente lo pida.
Les comparto, hacer una propuesta necesita incluir una palabra: “Valor”. Necesitamos hacer una propuesta de valor. En la cual está implícito un beneficio para la persona o entidad que va a usar o consumir el producto o servicio. Así es, nuestra propuesta debe beneficiar a alguien y por supuesto a nosotros también.
En este diálogo que existe entre lo que ofrecemos y entregamos, con quien recibe y usa, es donde muchos perdemos camino o dejamos de ver con claridad hacia dónde vamos. Creemos que si cambiamos nuestra propuesta, dejaremos de beneficiarnos, dejaremos de ser quiénes somos, perderemos nuestra identidad, la razón de ser. Yo les comparto que esto no es así.
La razón es que antes que nada, nuestras empresas y nosotros somos entes sociales y funcionamos en sistemas de convivencia. Nuestro intercambio es eso, un sistema en el que participan diferentes actores o elementos y todos construyen una experiencia que sucede.
Todos vivimos la empresa y sus productos. Al manejar un carro, no solo consideramos la marca, sentimos los asientos, olemos el interior del carro, escuchamos el motor, vemos los accesorios y tocamos las vestiduras, los asientos y el volante; al manejar, escuchamos el sonido de todo el carro en tránsito. En fin, es un sistema que vivimos con la marca y el modelo, sabemos que la identidad y su propuesta es la que nos gusta.
Es por está razón que nuestra propuesta y nuestra identidad están estrechamente relacionadas, necesitan reconocerse en un sistema en el que ante todo hay intercambios. Intercambios de productos y servicios por dinero, pero también hay emociones, relaciones, vivencias, espacios… Es un conjunto de elementos que debe tomarse en cuenta para reconocer con mayor claridad: quiénes somos, cómo participamos, cómo somos percibidos y lo mejor, cómo nos concebimos.
Es un sistema que está vivo y que puede moldearse o cambiarse en el momento que sea necesario.
Esta dinámica de vivencias le sucede tanto a la gran empresa como al micro empresario. Todos participamos y contribuimos en estos sistemas. Todos podemos cambiar y transformarnos para tener una mejor relación con nuestro entorno, para ser más competentes, si así lo queremos ver.
Podemos ser y tener la identidad que decidamos, para hacer la mejor propuesta al mercado. Una propuesta de valor que nos beneficia a todos.
Si reflexionamos sobre nuestra identidad como empresa y recordamos que la identidad se vive y sucede, entonces podemos relacionarla con el cómo queremos que esto suceda. Yo tomo como principio las características que definen ser competente y éstas son:
“Parecer ser, ser y actitud”
Todos conocemos empresas que podríamos colocar en esta definición. Es más, por ella tomamos muchas decisiones para relacionarnos con ella. Nuestras decisiones van desde el coche que usamos, el lugar en el que vivimos, el grupo con el que convivimos, etc. Como personas nos sucede exactamente igual. Convivimos en el sistema y llegamos a acuerdos o principios que nos guían para actuar.
La identidad de una empresa está estrechamente relacionada con su propuesta y es por ésta que podemos ver con claridad si nos propone un beneficio.
A todos nos ha pasado que hemos sentido desconfianza sobre un artículo, un servicio o una persona. Hay algo que no nos gusta. La respuesta está en cómo nos sucede ese contacto, cómo identificamos si nos conviene o no. La razón atrás es que el sistema está actuando y el conjunto de elementos que están participando no entregan un mensaje coherente y congruente. Sencillamente hay algo fuera de lugar. Y no digo que algo esté mal, digo que hay algo fuera de lugar, algo que desentona y que muy posiblemente necesite ajustarse.
Parecer ser, ser y actitud no son características que se dan por creación espontánea, son expresiones de la empresa. La empresa, sus empresarios y colaboradores construyen de manera cotidiana esta identidad.
La identidad por eso no se puede inventar o colocarse, la identidad es una expresión única de cada empresa.
Como dice el dicho: “La mona aunque se vista de seda, mona se queda”, y la empresa no es ajena a este dicho.
Un buen ejemplo del manejo común de la identidad es la de crear un logotipo. Un logotipo puede servir para identificar a la empresa, para que la ubiquen solamente. Pero no llegará a ser una identidad hasta que contenga y represente a ese sistema dinámico que es la empresa. Un logotipo se transformará en identidad hecha marca al contener esa expresión cultural de empresa.
Una identidad puede tener diferentes propuestas, entendiendo propuesta de servicio o producto durante el tiempo. Además es la manera en que interactúa con su entorno. Una identidad es un proceso que nunca termina, que trasciende en el tiempo y contribuye a la construcción de una cultura.
Una identidad implica poder ofrecer un servicio desde el interior de su razón de ser. -Por quien somos, proponemos y resolvemos para tu beneficio, para el beneficio de todos-.
Tener una identidad con una propuesta clara parece sencillo y sí lo es. Lo único que se requiere es disposición para reconocer que participamos en un sistema. En el cual tenemos características únicas por las que hacemos y ofrecemos un producto o servicio. Lo hacemos con una propuesta que corresponde a nosotros, gracias al proceso de reflexión constante, continuo y estructurado que hacemos. Tener identidad y una propuesta significa que hemos diseñado quiénes somos y cómo nos relacionamos.
El secreto está en el diseño. La palabra clave es: “Diseñamos”. Diseñar no es otra cosa que recrear un proceso de reflexión que nos permite cuestionarnos el por qué hacemos lo que hacemos, cómo lo hacemos, para quién lo hacemos, qué esperamos y qué esperan de nuestro producto o servicio. Diseñar no es embellecer, no es acomodar para que se vea bien. Diseñar implica observar, reconocer, crear ideas, hipótesis, probar y experimentar.
Diseñar nos invita a instalar un proceso continuo de reflexión, capaz de alimentar a la empresa y expresarse en todas las áreas, incluyendo la manera en que se entregan o se brindan servicios. Identidad y propuesta requieren ser definidos por diseñadores. Si eres empresario, este es el momento de comenzar a diseñar tu empresa, sus productos y servicios. Con ello podrás contar con una de los capitales más grandes que una empresa puede tener: el ser querida, deseada o admirada.
Podrás lograr con tu empresa ser la razón por la que muchas personas conducen sus vidas, ser un contribuyente de valores y riqueza en la sociedad. Con tu aportación, la sociedad entera te retribuirá con lealtad y con sentido de pertenencia. La gente adentro y afuera de la empresa se sentirá orgullosa de pertenecer a ella, a tu empresa.
Ahora sí, si en tus planes está darle identidad a tu empresa y crear una propuesta, acompáñate de los diseñadores adecuados como lo son los consultores de la comisión de Consultores de Coparmex en Querétaro. Más de uno podrá acompañarte, pero sobre todo, podrás liberarte de los mitos que te detienen.
Si decides contratar a un diseñador para crear una imagen que te identifique, cuida que no sea solo un embellecedor o creador de disfraces. Con él o sin él, saldrá a relucir la verdadera identidad de quién eres y cómo es tu empresa.
| D.G. Federico Hernández RuizSocio fundador y Consultor en Identidad estratégica en asimetagraf y representante para la CGTFL en México de Duraznos, Nectarinas y Ciruelas California
Como consultor se destaca en la creación de sistemas de identidad especializado en productos de consumos. Su trayectoria cuenta con más de 20 años de experiencia y ha colabora desde grandes transnacionales hasta pequeñas y micro empresas. Algunas de éstas son: Kellogg’s, Heinz, La Perla, Grupo Pando, entre otros. Actualmente representa a la California Grape and Tree Fruit League “CGTFL” para la promoción de duraznos, nectarinas y ciruelas California en México. https://www.facebook.com/CaliforniaDNC Para conocer más de asimetagraf y su propuesta, favor de entrar a: http://www.asimetagraf.com Para contactar a Federico y conocer más sobre su trayectoria, entrar a: http://www.linkedin.com/in/federicohernandezruiz |
The Context of the Innovator | Via DTActionLab
This content was created by the DTAction Lab team.
The Context of the Innovator
- Space
- People
- Process
2.- People:
In his book “The Ten Faces of Innovation,” Tom Kelley, general manager of IDEO (*), describes the following roles:
1. The Anthropologist
Anthropologists are constantly observing the world around them with a fresh eyes, and are capable of “seeing what everyone else has seen and thinking what no one has thought.” They are good at seeking inspiration from unusual sources, and reframing problems in new ways.
2. The Experimenter
Experimenters love to prototype and are creative gurus when it comes to using what is available to physically represent their ideas. Every stage of the ideation process can be prototyped so experimenters will usually be the first to suggest a prototype of a marketing or sales plan through acting out a storyboard or creating a short video.
3. The Cross-Pollinator
Cross-Pollinators draw associations between seemingly unrelated ideas, bringing in a stream of new content from other disciplines. Using a breadth of knowledge in many fields with a significant understanding in at least one field, cross-pollinators spark innovative hybrids.
4. The Hurdler
Hurdlers push through obstacles by viewing problems as opportunities. They take their passion for design and tie it with the passion to create things to help people so that when obstacles arise they are seen as opportunities rather than roadblocks. “The essence of a Hurdler is perseverance.”
5. The Collaborator
Collaborators value the team over the individual, and act as facilitators that keep a constant flow of excitement and energy through a project team, while also providing the glue to bring together people from diverse backgrounds in order to make the perfect dream teams. With a huge heart, collaborators can always be counted on “to jump in when and where they are needed most.”
6. The Director
Directors see the big picture and provide inspiration and empowerment to bring the best out of everyone in the organization. They keep the momentum constantly flowing by leading when it is needed and delegating when the time is right.
7. The Experience Architect
Experience Architects realize that there is no one method for every occasion; they are constantly designing experiences for every unique product or service. They keep their eyes open for “trigger points,” which are the aspects of a product’s design that need to be emphasized for the best possible experience.
8. The Set Designer
“Set Designers care about the intersection between space and human behavior.” They adapt the physical space to balance private and collaborative work opportunities and to promote a culture of creativity. A Set Designer might be the team member prepared with markers and pens to create working spaces on the go.
9. The Caregiver
Caregivers, with big ears and big hearts, are always champions of empathizing with others. They are constantly listening to customers and take into consideration how ideas will affect their general audience.
10. The Storyteller
Storytellers understand that “stories persuade in a way that facts, reports and market trends seldom do, because stories make an emotional connection.” Storytellers “capture our imagination with compelling narratives of initiative, hard work, and innovation.” They not only transmit the values and goals of the organization or team, but they also make heroes out of real people.
Toolkit: Empathize and Define | Via DTActionLab
This content was created by the DTAction Lab team.
Guidelines for Interviewing
These guidelines will help you set the tone for the interview and get the most out of it.
1. You may bring a few prepared questions, but the most important thing is to maintain a connection with the interviewee and show that you are listening to what they are saying (ie, look at them, not just at your notes). Also, you should always follow up on interesting answers, instead of mechanically moving through a list of questions.
2. Take notes or record the interview. Capture on paper the person’s own words whenever possible, instead of rephrasing during the interview. If you record the audio of the interview (with permission), you will need to extract quotes from the recording later.
3. Start the interview by introducing yourself and the project you are working on, and start with lighter, more general questions to establish a connection and put the interviewee at ease
4. Listening is as important as talking (your interviewee should talk about 75% of the time). Also, showing that you are really interested in what the other person has to say goes a long way. Think of the interview as aconversation.
5. Ask open-ended, non-leading questions: “What do you think about that school?” is a better question than “Don’t you think that school is great?” The former doesn’t imply there is a right answer.
6. Be curious and ask “why?” often, even when you think you know the answer. Many answers will surprise you. Always follow up on answers that sound interesting, or whenever the interviewee says “I think…” A good way of doing this, in addition to asking “Why?” is to say “Tell me more about that.”
7. Ask for stories about concrete events. Instead of asking people how do they “usually” do things or how do they “usually” feel, ask them about the last time they did something, or the most memorable moment (in fact, do NOT use “usually” at all).
8. Don’t be afraid of silence. Resist the need to ask another question when there is a pause. The interviewee might reflect on what he/she has just said and say something deeper.
*Bonus points* If you have access to observing someone during an event that is relevant to the challenge (for instance, writing a resume, looking for jobs on the internet, etc.) and can talk to them while observing them in action, that would be extremely valuable to get insights about the challenge from the point of view of that person.
More resources:
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Demo interviews on the EMPATHY forum
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The value of different types of questions on the EMPATHY forum
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Interviewing for Introverts: http://ethnographymatters.net/2012/03/22/interviewing-for-introverts/
II. Guidelines for the Empathy Map
Using the Empathy Map framework you will process what happened in the interview, make inferences about the thoughts and feelings of the person based on what they said, and connect the dots to identify a need or problem he/she has related to the challenge.
We suggest that you spend about 20 to 30 min creating the empathy map (longer if you need to transcribe an audio recording of the interview).
Go through the sections of the empathy map in this order:
SAY section. Write down here all the quotes from the interview that catch your attention as you review your notes. Be as literal as possible (as opposed to rephrasing what they said in your own words).
DO section (optional). If you observed the person in action, describe here behaviors you saw. You can also combine interview and observation, by asking the person to walk you through what they are doing. **Note that you may not have anything in this section if you did not have the chance to do observations**
THINK and FEEL sections. Here is where you will make inferences (educated guesses) about the meaning of what the person said. What if you are wrong? You may very well be, but if you don’t take a leap and make inferences, you won’t get at deep unexpected needs. At later stages in the process you will get more data that will allow you to refine your understanding and definition of the problem.
III. Guidelines for the Problem Statement
With the problem statement, you encapsulate concrete problems related to the challenge for the person you interviewed. In the next stage (IDEATE – next week), you will creatively solve them.
Since the person you are designing for might not articulate any needs/problems related to the challenge (these would be implicit needs), it’s your job to make educated guesses about those needs, based on the stories and data you gathered in the interview.
Write Problem Statements in this form:
STAKEHOLDER needs a way to ________(PROBLEM/NEED)____ Because ____(INSIGHT)_____
STAKEHOLDER: Here you should describe the person you are designing for (one you interviewed). Use at least 5 adjectives to describe that person. Make sure you add enough information to paint a picture of the person to someone who has not met him/her (“A detailed-oriented, reliable, degree-holding accountant, who is curious and able to work in teams, as well as collaborative and creative”).
PROBLEM/NEED: Use VERBS instead of NOUNS to define the problem/need. Nouns are often already solutions: as an example, contrast “Joe needs a better pencil” with “Joe needs a better way to write” or “Joe needs a better way to capture data.” In the first case the solution is already implied in the problem statement, so there is only opportunity for incremental innovation. In the latter frames, there is an opportunity to come up with innovative solutions that may go beyond an improved pencil.
INSIGHT: Here you provide a justification for the need you stated. The insight often comes from connecting the dots between different elements on the empathy map.
In order to get a good Problem Statement, craft more than one and then select one that is not too narrow (eg, Joe needs to get a job as accountant) nor too broad (Joe needs a way to improve his career) to continue the process.
Here is a template that contains and Empathy Map and Problem Statement:
1. PDF (Slideshare): http://www.slideshare.net/EpicenterUSA/dtal-template-empathy-map-and-problem-statement
2. Prezi: http://prezi.com/emjizfk53ex-/?utm_campaign=share&utm_medium=copy&rc=ex0share
Federico Hernández Ruiz 
