By Jack Mitchell
“We work in Design Sprints.” We’ve all heard it, some of us have said it, for others, it’s on the horizon. The ‘made famous by Google Ventures,’ originally product-oriented working method has made waves across a number of industries as people everywhere refine and repurpose it to meet their needs in product, strategy, and even company culture. Unfortunately, it now also belongs to the most vilified cohort of words in the English language and, increasingly, many others: the buzzwords.
By Rupali Steinmeyer
Even at the risk of sounding somewhat polarizing, there is truth to the argument that brands are in a state of paradoxical crisis. The possibility of becoming irrelevant and disappearing is real in this competitive world. Many brands have already been negatively impacted. Some have seen their intrinsic value erode. Others have seen dwindling customers. Several have even folded. And while some manage to work their way back to success, they remain few and far between.
By Serge Barsotti
You have changed. You, me, we – the consumers of today. We have grown out of innocently accepting everything brands say, and grown into genuinely interested, cross-comparing and critically questioning consumers. We have become aware, talking about brands at any time and at any place – forming communities that serve as credible references. Yes, the consumers of today have become quite a tough audience.
By Filippos Petridis
As the modern-day economy marches on at a relentless pace, brands are being pushed further than ever before. Their core competencies are being challenged by the increased complexity, opportunity and volatility of nascent technologies. The ‘digital’ revolution has elevated consumer empowerment to an all-time high, and brands are expected to react.
By Aude Kohler und Alessandro Würgler
Inspiration, laughs, sweat, tears and some Spanish flair: visiting the design festival OFFF in Barcelona was like peering directly into the microcosm of a designer’s life. From inspiring work to late-night talks on collaboration and to the struggles of balancing work-life routines – seeing, listening and talking to people who do what they love for a living was once again magical. Here are the top five take outs we want to share with you.
By Alessandro Würgler
The current design workflow is broken. It was with this premise that the InVision team set out to develop their new incarnation: InVision Studio. The tool was unveiled in October for a January 2018 release, and promised to be “The world’s most powerful design tool”. Can they deliver?
By Lisa Krick
For many years branding and corporate design agencies understood themselves as the “preservers of the brand.” After stripping down the brand’s content and identity to clear visual codes, it was up to the corporate design experts to preserve these codes consistently across all touchpoints and evolve the brand gradually over time. “360-degree marketing” became the mantra of tortured advertisers for decades. One relict of this era: the typical PowerPoint chart illustrating a brand that looks the same across all media touch points.
By Jonas Husemann
We perceive visual design unconsciously. Our brains are very fast to classify and judge input. Sometimes we can rely on this intuition (that is what we call “immediate judgement”), but in some situations we are better off reflecting and considering a few aspects.
By André Stauffer
We personalize our sneakers, our muesli, and our Coke. We personalize our car, our perfume, and the flavor of our electronic cigarette. The more “me,” the merrier. And if things are not customized, they’re simply standard. And nobody wants to be standard. So my question is: why the heck are we still writing in Arial?
By Arne Brekenfeld
If you talk about design in Germany, you’ll find a very one-dimensional way of seeing things. To put it crudely, the general perception is still that design is about “making things look nice“ or “polishing the surface.“ Using design to impact innovation and transformation processes, as well as brand development, is not yet widely recognized. Even though the quality of German design is exceptionally high and there’s a strong design tradition dating back to the Bauhaus school almost a century ago, Germans often underestimate the potential of design.