Matt Ruby on Louis CK Style Influences on Making Better Comedy Videos

In Chapter 17 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "What Has Louis CK Taught You About Making Better Comedy Videos for the Web?"  Ruby notes how having full control over the creative process allows Louis CK to communicate a more personal point of view.  He notes how Louis CK is able to get more personal in his work on his show "Louie."  Ruby notes how this is also true with Woody Allen films and how the director also keeps ownership over his personal vision.  Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Transcript: 

Erik Michielsen: What has Louis CK taught you about making better comedy videos for the web?

Matt Ruby: Well, I think the fact that he makes everything himself and, you know, like writes it, acts in it, edits it, directs it, and has full control over the process I think is, you know, I think you can sense it in the stuff that he makes, it feels more like something that comes from a single person’s viewpoint as opposed to so much of what’s on TV seems like it comes from a room filled with like 20 people that are all trying to agree which is cool but like a little bit more – makes stuff more homogenous and so I think, you know, part of what you see from — I’m thinking specifically the show Louis is that you can— if you do that, you can get stuff that’s sort of weirder, more personal or more—you know I think Woody Allen films have that too where it’s like, oh this really feels like it just came from one person, as opposed to like a committee decided that this was best. 

And I think it’s part of like what makes his stuff special and I think it’s something to—I don’t if I necessarily shoot for it in everything that I do but just something to keep in mind that is like, you know, oh, it’s okay to be cool or—not it’s okay to be cool—but it’s okay to be weird or to you know—sometimes his stuff will just get really absurd or just go off into some weird, you know, fantastical place and then come back to reality and, you know, sort of stuff that if you had a committee deciding on, they’d be like, no, that doesn’t make sense. Whereas like you can kind of indulge whatever your own personal vision for it is, and that’s what makes it unique to you and what you’re making is gonna be more unique.

Matt Ruby: How to Film a Web Comedy Series on a Budget

In Chapter 18 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "What Has Filming a Web Comedy Series Taught You About Doing More With Less?"   Ruby talks about the importance of communicating a vision to onboard a talented team to work within budget constraints.  He notes the more you have to prove a concept, for example showing them a script, the better chance you can onboard them.  Ruby notes the importance of setting managable and realistic timeframes given the sacrifices team and crew may be making.  Lastly, Ruby notes the benefit of having budget constraints and working cheaply.  Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Transcript: 

Erik Michielsen: What has filming a web comedy series taught you about doing more with less?

Matt Ruby: The biggest thing is trying to work with other people and trying to, you know, like, especially if you’re getting people to work for cheap, or free, or you know, like less than they would normally get for doing something, I think you have to kind of give them a vision for why they should wanna do—like, they should be excited for the project, you know, should be making something cool, funny, fresh, something that they wanna be part of, something that if they’re not getting paid anything or a lot right now, maybe down the road could turn into something. 

Thinking about what are their desires or goals and like how can you meet them or how can you guys meet halfway, I think it helps too, to take stuff as far as you can on your own before you bring other people in like if you’ve got scripts to show people, that’s way better than if you just have an idea for a script, and if you’ve actually shot something already, and you have that to show, that’s gonna be even better than a script, so like the more you can kind of prove the concept to people the more I think likely you are be able to get them onboard for, maybe, you know, not what their normal rate is, sort of thing. 

I think also you know you need to realize that there’s a limited window on that, you can’t just keep, you know, milking people, you know people just don’t have the time or the energy, the resources necessarily to donate, you know, all the time, so, you know, like hopefully, you know, you can have something that evolves into something bigger that does have a budget that’s more substantial. 

Also I just think people spend way too much on everything all the time. Like I’m mean, I’m a cheap bastard, so like I just sort of apply, you know, if I’m working on something, a project I conduct it the same way I do my normal life which is like I don’t spend money if I don’t have to, so like if I can use cheap props or film somewhere cheap, or you know, just I think people—when people are spending other people’s money, they spend it in a way different way than when they’re spending their own, so I think it’s just, you know, try to, you know, try to be a cheap bastard, even when you’re working on stuff—I don’t know, I just think—I think having those constraints even when you start out, like knowing, okay, we need to do this all in one location, or with these 3 actors or it needs to be 60 seconds or less, or whatever your limitations are, and be like, okay, well, that’s what it’s gotta be, so now fit into that, you know, box or perimeters, and make it work. 

And you know I think that can—that can actually—you know if you embrace that, it can actually kind of encourage creativity or take you to an interesting place as opposed to being like well, no, I need, you know, 5 locations, and dozens of extras and you know a budget of you know all this money and all that stuff. Whereas like, is that really making it funnier or better? You know I think that’s probably the bigger question is like, okay, well, if this is a little rough around the edges or you know, kind of cutting some corners here or there, is that the thing that’s really gonna make it not as good or is it just gonna make it not as polished? And I don’t always care about polish, like some rough edges are alright for me. Sometimes that’s what makes it interesting.

Matt Ruby on Blending Artistic and Financial Goals in a Creative Career

In Chapter 19 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "What Part of What You Do is Art and What Part of What You Do is Commerce?"  Ruby notes how making art can become selfish if it does not have some tie back into how it pays the bills.  He notes the challenge lies in building a bridge between the artistic output and the commercial success. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University.

Transcript: 

Erik Michielsen: What part of what you do is art? And what part of what you do is commerce?

Matt Ruby: Sometimes the way I feel about it is like art is just sort of the selfish, you know, like, say whatever you wanna say, or make whatever you wanna make, and don’t even worry about whether it’s, you know, gonna make you money or you know, what’s the—how does it further your career or whatever else your agenda is. Whereas the commerce-side of things would be like, alright, how am I getting paid? Because you gotta do that too. 

So I think part of the challenge is figuring out how to bridge those two, you know, if you can. Like, you know, how can you get paid or you know have a career or produce something that is, you know, commercially viable to some extent and then also how can you be making art, how can you be making something that you’re proud of or that you think is, you know, part of your vision or something that you wanted to make or see in the world. What’s the—and then how do you overlap those two, and I think, you know, that’s a spectrum that everyone can kind of choose their own point on there, like I’m—I think you—I think sometimes the worst thing you can do is sell out and not sell anything, that’s like the worst option. But, you know, just being a complete artist and, you know, just being completely selfish and no one cares at all about it does pretty bad too. 

So, you know I think having, you know, a modest amount of commercial goals, you know, with what you’re making is, in my mind the right path of like—it’s also validation that like whatever you’re doing is worth something to someone, you know, that like, oh yeah, this is good enough to either you know get paid for or you know if you’re, you know, making a show that people sell ads on or you know someone’s gonna watch it or, you know, something like that is happening to sort of encourage you to do more of it.

Simon Sinek on How to Strengthen Your Creative Skills

In Chapter 13 of 16 in his 2012 Capture Your Flag interview, author and public speaker Simon Sinek answers "How is Your Creative Toolbox Changing?"  The more Sinek practices his creative skills, the stronger his toolbox gets.  He focuses on amplifying on his strengths and hiring out his weaknesses to both broaden and sharpen skills.  As a lover of creative people, Sinek looks to try new things such as modern dance choreography and painting to get perspective on creative process.  Simon Sinek teaches leaders and organizations how to inspire people.  His goal is to "inspire people to do the things that inspire them" and help others find fulfillment in their work.  Sinek is the author of "Start With Why: How Great Leaders Inspire Everyone to Take Action".  He works regularly with the United States Military, United States Congress, and many organizations, agencies and entrepreneurs.  Sinek is an adjunct professor at Columbia University and an adjunct staff member at the think tank RAND Corporation.  Sinek earned a BA in Cultural Anthropology from Brandeis University.

Transcript

Erik Michielsen:  How is your creative toolbox changing?

Simon Sinek:  I’m adding to it. Right? I mean, you know, I don’t think I’ve thrown anything away. I may use some things less than I used to. But the more I learn and the more I get to practice more importantly, the more tools I’m adding to that toolbox. What’s also great is some of the tools change size, in other words, there are some tools that I really like and I’m really good with, and so I use those tools because they’re very helpful to me, and there are other tools that I’ve learned that I’m really no good with and so they’re there if I need them, you know, I’ve never understood the idea of working on your weaknesses, you know, we’re always told in our performance reviews, here are your weaknesses and these are the things you need to work on to get to the next level, I’ve never understood that, the whole idea is to work in our strengths, amplify our strengths, and we, you know, hire our weaknesses or—this is the value of a team, right? What’s the point of having a team if you have to be—if you have to improve on your weaknesses?

The whole idea is we have you on our team because you’re really good at this. You know? And we found somebody else who’s really good at this, which you’re really bad at. You guys are a team. This is the value of a team. And so I think in our workplace, our companies do us a great disservice by telling us that we have to fix our weaknesses or improve upon our weaknesses to get to the next level, they should be encouraging us and giving the tool to amplify our strengths to get to the next level, that’s what they want us for, right? Otherwise, here are your strengths and here are your weaknesses, now you’re even. Wouldn’t you wanna be this? You need to be aware of your weaknesses but we need to amplify those strengths.

Erik Michielsen:  What are a couple of examples of like the creative tools that have brought that out?

Simon Sinek:  I’m a lover of creative people. And so any sort of expression of how you see the world in a—with different terminology is fascinating to me. And so even though I myself am a photographer so I have that visual aspect, I’m a huge fan of modern dance and spend a lot of time sort of with dancers and in the dance world and have, you know, tried my hand at choreography just to see, you know? I’m not good. But it—I like the idea of trying it, you know? And so for me it’s about perspective, which is when I—when you hang out with dancers and you sort of learn to dance a little bit or you learn to choreograph a little bit, or you learn to paint a little bit, you know? I’m not a painter but I painted a painting recently, you know? If you—it’s like chaos theory. Everything’s connected, right? It’s like we conveniently divide up our lives, like here’s my personal life, here’s my professional life, I’m—here’s my social life, I’m looking to find balance. It’s just you. And all the same things apply. And so if you’re good here, you can apply what you learn here to there. And so when you learn how things interconnect and people interconnect, and how human relationships work, and presence, I mean you wanna learn about presence? Take a dance class. You learn all about how to present yourself and be forwards. Take an acting class, learn how to, you know, present your speech. People say, Simon, how did you learn this? It’s like—I’m exposed to all of this. So the tools I’ve learned have just mainly been different perspectives on how other people use their creative talents to see the world in it. If I can get little pieces of those, they help me in many, many different ways.

How to Be an Advocate for Your Local Community - Randall Metting

In Chapter 1 of 7 in his 2012 Capture Your Flag interview, brand marketer and on-air radio personality Randall Metting answers "How Has Being a Local Radio DJ in Austin, Texas Brought You Closer to the Austin Community?"  Metting shares how joining the Austin community as a radio DJ at KGSR has taught him new ways to advocate for the community across culture, entertainment, and charitable causes.  Randall Metting is an on-air radio personality at 93.3 KGSR Radio in Austin, Texas.  When not on the radio, Metting consults organizations on integrated marketing strategy and brand development.  He also writes the Austin community music and entertainment blog at www.randallmetting.com.  Metting earned a B.A. in Advertising from the University of Florida.

How Your Social Experiences Can Boost Your Career - Randall Metting

In Chapter 3 of 7 in his 2012 Capture Your Flag interview, brand marketer and on-air radio personality Randall Metting answers "How Are Your Personal Experiences Shaping Your Professional Aspirations?"  Metting talks about how his social experiences - from watching live music to attending sporting events to volunteering at numerous Austin charities - are instructing him how to better bring people together in his life and career.  Randall Metting is an on-air radio personality at 93.3 KGSR Radio in Austin, Texas.  When not on the radio, Metting consults organizations on integrated marketing strategy and brand development.  He also writes the Austin community music and entertainment blog at www.randallmetting.com.  Metting earned a B.A. in Advertising from the University of Florida.

How Entry-Level Job Teaches Design Career Skills - Ross Floate

In Chapter 7 of 20 in his 2012 interview, branding and design strategist Ross Floate answers "What Skills Did You Learn Working Entry-Level Jobs That You Still Find Useful Today?"  Working an entry-level prepress job in print-based publishing company, Floate learns core craft skills fixing others mistakes that teach him core design skills.  That attention to detail still benefits him today.  Additionally, he learns the importance of workflow and how someone is responsible for each part of a process.  He gets better at his job by gaining respect learning to emphathize with others and respect their responsibility.  Floate learns Ross Floate is a principal at Melbourne, Australia-based Floate Design Partners.  Experienced in branding, design and both online and offline publishing, Floate and his team provide marketing services to clients seeking to better communicate business and culture goals via image, messaging, and story. He is a graduate of RMIT University.

How Hands On Experience Shapes Design Career Path - Ross Floate

In Chapter 17 of 20 in his 2012 interview, branding and design strategist Ross Floate answers "How Has Working With Your Hands Shaped Your Design Education?"  Floate finds it is less about the physical act of making things and, rather, taking pride in the things you make.  Floate finds he dislikes cooking for others, which helps him think about why hands-on work as a child also didn't register with him.  Ross Floate is a principal at Melbourne, Australia-based Floate Design Partners.  Experienced in branding, design and both online and offline publishing, Floate and his team provide marketing services to clients seeking to better communicate business and culture goals via image, messaging, and story. He is a graduate of RMIT University.

Designing Great Products One Use Case at a Time - Ross Floate

In Chapter 18 of 20 in his 2012 interview, branding and design strategist Ross Floate answers "What Have Your Experiences Taught You About What Makes a Product Great?"  He notes a product is great when the person using it is altered for the better.  He notes "product" is an assembly of features, any of which could create that altering user experience.  He shares an experience designing an in-flight magazine for Qantas Airlines and how it applies to his overall approach to work.  Ross Floate is a principal at Melbourne, Australia-based Floate Design Partners.  Experienced in branding, design and both online and offline publishing, Floate and his team provide marketing services to clients seeking to better communicate business and culture goals via image, messaging, and story. He is a graduate of RMIT University.

How Design Strategist Builds Creative Skills - Ross Floate

In Chapter 19 of 20 in his 2012 interview, branding and design strategist Ross Floate answers "How Is Your Creative Toolbox Changing?"  Floate starts his career viewing his creative toolbox as the tools of his trade - for example, his computer, his Pantone books, his scalpels.  As his career progresses, his toolbox evolves based on the experiences he has inside and outside his industry.  Ross Floate is a principal at Melbourne, Australia-based Floate Design Partners.  Experienced in branding, design and both online and offline publishing, Floate and his team provide marketing services to clients seeking to better communicate business and culture goals via image, messaging, and story. He is a graduate of RMIT University.

What Makes Product Design Work Meaningful - Richard Moross

In Chapter 2 of 17 in his 2012 interview, London entrepreneur and Moo.com CEO Richard Moross answers "What Makes Your Work Meaningful?"  Moross does not believe meaning is created in his work; rather he finds his Moo.com products create a canvas that customers can use to tell their own stories.  Moross finds great joy creating new product designs that enable more effective customer storytelling.  Moross is founder and CEO of Moo.com and a leader in the London startup scene.  Before starting Moo.com, an award-winning online print business, Moross was a strategist at Imagination, the world's largest independent design company.  He graduated from the University of Sussex, where he majored in philosophy and politics.

How to Increase Company Creative Capability - Richard Moross

In Chapter 10 of 17 in his 2012 interview, London entrepreneur and Moo.com CEO Richard Moross answers "How Is Your Creative Toolbox Changing?"  Moross evolves his company creative toolbox by continually bringing on new hires with different skills.  He shares the story of hiring Dan Rubin after he built a product called Instagoodies using the Moo.com API.  Moross connects hiring creative talent with furthering organizational product and innovation needs that occur in technology-driven markets such as personal identity management.  Moross is founder and CEO of Moo.com and a leader in the London startup scene.  Before starting Moo.com, an award-winning online print business, Moross was a strategist at Imagination, the world's largest independent design company.  He graduated from the University of Sussex, where he majored in philosophy and politics.

Jon Kolko on Finding Joy Changing Careers From Business to Teaching

In Chapter 3 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "What Do You Enjoy Most About What You Do?"  Kolko discusses making the transition working as a design professional to teaching design at the school he founded.  He discusses the rush he gets in the classroom and across parts of the "ivory tower" experience such as reading, researching and writing about complex problems. 

Jon Kolko the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: What do you enjoy most about what you do?

Jon Kolko: I loved everything about design. I just love being a designer doing creative design work, making things. I've sort of transitioned in the last couple of years. So being called an academic has always sort of stung me like ah, that’s bad. In the last three years, I've decided that in fact, I am an academic and it's good. And so, I think in the same sort of excitement and personal rush that you get from doing creative design work. I also now get from teaching. And so, that’s sort of have been a revelation to me that it's okay to live in an intellectual ivory tower to some degree as long as you make that ivory tower accessible. I don’t feel bad that I enjoy reading and writing and thinking about complex problems. And so, for me, that’s been something that’s been making me really, really happy recently is any time I can spend actually teaching in a classroom. Weirdly, I'm spending less and less time teaching in a classroom because as the Austin Center for Design is more successful, there's more administrative crap to do. I don’t mind doing the crap. It's called crap because it's not fun but it's also not bad because it's still my baby. I'm still really enjoying it. I could see in the future that would definitely be something for somebody else to do but for the time being, anything that’s related to teaching and design is really, really giving me a lot of pleasure.

Jon Kolko on How Reflecting Benefits a Creative Career

In Chapter 6 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "How Has Reflection Contributed to Your Leadership Development?"  Kolko begins by discussing how he has incorporated reflection into the curriculum experience for his design students.  He continues detailing is own reflective process and why it is important to have the inner dialogue before making bold, provocative statements. 

Jon Kolko the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: How has reflection contributed to you leadership development?

Jon Kolko: It plays a huge role in the process of design sort of outside of my own personal experiences. We bake into the curriculum constant reflection from the students at Austin Center for Design. So a typical agile MVP or always in beta process is one where you do stuff and then you test it and then there has to be a moment where you stop and you go like, “What just happened?” And that is reflection and it’s incredibly easy to skip that and to simply impulsively respond to data rather than interpreting it. 

Reflection is a form of interpretation and so it's an assignment of meaning and it's going to be wrong sometimes. And so, it's easy to skip and simply use the data at face value which will also be wrong sometimes but it feels safer. I have found that the more interpretation and reflection that occurs, the more risky it is to build on that reflection but when you do build on it, the more likely it is to lead to large and magical, and powerful changes. 

And so we do a couple of things formally in our curriculum that drive toward reflection, like I have the students do a, it was called something much more academic and they changed to a peak of the week, so a p.o.w. every week. So they film themselves and they say, “What did you this week about entrepreneurship?” And, “What did you learn this week about entrepreneurship?” And simply saying it is often just enough to provoke that reflection. Actually, watching it is huge. For me, I think I'm overly contemplative because one, I have that constant just self-doubt that I'm not doing enough and I'm not doing as good as I could and I could always be doing more and then second, there's this idea that if I'm going to go out there and say large, provocative statements, damn it, I better be right. 

And I feel like I owe it at least to myself to have that sort of inner dialogue about saying things like problems worth solving and abandon your day job at a big corporation or consultancy and go work on poverty and nutrition. Those are aggressive statements even to me. And so I should really have thought deeply about what it is that I'm talking about. I do like to think of active reflection versus passive. Many designers that I know struggle with internal mood disorders and that’s a path and form of reflection. It's self-destructive and it doesn’t go anywhere. There's a form of active reflection through making where you can -- as simple as writing down your thoughts is a form of it but you can also diagram your thoughts and you can draw them, and you can create art and things like that. It's a much healthier form of reflection. And so, I try to personally lead to the second.

Jon Kolko on How to Make Social Impact Jobs a Design Career Choice

In Chapter 10 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "What Made You Decide to Write a Book on Wicked Problems?"  Kolko writes the book as a call to action for practicing designers and the educators who teach them.  The book, available for free at www.wickedproblems.com, offers innovative approaches to the evolving design career options. 

Jon Kolko the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: What made you decide to write a book on Wicked Problems?

Jon Kolko: Wicked Problems, the book, is a call to action for practicing designers. I would like to see all designers start to question not just the quality of the work they're doing, but what problems they're actually working on. And so, the initial thought was what kind of project can we do at Austin Center for Design to get the word out about the curriculum we're teaching, the types of projects we're launching, and companies we're starting. And so, it was like alright, we’ll do a book, maybe some videos and then the thought was like why not just give it away for free? And so, the whole project is available at WickedProblems.com and my hope is that there's a couple different tiers of designers, like sort of segments of designers that will find it interesting. 

The most immediate is design educators. There's a tiny, tiny number of design educators in the world. And so, if five of them changed their curriculum, suddenly we've affected a lot of practicing designers to be in 10 years. And so, like, here's a curriculum for you, it's cut and dry, it's already done, now you just have the easy task of pushing it through a curriculum council which is another 10 years at some places. But it's to set a precedent for them. 

Another audience is for practicing designers and for practicing designers that are five and six years out, they really start to hit a wall with a huge degree of regularity and they're looking for both examples of what other things they could be doing and also permission to do it. And I found it really effective to just say that to younger junior designers like it's okay to exit the corporate consultancy game. It's okay. There are other things you can do. You can take design and take it policy. You can take it to finance. You can take it to film. You can take it to art. You can take it to Wicked Problems. You can do a lot of things with design. It doesn’t have to be jammed into business. And that’s really, really refreshing, I think for them to hear or so it has been in my experience. 

The last audience is for designers who are right now like seniors in college who are about to graduate and they're scratching their head going, “You know what? I don’t want to work at --“name your Fortune 20 company, “and these flashy consultancies. I don’t want to work there either.” Those used to be rogue designers and design programs. They're the norm now and they have grown up with a set of ideals that it's part of them to work on things that matter. Well, like, Okay, cool. Here's your handbook. Go work on things that matter and make the world a better place.

Jon Kolko on How Learning Facilitation Skills Advances Career

In Chapter 11 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "How is Your Creative Toolbox Changing?"  Kolko notes how his creative toolbox progressively includes "grown up" tools.  He notes these are more about talking and less about making, for example facilitation tools and those that help drive large organizational and strategic change.  He contrasts this to the design or maker skills so fundamental to his early career experiences. 

Jon Kolko is the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: How is your creative toolbox changing?

Jon Kolko: My creative toolbox is starting to have much more grownup tools in it, which usually mean things that are about talking and not things about making. And it's weird that that is true. And so, the examples that I'm thinking of are facilitation tools and tools that help drive large organizational and strategic change as opposed to tools for making things look a certain way, act a certain way, feel a certain way. This strategy, design thinking, whatever catchy name you want to use for it, has always sort of rubbed me a little bit the wrong way because I’d always felt like it wasn’t enough without the making. And so, I think I still believe that. But I'm becoming okay with using a designerly way of working to convince people of things, to get people to see my perspective, to drive an argument. And that will be the way that design plays out in policy and in law. I mean, design is going to be embedded in all of these external disciplines or fields and that’s how it's going to work. There will still be artifacts but that’s not the endgame, they’re a means to an end and I think the toolbox that I have is widened to include those. Before, frankly, I didn’t give them the time and day. I thought they were sort of fake. I still have that same concern that without making an artifact, and I'm using artifact loosely, even digital or a service is an artifact to me but without making something. You're not doing design work. You're doing something else and it's probably just argument. But I'm becoming more comfortable integrating those issues of argument a rhetoric into the toolkit that I have.

Jon Kolko on How to Design Culturally Relevant Social Solutions

In Chapter 16 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "How Have You Learned More Effectively Across Cultures?"  Kolko notes how design work is culture-dependent.  He notes how impact-based design is local and often constrained by the cultural environment.  This often limits scalability yet allows students to better focus their solution design for the communities it will serve. 

Jon Kolko is the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: How have you learned to work more effectively across different cultures?

Jon Kolko: Design work is explicitly tied to culture and in a super nuanced way. So, a design solution that works in this particular culture may or not work in a different culture and I don’t necessarily mean country or geographic boundary. It can be culture as defined by style, as designed by fashion, anywhere there are shared values. And so, when you're dealing with design for impact, it's really, really local and micro-driven, which is directly at odds with most impact investing and a lot of the places where you will find big money like the Bill and Melinda Gates Foundation who are looking to fund scalable solutions, solutions that aren’t going to affect 500, or 1,000, or 10,000, or even 100,000 people, that are going to affect 10 million people, 100 million people, a billion people. And I don’t claim to know if that’s a good or a bad process for them. I don’t know anything about their inner workings but for where my students are, which is nowhere near that in terms of impact, their solutions can’t, by definition, can't scale outside of a certain locale without changing.

It's not to say they can't change, but it's not a cookie cutter approach and traditionally design has been all about cookie cutter approaches. That is what design for manufacturing is about. It's about taking a single part and mass producing it exactly the same a hundred million times with no defects, shipping it all over the world. You can see where that breaks down in a really, really obtuse and dumb way with adapters on PCs that the same PC, the manufacturer has to make six or seven different ends to plug the thing in, in different countries. That has nothing to do with culture, it has everything to with these Legacy electric grids but that’s the equivalent of how prepared designers are to deal with that issue. It's like that’s all they know. Well, we got to localize it by changing the language and by using a different cord. No, no, no, it's so much deeper than that. The homeless in Belo Horizonte and the homeless in Austin, it's a different world. And to say somehow, “Yeah, I conducted a thousand hours of research with homeless in Austin and therefore my solution transfers to the middle of Brazil,” is just ridiculous. And so, I don’t know how my design work has changed as a result of that but my philosophy toward it is certainly crystallized around this idea of local design decisions being okay, that we don’t have to design for scale en-mass right away.

Jon Kolko: How Design Career Choices are Changing

In Chapter 19 of 21 in his 2012 Capture Your Flag interview, design educator Jon Kolko answers "How Do You See Design Career Choices Changing?"  Kolko notes how design careers in the United States are going through a massive overhaul.  For the very top craftsman, there will be jobs in furniture design, graphic design and industrial design.  For the majority, however, students career choices benefit from changing design programs, including interaction design, interactive design, service design, systems thinking and organizational management.  

Jon Kolko is the founder and director of the Austin Center for Design.  He has authored multiple books on design, including "Wicked Problems: Problems Worth Solving."  Previously he has held senior roles at venture accelerator Thinktiv and frog design and was a professor of Interactive and Industrial Design at the Savannah College of Art and Design (SCAD).  Kolko earned his Masters in Human Computer Interaction (MHI) and BFA in Design from Carnegie Mellon University.

Transcript: 

Erik Michielsen: How do you see design career choices changing?

Jon Kolko: So, design as a whole in the US is undergoing a massive overhaul whether it wants to or not. And so, typical professions like graphic design, and industrial design, and furniture design still exist and for those in the 1% and 0.01% percent who are just exceptional craftsmen will get awesome jobs doing them and will get awesome jobs and be happy forever after. But there’s always been sort of a middle ground of, the mid-60 percent in the Bell Curve of designers who just aren’t very good. They're not bad, they're just not very good and they will not be able to get jobs doing graphic design, industrial design, and furniture design anymore. And they may or may not have been taught to do anything else, in which case they’re sort of shit out of luck, which is awful. It's a huge disservice to them because when you're 22 years old, you don’t know any better. You trust your professors and you trust the program you're going through. That the stuff I'm learning is relevant, right? Well, you wouldn’t be teaching it to me if it wasn’t, right? 

So, consequently and probably a decade too late, but still consequently all of the programs in the US are starting to reevaluate what they're teaching. And so you're starting to see programs in interaction design, programs in interactive design, programs in service design and systems thinking, and amorphous programs and design management and organizational change, all of which probably have a component of this design thinking stuff and also still this design-making stuff but the making is really, really, different. 

Service design, which I've always thought of as part of interaction design but I realized I'm in a huge minority and that’s probably a topic for a different point. Service design is poised to be the most needed thing in the United States as we transform into an entirely services-based economy. And so, you go like, “Fine, we're not going to do manufacturing anymore and we still have 300 changed million people, like what are they going to do for a living? Well, they're going to provide services. 

And so, somebody’s going to have to design those services and then train them how to do it. And service could mean anything from service in a healthcare capacity, just walk into the hospital and what happens, start to finish, or it can mean the really menial, like McDonald’s service worker, both of which are designed and both of which need a team of designers and all the agencies and consultancies and advertising, all that horse shit that comes with it to support it. And so, that’s what we're starting to see creep up in design schools and you're seeing it, you know, at the name schools but all of the community colleges and all of the state schools will follow.