I've been redesigning the prototype Day Grid Balancer based on the excellent feedback on draft 1. The overall consensus was that while the color and grid were very playful and attractive, their use as a day-to-day tool was limited. And confusing, because my categories don't line up with other people's categories. What seemed to work, though, was the idea of weekly balance. I guess the name of the form will have to change eventually, but the implication for right now is that this creates a LOT OF ROOM to play with on the left-hand side.
I was thinking of biorhythms, DNA spirals, and other patterns, so I drafted a version of the balance grid that, well, is kind of a mess but might give y'all some ideas in brainstorming an approach to make the thing work. I think there needs to be some kind of auxiliary marking within the grid itself, and some obvious place to leave notes, but I haven't gotten that far ahead. I'm planning on printing this out and just scribbling it on it sometime to see if anything pops up.
Thoughts? Here's a editable PDF file to play with, saved with Adobe Illustrator CS3. Creative Commons license applies, as before.
A few months ago I received a review copy of Leo Babauta's book The Power of Less, and promptly lost it under a pile of magazines that had colonized the northeast quadrant of my dining room table. The pile grew majestically in size over the next 3 months, absorbing small electronic gadgets, mail, balls of cat fur, and exotic Asian cookie boxes, until one day I had need of something I thought might have been in there. So, I started disassembling the pile, and that's when I came across the book package from Leo's publisher. It was fortuitous timing, as I'd been feeling under-productive in my creative and business endeavors since finishing the Holocaust Museum project a few weeks prior. Leo's site, Zen Habits, had been on my mind because I'd noticed a trend from my periodic visits: the number of readers seemed to double ever time I looked. And it seemed to me, after doing a brief dive through his sitem that it was due to his focus on delivery quality thoughts consistently with an honest humility. It was quietly inspiring. After reading through The Power of Less, I was impressed anew by the straightforwardness of the writing. It's not a flashy book. And it is not even a radically original book--an acquaintance of mine, with all the authority his 20-odd years of experience on Earth could muster, declared on Facebook that it was a book that merely contained stuff we already knew, which I found deeply insightful and amusing. What I like about the book is that it concisely details a number of habits that have led to ongoing, purposeful achievement, the story of Leo told from his personal perspective.
This past week I've been following one of the habits that had jumped out at me: work on one habit at a time. I knew that the productivity-inducing habits that I'd adapted over the past two years had disappeared as I had gotten caught up in the last weeks of museum project, and my attempts to restart them all at the same time were going nowhere. This week, I decided to just focus on a chain of habits that I wanted to redevelop, one after the other, to bootstrap my way back to the place I once was.
a matter of faith and determination
Working on one thing at a time is a powerful concept that's been detailed many times by other writers, so I believe in it. My greatest hurdle in adapting this idea is two-fold: having faith that it works, and being able to maintain focus to completion.
Having faith, for me, is probably more about stemming the negative thoughts: You know what I'm talking about, that slippery feeling that time is slipping away, which leads to thoughts of oh no I'm falling behind to I need to be faster and better to omg I'm not good enough to do this followed by this thing I'm making is sucking crap crap crap. It's not a good place to be, and its self-defeating. It's understandable, though; our society puts a huge premium on speed and instant gratification, and as uninformed consumers we tend to expect that the creative process should be just as fast. I should know better, being skilled with a number of arcane digital media production methodologies, but I still fall prey to this kind of thinking because, well, I want to be awesome :-)
To implement One Thing At A Time, I remember that I value craft and design, and that such endeavors take time. It's ultimately worth the wait, I believe, if it's done right. There are some situations where speed is more of the essence, but I am making an executive decision to not seek those situations. Still, it's important to carve out just enough time to not be rushed, yet not dawdle. "Do not hurry. Do not wait": this is a lesson I'm learning anew. I am also taking inspiration from John Carmack's game development philosophy when asked when his next gaming work will be available: "When it's done". My corollary to this philosophy is that taking time to learn is going to be part of it.
Maintaining focus to completion is probably the harder task. Certain tasks lend themselves to focus; writing and graphic design are like that for me. Other tasks that involve a variety of media and mental hats (e.g. developing interactive multimedia, establishing a design business) tend to become diffuse because they call on different parts of my brain to pay attention to different parts of the world, scattering my focus by necessity. Additionally, I've trained myself to see every interaction with the world as a jumping off point for investigation, so keeping unintended flights of inquiry under control is a challenge. The various Printable CEO forms are, in some sense, attempts to create systems that naturally attract my attention so it's harnessed to the desired task at hand. They've also helped solidify certain principles of productivity over time, which is perhaps the greater payoff. What I need is to maintain discipline.
One means to maintaining discipline is to require less of it. The statement goal is to "maintain focus to completion", so defining meaningful intermediate deliverables is helpful. It's also good development practice. Most importantly, being happy with smaller steps to begin with is a key mental outlook, otherwise I'll always be dissatisfied. The perspective I'm cultivate in myself these days that when anything happens at all, that's pretty damn incredible. You can interpret that statement as being extremely cynical or really positive, so it is compatible with a wide range of moods :-) I choose to celebrate the small achievements, most of the time.
the weeks ahead
This week I've been focusing just on waking up every day at the same time. From my prior experiments in waking up early, I know this habit has led to feelings of well-being and productivity. I've been doing it for about a week, and the habit is still pretty wobbly, but I'm noticing how each violation of the sleep cycle has discernible effects on the following day. This encourages me to maintain the habit. I'll do another week of this, and with luck the habit will be set firmly enough that I can move to the next habit on my list: returning to a regular gym schedule.
This is the chain of habits I'm trying to recreate, roughly in the order I'm thinking will work:
- Regular Sleep Schedule: Up at 6AM, Eat by 6PM, Showed by 9PM, Bed by 10PM.
- Regular Gym: 30min Cardio 3x week, expand to 60min Cardio, expand to Resistance Training alternate days.
- Drinking Water at Regular Intervals: When I've been drinking more water, I've felt great. I keep forgetting to do it.
- Eating Regular Healthy Meals: I've never done this, so I have no methodology for this yet.
- Regular Home Chores: I suck at doing chores. Yes, I know about The Fly Lady, so I will pay them a visit.
Each of these habits, I am thinking, will take two weeks minimum to establish themselves. I'll only move to the next one when I am convinced it's sticking. I may break up the gym habit into the three stages and interleave them with the other habits so it's not so massive.
I also need to figure out are the recovery protocols for when the habits are disrupted. The gym habit, for example, tends to fly out the window when I'm away from home or have a lot of work to do. Creating an at-home workout that I like, that doesn't require additional gear, will be helpful. Adding fun physical challenges that can be met only with conditioning will help too. I'm pretty clueless when it comes to sports and stuff like that, so it will be a whole new adventure.
Implicit in this list is the idea that these are prime directives for supporting a high quality life. I am hopeful that working the "discipline muscle" will trickle into other aspects of my life, as my friend Senia [describes].
There's a different list for establishing a good design practice and social life, but I'll address that some other day.
One of the great sins of my personal branding effort has been to let a temporary photograph stand in as my website identity for so long. If you're reading this article through RSS you missed the new header image that has replaced the old collection of scotch bottles. I just didn't see the bottles anymore because I'm too close to the website, but every once in a while someone comments that they just assumed that my website is about drinking. I've resisted changing it until now, because I liked the photo, but I'm finally starting to define my design methodology and the image is incongruous with respect to a respectable practice. It's time to put my childish preferences aside.
The visual history of my website header is documented in my post Inadvertent Branding, but the short version of the story is that the bottles (see below) were a joking commentary on my cavalier attitude about moving my website between servers, live, without doing a whole lot of testing. At the time I was also rather fond of the colors in the image, taken with my previous-previous digital camera (a Canon PowerShot G2). Looking at the image now, I can see the nasty contrast issues. Check it out, preserved below for posterity:
The picture in the new header was taken at Starbucks with the 40D to illustrate a blog post, and was serving as (wait for it) a placeholder in my new website design. The new design, sadly, has not been going anywhere since January, so I decided to just grab the image from it. At least the new photo is somewhat informational in its subject matter. Plus, it has my two favorite pens in it (a Lamy Safari and Al-Star) laying on my favorite notebook (a Cachet Classic Graph). The eventual plan is to shoot a new header image depicting a ton of my favorite bits of gear used in support of my identity and design agency philosophy. But first, I've got to write it. So for now, this header will serve as a transitional brand image. That probably is some kind of no-no, but as I am also in a transition period, I am allowing for poetic license. So there. So much for growing out of my childish preferences.
Another transitional element I've deliberated added is the shift in colors toward the orange-blue palette that my latest business card is using:
The evolution of my business cards has never really matched the evolution of the website, but there's no more excuses now that I'm settling in a "design niche" I think is suited to my peculiar skillset and personality. To help, I'm using some language from the cards ("investigative designer") while retaining some of the keywords that the site has become known for ("productivity"). I also am using the gestalt dot story as a bullet for the design portfolio" button, which is now a little more obvious than before. I'm not sure if I like the bullet, but at least we're starting to get some repetition of elements between the business card and the website, which helps make it seem more like a "brand". It's not great consistency, but then again my so-called brand identity has always been somewhat "ambient" as opposed to "direct". Certain elements like proportions in my design work, color choice, typography, and use of photography have been fairly consistent over the past few years. The explicit use of my name has also been consistent; I demoted the original name of the blog, Better Living through New Media, to a subheader quite some time ago. This probably was a lucky decision, as I've discovered that I really do prefer to engage with people one-on-one, representing me-as-me.
So that's that. I'm giving myself another 10 years to fix the rest of it :-)
It's been a pretty BUSY couple of weeks since officially finishing my last project, but it's difficult to say exactly what I've been doing. Even more strange is that I've felt very productive despite the lack of progress on many of my long-standing business goals; I would say I'm in a happy haze of non-planned productivity, guided by a sense that I'm on the right track. In fact, I completely forgot to do my Groundhog Day Resolutions review on the 6th, which is something I usually remember when I'm feeling kind of anxious about my productivity. In last month's GHD review, I made the following statement of purpose:
[...] My best guess: be a universal designer with a transparent process built upon three core ideas:
- storytelling as a driving design element
- the use of investigative reconstruction in the discovery phase of the design process.
- audience-validated scientific creative methodology
The original plan was to write up a lot of process documentation and build-out a section of the website to link it all together. The expectation was that this would make it easier for prospective clients to see what I could do and how I approached the work. What I ended up doing instead was spend a lot of time talking to other entrepreneurs in a group I founded called The Collective. And to my surprise, I'm finding that this experience has helped cement my ongoing business strategy to what may be my essential talent: connecting stuff together.
assembling a collective
"The Collective" is a group of local people that I thought should get to know each other because I thought they all had a similar "energy". Here's the current mission statement, slightly revised because I can't help but edit stuff on-the-fly:
- To discover what's hidden and inspiring in our local community, sharing the best and weirdest nuggets with people who really need and want to know.
- To connect individuals with the desire to bring ideas to life with an audience of supportive, talented, and eclectic peers.
After getting back from Taiwan, it was really important to me to start having regular meetings again. What I like about our meetings is that the purpose is no more than bringing people actively in the moment of facing a personal challenge, and yet everyone comes away with some useful nugget of information, idea, or insight that somehow begets more action. It is similar to the effect that I got from my old New Media Group (now defunct), but this group is explicitly designed around a core of sharing stories about our current actions, as opposed to being about a specific technology or professional field.
What I learned from the New Media Group holds true with The Collective: it doesn't take very much to create a group beyond volunteering to meet with people. By default, that makes you the leader, and after that it's all about the interest you can pour into the membership. What makes a group viable is finding the core participants that also add energy to the group; without that, the group will not be self-sustaining or fun. Since this group formed based on recognizing that there were people I knew who already had the right temperament, we started out with a strong core.
In the past, I would have said that finding people that really click together is an extremely improbable event, requiring a lot of luck and a favorable locale in a creative urban environment. But by applying the second rule, you can attract them.
create value every day, and make sure people see it
You've heard the expression that "results matter", and not surprisingly a lot of energy goes into making sure that those results don't get screwed up. We spend a lot of time agonizing about perfectionism, best practices, process, and correct decision making.
Now, I happen to love all that stuff, and when it's time to get focused and produce this is an attitude that is good to have. However, if you are trying to grow your opportunities (which as a freelancer, I surely desire), then focusing on perfecting your processes isn't going to help because that's stuff that is hidden or unparsable to your prospective audience, who are not experts in your field. So the obvious move is to properly explain it, which is a good thought but ultimately wrong. Spending a lot of time talking about process, scrambling to findi the right superlatives to conceptually frame your excellence in the marketplace, may make you sound competent but it doesn't create the impulse to buy. It merely creates the opportunity for you to continue to try to convince people that you can do what you say you can do, and that you are who you say you are.
The other way to do it is for people to come to you because of something they have seen, or through word of mouth. Something so intriguing that they have come to seek you out to inquire after it. This is, I think, the ideal scenario. The question is how to get there.
In the very first Printable CEO™ form, The Concrete Goals Tracker, I emphasized that for any of my actions to move my business forward, they had to fulfill the two criteria of tangibility and being seen. If your activities don't produce something tangible that is seen by someone other than yourself, they are supportive (which is productive) or a waste of time as far as your goals are concerned.
After spending the past few years creating productivity forms based on this idea, I've come to the conclusion that opportunity comes from the pursuit of just two actions:
- Creating something I can see, touch, or evaluate with my own senses
- Actively making the effort to show what I've made to the people around me
I remember once asking a fine artist painter what they hoped to "achieve" with their work. He looked at me funny, knowing that I was an ignorant engineer who had somehow tricked his way into Art School, and said that he was happy for the audience to provide their own interpretation. He was creating a work that would encourage new thoughts, making connections between experiences they've had with the piece that he had created for his own mysterious purposes. The art, for him, was in the interaction. And so it is also with creating tangible artifacts to share; people will find their own uses and bring their own interpretations with them. But if they like it and see possibilities for integrating your work into their life, you are in the unique position to offer it. But they have to see it first. And for that to happen, you've got to make it and then go out of your way to show it.
Adding the lesson of The Collective to the previous two actions:
- Endeavor to recognize, create and show things that add value to the world and its inhabitants
Without this statement, the tangibility and showing are really just random shots in the dark. I got lucky that some of my writing and projects on this website caught the eye of people, and that experience of having mattered to a few people fired me up to do more. I made sure that what I made mattered to me first, and then I shared them in the hopes that the works would trigger useful applications in whoever happened to come across them. What is new for this month, though, is actively endeavoring to add value to specific people in my local network of entrepreneurs. There is something magical about that which I haven't completely sussed out; it may just be that people are social creatures, and by creating these bonds I am fulfilling my need for connection. The statement is also, perhaps, the foundation of true design as I would like to practice it.
wrapping up
So what am I planning on doing for the next month until 7/7/2009?
- Continue to hold Collective meetings for local energizing.
- Get involved in other people's projects by knowing what they are doing (in essence, helping them "show" what they're making so I can communicate this to other people)
- Resurrect the stalled freelancer network project, but this time I will apply the criteria I describe to create a dossier of freelancers based on my own assessments and personal interviews. I just like to know what's going on, really, but I also need to know who my go-to developers and designers are. My rolodex is awfuly thin.
- Chip away at the description of what I do, but from a connection-making perspective. I still need good materials that describe what I do,. and that also applies to fixing the website. I'm kind of resigned to this being a long-term project, but with the first three items on this list, I think my motivation will rise because I'm immersing myself into the business of others.
Dave out!
I stumbled upon Indigo Kelleigh's fantastic Tarot cards some time ago. Based on the popular Rider-Waite deck that's in widespread use, Kelleigh's deck is faithfully illustrated using an 8-bit retro computer graphic style. If you grew up with computer games in the 80s and 90s, you know what I'm talking about. Before we had millions of colors and photographic imagery on the desktop, computer artists basically had to work with what amounted to a digital Lite-Brite, hand-picking each pixel and color to create cartoony imagery. It is not unlike creating a mosaic out of tiles, with a very limited color set. People of my generation, however, remember this era of computer gaming fondly because quality games had to rely on good game play and story--or so we game snobs like to believe.
Anyway, Kelleigh's 8-bit Tarot covers all 78 cards in the Rider-Waite, using the same 256 colors that used to be the standard system palette on the Macintosh. That may sound like a lot of colors, but when you consider that realistic shading can take dozens of colors for each hue, you quickly exhaust your color budget. Experienced computer graphic artists dither colors to create the illusion of intermediate shades of colors; this works well if the resolution of the screen is high enough with photographic imagery. The technique creates a stippled effect that makes connoisseurs of aged computer graphics nod with heartfelt appreciation.
But I've prattled on enough...just take my word that these are really cool. The complete set became available recently for sale, and I jumped to snag a couple for my collection of esoterica. Have a look!
They're not very large cards, slightly smaller than a standard playing card. However, the printing is quite good and is on a nice coated cardstock. The cards also come in a very cool brown box decorated with blocky 8-bit illustrations done in a Victorian (?) style. The mixing of retro 8-bit graphics with retro package design is very cool.
I suspect they will also work just fine as any Rider-Waite deck for Tarot purposes, as Kelleigh's digital creations are based on the thematic elements that are in Pamela Colman Smith's original illustrations. You can see the entire card set at Kelleigh's site. If you've got US$30 burning a hole in your pocket, head on over to the lunarbistro store and send the artist some bucks.
