Porsche 356 Gmund Coupé Illustration

“It is sad that so many creations today are just like the rest. It is why Porsche must remain independent. Without independence, without the freedom to try new ideas, the world will not move ahead, but live in fear of its own potential. … Committees lead to creations that have no soul, no identity. This is why no Porsche will ever be created by a committee, but a handful of people inside these walls who know what a Porsche is.”
— Dr. F. Porsche

I was in a meeting where a CEO lamented that getting things through her board is difficult—can’t remember the exact characterization. Suffice to say, allowing a board to be a board is a tricky thing. Clearly there are times when a board helps vet an organization’s process, but there are other times when in the process of creation a board is best poised to allow the process to happen in the hands of the creators. A book I read called The Visionary’s Handbook suggests that even in the big company, certain divisions should be treated as if they were very small, giving entrepreneurial power to this force of creation. This type of independence is rare, even in the automotive world.

Unless you’re Porsche.

And with that I thought back to one of my most cherished quotations from what has become somewhat of a design hero for me, the patron of Porsche. I don’t know when exactly this was said, but one things for sure, anytime through the end of World War II, the amalgamation of car companies was rampant. This process saw the end of many storied brands. But for some there was the time to double down and work to come up with that next big thing.

The 356 was one such number. A roadster prelude to my favorite car, the 911, this car had the simplicity of design and a sheer level of enjoyment to see. And if driving a Karmann Ghia is half the experience—probably half the engine—then it must have really been something.

On Showing Clients “Work In Progress,” Caution Prevails.

I answered a LinkedIn Group question today regarding showing work-in-progress. My answer was does not apply, not because it’s fully accurate, but becasue the breadth of the issues weren’t explained in the available options —— (yes or no)

On showing works in progress, I think many of the answers above show the complexity and problems of showing a client work-in-progress and they take me to a point of summation, in that a client hires you for vision and part of that vision is to be able to sort the wheat from the chaff of decision-making, if you will.

I remember hearing Georgia O’Keefe say something like it’s the artists’ role to choose and I feel like that’s utterly important here in developing client work. Yes, good contracts, yes explaining scratch work, yes showing work as “progress” and progress payments, but the other thing is that, dependent on the relationship (I have a long-standing relationship where WIP is great, for example), it’s often difficult to foresee the degree to which the client can visualize that it truly is a process and the degree to which the process can be proportionally fruitful farther in (i.e. once you really lock in on a concept–inspiration isn’t always a straight-line ascending line graph).

So, I tend not to because if anything goes wrong, wouldn’t you rather be that person who did admirable work, as exhibited through process, that they just didn’t like or the moron who scribbled on napkins and you hated it?