“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.
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?
Speaking with the tech people over at Glossom … Great Comments.
“Me: Thanks so much… I thought I did but I can tell you I got turned around pretty quickly and thought I had done some stuff. Either way, thanks.
… & “Forza Ferrari!!!” I was rooting for Alonso to win it all. Not sure what is is about Vettel, but I never favored him though one has to think in four(?) years he’s pretty much proven that he has much more speed than, at least, Webber and most, the rest of the field. & thank goodness Massa retained his drive. I’ve felt for him ever since the incident and being a company man, he’s played the role of number 2 exceptionally in the second half. … And by the way, I think that team orders should be brought back… it’s such a farce to think that they don’t exist and if you have the privilege of driving an F1 car, if the situation deems it you should help “the team”.
Additionally, I’ve been a Ferrari fan since ’99 when Michael had to come back from the leg break. He was just so on the limit. I loved it. My friend hated him and said he’d never get another championship. I told him that Michael is so “mad” he’d cut off his own mother with a “Schumacher chop if need be” and the move on Barrichello about a year ago was nearly the proof of that. But as for Ferrari, while I admire some other manufacturers, I admire the fact that from a constructer point of view they are committed to staying in the sport where some others like BMW, Ford Toyota and Honda perceive it as an opportunity to “gain visibility and market share” and dip in and out as the feeling hits them. That is why Ferrari is tops…
Lastly, I read an article that said the goal of a racing program is not to make money. Corporations need to note that. Whew.
t. 410.464.1700 f. 410.988.2214
New Poster Celebrating The Austin F1 Grand Prix:
On Nov 28, 2012, at 9:27 AM, Rivizzigno Piero | Glossom wrote:
the issue was trivial. When you registered you didn’t close the registration process clicking on the confirmation email. So your account was not active. We activated it. Right everything is fine.
One last comment: we at Glossom are crazy about Formula 1 … we have a bias for Ferrari … and we want to Feature some work on Formula 1 … ahahah
Have a great day”
A project I didn’t get but had strong ideas for … Just having a little fun with it …
At the time, even with an ugly game I came to appreciate that if you played ball up at Druid Hill, you can’t be polite and think that’s gonna make it. The year I drew this sketch, (’93) Charles Barkley was in the playoffs pulling more rebounds than someone his height should have. Made me think of saying: “Playin’ big down bottom …” and a somewhat corny line to boot. Those t-shirt lines were all the rage then.
Thank goodness I photographed my sketch.
After finishing it, I was using it as reference for the Illustrator illustration I produced (hence a photo) and the draw of it must have been too strong. My son begged if he could draw on it, even though I encouraged him to draw one of his own —”try your best” I said … He seemed discouraged, until I just let him have a go at the drawing.
It seemed that perhaps the collaboration made him happy—I dunno, just being a part of it.