Why Brands Are Becoming Human Again. The last few years belonged to technology. The years ahead belong to people — precisely because technology has become so powerful.
With Human First. AI-backed., we articulate our stance for a future in which AI does not replace humans, but amplifies them. It does not dominate — it empowers.
Human First stands for responsibility. And for radical creativity.
Brands must reconnect with emotion, learn to listen again, and create real meaning. It’s about empathy, user-centered thinking, and the courage to make clear decisions. Intuition. Imagination. Judgment. These remain fundamentally human.
AI-backed means we design differently — and we advise differently.
We have rethought every step of our workflow: research, strategy, naming, brand voice, design, prototyping. AI changes speed and quality. We have rethought every step of our workflow: research, strategy, naming, brand voice, design, and prototyping. AI changes speed — and it changes quality.
Brands today are built within integrated, intelligent design systems. Strategies become sharper. Brand experiences more adaptive. Agentic AI solutions open up entirely new dimensions of brand leadership.
One thing is becoming unmistakably clear: it’s not the size of a team that matters, but the seniority of the minds behind it. AI amplifies what already exists. It does not replace responsibility.
That’s why we invest in experience, depth, and creative excellence — supported by purpose-built intelligent systems. This is how brands become not just more consistent, but more alive. The future of brand leadership is not about choosing between human creativity and technology. It lies in their interplay.
Many people are currently asking me what impressions I took away from #OMR. Of course, one highlight was the wonderful visit with our partners at Frontify (many thanks again to Anneke Matsis in that context).
And elsewhere on the exhibition grounds? It was crowded, it was loud, and somehow the sword of Damocles—Gen AI—seemed to be hanging over everyone’s heads. Especially in online marketing, the changes over the next 12 months will likely be radical.
This year again, Philipp Klöckner delivered a true tour de force with his format “Beyond the AI hype,” driving the packed audience breathlessly through his roughly 170 (yes, really!) slides. Very well-founded. Very detailed. With glimmers of hope—such as the outlook that open source will eventually prevail even in the field of AI. But also with the already familiar shockers for the industry (farewell asset production, farewell code production, bye bye to the production of pretty much everything that has been and still is value-creating).
In the end, Philipp had to pay tribute to his tightly packed schedule—time was running out, Steven Gätjen stepped from the wings into the spotlight—only 2 minutes left for 20 slides. But those were packed with substance! Curtain up for the “Science” section:
“By 2030, the number of vegetarians will double. Worldwide.”
Thanks to AI, we are already capable (see also: documentary “Talking Pigs”) of decoding the “language” of animals. In the future, this may raise a fundamental question: Do we really want to continue with the industrial processing of living beings that we can understand linguistically—beings who, through that understanding, gain a personality?
I discussed this question with a friend last week. She’s active in the animal rights movement and was rather pessimistic about the above idea: “People already turn a blind eye to the horrors in factory farms. And no one gets in there anyway. The video of a pig begging for help and going viral—it’s not going to happen.”
But what if it does happen? What if it becomes a task for all the marketing experts at #OMR to craft exactly this kind of campaign—and to spread the question far and wide:
In our “Meet the Motos” series, we introduce you to the brilliant minds behind the think moto team. Today we talked to Jasmin Cziborra. She is a user experience designer and speaks about her work at think moto.
👋 Hi Jasmin! It’s wonderful to have you with us. Can you tell us a bit about yourself?
Hello! I am Jasmin, 25-year-old UX designer here at think moto. I started as an intern and working student at think moto and have now been permanently employed for about 2 years. I was born and raised in Saarland. For my studies, I moved to Schwäbisch Gmünd near Stuttgart, where I studied interaction design at the Hochschule für Gestaltung (University of Design). During my internship, I fell in love with Berlin and decided to move here.
Your path to think moto began with an internship. How did you discover the agency and what inspired you to join our team?
That was in the fourth semester of my studies. At that time, I was studying interaction design in Schwäbisch Gmünd and was looking for an internship. During this search, a friend recommended the book Branded Interactions to me. I quickly realized that the authors were running an agency. On the think moto website, I then saw that they were looking for UX/UI interns and I applied immediately. The rest is history.
As a UX designer, what kinds of projects do you typically work on?
Actually, I am working here at think moto in a hybrid role. I am a UX designer, but I operate at the intersection between strategy and visual design. I take the concepts from strategy and translate them into concrete concepts for websites or chatbots. My outputs are usually wireframes and descriptions for interaction behavior, which I then pass on to the visual design team. I have also been involved in conversational design projects for the design of chatbots. Overall, I enjoy moving between strategy and concept, understanding the essence of a brand, and then translating that into a concept.
You mentioned that the team is an essential part for you. How would you describe the think moto team dynamic?
A harmonious team culture is just as important to me as the projects and was crucial for my decision to work at think moto. We support each other, appreciate feedback from others, and deal openly with criticism. It’s nice that we can interact so openly, have a beer together after work or play games. We also regularly hold smaller team events, which I personally really enjoy.
What makes think moto stand out for you, besides the good atmosphere?
For me, what distinguishes think moto, in addition to the pleasant atmosphere, is primarily the diversity of projects. We collaborate with a wide range of industries, starting from small companies to very large ones. Our projects are diverse, and we always tailor our process to the clients and their needs. I also like that think moto places great emphasis on sustainability. Everything we develop follows the principle of being smart, simple, and sustainable.
Outside of work, do you also spend your free time with creative activities?
Absolutely! I like to explore the world through my lens. I enjoy photography and often film in my everyday life. I always carry a small camera with me that can record 4K videos. At the end of the year, I then edit a small annual review. I also like sharing these videos with friends and family.
Thanks for sharing your journey with us, Jasmin. It’s been a pleasure learning about you and your work at think moto.
In early May we spoke with Katja Wenger about her experience at this year’s OFFF conference which took place from March 23-25 in Barcelonas Disseny Hub. We learned how she came to attend the event relatively spontaneously and what topics and speakers inspired her the most. We also talked about the importance of courage in design, the agency’s interest in showing presence at conferences, and what she thinks makes a successful conference. Join us as we gain insights and perspectives from this exciting conversation.
Hi Katja, you attended the OFFF conference in March in Barcelona… How did you come to participate?
I had participated the OFFF several times in the past, but with the pandemic everything came to a halt. In 2022 we went to the Forward Festival in Berlin in September and to the Paradigms Brand Experience Summit in Barcelona. For the latter, we were invited by our partner Frontify, who organized the conference for the first time. It was a great experience itself.
Can you tell us about interesting topics and speakers at the OFFF?
OFFF offers a wide range of international speakers who are incredibly fascinating. There are big names like David Carson, who inspired me very early in my career, as well as smaller or lesser-known talents like the illustrator and artist Kelly Anna.
It provides lots of input from various design disciplines, including motion design, 3D, interaction design, animation, and illustration. That’s what makes OFFF and conferences like the Forward Festival so appealing — you get to see different things that inspire you to explore new paths and be creatively productive again.
However, what stuck with me the most was the importance of being courageous in design.
What inspired or intrigued you the most at the conference?
Ultimately, the past six months have witnessed the birth of a new generation of AI, especially in conjunction with visual design. At the conference, we saw the cool possibilities that AI offers for visual designers. However, what stuck with me the most was the importance of being courageous in design. Being courageous means breaking out of the traditional ideals of beauty and daring to do new things. The concept of beauty, as I learned and saw it many years ago, is evolving into something different. For example, there was a presentation by It’s Nice That, a website or blog that showcased design trends at OFFF.
Some examples made me cringe because they looked terrible. It seems there’s a trend towards such “trashy” aesthetics. Of course, we can’t always be so daring when working with established brands. But it’s important to break new ground and encourage clients to incorporate some zeitgeist into their brand. Ideally, we have created a brand design framework that makes this possible. As an agency, we are perceived as trendsetters and are asked to provide insights into where the industry is heading.
So, it’s important for the agency to have a presence at such conferences?
It’s not only in my personal interest to attend these conferences. It’s also important for all the designers and also creative technologists who work at think moto. We give them the opportunity to participate in conferences as well. That’s very important for me. It’s not productive if only I, as the CCO, attend. We can’t effectively share the knowledge we’ve gained, and everyone has their own interests and feelings about different presentations. Everyone takes away something valuable.
I recommend everyone to take part in conferences because they move you forward and allow you to step out of your own bubble and be inspired. There is something very special about listening to a lecture, reading between the lines and hearing the personal stories of the speakers. It’s especially inspiring for young designers, because they learn about a designer’s career, the effort they put into their work, and how chance led them to where they are now.
As an agency, we also actively participate in conferences ourselves. Sometimes it’s about a specific topic. With Branded Interactions, for example, we have been approached several times and have given several presentations at conferences. We’ve been to the CXI, the largest brand conference in Germany, twice so far, once together with a startup client and once with Volkswagen on the topic of Extended Realities.
Most recently, we presented our Spherical Brandapproach at a CX conference in Oslo, a new concept for brand management in the post-growth economy.
I believe it is an opportunity for us to reach out and attract talented people. Being able to showcase our work and agency at these conferences provides an excellent chance to get visibility within the design community
What, in your opinion, makes a good conference or contributes to its success?
Of course, the speakers are key, but it’s not just that. The choice of location is also important. Sure, OFFF in Barcelona is super cool and huge, but last year I had the chance to attend Paradigms, which was the very first conference organized by Frontify. That conference impressed me the most. It’s hard to put into words. It was an amazing conference, especially considering the location, organization, food, evening events, and the international speakers they managed to bring together for such a small conference. It was just mind-blowing! If anyone ever gets the chance to attend, it’s absolutely fantastic! It focused on corporate design, brand management, and brand leadership. Frontify, being a company in that space, had the right tools for it.
Introducing our “Meet the Motos” series, where we showcase the brilliant minds behind the think moto team. Join us as we take a deep dive into the daily work routine, various departments, exciting projects, and even take a sneak peek into the future. In today’s feature, we’re thrilled to introduce Jordi Garreta and explore the fascinating world of creative coding.
👋 Hi Jordi, good to have you here. Can you please introduce yourself?
Hi, my name is Jordi, I’m from Barcelona and I am a creative developer. I have lived in Berlin for almost three years and have worked at think moto for the same amount of time.
How did you become a creative coder? I obtained my bachelor’s degree in Image and Sound Engineering in Barcelona, and then I moved to Milan to pursue a master’s degree in Interaction Design. I wanted to apply what I had learned in a more artistic environment and became a creative developer by combining my bachelor’s and master’s education.
What kind of companies have you worked for in the past?
After my master’s degree, I started my career working in a fablab in Milan where I worked on creative projects using machines for 3D printing and Arduino. I later moved back to Barcelona and worked for various startups, mainly focusing on data or interactive installations. I then moved to Berlin.
Sounds good. — How did you find your way to think moto?
Berlin has always been on my mind, and my brother lived here for several years which gave me the opportunity to visit often. It’s also a city with a lot of growth in the creative development field. After my partner found a job here and me being stuck at home during the Covid pandemic, I thought it was time for a change and started looking for job opportunities. That’s how I found my position at think moto.
Can you describe a typical day at think moto?
So usually we start with dailies, which are meetings with your project team. On Mondays, we have a general meeting with the entire team of think moto and twice a week, we have one with the developer team.
Currently, we also have two project-specific meetings to track progress. After the meetings, I usually start coding and working on projects. If I or another developer have questions, we have quick meetings to find solutions.
What kind of tools do you use the most?
It depends on the project, but as a creative developer, it’s important to be multidisciplinary and use as many software as possible. For websites, we use ReactJS, threeJS and for VR or AR projects, we use Unity.
What part of your work do you enjoy the most?
I enjoy working multidisciplinary and having every project bring new problems to solve, as it keeps me from falling into a routine. Occasionally it feels like a puzzle of solving things of the internet. I also like learning about new technologies, their pros and cons, and applying them to projects.
Sometimes creative coding feels like a puzzle of solving things of the internet.
Jordi Gareta
Can you tell us about a project you worked on that you particularly enjoyed?
I particularly enjoyed working on a VR experience where we connected chatbots using Cognigy.AI, which is the tool we use for creating chatbots. We created a virtual environment where a machine stands in front of you and the chatbot tells you how it works. We used hand tracking with the Oculus Quest 2, as well as text-to-speech and speech-to-text to communicate with the chatbot. The project involved applying several complex new technologies, and the end result was very nice.
Sounds cool. How do you stay focused and productive at work, especially since you work from home sometimes?
I feel comfortable working from home or from the office. For me, one way to stay focused is to listen to music. Of course, it depends on what I need to do. If I need to do some coding, then listening to music or a podcast, but if I need to concentrate on thinking, sometimes noise-cancelling headphones work best.
What role do you believe creative coding will play in shaping the future of technology and UX design?
I think that as a creative technologist, it’s important to not just apply technology, but also understand what it means. For example, when applying face recognition technology to a project, there are ethical issues that must be considered, such as obtaining consent from the person being recognized and the use of data. I believe that creative coding will play a crucial role in shaping the future of technology and design by considering these ethical issues when choosing which technologies to apply.
Interesting. What do you think sets think moto apart from others in the industry?
I think that think moto has a strong focus on design quality. We put a lot of effort into creating well-designed results. Additionally, we work on a variety of projects, including websites and VR projects, rather than just focusing on one type of project.
What do you do outside of work to maintain a good work-life balance?
I really enjoy sports like basketball and riding my bike. I also enjoy spending time with friends, drinking, exploring new places, discovering new music and going to concerts. Currently, I’m also going to comedy shows a lot – of course in English because I don’t speak German. And also as a creative coder, I like to keep things growing. That is why I sometimes do coding in my free time.
Alright, and do you have any tips for what to do in Berlin?
In winter? I would say go to bars, spend time with friends, drink and enjoy the nightlife in Berlin. Another great plan would be to play board games together. Berlin can be quite lonely in the winter, so try to be as close to your friends as possible.
We talked to Marie Bossecker, Senior Experience Strategist at think moto, about Data-driven Design. She has many years of experience in combining data, strategy and design in such a way that they form the basis for development processes for digital products and services. We asked Marie what data-driven design actually is, how data-based design and creativity are connected, and how innovation gains quality through user data.
Data-driven design is radically user-centric and derives from design thinking. The first step, even before the strategy and design process begins, is an extensive collection of real user data that reflects the current behavior of the user group. Together with further data collection during the process, they form the basis for the development of new approaches in strategy and design.
“Data-driven design means making design decisions based on prior research and data analysis.”
The term data encompasses both the results from qualitative research, such as interviews, and quantitative research, such as surveys or tracking data.
What is the Data-driven Design process?
As with many design approaches, there is no clear process template. The steps presented here are a framework that can be used as is or modified slightly. As a structural basis, the 5 steps of Design Thinking serve: Empathize, Define, Ideate, Design and Test.
1. Data collection & analysis
Data can be collected using various methods, e.g., qualitative user interviews or quantitative data collection. Tools that anonymously query or record user behavior, such as in-page surveys, heat and click maps, or eye tracking, can be used for this purpose.
Data analysis is the task of the strategists. They interpret the data and filter out the problematic interfaces. Many modern tools for data analysis can help to identify conspicuous features and hierarchies that promote or negatively influence the performance of a website.
2. Definition
The task now is to react to the findings and assumptions made. This phase is accompanied by extensive research and, if necessary, user tests to re-examine the assumptions. There are many inclinations in the market that can affect user behavior. For example, the pandemic. User behavior has changed extremely as a result. These external influences and trends are highlighted and analyzed in the definition phase.
“Does a better conversion rate mean we’ve had success, or are there perhaps other movements in the market or in the target group that are influencing this result?”
3. Strategy
In this stage of research, a strategy/concept is developed based on the previous steps, which addresses the identified problems and includes possible solutions. As a rule, several approaches are developed here, which must prove themselves in the course of the further process or are just discarded.
4. Design & Implement
Based on the strategy, conceptual and design measures result, which are implemented by the designers. These are then implemented in the existing website. But the job is not done after that.
5. Test
After implementation, a test phase is carried out again to check how successful a measure was. The data obtained can then be used in turn to draw lessons and develop a revised strategy. This cycle is also known as “customer journey optimization”.
What role do strategists play in the data-driven design process, and how do they differentiate themselves from data analysts?
In quantitative methods, data analysts are primarily responsible for enabling data collection, i.e., creating an interface between the platform and the analysis tool, storing the data, and making it available to strategists in accessible dashboards. Interfaces, such as Google Analytics, hotjar or VWO, make the collection and transmission of data possible in the first place. In order to better evaluate the generated data, it is translated into dashboards and presented in an understandable way using data visualization. The strategists gain access to the data and can now evaluate it. Their task is to analyze and interpret the collected data, define measures, accompanied by extensive research, and then develop a strategy.
In qualitative methods of data collection, for example interviews or focus groups, strategists can be involved from the beginning. They develop the study, define aims and set the framework. After data collection, they then also evaluate the data.
What is the added value from combining strategy and data analysis in the design process?
With the flood of digital offerings, those who know their users best and create the best experience for them will prevail. The short attention span of users has made it all the more important to present relevant content in the most accessible way possible. The better the experience is tailored to the user and their needs, the longer their stay and the higher the likelihood of a “conversion,” such as a purchase or download.
It is almost impossible for designers today to include all the needs of potential user groups in design decisions. Some use the website very frequently, others only drop by occasionally. There are digitally affine personalities and those who need more assistance. That’s why it’s important for designers to draw on previous, data-based research. These show the current, real-world behavior of active user groups.
“You can’t know as a designer what your users really do or need without prior, data-based research. That’s where the clear difference lies between having some opinion and having some knowledge.”
Where does our Branded Interactions design process link to the Data-driven Design approach?
Data analysis can be well integrated in all phases of the branded interactions design process. It depends on the project and the industry of the customer how intensively the analysis of user data can be applied. Data collection is particularly helpful on websites with high traffic, where many users come together, such as in a large e-commerce store. Chatbots and their interfaces also provide a good basis for increasing performance through data in the long term. Qualitative data collection, on the other hand, can also support pure branding projects and MVBs and help to better understand the user group from the beginning through interviews and other research methods.
“Especially in the first two phases, Discovery and Define, data-driven strategy can be linked to the Branded Interactions design process. In Phase 5, Distribute, likewise, as the goal then is to evolve what has been implemented.”
Doesn’t creative freedom get lost if you always refer to data?
Real user data should not be a restriction on design freedom, but should serve as a support in the development of new design approaches. The data shows designers which approaches are already working well and which are not working at all. This allows them to focus on the essential pain points and create solutions where they are really needed. There are no limits to creativity itself.
Continuous analysis of user behavior helps us to optimize what we already have and adapt it to users in the best possible way. In order to develop new, innovative approaches, you have to keep questioning your previous knowledge to see what might work even better. Innovative design approaches can also be improved again and again through user testing and research.
What challenges do trends and technologies from the fields of tracking and data analysis bring for the combination of data and design?
In addition to external factors, such as pandemics, climate change or sustainability, current trends play a decisive role in how we behave online. For example, video content currently works much better than static content, as platforms like TikTok or Instagram guide. The need to be treated as an individual also has an impact on what we demand from our online experiences.
“When it’s my birthday, I expect a fat voucher from the brand I’ve already left hundreds of euros with.”
The line between personalizing content and manipulating buyers can be very thin. Every click and every text written reveals more about what we like and even how we feel right now. In parallel to the real personality, we also have a virtual one, which analytics tools build from our behavior, our data, and then feed us the content that best suits us.
“I believe that in the future, the line between manipulation and personalization will become narrower. The question is, after all, where do we draw the line? What is exploitation, what is convenience? As designers, we have a supporting responsibility to position ourselves.”
Want to learn more about the design process at think moto? You can read all about it in the book Branded Interactions by our founders. Also check out our project portfolio on thinkmoto.com to learn more about our work.
In our weekly series “meet the motos” we introduce you to our bright minds from the think moto team. We provide insights into different departments, everyday work life, tell you about exciting projects and dare to take a look into the future. Today: Paul Krizsan and the chatbot potential.
👋 Hi Paul, glad you took the time. What are you doing at think moto?
I am a design hybrid with a focus on conversational design, i.e. voice and chatbots. My tasks range from visual design to UX design and JavaScript development. Currently I’m working on the rebranding of a German university, our award-winning chatbot Lui and various smaller projects, internally and externally.
That sounds exciting – how did you get into it?
I’ve been involved with technologies and new ways of interaction for quite some time now. My journey has taken me via virtual reality to bots, among other things. The latter in particular is currently undergoing a very exciting development. Previously still considered unreliable, poor customer support and small chat windows in the lower right corner, they now enable new touchpoints for customers to be played with emotionally and also visually.
“Chatbots today make it possible to play on new touchpoints emotionally and also with powerful imagery and storytelling.”
Paul Krizsan
What role do you think chatbots will play for companies in the future? And what do you see as your task?
There are already some brands that have successfully integrated chatbots into their customer journey. Be it in the area of customer service, in customer retention or, as happened with our chatbot Lui, in new customer acquisition. All these examples show that chatbots can already play a significant role. In addition, chatbot technologies are getting better and better. We are currently observing this with our preferred bot platform Cognigy.AI. I therefore assume that in the future, more and more companies will rely on chatbots to reach their customers individually and interactively with brand character.
In this context, I see my task primarily in developing chatbots that create real added value for the customer, but also for the company. In addition, when developing chatbots at think moto, we make sure that the personality of the chatbot goes hand in hand with the attributes of the brand. For this purpose, we at think moto have developed various tools, such as so-called “bot filters”. With the bot filters, we ensure that the personality and tone of voice of the chatbot reflect the brand essence.
Sounds like a lot of work – What does a normal day look like for you?
Our days always start at 9:30 a.m. with a little agency-wide standup, through which you get a good insight into ongoing topics and projects, even if you’re not directly involved. After that, it’s either direct meetings and presentations or my email correspondence for me. Most mornings are more about collaborative tasks, while in the afternoon I can then focus on my topics.
How do you structure yourself and what are your tips for everyday work?
I’m a fan of consistent lunch breaks and take time for that between 12 and 1 pm. After that, it’s off to concrete creative, technical or strategic thinking work and smaller joint reviews until closing time, which is around 7 pm.
What makes think moto special for you?
Besides lovely colleagues, the biggest benefit is the customer selection. There is always something interesting and exciting to throw yourself into. Sometimes you have to hold back 😉
If you had to describe yourself, what three hashtags would you use?
#mountainbike #tech #indie
Which film has influenced you the most?
Spike Jonze’s Her (2013) is definitely partly responsible for my current fascination with conversational design and personalization through user interaction.
Finally, how would you describe think moto in three hashtags?
#creative #young #curious
Thanks, Paul!
Do you have specific questions about chatbots? Then visit our page on this topic at thinkmoto.de/chatbots.
Benjamin Apfelbaum is a communications trainer and freelance creative from Berlin. From October 31, Benjamin will be passing on his extensive knowledge of presentation and storytelling as a coach in his two-day intensive course Story Meets Design at the think moto Academy. But we’d rather let the charismatic stage man introduce himself…
👋 Hi Benjamin, please describe yourself in no more than five hashtags.
enthusiasm #stories #ramp #energy
What inspires you? What drives you?
Inspiring people, myself included. That means discovering new things and also constantly rediscovering yourself, pushing and trying new things. And islands. Islands are the best.
Can you briefly tell us something about your career? How did you get to where you are today?
I started as a designer in 2000 and over the years I’ve taken on more and more conceptual and strategic issues. I have always enjoyed presenting in any form. In particular, I found pitches for clients terrific. Later, when I was responsible for larger and larger teams, I was incredibly happy when I could help and watch people grow. Almost two years ago, I decided to get my business trainer license and have been working as a freelance consultant and trainer ever since.
“After all, all theoretical knowledge doesn’t help you if you can’t apply it under time pressure.”
Benjamin Apfelbaum
What can people learn from your training?
In one sentence. You learn how to present better and have fun at the same time. A bit more: You learn what makes a good presentation – and how to get there. From understanding briefings, to developing ideas, to being convincing in front of an audience. What is incredibly important to me: Always based on understandable exercises and methods that can be used in day-to-day business. All theoretical knowledge is of no use if you can’t apply it under time pressure.
Can you give us a must-have tip or an absolute no-go for presentations in advance?
All right 😉 Must-have tip: If you don’t do dress rehearsals before presentations, you shouldn’t be surprised when things don’t work. Time pressure or not. Absolute no-go: Mega-full PowerPoint slides and then reading everything off.
How did you hear about the think moto Academy? How did the collaboration come about? I bought the first issue of Branded Interactions years ago and worked with it a lot – that’s how I heard about think moto. When I heard on LinkedIn that Marco and Katja had founded the Academy, I simply wrote to them. We met for a coffee, hit it off and now we’re working together.
If people want to know more about you, where is the best place to search? Either on www.benjamin-apfelbaum.com. Alternatively, you can just meet me for a coffee 😉 . You can also find out more about Benjamin’s course “Story Meets Design” at the think moto Academy.
The time has come — I (Isabel Hillenbrand) am on the way to my first design conference in New York. Having secured an Airbnb apartment conveniently close to the venue that is the Lincoln Center, the way to the conference is luckily not much of a challenge. So, despite jet lag, I make it to the opening on time and even have time to grab a coffee and some fruits in the bustling Alice Tully Hall lobby. Much-needed energy for a long and exciting day to come.
This year’s overarching topic is ‘The Creative Future’, relating to our hope for what’s next: a world in which every creative is empowered and equipped to enforce values like empathy, curiosity and purpose.
The conference experience has already started a couple of weeks before the actual event when all participants received a neat pin that picked up the topic and increased the anticipation even more— stating ‘I have seen the future’. It is a tribute to a souvenir from the 1939–1940 New York World’s Fair where visitors exiting the ‘Futurama’ pavillion could proudly claim ‘I have seen the future’.
So here I am, sitting in the packed Starr Theater at Alice Tully Hall — a concert venue at Broadway and West 65th Street in Midtown Manhattan that is part of the larger Lincoln Center. Together with 1,000 fellow designers, marketers, engineers, educators and artists among others, I am ready to explore two days of leadership, design, collaboration, productivity and more. All talks will be original, none has been given before.
“There are events around the world where creatives like you are told about technologies coming to take your jobs. This isn’t one of them.”
Below I share my takeaways of the following two days of keynotes, master classes and workshops that are everything from being entertaining to thought-provoking and inspiring.
Day 1
The first speaker of this year’s 99U is Dr. Vivienne Ming, who co-founded Socos Labs, an independent think tank that explores the future of human potential and the influence of AI on it. Alongside an insight into her latest brainchilds like a technological brain support to stimulate human thinking, she underlines the role of human creativity in the context of the increasing possibilities in the field of AI: In this day and age, it is even more important to be brave enough to truly explore new shores and share one’s unique vision as this will remain an essential advantage of the human being for the foreseeable future. She appeals strongly to our courage — to put it above the fear of losing our jobs if we want to achieve real change.
“Artificial intelligence is fundamentally a tool and you’re the artists. It is a huge mistake to think AI will solve our problems. But taking creative people that know how to explore the unknown and have the courage to do what they think is right, that is fundamentally what creativity is about.”
Dr. Vivienne Ming, Co-Founder & Executive Chair at Socos Labs
The key message of the next speaker, Zach Lieberman, the co-founder of the School for Poetic Computation that teaches students how to use code as a medium for poetry and art, is to constantly look for opportunities in which we can learn and grow — and help others do the same.
“The key to creativity is finding a way to listen to yourself.”
Zach Lieberman, Co-founder of School for Poetic Computation
Zach Lieberman is followed by Kyle T. Webster, a Design Evangelist at Adobe. He makes a point stressing how we entertain our minds from morning to night with ever more screen time although boredom is a blessing and a key driver of creativity — a means to unlock the place where creative ideas come from. “We are so bad in being bored. We have to allow ourselves the time and space for boredom. What if we perceive boredom as a blank canvas for our mind?” are some of his central statements.
“We can’t control our subconscious, but we can create the circumstances where our subconscious comes into play.”
Next, IDEO’sTim Brownis interviewed byCourtney E. Martin about various design topics. In his opinion, it is the best time in history to be a designer.
Similar to Dr. Ming before, Brown also addresses the necessary creative confidence to go into the unknown as well as the necessity in our times to master the design of evolving products when iteration and a constant management of ecosystems comes into play. You can’t just design products and are done, ready to move on to the next project — there is no finite moment anymore. Speaking about ecosystems, he makes the comparison with natural ecosystems like rainforests that are diverse, complex and ever evolving.
In addition, he talks about that design is a team sport as well as politics. More ideas fail in organizations than from market rejection so that getting a great idea through the maze is equally important as coming up with the idea in the first place. In this respect, he mentions that mastery in design largely means mastering people and organizations. You have to design for the organization that is the vehicle, for example by creating real experiences as soon as possible instead of bland PowerPoint slides.
Towards the end of the interview, Brown speaks about the necessary ethics of design work – at the same time warning that if you only care about not creating any sort of harm for anyone, you will never create something new. “The thing about new ideas is that they’re like a fragile new species. They have to live for awhile before they flourish. If they get killed before that, they don’t have a chance to flourish,” he says. Instead, we need a system or agreement to make sure we don’t do intentional harm.
“That confidence to leap into the unknown is a form of mastery.”
Tim Brown, CEO & President of IDEO
Kat Holmes, Director UX Design at Google and Founder of Mismatch.design, takes the opportunity to speak about inclusive design and how it can be a catalyst for design as it opens up your thinking. “What if there is no average, no normal?” she asks. She tells us to always ask what is missing in one’s design and what changes for all users when moving from a human to a digital experience for example. “Disability is no health condition but a mismatch — a mismatched interaction between the features of a person’s body and the features of the environment they live in,” Holmes says. “Don’t expect people to match your design. It should be the other way around.”
“What if there was no such thing as normal? How would we proceed in our design?”
Kat Holmes, Director UX Design at Google & Founder of Mismatch.design
In the following talk, Joel Beckerman, Founder, Composer and Producer at Man Made Music, makes us aware that a lot of designers simply forget about sound although it is the experience dimension to which users respond most quickly. “If you’re afraid of a horror movie, don’t close your eyes, close your ears,” he tells us. Therefore Beckerman encourages us to practice better storytelling by using music and sounds and also to keep in mind the reaction you want to create with an experience in a given environment. Can you imagine the beeping sounds in hospitals to promote health and well-being?
“When the sound doesn’t match the visuals, your brain believes your ears first.”
Joel Beckerman, Founder, Composer & Producer at Man Made Music
In the afternoon, I attend a high-energy workshop run by Disney’s former Head of Innovation & Creativity, Duncan Wardle.
Following the title ‘Blue Sky Thinking: Where Revolutionary Ideas Come From’, Wardle speaks about how to spark creativity and come up with new ideas as well as how to share them with your team and the client in a sucessful way.
He shares the story behind the Disney MagicBand — a plastic bracelet in use at Walt Disney World Resort that provides a way for the system to connect data to guests. “At the start of its development, the central question was ‘How can we avoid standing in lines?’ and not ‘How can we raise profit by 3%?’” Wardle says. “Start by embedding new solutions deeply in and financial success will follow.”
Speaking about ideation, Wardle encourages us to get into a subconscious state, something that usually doesn’t happen in the office, to encourage playfulness and to regularly break out of our daily habits. Doing things differently every time allows us to access a fresh mind for creative ideas.
Another approach to thinking beyond the usual patterns is the involvement of naive experts — to have an outsider in the room in the form of a person from a different country or industry, who asks the ‘stupid’ questions and brings in new possibilities for solutions. Similarly, he recommends to list all the rules of a challenge and challenge them by asking ‘What if these rules didn’t apply? What would our possibilities be?’.
In an attempt to create an open, positive space for sharing new ideas, Wardle reminds us of preferring the phrasing ‘Yes, and …’ over the use of ‘No, because …‘ to transfer a concept from ‘my/your idea’ to a group idea and also to grow infant ideas that are still very rough and by no means fully fleshed out yet.
When a new idea is born, Wardle always captures it in a few full sentences right away to avoid not remembering important details the next day.
Presenting the results to clients, he is a big fan of creating an environment with no barriers such as a table as well as of putting the presentation up on all four walls and taking the client for a walk around the room — turning the presentation into a conversation.
The subsequent master class is entitled ‘Gathering and Presenting Design Research’ and is hosted by Paige Bennett, a Design Researcher at Dropbox.
She shares ways to communicate your research results to turn the larger team into advocates of our findings. “Your findings must be able to live on without you as their guardian,” she says. Exhibit pop ups in central office locations, collaterals like fun stickers with key results as well as an informal ‘brown bag’ Q&A session over lunch or a coffee are all proven formats to get attention and buy-in from people outside of the core research team.
In addition, Bennett suggests to share intentions and results early and continuously during the process, using formats like a ‘What to expect and not to expect’ summary, dispatches from the field, theme progression insights as well as a highlight reel in the end.
Day 2
My second day starts with a master class on ‘Designing Tomorrow, Better’ with Brian Collins. He is the founder of COLLINS that was named as one of the companies transforming the future of brand building by Forbes.
Collins states that “Companies are no longer in competition with each other. They’re in competition with the future itself.” However, we shouldn’t be fighting against the future and all the change it brings, but create a chosen future with maximum love. “The opposite of courage is not cowardice but conformity,” he says.
In this context, he speaks about recent work of his company that attempts to actively shape the future with meaning — engaging Spotify listeners, building a LEED-certified gasstation for BP that educates about environmental impact and conservation or a radically new lip balm shape for the skin care brand EOS.
When it comes to execution, Collins mentions the importance of team collaboration as well as courage in visual design that is of particular significance in today’s times in which design finds its way into all processes. ”Create bold design systems that open up possibilities instead of closing them down,” he tells us.
The following workshop on ‘Presenting Bold Ideas’ is held by Irene Pereyra from Anton & Irene (Anton is sick that day).
Irene shows us how to prepare for and thrive in any presentation and distills her recommendations down to ten commandments:Be comfortable in your body (Relaxation excercises help!)Be comfortable with silence (Smile!)Be strategic about when you present (Not before or after lunch!)Work on your confidence (55% of what is remembered is body language!)Get rid of filler words (Choose silence instead!)Structure your content like an hourglass (Presenting is storytelling!)Learn not to rely on visual aids (Be ready to present without any slide!)Practice, practice practice (Practice!)Invite feedback from your team (Do they disconnect at ay point?)Smile, and learn to enjoy being the center of attention (You rock!)
Opening slide of the ‘Presenting Bold Ideas’ workshop by @antonandirene
In the afternoon,Giorgia Lupi, Information Designer and Partner at Pentagram, shows us how to make data more consumable and meaningful by the use of design. She is looking forward to a time when data-driven design is replaced by design-driven data. The examples of her work for the ‘Data Wall’ at the Starbucks Reserve Roastery in Milan and for ‘Bruises’ — a project on the impact the illness of a child has on its family — illustrate how data vizualisation has the power to evoke empathy and also personal relevance, especially when music is added for an extra effect. “There is a world of unexplored, small, and intimate data that we never see,” she tells us.
“Our world is random and messy. Collecting data does not make it more perfect or more controllable.”
–Giorgia Lupi, Information Designer & Partner at Pentagram
Next, Anna Pickard from Slacktalks about what it means to make your brand human — a goal most brands strive for today. Her key message is to make people feel seen and not to underestimate the value that a heartfelt error message or a “You’re doing great!” tweet might have. “It’s not about pretending to be human; it’s about finding the moments when you can connect with people,” she says. You have to show a two-way empathy, meeting the people where they are, and also bring the people behind the product to the fore. In addition, she tells us to put the voice of the brand in everyone’s hand instead of having a strict guide. In the end, it’s all about being clear, concise and human.
“Words have never mattered more. A single word can elevate something or it can change your perception. Even if it’s just your own perception.”
Anna Pickard, Head of Brand Communications at Slack
Eventually, Michael Ventura, Founder and CEO of the brand strategy and design practice Sub Rosa, highlights the importance of a holistic empathy throughout teams to make them better at their job. He tells us that empathy goes beyond being nice or compassionate but that it brings versatility to the process, knowing when to ask and when to listen, and that it should be accompanied by the will to really find out new truths. “It’s going to slow things down before it speeds things up,” he says. However, it will show positive results in the form of less rework, more sales as well as happier customers in the long run.
“Empathy requires attention and commitment. Be brave, because this isn’t something everybody’s willing to do. But if you are willing to do it, you will see change.”
Michael Ventura, Founder & CEO, Sub Rosa
Summary
Looking back on two days full of inspiration, there are several themes and thoughts that were repeatedly addressed or that I particularly remember for other reasons:
Look into the future with a positive state of mind that curiously involves today’s technological developments instead of fighting them and use your capacities that machines can’t imitate so quickly — your unique creative vision as well as the creation of authentic, human relations with consumers.Show versatile empathy and find out about the whole self of consumers by practicing deep listening and observation in a trustful setting, meeting them where they are and being open to really discover something new.Use the power of your team and create an open, positive and supportive atmosphere where people stimulate each other’s thinking and build on the ideas of other team members to come up with the best results possible.Bring out unique ideas by allowing yourself undisturbed time to let your thoughts wander and break out of routines regularly, be bold enough to share your ideas with the world and think of ways that make it easiest for other people to fully understand them.
More than ever, creativity today demands courage. Let’s be brave and make the creative future bright by taking control of our tomorrow!
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think moto is a digital design consultancy based in Berlin, Germany. You are planning an innovation project? Let us know!
„Ein Logo ist dann gut, wenn man es mit dem großen Zeh in den Sand kratzen kann“, formulierte Kurt Weidemann, Gestalter des Logos der Deutschen Bahn, seinen Anspruch an ein gelungenes Logo.
Die Ausstellung „LOGO. Die Kunst mit dem Zeichen“, die derzeit im Museum für Konkrete Kunst in Ingolstadt läuft, geht unter anderem den Kriterien nach, an denen sich ein Logo messen lassen muss. Vor allem aber beschäftigt sie sich mit dem Logo als Bindeglied zwischen Kunst, Grafikgestaltung und Design. Gezeigt werden Archivfunde, Werbemittel und Verkaufsobjekte, Leuchtkästen und grelle Wandarbeiten.
