I've talked quite a bit about aesthetics without really giving you much guidance for how you create. Beautiful artifacts. I wish I could tell you a formula, I wish I could give you a step-by-step process the way I was able to do for, user needs, or even for exploration. But aesthetics is, is a pretty elusive topic. And performances is, is elusive as well. And so, let me just give you a little bit of advice and a few thoughts on how it is that you actually achieve good outcomes in terms of creating beautiful artifacts. First, there are two basic contexts in which I think it makes sense to think about this challenge. One is, if, if we're talking about work you're doing for yourself. Then I would just give you some advice to, first of all, work really hard. And, I'm going to remind you of the creation of this stick figure, for, in the creation of the design process that I showed in the introduction to the course. And remember that I spent many hours generating many alternatives for that little stick figure. One of the ways you get good outcomes in any area, but especially in aesthetics, is you work hard at it. So let's not forget that. The second piece of advice in the context of your own work is to care and to notice. And, if you, if you increasingly notice when things are done nicely, when artifacts are beautiful, then, and you start to care about it, then your own work will become much better. And, mostly I think this is a questionable variance of, of noticing of be in aware, of training yourself to pay attention to, to the beauty or statics of the artifacts that are around you and I think if you can do that, then if you can develop that awareness then our own work will become quite a bit better and then the last. Piece of advice in the context of your own work is to iterate like crazy. You're going to find that. Lots of iteration that is trying again and again and again to make improvements, to get feedback, to refine your designs, at the end of the day will result in things that you're much happier with. And of course not just aesthetically, more generally, but particularly in the case of aesthetics. Now, let's talk about a second context, which is working within an organization, either in a commercial context or a non-commercial context, but where you're, but where you're, you're working together with a team of people in order to create some artifact let's say a product or service or building, something like that. In, in that case if you, personally don't have training in design arts, then what you're going to do is you're going to get someone on your team who does have that training. So in the case of products you're going to work with professionals known as industrial designers. If we're talking about graphics, then you're going to work say on, in web design, or on, in print, you're going to work with professionals called graphics designers. And if we're talking about the built enviornment, either outdoor environments and landscapes or buildings, or interiors, then you're going to work with architects and interior designers. Those professionals all have skill, training and experience in design arts and can bring to bear an aesthetic perspective on a project that you might be involved with in some other role. In cases where. Where the project is, is, big, important and expensive, and involves lots of people, you really need to bring on, or get on your team, people who have specific skills and capabilities related to aesthetics. That's, that's how you get good outcomes. Lastly I would just remind you that the tournament structure that we talked about is also. Quite relevant here. And I'm going to remind you of the example of the terrapass logo and identity development. And one of the ways you get something that, at the end of the process, looks great is they explore lots of alternatives. And you evaluate them in a, using a kind of a tournament logic. So that you can take that exploration. Develop and filter the alternatives in order to identify the exceptional few designs that really are beautiful.
