Transcripts
1. 00 Creative Tools Intro: Hi, everyone. So I hope you have
enjoyed Part one of this double class about creativity and practical
problem solving. Now we go for the Part two, reviewing the tools and
methods you can use to improve your performance
in creativity. Let's go.
2. 01 Creative Tools 5why: Welcome back. Welcome back to this class about creativity.
We are now in the Part two. We're not going to discuss
that much our mindset and how we are supposed
to approach creativity. We're now going to talk
about very specific tools and practices and
methodologies that help us achieve what we
just discussed that help us overcome our blocks and fears and achieve the best of the creativity that
we have within us. The first one is actually
an engineering tool. It's called the
five ys. Why, why? Why, why, why? The point
is something is happening, you observe some kind of
failure or some event, and you ask yourself, why has that happened? You find an answer,
and you ask yourself, why is that answer
actually true? And again again, and
again, this way, you really go to the root
cause of the problem. The point is that you shouldn't confuse
problem with symptom. I really like this
example of sciatica. You have pain in your leg, but the problem is
actually in your back. I've had projects where it
was literally like this. I was designing a respirator
and we made prototypes. People testing them
complained about pressure point and
pain on the nose, and I solved it by
redesigning the chin of the mask to rebalance the mask and reduce the
pressure on the nose. So do not get confused between
a symptom and a problem. What you are trying to
achieve needs to be very, very clearly understood,
clear to you, anyway. And removing symptoms in some medical fields like
palliative treatment is, of course, all it's about. But in general, crafts and arts and um, creative endeavors. The problem is more
important than the symptom. You're trying to
achieve something. You want to make
people feel something. You want to transmit a
message with your art. And Again, it's the outcome, the message that matters, not really the
support that matters. So focus on really
separating symptoms and outputs and artifacts from
what you are really achieving, which is what people
experience, how people feel, how much people enjoy looking, listening, experiencing
what you're doing.
3. 02 Creative Tools XO: Another very important tool
is the experience outcome. It's basically a sentence that describes one of
the things you are trying to achieve
with your new idea. It goes like this,
lets the user, but that could be another
person. We'll get into that. Job to be done, what
are we trying to achieve and success criteria. It's a very convenient way to phrase your problem statement like this because first of all, you need to know exactly who you're talking about.
Is it the user? Is it maintenance person? Is it a professional operator? Is it the parent of the user, someone involved in
what's going on? You need to know who that is. And then that
person is trying to achieve a task,
get the job done. And that usually when you create a product or a solution or a little device or
even an art piece, there's probably
more than one thing that you try to
achieve at a time. So experience outcomes
in such sentences, you're going to have three,
four, five, ten of those, but at least you know
specifically for each sub task what you are trying to achieve and
success criteria. If you try to make
something lighter, it's not meaning anything because because if you save 100 grams on
a two ton product, it doesn't make any sense. You need to have
success criteria. You need to know in advance before searching for ideas
before being creative, you need to know precisely
what you're trying to achieve and with what
level of success. Preferably measurable. If it's about making
things lighter, either you decide by how many
grams it's lighter or you decide by how many percent's lighter than what specifically, your previous solution or the competitor solution,
something like this. To be creative, of course, I invite you to be
ambitious in those things. So you make that
experience outcome, the most desirable possible. Let the installer attach this to the ceiling
without tools. Let's install attach
to the ceiling with one hand without
climbing on the ladder. The different success
criteria are going to frame your problem statement in such a way that you
can find solutions. You're going to look for ideas on how to do it without tools, and you're not going
to be disturbed or lost into a broad topic. And then after spending
half an hour on that, you can spend half an hour
on getting that job done. With one hand, and
you're going to have other ideas because you have framed the problem differently. So define your problem
carefully this way and then go for creative sessions trying
to find the solutions. There is a trick there. It's
about how abstract you go. Let's say that I say we talk about we are making MP
three players in the past, and we frame the problem as lets the user store more songs
on his MP three player. If you do that, you do
an MP three player. If you phrase the
experience outcome by lets the user access infinite quantity of
songs anytime anywhere, then it's not necessarily
an NP three player. It can be an online
cloud based source of music, a platform, which is basically what people use today without knowing
that in the past, everything needed a
physical support. So the way you frame
your experience outcome, the way you frame the problem, the challenge that
you're trying to solve, is going to define how
open and creative you can be or how tactical and
pragmatic you will be.
4. 03 Creative Tools competitors: So obviously competitors
and adjacencies, in other words, inspiration. Looking at what the others are doing is always a good start. First of all, it helps you know what has been solved,
what needs to be done. It helps you avoid redoing
what's already known. It helps you start from a richer ground than if you just don't know
anything about the topic. So looking at competitors
and adjacencies, if you are doing safety device for some job that is
happening outside, outdoor, then why not
look at outdoor sports, climbing or things like this? Because they also deal with safety in the outdoors and
with the weather and so on. So learn from the
others in your field, learn from the others
in neighboring fields. And the goal is to put the right purpose in
the right context. That means you need to fully
understand the context where your work is going
to be used or experienced. You need to understand by whom, with who around, and what
they are trying to achieve. What's the purpose of it? And then you need to see if
that purpose is matching the context if you are
able to deliver something that fulfills that
purpose in that context, and you do that first by learning how the
others have tried, what they achieved, how
close they got to success, and you start from there.
5. 04 Creative Tools x ref: Here is a very, very, very pragmatic way
to look at things. Basically, you look at
the tools you know, the assets, the systems
you already have in place, and the things you're
trying to achieve. And you just look at
what's been done and maybe there is a combination
that has never been done. In this case, we talk about company that had different kind of candies and chewing
gums, et cetera. They looked at the kind of packaging that was
existing and available. And they found out that
at that point in the 80s, nobody had sold
chewing gum in a tube. So they just did. It was a
big hit. It was super cool. The advantage, to be
honest as a consumer, was that as a kid, you could put pretty
much the whole tube in your mouth and completely
overdo and there was some, um, it had removed the limits in terms of dosing the size of the chewing gum, and that was super cool. So simple, stick
to what you know, list what you know in
the different axes, what you have as tools, what you're trying to do, and find stuff that
hasn't been done, combinations that
have not been done yet and build upon
what you have.
6. 05 Creative Tools Systematic: Oh, this is a tool that may seem like the opposite
of glam and fun, but it's basically
systematic flip, systematically doing things. If you are stuck
white page, you know, feeling like you don't
know where to start, how to get moving with your new art piece
and your new craft, just get going, start something. Systematically in
here an example, black plus white,
what does it do? It does gray or it does
black next to white. Maybe in the other direction
or maybe I can make a diagonal or maybe I get to a checkered flag and you
keep going like this, just senseless
experiment without really knowing where it goes, but you just go for and in a
very systematic fast pace, you throw things on the
wall to see what sticks and eventually you might even
invent the next QR code. So it's really about inverting, flipping,
mirroring, swapping, scanning up and
down, stretching, distorting, make things
that are obvious. Don't worry about
that. Make things that don't make any sense. Don't worry about that, do
it and see where it goes. The unexpected thing
that comes out of it might become a
masterpiece actually.
7. 06 Creative Tools Crazy8: The crazy eight is basically
last minute panic on time. You give yourself
8 minutes to find eight solutions to a problem
that you have defined. So you have a sentence that
describes a problem to solve, and you go for 8
minutes, eight ideas. It's quite easy to start, have one idea, two
idea, three ideas. Four, five, six gets trickier, and honestly, seven and
eight is very difficult. I mean, if you have just 1 minute to have an
idea and write it down, just the time to write it down is already consuming
most of your minute. So it is really forcing
you to be extra spontaneous and there's clearly
no time for overthinking, worrying, hesitating, et cetera. The quantity, eight ideas is really you get to the point where the number eight is something
you don't believe. You write stuff that you didn't think you would write such a thing half an hour ago. But that's the point. It gets you beyond what
you would have done with all your psychological
logs and cultural logs. You go beyond the obvious. It's really effective if
you are able to do that on your own and then a
colleague or friend does that and then you
compare your notes. You make fun of it because, of course, there is
some nonsense in there, but actually the fun
and the nonsense put together are a very
good fertile ground for creative ideas. It's really, um an easy trick to force your brain to allow you to say things that you
wouldn't say normally. It's quite similar to the advice that some
people say to write down 100 ideas on how to solve a problem and
it's the same story. The number 20, 30, 50, and 100, there's a lot of
nonsense in there because you are forced to write whatever passes
through your mind because you don't have
time or because you just need the quantity and you
don't know how to generate 100 absolutely brilliant things that you are very
confident about. Talked in Part one about confidence, and that's
the point here. It's a tool that helps you ignore whether you
are confident or not. You just throw
ideas on the paper.
8. 07 Creative Tools Duncker: And what about the box? You know, everybody talks about
thinking outside the box. Of course, that's
a well known tool. But here where they bring an interesting little experiment is Dunkers candle problem. And basically, you have
two groups of people. One group of people
receive what you see on figure A, matches, pushpins in a box and a
candle and they are asked to somehow attach the candle to
the wall and light it up. Now, the interesting part
is that if one group receives the push
pins in the box, and another group receives the pushpins like
a bunch of them, and then the box separately, they have a very different
way to look at it. If the box is separated, people understand it as one of the tools
that they can use. If the pins are in the box, some people tend to think
of the box as packaging. They're basically
not considering the box and they not use it. So again, look at the assets, look at what you have,
look at what you know. There's stuff that you have that you haven't thought of
using most probably. And with that, it can be
an idea. It can be a tool. It can be, I don't know, if you are using brushes, maybe you can use the
handle of the brush on your canvas and
things like this, just um, keep an open mind and
look at everything you have around you and all
the possible ways to use stuff you haven't
used yet or misuse things and turn things into a new tool, a new way to operate.
9. 08 Creative Tools Brainstorming: Brainstorming is probably
the name that is the most used by most people when it comes to ideation methods. There are very big challenges
with brainstorming. It's about having a team. It's about having a
team of the right size. It's about having a team of
people who know how to be creative and open minded and say things in a spontaneous way, but without interrupting
each other and without having any sarcastic or negative tone in what
they are saying, and I personally find
that very difficult. I advise everyone to
have fun and make jokes and make fun of the others and sarcasm is part
of my culture. So brainstorming is really difficult to implement
for people like me. I take it as conversation between folks who
understand the question. The point is that people should
have a yes and attitude. Someone says something
and you say yes and if we do that or if we change
that, it gets even better. Don't say no. But I think a touch of sarcasm and
irony and jokes and just, you know, taking it easy and
not taking ourselves too seriously is necessary
for creativity. But yeah, take a few experts
on the topic of the problem, add a person who might
not be an expert, but is good at facilitating
things and let them have a focused conversation on how to solve the problem
that usually works. Now on that note, to be honest, there is this book, the IDA Machine that I think is not available on
the market anymore. I read it about 30 years ago, but I remember that this was
about an agency that was facilitating and
organizing and running brainstormings and
ideation sessions. And they had an interesting
take which was to always add some external
teenager into the group, someone who was there
to cause a bit of disruption and have a kind
of mischievous attitude. So they would have a team of um real decision makers
from their customer, not just the average guy, they would want the bosses and the decision
makers in the room. Then they would bring
that teenager that had absolutely no constraint on social classes and
behavioral respect and so on, and that teenager would go ask
all the annoying questions and challenge all the
decisions and so on. And that would
bring the friction that really helps going
beyond the obvious Um, that's what I remember from the book that I found
very interesting. And the point is there debating. I believe that debating
is a human right. Just go for it,
challenge people. It doesn't matter
what title they have, remove the social boundaries, and, you know, go for it. It's a tango. It's emotional. It's, um, intense and do it
as if nobody's watching. Like, just have that
real conversation. Do not be afraid of friction. Do not be afraid of a
bit of confrontation. If you bring a lot of humor and jokes and make fun of
yourself in the process, people are fine with that, and they come out of
the session exhausted, but with really
interesting notes and some new learnings and new
insights and findings.
10. 09 Creative Tools Creative Matrix: Now, an alternative to brainstorming is the
creative matrix. It's, let's say, a
written form of it. So you have a big white board
on which you make a matrix. In columns, you put your
experience outcomes or basically opportunities
or problems that you're trying to solve, what you're trying to achieve. And on the other axis, you put the user, the maintenance
person, the installer, basically the
persona that you're trying to solve
that problem for, and you ask a group of
people with you to come up with ideas instead of talking and interrupting
each other and so on, like the challenges you would have with
the brainstorming, you ask people to do it in
written on sticky notes. Um, with a big fat
marker so that they are limited to a
pictogram or three, four words, not a
long complex thing. And you ask people
all at once to go put ideas as fast and as many
as possible on the wall. There is something
good about this. It's first of all,
that even the shy ones can go put a post it on a wall at the same
time as someone else. They don't need to wait for a long silence
to their speaking. And then also, there's
the reactive thing. In my experience in
agency, for example, we had customers who
wanted something, but they didn't
know what that was. They were very good at not
liking what we proposed. They know what they don't
want when they see it, but very few people are good
at knowing what they want. So people are good at
reacting to stimulus, they're not so great
at having a vision. And this tool lets you react. Let's say I put a post with some idea and you read
it and you think, I'm wrong or I missed something, you put another one
next to it that is enhancing my idea or that
is challenging my idea. And basically, this
is all allowed. You are allowed to disagree. You are allowed to
expand on other people's like everything is allowed in
brainstorming as well, but in a formal
structure that I think is more difficult on post its, everybody can express
themselves at the same time and everybody can react to what the others are
putting on the wall. Of course, this requires after
lecture, meaning, I mean, a reading where people altogether read what
everyone has written and start discussing what
did you mean and so on and then take proper notes
of where that leads. Um, for me, that's
the brainstorming for introverts and it
really, really works.
11. 10 Creative Tools Oxymoron: Since we talk about
creativity and trying to go beyond the obvious and do things that surprises others, going for quirky and
awkward solution is a pretty good start. Basically, do the things that
you think others wouldn't there is a way to
explore the unknown. And so here's an example
of making jokes and, you know, basically dad jokes
are jokes kind of thing. But it really, I think, helps to go for oxymorons, paradoxes, tease people,
play with words. All these things again, are not necessarily
directly linked to your craft or the technique
that you are implementing. But thinking in terms of oxymorons is just a
way to be creative, a way to break the rules, a way to do what the
others wouldn't do. And then it may not be
the proper solution, but it's a trigger that
gets you onto a path that you can follow towards the best solution
or the creative solution. So again, fun puns, you know, pranks, making jokes, um, exploiting the
paradox between different concepts is a
good way to get started.
12. 11 Creative Tools Propelling Question: The propelling question
is an amazing tool. Basically, you start from a huge ambition and
you add a very, very significant
constraint, basically, an obstacle that you
don't really have, but you just invent for yourself an obstacle in front of
your very bold ambition, and that's really stretching it and forcing you and
your colleagues and friends to be particularly creative and to have this we can achieve it if we do
this and we do that. And here's an example of
how they asking themselves, how can we win the
race 24 hours mn race? How can we win the
race when our cars are not faster than
anyone else's? So that really is a way to
look outside of the box, basically, to look
at their role. They understood
that they are not there to make fast cars. They are there to win the race. Making fast cars is part of it, but it's
not the only thing. And also, they were
intelligent enough, wise enough to realize
that it's not obvious to make cars that are significantly faster than all the other
great brands out there. So they decided to basically
save time on the pit stops. And when you have
a 24 hour race, if you save a few minutes, you actually win the race. So this is an interesting way to look at what you're doing, trying to achieve
something or let's say you have a problem that is kind
of of normal intensity, you can artificially make it extremely difficult
because that's going to force you to consider
ideas that you would not come up with otherwise without that extra challenge, and then you can always apply those exciting ideas onto
a simpler problem later. There is another
element to this. I mentioned thinking
outside of the box and I like to talk about
thinking around the box, basically thinking like
a system engineer. You zoom out and you look at all the other aspects
of the problem. In the case of winning a race, it's not only about
driving fast, it's the whole race that counts from the
beginning to the end, including the pit stops. If you are creating a device
that is used in a context, let's say you create something that is used
in a surgery room, then do take in consideration all
the equipment that is by default in
that surgery room and connect your device
to that instead of adding duplication of monitors
and screens, for example. Um, if you are an
artist, same thing, maybe you can actually
use um, the art gallery. I remember seeing some
street artist that is putting a canvas on a wall and then he painting
is on the canvas, but also on the wall, basically overlapping
and making a metaphor of um the art in gallery
and the art in the street. So again, look at the context
where you are and leverage.
13. 12 Creative Tools Assumptions: Now let's take an example
where we are in the family. There are two kids and there's one orange left. You
can visualize it. One orange in the bamboo
tray in the kitchen. To kids want the orange. What is the mother going to do? Most people would expect the mother to cut
the orange in two. Some would say ask one
kid to cut the orange, the other kid to choose
the half they want and trying to make it a fair
division of the orange. If you think creatively,
you realize that perhaps one kid
wants the juice to drink and the other kid wants
the peel to flavor muffins. They don't have both
the same goal with that orange and if you don't
fully understand that, if you don't understand
the real problem, then you don't find another
way to share the orange. There is always an assumption. There is an assumption in the mind of the one
writing the brief. There is an assumption in your mind when you
read the brief, and you need to challenge
those assumptions. Always challenge
the assumptions, ask people what
they really mean, ask people what the
context really is, who is trying to achieve what. And then you will find a lot of opportunities that they were
there from the beginning. But if you don't ask
those questions, if you don't investigate,
you just don't see them. So in this case, really, really, really consider who
is asking for what, and what are they
trying to achieve and who is playing what role, where and how can you orchestrate that for
the best outcome.
14. 13 Creative Tools Negotiation: So here are the most
typical and effective ways to tackle a problem
in a creative way. It's about wording. What if we do this?
What happens? And don't judge it. Just ask yourself, if I
do that, what happens? And why should I not do this? Can we do this? No. Why not? What's going to
happen? Let others in your team really phrase it, express it, verbalize it,
illustrate it, visualize. Explore those scenarios.
What if we do this? What if we don't do that,
and why can't we do that? What would be the consequence? Maybe the consequence
is acceptable. Maybe the consequence is
just that you need to change another
thing because there is a kind of domino effect. Let's assume for a
second that we are allowed to do this.
Then what happens? Let's assume for a
second that we have solved that first
level of the problem. Are we going to be able to solve the next level
of the problem? Yes, if, if is a very
good way to say no. If someone is asking you to
do something impossible in the next two weeks and it's important client and you
don't want to offend them, you say, yes, if your budget is that much and you allow me to hire that many people from that famous agency
to work with us. Probably they are not going to be able to provide you that, but you have not said no, you have defined a framework
that can start negotiation. Problem solving and creativity is very often a negotiation. I talked earlier about creating tension and not being
afraid of confrontation. But again, this is not
a destructive process, confrontation for the sake of confrontation is not
very productive. Usually, it's more
about negotiation. If I do that, what do I get? What do you get?
What's the outcome? Is this what we're
trying to achieve? Is it closed what we're
trying to achieve and so on. Negotiate, explore, do
not block on anything, go through the
work of describing what would happen if
we make some decision, even if you have the intuition that it's not the right path, describing it, illustrating it, visualizing it is
a way to be sure, that's not the right path, or a way to find there an opportunity to do
something differently.
15. 14 Creative Tools Free Doodles: Now back to just enjoying
what we're doing. Free doodles, you know, letting loose and just doing your thing,
doing your craft. Warm up is part of practice. Practice is part of the game, and the game is leading to
the outcome that you want. So if you're in a
craft, in an art form, just keep practicing, include warm up.
Don't worry too much. Do things for the sake of
doing them, do parts of it. Let's say you are
very good musician, but there is one little thing, one special effect or part of a song that
you struggle with, then just practice
that bit or practice the foundational tools
that are going to lead to you being able
to do that thing. It's part of the game,
it's part of creativity, just enjoy the whole thing. Do not focus on the end output
on the perfect execution. Just focus on
enjoying the process. Trust yourself, trust the
tools, enjoy the motions. As a colleague used to tell
me many years ago in Italy, sporkaacarta, make
the paper dirty. His point was that it's more important to sketch
things and look for ideas and experiment with shapes than to worry about the
quality of a design. When it's about practicing, as you can see here, this
is about sketching shapes. I have no idea where
I'm sketching. I'm just doing things
and convex concave, one thing in front of the other, one thing casting
shadow on the other, and just trying things out
and see where it goes. At the end of the day, it's
about mileage of the pen. It's about training your
brain to control things. It's about learning to do things fast and spontaneous
without worrying too much, finding confidence in my tools, finding confidence in myself. Just have fun. Here I sketched something that started to look like
half a face of a robot, so I thought, why
not an eyebrow? Take it easy, enjoy the process, enjoy the game,
play for the game, play for the love of the
game, not for the points, and you're going to
find new things. You're going to
come up with ideas that are just going
to be like, why not? Then in the next or
next or next next page, you can come back to this and experiment
again with a shape that came up just in a
pencil warmup exercise.
16. 15 Creative Tools Flow: Love your tools,
know your tools. Mike neck said
form follows tool, and he's got a point, and it's completely matching
what Paul Arden said. If you get stuck, draw
with a different pen. Change your tools. I
may free your thinking. So whatever it is you're
doing in your craft, just explore experiment with different tools,
understand them, love them for what they can do, love them for what they help you do, and just respect that. There are things they
can't do and change tool when you want to do the
thing that they can't do. My father was a craftsman
and he used to say good worker or good craftsman
makes his own tools. So he would spend time preparing his tools in order to preparing in order
to prepare his work. I think it's really part of it in creative problem solving, in creative arts, in
whatever form you're doing, just leverage the tool
for what it's good at and be aware of its
weaknesses and flows. There is no magic tool
that does it all. There is no magic tool that lets you express yourself fully. Give it some love,
give it some care, and choose either carefully or randomly and see
where that leads you. Along those lines, it an
anecdote many years ago, I found myself in an apartment where I didn't
have electricity yet, and so I was spending my evenings sketching
a candlelight. And what I realized is that because there
was not so much light, I spontaneously
intuitively increased contrast because I just needed
to see what I'm sketching, that really helped me
sketch with contrast. It helped my confidence because I actually didn't really
see what I was doing. So I just kept going
without worrying too much. Then the next day you wake
up, there's daylight, you see what you've
achieved, and you're like, did I just do? Last
night. Amazing. I didn't think I was
able to do that. So just go with the flow, learn your tools, learn
what they can do. Sometimes putting yourself in a less comfortable
situation like less light is helping you in practicing sketching
and things like this. Maybe if you are a writer, try different I don't know. I'm sure that writing
by hand or on a typewriter or on
a computer or using a dictaphone is different
way of creating text. So experiment, go for it
and enjoy the result.
17. 16 Creative Tools Summary: So what have we learned
today? Let's summarize this. What we've seen is that
those creativity tools, they keep us focused on a
target, on the outcome. We are working on bigger things than just
the output, the artifact. Those creativity tools require some domain
knowledge, of course, if you are looking for
solutions on a problem, you need to have some knowledge and
understand the problem. We've seen that creativity
tools can be systematic. It's sometimes
uncomfortable way to work through the unknown to just keep applying the
tool and keep going. They simulate last minute
panic, but on time, they put us in situations
where we are under pressure so that we go beyond
the locks of our mind, the locks of our culture, the locks of our fear. They force us to
come up with plenty of quantity so that we
go beyond the obvious, we venture into the nonsense, and then we get to the
actual brilliant ideas. It's also pushing us to
leverage the context. There is nothing that
happens on its own. Everything lives in a context. Everything lives in the context of who is going to enjoy it, who is going to
experience it, where, in what environment, with
whom, and which conditions. And I am a strong advocate
of awkward, quirky, funny pranks, jokes and
triggers and teasing and sarcasm and everything because that's an easy way to break
the rules and explore. It doesn't mean to be mean
or annoying with the others. It means just exploring
with a good sense of humor. Um, talking about that,
it's about collaboration. Always ask for feedback if
you are in an art form or in a profession that is kind of lonely where you
work alone, still, you can ask family friends for feedback and take it on board, experiment with that, and hopefully that helps you
work better, faster. Some of those
creative tools demand that we question assumptions.
I think it's fundamental. Misunderstandings are a
problem and an obstacle, but they can also be a tool. So explore them, dig into misunderstandings and find
where is the opportunity. Those creative tools help us accept unlikely hypothesis
as a way forward. Yeah, except things. We talked about the
what if and why not. And let's assume for a second. So this is really
accepting that we are into a territory where we don't really want to venture
spontaneously. But by doing the work
and going there, we actually find
the opportunities. It's about experimenting,
practicing, practicing, practicing
over and over and over because quantity
drives quality. And it requires trust. It requires self trust. Just find a way to
get into the flow, find a way to feel
comfortable in the uncomfortable position of not knowing
what you're doing, find a way to be
comfortable in the unknown, and then you will create those things that
make you feel comfortable, those things that make you feel like you have
achieved something. At the end of the
day, that's what it's about achieving things. Enjoy trying. That's the
most important part. If you need to win to be happy, it's going to happen a
few times in your life. If playing and practicing and trying to win
keeps you happy, then you're going to be
happy most of the days. And the occasional victory is
just a cherry of the cake, and that's just
wonderful. Enjoy trying.
Tanguy Prevot, Industrial Designer / Educator
