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Creative Confidence: Unleashing the Creative Potential Within Us All Hardcover – October 15, 2013
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Too often, companies and individuals assume that creativity and innovation are the domain of the "creative types." But two of the leading experts in innovation, design, and creativity on the planet show us that each and every one of us is creative. In an incredibly entertaining and inspiring narrative that draws on countless stories from their work at IDEO, the Stanford d.school, and with many of the world's top companies, David and Tom Kelley identify the principles and strategies that will allow us to tap into our creative potential in our work lives, and in our personal lives, and allow us to innovate in terms of how we approach and solve problems. It is a book that will help each of us be more productive and successful in our lives and in our careers.
- Print length304 pages
- LanguageEnglish
- PublisherCurrency
- Publication dateOctober 15, 2013
- Dimensions5.66 x 0.8 x 8.55 inches
- ISBN-10038534936X
- ISBN-13978-0385349369
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Editorial Reviews
Review
Daniel H. Pink, author of Drive, A Whole New Mind, and To Sell is Human
“David Kelley has unleashed the power of design thinking for thousands of Stanford students and hundreds of influential Silicon Valley entrepreneurs. In CREATIVE CONFIDENCE, he and his brother, Tom, share their secrets about how each of us can find our creative powers. They describe a way of thinking that will change your professional and personal life.
Charlie Rose, acclaimed interviewer and broadcast journalist
“This book changed me. CREATIVE CONFIDENCE is that rare combination of thought leadership, soulful storytelling, and real-life exercises that inspires you to reclaim your creative passion and courage. I feel braver already. “
Brené Brown, Ph.D., author of the #1 New York Times Bestseller, Daring Greatly
“This is the only book about creativity that you'll ever need.”
Guy Kawasaki, author of APE: Author, Publisher, Entrepreneur
“A five-star Wow! This wonderful, heartwarming book may literally change the world. Indeed, it must change the world. Don’t just read it. Use it. Now.”
Tom Peters, bestselling author of In Search of Excellence
“An indispensible field guide for creative explorers of all kinds.
This compelling book will help build creative muscles for when you need
them most.”
Todd Spaletto, President, The North Face
“Creativity is not magic, it's a skill. Get this book and learn the skill from the brothers who have taught it to more people—f rom nurses to bankers to teachers to computer scientists—than anyone else.”
Chip Heath, author of Made to Stick, Switch, and Decisive
“A cross between Steve Jobs' commencement speech on creativity and a modern-day What Color is your Parachute?, the Kelley brothers offer simple but effective tools for the "I'm not creative" set—business leaders and professionals seeking the confidence to innovate.”
John Maeda, President & CEO, Rhode Island School of Design
“In hospitality – like in all industries – creativity is the life blood of engaging employees and guests (customers) and it is the capacity that allows you to strengthen your brand with every interaction. This book can help you engage powerfully with employees and customers and keep your brand relevant through changing times.”
Mark Hoplamazian, President and CEO, Hyatt Hotels Corporation
“I have long marveled at the Kelley brothers’ ability to innovate in seemingly impenetrable fields (like health care). Now they’ve unfettered that power in all of us, sharing the tools and inspiring the confidence we need to find the very best solutions to complex problems we face at work—and in our personal lives.”
Gary L. Gottlieb, M.D., President and CEO, Partners HealthCare System
“David and Tom have written an incredibly insightful book that challenges us all have the courage to break out of our ruts, innovate, and create.”
Tim Koogle, former President & CEO, Yahoo
“Developing both the courage and confidence to create and the ability to cultivate original insight is of enormous practical importance, and this new book is the first place I send people to learn how it is done.”
Richard Miller, President, Olin College
“David and Tom Kelley show us how to effortlessly dance between the creativity of elementary school and the pragmatism of the business world.”
Joe Gebbia, Co-founder, Airbnb
About the Author
DAVID KELLEY is the founder of IDEO, one of the world's leading innovation and design firms, as well as the creator of the d.school at Stanford University.
Excerpt. © Reprinted by permission. All rights reserved.
Flip
From Design Thinking to Creative Confidence
Doug Dietz is an earnest, soft-spoken Midwesterner with a wry, endearing smile and eyes that are quick to well up with tears at an emotional moment.
A twenty-four-year veteran of General Electric, Doug helps lead design and development of high-tech medical imaging systems for GE Healthcare, an $18 billion division of one of the largest companies in the world. His multimillion-dollar magnetic resonance imaging (MRI) systems peer painlessly inside the human body in ways that would have been considered magic just a generation ago.
A few years back, Doug wrapped up a project on an MRI machine that he had spent two and a half years working on. When he got the opportunity to see it installed in a hospital's scanning suite, he jumped at the chance. Standing next to his new machine, Doug talked with the technician who was operating it that day. He told her that the MRI scanner had been submitted for an International Design Excellence Award--the "Oscars of design"--and asked her how she liked its new features. "It was a perfect example of bad interviewing technique," Doug says abashedly.
Doug was prepared to come away patting himself on the back for a job well done. But then the technician asked him to step out into the hall for a moment because a patient needed to get a scan. When he did, he saw a frail young girl walking toward him, tightly holding her parents' hands. The parents looked worried, and their young daughter was clearly scared, all in anticipation of what lay ahead--Doug's MRI machine. The girl started to sniffle, and Doug himself got choked up telling us her story. As the family passed by, Doug could hear their hushed conversation: "We've talked about this. You can be brave," urged the dad, the strain showing in his own voice.
As Doug watched, the little girl's tears rolled down her cheeks. To Doug's alarm, the technician picked up the phone to call for an anesthesiologist. And that was when Doug learned that hospitals routinely sedate pediatric patients for their scans because they are so scared that they can't lie still long enough. As many as 80 percent of pediatric patients have to be sedated. And if an anesthesiologist isn't available, the scan has to be postponed, causing families to go through their cycle of worry all over again.
When Doug witnessed the anxiety and fear his machine caused among the most vulnerable patients, the experience triggered a personal crisis for him that forever changed his perspective. Rather than an elegant, sleek piece of technology, worthy of accolades and admiration, he now saw that--through the eyes of a young child--the MRI looked more like a big scary machine you have to go inside. Pride in his design was replaced with feelings of failure for letting down the very patients he was trying to help. Doug could have quit his job, or simply resigned himself to the situation and moved on. But he didn't. He returned home and told his wife that he had to make a change.
So Doug sought advice on this deep personal and professional challenge from friends and colleagues. His boss at GE, who had encountered Stanford's d.school while at Procter & Gamble, suggested he try out an executive education class. Searching for a fresh perspective and a different approach to his work, Doug flew to California for a weeklong workshop. He didn't know quite what to expect, but he was eager to embrace any new methodology that would help him in his quest to make MRIs less frightening for young children.
The workshop offered Doug new tools that ignited his creative confidence: He learned about a human-centered approach to design and innovation. He observed and talked to users of existing products and services to better understand consumer needs. He collaborated with managers from other companies and industries on crude prototypes of designs to meet those needs. Gaining new perspectives from them, he continued to experiment and iterate his concepts in class, building on the ideas of others. At the end of the week, the cross-pollination of ideas made him feel more creative and more hopeful than he had when he left home. Going through the human-centered design process with people in diverse industries and roles--from management to human resources to finance--struck a chord in him. "I started to imagine how powerful this tool could be if I brought it back and got cross-functional teams to work together."
By applying human-centered design methods in his own work, Doug believed he could come up with a better solution for children--and he was determined to make it happen. He returned to Milwaukee knowing what he wanted to do. Without significant resources, funding, or support from his own company, Doug knew he couldn't launch a big R&D project to redesign an MRI machine from scratch. So he focused on redesigning the experience.
He started by observing and gaining empathy for young children at a day care center. He talked to child life specialists to understand what pediatric patients went through. He reached out for help from people around him, including a small volunteer team from GE, experts from a local children's museum, and doctors and staff from two hospitals. Next, he created the first prototype of what would become the "Adventure Series" scanner and was able to get it installed as a pilot program in the children's hospital at the University of Pittsburgh Medical Center.
By thinking holistically about how children experienced and interacted with the technology, Doug helped transform the MRI suite into a kid's adventure story, with the patient in a starring role. Making no changes to the complex technology inside the scanner, Doug and his ad hoc team applied colorful decals to the outside of the machine and to every surface in the room, covering the floor, ceilings, walls, and all of the equipment. They also created a script for machine operators so they could lead their young patients through the adventure.
One of the prototypes is a pirate ship worthy of an amusement park ride. The ship comes complete with a big wooden captain's wheel that surrounds the round opening of the chamber--a seafaring detail that also makes the small circumference seem less claustrophobic. The operator tells kids that they will be sailing inside the pirate ship and they have to stay completely still while on the boat. After their "voyage," they get to pick a small treasure from the pirate's chest on the other side of the room. In another story, the MRI is a cylindrical spaceship transporting the patient into a space adventure. Just before the whirring and banging of the machine gets louder, the operator encourages young patients to listen closely for the moment that the craft "shifts into hyperdrive." This reframing transforms a normally terrifying "BOOM-BOOM-BOOM" sound into just another part of the adventure. Including the pirate experience and the rocket ship, there are now nine different "adventures."
With Doug's new MRI redesign for kids, the number of pediatric patients needing to be sedated was reduced dramatically. The hospital and GE were happy too because less need for anesthesiologists meant more patients could get scanned each day. Meanwhile, patient satisfaction scores went up 90 percent.
But the biggest satisfaction for Doug lies not in the numbers, nor in GE Healthcare's improved bottom line (although these were important for gaining internal support). His greatest reward came while talking with a mother whose six-year-old daughter had just been scanned in the MRI "pirate ship." The little girl came over and tugged on her mother's skirt. "Mommy," she asked, "can we come back tomorrow?" That simple question made all his effort worthwhile.
Less than a year after his epiphany, Doug's increased creative confidence catapulted him into a new role as a thought leader at GE. Would it be an exaggeration to say that, in the process, Doug also helped change the world a bit? Ask one of those young patients or their parents. They already have the answer.
A creative mindset can be a powerful force for looking beyond the status quo. People who use the creative techniques we outline are better able to apply their imagination to painting a picture of the future. They believe they have the ability to improve on existing ideas and positively impact the world around them, whether at work or in their personal lives. Without that belief, Doug wouldn't have been able to take the first step toward his goal. Creative confidence is an inherently optimistic way of looking at what's possible.
Doug's story illustrates the way human-centered design can lead to breakthrough innovations. New opportunities for innovation open up when you start the creative problem-solving process with empathy toward your target audience--whether it's kids or colleagues, clients or consumers. While competitors focused on the never-ending battle surrounding technical specifications (like scanning speed, resolution, etc.), Doug found a whole new way to improve the lives of patients and their families. In our experience, approaching challenges from a human perspective can yield some of the richest opportunities for change.
In every innovation program we have been involved with, there are always three factors to balance, represented by the three overlapping circles in the diagram below:
The first has to do with technical factors, or feasibility. In the early days of our work in Silicon Valley, this is where our clients always started. We've had clients present us with literally thousands of new technologies, from clever new wheel hubs for bicycles to new ways of chilling the human brain from the inside. A new technology--if it truly works--can be extremely valuable, and can provide the basis for a successful new company or a new line of business. Carbon fiber aircraft components, multi-touch interactive displays, and minimally invasive surgical tools all revolutionized their industries. But cool technology alone is not enough. If it were, we'd all be riding Segways and playing with robotic dogs.
The second key element is economic viability, or what we sometimes refer to as business factors. Not only does the technology need to work, but it also needs to be produced and distributed in an economically viable way. It needs to fit into a business model that will allow the enterprise to thrive. When we were growing up in the 1950s, Popular Science magazine suggested that twenty-first-century families would have their own personal helicopter in the backyard. So far, no one has come up with a clever business model to make helicopters affordable for ordinary people. The business factors on that concept just never lined up--and maybe never will. Even in nonprofit organizations, business factors can be critical. If you want to launch a program to increase the availability of safe drinking water in India or to build sanitation systems in Ghana, you need to find a way for it to pay for and sustain itself in the long run.
The third element involves people, and is sometimes referred to as human factors. It's about deeply understanding human needs. Beyond just observing behaviors, this third aspect of successful innovation programs is about getting at people's motivations and core beliefs. Human factors aren't necessarily more important than the other two. But technical factors are well taught in science and engineering programs around the world, and companies everywhere focus energy on the business factors. So we believe that human factors may offer some of the best opportunities for innovation, which is why we always start there. And Doug did too, because GE's MRI machines already had great technology and business viability. Doug worked to understand how young children perceive MRI machines and what makes them feel safe when introduced to a new experience. Doug's empathy for his young patients led him to a breakthrough idea and ultimately assured his product's success.
Being human centered is at the core of our innovation process. Deep empathy for people makes our observations powerful sources of inspiration. We aim to understand why people do what they currently do, with the goal of understanding what they might do in the future. Our first-person experiences help us form personal connections with the people for whom we're innovating. We've washed other people's clothes by hand in their sinks, stayed as guests in housing projects, stood beside surgeons in operating rooms, and calmed agitated passengers in airport security lines--all to build empathy. An empathic approach fuels our process by ensuring we never forget we're designing for real people. And as a result, we uncover insights and opportunities for truly creative solutions. We've collaborated with thousands of clients to leverage the power of empathy, creating everything from easy-to-use lifesaving heart defibrillators to debit cards that help customers save for retirement.
We believe successful innovations rely on some element of human-centered design research while balancing the two other elements. Seeking that sweet spot of feasibility, viability, and desirability as you take into account the real needs and desires of your customers is part of what we at IDEO and the d.school call "design thinking." It's our process for creativity and innovation. There's no one-size-fits-all methodology for bringing new ideas to life, but many successful programs include a variation on four steps: inspiration, synthesis, ideation/experimentation, and implementation. In our experience, an innovation or new idea may cycle through many iterations before the process is complete.
DESIGN-DRIVEN INNOVATION
Here's an overview of our approach to innovation, as described by IDEO partner Chris Flink. We adapt and evolve our methodologies continuously, so please feel free to make your own variations, as well, fashioning innovation techniques that fit your unique circumstances.
1. INSPIRATION
Don't wait for the proverbial apple to fall on your head. Go out in the world and proactively seek experiences that will spark creative thinking. Interact with experts, immerse yourself in unfamiliar environments, and role-play customer scenarios. Inspiration is fueled by a deliberate, planned course of action.
To inspire human-centered innovation, empathy is our reliable, go-to resource. We find that connecting with the needs, desires, and motivations of real people helps to inspire and provoke fresh ideas. Observing people's behavior in their natural context can help us better understand the factors at play and trigger new insights to fuel our innovation efforts. We shadow and do interviews with a variety of people out in the field. We speak to "extreme users," for example, discovering how early adopters make clever use of technology. Or, if we are redesigning a kitchen tool like a can opener, we may observe how elderly people use it to look for points of frustration or opportunities for improvement. We look to other industries to see how relevant challenges are addressed. For instance, we may draw parallels between customer service at a restaurant and the patient experience at a hospital in order to improve patient satisfaction.
2. SYNTHESIS
After your time in the field, the next step is to begin the complex challenge of "sense-making." You need to recognize patterns, identify themes, and find meaning in all that you've seen, gathered, and observed. We move from concrete observations and individual stories to more abstract truths that span across groups of people. We often organize our observations on an "empathy map" (see Creativity Challenge #4, Chapter 7) or create a matrix to categorize types of solutions.
Product details
- Publisher : Currency; NO-VALUE edition (October 15, 2013)
- Language : English
- Hardcover : 304 pages
- ISBN-10 : 038534936X
- ISBN-13 : 978-0385349369
- Item Weight : 1.3 pounds
- Dimensions : 5.66 x 0.8 x 8.55 inches
- Best Sellers Rank: #133,251 in Books (See Top 100 in Books)
- #257 in Business Decision Making
- #386 in Decision-Making & Problem Solving
- #508 in Creativity (Books)
- Customer Reviews:
About the authors

Tom Kelley is general manager of IDEO, the world's leading design consultancy specializing in product development and innovation. Working together with his brother, IDEO founder David Kelley, he has helped manage the firm, as it has grown from twenty designers to a staff of over three hundred. During that time, he has been responsible for diverse areas such as business development, marketing, human resources, and operations. Like everyone else at IDEO, he also occasionally gets down on his knees to cut foam core alongside IDEO clients and designers, as part of the firm's brainstorming and prototyping efforts.

As founder of IDEO, David Kelley built the company that created many icons of the digital generation—the first mouse for Apple, the first Treo, the thumbs up/thumbs down button on your Tivo’s remote control, to name a few. But what matters even more to him is unlocking the creative potential of people and organizations so they can innovate routinely.
David’s most enduring contributions to the field of design are a human-centered methodology and culture of innovation. More recently, he led the creation of the groundbreaking d.school at Stanford, the Hasso Plattner Institute of Design.
Kelley was working (unhappily) as an electrical engineer when he first heard about Stanford’s cross-disciplinary Joint Program in Design, which merged engineering and art. What he learned there—a human-centered, team-based approach to tackling sticky problems through design—propelled his professional life as a “design thinker.”
In 1978, David co-founded the design firm that ultimately became IDEO. Today, he serves as chair of IDEO and is the Donald W. Whittier Professor at Stanford, where he has taught for more than 25 years. Preparing the design thinkers of tomorrow earned David the Sir Misha Black Medal for his “distinguished contribution to design education.” He has also won the Edison Achievement Award for Innovation, as well as the Chrysler Design Award and National Design Award in Product Design from the Smithsonian’s Cooper-Hewitt National Design Museum, and he is a member of the National Academy of Engineers.
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Score: 6.5/10
Amount of Content 5/10
Value of Content (Usefulness) 7/10
Originality of Content 7/10
Relevance of Content (To a Product Designer) 8/10
Entertainment Level 6/10
Length of Read 6/10
Inspiration 7/10
I’m sitting at gate F10 at the Saint Paul Minneapolis International airport en route to the Los Angeles International Airport. I just finished reading Creative Confidence, by David and Tom Kelly while on my last flight and figured, I should write a book review. The industrial designers out there are likely familiar with David and Tom Kelly, who are known for starting the near-legendary design firm IDEO as well as the Stanford D.School. David and Tom Kelly are brothers as well as respected authorities and advocates of design and innovation.
Creative Confidence is all about exposing the creative potential within all of us. It leaves behind conventional ideas like ‘only artists are creative’ and ‘creativity isn’t for corporate settings’. This book first establishes why and how we all have creativity within and then explains what can happen when that creativity is harnessed and utilized. The authors then explain how to tap into our creativity and share exercises to train our creative muscles.
This book is not written for or to designers, rather to anyone who is employed and wishes to solve meaningful problems with break-through discoveries as a result of creative confidence.
Amount of Content
At 256 pages, this book is neither short nor long. It’s a standard paperback book (roughly 8.5” tall and 5.5” wide). The book is broken into 8 chapters, each of which dives into either a different aspect of creative confidence or a different setting or implementation of creative confidence. There are a few illustrations and some artwork on new chapter pages, but the book is primarily all written copy. I scored it 5/10 because as mentioned before, it didn’t seem terribly full of information, but it certainly wasn’t sparse.
Value of Content
It’s hard to judge a book’s value without actually trying to implement all of the authors’ suggestions and measuring the outcomes. I will say that I perceive the value of this book to be pretty high. This is why I scored it a 7/10. This books is more about big ideas and concepts and the large impacts these ideas have on those who implement them. For example, there are many instances when talented but unfulfilled people found tremendous success and purpose after making drastic career changes thanks to their experiences with finding their creative confidence. There is evidence to support that when a creative and innovative, collaborative approach to problem-solving is set into motion, great things happen in businesses both large and small. David and Tom give plenty of examples in which this happened.
I believe the value to be there but it’s entirely based upon the situation of the individual and how he or she chooses to implement the ideas throughout this book. For those who are familiar with many concepts in this book, the anecdotes and examples are great reminders of what happens when we (designers) practice what we preach.
Originality of Content
Creative Confidence earns a 7/10 for originality. I haven’t read many books that highlight the importance of creative confidence. Furthermore, the success stories highlighted throughout are pretty monumental. To read about real-world results of what IDEO founders believe and teach is a unique piece of insight many designers hunger for. And to those not labeled as a creative professional, I think the ideas in Creative Confidence are big, yet simple enough to grasp to be impactful.
Relevance of Content
This book scores an 8/10 for relevance, specifically to a product designer. There were plenty of principals I was previously familiar with thanks to my formal industrial design education. Since I was fortunate enough to attend a very successful art and design college, I’d learned about the methods highlighted by David and Tom’s book. Since I’ve worked as a professional for the past 4 years since then, I’ve noticed how easy it is to shrug off the habits and skills learned in school while on the job. This book serves as a good reminder and brought me back to thinking about innovation and creativity on a rudimentary level.
Entertainment
Unfortunately, this is where Creative Confidence scored the lowest for me. A 6/10 isn’t bad. It’s not a ‘D’ like a 60% is in school. In this case, it means I felt neutral about it. I wasn’t terribly entertained, but I wasn’t bored with it either. The strongest part of the book was the introduction when David’s experience with cancer brought a sobering sense of clarity to the Kelly brothers’ mission and purpose, which in part, fueled the writing of this book.
Length of Read
Creative Confidence gets a 6/10 for length. The longer it takes me to read a book, the higher it scores in this category. This book is a pretty quick read. I did however put it down for a couple of weeks. I blame the break on it not being as entertaining as it could have been. However, when I did pick it back up, I read large chunks of it quite quickly. I estimate my total time reading this book to be around 6 or 7 hours maximum.
Inspiration
7/10 for inspiration. This is due to the concrete and simple stories supplied by the authors that prove the power of unleashing and harnessing creative confidence. It’s not an abstract phenomena that needs to be ‘willed into existence’, but a tool that’s both fun and challenging to use. I felt inspired to examine and write about numerous ideas as they struck me during my reading of Creative Confidence.
Final Thoughts
Creative Confidence isn’t for designers, but everyone who wants to learn to think differently and gain an edge over their old way of problem solving or their competition if they’re in a business setting. The authors are no-nonsense creatives who understand the psychology of collaboration and groups in a professional environment and make the benefits of having creative confidence clear. A student in any design discipline or young professional will likely feel inspired to challenge the status quo and workplace conventions after reading this book. Anyone in a managerial role will likely find a nugget or two of useful approaches to the challenges they regularly face.
The Verdict
Buy and read it.
Score: 6.5/10
Amount of Content 5/10
Value of Content (Usefulness) 7/10
Originality of Content 7/10
Relevance of Content (To a Product Designer) 8/10
Entertainment Level 6/10
Length of Read 6/10
Inspiration 7/10
I’m sitting at gate F10 at the Saint Paul Minneapolis International airport en route to the Los Angeles International Airport. I just finished reading Creative Confidence, by David and Tom Kelly while on my last flight and figured, I should write a book review. The industrial designers out there are likely familiar with David and Tom Kelly, who are known for starting the near-legendary design firm IDEO as well as the Stanford D.School. David and Tom Kelly are brothers as well as respected authorities and advocates of design and innovation.
Creative Confidence is all about exposing the creative potential within all of us. It leaves behind conventional ideas like ‘only artists are creative’ and ‘creativity isn’t for corporate settings’. This book first establishes why and how we all have creativity within and then explains what can happen when that creativity is harnessed and utilized. The authors then explain how to tap into our creativity and share exercises to train our creative muscles.
This book is not written for or to designers, rather to anyone who is employed and wishes to solve meaningful problems with break-through discoveries as a result of creative confidence.
Amount of Content
At 256 pages, this book is neither short nor long. It’s a standard paperback book (roughly 8.5” tall and 5.5” wide). The book is broken into 8 chapters, each of which dives into either a different aspect of creative confidence or a different setting or implementation of creative confidence. There are a few illustrations and some artwork on new chapter pages, but the book is primarily all written copy. I scored it 5/10 because as mentioned before, it didn’t seem terribly full of information, but it certainly wasn’t sparse.
Value of Content
It’s hard to judge a book’s value without actually trying to implement all of the authors’ suggestions and measuring the outcomes. I will say that I perceive the value of this book to be pretty high. This is why I scored it a 7/10. This books is more about big ideas and concepts and the large impacts these ideas have on those who implement them. For example, there are many instances when talented but unfulfilled people found tremendous success and purpose after making drastic career changes thanks to their experiences with finding their creative confidence. There is evidence to support that when a creative and innovative, collaborative approach to problem-solving is set into motion, great things happen in businesses both large and small. David and Tom give plenty of examples in which this happened.
I believe the value to be there but it’s entirely based upon the situation of the individual and how he or she chooses to implement the ideas throughout this book. For those who are familiar with many concepts in this book, the anecdotes and examples are great reminders of what happens when we (designers) practice what we preach.
Originality of Content
Creative Confidence earns a 7/10 for originality. I haven’t read many books that highlight the importance of creative confidence. Furthermore, the success stories highlighted throughout are pretty monumental. To read about real-world results of what IDEO founders believe and teach is a unique piece of insight many designers hunger for. And to those not labeled as a creative professional, I think the ideas in Creative Confidence are big, yet simple enough to grasp to be impactful.
Relevance of Content
This book scores an 8/10 for relevance, specifically to a product designer. There were plenty of principals I was previously familiar with thanks to my formal industrial design education. Since I was fortunate enough to attend a very successful art and design college, I’d learned about the methods highlighted by David and Tom’s book. Since I’ve worked as a professional for the past 4 years since then, I’ve noticed how easy it is to shrug off the habits and skills learned in school while on the job. This book serves as a good reminder and brought me back to thinking about innovation and creativity on a rudimentary level.
Entertainment
Unfortunately, this is where Creative Confidence scored the lowest for me. A 6/10 isn’t bad. It’s not a ‘D’ like a 60% is in school. In this case, it means I felt neutral about it. I wasn’t terribly entertained, but I wasn’t bored with it either. The strongest part of the book was the introduction when David’s experience with cancer brought a sobering sense of clarity to the Kelly brothers’ mission and purpose, which in part, fueled the writing of this book.
Length of Read
Creative Confidence gets a 6/10 for length. The longer it takes me to read a book, the higher it scores in this category. This book is a pretty quick read. I did however put it down for a couple of weeks. I blame the break on it not being as entertaining as it could have been. However, when I did pick it back up, I read large chunks of it quite quickly. I estimate my total time reading this book to be around 6 or 7 hours maximum.
Inspiration
7/10 for inspiration. This is due to the concrete and simple stories supplied by the authors that prove the power of unleashing and harnessing creative confidence. It’s not an abstract phenomena that needs to be ‘willed into existence’, but a tool that’s both fun and challenging to use. I felt inspired to examine and write about numerous ideas as they struck me during my reading of Creative Confidence.
Final Thoughts
Creative Confidence isn’t for designers, but everyone who wants to learn to think differently and gain an edge over their old way of problem solving or their competition if they’re in a business setting. The authors are no-nonsense creatives who understand the psychology of collaboration and groups in a professional environment and make the benefits of having creative confidence clear. A student in any design discipline or young professional will likely feel inspired to challenge the status quo and workplace conventions after reading this book. Anyone in a managerial role will likely find a nugget or two of useful approaches to the challenges they regularly face.
The Verdict
Buy and read it.
The intention of the book is to dispel the notion that only some of us were born with creativity in our genes, when in fact, we all have the ability to be creative, despite what we might have been told and taught over the years. We can all achieve "audacious goals," just like Steve did, or at least to believe in our own ability to change our world in some way.
It's explained that we came into the world with creativity and fearlessness, but as time passes we encounter others who shake our confidence by saying we're not creative, including schools where we learn to think too constructively -- that there can only be one right answer. So, we unlearn creativity and lose our confidence, fearful of what others might think.
Sir Ken Robinson's TED Talk, "Do Schools Kill Creativity" is mentioned as a must-see and as an example of how traditional education has, well, killed creativity.
The book inspires us with examples of people who were overly analytical: accountants, scientists and lawyers who didn't have a bias toward action. Even companies that suffered from inertia; bogged down with data and decisions by committee. But by unleashing their creativity, they have learned to conjure up and consider a myriad of solutions to problems, no matter how absurd, and to learn by doing.
There's also an emphasis on empathy and human-centered design. How important it is to observe customers and end-users when designing solutions and products instead of burying heads into spreadsheets and dreaming up things we think will work.
The authors share the experiences of many students who've attended their d.school at Stanford University. It's a fast-paced, team-based learning environment where students, young and old, and from diverse backgrounds, are asked to find human-centered solutions. A popular project is figuring out how the experience of a daily train commute from San Francisco to Palo Alto can be improved for passengers, from waiting on the platform to disembarking at their destination.
The book not only focuses on inspiring individuals to build their creative confidence, but also delves into the importance of working in teams and provides case studies where entire companies have embraced creative confidence to improve the experience of workers and customers.
Written in a friendly conversational tone and filled with real human stories and experiences, 'Creative Confidence' was a pleasure to read, and having finished it, I've realized I've highlighted so many passages to read again.
Top reviews from other countries
It also teaches you practical methods to induce creative thinking when stuck on projects.
Insane book. Loved it so much I actually did a Youtube video all about it:
https://www.youtube.com/watch?v=EVdxXdH3AfI&t=248s
Hope the book helps you as much as it did for me!
Reviewed in the United Kingdom 🇬🇧 on January 21, 2020
It also teaches you practical methods to induce creative thinking when stuck on projects.
Insane book. Loved it so much I actually did a Youtube video all about it:
https://www.youtube.com/watch?v=EVdxXdH3AfI&t=248s
Hope the book helps you as much as it did for me!
It's not that it is bad, it is just dull.









![Creative Confidence: Unleashing the Creative Potential within Us All [By TK]-[Paperback]](https://images-na.ssl-images-amazon.com/images/I/41nlRmzSpbL._AC_UL160_SR160,160_.jpg)




