How many times have you heard, “You’ve got to think outside the box to come up with good design”? It sounds great – revolutionary, in fact – and it sounds as if you are getting a leg up on everyone else, but beware; don’t step outside the box too soon before you’ve defined what “the box” is.

I don’t believe that there is a bona-fide definition for “outside the box” thinking, but I’ve always come to assume that this jargon originated from those who weren’t satisfied with the current status of things and wanted to improve the thinking to develop better ideas – something akin to “taking it to the next level.”

The common mistake designers make is to leap outside the box from the start without checking to make sure the resources and ideas inside the box are truly exhausted. Don’t forget to check in all the corners!

I was given a group project once early in my career and the three other department’s designers began thinking so abstractly that any connection to the original project description seemed lost to me. I went to go brainstorm with our lead copywriter – a wise and considerably seasoned copywriter. He sat for a few minutes and began pulling out from his files previous marketing materials to review what’s been done before. He was opening up the box and stepping inside while everyone else was outside. He observed and pointed out what worked in the past, and (more importantly) what didn’t. I began to apply this same logic to the design elements of the pieces and came to a very pleasing conclusion. The past lays a good foundation for the future. I stripped away what was weak and didn’t work and found ways to visually improve the concepts that did – venturing outside the box for a bit of fresh air and a new perspective now and then, working with the copywriter to strive to add value in new ways.

When it came time for the designers to present their ideas, the “outside of the box” thinkers spun elaborate yarns about what feeling their concept imagery was meant to evoke, trying to tie it to the product. Even the copy seemed outlandish simply because the copy department needed to match the intensity or whimsy of the respective imagery.

Upon concluding my presentation the reviewing panel selected my layout because it was what they termed “sound” and connected with their target audience, adding that the copy’s message strongly supported the overall concept.

From this early experience I learned not only the importance of brainstorming with the copy department, but also the essentials of exploring and exhausting all the resources inside the box before ever stepping outside of it.