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Eureka!: Inventors describe the moment they realised they’d created a hit ­ Features ­ Gadgets and Tech ­ The Independent
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Arthur Fry, inventor of the Post­it note says: 'You can tell the innovators by their determination and stubbornness; we're all addicted to the
The Post­it note
adrenaline rush you get with that moment of revelation.'
it was 1975, just after Christmas, and I was working at the 3M
base in Maplewood, Minnesota; I was developing products for
the commercial tape laboratory where the big money­maker was
Magic Tape. At that time I was singing in the local church choir. I
got up to sing one Sunday morning and the little piece of paper
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Eureka!: Inventors describe the moment they realised they’d created a hit ­ Features ­ Gadgets and Tech ­ The Independent
I'd used to mark my page had fallen out. During a rather dull
sermon, I wondered how to make a bookmark that would stick to
paper and not fall out, without tearing the paper apart. All the
adhesives I knew of stuck to paper fibres stronger than paper
fibres stuck to themselves.
I remembered an adhesive one of our researchers had developed
some years earlier, which consisted of rather large particles that
when coated on a surface would be small enough that you could
get a smooth surface. I thought: What if I spread those particles
out, will they stick less strongly than if pushed together? In the
lab the next morning, I coated out samples of Dr Silvers' micro­
spheres at different lengths and spacings.
At first the particles wouldn't stay put, they half­transferred to
whatever you stuck them to, but I understood how to make a
primer that would stick to paper. I had a bookmark that worked.
I gave samples to my secretary, librarian, business managers,
and asked them to tell me how they got on. Afterwards, I quizzed
them: how did it work? What did you stick them to? They were
writing notes, reminders, thank­yous. These were more than just
bookmarks. I made them by hand, in every colour. The market
research teams were telling me these weren't viable products, but
people were trudging through knee­deep snow to my lab to get
them. Now Post­it notes turn over more than $1 billion a year.
When you're trying to create something totally new you run into
one barrier after another: how to make it into pad form? How to
measure the adhesive in such small quantities? How to apply the
glue with such precision?
All of these questions required a creative solution; I had to invent
new equipment to make them. It was a whole string of eureka
moments. You can tell the innovators by their determination and
stubbornness; we're all addicted to the adrenaline rush you get
with that moment of revelation. More than 25 million Post­it
products are sold in the UK every year
Mary Quant, fashion designer
The miniskirt
like most little girls, I used to be sent to ballet classes. One day I
could hear exciting music coming from next door, and when I
peeked through the glass I saw a tap­dancing class taking place,
and in the middle of the room, a girl a couple of years older than
me who was the vision of everything I wanted to be. She was
wearing a short pleated skirt about 10 inches long, with a skinny
black sweater, black tights and a bob haircut. What struck me
was how the whole outfit focused on what she wore on her feet: a
pair of white ankle socks, and a pair of black patent tap shoes
with ankles straps. They exaggerated the whole look. I realised at
that moment that when you move the focus around, everything
gets much more interesting.
Everything about this girl made her infinitely more interesting
looking than I had ever looked. From that day on I was stuck
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Eureka!: Inventors describe the moment they realised they’d created a hit ­ Features ­ Gadgets and Tech ­ The Independent
with this lovely vision of legs and ankles. I used to inherit very
proper clothes from my cousin, which were girly and didn't make
much impact. From that day on, the image of that girl stayed
with me, I started trying to make my own clothes, cutting up
bedspreads. I used to start rearranging my school uniform,
hitching up my skirt to be more exciting­looking.
Women's clothes had always been so inhibiting. The miniskirt
started to represent a certain freedom: in it you could move, run
to catch the bus, leap about, and most importantly, you could
dance. And legs are wonderful, aren't they? Nice to look at and
nice to use. The miniskirt played on that. If something looks
terrific and is practical there's every reason for people to love it.
It's as simple as that. The miniskirt, popularised by Mary Quant
in the 1960s, epitomised the fashion revolution of the era and
endures to this day
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I set about looking at what else was working well. In the
professional area, telex messages were popular at that time –
and they were very short – as was the fax, and with this it
seemed to be the norm to write just two or three sentences. I
counted the words on the back of postcards, too, which gave me
further confidence. Finally, I started typing some messages to get
a feeling of what it was like. It wasn't concrete evidence, but it
was enough. To bring the SMS to reality was a group effort with
the contributions of many colleagues.
At the time, it was impossible to understand the potential impact
of what I'd conceived. At that time, of course, we had no idea
how huge the telecoms market would become. Today, the SMS
message has so many positive effects. But I find people
terminating their romantic relations with a short message an
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The SMS message
The concept was straightforward, but the big question was,
would it be useful to customers? For an idea to be financially
viable in this business, it has to appeal to a huge audience. No
other communication service at that time – letter, fax, telephone
– had a limitation of message length. Would a service that was
limited to three lines on a typewriter be of use to anyone? I had
serious doubts. I discussed it with colleagues – they had doubts,
too.
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Friedhelm Hillebrand, project manager
it was a product of its time. I was in Bonn, Germany, in 1984,
working as the project manager for Deutsche Telekom. We were
working with other telecoms companies on the standardisation
of the mobile systems across Europe, and as part of this much
bigger assignment, I conceived the idea of the Short Message
Service, which would become the SMS text message as we know
it today. It was a way of using your telephone keypad to create
and send messages, but because of the channels it used, the
message had to be limited to 160 characters. That limitation also
set the blueprint for what is now the de facto length for
communication in social media.
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impertinent use of my idea.
St. Giles High Street,
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London, WC2H
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With 2.4 billion active users, the SMS is now the most widely­
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Steve McCurry, photographer
The Afghan Girl
it was a fleeting moment, one I knew I had to capture. I was on
an assignment for National Geographic photographing displaced
Afghans in a refugee camp in Pakistan, just outside Peshawar. I
stumbled upon a tent which was being used as a girls' school. It
was chaos, then there, across the room I saw that girl – those
eyes – I knew at once I'd found the one. Sometimes as a
photographer, on some sort of intuitive level you can feel the
power of what is in front of you. This girl was very pretty, but it
was more than that. It was clear from her face that she'd
experienced more than you or I could imagine. There was no
ambiguity that this was something quite extraordinary, and I
didn't have much time.
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The girl was sitting on the ground. There was an amazing light
coming into the tent behind her; I positioned my camera so that
it fell on her face. I tried to stay calm and focused because I knew
this was a special moment and that for a minute she'd be amused
by the strange man with his strange equipment, and then she'd
bore and wander off. There was so much motion in the
classroom, kids screaming, dust; it wasn't this sort of still,
profound moment when she revealed herself.
I only had a chance to take a few exposures before she walked
away. I could see the image in my mind, but I didn't know how it
would have translated to film. I sent the film back to the States
but I had more work to do here so I didn't see the results until a
few weeks later. The magazine's photo editor and I edited the
film down to two slides. I liked this picture, but he thought it was
too haunting; he preferred one with her hand covering part of
her face. We agreed to present both to the editor, who leapt to his
feet and said: "This is our next cover!". Sometimes you just
know.
Afghan Girl first appeared on the cover of 'National Geographic'
in June 1985 and was later the subject of a TV documentary,
'Search for the Afghan Girl'
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I was shooting with a tripod on Kodachrome 64, a transparency
slide film, which is slow. I was worried if I approached the girl
straight away she might say no, so I photographed a few of her
friends first, trying to create a situation where she didn't want to
be excluded. Nobody spoke English, so we used sign language to
communicate. In this part of the world, classes are conducted on
the floor; no tables or desks. You don't really direct people in that
kind of situation, you just take what is offered.
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John Pasche, designer
The Rolling Stones logo
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when you're first given a brief it's almost like being hit by a great
wall of panic. At first it's a matter of scrambling around for ideas
– you just have to think of something. I tend to make one idea a
'banker', and then think around it. I usually come back to the
original.
Sometimes you just get a feeling about an idea. I had a very
strong sense about this logo for the Rolling Stones. I'd met with
Mick Jagger at his house on Cheyne Walk in west London; it was
1971. The band wanted a new logo, for letterheads and possibly a
small record label they were thinking of starting up for their
mates. We had a chat about the kind of things Jagger liked. He
was really into Indian artefacts and had this image he found of
the Indian god Kali, with his very pointed tongue sticking out of
its mouth.
Subconsciously, it had become a matter of finding a symbol for
the bad boys of rock'n'roll; a simple and irreverent statement of
anti­establishmentarianism. Suddenly, looking at the image of
Kali, that very basic concept of sticking your tongue out struck
me as just the thing. I didn't say anything at first, I just told
Mick, "I'll go away and have a think".
At home I spent a long time trying to find the right form for the
image. It's surprising quite how difficult it is trying to draw a
disembodied mouth and tongue. It was a matter of madly
scrawling down ideas. I was aware it needed to be very simple so
it could be reproduced in small sizes; automatically it started to
take on an almost cartoon­ish look. I did loads of versions, each
just slightly tweaked – some slightly more to the side, some
straight­on – but, for some intangible reason, this one just
worked best.
A week later, Jagger saw the final version and liked it, so much
so they decided to use it for the inner bag of the Sticky Fingers
album too, so I had to alter the shape to make it quite big. That
was the lips' first public outing. Then T­shirts started appearing
on market stalls, and it just grew. The 1970s was the advent of
bands doing big tours, and with that came merchandising. The
image was only meant for very limited usage, so I was only paid
£50 for it – although for me, a year out of college, that seemed all
right for a week's work. The V&A, which bought the original
artwork for £58,000, describes it as as "one of the world's most
instantly recognisable symbols of rock'n'roll"
Sue Townsend, author
Adrian Mole
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one boring Sunday afternoon my son said to me: "Why don't we
go to safari parks like other families?". The reason was we were
too poor and had no car. Suddenly that teenage voice – self­
pitying and semi­cruel, disbelieving that they could have been
born to such a family – just descended on me. I sat down and
started writing; without even thinking the words just came
pouring out.
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Adrian's family fell straight onto the page. I wrote a few months'
worth of the diary without pausing for breath. It wasn't a
continuous flow from one month to next, just a notebook filled
with scrawlings which I kept locked in a box. When I found out it
was going to be performed as a radio play, I had to go back and
fill in the gaps.
Having left school at 14, I'd worked with teenage boys in a youth
club and those who came to your attention were loud and needy.
I knew what they were like and how they thought – I found
nearly every one was sentimental about his mother, and an awful
lot of them quite contemptuous of their fathers, whom they
expected to be some kind of macho god. But Mole is also me.
I always say I'm not a writer, I'm a rewriter. Books aren't created
in a moment, stories and characters are built over a lifetime. 'The
Secret Diary of Adrian Mole Aged 13¾' has sold more than 20
million copies
Jeremy Sinclair, ad creative
The pregnant man
the idea appeared to me almost fully formed. It was 1979, at the
Cramer Saatchi office on Goodge Street. It was one of my first
jobs, I was 23, and the brief was to do a poster that could go up
in family planning clinics, which would encourage men to be a
little more considerate. The image of the pregnant man came to
me a nano­second ahead of the line, which read: "Would you be
more careful if it was you that got pregnant?". It amused me –
but I worried that a picture of a pregnant man might be a bit
shocking.
I hid the picture at the back of my mind and tried to come up
with other visuals. I struggled with a few alternatives, which I
showed to Charles [Saatchi]. He said, "I love the line but you
need a better picture". After a day or so, I told him the original
idea was to have a 'pregnant man'; on hearing the words he
cried, "This is it!".
My art director, Bill Atherton, drew up a rough with his Magic
Marker on paper, as we did in those days, and it was presented to
the Health Education Council who immediately gave it the go­
ahead. Bill got hold of a photographer, Alan Brooking, and he
shot it just as it appeared, using a fake stomach. It was shot
against a neutral background, with the guy looking to the camera
very forlornly.
We had no idea what impact it would make. We loved it to
pieces, but then we loved everything we did. The joy of seeing
something come out of nothing on to a page, that surge of
energy, is one of the great thrills of the business. Launched in
1971, Cramer Saatchi's pregnant man campaign remains one of
the most iconic adverts of all time
Babyface, songwriter
'End of the Road', by Boyz II Men
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when you get it right, the feeling is like a rush of energy – but
you don't know until the last minute whether you've got it. These
are the hit song rules: you need a great melody, a chorus people
want to sing along with, and lyrics which, if not exactly clever, in
some way capture people.
I've written 42 number one singles for everyone from Whitney
Houston and Mariah Carey to Madonna and Michael Jackson. In
each case it's about chemistry, because in reality you can think
you have all the elements in place, and you can write a song that
follows those hit rules exactly, and which by every right should
be a hit, but then it's not. No one can write a smash every single
time.
"End of the Road", which stayed at number one in the charts for
13 weeks, was written in a small rented house in Atlanta. My
writing partner, LA Reid, and I had been asked to do a song for a
movie called Boomerang starring Eddie Murphy. They needed a
ballad and wanted a band called Boyz II Men to perform it. I
wasn't given a theme or storyline, I just knew the group was from
Philadelphia and had that old­town Philly style, and I wanted to
write a song in that vein. When I finished I knew it was nice, but
I didn't realise how nice until I handed it over to the boys.
On the day, we had eight hours to cut the record; we walked in,
introduced ourselves and played the song to the band. We had
the basic structure, but within five hours we'd finished the whole
song. It felt like something new. But we couldn't know what it
would do.
For a smash hit to happen, certain things need to come together
in the right way: the right voice, the right feeling, the right look.
But it's not an exact science, you can't really call it. In 1992, 'End
of the Road' won two Grammy Awards and stayed at number one
in the US charts for a record­breaking 13 weeks. A new version
appears on the Boyz II Men album, 'Twenty'
Vidal Sassoon, hairdresser
The five­point cut
getting it right became an addiction. Suddenly, maybe in the
middle of the night, an idea would come and I would have to
rush to the salon with a model and see if I could work it out.
Within a couple of years I got to the 'Nancy Kwan' style, and
from there every season meant a slight progression, working
with asymmetry until we arrived at the five­point 'Grace
Coddington' cut.
In 1954, I opened my first salon, on Bond Street. I was very
unhappy with hair fashion at that time. Architecture and so
many other art forms had moved on – I was inspired by Bauhaus
and the Whitney Museum in New York City – yet while there
were all these wonderful buildings around us to look at,
hairstyling hadn't changed one bit. Ladies were still going to the
salon twice a week, having their hair slicked and back­combed;
and it was an elitist thing too, for people who could afford to go
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in twice a week for a set, and maybe a couple of feathers, before
going to the Ritz for lunch. I thought, this has to change.
Hair is the only substance in the human form which you can use
to create shapes and angles, and it moves so beautifully. It took
10 long years for the [five­point cut] to arrive. I knew it would all
be in the shape. It was solid work, often getting home at one
o'clock in the morning and working weekends. I wanted to
harness that and work with a woman's natural bone structure,
and the key to that lay in getting the geometry exactly right. The
five­point cut earnt Vidal Sassoon the title 'The man who
changed the world with a pair of scissors'
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http://www.independent.co.uk/life­style/gadgets­and­tech/features/eureka­inventors­describe­the­moment­they­realised­theyd­created­a­hit­6251893.html
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4/22/2015
Eureka!: Inventors describe the moment they realised they’d created a hit ­ Features ­ Gadgets and Tech ­ The Independent
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