Comfy clothes, favourite tools and the Three Horizons

You probably have a favourite piece of clothing to put on and put you at ease. Maybe a hoody, a jumper, … a favourite onesie. 

When something fits, you wear it with ease, you move with it, you even forget it’s there, it becomes an extension of you.

The same is true of hand tools*. When we learn to use a hand tool, in the early stages, the tool may feel unfamiliar and the action strange. We think about the tool as much as what we are trying to create. But as the feel and the action become familiar, the tool seems to disappear from site, and instead we are just looking at the work. 

These ideas of comfort, fit and adoption are helpful for thinking about how well conceptual tools and models work. A good model is one that is easy to pick up and start using. One that quickly gets beyond thinking about the model and to doing better work.

The Three Horizons model is one of the mainstays of our Toolkit for Regenerative Design, and it has the characteristics of a well-worn tool. People seem to pick it up with surprising ease. I hear people quickly adopting the language of different horizons — talking about Horizon Three dreams, Horizon One realities and Horizon Two opportunities. 

Maybe it fits because it speaks to very human experiences. I think many people recognise times when they have inhabited each of these mindsets, sometimes at the same time.

And because it fits, it gets out of the way — and easily opens up a conversation about our hopes, our realities and our best possible next steps.

*When I write about our relationship to tools and how we think, I’m usually channeling Matthew Crawford’s book, The World Beyond Your Head.

The interface between our inner and outer worlds

If we use the professional palette as a metaphor for the collection of tools and colours we use to interpret the world, then we can see it as more than just a toolkit. It’s the means by which we capture what we see and render what we imagine.

I see sketching — whether in pencil, code, words, paint or notes — as both a away of seeing the world and also showing the world what we see. Just as in child development, the ability to listen, imagine and speak all develop together, I see sketching as doing the same thing. The sketch is is both a way to listen and to speak. The more time you spend sketching, the more you see, the more you can imagine and the more you can make in the world.

Sketching is a kind of model making. A way to distill the essence of what you notice to internalise it, and a way to distill what you imagine in order to send it back out into the world. 

Learning to make conceptual models — sketches, sequences of code, prose, paintings or music — becomes a way to breathe the world in, the imagination is respiration, and we breathe it out again.

The tools we master — our paints, our pencils, our programming languages, our music theory — are the interface between our inner and outer worlds. The more familiar we become with these tools, the more they become an extension of ourselves. The more fluently the world flows into us as designers and can flow out again modified by the unique perspective that we each hold.