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Design & Creativity

Friday, February 24, 2017
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Course Overview

The company that has the most paying customers wins. But how do you get the word out, drive demand for your products and services, and generate sales? Today good marketing involves a clear strategy to reach the target audience, execute appropriate tactics, and measure results. In this course, you will master the fundamentals of outbound and inbound marketing and explore the myriad of options available in today’s world of traditional and social media. Learn how to apply your skills to create a robust and innovative marketing strategy for a new product or a new company.

Learn How To

  • Combine traditional, social and mobile media to drive viral demand
    • Virality does not just happen, though it may look that way. It generally takes months or years of careful planning and experimentation. Learn how to use product design, outbound and inbound marketing to drive viral demand for a business-to-consumer product. Learn how marketing today requires a thorough understanding of the target market and a multitude of traditional, social and innovative marketing programs.
  • Leverage outbound demand generation
    • Outbound marketing is what most people think of when they think of marketing. It is the act of “:buying” a prospects attention or seeking them out. Learn how marketers provide air cover through effective PR and Buzz marketing as well as the basics of driving action that results in people buying something.
  • Tap inbound demand
    • Learn what inbound marketing is all about, how it got started, and what is fundamentally different from the more traditional world of outbound. Explore the new tools marketers now have in hand and are learning how to use every day.
  • Use core demand generation principles and guidelines
    • Create and use a messaging platform for optimal public relations and buzz marketing.



Please contact us at 650.741.1630 or


  • $995 per online course
  • $75 one-time document fee 


Demand Creation

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Monday, April 3, 2017 to Friday, June 9, 2017
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Registration opens February 27th.


In these times of rapid change, successful design innovation is distributed, global, and highly collaborative. This course provides you the mindset, solutions, and tools—along with cases and stories drawn from around the world—to build a team that can work across cultures to solve problems. We will focus on the ways that leading design innovators pull together partners, customers, and their own team members across the entire development process, from vision formation through the test and validation of new business opportunities. The course also notably draws on the time-tested methods and rich case history of “ME310: Product-Based Engineering Design, Innovation, and Development,” which has been offered at Stanford for more than fifty years. In ME310, students work across globally distributed teams, using a proven set of principles and tools, to help them move beyond traditional design thinking in order to deliver full-functioning, award-winning products and services.

For part of the course, you will work in small groups to solve problems that major international organizations have posed to the ME310 course in previous years. In the development of solutions, you’ll learn techniques in global teamwork, creativity, and design. Through the combination of short videos, readings, demonstrations, field work, and open forums with faculty, plus personal feedback, you will gain fast practice in understanding design innovation in a globally distributed environment. 


  • Course sizes are limited.
    You won't have 5,000 classmates. This course's enrollment is capped at 45 participants.
  • Frequent interaction with the instructor.
    You aren't expected to work through the material alone. Instructors will answer questions and interact with students on the discussion board and through weekly video meetings.
  • Study with a vibrant peer group.
    Stanford Continuing Studies courses attract thoughtful and engaged students who take courses for the love of learning. Students in each course will exchange ideas with one another through easy-to-use message boards as well as optional weekly real-time video conferences.
  • Direct feedback from the instructor.
    Instructors will review and offer feedback on assignment submissions. Students are not required to turn in assignments, but for those who do, their work is graded by the instructor.
  • Courses offer the flexibility to participate on your own schedule.
    Course work is completed on a weekly basis when you have the time. You can log in and participate in the class whenever it's convenient for you. If you can’t attend the weekly video meetings, the sessions are always recorded for you and your instructor is just an email away.
  • This course is offered through Stanford Continuing Studies.
    To learn more about the program, visit our About Us page. For more information on the online format, please visit the FAQ page.

This is the second in a sequence of three courses on design innovation. In the Fall, students explored designing future solutions within a business context; in the Spring, students will design solutions in the context of global teams; and in the Summer, students will focus on design innovation in the context of personal leadership and growth. While these courses build upon one another, each course can be taken independently as well.

This course may not be taken for a Letter Grade.

Tamara Carleton, CEO and Founder, Innovation Leadership Board

Tamara Carleton helps organizations to create vision-led, radical innovations. She works closely with the Foresight and Innovation program at Stanford, where she explores how the world’s most innovative companies create technology visions and take action. She received a PhD in mechanical engineering from Stanford.

Larry Leifer, Professor of Mechanical Engineering, Stanford

Larry Leifer is the founding director of the Center for Design Research at Stanford. He has been a member of the Stanford faculty since 1976, and he has taught the Stanford design innovation course ME310 for over 20 years. He received a PhD in biomedical engineering from Stanford.

William Cockayne, Lecturer in Mechanical Engineering–Design, Stanford

William Cockayne has led teams in incubation, research, product development, and manufacturing as an executive and an entrepreneur. He has shipped over twenty successful products at companies large (Eastman Kodak, Daimler, Apple) and small (Scout Electromedia, Handstand, Nota Reader). At Stanford, he teaches the award-winning “ME410: Foresight and Technological Innovation,” a mainstay of innovation teaching and research on campus. He received a PhD in mechanical engineering from Stanford.

Textbooks for this course:

No required textbooks


Design Your Future

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What are the key ingredients that drive success in entrepreneurial companies? How do entrepreneurs capitalize on new ideas and bring them to market? In this course, you will gain valuable insight into how entrepreneurs start companies and probe the unique mindset that often accompanies a successful venture. Through engaging lectures and hands-on projects, you will discover the best practices of Silicon Valley entrepreneurs and venture capitalists and get to test and implement your own startup ideas.

Learn how to:

  • Successfully position and sell your idea
    • Learn the primary reasons and benefits to creating a business plan and the key risks—technology, market, team and financial.
  • Think like a technology entrepreneur
    • Learn about the value of “staged financing” for both entrepreneurs and venture capitalists along with some essential formulas and information regarding venture finance.
  • Transfer technology ideas to market
    • Create and grow high-potential ventures using several strategy and entrepreneurship frameworks, including the concepts of disruptive innovations, business model canvas and lean startups.
  • Use the fundamentals of resource development, including talent and capital
    • Examine critical human resource issues for new ventures and the key actions that a founder or CEO should manage.


  • Tom Byers ProfessorManagement Science and Engineering


Please contact


  • $995 per course
  • $75 one-time document fee
Cultivating Mindset

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Too often we think of prototypes as things we use to test an idea. But in d.thinking, we use the verb prototyping: building to think, acting almost before you are ready. In this session, your team will learn powerful tools with which you can bring your ideas to life. Perry and Jeremy will take you step-by-step through exercises that teach you how to implement a process of discovery for your projects. You and your team learn how to create a wide variety of low-resolution prototypes-from role playing activities to storyboards, from a wall of post-its to a gadget made of materials you can find at your desk.

Why prototype?

  • To communicate, start a conversation with users
  • To fail quickly and cheaply
  • To test possibilities
  • To manage the solution-building process by breaking down a large problem into testable chunks

If your team has taken the Ideation workshop, this Prototyping workshop will expand on the techniques you learned and help you test the ideas you generated.

To Participate in this Workshop

Request info on the "Innovation at Work Workshop."

Fee Applies.


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Monday, January 23, 2017 to Friday, March 3, 2017
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Course Description

Physical health, emotional well-being, social relationships, and professional success all require the ability to regulate our thoughts, emotions, and actions. Advances in psychology, neuroscience, medicine, and mind-body research are beginning to paint a new picture of what willpower is, why it matters, and how to develop it. Is willpower in the mind or in the body? Is it possible to run out of willpower, and how do you build a bigger reserve? What motivates people to change? Why do we talk ourselves out of things we really want or need to do? How much control over our thoughts and feelings do we really have, and what are the healthiest ways to regulate them? This course will address those questions through lectures, readings, and discussions and will give students the opportunity to apply the ideas of the course toward making an important change or pursuing a major goal in their lives. 

Enrollment: Fee Applies.

Course Instructor

Kelly McGonigal, Senior Teacher, Center for Compassion and Altruism Research and Education (CCARE), Stanford

Kelly McGonigal teaches for a wide range of programs at Stanford, including the School of Medicine and the Graduate School of Business. In collaboration with CCARE, she has conducted scientific research on the benefits of compassion training. She has received the Walter J. Gores Award for Excellence in Teaching at Stanford. She is the author of The Upside of Stress and The Willpower Instinct. McGonigal received a PhD in psychology from Stanford.

Textbooks for this course

(Recommended) McGonigal, The Willpower Instinct (ISBN 978-1583334386)


Science of Willpower and Change

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Monday, January 30, 2017 to Friday, March 17, 2017
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Course Description

This course is designed for curious people who enjoy wine, especially wine from California and France, and would like to learn more about it. We will examine the connection between wines and their terroir—the complete natural environment in which a wine is produced—and learn why “place” and its geologic history—along with the grapes, their viticulture, the climate, and the winemaker’s skills—are all crucial to the characteristics of wines. We will explore the geologic setting of wine regions in California and France and, with comparative tastings, form the basis for understanding why certain grapes seem to prosper and others do not.

As we delve into the geologic history of wine country, we will also learn about the geography, the wines, the names, and the history of numerous wine regions in California and France. By the end of the course, we will have gained a better understanding of why wines are a reflection of “place” and have firsthand knowledge of many of the tastes that result.

The wines we will taste will compare both Old World (France) and New World (California): Burgundy and California’s Chardonnay and Pinot Noir; Loire varietals such as Sauvignon Blanc, Chenin Blanc, Muscadet, Pinot Noir, Gamay, and Cabernet Franc; northern and southern Rhône wines with Syrah, Grenache, Mourvèdre, and a dozen others; plus Bordeaux blends from France and California made of Cabernet Sauvignon, Merlot, and other Bordeaux varietals.


In order to participate in this course, students must be at least 21 years of age (if a resident of the United States), or of legal drinking age for the country in which they reside. 

Please note: Stanford Continuing Studies will offer a separate course excursion to Napa this Spring. The course, led by instructor David Howell, will review the 140 million–year history of the valley, the origin of the mountains and the valley itself, and processes of sedimentation that characterize many of the valley floor vineyards. Participants will examine how elements of topography, climate, and soil, essential elements of terroir, have been used to subdivide Napa into fourteen distinct viticultural areas. The course will focus on Oakville, with vineyard and winery visits along with tastings. Students will also meet with winemakers and vineyard managers. For more information, please see the Spring 2017 catalogue (available in February 2017). While this course excursion builds upon Winter’s “The Geology and Wines of California and France” (GEO 03 W), each can be taken independently as well. 

To participate in tasting discussions, students will spend approximately $160–$200 on California and French wines. A wine list will be provided at the start of the course. Students will taste the wines in advance of the optional online videoconferencing sessions (which will be recorded and posted). During these sessions, students will compare notes with the instructors and invited winemakers to discuss their experiences with the terroir, grape varieties, winemaking styles, and taste sensations.

Enrollment: Fee Applies.

David G. Howell, Research Geologist (Retired), US Geological Survey

David G. Howell is a Fellow of the American Association for the Advancement of Science and the Geological Society of America. He has been working with Napa Valley vintners for more than twenty-five years and is the co-author of The Winemaker’s Dance: Exploring Terroir in the Napa Valley. After retiring from the US Geological Survey, Howell was an adjunct professor in Stanford’s School of Earth Science from 2005 to 2009. He received a PhD from UC Santa Barbara and has authored more than 150 scientific articles.

Douglas Posson, Owner, Hexagonvins

Douglas Posson gathers and compiles data and information on wines. He is a co-founder of the US Global Change Research Program, and he led the US Geological Survey’s Arctic data team that received the Presidential Design Achievement Award from the National Endowment for the Arts. Visiting France annually for the past thirty years, he has explored the geography, terroir, food, and especially the wines in Alsace, Burgundy, Beaujolais, the Rhône, Provence, Languedoc, Roussillon, the Loire, the Southwest, and Bordeaux.

Textbooks for this course

(Required) Karen MacNeil, The Wine Bible, 2nd Edition (ISBN 978-0-7611-8083-8)
(Required) Hugh Johnson & Jancis Robinson, The World Atlas of Wine, 7th Edition (ISBN 978-1-84533-689-9)
(Required) Madeline Puckette & Justin Hammack, Wine Folly: The Essential Guide to Wine, 1st Edition (ISBN 978-1-592-40899-3)
The Geology and Wines of California and France

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Monday, February 13, 2017 to Friday, March 17, 2017
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Course topic: 


From 40,000-year-old prehistoric cave paintings to the latest digital emoji symbols on our phones, making visual marks—drawing—has been a fundamental form of human communication, expression, and creativity. As children we have an innate ability to access creativity and to express ourselves through drawing, but as we get older we are trained to judge what we do as either “bad” or “good” (usually “bad”) and to leave the making of art to the “experts.” Many people find themselves cut off not only from drawing but also from their own creativity. This course is designed to reignite a sense of creative experimentation and exploration through drawing.

The core component of the course will be short daily drawing prompts that can be responded to anywhere with little more than a pencil and a small sketchbook. Unlike a studio class, the focus of this course is not about “learning to draw” or making an expertly rendered piece of art; rather, it is about the process of drawing and how it can support creativity in our lives. At first, we will focus on jumpstarting our creativity, tapping into our imaginations, and circumventing the critical tendencies that can inhibit us. Later, we will experiment with different ways to make marks, observing the world around (and within) us and exploring the inventive possibilities of drawing. By the end of the course, students will have the tools and confidence necessary to maintain their own creative drawing practice.

Students must purchase their own art supplies for this course and can expect to spend an additional $15–$25 on these materials.

This course may not be taken for a Letter Grade.

Course Instructor

Trevor Tubelle, Artist

Trevor Tubelle is a San Francisco-based interdisciplinary artist working with hybrid forms of drawing, painting, printmaking, mixed media, and performance. He has taught at Stanford Arts Institute (Honors in the Arts program) and UC Santa Cruz, among other places. His work is included in the collection of the Metropolitan Museum of Art in New York. Tubelle received an MFA in painting from the San Francisco Art Institute.

Drawing INspiriation: Developing a Creative Practice

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Online Team Workshop!

About the Workshop

Presentations are a necessity in all areas of a business but presentation skills are often overlooked as a core competency. Many of us even fear the process. Nerves and negative feedback can make you uncomfortable which quickly drain your energy, preventing the effective transfer of information to your audience. In this workshop, Perry Klebahn, Jeremy Utley and Scott Doorley take your team or group through an interactive step-by-step process to create presentations that draw the audience in.

Get ready to practice techniques to amplify the "power messages" in presentations and create active audiences.

  • Learn techniques to engage with an audience
  • Understand how to give feedback without being an expert on the topic
  • Explore ways to make the presentation goal clear and achieve the desired outcome

The new and innovative ideas that your team learns here will change your perspective of the presenting process.

Fee applies.


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Tuesday, October 4, 2016
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Course Description

Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.


Course runs October 4, 2016 - February 7, 2017

Session 1: Overview
Overview of Online Jamming and Concert Technology

Session 2: Basics And Setup
Basics: Network protocols, audio signals + soundcards and network audio.

Session 3: Jacktrip Application + Connection
Things that go wrong with Jacktrip: Network & Audio. P2P Sessions and Multi-site setups.

Session 4: Debugging
Debug examples of typical problems.

Session 5: Polish And Practice
Polish techniques and spawn more practice sessions.

Session 6: Future
Future of the art and practice of network audio, alternative platforms for network audio.


Chris Chafe, Professor of Music and Director of CCRMA

    Chris Chafe is a composer, improviser, and cellist, developing much of his music alongside computer-based research. He is Director of Stanford University's Center for Computer Research in Music and Acoustics (CCRMA). At IRCAM (Paris) and The Banff Centre (Alberta), he pursued methods for digital synthesis, music performance, and real-time internet collaboration. CCRMA's SoundWIRE project involves live concertizing with musicians the world over. Online collaboration software including jacktrip and research into latency factors continue to evolve. An active performer either on the net or physically present, his music reaches audiences in dozens of countries and sometimes at novel venues. A simultaneous five-country concert was hosted at the United Nations in 2009. Chafe's works are available from Centaur Records and various online media. Gallery and museum music installations are into their second decade with "musifications" resulting from collaborations with artists, scientists and MD's. Recent work includes the Brain Stethoscope project, PolarTide for the 2013 Venice Biennale, Tomato Quintet for the transLife:media Festival at the National Art Museum of China and Sun Shot played by the horns of large ships in the port of St. Johns, Newfoundland.


    Equipment: Computer (running Linux, OS X, or Windows) with installation privileges
    Software: JackTrip (plus Jack) and Audacity
    Wired Internet: at least 5Mbps download and upload

    Online Jamming and Concert Technology

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    Tuesday, September 20, 2016 to Tuesday, January 24, 2017
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    About the Course

    This course introduces the basics of Digital Signal Processing and computational acoustics, motivated by the vibrational physics of real-world objects and systems. We will build from a simple mass-spring and pendulum to demonstrate oscillation, learn how to simulate those systems in the computer, and also prove that these simple oscillations behave as a sine wave. From that we move to plucked strings and struck bars, showing both solutions as combined traveling waves and combined sine wave harmonics. We continue to build and simulate more complex systems containing many vibrating objects and resonators (stringed instruments, drum, plate), and also learn how to simulate echos and room reverberation. Through this process, we will learn about digital signals, filters, oscillators, harmonics, spectral analysis, linear and non-linear systems, particle models, and all the necessary building blocks to synthesize essentially any sound. The free open-source software provided will make it possible for anyone to use physical models in their art-making, game or movie sound, or any other application.


    Course runs until August 31, 2016

    Session 1: The Time Domain: Sound, Digital Audio, PCM Files, Noise Vs. Pitch, A Hint Of Spectra 
    a) Sound in Air, Traveling Waves b) Digital Audio, Sampling, Quantization, Aliasing c) Soundfiles, Wavetables, Manipulating PCM d) Pitch (vs. Noise), Spectral Analysis 0.1 e) Time-domain Pitch/Noise Detection: ZeroXings, AMDF, Autocorrelation
    Session 2: Physics, Oscillators, Sines & Spectra, Spectral/Additive Synthesis 
    a) Mass-Spring-Damper system, also simple Pendulum b) Fourier analysis/synthesis, Spectrum Analysis 1.0 c) More on additive Sine-wave synthesis
    Session 3: Digital Filters, Modal Synthesis 
    a) Digital Filters, Finite Impulse Response (FIR) b) Linearity, Time-invariance, Convolution c) Infinite Impulse Response (IIR) Digital Filters d) BiQuad Resonator Filter, Modal Synthesis
    Session 4: Physical Modeling Synthesis: 1D Systems 
    a) 1-D systems, Strings, Modal (Fourier) Solution b) Strings II: Waveguide (D’Alembert) Solution c) 1-D systems, Bars, Tubes, solutions d) Advanced Waveguide Synthesis for 1-D systems
    Session 5: Physical Modeling II: 2 And 3-D Systems 
    a) 2-D systems, plates, drums, higher-order modes Fourier (Sine and/or Modal) Solutions, Waveguide Solutions b) 3-D systems, rooms, resonators, Meshes, Waveguides c) Resonator/Modal view and solution of 3-D systems Pop bottles and other lumped resonators
    Session 6: Subtractive Synthesis, Vocal Sounds And Models 
    a)  Subtractive Synthesis, Voice Synthesis, Formants b) Linear Prediction, LPC c) FOFs d) FM Synthesis: Horns, Bells, Voices
    Session 7: Grains, Particles And Statistical Models 
    a) Wavelets b) Granular Synthesis c) Particle Models, Statistical Modal Synthesis d) Wind, Water, Surf, and Other Whooshing Sounds
    Session 8: Extending And Refining Physical Synthesis Models 
    a) Waveshaping Synthesis, Distortion Modeling b) Time-Varying Systems c) Stiffness, All-Pass Filters, Banded Waveguides d) Commuted Synthesis e) JULIUS on KS, strings, demos
    Session 9: Tying It All Together: Applications, Sonification, Interactions, And Control 
    a) Scanned Synthesis b)  Don’t forget the laptop!!! SMELT:   c) Controlling Synthesis with game controllers (Wii, mobile TouchOSC, more) d) Walking Synthesis, a complete system e) Procedural Audio: Driving synthesis from process, game state, etc. f) Data set Sonification
    * This course is running in Adaptive Scheduling mode. You can learn more about how Adaptive Scheduling works in this help article

    What you need to take this course:

    • Software: ChucK (also optionally STK, PeRColate for Max/MSP, Processing, GL/Glut)

    (Highly) Recommended Textbooks & Requirements:


    Perry Cook

      Perry R. Cook is Emeritus Professor of Computer Science (also Music) at Princeton University, founding advisor/consultant to social music company SMule, and consulting professor at CalArts, Stanford CCRMA. With Dan Trueman, he co-founded the Princeton Laptop Orchestra, which received a MacArthur Digital Learning Initiative Grant in 2005. With Ge Wang, Cook is co-author of the ChucK Programming Language. His newest book is “Programming for Digital Musicians and Artists,” with Ajay Kapur, Spencer Salazar, and Ge Wang. The recipient of a 2003 Guggenheim Fellowship, Cook is (still) working on a new book, "La Bella Voce e La Macchina (the Beautiful Voice and the Machine), A History of Technology and the Expressive Voice." Perry is also co-founder of Kadenze.

      Julius Smith

        Julius O. Smith normally teaches a music signal-processing course sequence and supervises related research at the Center for Computer Research in Music and Acoustics (CCRMA). He is formally a professor of music and (by courtesy) electrical engineering. In 1975, he received his BS/EE degree from Rice University, where he got started in the field of digital signal processing and modeling for control. In 1983, he received the PhD/EE degree from Stanford University, specializing in techniques for digital filter design and system identification, with application to violin modeling. His work history includes the Signal Processing Department at Electromagnetic Systems Laboratories, Inc., working on systems for digital communications, the Adaptive Systems Department at Systems Control Technology, Inc., working on research problems in adaptive filtering and spectral estimation, and NeXT Computer, Inc., where he was responsible for sound, music, and signal processing software for the NeXT computer workstation. Prof. Smith is a Fellow of the Audio Engineering Society and the Acoustical Society of America. He is the author of four online books and numerous research publications in his field.


        Sound Synthesis

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