Diane Stamp is a subject matter expert in the creation, implementation, management and continuous improvement of methodologies and systems used in managing the innovation process from concept to launch.
She spent her professional career at Hasbro where she introduced and built the Company’s integrated milestone system in the early 80s to support and communicate – company wide - all product development efforts, lead cross functional team meetings and created and managed the discipline of project management overseeing 22 project managers who supported Hasbro’s robust portfolio of product introductions.
At the time of her retirement, as Director Business Process Management for the Global Development Organization, she had grown these processes and systems into a universal, flexible, cross-functional stage gate product development ecosystem supporting innovative toy and game development, as well as analog and digital development efforts winning numerous awards for sustainable business process creativity.
Since her retirement in 2013, she has created her own consulting company – Diane Stamp Solutions - and is a Guest Lecturer in the Strategic Innovation MBA Program at the University of Rhode Island. The objective of her course is to “provide students with the skills necessary to create an integrated cross functional stage gate methodology ecosystem blending creativity and discipline in support of the corporate strategy, through hands on experience, lecture and practice.”
Diane can be contacted at DianeStampSolutions@gmail.com or via her website, DianeStampSolutions.com.
What were some of your favorite moments working on G.I. Joe?
What is your greatest accomplishment with the G.I. Joe line?
Who is your favorite figure? Why?
“When the Far East sent a teletype message that the sculpture pattern had a problem, her left breast was misshapen. I sculpted a strap across her breast that was skin tight, so it made an indent across the surface. It was realistic. They hadn't seen something realistic in the sculpting.”
“I started as a sculptor in June of 1981, half-way through the sculpting of the first-year figures. When I started, I began adding more realism and detail to the sculpts. If you look at the original line, you can see the process I worked on, the details are sculpted ‘intro’ the figures, not sculpted onto it. Kirk Bozigian noticed the difference immediately and asked for that type of detail to be on all the pieces after. Eventually I was sculpting the arms, legs and torsos.”
“I’d go with the Baroness and Destro. The torso sculpts pushed the limits of the armatures to the extreme. There were lots of meetings with engineers on whether or not they could be successfully molded”