Graphic
Design Solutions Chapter 5
In this chapter, we learn the art of developing a
design concept and the importance of creativity in graphic design. The chapter covers
the steps of generating design concepts and emphasizes the critical thinking
and creativity needed to transform ideas into compelling visual communications.
What is a
Design Concept?
A design concept is more than just a specific idea; it
is a form of thinking. It involves synthesizing text, images, and composition
to communicate a message. Generating a design concept is an essential process
based on research and information found in the design brief.
Key aspects:
Critical
Thinking: You must ask the right questions and think logically.
Creativity:
Think outside the box, employing methods that stimulate your mind.
Understanding the goal:
Your concept should align with the communication objective.
Generating
Design Concepts
Several methods for generating ideas are provided.
These are not just creative exercises but strategic approaches to solve
communication objectives.
Key strategies:
·
Asking questions:
like who, what, where, when, why, and how.
·
T-shaped thinking:
Develop expertise in your field while exploring other disciplines for
additional inspiration.
Process steps:
·
Preparation: Develop
your ability to see relationships among elements, facts, information, places,
or objects.
·
Incubation: Take
a break from working on an assignment to turn the concept generation over to your
subconscious mind.
·
Illumination: Ask,
what are you trying to communicate and to whom?
·
Verification:
Once you generate a concept, you need to evaluate it.
Each of these steps fosters a mindset that helps
designers connect unrelated ideas and find unique solutions.
Creative
Thinking and Critical Problem-Solving
Creativity is the core of graphic design, it is all
about making connections between seemingly unrelated things. Creative thinkers
often possess the following qualities:
Courage: They take risks
and think beyond conventional boundaries.
Receptiveness:
They are open to different perspectives and constructive criticism.
Curiosity:
They have a constant drive to explore and learn.
Flexibility:
The ability to change course if needed and let ideas evolve.
Other forms of thinking related to creative thinking
include:
Associative thinking:
Finding commonalities between different elements.
Metaphorical thinking:
Comparing two seemingly unrelated things to spark an idea.
Elaboration:
Expanding on initial ideas to refine them further.
Tools for
Stimulating Creative Thinking
There are a variety of techniques designed to spark
creativity and enhance the concept generation process. Here are a few tools
mentioned:
Improv: Engaging in
improvisation helps designers listen, build on ideas, and adapt in real-time.
Brainstorming:
Structured group sessions that focus on understanding the audience and their
needs.
Osborn’s checklist:
A list of action verbs to transform existing ideas through steps like
adaptation, modification, or substitution.
Mind mapping:
Creating a visual representation of how different ideas, themes, and concepts
connect.
“Discovery-Led
Practice”
Designers are encouraged to embrace the unknown
through “discovery-led practice,” a method of research where designers start
with a speculative question and navigate their way to the answer through
experimentation. This aligns with the idea that sometimes the best ideas come
from exploring paths that are not immediately clear.
Final Steps in
Concept Verification
Once a concept is generated, it must be tested for
clarity, creativity, functionality, and relevance, it is time for verification.
Designers need to ask themselves:
·
Does the concept communicate clearly?
·
Is it possible to execute?
·
Does it capture the audience’s
interest?
·
Does it innovate?
By carefully evaluating these elements, designers can
fine-tune their concepts to ensure they deliver both creativity and
functionality.
Chapter 5 of Graphic Design Solutions
shows us how to transform ideas into creative and effective graphic design
solutions. From asking critical questions to embracing spontaneous creativity,
this chapter underscores the importance of blending logical reasoning with
imaginative thinking. It is about generating ideas, testing them, and
continually refining the process to produce visually engaging and meaningful
designs.
Kevin Chao
is a partner at the New York-based design firm “For Good Measure”.
He was asked: “If you were to give a speed workshop
in graphic design, what five points would you emphasize?”
This was his response:
1. Work
iteratively: your first best idea is probably not your best idea.
2. Understand--I
mean truly understand--the project: get more than a design brief. It is
important to be observant and absolutely intimate with what you are working on.
3. Don’t
be too judgmental of your own ideas: the best ideas come from bad ideas. Have a
lot of them.
4. Design
is a collaboration of personal perspective and the perspective inherent in the
project: outside factors and trends need not apply.
5. Understand
how to work in a group: nothing will turn off light bulbs faster than someone
difficult to work with.
Graphic
Design Solutions
Chapter 6
Visualization,
Icons, and Color
In Chapter 6 of Graphic Design Solutions,
we learn how designers visualize ideas, use icons, and use the power of color
to communicate effectively.
Visualization
in Design
The process of visualization in design is not always
linear—it can be a back-and-forth journey. Designers learn by doing, and their
ideas can change during this process due to critiques, practical matters
related to image quality, time, budget, or by any number of factors.
Visualization
includes:
Image Classifications:
Designers must understand how to depict images in numerous ways, such as:
·
Notation:
Simple, minimal representations of objects.
·
Pictographs:
Universal symbols that represent objects or actions.
·
Silhouettes:
Outlines of objects, providing a more specific depiction than pictographs.
·
Contour: Using outlines to
define shapes or boundaries.
·
Light and Shadow:
Adding dimension and depth to images.
·
Naturalistic and Expressionistic:
Depictions that either mimic reality or offer a stylized interpretation.
Representational
vs. Abstract Images
Three basic classifications of depiction of what we
see in nature:
·
Representational:
Images that replicate reality.
·
Abstraction:
Rearranged or distorted images that provide stylistic flair or a new
perspective.
·
Non-objective:
Entirely invented images with no connection to reality.
Signs and
Symbols:
From the theory of semiotics, the study of signs and
symbols, there is a classification of signs. Icons and symbols
are vital to graphic design, especially when crossing language barriers or
communicating complex ideas as simply as possible.
Classification
of signs:
·
Sign:
A visual mark or part of language that denotes another thing.
·
Icon:
Pictorial image or symbol used to represent objects, actions, and concepts.
·
Index:
A sign signifies through direct relationship between the sign and the object,
without describing or resembling the thing signified.
·
Symbol:
An image that has an arbitrary or conventional relationship between the
signifier and the thing signified.
·
Super symbols:
Some symbols take on greater meaning than others due to their roles in
religion, culture, history, or society.
Creating
Effective Icons
When designing icons, simplicity and clarity are key.
·
Accurately depict the shape of the object
to allow users to recognize and decipher the icon at a glance.
·
Aim for elemental form. Economy of form
trumps intricacy or complexity. Details and any excess information may confuse
the user, especially on smaller screens.
·
Represent an image from its most
characteristic angle.
·
Select commonly recognizable images that
the audience will understand.
·
Select color and tones for impact,
legibility, meaning, storytelling, and context.
·
Treat all icons in the system consistently
in terms of style of visualization, perspective, and close or far views.
·
Use a consistent single light source on
all icon objects, if using light and shadow to the depict form.
·
Icons should work well on both white and
black backgrounds.
·
Scale the icon for different sizes.
Media,
Methods, and Visualization
You can use a variety of tools and methods to
visualize concepts, including:
·
Illustration:
An image rendering that demonstrates the message of the text.
·
Photography:
Using the camera to capture and record an image.
·
Graphic interpretation:
An elemental visualization of an object or subject, almost resembling a sign,
pictograph, or symbol in its reductive representation.
·
Collage:
A visual created by cutting and pasting bits or pieces of paper, photographs,
cloth, or any material to a two-dimensional surface.
·
Photomontage:
A unique composite image made up of a number of photographs or parts of
photographs.
·
Mixed media:
An Image resulting from the use of different media-for example, photography
combined with illustration.
·
Motion graphics:
Simulated movement in time-based visual communication that integrates images,
typography, and audio.
·
Diagram:
A graphic representation of information, statistical data, a structure,
environment, or process.
The
Power of Color in Design
Color is one of the most influential tools a designer
has. It evokes emotions, conveys messages, and can make a design stand out. A
color’s meaning is tied to specific experiential contexts, cultures, and
countries. A good place to learn about color is with the pigment color wheel as
a point of departure.
Relationships
on the Pigment Color Wheel
The three primary colors (red, blue, and
yellow) on the color wheel are connected by an inscribed equilateral triangle,
which indicates a basic color group and relationship.
The secondary colors in pigment (orange, green,
and violet) are mixtures of the primary colors, they have less hue contrast
among themselves than the primary group because they are mixtures; they yield a
less bold relationship.
·
Analogous colors
are any three adjacent hues.
·
Complementary colors
are opposing hues.
·
Split complementary colors
are three hues: one hue plus the two hues adjacent to its complement.
·
Triadic
are three hues at an equal distance from one another.
·
Tetradic
are two sets of complements.
·
Cool and warm colors
are blue, green, and violet hues versus the yellow, orange, and red hues.
The role of neutrals (white, black, and gray)
in color relationships varies depending on amounts, possession, and the hues
they accompany; they are also called achromatic colors.
Black-and-white relationships may also
be used for contrast or drama. Surrounding a saturated hue with grays can turn
the high-intensity hue into a focal point.
Color
Schemes:
Color Schemes:
Harmonious combinations like monochromatic, analogous, and complementary color
palettes.
Cool vs. Warm Colors:
Cool colors like blues and greens can feel calming, while warm colors like reds
and oranges evoke energy or intensity.
Cultural Associations:
Designers should always consider cultural meanings when selecting colors.
Best
Practices for Using Color
When incorporating color into a design, it’s essential
to consider the following:
·
Color always must be culturally,
symbolically, and expressively appropriate for a brand, individual, or entity
as well as for the audience.
·
We understand color depending on the
audience, context, and the colors that surround it.
·
We perceive color in relation to the hues,
values, and neutrals that surround it.
·
You can use color to create a focal point
or for emphasis.
·
You can use color to differentiate a
graphic element from others in the composition.
·
Using color is the easiest way to
establish correspondence among graphic elements in a single composition or
across multiple pages.
·
Color can be thematic.
·
You can use color to define a section of a
website or publication.
·
You can use color to cue the audience.
Chapter 6 of Graphic Design Solutions shows
us the importance of visualization, strategic use of icons, and the power of
color in creating effective graphic designs. Whether we are working with icons,
manipulating images, or selecting color schemes, these elements should work
together to create designs that communicate clearly and are understood by the
audience.
Until next time,
Phil
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