Design Blog Post 2

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.

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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.

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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