A blast from the past!

I received an email last night notifying me I was tagged in a Facebook photo. I logged into my Facebook account to find my very first professionally printed design piece staring back at me!

Talk about a blast from the past!

Picture it, Kutztown University of Pennsylvania, 1993. Sorry, I couldn’t help the Golden Girls reference. I was in my final semester finishing my undergraduate degree. One of my last courses was called Campus Graphics where I was challenged to concept, design, prepare and supervise the production of a professionally printed design piece for an organization at the university. Students had the opportunity to work one on one with an actual client taking their project from concept through fruition. Working with a client other than my professors and following the design through all the different facets of the creation process was an invaluable learning experience. It was the first time I created a project that was actually professionally printed!

My client, James Brendlinger, was a director working with a group of actors scheduled to perform the play “The Purpose of the Moon: Fiction of Tom Robbins.”  The gist of the play, well, what I can recall of it, was this: Vincent van Gogh was infatuated with Marilyn Monroe, cut off his ear and sent it to her to show his love. She was so touched by this act that she gave up everything and moved to the south of France to be with him. I honestly don’t recall all that much about the plot. It was 18 years ago after all!

I was charged with creating the cover and inside spreads of the playbill for the play. Below I’ve included an image of the cover. Sorry the interior pages no longer exist or at least I don’t have them. The cover imagery features an abstracted visual of the painting Starry Night by Vincent van Gogh. The main focal point, the moon (image left), manually rotates (the user turns a tab on the moon) to reveal the face of Marilyn Monroe (image right) supporting the idea that she is the center of his universe. Unfortunately Blogger doesn't allow animated imagery or I could show you the rotation in action. 

As soon as I saw my old design I realized I have another source of inspiration I’d like to include in my previously posted list of influences. For those that have no idea what I’m talking about please reference my blog post: What are your creative influences? (http://dezignrogue.blogspot.com/2011/09/what-are-your-creative-influences.html) 

I’ve discovered another common thread that reoccurs in my designs… paper engineering/pop up mechanization. The term pop-up often refers to a design that utilizes three-dimensional, movable parts such as flaps, pull-tabs, pop-outs, pull-downs, and other types of manual manipulation. (1) I’ve always been intrigued with integrating user interaction into my graphic communication (the vintage playbill design proves this). What better way to engage the viewer than encouraging them to personally interact with it? Pop-ups are another way to help you accomplish this goal!

Below are two current designs where I apply paper engineering/pop up mechanization. Again, Blogger won't allow animations. The first is a series of post cards inspired by the paintings and illustrations of Henri de Toulouse-Lautrec (1864-1901) and Coles Phillips (1880-1920). Each card features a unique element of interaction through pop-up mechanization. In one design, pull a tab and the woman picks a flower, in other, turn a tab and her dress changes patterns. The second features two spreads from a series of twelve which are part of a pop-up calendar bringing illustrations based on the works of Steffen Bergmann to life. Both solutions offer the viewer a chance to hold the design, manipulate it and take part in the action of the message.  

To further support this inspiration I'm including some paper engineering/pop up mechanization student designs I've had the opportunity to creative direct. 

The first example is a design for Fruit of the Loom by Jen Brog. 

 (http://www.behance.net/jenbrog/frame)

Company Background: For more than 150 years, fit, comfort and durability for the entire family have been the hallmark features of Fruit of the Loom apparel. Fruit of the Loom’s main focus is on products for consumers ranging from children to senior citizens. The company is one of the largest manufacturers and marketers of men’s and boys’ underwear, women’s and girls’ underwear, printable T-shirts and fleece for the active wear industry, casual wear, women’s jeanswear and childrenswear. 

Concept: The design speaks to the main clothing purchaser in the household. It reaffirms the emotional connection of family and reminds the viewer that Fruit of the Loom helps make shopping choices for their loved ones much easier. The mailer connects Fruit of the Loom and family by dressing each family members’ fruit shaped “bottom” in a different style of Fruit of the Loom underwear. Hand illustrated fruit visuals utilizing pop-up mechanization support this union.

The second example is a design for Glacéau's Vitamin water by Jeremy Gilberto. (http://jgilberto.com/)

Company Background: Glacéau, is a privately owned subsidiary of Coca-Cola Company that manufactures and distributes various lines of enhanced water. By 2002, the Glacéau line of waters were the top selling enhanced water brand in the United States, with the company’s Vitamin water being its best selling product. 

Concept: This design uses ancient Chinese wisdom to reaffirm Vitamin water’s benefits and communicates it is “wise” to drink Vitamin water. An example of such wisdom: “Water is flexible and shapeless, yet can be shaped by any holder. It is weak, but wears away rock. It may not be able to push aside barriers, but it can flow around them.” Each page of the mailer features an ancient Chinese symbol that is die-cut, revealing portions of the pages behind ultimately creating a three-dimensional landscape.

Getting back to my very first professionally printed design piece for a moment. As I recall, we didn’t have the budget to print the playbill and have it assembled by the printer. The director, actors, family, friends and I formed an assembly line construction team. We manually cut out each pop-up piece and assembled the playbills one at a time. I think we created a few hundred of them. I also attended the play opening night and got the chance to observe the audience interacting with my design first hand. Guess you could call it my first consumer testing experience. What a proud feeling to witness others interacting and engaging with my work. 

This leads me to yet another life lesson: design is filled with personal yet anonymous victories for no one knows who created the experience for them. That being said it still felt great! For additional life lessons, please reference my blog post: Things I’ve learned about visual communication during my lifetime. (http://dezignrogue.blogspot.com/2011/09/things-ive-learned-about-visual.html)


One last point I’d like to make about my old design and I’ll happily put this one back on the shelf where it belongs. Seeing this design some 18 years after it was created, I have to laugh at the weak positioning of the design elements. I want you to unite type and imagery. Get them to interact and communicate the message not act as separate elements that fight for attention. The black bar and type down the right hand side of the design is such a copout! Yes, the type is easy to read on the dark background, but there is absolutely no interaction between the type and the visual. Wouldn’t this message be better served if the type somehow interacted with that manual rotation of the moon/Marilyn Monroe image? The level of viewer engagement is high; unfortunately the placement of the design elements is “C” worthy at best.


Below are some resources that might also help inspire you.

Robert Sabuda

http://robertsabuda.com/popupindex.asp

Pop Up Books as Inspiration

http://itp.nyu.edu/~hn271/wordpress/?p=1023

Blog Resources:

 (1) http://en.wikipedia.org/wiki/Pop_up_boo

What are your creative influences?

Designers are social commentators of their time. We design in response to things that are happening around us. To be an effective visual communicator it’s important to understand what influences us and connect these influences directly to our own work. Part of understanding influences involves a level of introspection or tapping into your thoughts/feelings and understanding how these thoughts/feelings influence your behavior. This process helps figure out makes you tick as a visual communicator. (1)

Have you taken the time to identify your own influences? Be honest when answering that question. If you do you will better understand how and why you create. Take a long hard look at your portfolio, first at the individual design pieces and then at the entire group. Can you identify common threads that are woven into your designs? I’d like to stress while these threads present a commonality throughout the breadth of your work, each solution must carry distinct elements that make the final solution unique from any other or you run the risk of becoming a one-note designer. You surely wouldn’t design packaging for baby diapers exactly the same way you would design packaging for Goth makeup! Yet, you could very well find elements that do connect them somehow. That’s exactly what I’m asking you to discover!

I’ve done a little self-reflection on the path taken on my creative journey thus far, and sure enough a clearer understanding of my own idea generation and creative process has emerged. I hope reading through some of my own will inspire you enough to do the very same!

David Carson “Don’t mistake legibility for communication.”

David Carson is a former professional surfer and teacher who turned “self taught” editorial designer in the 1980s art directing/designing for Transworld Skateboarding (1983-1987), Musician (1988), Beach Culture (1989–1991), Surfer (1991–1992), and Ray Gun (1992–1996). He avoids grid formats, information hierarchy and consistent layout; instead he explores expressive possibilities of each subject and each spread, rejecting conventional notions of typographic syntax and imagery. (2)

Carson broke onto the design scene when I was working towards my B.F.A. in the late 80s and early 90s. I had spent four years being beaten into submission learning the rules of effective visual communication. Every “what to do” and “what not to do” rule was continually practiced and preached in the design program. Then along comes the design rebel breaking every one of those rules. I was blown away by this rogue approach and definitely took notice!

Carson was self taught, never learned the accepted and practiced rules of design but instead followed his own gut instinct when creating. Talk about a “fly by the seat of your pants” learning process! His quote “don’t mistake legibility for communication” speaks volumes about his approach. At the time, much of his work seemed illegible. He explored reverse leading, extreme forced justification, text columns jammed together with no gutters, etc. His point: people will suffer through a lot to get the information they want. Ray Gun Magazine was focused on music. When an article came out about Pearl Jam, fans would suffer through a lot to read the content. Every month I was chomping at the bit to see what Carson created for Ray Gun Magazine. For me, it was more about the art of visual communication than it ever was about the content!

Words of wisdom: once you know the rules break them all you want. Only a rare few can accomplish what Carson did without a solid design education foundation!

Below are two examples of Carson’s work for Ray Gun Magazine. The first is his “Is Techno Dead” design featured in 1994. The second, an interview with Bryan Ferry created entirely in the symbols-only font Zapf Dingbats. The double-page spread was quite illegible and would have to be interpreted like a cryptogram for those unfamiliar with the font. He said he did it because the interview was “incredibly boring” and that upon searching his typeface collection for a suitable font and ending at Zapf Dingbats, decided to use it with hopes of making the article interesting. (3) And yes, fans translated that article like it was the Rosetta Stone! Like I said, people will suffer through a lot to get the information they want.

Art Deco | Art Moderne

Art Deco is a term used to identify a design movement of geometric works of the 1920s and 1930s. Art Deco's linear, machinelike symmetry was a distinct departure from the natural flowing asymmetrical organic curves of its predecessor style Art Nouveau; it embraced influences from many different styles of the early 20th century, including Constructivism, Cubism, Modernism and Futurism and drew inspiration from ancient Egyptian and Aztec forms. (4)

The term Art Moderne is often used to describe a variation on Art Deco. As in Art Deco, Art Moderne buildings emphasize simple geometric forms. (5) There are, however, important differences:

• Shape: An Art Moderne building usually has a low, horizontal shape. Art Deco buildings tend to be tall and vertical.

• Ornaments: Art Moderne buildings are stripped of decorative details. An Art Deco house may have zigzags, chevrons, sunrays, stylized foliage and other ornaments.

• Color: Art Moderne buildings are usually white. An Art Deco house may be white or brightly colored.

Below are two examples, the first is a detail of an Art Deco building showcasing decorative details: stylized foliage and other ornaments and the second, the façade of an Art Moderne building emphasizing basic geometric forms. Point of note, Art Moderne buildings often look like modified ships.

I attended grad school at Miami International University of Art and Design in Miami, Florida. I lived in the historic "art deco" district of South Beach. South Beach is one of the most successful urban restoration projects in the history of American architecture. Hundreds of buildings have been restored to their early 20th-century Art Deco and Art Moderne appearance. (6)

Living in South Beach offered me the opportunity to interact with the Art Deco and Art Moderne movements first hand. This experience has altered my design aesthetic completely! The allure is the simplicity of each movement. I love the process of removing the extra “fluff” in a design reducing the content down to the most essential pieces of the communication. It’s challenging to see how far these elements can be reduced while maintaining the message. This practice forces every single element in a design to play a vital role in the communication. There is simply no extra stuff for the remaining elements to hide behind and all parts play an active role in the design. 


Below are two designs I’ve created applying the Art Deco and Art Moderne aesthetics. The first is a logo and the second consists of modern stripes and images printed on separate panels of plexiglass superimposed on each other.

Swiss Style a.k.a. The International Typographic Style

This influence is closely linked to the Art Deco and Art Moderne identified above. The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces and flush left, ragged right text. The style has a preference for photography. Many of the early International Typographic Style works featured typography as a primary design element and it is for this the style is named. (7)

Detractors of the style feel since the designs are based on a formula the results are too similar to each other. While advocates feel the formula allows for a perfection of style and results are only limited by the designer’s skill.

Personally, it is utilizing the grid, establishing a foundation of structure and organization for the rest of the design that is key. The grid doesn’t have to be as obvious as many Swiss style designs are but helps visually organize information.  

Below are two examples of the International Typographic Style (Swiss Style) to offer you a visual interpretation of the style.

Below are two Art Deco, Art Moderne and International Typographic Style inspired brochure designs for Sol Meliá offering visual examples of me applying these inspirations into my work.

Morris Louis

The American painter Morris Louis’s (1912-1962) work provides a link between Abstract Expressionism and Color Field painting. Layered rainbows of acrylic paint poured down huge blank canvases characterize his style. While Jackson Pollock heavily influenced him, Louis' technique of pouring paint freely down the canvas was a major departure from the "gesture" paintings associated with Abstract Expressionism. Louis used thinned acrylic paint to stain the canvas, rather than spatter paint on its surface. (8)

Yes, the man actually climbed up a ladder and dumped cans of paint down the canvas! Starting with one color and then adding another, the first blending with a second color creating a third. Is this not the perfect example of one of my mantras: embrace spontaneity, hunt for “happy accidents” in your work and then exploit it?

Below are two examples of Morris Louis’s paintings. The second image features a girl standing in front of the piece to offer you a sense of scale. 

Below are two pieces of a campaign I developed that are directly influenced by Louis’s painterly process. The water, the champion element tying the campaign together, is created through the same process he used. The resulting visuals are unexpected, alluring, mysterious and impassioned.

Martha Stewart

Bet you weren’t expecting this one! Beginning with the 1982 publication of her book Entertaining, Martha Stewart made a name for herself as an expert on home decorating, elegant weddings, cooking and gardening, with an emphasis on do-it-yourself ingenuity. Her distinctively upscale style and tremendous commercial success made her widely admired. (9)

It isn’t so much the subjects she excels at as much as it is her approach to every creative challenge that I admire. In my previous post: Things I’ve learned about visual communication during my lifetime, I stress good design is in the details. (http://dezignrogue.blogspot.com/2011/09/things-ive-learned-about-visual.html) Attention to detail in design is a must. This goes for all facets of design and creativity. I get the sense that Stewart only asks of others what she asks of herself and that is accept only the highest standard. This philosophy is a tough one to live up to but it is certainly one that any visual communicator should strive to abide by!

In my previous blog post I also encouraged keeping your creative spark by looking for new avenues of inspiration and these avenues don’t have to be directly related to graphic communication. That’s kind of where Martha Stewart fits into my list of inspirations. I want what I’m doing to be the best no matter what it is I’m doing. Last post, I wrote how gardening and interior design help me keep that creative spark burning. I think I may need to add working with materials and crafts to that list. Below are two images of the house at Christmas last year that elicit my point and support why Ms. Stewart made the final cut. Notice the wreaths and garland on the house exterior. I assembled those bad boys myself. The garland on the fireplace, created it from pinecones and wooden beads. I actually walked around collecting pinecones for what seemed like weeks, drilled holes in each one and strung them one by one. Even the way the lights are wrapped around each tree branch on the tree is inspired by one of her “techniques.”  Just wait until this Christmas… I am currently working on creating arches of lights to fit into the four arches of the front portico. It will hopefully be stunning!

In conclusion, I'm restating my opening remark: designers are social commentators of their time. We design in response to things that are happening around us. We are not designing in a bubble. Influences come from far and wide and my list supports this. Truth be told, I could develop a bullet point list as long as my arm from so many different facets of life! The purpose of this post is to inspire you to think about your own list of inspirations. When you do identify your influences, I encourage you to share. 

Below is a resource that might help you delve deeper into the information presented above.

Design Influences

http://designinfluences.com/

 Blog Resources:

(1) http://ezinearticles.com/?The-Importance-of-Self-Knowledge&id=3560883

(2) A History of Graphic Design, Fourth Edition by Philip B. Meggs and Alston W. Purvis.John Wiley & Sons, Inc., Hoboken, New Jersey.

(3) http://nedhepburn.tumblr.com/post/4826201796/david-carson-radical-editor-of-experimental-music

(4) http://www.art-deco-style.com/art-deco-history.html

(5) http://architecture.about.com/od/periodsstyles/ig/House-Styles/Art-Moderne.htm

(6) http://www.architectureweek.com/2002/1030/culture_1-1.html

(7) http://smearedblackink.com/swiss_style_timeline/

(8) http://theartstory.org/artist-louis-morris.htm

(9) http://www.answers.com/topic/martha-stewart

Things I’ve learned about visual communication during my lifetime.

Yesterday I stopped in to visit a dear friend at a university where I used to teach. She was instructing a group of sophomores (about 18 years old) and asking them to develop a top ten list outlining the most important things they’ve learned in their life thus far. Her comment to me under her breath was “let’s compare this list to the one they write when they are 40 years old!” This statement got me thinking about my own list. Since the class and this blog are focused on design, I’m keeping design the subject of my list as well.

So here it is: things I’ve learned about visual communication during my lifetime.

There is power in what we do.

There is power in our visual voice and with this power comes great responsibility. Realize one visual and one word can affect the lives of many. Our work influences, informs, educates and encourages action. Don’t take the messages you send out to the world lightly. Moments will come that challenge your morale character.

A few years ago a headhunter contacted me about a job working to promote a cigarette brand. The money offered to take the job was pretty sweet. That being said, I didn’t want to promote a product that has the potential to harm people so I respectfully declined.

Before taking on any project ask yourself this simple question: Can I sleep with a clear conscience? Hopefully that will guide your moral compass!

Design is more psychology than it is type and image.

What makes us tick? What motivates us? How will we act or react to a message? The more you understand people the more effective your message will be. This goes for both the consumer and the client. I don’t care how effective a design solution is, if your client doesn’t trust you, you won’t convince them it’s the best solution and that design will never get the chance to communicate to the consumer.

You must be just as effective at presenting the idea as you are coming up with the concept. It’s your job to convince the client first! Presenting design concepts to a client is much like convincing them to walk to the edge of an active volcano. The client must trust you enough allowing you to take them beyond their comfort zone. Work to instill confidence ensuring you both can go to that edge but you won’t push them in! If there isn’t trust, you’re not getting them anywhere near that edge!

Trust your gut instinct.

When designing, place emphasis on intuition otherwise known as following your gut instinct. Doing so will help you find your own voice! We are creative thinkers and interjecting our own point of view into designs is what helps bring unique solutions to the table. The goal is to develop a stand out message, right? Since you have your own perspective, your own point of view, you can offer what no one else can. This suggestion also forces me to mention the importance of finding a balance between objective and subjective. Every communication solution you develop must be a hybrid of your own perspective (subjective) and well-researched facts (objective). For an in depth discussion on this subject, please make sure to read my blog post: http://dezignrogue.blogspot.com/2011/08/objective-and-subjective.html

Avoid the expected.

How many times have I said this: If graphic communication is expected, it is boring. If it is boring, no one will pay attention to it. If no one pays attention to it, you have not communicated anything.

Most graphic communication is created on a mass scale; meant to be read by numerous viewers, and yet somehow we engage with it as if the message is speaking directly to us. Successful messages are those that many can relate to and touches you on some level. If you develop stand out, attention worthy ideas, bring them to life through effective use of type and image and make an emotional connection with the viewer you’re well on your way to accomplishing your goal.

Self-motivation/inspiration.

If you’re currently working in the graphic communication field think back to when you were in design school. Remember that feeling of being in a supportive learning environment? Your world teemed with innovation and inspiration: other designers, the examples the professors showed, the work being displayed in the halls all motivated you to be creative. Flash forward. Now take a look around you. Sitting in some light grey cubicle? OK, maybe it’s tan. Do you hear the person sitting two desks away from you rambling on the phone? Perhaps there’s a harsh, fluorescent light flickering above your head? I’m painting a pretty dull, monotonous picture here but you get the idea. Inspiration and motivation can be hard to find when no one is spoon-feeding it to you.

Don’t lose your creative spark. Look for new avenues of inspiration or run the risk of falling into a creative rut. These avenues don’t have to be directly related to graphic communication either. I love to garden. Prior to owning my current home, I only lived in apartments. The closest I ever came to gardening was watering the plants that sat in my windows overlooking Union Square in New York City. Now, digging in my garden, I’m inspired by the placement of the different plants, the size and variety of each and the colors, so many beautiful colors. Not to mention that I actually have a chance to get my hands dirty. Graphic design can be so sterile, crisp and clean.

Someone had to paint and decorate when we moved in for it looked like some ninety-year-old spinster lived there. Who would have guessed that interior design was something that I was remotely interested in? Sure enough, working with 3D space, how one interacts with that space, color and form all have allowed me to tap into design on a different level.

I do have to admit the foundation established in graphic design: extreme attention to detail and control over every aspect have made their way into these other creative outlets. Yes, I have been spotted on my hands and knees trimming the edges of the flowerbeds with a pair of scissors. (It pains me to admit that!)

If you are still in school, relish the moment for someday motivation and inspiration will all be up to you! 

Kill ‘em with kindness.

Did you ever hear the phrase "You catch more flies with honey than vinegar"? It’s easier to get what you want by being polite to others than by being demanding and resistant. No one wants to work with someone who is cocky and arrogant. You are part of a creative team. Creativity flourishes in a collaborative environment that motivates and inspires. Others are more apt to work with you when you’re a team player as opposed to working against you when you’re not.

Who likes being told “NO.”? I often say I am in the business of saying, “YES.” While I may have said yes, this positive response can come with consequences:

Yes, I can turn the design around in one day, but three other projects will be pushed back.

Yes, I can alter the design while it is on press, however we will pay double to get the job printed and it will push the delivery date back.

Saying yes offers a sense that you’re a team player but it also forces other team members, clients, project managers, etc to think twice about making unnecessary requests. By saying yes with consequences, you come off looking like a team player and the person making the request has to make some tough prioritizing decisions to ensure their request is accommodated:

Perhaps the other three projects can’t be pushed back and hitting those deadlines is more important than the requested one-day turnaround time for one project.

Perhaps the on press edits aren’t worth the extra costs and pushed back delivery date.

Be thick skinned.

Trust me, I get it. You pour your heart and soul into a design only to have others “rip” it apart during a critique. Keep in mind all comments are suggestions are made to help the piece communicate more effectively. Nothing said is meant as a personal attack. If you’re the one proposing changes try the “how about a li’l sugar with your lemons” approach: find a balance between what is working and what isn’t and list both positives and negatives. Hurting someone’s feelings does not accomplish anything, except creating a tense, nonproductive environment.

Stay current on trends… so you can avoid them.

I include a quote in my email signature by American essayist and poet Ralph Waldo Emerson: “Do not follow where the path may lead. Go, instead, where there is no path and leave a trail.” If you are on a path, it is someone else’s path. Chart your own path! It’s the best way to ensure you are unique.

We as visual communicators design in response to what is happening around us. Keep an ear to the ground, educate yourself about what is current in visual communication and then run in the opposite direction as fast as you can! Ying when others yang for it is the best way to stand out from the crowd. If you use design elements (colors, typefaces, etc) that everyone else is using how can your message possibly stand out?

Good design is in the details.

Attention to detail in design is a must. Design breads anal retentive, obsessive, detail oriented people. I’m kind of joking here, but not really. In many cases you are the last set of eyes to look over a design before it goes out the door.

• Did you spell check?

• Are you using the correct color mode?

• Did you include all of your typefaces with your file?

• What about the resolution?

• Is the file incomplete?

• Did you allocate enough bleeds?

• Are your images in the right file format for the inteded medium?

These are only seven of what seems like hundreds of questions you need to answer to ensure the job is produced properly. Like I said design breads anal retentive, obsessive, detail oriented people! It is part of your job to be on top of these details! 

Don’t forget word of mouth.

Yes, you are developing messages that work to get the word out, but nothing speaks louder than a trusted friend. You are more likely to try a product or service because a friend suggests it than through any other type of graphic communication. If your best friend “likes” a website on Facebook chances are you’re more inclined to check it out yourself than if you simply see a banner ad promoting it. Your best friend becomes what I like to call a “brand ambassador.” Brand ambassadors are consumers who belong to the target audience that willingly spread the word about your brand.

Integrating social media (using web-based and mobile technologies) into your design solutions helps to turn one-way communication into an interactive dialogue. A print ad is an example of one-way communication. Your client promotes something in the ad hoping the consumer sees it and takes action. Social media allows consumers to instantly talk back and close the conversation loop.

One final note: This exercise encouraged me to reflect on how different my thoughts on design were some twenty-two years ago when I was a bright eyed, lil design newbie. My insight and approach have changed a thousand times yet somehow through all of it my ultimate goal remains constant. Take a moment and think about this one yourself. Let me know if you have an epiphany you care to share.   

Below are some excellent resources that might help you delve deeper into the information presented above.

The real design trends for 2011

http://www.webdesignshock.com/design-trends-for-2011/

Tips for Graphic Design

http://www.robinsdesign.com/design_tips_printing.html

Encyclopedia of Psychology

http://www.psychology.org/

Visual Identity Creative Process: Part 1

This is part 1 in a series that follows the development process of a visual identity system from concept to fruition.

How we create is a subject that has captured my interest since the onset of my visual communication career some twenty-two years ago. I can recall sitting in design class looking at the other students’ work thinking to myself how did they come up with that idea? For me, learning about the journey is always as intriguing as seeing the end result, maybe even more so! Since undergrad I have documented my own process hoping this practice would reveal common threads within my designs. In fact, my M.F.A. research and thesis focused on creative process and idea generation. Each of us has an individual way of creating: bringing distinctive experiences, diverse talents and a unique voice to the creative table. If we took the time to learn others’ processes, we might be able to enhance our own, in a sense build better creative tools to use when we are designing.

Working as a graphic designer you’ll find yourself involved in many different types of projects. I can say from personal experience design is surely not as repetitive or routine as working in a fast food restaurant where consumers order from a list of predetermined value meals day in and day out (does the phrase “time to make the donuts” ring a bell?!).

In design, each project offers a chance to learn something new about someone else’s business. Sometimes the job is right in line with our own personal interests, other times, not so much. My suggestion is find ways to embrace each project and so you can be inspired and work that creative magic. I’m currently developing an identity system for a tax company named United Tax Solutions. Right out of the gate I can say the subject of taxes truly falls into the “not so much” category of my personal interests but also offers a chance to share my own process and the challenges I face embracing the tax accountant within.

Side note: If you have not done so, now might be a good time to read my blog post “What’s in a logo?” http://dezignrogue.blogspot.com/2011_07_01_archive.html

Question: Working as visual communicators, what is our job?

Answer: Develop stand out, attention worthy ideas and bring them to life through effective use of type and image.

Question: How do we do this?

Answer: Make connections to disparate objects and build an unexpected bridge between them. Only when the consumer is able to walk across that bridge will they understand the connection. The key is to find unique, unexpected connections. If the concept (the bridge) is expected, it is boring. If it is boring, no one will pay attention to it. If no one pays attention to it, you have not communicated anything. Finding that unique connection is where having lots of ideas pays off. The wider the net you cast during your research, development and thumbnail stages, the more quality connections (bridges) you will build.

I’m jumping into the United Tax Solutions logo creative process at the concepting stage. Prior to any concept development I met with the client (several times) to discuss the project and conducted a SWOT Analysis. A SWOT analysis is an examination of the internal strengths (S), weaknesses (W), external opportunities (O), and threats (T) affecting an organization. It is a basic element of the marketing plan used to make projections for the proposed marketing activities. (1)

Word Lists/Word Webs

Many times you are expected to execute high-level concepts and designs in a very short amount of time. It’s tough enough being creative on command. Add deadlines and impatient clients into the mix and you have a pressure cooker situation. One process that helps generate ideas quickly is writing down numerous words or ideas and then building other ideas from them (word webs). For me, concepting with words (jotting down ideas and thoughts) is much faster than sketching them out one at a time. I concept with the mindset “leave no creative stone unturned.” Jotting down anything that comes to mind works: individual words that represent the company, what the company does, what the company intends to project to the consumer, etc. One word leads to another, one thought to many and the process continues. This all occurs before I sketch a thing!

As previously stated, the name of the company is “United Tax Solutions.” Entering into the concepting phase knowing the name was initially chosen to show the company’s patriotism, this direction had to be considered. While anything directly connected to America runs the risk of being too literal the feeling of patriotism can be employed through unexpected visuals. More detail on this to come later in the post.

In this “taxing” challenge, getting into the mind of the consumer helped me quite a bit. How do you feel when you are going in to get your taxes done?! When you hear April 15^th what happens to your blood pressure?! See where my line of questioning is headed? A strong direction for building concepts is focusing on the word “united.” When something unites it joins, comes together. This coming together builds a united front. The company is allies with the consumer, helping them through a very stressful and often confusing situation. Along with united comes the sense of one on one personal support. A symbol that communicates this message has a chance of emotionally connecting with the consumer on many different levels.

Here are a few words extracted from my word lists: America, patriotic, stars, stripes, flag, loyal, reliable, join, together, ally, one on one, personal support.

Thumbnail Sketches

After word listing, thumbnail sketches become the focus. Thumbnails are abbreviated sketches that are done rapidly, with no corrections and in many cases the person creating them only understands them. (2) Thumbnails get ideas down quickly without too much time invested into the process. They are your private thoughts and ideas and only need to be as detailed as you need to understand them. Do not develop detailed thumbnails that are beautiful enough to be hung in the Louvre Museum in Paris! This defeats the purpose of a thumbnail sketch.

I use thumbnails to sketch out initial ideas all of the time and it is a practice I swear by. Below is a page taken from my sketchbook that visually translates some of the written concepts outlined above into thumbnails.

I caution sketching directly on the computer. The problem I see time and time again with using the computer to "sketch" is the sketch looks sleek and professional. While it may look this way, the concept or idea might not be strong enough to be the final design. Many new designers are hesitant to let go of a design if they've spent hours on it on the computer. Thumbnails are low investment idea builders. The benefit: getting ideas down quickly without too much time or effort invested. The low time and effort affords freedom to quickly dismiss an idea and move onto more effective ones. Amount of time spent creating a design is not a measure of a good concept.

Integrate Fine Art

I’m an exploratory designer and often integrate different artistic mediums into my work. In this case, using fine art to create the visuals expresses a personal, one on one approach directly relating to the word list above. I began working with cut paper and a splatter paint technique. Below are a few examples of this part of the process.

Computer Comps

This is the time to digitally create, judge, eliminate and create more! Not that I actually counted, but I am willing to bet about forty logo variations were developed during this phase of the creative process. Be open to all possibilities while concepting and creating computer comps. When editing final directions be ruthless. Use a critical eye and identify the concepts that rise to the top, that build the strongest bridges and solve the communication challenge most effectively. Chances are your client is not well versed in the art of visual communication. Presenting too many options can overwhelm resulting in the inability to make a decision or choosing the safest direction.


Typography
I opted to present two versions of type: one, a geometric, san serif to project a clean and modern feel and the other, a slab serif. The thick serifs visually lock together like gears in a machine or clock cogs. This interlocking helps project a sense of security and precision. And yes, typographic exploration is as varied and expansive as the rest of the symbol design is! Don't forget, our job is effective use of type and image. They need to work in concert to support the message.

Presented Logos
I edited the final list down to five different symbols. At this stage of the development/presentation I don’t bring color into the discussion. I present initial logo concepts in black and white for I do not want color to influence the client’s decision. If I use yellow, the client may dislike yellow and decide not to choose a symbol that features that color. Once the symbol is chosen, then I explore color.

So what do the final five look like? Below you’ll find each with a detailed rationale/description.

Logo 1

A focus on “united” using pictographs. The people unite creating a modern, geometric circle. Left is a vector version. Right integrates texture offering a sense of personalization, one on one interaction with clients.

Logo 2

Another visual interpretation of “united.” Three people unite creating a sense of support.

Logo 3

An extremely bold, abstracted U. The aperture (the partially enclosed, rounded negative space in the middle of the U) is supported by the U’s stems (the outer, vertical strokes of a letterform).

Logo 4

A patriotic approach featuring a large, abstracted U. The right stem of the U is created using stars hand cut from paper and a splatter paint technique offering a sense of personal care and attention.

Logo 5

Another patriotic approach where large, abstracted bands of the American flag are created by stripes hand cut from paper and a splatter paint technique offering a sense of personal care and attention.

So there you have the final five! Curious to know which one the client chose? At the onset of this post I stated this is part 1 in a series that follows the development process of United Tax Solution’s visual identity system from concept to fruition. Perhaps it is best to leave this answer for part 2! That being said, I am quite curious to know which would you choose?

P.S. I thought you might like to see the original United Tax Solutions logo: 

Below are some excellent resources you might want to look into if you are exploring visual identity systems in more detail.

How to Develop a Corporate Identity System

http://www.ehow.com/how_8104193_develop-corporate-identity-system.html

How to Create a Top-Notch Business Identity System: Resources to make Logos, Business Cards, and Letterhead Inexpensively

http://www.brighthub.com/multimedia/publishing/articles/19658.aspx

Identity Design

http://desktoppub.about.com/od/identity/Identity_Design.htm

Blog Resources:

(1) http://www.answers.com/topic/swot-analysis

(2) http://drawsketch.about.com/library/bl-thumbnail-sketching.htm