How to Think Physically
Draw: explore line and shapes
Build: transform into 3D objects
Photograph: look at it through a lens
Conceptualize: bring content and meaning
Refine: bring together as a whole
How to Take the Matter Outside
Texture: physical qualities of the printed media
Climate catalysts: change in your ingredients
Projection: try plying clips outdoors
How to Use Unconventional Tools
Decide what forms you want to create: keep concept phase simple
Put down your pencil and step away from the computer: ...
Find some marking tools: think of components abstractly
Choose wisely: choose drawing that balance form and function
Make it graphic: use drawing to make marks suitable for communication
How to Regurgitate
Take a walk: collect and sketch findings
Study it: what is it? function?
Restrict yourself: reconsider and recompose with only one artifact
Document: document the recomposed image
Splice and dice: manipulate the image on computer
How to Reconstruct
Collect source material: choose inspiration actively
Analyze and replicate your sources: take it apart or research it
Observe: take notes of detail
Compile a dictionary of elements: make a list
Make your own images: start constructing something of your own
How Do You Create Form?
Daniel van der Velden: talk about it
Art Chantry: form is an abstract concept with no basis in reality
Martin Venezky: start with materials and engage thier properties
Louise Sandhaus: noodles around
Jonathan Barnbrook: about the meaning of the work
Jessica Helfand: the line
Doyald Young: first define form
Keetra Dean Dixon: material exploration
Stephen Doyle: folding paper
Reading 6
How to Sprint
Set parameters: define ground rules
Warm up: speed read or loosely sketch
Plunge in: try new ways of working
Decision time: lay everything out and see it next to the others
How to Design Alternative Grids:
Observe: explore environment around you
Replicate: take picture or sketch the forms that catch eye
Organize: arrange type and images around grid
How to Design a Kit of Parts:
Create your parts: elements can be built drawn or photographed
Reconfigure: figure out how to combine elements
How to Build a Brand Language
Define the audience: who are you speaking to?
Create a vocabulary: build elements
Decide the order: hierarchy
Apply systematically: establish ways to apply brand language
Document the family: organize and explain
How to Create a Mock-Up
Plan: create or find a pattern
Design: apply color, typography and images
Produce: create the mock-up
Set parameters: define ground rules
Warm up: speed read or loosely sketch
Plunge in: try new ways of working
Decision time: lay everything out and see it next to the others
How to Design Alternative Grids:
Observe: explore environment around you
Replicate: take picture or sketch the forms that catch eye
Organize: arrange type and images around grid
How to Design a Kit of Parts:
Create your parts: elements can be built drawn or photographed
Reconfigure: figure out how to combine elements
How to Build a Brand Language
Define the audience: who are you speaking to?
Create a vocabulary: build elements
Decide the order: hierarchy
Apply systematically: establish ways to apply brand language
Document the family: organize and explain
How to Create a Mock-Up
Plan: create or find a pattern
Design: apply color, typography and images
Produce: create the mock-up
Reading 5
Three Kinds of Sign
Icon: shape, color, sound, texture
Index: points to its object
Symbol: abstract
How to Collaborate
Sit together: work at the same table so ideas can develop
Hear and be heard: talk and listen to collaborate
Identity leaders:both formal and informal
Play: play nice. goal should be success
How to Co-design
Identify co-designers to collaborate with: work with who you are creating project for
Define a question: research should be concrete and open-ended
Create a co-design kit: provide simple tools
Listen and interpret:observe and study
How to Start a Visual Diary
Define parameters: ask yourself questions
Stick to the rules: create time each day to create something
Work in series: make each entry a thoughtful follow up from the day before
Share your work: create a blog or something similar
Keep going: the more you make the better
Harvest the good stuff: Look back through your journal when its time for bigger projects
How to Not Get Lost in Translation
Identify the languages and locales where your project or brand will circulate: where will it be
Begin with the language most familiar to you: start where you are comfortable
Research translations: use a dictionary
Where possible, use words or symbols that are shared between languages: desseny, diseno, design
How to Make a Concept Presentation
Choose an format: powerpoint, keynote, pdf
Make an outline: use a template
Fill in the blanks: prompt for quickly fleshing out a concept
Keep it simple: obvious
How Do You Edit?
Rudy Vanderlans: practice and work until it looks good
David Barringer: dream, improvise, fail and try again
Erik Spiekermann: determine a set of values to judge the work
Georgianna Stout: edit down to a set of ideas
Ivan Chermayeff: editing means rejection
Luba Lukova: reading and absorbing visual info
Ken Barber: project brief guides decisions
Ben Kiel: research, investigation and sketching
Steven Heller: give yourself options
Willi Kunz: consults with someone else at the very end
Icon: shape, color, sound, texture
Index: points to its object
Symbol: abstract
How to Collaborate
Sit together: work at the same table so ideas can develop
Hear and be heard: talk and listen to collaborate
Identity leaders:both formal and informal
Play: play nice. goal should be success
How to Co-design
Identify co-designers to collaborate with: work with who you are creating project for
Define a question: research should be concrete and open-ended
Create a co-design kit: provide simple tools
Listen and interpret:observe and study
How to Start a Visual Diary
Define parameters: ask yourself questions
Stick to the rules: create time each day to create something
Work in series: make each entry a thoughtful follow up from the day before
Share your work: create a blog or something similar
Keep going: the more you make the better
Harvest the good stuff: Look back through your journal when its time for bigger projects
How to Not Get Lost in Translation
Identify the languages and locales where your project or brand will circulate: where will it be
Begin with the language most familiar to you: start where you are comfortable
Research translations: use a dictionary
Where possible, use words or symbols that are shared between languages: desseny, diseno, design
How to Make a Concept Presentation
Choose an format: powerpoint, keynote, pdf
Make an outline: use a template
Fill in the blanks: prompt for quickly fleshing out a concept
Keep it simple: obvious
How Do You Edit?
Rudy Vanderlans: practice and work until it looks good
David Barringer: dream, improvise, fail and try again
Erik Spiekermann: determine a set of values to judge the work
Georgianna Stout: edit down to a set of ideas
Ivan Chermayeff: editing means rejection
Luba Lukova: reading and absorbing visual info
Ken Barber: project brief guides decisions
Ben Kiel: research, investigation and sketching
Steven Heller: give yourself options
Willi Kunz: consults with someone else at the very end
Reading 4
Visual Brain Dumping
Start sketching:quick, small sketches
Set a time limit: 20 minute period
Keep moving: make alternative sketches
Forced Connections
Choose a connection: decide what connections are forced
Make two lists: make connections and imagine the results
Combine styles, messages or functions: Identify conflicting or overlapping ideas
Choose one or more viable ideas: make simple graphic images
Action Verbs
Star with a basic concept: start somewhere
Apply a series of actions to the core image or idea: quick sketches
Step back and look at what you did: find best ideas and take the farther
Everything from Everywhere
Be a sponge: be actively absorbent
Keep a sketch book: write down everything you see that you like
Observe other artists and designers: learn how they get ideas
Make a database: collect things
Work with a concept in mind: frame decisions through specific form or conceptual ideas
Basic figures of speech
Allusion
Amplification
Anastrophe
Anthimeria
Antithesis
Ellipsis
Hyperbole
Litotes
Metaphor
Metonymy
Paradox
Paronomasia
Personification
Polytoton
Repetition
Synecdoche
Start sketching:quick, small sketches
Set a time limit: 20 minute period
Keep moving: make alternative sketches
Forced Connections
Choose a connection: decide what connections are forced
Make two lists: make connections and imagine the results
Combine styles, messages or functions: Identify conflicting or overlapping ideas
Choose one or more viable ideas: make simple graphic images
Action Verbs
Star with a basic concept: start somewhere
Apply a series of actions to the core image or idea: quick sketches
Step back and look at what you did: find best ideas and take the farther
Everything from Everywhere
Be a sponge: be actively absorbent
Keep a sketch book: write down everything you see that you like
Observe other artists and designers: learn how they get ideas
Make a database: collect things
Work with a concept in mind: frame decisions through specific form or conceptual ideas
Basic figures of speech
Allusion
Amplification
Anastrophe
Anthimeria
Antithesis
Ellipsis
Hyperbole
Litotes
Metaphor
Metonymy
Paradox
Paronomasia
Personification
Polytoton
Repetition
Synecdoche
Reading 3
Visual Research
Analyze content, generate ideas and communicate points of view
Collect: open-ended study
Visualize: choose area to analyze
Analyze: draw insights
Brand Matrix
X/Y axis to cross two different value scales
Commonly used in branding
Various level of detail
Draw out people's feelings
Get smart and start a list: study subject
Finding opposites: list of polarities that could be used to organize material
Connect the dots: plot elements on the matrix
Brand Books
Way to visualize personality and life of product
Colors, shapes, textures, photographs,words, and photos to set a mood
Choose a format: select appropriate size
Collect imagery: look at everything you've collected
Design and combine: communicate what each piece contributes to world you are building
Consider the pacing: control the mood
Make it real: print the book
Site Research
Essential to any project that exists in the built environment
signs,textures,colors, sounds, surfaces, and structures all contribute to built environment
Visit the site:best way to think about site is to go there
Observe and photograph the site: views and standpoint of the drivers and pedestrians
Create a site plan:traffic patterns and primary views on map of area
Trace photos of the site: simplify photos by tracing over and reducing image to simple outlines
Sketch concepts: explore scale, placement, and relationship
Creative Brief
Authored statement of goals
Serves as a checkpoint
Pose question: give client list of questions about project
Conduct research: get to know client and audience and explore similar initiatives
Narrow brief: define essence of project
Define key messages: list main ideas and start developing solutions
How Do You Get in the Mood?
Christoph Niemann: no music or distractions
Abbott Miller: talking about the project
Bruce Willen: talk about key principles
Carin Goldberg: panic and go into idea overdrive
Mike Perry: vomit out work
Kimberly Elam: always have something by you to write down ideas
Paula Scher: gets best ideas when shes not trying to get ideas
Maria Kalman: museums, typefaces and shapes, doodling and drawing, starts trom text/typography
Philippe Apeloig:
Analyze content, generate ideas and communicate points of view
Collect: open-ended study
Visualize: choose area to analyze
Analyze: draw insights
Brand Matrix
X/Y axis to cross two different value scales
Commonly used in branding
Various level of detail
Draw out people's feelings
Get smart and start a list: study subject
Finding opposites: list of polarities that could be used to organize material
Connect the dots: plot elements on the matrix
Brand Books
Way to visualize personality and life of product
Colors, shapes, textures, photographs,words, and photos to set a mood
Choose a format: select appropriate size
Collect imagery: look at everything you've collected
Design and combine: communicate what each piece contributes to world you are building
Consider the pacing: control the mood
Make it real: print the book
Site Research
Essential to any project that exists in the built environment
signs,textures,colors, sounds, surfaces, and structures all contribute to built environment
Visit the site:best way to think about site is to go there
Observe and photograph the site: views and standpoint of the drivers and pedestrians
Create a site plan:traffic patterns and primary views on map of area
Trace photos of the site: simplify photos by tracing over and reducing image to simple outlines
Sketch concepts: explore scale, placement, and relationship
Creative Brief
Authored statement of goals
Serves as a checkpoint
Pose question: give client list of questions about project
Conduct research: get to know client and audience and explore similar initiatives
Narrow brief: define essence of project
Define key messages: list main ideas and start developing solutions
How Do You Get in the Mood?
Christoph Niemann: no music or distractions
Abbott Miller: talking about the project
Bruce Willen: talk about key principles
Carin Goldberg: panic and go into idea overdrive
Mike Perry: vomit out work
Kimberly Elam: always have something by you to write down ideas
Paula Scher: gets best ideas when shes not trying to get ideas
Maria Kalman: museums, typefaces and shapes, doodling and drawing, starts trom text/typography
Philippe Apeloig:
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