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  1. 1. DPS Training 2009Melissa HolcombeSarah MarklandTony NunnTasmanian Polytechnicand Sublime Studio
  2. 2. programme 1. creative thinking 2. images part one 3. images part two 4. colour 5. space 6. tweaking 7. fonts 8. finishing
  3. 3. ab ilit y pr oc e ss re se ar ch an aly sis th um bn ail ty po gr ap im hy ag e ry co m po sit io nm et ho dst yle
  4. 4. an ability• to imagine/invent something new• to generate new ideas by combining, changing or reapplying existing ideas hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  5. 5. a process• creative people work hard, continually improving ideas and solutions• making gradual alterations and refinements hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  6. 6. research & discovery• don’t jump into a project or task without examining it• the job, big or small can benefit from research and planning• time spent on this phase is usually proportional to scope and planned duration hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  7. 7. competitive analysis• identifying strengths and weaknesses of existing designs hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  8. 8. thumbnail sketching• thumbnails are small sketches• intended to capture basic ideas of page composition: header placement, column structure, text alignment• don’t be tempted to focus on small details early in the process• thumbnails are like icons for thoughts hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  9. 9. typography• typography affects the overall formality or informality of a design hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  10. 10. imagery• not always necessary in a design• some of the most beautiful designs use typography alone hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  11. 11. composition• overuse of photography and illustration creates crowded, chaotic designs that obscures viewers from the intention and message hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  12. 12. why have a method?• allows consistent creative process enabling you to make deadlines ensuring happy clients hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  13. 13. establish the style• what’s your target audience?• does the type and imagery fit the style for the target audience?• think cultural references that appeal to the target audience hy ail ap ch sis ss bn gr ar y e aly um ilit oc po se ry ab an pr re th ty n e io ag sit im po m d ho co yle et st m
  14. 14. 1define thedesign problem• who?• what?• when?• where?• why?• how?
  15. 15. 2investigate• research• analyse information
  16. 16. create your ownresources library
  17. 17. typefaces for all kinds of clientswww.dafont.com
  18. 18. stock photo librarieswww.sxc.hu (free)
  19. 19. colour themes, associations & meaningsswatch palette suggestions: adobe kulerkuler.adobe.com
  20. 20. 3generate ideas• brainstorm• make lists• make sketches
  21. 21. t
  22. 22. basic guidelinesfor brainstormingBrainstorming is useful for attacking specificproblems and where a collection of good,fresh and new ideas are needed.Brainstorming can take place eitherindividually or in a group of two to ten,with four or seven being ideal.
  23. 23. suspend judgementIdeas are said, no critical comment isallowed, all ideas are written down.“To think creatively and criticise at the sametime is like watering and pouring weed killeronto seedlings at the same time.”
  24. 24. think freelyWild, impossible, and unthinkable thoughtsare fine. Thinking outside the boundaries ofordinary, normal thought, brilliant solutionscan arise.
  25. 25. tag onImprove, modify, build on the ideas of others.
  26. 26. quantity of ideasis importantGenerate a large stock of ideas so that later onthey can be sifted through.
  27. 27. • design scrapbook, place to dump ideas and experiment• develop creativity over time• storage for scraps/sketches and ideas that are valuable but scribbles on torn or otherwise occupied paper• non-conventional journal entries can inspire and extend creativity eg: painting, drawing, sketching (although it is very important not to waste too much time on your journal instead of your artwork)• entries can be easily revised and used as possible content/inspiration for later work• keeping a journal close at hand to record any unexpected ideas or thoughts• thumbnailing
  28. 28. • as a studio, establish a design scrapbook• entries can be easily revised and used
  29. 29. evaluate thedesign solution• if steps 1-3 in the creative checklist have been accomplished a design solution will be apparent• does the solution solve the design problem?• does it need to be redesigned or modified?• what improvements would I make?
  30. 30. 1Is the layout simple?• Can elements of a design be removed whilst still getting the message across?
  31. 31. 2Does the layouthold together?• Test by squinting at the design. Is it seen as a single unified whole?
  32. 32. 3Does the mostimportant elementdominate?• What catches the eye first?
  33. 33. 4Logical, obviousvisual flow• Does eye flow from one element to the next?• Quickly show the design to someone. What is the first thing they see? Is that what you want?
  34. 34. 5Are the graphic elementsvisually balanced?• Where is it heavy?• Where is it light?• Is the design top heavy, or the opposite?• What is the item next to the heavy spot?• Is that where you want the viewer to look next?
  35. 35. 6Is the space attractive?• Is something too big or small?• Are there holes in the layout?• Does everything look eye sweet?
  36. 36. 7Is there white space?• Is it positioned correctly?• Is it balanced with the rest of the design elements?
  37. 37. 8Do the headlineshave impact?• Broken correctly for quick reading?• When read aloud, does it sound right?• Is the illustration appropriate?• Do the visuals support the personality of the message?• Does it have a message, and is it the correct message?
  38. 38. 8Is there avisual storyline?• Is there a logical visual order, can the reader be comfortably led through the visual?
  39. 39. Thank you fortravelling with us.Please retain your ticketfor the next boarding.
  40. 40. placementeye path figure/ground rule of thirds design principles design elements
  41. 41. design elements
  42. 42. colourHas three properties: hue, intensity and value.
  43. 43. valueThe lightness or darkness.
  44. 44. lineStraight, curved, thick, thin, solid, dashed,dotted, blurred, fuzzy, etc.
  45. 45. shapeLines that join.
  46. 46. formatA design’s relationship to its border.
  47. 47. textureFlat, glossy, wet, furry, sandy, leathery, etc.
  48. 48. design principles
  49. 49. balanceThe way elements are arranged.
  50. 50. emphasisDominance given to an element.
  51. 51. harmonyA union of aesthetically compatible elements.
  52. 52. movementProduces the look of action.
  53. 53. movementProduces the look of action.
  54. 54. pattern/rhythmRepetition of an element.
  55. 55. proportionRelationship of one part to another.
  56. 56. tensionCapable of causing anxiety or excitement.
  57. 57. unityCombination of all elements into one whole.
  58. 58. varietyThe use of diversity.
  59. 59. rule of thirds
  60. 60. golden sectionThe Fibonacci sequence is a numbersequence in which each number is the sumof the two previous numbers. The goldensection is a measurement divided by Phi 1.618which produces the larger of the two goldensections.1+1+2+3+5+8+13+21+34+55+89+144+233+377
  61. 61. rule of thirdsThe rule of thirds states that by dividing adesign with two evenly spaced horizontaland vertical lines to create 9 parts, theintersections of these lines are the mostpreferred focal points of a design. This isbecause at these points, the eye has the bestperception of the main object in relation to thesurrounding objects.
  62. 62. rule of thirdsBy applying the rule of thirds to your artwork,you can stress the focal point.
  63. 63. figure/ground
  64. 64. figure/groundThe cognitive ability to separate elements.
  65. 65. eyepath
  66. 66. eyepathThe eye follows the path you create.
  67. 67. placement
  68. 68. placementCentred.
  69. 69. placementOff centre.
  70. 70. placementAlong an edge.
  71. 71. placementCover the whole ad.
  72. 72. placementCropped off by the format.
  73. 73. placementRotated.
  74. 74. Thank you fortravelling with us.Please retain your ticketfor the next boarding.
  75. 75. type selection image manipulation e y lu ilit va abadre
  76. 76. readability
  77. 77. readabilityUsing type over images effectively.
  78. 78. readability
  79. 79. readabilityPlacing a solid shape under type.
  80. 80. readabilityIs it meant to be read?
  81. 81. value
  82. 82. valueValue gives emphasis to type.
  83. 83. value
  84. 84. value
  85. 85. image manipulation
  86. 86. image manipulationUse Photoshop
  87. 87. image manipulationUse inDesign
  88. 88. image manipulationUse both
  89. 89. type selection
  90. 90. type selectionType should suit the image.
  91. 91. type selection
  92. 92. type selectionPoint size, leading, line length,tracking and kerning.
  93. 93. Thank you fortravelling with us.Please retain your ticketfor the next boarding.
  94. 94. ns s ur tio lo cia co so ol as co ies ur & on lo ar m rmCo W ha ur lo e l Co he rw ou ol ec Th es m he sc ur lo co g in e at Cr ou r ol fc eo Us
  95. 95. Use of colourColour is one of the most importantelements of design.It evokes emotions and has deeppsychological and cultural associations.It is important as a designer to use theseto create an association between your clientand their target audience.
  96. 96. Warm Coolcolours colours
  97. 97. The colour wheel is the most basic tool forcreating harmonious colour schemes.It can be divided into two distinct colourschemes, cool and warm.White, black and greys are consideredneutral colour schemes.Colour schemes are formed in relation tothe colour’s position on the wheel.
  98. 98. Analogous Split Complementary Complimentary
  99. 99. SquareTriad Tetrad
  100. 100. Launceston’s largest range of pool and spa options 128 Invermay Road, Launceston . 6300 4455 www.prestigepools.com.au
  101. 101. Everything you need to get outdoors. Tasmania’s largest range of outdoor gear.ALPINE 108 Charles St Launceston · 6326 4848
  102. 102. The true experience of Australia’s vast and beautiful outback.108 Grenfell Street, Adelaide · (08) 8422 7799 · www.spinifex.com.au
  103. 103. want one?e xclusi v eautos 118 Hobart Road, Launceston · 6340 5590 www.exclusiveautos.com.au
  104. 104. hotfunfastactivepassionadrenalineattention grabbingstimulates appetite
  105. 105. brightcheerfulnoticableenergeticoptimisticimaginative
  106. 106. warmgentleinformalcomfortingenthusiasmaffordable/cheapappealing to children
  107. 107. calmfertilerestfulnaturalhealthyyouthfulrefreshingenvironmental
  108. 108. coolcalmserenetranquilrelaxingspiritualpeacefultrustworthy
  109. 109. securedignifiedconfidentexpensiveprestigiousdependableprofessionalbusinesslike
  110. 110. regalqualitywisdomopulenceexclusiveluxuriousceremonial
  111. 111. cutesweetlovingcaringtranquilcalmingfeminineromantic
  112. 112. strongsolemnmodernpowerfulintelligentauthoritativesophisticationalways in fashion!
  113. 113. securitystabilitysuccessaffluenceneutralityprofessionalism
  114. 114. rusticearthynaturalmatureoutdoorswholesomeenvironmental
  115. 115. Colour associations are widely used indeveloping brand identites.natural, refreshing fun, imaginative
  116. 116. strong, sophisticated, fashionableattention grabbing, stimulates appetite, fun
  117. 117. Thank you fortravelling with us.Please retain your ticketfor the next boarding.
  118. 118. economising space space using type macro/micro spacewhitespace space in design
  119. 119. space in design
  120. 120. space in designEfficiently using space in design.
  121. 121. space in designSpace is added to a design to emphasizeinformation.
  122. 122. space in designBalance
  123. 123. space in designHarmony
  124. 124. whitespace
  125. 125. whitespaceWhitespace shouldn’t be consideredblank or empty space.
  126. 126. whitespaceUsing whitespace can eliminate the chance ofa design appearing busy and cluttered.
  127. 127. whitespaceUsing whitespace can make a designeasier to read.
  128. 128. macro/micro space
  129. 129. macro/micro spaceMacro space is the space between majorelements in a design.
  130. 130. macro/micro spaceMicro space is the space between smallerelements.
  131. 131. macro/micro spaceUsing macro and/or micro space can be asubtle way to enhance a design.
  132. 132. space using type
  133. 133. space using typeSpace can be applied to a designthrough the use of margins and leading.
  134. 134. space using typeSpace can also be applied through the correctuse of type family and weight.
  135. 135. space using typeType hierarchy.
  136. 136. economising space
  137. 137. economising spaceSet up a basic grid.
  138. 138. economising spaceUse margins.
  139. 139. economising spaceChoose the correct point size.
  140. 140. economising spaceChoose correct leading, kerning and tracking. leading Estibea dipsus que vel ipsandunt volupta volupta esequas am ut et quiae rerae molent et, voluptionse nonsedione dolore voloritem auditati re audae at ad mo quidele nisque etur? Conseque verum aut atiasperspid es veligen imporia ea sa sitia nullicit por re que volent, id mod maximi, omnimin ulparchillor aut laut iunt, sus alis de nis perferum vendus et perem facerum quamenis aut re volupid quam, audaeribus. Dus, sed magnis est, suntis consers pidelle nistrum re enihiciis alicitis expliaepra coratiatiam aborepra et pressin nis nimusdae. Nem event, utatquos . Estibea dipsus que vel ipsandunt volupta volupta esequas am ut et quiae rerae molent et, voluptionse nonsedione dolore voloritem auditati re audae at ad mo quidele nisque etur? Conseque verum aut atiasperspid es veligen imporia ea sa sitia nullicit por re que volent, id mod maximi, omnimin ulparchillor aut laut iunt, sus alis de nis perferum vendus et perem facerum quamenis aut re volupid quam, audaeribus. Dus, sed magnis est, suntis consers pidelle nistrum re enihiciis alicitis expliaepra coratiatiam aborepra et pressin nis nimusdae. Nem event, utatquos . kerning and tracking Typography Typography Typography
  141. 141. economising spaceCrop images.
  142. 142. economising spaceUse whitespace.
  143. 143. economising spaceUse your creativity.
  144. 144. Thank you fortravelling with us.Please retain your ticketfor the next boarding.
  145. 145. Index1. Creative Thinking Harmony................................................57 Forms of Colour..................................... 108 Movement..............................................58 Warm and Cool Colours........................... 109 More Movement......................................59 Cool Colour Chart................................... 110Ability.................................................... 5 Pattern and Rhythm................................60 Prestige Pools........................................ 111Process.................................................. 6 Proportion.............................................. 61 Alpine................................................... 112Research ����������������������������������������������� 7 Tension..................................................62 Warm Colour Chart................................. 113Analysis................................................. 8 Unity.....................................................63 Spinifex................................................ 114Thumbnail.............................................. 9 Variety...................................................64 Ferrari.................................................. 115Typography........................................... 10 Rule of Thirds.........................................65 Colour Associations................................ 116Imagery................................................ 11 Golden Section.......................................66 Colour Associations in Western Culture..... 117Composition.......................................... 12 Thirds Rule.............................................67 Red Colour............................................ 118Method................................................. 13 Focal Point.............................................68 Yellow Colour......................................... 119Style.................................................... 14 Figure and Ground..................................69 Orange Colour....................................... 120Creative Checklist.................................. 15 Seperate Elements..................................70 Green Colour......................................... 121Define the Design Problem...................... 16 Eyepath................................................. 71 Light Blue Colour.................................... 122Investigate............................................ 17 Eyepath Creation....................................72 Blue Colour........................................... 123Own Resource Library............................. 18 Placement..............................................73 Purple Colour......................................... 124Typefaces for Clients.............................. 19 - Centred..............................................74 Pink Colour............................................ 125Stock Photo Library................................ 20 - Off Centre...........................................75 Black Colour.......................................... 126Colour Themes & Meanings..................... 21 - Edge..................................................76 Grey Colour........................................... 127Generate Ideas...................................... 22 - Whole Ad............................................77 Brown Colour......................................... 128Brainstorming........................................ 23 - Cropped..............................................78 Colour with Brand Identity...................... 129Basic Guidelines..................................... 24 - Rotated..............................................79 Coca-Cola and Dolce & Gabbana.............. 130Suspend Judgement............................... 25 - Suica..................................................80 McDonald’s Logo Colour Comparison......... 131Think Freely.......................................... 26 Suica.................................................... 132Tag On.................................................. 27Quantity of Ideas................................... 28 3. Images : Part Two 5. SpaceResources Library.................................. 29 ........................................................... 133Visual Diary........................................... 30 Part Two Images.....................................81 Space in Design..................................... 134Thought Process.................................... 31 Readability.............................................82 Efficiently using Space............................ 135Plan...................................................... 32 Type over Images....................................83 Why add Space to a Design?.................... 136Design Scrapbook.................................. 33 I Love this Town......................................84 Balance................................................. 137Evaluate Design..................................... 34 Solid Shape under Type...........................85 Harmony............................................... 138Proof Reading........................................ 35 Meant to be Read....................................86 WhiteSpace........................................... 139Simple Layout........................................ 36 Value.....................................................87 Is it Blank or Empty Space?..................... 140Layout Hold........................................... 37 Emphasis to Type....................................88 Using Whitespace................................... 141Dominate Element.................................. 38 Earthquake.............................................89 Whitespace with Readabilty..................... 142Visual Flow............................................ 39 Street Edition.........................................90 Macro or Micro Space............................. 143Visual Balance....................................... 40 Image Manipulation.................................91 Macro Space Definition........................... 144Attractive Space.....................................41 Use Photoshop........................................92 Micro Space Definition............................ 145Whitespace........................................... 42 Use InDesign..........................................93 Using Macro/Micro Space........................ 146Headlines Impact................................... 43 Photoshop and InDesign combined............94 Space Using Type................................... 147Visual Storyline...................................... 44 Type Selection........................................95 Space, Margins and Leading.................... 148Suica.....................................................45 Type Suit................................................96 Other ways to use Space......................... 149 Type hierarchy....................................... 1502. Images : Part One Caulfied Race..........................................97 Economising Space................................. 151 Point size, Leading, Line Length,................ Tracking and Kerning...............................98 Set up a basic Grid................................. 152Part One : Images................................... 46 Use Margins........................................... 153Design Elements..................................... 47 Suica.....................................................99 Point Size.............................................. 154Colour................................................... 48 4. Colour Leading, Kerning and Tracking................. 155Value..................................................... 49 ........................................................... 100 Crop Images.......................................... 156Line.......................................................50 Use of Colour......................................... 101 Use whitespace...................................... 157Shape....................................................51 Colour Schemes..................................... 102 Creativity.............................................. 158Format...................................................52 Colour Wheel......................................... 103 Suica......................................................Texture..................................................53 Colour Deal........................................... 104 Please retain your ticketDesign Principles.....................................54 Harmonious Colour Schemes................... 105 for the next boarding.............................. 159Balance..................................................55 Colour Harmonies................................... 106Emphasis...............................................56 Colour Relationships............................... 107

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