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Conceptualizing

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Concept creation for young graphic designers, including what instructors expect in a sketchbook

Published in: Design
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Conceptualizing

  1. 1. conceptualizing
  2. 2. Getting Started: 
 1. Thinking About the Problem. •  Precisely what is to be achieved? –  (What specific visual or intellectual effect is desired?) •  Are there visual stylistic requirements? –  (Illustrative, abstract, nonobjective, and so on?) •  What are the physical limitations? –  (Size, color, media…) •  When is the solution needed? (Deadlines!)
  3. 3. 2. Thinking About the Solution •  Ask yourself, how can the concept be shown? Steps in thinking: 1.  Make a list of images or symbols that could represent the theme or idea. Use the internet as a resource. 2.  Quickly sketch the useful symbols. 3.  Expand the list by discussing it with other artists or doing additional/deeper research 4.  Narrow the list down to a few ideas. 5.  Refine the angle--Ask yourself how you will use or show the image in a unique or original way to convey the idea.
  4. 4. Example: How will you show your symbol in a unique and original way?
  5. 5. Thinking: Form and Function “Form Follows Function” Purpose defines the look and shape of an object, and the efficiency should be obvious.
  6. 6. 3. Think again about the purpose •  The selection of your symbol may depend on the size, color, medium, etc… •  It might also depend on your Target Audience. Knowing who the visual message is going to address is key.
  7. 7. Source vs. Subject You have to differentiate between your source and the subject and and REFINE it with your own (or the brand’s own) signature. •  Source = the stimulus for the image or idea. •  Subject = the meaning of the work and the way the artist sees the object. This is part of sketching!
  8. 8. Doing: Thinking with Materials Doing starts with visual experimentation….”thinking with the materials.”
  9. 9. The  Sketchbook   Keep  a  Sketchbook  or  Journal   •  Keeping  a  sketchbook  or  journal  is  a  prac6ce  in  crea6ve  thinking  and   visualiza6on  on  a  daily  basis.   !  Carry  it  with  you  for  sketching,  doodling,  and  jo@ng  down  ideas.   !  Use  as  a  collage  sourcebook,  adhering  inspiring  images  and  typography   to  pages  of  the  book.     !  Add  interes6ng  ar6cles  or  phrases.  
  10. 10. The  Sketchbook  
  11. 11. The  Sketchbook  
  12. 12. The  Sketchbook  
  13. 13. The  Sketchbook  
  14. 14. The  Sketchbook  
  15. 15. The  Sketchbook  
  16. 16. Signature…innovate! Visual Retraining •  We are trained what to see and how to see it at a young age by exposure to mass media such as TV and Internet.. •  As artists we can train ourselves to slow down and see more carefully, more uniquely.
  17. 17. In the Vernacular •  When an image becomes commonly known through frequent reproduction, for instance... •  How might an artist play with this concept?
  18. 18. Doing and Redoing: •  Revision is necessary! •  Starting over often occurs •  Try to overcome your attachment to your first idea. •  Revision allows for an idea to grow beyond an obvious or familiar starting point. Henri Matisse. Large Reclining Nude/The Pink Nude. 1935. Oil on canvas, 2' 2” x 3’ 1/2 " (66 x 92.7 cm). Henri Matisse. Large Reclining Nude/The Pink Nude: One Stage in Process (one of seventeen photographed by the artist). 1935. Oil on canvas (with cut paper), 2' 2” x 3’ 1/2 " (66 x 92.7 cm).
  19. 19. Process
  20. 20. Process
  21. 21. Process
  22. 22. Process
  23. 23. Process
  24. 24. Process
  25. 25. Thumbnails  
  26. 26. Thumbnails
  27. 27. Process
  28. 28. Process
  29. 29. CONSIDER USING GRAPH PAPER IF YOU HAVE DIFFICULTY DRAWING
  30. 30. THE GRAPH MAKES COMPLES ICONOGRAPHY EASIER
  31. 31. Roughs (done to size or ½ size)
  32. 32. Roughs
  33. 33. Roughs
  34. 34. Roughs
  35. 35. Roughs created in Illustrator
  36. 36. Roughs created in Illustrator
  37. 37. Roughs created in Illustrator
  38. 38. Roughs created in Illustrator
  39. 39. Roughs created in Illustrator
  40. 40. Roughs created in Illustrator
  41. 41. Roughs created in Illustrator
  42. 42. Roughs created in Photoshop
  43. 43. Roughs created in Photoshop
  44. 44. Roughs created in Photoshop
  45. 45. Roughs created 
 in Photoshop
  46. 46. Roughs created in InDesign
  47. 47. Roughs created in InDesign
  48. 48. Roughs created in InDesign
  49. 49. Sketch & Scan
  50. 50. Critique: Constructive Criticism •  Critique is a VERY important part of Design! Forms of critique: •  Dialogue with a Professor •  Review by peers or classmates •  Self – Critique - example: a journal entry
  51. 51. Example: •  Design words like size, emphasis, perspective should be employed. •  A critique is most valid when linked to the criteria for the artwork. What was assigned? Were goals met? •  This may also include a cultural or historical perspective, or what it meant in the historical past.

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