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The document outlines an agenda for a DPS Training in 2009 with Melissa Holcombe, Sarah Markland, and Tony Nunn at Tasmanian Polytechnic and Sublime Studio. The training covers various topics related to creative thinking and design including images, color, space, tweaking, fonts, and finishing. Key concepts discussed include creative ability, process, research, analysis, thumbnails, typography, composition, and style.
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Presentation
- 1. DPS Training 2009 MelissaHolcombe Sarah Markland Tony Nunn Tasmanian Polytechnic and Sublime Studio
- 2. programme 1. creative thinking 2. images part one 3. images part two 4. colour 5. space 6. tweaking 7. fonts 8. finishing
- 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 n m et ho d st yle
- 5. an ability • to imagine/inventsomething 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
- 6. a process • creative peoplework 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
- 7. research & discovery • don’tjump 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
- 8. competitive analysis • identifying strengthsand 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
- 9. thumbnail sketching • thumbnails aresmall 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
- 10. typography • typography affects theoverall 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
- 11. imagery • not always necessaryin 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
- 12. composition • overuse of photographyand 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
- 13. why have amethod? • 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
- 14. establish the style • what’syour 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
- 16. 1 define the design problem • who? • what? • when? • where? • why? • how?
- 17. 2 investigate • research • analyseinformation
- 18. create your own resourceslibrary
- 19. typefaces for allkinds of clients www.dafont.com
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- 21. colour themes, associations& meanings swatch palette suggestions: adobe kuler kuler.adobe.com
- 22. 3 generate ideas • brainstorm • make lists • make sketches
- 23.
- 24. basic guidelines for brainstorming Brainstormingis useful for attacking specific problems and where a collection of good, fresh and new ideas are needed. Brainstorming can take place either individually or in a group of two to ten, with four or seven being ideal.
- 25. suspend judgement Ideas aresaid, no critical comment is allowed, all ideas are written down. “To think creatively and criticise at the same time is like watering and pouring weed killer onto seedlings at the same time.”
- 26. think freely Wild, impossible,and unthinkable thoughts are fine. Thinking outside the boundaries of ordinary, normal thought, brilliant solutions can arise.
- 27. tag on Improve, modify,build on the ideas of others.
- 28. quantity of ideas isimportant Generate a large stock of ideas so that later on they can be sifted through.
- 31. • design scrapbook, placeto 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
- 33. • as astudio, establish a design scrapbook • entries can be easily revised and used
- 34. evaluate the design 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?
- 36. 1 Is the layoutsimple? • Can elements of a design be removed whilst still getting the message across?
- 37. 2 Does the layout holdtogether? • Test by squinting at the design. Is it seen as a single unified whole?
- 38. 3 Does the most importantelement dominate? • What catches the eye first?
- 39. 4 Logical, obvious visual 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?
- 40. 5 Are the graphicelements visually 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?
- 41. 6 Is the spaceattractive? • Is something too big or small? • Are there holes in the layout? • Does everything look eye sweet?
- 42. 7 Is there whitespace? • Is it positioned correctly? • Is it balanced with the rest of the design elements?
- 43. 8 Do the headlines haveimpact? • 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?
- 44. 8 Is there a visualstoryline? • Is there a logical visual order, can the reader be comfortably led through the visual?
- 45. Thank you for travellingwith us. Please retain your ticket for the next boarding.
- 46. placement eye path figure/ground rule of thirds design principles design elements
- 47.
- 48. colour Has three properties:hue, intensity and value.
- 49. value The lightness ordarkness.
- 50. line Straight, curved, thick,thin, solid, dashed, dotted, blurred, fuzzy, etc.
- 51.
- 52. format A design’s relationshipto its border.
- 53. texture Flat, glossy, wet,furry, sandy, leathery, etc.
- 54.
- 55. balance The way elementsare arranged.
- 56. emphasis Dominance given toan element.
- 57. harmony A union ofaesthetically compatible elements.
- 58. movement Produces the lookof action.
- 59. movement Produces the lookof action.
- 60. pattern/rhythm Repetition of anelement.
- 61. proportion Relationship of onepart to another.
- 62. tension Capable of causinganxiety or excitement.
- 63. unity Combination of allelements into one whole.
- 64. variety The use ofdiversity.
- 65.
- 66. golden section The Fibonaccisequence is a number sequence in which each number is the sum of the two previous numbers. The golden section is a measurement divided by Phi 1.618 which produces the larger of the two golden sections. 1+1+2+3+5+8+13+21+34+55+89+144+233+377
- 67. rule of thirds Therule of thirds states that by dividing a design with two evenly spaced horizontal and vertical lines to create 9 parts, the intersections of these lines are the most preferred focal points of a design. This is because at these points, the eye has the best perception of the main object in relation to the surrounding objects.
- 68. rule of thirds Byapplying the rule of thirds to your artwork, you can stress the focal point.
- 69.
- 70. figure/ground The cognitive abilityto separate elements.
- 71.
- 72. eyepath The eye followsthe path you create.
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- 78. placement Cropped off bythe format.
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- 80. Thank you for travellingwith us. Please retain your ticket for the next boarding.
- 81. type selection image manipulation e y lu ilit va ab ad re
- 82.
- 83. readability Using type overimages effectively.
- 84.
- 85. readability Placing a solidshape under type.
- 86. readability Is it meantto be read?
- 87.
- 88. value Value gives emphasisto type.
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- 96. type selection Type shouldsuit the image.
- 97.
- 98. type selection Point size,leading, line length, tracking and kerning.
- 99. Thank you for travellingwith us. Please retain your ticket for the next boarding.
- 100. ns s ur tio lo cia co so ol as co ies ur & on lo ar m rm Co 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
- 101. Use of colour Colouris one of the most important elements of design. It evokes emotions and has deep psychological and cultural associations. It is important as a designer to use these to create an association between your client and their target audience.
- 104. Warm Cool colours colours
- 105. The colour wheelis the most basic tool for creating harmonious colour schemes. It can be divided into two distinct colour schemes, cool and warm. White, black and greys are considered neutral colour schemes. Colour schemes are formed in relation to the colour’s position on the wheel.
- 107. Analogous Split Complementary Complimentary
- 108. Square Triad Tetrad
- 111. Launceston’s largest rangeof pool and spa options 128 Invermay Road, Launceston . 6300 4455 www.prestigepools.com.au
- 112. Everything you needto get outdoors. Tasmania’s largest range of outdoor gear. ALPINE 108 Charles St Launceston · 6326 4848
- 114. The true experienceof Australia’s vast and beautiful outback. 108 Grenfell Street, Adelaide · (08) 8422 7799 · www.spinifex.com.au
- 115. want one? e xclusiv e autos 118 Hobart Road, Launceston · 6340 5590 www.exclusiveautos.com.au
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- 129. Colour associations arewidely used in developing brand identites. natural, refreshing fun, imaginative
- 130. strong, sophisticated, fashionable attentiongrabbing, stimulates appetite, fun
- 132. Thank you for travellingwith us. Please retain your ticket for the next boarding.
- 133. economising space space using type macro/micro space whitespace space in design
- 134.
- 135. space in design Efficientlyusing space in design.
- 136. space in design Spaceis added to a design to emphasize information.
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- 138.
- 139.
- 140. whitespace Whitespace shouldn’t beconsidered blank or empty space.
- 141. whitespace Using whitespace caneliminate the chance of a design appearing busy and cluttered.
- 142. whitespace Using whitespace canmake a design easier to read.
- 143.
- 144. macro/micro space Macro spaceis the space between major elements in a design.
- 145. macro/micro space Micro spaceis the space between smaller elements.
- 146. macro/micro space Using macroand/or micro space can be a subtle way to enhance a design.
- 147.
- 148. space using type Spacecan be applied to a design through the use of margins and leading.
- 149. space using type Spacecan also be applied through the correct use of type family and weight.
- 150. space using type Typehierarchy.
- 151. economising space
- 152. economising space Set upa basic grid.
- 153.
- 154. economising space Choose thecorrect point size.
- 155. economising space Choose correctleading, 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
- 156.
- 157.
- 158. economising space Use yourcreativity.
- 159. Thank you for travellingwith us. Please retain your ticket for the next boarding.
- 160. Index 1. Creative Thinking Harmony................................................57 Forms of Colour..................................... 108 Movement..............................................58 Warm and Cool Colours........................... 109 More Movement......................................59 Cool Colour Chart................................... 110 Ability.................................................... 5 Pattern and Rhythm................................60 Prestige Pools........................................ 111 Process.................................................. 6 Proportion.............................................. 61 Alpine................................................... 112 Research ����������������������������������������������� 7 Tension..................................................62 Warm Colour Chart................................. 113 Analysis................................................. 8 Unity.....................................................63 Spinifex................................................ 114 Thumbnail.............................................. 9 Variety...................................................64 Ferrari.................................................. 115 Typography........................................... 10 Rule of Thirds.........................................65 Colour Associations................................ 116 Imagery................................................ 11 Golden Section.......................................66 Colour Associations in Western Culture..... 117 Composition.......................................... 12 Thirds Rule.............................................67 Red Colour............................................ 118 Method................................................. 13 Focal Point.............................................68 Yellow Colour......................................... 119 Style.................................................... 14 Figure and Ground..................................69 Orange Colour....................................... 120 Creative Checklist.................................. 15 Seperate Elements..................................70 Green Colour......................................... 121 Define the Design Problem...................... 16 Eyepath................................................. 71 Light Blue Colour.................................... 122 Investigate............................................ 17 Eyepath Creation....................................72 Blue Colour........................................... 123 Own Resource Library............................. 18 Placement..............................................73 Purple Colour......................................... 124 Typefaces for Clients.............................. 19 - Centred..............................................74 Pink Colour............................................ 125 Stock Photo Library................................ 20 - Off Centre...........................................75 Black Colour.......................................... 126 Colour Themes & Meanings..................... 21 - Edge..................................................76 Grey Colour........................................... 127 Generate Ideas...................................... 22 - Whole Ad............................................77 Brown Colour......................................... 128 Brainstorming........................................ 23 - Cropped..............................................78 Colour with Brand Identity...................... 129 Basic Guidelines..................................... 24 - Rotated..............................................79 Coca-Cola and Dolce & Gabbana.............. 130 Suspend Judgement............................... 25 - Suica..................................................80 McDonald’s Logo Colour Comparison......... 131 Think Freely.......................................... 26 Suica.................................................... 132 Tag On.................................................. 27 Quantity of Ideas................................... 28 3. Images : Part Two 5. Space Resources Library.................................. 29 ........................................................... 133 Visual Diary........................................... 30 Part Two Images.....................................81 Space in Design..................................... 134 Thought Process.................................... 31 Readability.............................................82 Efficiently using Space............................ 135 Plan...................................................... 32 Type over Images....................................83 Why add Space to a Design?.................... 136 Design Scrapbook.................................. 33 I Love this Town......................................84 Balance................................................. 137 Evaluate Design..................................... 34 Solid Shape under Type...........................85 Harmony............................................... 138 Proof Reading........................................ 35 Meant to be Read....................................86 WhiteSpace........................................... 139 Simple Layout........................................ 36 Value.....................................................87 Is it Blank or Empty Space?..................... 140 Layout Hold........................................... 37 Emphasis to Type....................................88 Using Whitespace................................... 141 Dominate Element.................................. 38 Earthquake.............................................89 Whitespace with Readabilty..................... 142 Visual Flow............................................ 39 Street Edition.........................................90 Macro or Micro Space............................. 143 Visual Balance....................................... 40 Image Manipulation.................................91 Macro Space Definition........................... 144 Attractive Space.....................................41 Use Photoshop........................................92 Micro Space Definition............................ 145 Whitespace........................................... 42 Use InDesign..........................................93 Using Macro/Micro Space........................ 146 Headlines Impact................................... 43 Photoshop and InDesign combined............94 Space Using Type................................... 147 Visual Storyline...................................... 44 Type Selection........................................95 Space, Margins and Leading.................... 148 Suica.....................................................45 Type Suit................................................96 Other ways to use Space......................... 149 Type hierarchy....................................... 150 2. Images : Part One Caulfied Race..........................................97 Economising Space................................. 151 Point size, Leading, Line Length,................ Tracking and Kerning...............................98 Set up a basic Grid................................. 152 Part One : Images................................... 46 Use Margins........................................... 153 Design Elements..................................... 47 Suica.....................................................99 Point Size.............................................. 154 Colour................................................... 48 4. Colour Leading, Kerning and Tracking................. 155 Value..................................................... 49 ........................................................... 100 Crop Images.......................................... 156 Line.......................................................50 Use of Colour......................................... 101 Use whitespace...................................... 157 Shape....................................................51 Colour Schemes..................................... 102 Creativity.............................................. 158 Format...................................................52 Colour Wheel......................................... 103 Suica...................................................... Texture..................................................53 Colour Deal........................................... 104 Please retain your ticket Design Principles.....................................54 Harmonious Colour Schemes................... 105 for the next boarding.............................. 159 Balance..................................................55 Colour Harmonies................................... 106 Emphasis...............................................56 Colour Relationships............................... 107