This document provides guidance on conceptualizing and developing visual solutions to communication problems. It outlines a process involving defining the problem, generating potential solutions, refining ideas, and experimenting with materials. Key steps include making lists of relevant images, sketching ideas, researching sources, narrowing options, and considering form and function. The document emphasizes keeping a sketchbook, revising work, and using critique to improve ideas.

1. conceptualizing

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. 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. Example: How will you show your symbol in
a unique and original way?

5. Thinking: Form and Function
“Form Follows Function”
Purpose defines the look and shape of an object,
and the efficiency should be obvious.

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. 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. Doing: Thinking with Materials
Doing starts with visual
experimentation….”thinking
with the materials.”

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. The
Sketchbook

11. The
Sketchbook

12. The
Sketchbook

13. The
Sketchbook

14. The
Sketchbook

15. The
Sketchbook

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. In the Vernacular
• When an image
becomes commonly
known through frequent
reproduction, for
instance...
• How might an artist play
with this concept?

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. Process

20. Process

21. Process

22. Process

23. Process

24. Process

25. Thumbnails

26. Thumbnails

28. Process

29. Process

30. CONSIDER USING GRAPH PAPER IF YOU HAVE DIFFICULTY DRAWING

32. THE GRAPH MAKES COMPLES ICONOGRAPHY EASIER

34. Roughs (done to size or ½ size)

35. Roughs

36. Roughs

37. Roughs

42. Roughs created in Illustrator

43. Roughs created in Illustrator

44. Roughs created in Illustrator

45. Roughs created in Illustrator

46. Roughs created in Illustrator

47. Roughs created in Illustrator

48. Roughs created in Illustrator

49. Roughs created in Photoshop

50. Roughs created in Photoshop

51. Roughs created in Photoshop

52. Roughs created
in Photoshop

53. Roughs created in InDesign

54. Roughs created in InDesign

55. Roughs created in InDesign

56. Sketch & Scan

57. 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

58. 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.