Posts Tagged ‘Creativity’

We are pleased to present below all posts tagged with ‘Creativity’.

Part Two Design Principles: Space And The Figure-Ground Relationship

If you see graphic design as a process of arranging shapes on a canvas, then you’re only seeing half of what you work with. The negative space of the canvas is just as important as the positive elements that we place on the canvas.

Design Principles: Space And The Figure-Ground Relationship

Design is an arrangement of both shapes and space. To work more effectively with space, you must first become aware of it and learn to see it — learn to see the shapes that space forms and how space communicates. This is second part of a series on design principles for beginners. The first part covered an introduction to gestalt; the rest of the series (including this post) will build on those gestalt principles and show how many of the fundamental principles we work with as designers have their origin there.

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Part One Design Principles: Visual Perception And The Principles Of Gestalt

This article is part of a new series about design principles that can serve both as a refresher for seasoned designers and reference for newcomers to the industry. Hopefully, the content covered here isn't too obvious and self-explanatory, but it's always great to have a nice quick refresher every now and again, isn't it? — Ed.

Design Principles: Visual Perception And The Principles Of Gestalt

In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off.

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A Modern Designer’s Canvas

When I gave this talk a title, I called it “A Modern Designer’s Canvas,” because originally I was going to talk about the tools and processes that I use when I’m designing. But being a good designer or developer is about so much more than knowing how to use tools. It’s also about the way we approach what we do and our attitude towards it.

A Modern Designer’s Canvas

I’m going to talk about four lessons that can help us do what we do better. These have been important to me, especially over the last challenging few years, when how we make websites has changed so much. They’re lessons that I learned a long time ago, at art school:

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Smashing Book #4: Behind The Scenes

If you’re a graphic designer, you will often have to work with off-the-shelf material created by others — for instance, combining ready-to-use fonts with images from a photographer or stock website. Also, you’ll often have to follow the branding already developed by someone else.

Smashing Book #4: Behind The Scenes

It’s OK; it’s a part of the job, and you shouldn’t be bothered by it. But the part of a project that almost every graphic designer likes and is proud of the most is something that you can do from scratch, something that you have control over and can sign off on confidently: illustration.

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Hand-Sketching: Things You Didn’t Know Your Doodles Could Accomplish

Is sketching by hand more than a nostalgic activity? How is paper any different from a screen, especially when hardware is becoming more and more sophisticated? Is improving your hand-sketching skills really worthwhile when high-tech software is advancing every day?

Hand-Sketching: Things You Didn't Know Your Doodles Could Accomplish

Everyone seems to have a strong opinion about hand-sketching these days. Some absolutely hate the thought of putting their ideas to paper because they can’t draw to save their lives. Others couldn’t imagine their creativity surviving without it. Love it or hate it, there’s much more to a sketchbook than old-school charm.

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On Creative Leadership

I have spent nearly a decade experimenting with a single goal in mind: to create scalable, predictably insightful, inspirational environments. I have led creative teams in these environments, and I’m currently doing it as the Director of Web Interface and Development at Astonish (a digital marketing company in Rhode Island, US).

On Creative Leadership

It hasn’t been easy, because forcing inspiration is impossible. You have to use finesse and let it come to you. What follows is what I’ve found to help my team and me harness inspiration effectively.

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Communicating Complex Ideas With Comics

Comics are known to be one of the most powerful communication tools, and are a unique way to communicate — using both image and text to effectively demonstrate time, function, and emotion.

Communicating Complex Ideas With Comics

Today's article is an excerpt from Kevin Cheng's "See What I Mean" — a book that walks you step by step through the process of using comics to communicate, and providing examples from industry leaders who have already adopted this method. Enjoy!

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Creating Exciting And Unusual Visual Hierarchies

Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access.

Creating Exciting And Unusual Visual Hierarchies With Typography

Careful control of visual hierarchy is a key aspect of the design decisions we have to consider. In this article, we will look at how frequently type needs to be broken down into different levels, such as topic, importance and tone of voice.

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Typography Carved In Stone

Every name here is a tragic story of loss and heartbreak. The Garda Memorial Garden, or Gairdín Cuimhneacháin an Gharda Síochána, is located in the heart of Dublin city. This memorial is a contemplative garden with large stone plinths and a lot of names and numbers. The list of names, this “roll of honor,” records individual police officers (gardaí) who have lost their lives violently and tragically in the line of duty since the formation of the Irish state in 1921.

Carved In Stone

This article offers insight into the creative thought processes I followed in designing a typographic solution for this memorial. I’ll discuss my choice of typeface, my detailed layout, the size of type, the materials, the process of engraving, and leaving open the possibility to add names in the future. My objective was to keep a sense of visual harmony throughout the design, while aiming for a certain consistency in the future engraving of names, regardless of language.

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Changing Perspective: A New Look At Old Problems

There is an old story of blind men and an elephant. The blind men all meet and are asked to describe the elephant. One says that an elephant is long and skinny like a snake. The other says that the first doesn’t know what he is talking about and says an elephant is like the trunk of a tree, round and thick. The third says they are both wrong, that an elephant is wide and circular like a giant disc.

Changing Perspective: A New Look At Old Problems

In some versions, they stop talking, start listening and collaborate to “see” the full elephant. When a sighted man walks by and sees the elephant, they also learn they are blind. It doesn’t take us very long to figure out that each of the men is talking about a different part of the elephant (trunk, leg and ear, respectively). The men are blind, so they fail to take in the whole elephant. Because their experience was limited to a certain part of the elephant, they assumed that the elephant was the part they could see. One could only feel that the elephant was a trunk, so he thought it was like a snake.

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