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THE DESIGN

PROCESS
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THE DESIGN PROCESS
Situation/Brief
Research
Thumbnails
Roughs
Comprehensives
Presentation
Ready for Press
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SITUATION/BRIEF
The Problem Statement
Design Brief
//example
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RESEARCH
Selling a design to client will be more
effective and easier when it is supported
by research and justified from a
perspective the client will understand.
What are the problem parameters?
The Audience
Constraints
Format
Budget
Time
Goal of project
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Research
Gather and study related materials
Information gathering
Visual research
What has been done before
What is being created locally and nationally for this type of design
situation
Study design annuals, periodicals and Websites
Search for creative approach to design problem
Build a visual and conceptual vocabulary for the situation
Dictionary definition of the topic at hand
For additional background, consult an encyclopaedia, Internet
Make a word association list of everything you can think of that is
associated with the topic

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RESEARCH
Save personally significant visuals and collectibles
Approach a design as both prose and poetry
Be logical and intuitive

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RESEARCH

Build a file
Interesting materials
Previous projects
Samples for ideas
Organise into different
categories/ chronological
order
Build on your visual
vocabulary (to build new
designs) just like word
vocabulary for authors




Subscribe to Graphic Design
Magazines
Online websites
Never copy other designers solution
Lifting isolated parts from a
someones else work will not give a
unified design

However, looking at how someone
else solved a particular problem is
part of your education
Designers are expected to build on
the work of others
Do not create from vacuum
We are influenced by good and bad
design

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THUMBNAILS
Exploration of alternative solutions
Ideas sketches to provide visual evidence of the:
Thinking
Searching leads to final solutions
Sorting
Exercising the mind with thumbnail sketches is like exercising
any muscle the more you exercise, the more powerful it gets
The more you work to develop ideas through small,
preliminary sketches the richer will be the range of
solutions available to choose from for the design
Never to be short-cut it determines the strength of the final
design


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THUMBNAILS
Demonstrate
Thinking (flexible, tenacious visual thinking)
Experimentation
Growth
Keep the thumbnails the ideas in them can be used in other
projects
Thumbnails are usually small drawings they are not meant
to be fast and not detailed
5 x 8 cm drawn in proportion to the dimensions of the
finished piece
Fill a sheet of paper with ideas

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THUMBNAILS
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THUMBNAILS
Never reject an idea sketch it on the go
Work through the idea with pencil/mouse from every
perspective possible
Take one good idea and make several variations on it


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ROUGH
After exploration of range of ideas
Best thumbnails are selected for refinement
Can be presented to other designers, instructors for discussion
These refined selected thumbnails (roughs) are presented to
an art director and to clients for review
Roughs can undergo redefining and rethinking
Thumbnail process may begin all over again
Full size roughs can be done on the computer
To test whether the original idea works on a larger scale
Gives the opportunity to work out small problem areas that
was not dealt with during thumbnail stage
Type style, shapes, colour can be redefined


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ROUGH
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COMPREHENSIVES/ COMP
Piece of art presented to client for final approval
Based on rough but very carefully done
Consult with art directors, editors, instructor before choosing the
rough idea to refine for your final solution
Client can judge the design solution from the comp, because it
looks much like the finished piece
Comp is usually computer generated, with all components
assembled and exactly positioned
Include diverse elements: photographs, computer generated
type, electronic illustrations,

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COMP
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COMP AND THUMNAILS
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COMP
Comps take different forms: depends on media for which they are
intended
TV, film ideas are presented as storyboards
3D comp for package design
Website can be presented to client with
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