Author Archive

The Prioritization of Design


  

When we design we have a hierarchy that we are responsible to, which is what drives us to deliver a great design. In this way, there are three groups that we effectively owe the design to. And while most of the community would agree on the three areas that we are beholden to, many of us completely prioritize them differently. Those that we owe the design or are responsible to are the client, the users, and last but certainly not least the design itself, its goals and purpose.

Naturally there are many factors that impact how we tend to prioritize them, but these are the proverbial lord and masters of our projects. The instillers of purpose in our design endeavors. Besides just being points of priority, these areas also tend to play a heavy part in the outcome and overall effectiveness of the design. So today we are going to take a look at these areas of design priority and see if we can determine which is the best hierarchy to work by.


When we design, we should know who is king in our hierarchy.

Now there is also a fourth area that sometimes gets added into this mix that we will take a brief look at as well. So for the purposes of this discussion, the four key areas that we are responsible to for our designs are the client, the users, the design itself, and our reputation (or that of the firm we work for).

Why the Hierarchy Matters?

Whenever we begin a new project there is lots of important information that we must collect in order for our design to end up being effective. There is a reason that this research phase is so vital to the project, it basically sets up the foundation that we are going to be building upon. But even after we have this foundation laid firmly in place, we still have to decide the direction to take the design. This is where the hierarchy begins to factor in.

In order to decide the best course of action, we have to know just who exactly we are building this design for. We have to apply this hierarchy to find our footing, and point us down the right path towards an effective resolution. So it becomes a matter of who we owe this design to that will help us put all of the pieces together in the best possible way.

The Who Leads to the How!

Do not misunderstand, yes design is all about providing solutions. And while so many just look at the problems that they need to address and go from there; having this hierarchy to look to while we begin assessing and addressing said problems can steer us towards much more effective solutions.

There are many who will always come down on the side of the client being at the top of this list, as they are the ones paying the bill. Others see the users as always occupying the top of this design food chain. And it is not to say that either group’s prioritization is incorrect, just that this chain does dictate so much of our course of action.

Whichever group occupies that top spot will certainly determine how we deal with any proverbial roadblocks or barriers we come up against. They will usually steer our problem solving processes as we craft the design. Dictate whether we turn (or even return) to our research to find the way forward, or whether we just consult the client for their input. Or if we just allow our egos to take over and power us through any potential problem areas in the design without any consultation whatsoever.

So the hierarchy does play an important role in the process. But it does mean more than just how we tackle any issues we may arrive at. It shapes the entire project, even if somewhat passively at times. Which is why it is good to have an idea of the sort of hierarchy we are working by.

The Client

When the client is the top priority with your design, the positions of many of the others in the hierarchy are at times, completely subjective. No matter which group falls below them, the top consideration is always given to the client’s wishes. Even when they act in complete contrast with the goals and mission of the design itself. This is pretty much the major flaw in this hierarchical structure. For there are numerous designers working in the field today who will simply cave to the client’s wishes, without even making the case for the other areas that need to be considered and would be impacted by this design decision.

Yes it is true that the client is paying for the final product, but they are also paying for our expertise. And it is a complete disservice to all of these areas of priority if we do not urge the client to allow our expertise to sometimes be the guide. This is also not saying that those who follow any of the other hierarchies will not consider the client or even end up caving to their requests. It is just saying that when the client is the top priority, those who tend to ascribe to this way of design, will often not bother challenging the will of the client. They will just cave and move on.

Where it Leads

This path of design tends to not always end up in the best of places. With compromises made without care of the outcome, but essentially to just get to the end and collect the check; the design’s effectiveness can easily become compromised. If the client decides that they want navigation elements that make moving through the design unclear and difficult for the users, and we allow this breach without attempting to make the client understand why this can hurt the project and their mission, then the fail rate climbs all around. The project’s, as well as our own.

While it is always important to respect the wishes of the client, we should always be giving weight to the other areas of design priority. But when the client leads the hierarchy, this does not often happen. And this is admittedly an easier trap to fall into for the newer, less than confident, or even the over-worked designers. For whatever reason they feel that just biting their tongue and riding it out is better than speaking up and steering the course themselves. This can often not only extend the time-frame you are dealing with, but increase the number of headaches and revisions you end up with in the end.

The Better Fit?

Perhaps for the client, a much better fit in this hierarchy is in one of the secondary spots. While they are still being considered, they are not potentially derailing the design with their (not always as informed) opinions and revisions. So while it is not always easy to do for some, just as for some clients it would not be necessarily a pleasant thing to hear, putting them first or at the top of this list is not always conducive to the best results. And framing it as such should take the sting out of adjusting the client’s position in this hierarchy.

The Users

Another popular way to top off the hierarchy is by placing the users in this highest place of priority. This is followed by many in the community, but once again, is not without its downsides. For the most part, adopting this hierarchy does tend to breed more good than bad, but especially given the temperament of the client it may not always work in our favor. Or the favor of the project for that matter. This seems like a sound route, given that the end users are who is being targeted with this design. But which areas receive priority immediately below it also raises some issues that need to be addressed.

Whichever takes the second place in this design food chain, either the clients or the design itself, will help to further decide how we proceed, but to so much of a lesser degree it seems. And potentially, we can risk losing sight altogether of anything beyond the users and how the design can be crafted around their needs. Given the amount of designers whose entire careers are focused on UI design, it is easy to see where this push for user prioritization comes from. And while there are arguments for and against placing the users atop the list, devotees of this hierarchy are hard to sway from it.

Where it Leads

When this route is opted for, the focus on the users risks becoming too fixed, and other areas begin to suffer. Mainly this user focus can cross the line and confuse the issue of the design’s true purpose. Suddenly our grip on what the design is intended to do slips and the only mission that matters, is delivering the most user friendly experience that we are able to muster. Which looks and sounds good on paper, but in practice can steer us a bit off course with regards to our client’s wishes and the design mission that was meant to be our guide.

This is not to say that the we should abandon our attempts to keep the users in mind, and make the design intuitive and friendly, but that our focus needs to be a bit more flexible when it comes to this groups place in the hierarchy. Now if we were being hired to design a truly exciting and cutting-edge user experience that needed to achieve this and little to nothing else, then having this group atop the hierarchy would be completely justified. But beyond that sort of project coming our way, is there really a need to adopt this hierarchy?

The Better Fit?

When it comes to the users, perhaps they have a better fit outside of this first position. Especially if we risk the confusion of the mission itself. This is not to suggest that consideration of the users needs to be forsaken to satisfy other areas of the design, only that other priorities considered first perhaps would lead to an overall better design that still lands comfortably in the user-friendly realm. This way they stay in our minds, but do not overrun our focus.

The Design Itself

Perhaps one of the best hierarchical leaders in this prioritization equation, is the design itself. The mission and goals that the project needs to achieve to be considered successful and effective are natural measurable benchmarks so why not use them as guideposts throughout. Whenever you encounter any sort of problem in the project, looking to where it needs to end up and working backwards can often lead us to just the solution that we were looking for.

With the clients and users still being held in close consideration, this path seems like the lesser evil, and certainly the route with the highest chances for effective designs. How can the clients argue with the mission and purpose of the design taking priority in this instance? It gives their project the most consideration, not necessarily another group (i.e. users). If it is another group’s opinion that takes priority over theirs, then there are risks of their ego and/or pride becoming threatened. As they believe their opinion should rank highest. This is not at risk with the design taking the lead.

Where it Leads

Here we have a hierarchy that pits the design’s very purpose as the highest priority, which means that the mission never has to take a back seat. Never becomes relegated to a secondary role, when in point of fact, it should always be at the top of this food chain. Any interference with this mission is easily sacrificed in this hierarchical structure, so there doesn’t even have to be much discussion. The lines become very black and white, and if any element crosses them, they automatically lose out.

This is not always a perfect recipe for success, but it certainly does take so much of the hemming and hawing, the guesswork out of it. Now this is also seen as a path where little risks are taken, as most fall back on proven solutions for achieving the goals as laid out in the beginning. But that does not always have to be the case. Just because some see this as an excuse to only play it safe, does not mean that everyone adopting this hierarchy will do the same.

Our Reputation

This is an often unfortunate addition to the hierarchy, but one that gets included sometimes nonetheless. Sometimes our reputations, or those of the firms we work for, become priorities by which we make decisions for the design. Now while it is important to always do our best work, and that may point to the necessity of adding this area of consideration into our top positions, that is rarely the case. And it often does not tend to serve the design’s best interests in the end.

There are some who would argue that naturally if we are letting consideration of our reputation take the lead, then the end results will tend to be reflective of some of our best work. If we go into it keeping our reputation held in such high regard, then how could we turn in anything other than stunning works? But it is not always the destination that matters. Sometimes it is the journey that means much more. This is often one of those cases.

Where it Leads

The main problem with this hierarchical approach is its tendency to make us completely unreasonable and difficult to deal with. When the clients come to us with their concerns, our egos intrude and cause us to dismiss them. After all, our reputation tells us that we know what is best. This is not always a good for the design, for the client, or our reputations. With so much potential for damage, perhaps it’d be best to leave this out of the hierarchy altogether.

The Better Fit?

Our reputations should always be in play, as mentioned before, driving us to perform our best, but they should never become a barrier to the project. Taking rank in our priorities over the regular hierarchy. Keeping our egos in check as we work with our clients will usually be the best thing for our reputations, as well as turning in a fine design that meets its every goal.

In Conclusion

When we look at all of the factors involved, it would seem that perhaps the best hierarchical structure to follow when prioritizing those we are responsible to for the design, would be one like this:

  • #1 – The Design Itself
  • #2 – The Client
  • #3 – The Users

All the while embracing our reputation as a bar that we have set which this new design must meet.

Time for Your Two Cents

What are your opinions when it comes to these hierarchies? How do you prioritize your designs?

(rb)


Photography Inspiration: Color Palettes of Fall


  

Over the summer we put together a couple of photography posts where we created color palettes to accompany each of the pics. With the fall kicking off a sweeping change of nature’s color palette, we thought we would turn our inspirational spotlight once more in this direction. So with this mission in mind, we collected a range of new autumn photographs from some talented artists, and derived color palettes from them.

Welcome to the Color Palettes of Fall! Below are over thirty beautiful photos that have captured nature during this seasonal transition with exclusive color palettes that our readers can use to create any of their autumnal designs. Armed with these natural color palettes, we hope to give our readers more than just an inspirational recharge, we hope they will find this a useful resource as well.

The Pics and Palettes

Lonely Path by iNintendork

three bucks running by gorillameister

597 by beautyinchains89

firebird by celestialwinds

Field by HeavenCondemned

moon over canyon ferry by gorillameister

East of Joseph by austinboothphoto

Endless Fields by Tiffa-Riika

Serenity by iNintendork

Jiuzhaigou – Arrow Bamboo Lake by stinebamse

Autumn by XxDarkColourxX

10.9.11 Panther Mtn by PeteZa88

Coldwarm by Vesperal

Beautiful Fall Day by sgt. slaughter

Colors in Waterfall by lica20

Leafy by xVani

Autumn Leaves by LouisTN

Early Autumn by ElderAmaranthine

cool tree by jasonxyzabc

Harvest Pumpkin by PintabianDreamer1222

Dead Lands by lollolbe

Vibrance by gummehbearlol

Autumn Sunset by DelphiRose

Autumn Panorama by KurgerBurger

Sweet Chestnut by Withabix

The Light Between the Trees by CODsnyper

A Dry Summer Breeze by Pure-Lucidity

Frame of Trees by ImaginingJackie

Sprinkles by PhotoBri25

The Last of Autumn by PhotoBri25

Fall Colors at Cuyuna II by Tarsurion

2011 fall woods 81 by Modernmilk

235 by levinsa

Barnes Creek 2011 by IrishGirl72

(rb)


Designer Spotlight: Interview with MoGraph & Branding Designer Fraser Davidson


  

Today we have a new designer spotlight, where we interview and feature a member of the design and development community. In this installment, we shine that light on talented motion graphic designer and sports branding specialist Fraser Davidson. If you are not familiar with his work, then you are in for quite a treat (and just might find that you have seen some of his designs around the web before.

In his own words, Fraser is:

“An award winning London based, freelance Motion Graphic Designer, Animator and Director. He was previously Head of Motion Graphics at Mainframe, a Motion Graphics, VFX & Animation House.

Graduating from Nottingham Trent University with a BA in Graphic Design, Fraser has six years experience creating advertising, music videos and channel branding across many media. Fraser has had his work featured in a number of publications and has collected three International Promax Awards.

He is the writer and director of the multi-award winning Youtube series ‘The Alternative Rugby Commentary’ and has collaborated on projects with Australian comedian, Tim Minchin. These include animated short, ‘Popesong’ and the BAFTA nominated animation for his nine minute beat poem ‘Storm’. Directed by DC Turner and Produced by Tracy King”.

In Our Words:

Fraser is like a force to be reckoned with. His work absolutely screams creative overflow! With his intense and near flawless design work in the sports field, to his deft, imaginative animation and motion graphics designs that are executed with such precision and skill, Davidson’s portfolio is simply stunning to behold. Below, interspersed throughout the interview are some of Fraser’s skillfully crafted pieces.

The Interview

Thanks again for agreeing and taking the time to answer these questions. So Fraser, what got you first interested in the motion graphics game?

Well, I studied graphic design at University. I found after two years on the course that I didn’t really enjoy the emphasis on what I considered to be the mundane aspects of design. I wasn’t that into the nuances of type layout, grids and high concept stuff. I happened to stumble upon the After Effects section of the course (web design was full) and got sucked in from there. I self taught and spent the rest of the course bending projects to my purposes. I got a job with Mainframe in London shortly after leaving university and was lucky enough to work with some of the best in the business. Mainframe has since spawned several great companies including key components of Man vs Machine, The Found Collective, Beautiful TV and several more.

WRU In Stadium Animation from Fraser Davidson on Vimeo.

This is a project for the Welsh Rugby Union. Fraser was the Live Action Director/ Animator/ Compositor

Branding is a delicate, very involved process, how did you first become interested
in this area of design?

I’m not convinced it is that delicate an art to be honest, and I certainly don’t feel that way about my own work. I enjoy branding as it gives you a chance to be quite gestural with your marks. You only really need one good idea. This helps as I tend to avoid good ideas on the whole.

Your work in branding focuses on the sports field. Is this a niche you came to focus on as you saw a need there, or were you drawn there as a fan? Or was it a bit of both?

Well, I had a fairly brief career in rugby before starting in design. I’ve always been drawn to the contact sports, and since a young age was interested in the symbolism and the visual derivation of logos and team colours. Theres a real tribal nature that comes with sport branding, there are very few other industries in which consumers/ fans feel such a connection with a brand or logo. The idea that you can create something that people wear as a genuine piece of heraldry, as part of a clan or tribe really appeals to me. Team logos are things Ive drawn virtually my whole life, its just that I have only recently started doing it for a job.

With your work in sports identity, what is your process like? How do you typically get started?

Hmm. Its a good question, but not an easy one to answer verbally. I typically have a rough idea for a feeling or stance of a given animal/vegetable/mineral and kind of work into the detail from there. Its important that logos have movement and the feeling that you have captured a particular attitude or emotion. Once you have that sense of purpose locked down, the rest of it is just tweaking really.

You have worked with some really high profile clients and organizations, is there still some dream client (or team) that you would love to have the opportunity to work for?

Yes, in the last year Ive had the opportunity to work with some great clients and organisations on some really exciting projects. Most of these I cant really share at the moment as they wont be in public domain until next season. But there are hopefully going to be some interesting new looks for a few very big NCAA schools. I guess if I were to be greedy, I’d say that an absolute dream job would be to produce a logo for an NFL franchise.

With your work in motion graphics, how would you describe your process there? When getting started what do you do differently than with your branding work?

The two have very little in common to be honest. A typical logo takes 2-3 hours to put together on average, animation projects can last for months. Its much more technically involved. After the initial creative ideas and bursts, a large part of the job relies very heavily on hours of thankless graft. There is a somewhat pervasive idea that computers make animation a) easy and b) fast. Its still neither, if you do it properly.

On the motion graphics front, you also do art direction and animation. Do you prefer to handle all of these various aspects of a project, or do you have a favorite you’d rather focus on?

On the whole, Its far easier to express your own ideas than it is to express someone else’s. I’ve worked on jobs where ‘creative’ people see you as an extension of their own tool kit and not as a creative person in your own right. It can be quite hard to have someone with no design experience sit next to you and have you shift keyframe velocities about. On the whole I like producing every part of an animation. Except voice overs, there’s a total budgetary minefield.

Tim Minchin Storm Trailer from Fraser Davidson on Vimeo.

This is the preview for the animated short Tim Minchin’s The Storm. Fraser was the animator on for this project.

What are some of your go to tools to work with? What software would you essentially be lost without?

As a mograph designer you will need an extensive working knowledge of Illustrator, Photoshop and After Effects. A 3D program helps a great deal also.

What advice would you give to other motion graphic designers just getting started in the field?

The best design advice I ever received is that you are known for what you do. Seems obvious enough, but the number of people I come across whose jobs involve 3D compositing, who would far rather be creating character animation (or vice versa) is crazy. The principle point has a that people will not employ you to create work in areas you do not have form in. If you want to design sports logos, start today, get them out there where folk can see them. If you want to get into character animation, start animating shorts in your spare time. Be prolific, don’t be guarded of your design and don’t hide it away. This applies to anyone, not just beginners.

Zappar Sting from Fraser Davidson on Vimeo.

This is a promotional video for a Zappar Branding Project. Here, Fraser was the Animator and Director

What tips would you offer someone who decides to toss their hat into the branding arena?

Practice I guess? Again, I dont mean to seem facetious, but my answer is really the same as above. Do as much of it as you can and get as much feedback as you can. Very few people get worse at something the more they do it.

What would you say are some of the major developments that have helped shape the motion graphics field since you have been in it? What things would you say are on the horizon for the field?

Its really almost been the perfect industry from my perspective. The internet/ youtube/ the viral and all the other content avenues have meant an explosion in the need for video content. When I first started (only 7 years ago) we were still working predominantly in TV branding, there weren’t web budgets like there are now. The certainties of traditional media have disappeared and a guy in his bedroom with a good desktop computer can make anything from film quality vfx to animated cartoon series with millions of viewers. With all the new technology and means to view video, its hard to see where we’ll be in 2 years time. Obviously the resurgence of 3D in films and TV is yet to reach an apex, but I think augmented reality is going to be the next big unexplored vista.


This is a still from a series of videos for The Alternative Rugby Commentary. Fraser was the Animator/Director/Writer for the majority of the promos in this project.

Speaking of the future, do you have any projects in the works that you can share with our readers?

Motion wise, I have a quite original induction video for a large ad agency that’s getting its final renders while I write this. I recently worked with my friends at The Found Collective on a nice piece for the UK Government promoting Britain. Rumour has it that it was to be viewed by the big man from the White House. And I have a nice personal piece that’s overrun by about a year for the awesome British comedic poet Tim Key. They will hopefully all feature on my website in the next few months. Unfortunately I cant really tell you too much about the College rebranding.

Your work reflects the passion of someone who is always having fun. Is this the case, or are you just really good at making look that way?

Ha. I tend to work in frenetic bursts of good humour I think. I’m quite easily distracted, so I often work on a number of projects at once. Hopefully this keeps them looking fresh and fun.

How would you say designing a logo for a sports team or franchise differs from designing a logo for a regular business? In other words, are sports fans more demanding than your average customer in terms of accepting the design?

People don’t send you hate mail if they don’t like the financial services logo you designed. Companies ‘belong’ to the people who own them and if its a good company, the people that work there. Teams and their logos ‘belong’ to fans. People might wear Nike/ Diesel/ D&G logos because they like the product or associate with the brand. People wear team jerseys for far stronger emotional reasons. They pour far more time and energy into these organisations, the teams are part of who they are. A good team logo should reflect this.

(rb)


The Keys to Organic Designs


  

In the world of design we all tend to have our processes and approaches that rule how we craft our work. This is essential for most of us in the field to have in place. Our own systems that we have spent years honing and developing down to less of an art, and more of a routine. We do this so that we have an order by which we can methodically craft our designs without letting any little things slip through those proverbial cracks. Our processes tend to be a series of steps that help us cover all of our bases. But this can also prove to have a negative impact on our work.

Over time, our design processes begin to take on somewhat of a puzzle feel. The routines dissect the design into different pieces, and each element gets handled on an individual basis by and large. This can leave the various elements feeling disconnected from each other rather than having that uniformity and complementary flow we tend to be going for. This is not to say that the designs will be ineffective or lack any sense of unity, just that there will be some element of clunkiness to it as the elements more fit together like pieces of puzzle than flow together.

But how do we find our way to those more organic designs that come together with this sense of complete unity? Hopefully this post can help. Below is a discussion of tips that one can follow which can lead our designs towards these paths of elevated potential.

The Flow

The main element to working organically when designing is the flow. Having the design come together in this fashion allows for this feel to transfer over into the piece itself. So we need to find this flow and tap into it for the benefit of our design. We need to go with it and not force it, or we risk compromising the free and completely connected organic structure that will make the design stand out and communicate more freely with the viewer. The more this flow is nurtured, the better it will serve the design. And there are a few ways that we can help foster this flow throughout the design process.


Ideally, our work should maintain a constant flow of communication and interaction with the users much like the uninterrupted movement of a stream always rushing towards its goal. Photo by Kevin Wasilin

The communication assist offered by this flow is really one the main benefits that cause designers to focus in on this more organic approach. Given that design is such a communicative artform, any aids we can equip the design with can make the piece that much more effective. With each element within the design having a more natural connection to each other, the entire piece is more likely to communicate the message easier to the viewer. Not to mention more completely. So the importance of this connection throughout the design that links all of the various elements should not be devalued. And the best way to instill it in the work is to let the design flow organically together, do not force any aspect of it.

The Doodle Way

Now many designers swear by the power of the pen and paper for getting the design process underway, but not many of them hype the help it offers in keeping the flow in your work. By starting off on paper, it allows us the overview where we see the design as a whole right from the beginning, instead of jumping onto the computer and taking the design piece by piece. And this powerful means for tapping into the flow and elevating your designs, starts by just sketching.

It is as simple as that. You just doodle your way to the design, so to speak. Let your mind run through the brief points provided by the client as you put pen to paper and let the ink flow freely. Whether it is specifically related to the project or not, just go with it. You might just find you are on the road to discovery.

Off-Topic Tours

Finding the flow is not always as easy as just putting the pen to the page and seeing what comes from it. There are times when we need that inspirational kickstart to get us flowing. Going off-topic can assist us in these efforts. By browsing through galleries of unrelated artistic mediums we can often find our way into that flow that we need. Even if it feels like a waste of time, we have to understand where it can lead us. We could be taking virtual tours of photography portfolios and find that the composition of a particular photo or its color scheme flip that proverbial switch in our minds giving us a rush of ideas for our own design.


Even in the simplest, most unrelated of photos we can stumble onto a trigger that will get the flow going once again. Like in the above photo where a site layout comes forward from the subtle trespasses onto the lightly textured white space of the sky by the trees. Photo by Becka Spence

This approach also gives us somewhat of a creative reset, taking our minds out of the boxes we can find ourselves in when we begin a new project. Our routines tend to keep our minds in a design holding pattern when we get started, and this can be hard for us to break out of. Allowing our creativity to flow freely without being hampered in any way by our usual processes. Unplugging from these routines and venturing off-topic might be the best way to allow our minds to organically find their way to the design we were looking for in the first place.

Sweat the Small Stuff

Sometimes the flow does not find you right away, and with the deadlines looming it may be important to go ahead and get started without exactly being tapped in. Again, forcing the work tends to be a bad idea, though there are times when we do not have a choice and we have to start showing some signs of progress. In these instances, the flow is not necessarily to be written off, but simply tapped into in a different manner. Start by sweating the small stuff. Work with the minor details, the little things that tend to not take much to sort out. As you begin to provide solutions for these more minor details, other larger solutions can begin to blossom and come into focus.

So if we have to force any aspect of the design to get things started in the beginning, then keep it small. As we provide these smaller solutions within the design they may lead us to or even mirror larger ones that we can implement. In this manner, the flow finds us, just not right away. This can be a scary start to the project, especially if we believe it to be indicative of the way the entire project will unfold. However, this is not always a recipe for truly organic work as there may be elements that were not as much inspired as they were demanded. Which actually takes us to our next friend of the flow, the evolution.

Allow the Evolution

It is easy when we are feeling the pressure, to create certain elements for the design and then set them aside as they are completed. And given that we can tend to let the pressure put us in a sort of ‘out of sight, out of mind’ mental state, once we have these elements handled, we effectively forget about them. Not saying that we forget they are finished and we end up repeating ourselves, but more that we get to a place where they are no longer up for consideration. We have those solutions in place, and we refuse to revisit them for fear of wasting time that we do not feel we have. This is a huge disservice to the design and to the flow.


We allow ourselves to get into that place where we never look back, or return to the elements we consider done. But as other elements are introduced and the piece evolves we must turn back and examine how this evolution impacts what came before it. Photo by Mykl Roventine

When we are attempting to work organically, we have to let the flow evolve the design in whatever ways it sees fit as the process is carried out. Even if the solutions have already been put into place, if we are working on another aspect of the design and suddenly feel like we need to revisit those that we deemed done, then we must. Especially if they were smaller elements and they were forced in order to get things flowing in the first place. But no matter the case, if the flow that you are feeling tempts you towards this evolution of any element you need to listen to it and allow it to happen. Otherwise you are risking the effectiveness of the flow, and the organic feel of your work.

Outside In or Inside Out

If we view the design during our process as more of a connect the dots and less of a puzzle that we must piece together, then we are more likely to connect with the organic nature of the work. And like with a connect the dots picture, the image is there we just have to connect all of the various elements together to really bring the piece into focus. Meanwhile if we are looking at it as a puzzle we begin to take it in pieces, rather than viewing the entire piece as a whole. We begin trying to identify smaller images and identifiable aspects that we can use to get everything placed. With a connect the dots image we tend to start at either end and work our way towards the other. And to get a more organic design, this is how we should approach our work.

Start at one end and let the image come into view as each connection is made, so to speak. To do this simply start working from the outside of the design to the inside, or even vice versa. Let the design naturally progress through the process smoothly, without jumping around from one area to the next. This is another instance where the pen and paper approach wins out. It gives us that ability to work on the design as a drawing, which can prove invaluable here. This will also tend to create those seemless connections between each of the elements that really brings the organic nature of the design home.

A Matter of Time

As we have already kind of touched on, one of the biggest barriers to being able to allow the designs to happen organically is time. In more ways than one, this enemy of organic designs can rob you of your flow and add stress enough to stifle your creativity. Forcing our hands, and unfortunately, all too often, our designs as well. So with this proverbial wild card hanging in the air over our heads, we have to find a way to keep time on our side throughout the design process for the sake of the project and our reputations. And there are a couple of ways in which we can do this.

Schedule With Care

First and foremost, when we can help it, we need to schedule with care. Now we do not always have the benefit of being able to set the deadlines for a project based on our own variables and preferences. Generally the client has a timetable of their own that they are dealing with as well which must be taken into account. So when it comes to the project deadlines there is often only so much we can do to ensure that we allow for ample time and room for the design to organically grow the way we would like. This is not to say that the timetables are totally out of our hands, as we can easily pass on a job if we feel the deadline is too constrictive; and some clients will grant us more time if we say it is needed.


If we get a bit over-eager with our scheduling, then we may find that we are juggling too many projects at once for the organic route to be taken on any one of them. Photo by liryon

One thing that we should never do is simply ignore the timetables the client introduces and decide that we are just going to get it done when it happens. Plan ahead and seriously consider how much time you feel the project will take to complete organically before you commit. One way to help gauge the necessary time you will need for a more organic design is to consider the amount of inspiration that you get when the project is presented. If you immediately feel a connection to the project and the ideas are sparking from the jump, then it might be a safe bet that the project will run smoothly and quickly. If you have no ideas or very little inspiration strike from the outset, then chances are you will need more time to connect and make the design happen in an organic fashion. So plan for it.

Another scheduling concern that can work against us in this organic arena is more the result of overextending or committing ourselves. Do not misunderstand, it is certainly a good idea and sound practice to have more than one iron in the fire, so to speak. This way we can bounce back and forth between designs when we are not necessarily feeling inspired towards a particular one. However, we need to be careful not to take on too much so that our schedule becomes overloaded and time is no longer on our side or working for us. Suddenly it is working against us and that is not good for the projects or anyone involved.

Keep Your Eyes Off the Clock

Another way that time can impact our ability to organically grow our designs is by effectively psyching us out. When punching a clock it is easy to get sidetracked by the clock on the wall if we are not completely inspired, or worse, phoning it in. But if we are wanting to create a more naturally flowing and communicative design, then we are going to have to keep our eyes far from the face of the clock. This is something a given. For if we are keeping one eye on the clock while we are designing, then it holds true that we cannot be fully focused on the task before us. This consistent time-check sidetrack completely breaks our concentration, even if it is for just a moment, and that is unacceptable for this organic approach. It is simply not conducive to the flow.


Time is never your friend in the organic design process when you are constantly keeping one eye on the clock, and dividing your focus from the project. Photo by Dave Stokes

If we need to be aware of the time while we are designing so that we do not miss a meeting or anything of that nature, we can easily set an alarm for ourselves and then go ahead and dive right on in to the project. We do not need to be so focused on the clock then as the alarm will alert us as to the event that begs our attention. Our minds can be completely given over to the project at hand, and the clock can essentially keep an eye out for us.

How to Keep it Organic After Feedback

Now it is one thing to be able to craft the design in a completely organic fashion, but if you are working for a client then keeping it that way is something else entirely. This is a sad fact of the design field, that clients tell us what to keep and what to cut (or even worse for the sake of the organic flow and nature of the design, what to add). And it is certainly within their right to do so. But in the interest of keeping that organic harmony within the design, the client’s wishes are not always going to work for us. So that raises a couple of questions. How do we ensure it stays organic after their demanded cuts? Or how can we implement what they said organically?

Duck and Cover

One way that designers have found to somewhat guarantee that the necessary elements and thereby communication of the piece remains intact after the cuts have been handed down, is to strategically employ ducks throughout. This simply means to add obvious purposeful elements or additions to the design that are intended to draw the client’s eyes for cuts, so that the organics pretty much stay in play.

This is not always looked on favorably, but if we are concerned that the client may cut some vital solution from the design thus compromising its effectiveness, and we feel they will not be swayed by our arguments then this may be the route to opt for. This way we can at least offer some coverage to those aspects of the design we feel it would not be the same without.

Look for Links

The often more difficult hurdle that the feedback stage can place in our paths, especially with regards to maintaining our organically designed structure, comes with the call for additions to be made. Given that so much effort was put in to having the piece come together as organically as possible, any additions that are asked for could potentially compromise the integrity of the organic flow of the piece.

So when implementing feedback, you may want to try and find links to other elements or aspects that are already present in the design that these additions can be tied to so you keep that organic feel. This way the additions are woven into the organic fabric, and they do not feel like they are out of place or merely afterthoughts. Or at least, that is the hope.

Fill the Gaps

Another problem that can be created by this stage in the process, are the gaping holes that could potentially be left behind in the wake of it. If any cuts are demanded that leave the design feeling somewhat disconnected in areas and not as organic as it was, this needs to be addressed. These gaps can effectively compromise the design’s ability to communicate as it was intended, and as such, they must be tackled. This can be difficult to do, but if the gaps cannot be patched together and still convey what the design must, then we owe it to the project to attempt to repair the breaches.


If we want to maintain that organic composition and flow of communication in the design then we have to find ways to bridge any of these gaps rather than leaving them as somewhat of an impasse in the design. Photo by Wouter

When it comes to these gaps left by the client’s cuts, we need to try and fill them as unobtrusively as possible so as to not draw attention to the ‘fillers’. Lest they end up on the chopping block as well once the client has a look at the revisions. So the more we can bring these gap repairs in under the radar the better. If we feel like masking them, we can opt to add a duck or two in the revision as well to more safeguard those additions we included for the sake of the design and its overall effectiveness.

In the End

Hopefully this post proved helpful in finding ways to grow more organic designs by approaching and viewing them as a whole right from the start. And for allowing the designs to happen with that flow of inspired effort, rather than forcing it via that stressed and breathless rush towards a deadline. In the end, there are other things that we can do to ensure more organic growth for our designs, it’s just that we tend to have to find ways that work for us on a more individual basis to get there. What ways have you found work for you to allow your designs to grow in a more organic manner? Let us know in the comments section below.

(rb)


Showcase of Fabulous Underwater Photography


  

When in search of inspiration, one recipe that tends to always produce successful results is to look at the world around you in a different light, so to speak. This flipped perspective can often lead our thinking and creative processes out of the box, as we see things differently than we normally would. Photographers are fantastic at doing this with a simple location change. By taking their subjects and submerging them in water, or seeking them out under the sea, photographers make some truly stunning captures.

Welcome to our inspirational showcase of underwater photography. These photographers provide a look at a world that we tend to not have access to, and they breathe new perspective into areas we regularly turn to for inspiration, all by taking their lens beneath the surface of the water. We hope you enjoy these often breathtaking and emotive captures.

The Submerged

Dancing Underwater by kenvinpinardy

Underwater 7 by RyanlinOnyx

Underwater by teresa-lynn

Underwater Romance by SonjaMY

UnderWater by Adripics

Underwater Love by Benegesseritt

Underwater Rose 1 by Gimp-artist

Underwater Fashion Shoot 3 by CalciumBirdy

Underwater Portrait 9 by pinuprock

Underwater 2 by foto-agencja

Alice by Bethem

Pearl Shell by borda

.UnderWater. by lectral

8 Lit and in Love by Kai-Tea

Underwater View by Vamaena

Underwater 1 by Momokitty1992

W by adityapudjo

Underwater Reach by Senshisoldier

The Perfect Pose by adityapudjo

Underwater by gemmylostx3

Underwater by foto-agencja

Spring Shake by naked-in-the-rain

Under the Sea

The World Underwater by xthumbtakx

Underwater Dream by nunovix

Jellyfish Munch by Kimbell

Underwater World by nelersa

Underwater in Egypt by Ronald Eliassen Hole

Lagoon, Underwater, Fiji 4 by Derek Keats

Underwater by Oliver Ruhm

Underwater by hosszuka

My Underwater Gardens by VirtualWords

Underwater Beauty by jaris1425

Hawaiian Turtle by manaphoto

The Penguin Dip by SubterfugeMalaises

Galapagos Islands Underwater 3 by Ruth-Yang

Underwater by dimmywho

Underwater by redtrain66

Leafy Sea Dragon by $ewm

Underwater 2 by h4nn4h

(rb)


  •   
  • Copyright © 1996-2010 BlogmyQuery - BMQ. All rights reserved.
    iDream theme by Templates Next | Powered by WordPress