E. H. Butler Library at Buffalo State CollegeDigital Commons at Buffalo State

Creative Studies Graduate Student Master's Projects International Center for Studies in Creativity

8-2011

Creating Visual Solutions: Using Creative ProblemSolving Techniques in Graphic DesignDeanna L. Clohessyclohdl50@mail.buffalostate.edu

AdvisorFirst ReaderJon Michael FoxSecond ReaderJohn CabraThird ReaderDepartment Chair

Follow this and additional works at: http://digitalcommons.buffalostate.edu/creativeprojects

Recommended CitationClohessy, Deanna L., "Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design" (2011). CreativeStudies Graduate Student Master's Projects. Paper 143.

i

Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design

by

Deanna L. Clohessy

An Abstract of a Project in Creative Studies

Submitted in Partial Fulfillment of the Requirements

for the Degree of

Master of Science

August 2011

Buffalo State College State University of New York

Department of Creative Studies

ii

ABSTRACTOFPROJECT

UsingCreativeProblemSolvinginaGraphicDesignContext

ThisprojectexaminesthewaysthatCreativeProblemSolving(CPS)techniquescanbe

usedinpartorinwholetosolvevisualproblemsinthedesignprocess.Theproject

researchescreativeprocessandvariousmethodsemployedwithin,introducesnewor

modifiedapproachestoCPSindesign,anddemonstratestheapplicationofCPSin

designthroughacasestudyinvolvingthedevelopmentofanidentitysystemforalocal

business.

________________________________________________DeannaL.Clohessy

________________________________________________

Date

iii

Buffalo State College State University of New York

Department of Creative Studies

Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design

A Project in Creative Studies

by

Deanna L. Clohessy

Submitted in Partial Fulfillment of the Requirements

for the Degree of

Master of Science

August 2011

iv

Buffalo State College State University of New York

Department of Creative Studies

Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design

by

Deanna L. Clohessy

A Project in Creative Studies

Submitted in Partial Fulfillment of the Requirements

for the Degree of

Master of Science

August 2011

DatesofApproval:

___________________________________________________________________________JonM.Fox‐ProjectAdviser

______________________ ____________________________________________________DeannaL.Clohessy‐Candidate

v

Acknowledgments

Many,manythanksto:

⋅Myfamilyforallyoursupportandencouragement,especiallymysisterColleenforthe

swiftkickinthepantsandforinsistingthatIstopwhiningandfollowmydream.

⋅AllthewonderfulpeopleintheBuffaloStateCommunicationDesigndepartment,most

notablyProfessorStanFriesenforprovidinggreattutelage,advisement,

encouragement,andanimalcrackersthroughoutthejourneytomyBFA,andforthe

continuedsupportasIcontinuetogrowwithinmycareerasadesigner.

⋅MyprofessorsattheInternationalCenterforStudiesinCreativity.Eachofyouhas

touchedmylifeinsuchunique,profoundways,itwouldbeimpossibletolistthemall.

⋅Allmyfriends,forhavingmyback,distractingmewhenIneededabreak,andbeingso

understandingwhenIdisappearedundertheworkload.IhopeyouknowhowmuchI

appreciateandloveallofyou.Evenyou,GP.Extra‐specialthankstoJenniferMcDougall

andChristopherTreacyforDECADESofloveandfriendshipaboveandbeyond.

⋅AmandaMatyjasCrottyandKen‐TonMealsonWheels,forgivingmetheopportunity

toserveyourorganization’sneedsandforbeingsuchagraciousclient.

⋅Mycoworkersat7799whoputupwithmyfreneticmoodsandmyfatigue‐addled

brain,andweresowillingtoaccommodatemyschedulechangesandweirdavailability.

⋅Andfinally,auniverseofthankstoalltheinfluentialauthors,designers,musicians,

scholars,andartistswhoseworkhasmotivated,educated,inspired,andenlightenedme

throughoutthisprojectandsomanyothers.

Toallofyou‐mygratitudeisimmeasurable.

vi

TABLEOFCONTENTS

Abstract..................................................................................................................................................................ii

Signaturepage....................................................................................................................................................iv

Acknowledgments .............................................................................................................................................v

I.INTRODUCTION ...........................................................................................................................1

GraphicDesign............................................................................................................................1

IdentityDesign ...........................................................................................................................................3

II.CASESTUDY:KEN­TONMEALSONWHEELS .....................................................................4

Clientmeetingandinterview.................................................................................................5

Client’sgoalstatement.........................................................................................................................11

Thecreativeprocess.............................................................................................................. 11

Liststorming:Alineartool ...................................................................................................................14

Mindmapping:Theroundaboutway ...............................................................................................14

Tothedrawingboard............................................................................................................................17

Convergingonaconcept ......................................................................................................................19

Revisionroundone .................................................................................................................................19

Revisionroundtwo:UsingPairedComparisonAnalysis..........................................................20

Applyingthedesign ................................................................................................................ 22

III.CONCLUSION:LESSONSANDOBSERVATIONS.............................................................. 23

REFERENCES ....................................................................................................................................................26

APPENDICES .....................................................................................................................................................27

1

INTRODUCTION

GraphicDesign

Whatdographicdesignersdo?Theobviousanswer,ofcourse,isthattheyengagein

thepracticeofgraphicdesign.Fromtheproductmanufacturer’slogotothepackageit

comesintotheadvertisingcampaignpromotingit–agraphicdesignerisbehindallof

it.Butwhatdoesthismean,really?Wheredodesigners’ideascomefrom?Wheredo

theyfindtheirinspiration?Whatisthecreativeprocesstheygothrough?Whattools

dotheyuse?Howdotheygetfromthefirstconcepttothefinishedresult?Andwhat

exactlyisgraphicdesign?

In1995,TheInternationalCouncilofGraphicDesignAssociates(ICOGRADA)defined

graphicdesignas“anintellectual,technical,andcreativeactivityconcernednotsimply

withtheproductionofimagesbutwiththeanalysis,organizationandmethodsof

presentationofvisualsolutionstocommunicationproblems,”anddefinedthetaskof

thegraphicdesigneras“toprovidetherightanswertovisualcommunicationproblems

ofeverykindineverysectorofsociety”(www.gdc.net).Thegeneralconsensusremains

centeredononefundamentalfunction:graphicdesignersareproblemsolvers.

Itismorethansimplyputtingpentopaper(ormousetodesk,orstylustotablet,asit

were)andcomingupwithafancy,eye‐catchingdesign.Thisisnotamatterofcreating

asingularpieceofartwork,a“oneanddone”kindofproject.Thegraphicdesigneris

presentednotsimplywiththetaskofcreatingsomethingattractivetolookat,butis

ratherpresentedwithavisualproblemthatneedssolvingonmultiplelevels.The

designerisexpectedtolookattheproblemand,throughthecreativeprocessand

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problemsolving,arriveatacommunicativevisualsolutionthatworksnotjustforthe

client,butfortheclient’saudienceaswell.

Designerscreate,choose,andorganizetheseelements—typography,images,andtheso‐called“whitespace”aroundthem—tocommunicateamessage.Graphicdesignisapartofyourdailylife.FromhumblethingslikegumwrapperstohugethingslikebillboardstotheT‐shirtyou’rewearing,graphicdesigninforms,persuades,organizes,stimulates,locates,identifies,attractsattentionandprovidespleasure(Poggenpohl,1993,p.1).

Carter,Day,andMeggs(2007)identifythedesignprocessas“asequenceofeventsthat

beginassoonasthedesignertakesonaproblem,”notingthatthe“problem‐solving

processisajourneythatrequirescourageandpatienceandconfidence”(p.201).The

burdentypicallyplacedonagraphicdesignerisnotjusttosolvetheproblemforthe

client,butalsotoconvincetheclientthatthesolutionistherightoneforthem,their

company,ortheirproduct.Sometimesaclientwillhaveaveryspecificideaofwhat

theyhaveinmind.Othertimestheyhaveabsolutelynoideainwhatdirectionthey

wanttohead.Itfallstothedesignertopresentthesolutiontotheclientinsuchaway

thatthedesigniswellreceivedandcontextuallyappropriate.Creativityismostoften

definedasnoveltythatisuseful.Whenconsideringthefunctionandpurposeofgraphic

designasIjustdescribed,thedefinitionofcreativitycanmostassuredlybeappliedto

that.Atitsbaselevel,designperformsafunction.Gooddesignmustperformafunction

andatthesametimebenovel,settingitselfaboveandapartfromothers.Atechnically

soundbut“cookiecutter”designisnotnovel;adistinctivedesignthatlackstechnical

meritisnotuseful.

JerzyKaro(1975)identifiedtwelvemethodsofapproachingraphicdesign:

allegorical,direct,dramatic,emotive,illustrative,impact,implied,symbolic,

typographical,unusual,whimsical,orwordless.Theymayalso,whereappropriate,

3

combineanyofthemethodstosuittheneedsoftheclient,butitisultimatelyuptothe

designertopossessthe“skillandabilitytotranslatethatnewimageorlanguageintoa

visualform,tocommunicateit,andtoensureitsacceptancebytherelevantsectorof

thecommunity”(p.10).

Manyquestionsareasked,manyvariablesareconsidered,manychallengesare

statedbeforethedesignerevenbeginsthephysicalprocessofcreatingthedesign,and

theprocesscanbenefitgreatlyfromseveralCreativeProblemSolving(CPS)tools.

NaturallyeveryCPStoolisnotappropriateorrelevant,andinsomeinstancesonly

certainelementsofparticulartoolsmaybeofuse.Sometoolsarebestusedinagroup

setting,whileothersmaybeusedappropriatelybyanindividual.

IdentityDesign

Oneofthemanyservicesagraphicdesignermayofferisidentitydesign.The

elementsthatmakeupacorporateidentityarewhatanorganizationwilluseto

establishanddifferentiateitselffromotherorganizations.Identityiscrucialtoan

organization’ssuccess,anditisthegraphicdesigner’sjobtovisuallycommunicatethe

organization’sdesiredmessageandprojectedimageaspowerfullyandeffectivelyas

possible.Thinkaboutsomeofthemostrecognizablebrandsandwhatyouassociate

withthem.WhatdoyouthinkwhenyouseetheGoldenArchesofMcDonalds,thered

andwhite“wave”patternofCoca‐Cola,ortheNike“swoosh?”Theseareallexamplesof

successfulidentitydesign;recognizedandimmediatelyidentifiabletheworldover,they

carrywithinthevisualimageaproduct,aservice,amissionstatement,anda

reputation.

4

However,anorganizationdoesn’tneedtobeamulti‐billiondollarworldwide

corporationtobenefitfromakeenlydevelopedandwell‐executedidentitydesign.Even

thesmallestcompaniesneedidentitiesthatwillmakethemrecognizableandwill

properlycommunicatewhotheyareandwhattheyareabout.Andasthefollowing

casestudywillshow,CPStechniquesarehighlyeffectiveintheidentitydesignprocess.

CASESTUDY:KEN­TONMEALSONWHEELS

WhenAmandaCrotty,theExecutiveDirectoroftheMealsonWheelsfranchiseinthe

Kenmore‐Tonawandaarea(mostoftencolloquiallyabbreviatedas“Ken‐Ton”),

approachedmefordesignadviceontheirnewlogo,Iwasmorethanhappytooffermy

services.Theyhadcomeupwithsomething,buttheywerenotsureitreallyfitthe

imagetheywerehopingtoproject.WithoutknowingtoomuchabouttheMealson

Wheelsorganization,Iaskedhertomeetwithmeandinthemeantimesendmewhat

theyhad.

Thefirststepincreatinganorganization’sidentityistodeveloptheanchorofthe

identity,thelogo.LeslieCabarga(2004)definesalogoas“aspecificdesignwithunique

characteristicsmadeasacorporate‘signature’”(p.12)andliststhreebasicrulesfor

creatingone:“Alogoshouldbe(1)Intelligible:Neverconfuseapotentialcustomer.(2)

Unique:Makeitdifferentfromotherlogos,avoidtrendiness.(3)Compelling:Thedesign

shouldprovokefurtherinvestigation”(p.12).Thedesignermustconsiderallaspectsof

aclient’sneedswhendevelopingtheconcept,andturnthoseneedsintoaviableand

workablevisualsolution.

5

Uponfirstlookingattheexistinglogo(Figure1),Isawtheconceptualintention.The

clientwasdefinitelytryingtoconveymotionandfood,usingthecircleasavisual

analogy,“acomparisonbasedonsimilaritiesorparallelqualities”(Landa,2004,p.67),

toindicatebothaplateandawheel.Whiletheconceptwasgoodandmostcertainly

clearinitsobjective,therewereseveraldesignimprovementstobemadethatIcould

see.However,intheinterestofdeferringjudgmentandneedingmoreinformation,Iset

thelogoasideinmyclientfileandoptedtonotattemptanyimmediatemodifications.I

hadideas,butIwouldwaituntilaftermeetingwiththeclienttostarttheprocess.

Figure1.Theexistingclientlogoasitwaspresentedtome.

Clientmeetingandinterview

BeforemeetingwithMs.Crotty,IdecidedthattheIdentifyingtheGoal,Wish,or

ChallengestepwithintheExploretheChallengestageofthePlainLanguageVersionof

CPS(Figure2)wouldbemyprimarylaunchingpointintheprocess.Iknewthat

Amandahadafewspecificchallengesinmind,butinordertoproperlydevelopa

graphicidentityforKen‐TonMealsonWheels,Ifirstneededtoknowsomebackground

information.ImetwithAmandaoneafternoon,armedwithmynotebook,my

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sketchbook,andthefirststepinthePlainLanguageVersionofCPS,theClientInterview

sheet.DuringtheinitialmeetingwediscussedthehistoryofKen‐TonMealsonWheels,

whattheorganizationdoes,andwhattheirbiggestchallengesareintermsoftheir

currentidentity.

Figure2.ThePlainLanguageVersionofCPS.Inthiscasewearestartingwiththe

Identifygoal,wish,orchallengestepwithintheExploretheChallengestage.

CrottywasrelativelyforthrightinexpressingwhatitwasthatKen‐TonMealson

Wheelsneeded.MealsonWheelsisavolunteer‐basedorganizationthatprovides

deliveredmealstoelderlyandhomeboundresidentsinthecommunity.Themain

prioritywasdevelopinganidentitythatwouldprojecttheirdesiredimageforpurposes

Ex

plore the Challenge Generate Ideas

Prepare for Action

Gather Data

Clarify the Problem

Generate manyideas

Select & Strengthen Solutions

Plan for Action!

7

offundraisingandvolunteerrecruitment.Asanot‐for‐profitorganizationrunby90%

volunteerstaffandprivatelyfundedthroughdonorsandbusinesssponsors,they

neededanidentitythatwouldmakethemlookprofessionalandorganized.Amanda’s

concernwasthatthecurrentlogoandprintmaterialsdidn’tlookprofessionalenough,

andwouldthereforereflectpoorlyontheorganization.Shewantedsomethingthat

wouldreflecttheorganization’sdynamism,energy,andenthusiasminitsmission–

somethingthatwouldsay,“We’vegotouracttogether,we’reprofessional,andwe’dlike

youtovolunteerforusand/orgiveusmoney.”Someoftheprintmaterialstheyused

forsolicitingdonations,sponsors,andvolunteersweresimpleWorddocuments

reproducedonaphotocopier,which,inAmanda’sopinion,gavetheorganizationan

amateurishappearance.Yetontheoppositeend,herconcernwasthatanythingtoo

fancywouldmakeitappearasiftheorganizationwerefrivolouslyspendingfundson

designworkandprinting,ratherthanonitsservices.Certainlytherehadtobeaway

tostrikeabalance.Iproceededtoaskthefollowingquestions:

• Whatisabriefhistoryofthesituation?

• Whoisinvolvedinthesituation?

• Whoisthedecisionmaker?

• Howdoyouownthischallenge?

• Whoneedstobeapartofthesolution?

• Whomightgainifthesituationisresolved?

• Whatsuccesseshaveyouachievedsofar?

• Whatarethingsthathavehelpedyou?

• Whataresomeobstaclesyou'veencountered?

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• Wherehaveyoufoundhelp?

• Howlonghasthisbeenaconcern?

• Whymightthisbeanopportunityforyou?

• What'sbeenthoughtofortriedalready?

• Whatareyourgutfeelingsaboutthischallenge?

• Howareyourfeelingsaffectingyourbehavior?

• Whatmightbeyouridealoutcomeorgoal?

(Miller, Vehar, & Firestien, 2001)

TheanswersprovidedbyAmandagavemeanexcellentlaunchingpointfromwhichI

couldhelpherformulateagoal,wish,orchallengestatement,whichwouldinturngive

meastartingpointindevelopingwhatIneededtocreatetheiridentity.

Dataprovidedduringtheclientinterviewincludedthefollowingkeypoints:

• Ken‐TonMealsonWheels(KTMOW)wasestablishedin1977.

• Thecurrentlogowascreatedbythetown’sgraphicsdepartment.

• KTMOW’sneedsasanorganizationhavechangedandtheyneedanewgraphic

imageaspartoftheiroverallbrandingandmarketing.

• TheorganizationhasaverysmallstaffandtheboardtowhichAmandareports

isnotinvolvedinday‐to‐dayoperations.AstheExecutiveDirector,Amandawill

makethefinaldecisions.Shewillnotbeopeningthisprocessuptovolunteers,

astheyareneitherawareofthebehindthescenechallengesnorwhatthe

organizationreallyneedsoutofthisprocess.Theyarealsoaversetochangeand

arelikelytobeunwillingtowantanythingnew.

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• Amandaseesherselfaspartofthesolution,aswellasme(thedesigner),and

possiblyprinterswhomightbeabletoprovideservicesatareasonablerate,if

notatadiscount.

• KTMOW’sclientswillbenefitfromthis(betterfundraisingwhichwillallow

KTMOWtohiremorepeople,procurehigherqualityingredients,producehigher

qualityproducts,providemorevarietyinmenu,andsoforth).

• Thevolunteercoordinatorwillbenefitbyhavingmoreprofessionallooking

materialstotrainour275+volunteers.Asanorganizationthatreliesalmost

exclusivelyonvolunteerefforts,havingpropertrainingmaterialsisparamount.

• Alocalprinterhadcomeupwithsomethingforfreethatbetterpresented"Ken‐

Ton"inthelogo,butneverfollowedthrough.

• LookingatotherMealsonWheelsprograms’graphicstoseewhattheyaredoing

hashelpedindevelopingideasforwhatKen‐Tonmightwantfortheirs.

• Takingmarketing/brandingseminarshashelpedalso.

• Obstaclesincludecost,limitedtimetodedicatetotheeffort,andinstitutional

resistancetochange.

• Despiteeffortstofindhelp,theyhavenotbeensuccessfulinfindingany.

• ThishasbeenaconcernsinceAmandatookoverthepositionofExecutive

Directortwoyearsagoandbeganthedirectivetomodernizetheprogram.

• Theyareattemptingtocompletelyoverhaultheorganizationsoitcanoperate

ona21stcenturylevelandservetheirclientsaccordingly.

• Therehavebeennoattemptsin34yearstoundertakesuchaneffort.

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• Amanda’sresponsetohergutfeelingsaboutthesituation:“WehaveGOTtoget

thisdone.ThenIcanhaveawebsitedevelopedandhavemoreprofessional

lookingcommunicationpiecesinallaspectsofthisprogram.”

• Becauseofherfeelingsaboutthesituation,shefeelsdesperatetogetitdone.As

aresult,thisprojecthasherfullattentionandherotherdutiesarebeing

neglected.

• Amanda’sidealoutcomeisgreatsuccessintheirbrandingefforts,raising

substantialamountsofmoneyandhelpingalotofpeople.

AmandathenprovidedmewithKen‐TonMealsonWheels’MissionandVision

StatementsandCoreValues:

Mission:Topromotethehealth,dignityandindependenceofelderlyor

disabledpeoplelivingintheKen‐Toncommunitybydeliveringnutritiousmeals

andsharinginformationaboutrelevantservices.

Vision:Wewill…

• beoneofthearea’sleadingprovidersofnutritious,affordable,highqualitymeals

• providemealstoeligiblerecipientswhorequestservices

• bearewardingexperiencetovolunteersandstaff

• provideactiveandthoroughcasemanagementforallmealrecipients

• haveafullBoardofcommittedmemberswithdiverseskillsetswhohave

aconnectiontothiscommunityandtheclients

Values

• Respectforthedignity,privacyandvalueofall

• Compassionforclients,volunteersandourstaff

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• Empowermentoftheelderlyanddisabledtoliveindependentlyandofourvolunteerstomakeadifferenceinthelivesofothers

• Excellenceandacommitmenttoperformanceimprovement

• Careforthehealthandwell‐beingintheservedpopulation

• Cost‐effectiveandaffordableservices

AfterconsideringAmanda’swishes,desires,andgoalsforKTMOW,weconvergedupon

thegoalstatementthatmostaccuratelyreflectedtheprimarychallenge:

Itwouldbegreatifwehadanidentitythatreflectsourmission,vision,andvalues,

andprojectsourdesiredimageasadynamicandprofessionalorganizationin

ordertoappealtodonorsandattractvolunteers.

Nowthatwehadestablishedourgoalstatement,Icouldgettoworkondevelopingthe

solution.

TheCreativeProcess

Nodesignprojectistrulyasoloproject,astheclienthasinputtotheprocessalong

theway,butatthisstageitisasoloventureasIcomeupwiththeinitialconcepts.

AccordingtoJohnNewcomb(1984),Iamnotuniqueinmypreference.“Thereisno

denyingthatideascanbeimprovedorthatnewhybridideascanappearwhenyoucan

tugthebestonesbackandforthwithothercreativepeople.Butstartalone”(p.171).

AWallas­PlainLanguageHybridApproach

12

Mytypicalmodusoperandiwhendevelopingadesignistomovethroughamultiple‐

stagecreativeprocessthatcoincideswiththeCPSprocess(Figure3).GrahamWallas

createdamodelofprocesscomprisedoffourstages:Preparation,Incubation,

Illumination,andVerification,andthismodelmostcloselyresemblestheprocess

throughwhichImove.BryanLawson(1990)includesanextrainitialstep,a“periodof

‘FirstInsight’(Kneller1965)”which“simplyinvolvestherecognitionthataproblem

existsandacommitmentismadetosolvingit”(p.109).

First Insight

Incubation

Illumination

Veri!cation

Ex

plore the Challenge

Generate Ideas

Prepare for Action

Gather Data

Clarify the Problem

Generate manyideas

Select & Strengthen Solutions

Plan for Action!

Identify goal, wish,or challenge

Preparation

13

Figure3.TheFive‐StageModelofCreativeProcess(adaptedfromLawson,1990)and

howthestagesofPlainLanguageCPSoverlapinprocess.

Ibeganbylookingatthechallengestatementagain.Atthetopofmysketchbook

page,Iwroteitout.“Itwouldbegreatifwehadanidentitythatreflectsourmission,

vision,andvalues,andprojectsourdesiredimageasadynamicandprofessional

organizationinordertoappealtodonorsandattractvolunteers.”Myfirstinsightwhen

consideringthechallengestatementandthekeydatapresentedbytheclientduringthe

interviewwas,“thislogomustbedynamicandbalanced.”IknewfromwhatCrottyhad

toldmethatIneededtocomeupwithsomethingthatmatchedtheirneeds,thatlooked

professionalandcontemporary,butthatwouldstillhavecommonappealandmake

sensetothosewhorelatedtotheorganization.

Toprepare,mynextstepwastolookattheexamplesoflogosfromothercities’Meals

onWheelsprogramsandstudythemfromavisualcommunicationperspective.Thisis

whatDonKobergandJimBagnall(1981)callthistheWhatOthersHaveDonemethodof

analysisingettingtoknowtheproblem,notingthat“bothyouandyoursituationare

partsoflongchainsofinterrelatedsituationsovertime”andthatthismethod“deals

withthecriticalexaminationofsolutionsthatothershaveappliedtosolveproblems

similartoyours”(p.52).Isawlogosthatworkedverywell,thatclearlyand

immediatelycommunicatedtheprograms’messages.Likewise,Isawlogosthat

communicatednothingandwerenotvisuallystimulating.

Takinginspirationfromtheformer,IbeganthenextstageoftheCPSprocess,

generatemanyideas.Todothis,Iengagedmyselfinsomeindividualbrainstorming.

14

DifferentfromthetraditionalmethodsofStick’emUpandBrainwriting,bothofwhich

relyongroupdynamicstowork,individualbrainstorming’smaindrawbackisthat

withoutagroupfacilitator,itrequiresafairamountofdisciplineforonetocontrolthe

“internaleditor‐theinternalvoiceofcriticismwhichmayleadyoutoignoreanidea

thatseemstodumbortrivial”(Hayes,1989,p.289).

Liststorming:alineartool

ThroughoutmydesignpracticeIhaveutilizedamethodIcallListstorming.

ListstormingissimilartotheStick‐em‐UpBrainstormingmethod,whereinadiverse

rangeofideasisgenerated.DuringthispracticeImakelistsofalltherelatedwordsI

canthinkofthatmightberelatedtotheproblem.Inthiscaseitwaswordssuchas

meals.Food.Nutrition.Eat.Feed.Taste.Delicious.Fun.Hot.Wheels.Cars.Motion.

Movement.Mobile.Independent.Travel.…andsoon.WhenIhadalistof20,Iwentfor

20more.WhenIfeltIhadexhaustedallmypotentialwords,Iturnedtomyother

preferredmethodofMindmapping.

Mindmapping:Theroundaboutway

Thistoolallowsonetosee“thebigpicture,”andservesasaroadmapofideas,

concepts,thoughts,andunlikethelinearqualityofListstorming,moreaccurately

followsthethoughtpatternsofideation.Theprocessofideationisnotrational,orderly,

orlogicalone,butrather“anintuitiveprocessofexplorationandopenness,of

appreciationandobservation”(Warmke,2003,p.9).Carter,etal(2007)comparethe

creativeprocesstoaroadmap,pointingoutthat“therearemanywaysofreachingthe

15

finaldestination.Ifsideroadsaretaken,itwillprobablytakelonger…butsideroadsare

almostalwaysmoreinterestingthanwell‐traveledhighways”(p.201).Ifind

Mindmappingtobeasessentialasthesketchbookonwhichit’sdrawnandmore

importantthanthecomputeronwhichIcreatedesigns.Andwhiletheoriginal,hand‐

scrawledmapmightlooksomewhatchaoticandincomprehensibletotheoutside

viewer,itisaninvaluabletoolforindividualproblemsolvingandaspartofthegraphic

ideationprocess.Figure4isacleaned‐upexampleofamindmap.Theoriginalcanbe

foundintheappendix.

Notethatthelistofwordsgeneratedintheliststormingprocessdoesnotdirectly

translateintotheMindmap.Somewordsdoreappear,butthetransitionfromoneto

theothercanbesomewhatsplintered,asisthecasehere.ThepurposeoftheMindmap

isnottosimplyplugtheliststormedwordsintoit,buttoserveasanon‐linear

alternative.ThinkoftheListstormasthehighway‐straightandquick‐andthe

Mindmapasthetownjustofftheexit.Bothareinthesameareaandwillgetyouwhere

youwanttogo.Insomecasesthemindmapwill,indeed,employmanymorewords

fromtheliststorm,butinthisparticularcaseitisnotso.Bothtechniquesareextremely

helpfulandvaluableontheirown,however,regardlessofhowcloselytheymightor

mightnotcorrespond.

16

Figure4.Acleaned‐upversionofaMindmap,showingtheflowofideas.Seeappendix

fororiginalhand‐drawnmap.

Oncetheconceptkeywordshavebeenestablished,it’stimetostarttheconcept

drawingprocess.InthiscaseIoptedtoincubateforashorttimeinordertoallowall

theinformationinthepreparationstageto“sinkin”andgivemyselfsomespaceforthe

ideastotakeshape.AsJohnNewcomb(1984)advises,“thewisecreativepersonwill

shelvethesevisualideasandallowhissubconsciousmindtocontinueworkingonthe

problem”(p.170).Afteradayhadpassed,Ipulledoutmysketchbookagain,lookedat

myscribblings,andstartedroughsketching.

It would be great if we had an identity that re!ects our

missions, vision, and values, and projects our desired image as a

dynamic and professional organization in order to appeal

to donors and attract volunteers

BringsFood

ProvidesCompany

Convenient

Fast

Comfort

Nourishment

Cheer up/

Prevents/easesdepresssion/

loneliness

Nourishment for body and soul and mind

ProfessionalOrganization

(appeal to donors

H2 AttractVolunteers

Sense of Community and Caring

Happy

MovementDynamismNutrition

Community

17

Tothedrawingboard

Rough“thumbnail”sketchescanbeasdetailedorasvagueasthedesignerprefersto

makethem,andinmycaseIsketchconceptually,withjustanideaofwhatIwantto

draw.Simplelinesandshapescomprisemostofwhatturnsupinthisstage,andIdon’t

actuallytakethesetotheclient.Thesearestrictlyformyselfandrepresentanother

divergentthinkingphase.Quantityismoreimportantthanquality,andfromthese

initialroughsIconvergeanddevelopmyfirstsetofcomprehensivedrawings(also

referredtoascomps).Thesearemuchclearerandmoredetailed,andtheprocessis

nowmovingintotheinitialpartoftheverificationstage.

Whereastheroughsaresimplysketchedwithoutregardtodetails,thecompsmust

bemorecarefullyconsideredandtakeintoaccountseveralfactors.It’scrucialtokeep

inmindthatasuccessfullogowilltranslateuniversallyintothreecolorprofiles:color,

grayscale,andblackandwhite(forapplicationswhereacolorlogoisnotapplicableor

ininstanceswhereacolorlogoiscopiedonamachineorprintedingrayscale,for

example),anditmustbescalableineitherdirection.Thelogowillgoonbusinesscards,

letterhead,signs,documents,posters,andamyriadofothermaterials,andifitisnot

abletoscaleclearlytomanysizesortranslateintoallthreecolorprofileswithoutlosing

resolutionorreadability,itwillnotwork.Blueandgreenwerechoseninitiallybecause

theyrepresentthetowncolors.Icontactedthemunicipality’scontractedprinter,and

requestedthecolorformulastoensurethecorrectcolorswereused.

Justasthecolorarrangementmustbecarefullyconsidered,thetypetreatmentmust

becarefullychosentoensurethetextiseasilyreadwhenscaleddown.Forthisproject

18

IinitiallytriedoutanumberoffontsthatIfeltconveyedthestyleandmessageofthe

organizationthatwerealsoscalable.Iplayedaroundwithsomedecorativefontsand

mixedandmatchedserifandsans­seriffonts.

Iultimatelypresentedeightinitialdesignconceptstotheclient(figure5).Thisisa

fewmorethanthefourtosixImighttypicallyoffer,butinthiscaseIfeltalleight

conceptshadmerit.Uponpresentingthem,Iaskedtheclienttochoosetwotofourthat

appealedtothem,afterwhichwewouldconvergeagain.

Figure5.Firstsetofcomprehensivedesignconceptdrawingspresentedtoclient.

19

Convergingonaconcept

IttookCrottyafewdaystomeetwithherteamanddiscussthedrawings.Although

shewouldultimatelyhavethefinalsayinwhichdesignwaschosen,shedidwantto

includeafewkeypeopleinthereviewprocess.Shecalledmeandsaidtheyhadagreed

onnumberssevenandeight.Theteamthoughteachdesignrepresentedwhattheyhad

inmind,buttheyhadafewrequestsgoingforwardintothefirstroundofrevisions.For

thefirstconcept,IwasaskedifIcouldofferafewmoreoptionsintermsoflinesand

shading.Forexample,withblacklettersandawhitebackground,orperhapswith

outlinesoftheutensilsversussolid.Forthesecondchoice,theylikedtheconceptbut

thoughtthedesignitselfwastoounwieldy.TheyrequestedthatIshortentheutensils

orenlargethewheels.

Revisionroundone

Itweakedthetwoconceptstheclienthadchosen,andcameupwiththreevariations

oneachone(Figure6).Forthefirstone,Ivariedlinethicknessontheutensils,

reversedthepositiveandnegativespaceonboththecircleandthetext,andplayed

withthedropshadow.Forthesecond,Ishortenedtheutensilsandmovedthemdown

betweenthewheels,andcreatedaborderaroundtheentiredesign.Idecidedto

narrowthefontchoicesdown,choosingtwoseriffontstoapplyuniformlytoeach

design:TrajanPro(Bold)forthewords“Ken‐Ton”and“on”andParisianfor“Meals”

and“Wheels.”IsentthembacktoKen‐TonMealsonWheelsandawaitedtheirdecision.

20

Figure6.Firstsetofrevisions,asrequestedbyclient.

ThenextdayAmandacalledmeandsaid,“wehavealittledilemma.Seemswe’reat

animpasse.Weknowwedefinitelydon’tliketheverylastone(numbersix),butwe

can’tagreeonwhichoftheotherswelikebest.Canyoudosomethingtohelpitalong?”

(personalcommunication,April,2011).Iofferedtomeetwithherandherteamto

conductamini‐facilitationlaterintheweek.

Revisionroundtwo:UsingPairedComparisonAnalysis

IarrivedattheKen‐TonMealsonWheelsofficeandmetwithAmandaandtwo

volunteerboardmembers.Becausethiswasaprettystraightforwardproblemthe

solutionforwhichwasbasedonamatterofvisualpreference,IusedamodifiedPaired

ComparisonAnalysistooltohelpthemdecidewhichlogodesigntouse(Figure7).

Pairedcomparisonsareusedtocompareseveraloptionsagainsteachotherinpairsin

ordertodeterminethemostimportant(orinthiscase,themostpopular).

1 2 3

4 5 6

21

Figure7.ModifiedPairedComparisonAnalysistohelpclientdecidewhichdesignto

use.

Becausetheywereallinagreementthatnumbersixwasabsolutelywhattheydidnot

want,Idroppeditfromthelistofoptions.Numbersonethroughfivewereassigneda

letterfromAtoE,respectively.Igaveeachgroupmemberasheetandaskedthemto

compareoneagainsttheotherandthenrankhowstronglytheyfeltabouttheir

preferencesonascaleof1to3.Astheymadetheircomparisons,aclearchoicebegan

toemerge.Comparedagainstalltheothers,Awasthemostfrequentlychosenand

highestrankedchoice.Oneoftheboardmembersremarkedthatwhenpresentedin

Options Total A

B

C

D

E

A/B A/C A/D A/E

B/C B/D B/E

C/D C/E

D/E

Paired Comparison Analysis: choose which you prefer in each pair and assign it a preference number. When !nished, add up number and place in total column next to corresponding choice.

Slight preference

Moderate preference

Strong preference

1

3

2

22

thisfashion,thechoiceseemedsoobvious,butwhensimplyfacedwithmakingthe

choicepriortousingthepairedcomparisontoolithadseemedsuchadauntingdecision

tomake(Figure8).

Figure8.Finishedlogowithcolorprofiletranslations

ApplyingtheDesign

Nowthatthelogowasfinished,itwastimeto“plugitin”totheotheritemsinthe

identitypackage.Irequestednamesandcontactinformationforeachemployeethat

wouldneedcards,andIdesignedacardtemplateintowhicheachperson’sinformation

couldbeentered(Figure9).Forthis,Iwentwithaclassicyetcontemporarydesignfor

thecard.Thelogoitselfalreadyconveysthemessagethattheorganizationis

professionalanddynamic,soIoptedtokeepthecarddesigncleananduncomplicated.I

alsodesignedletterheadandenvelopes(appendix),thedesignforwhichcoordinates

withthebusinesscards.Atthetimeofthispaper,aninformational,tri‐foldbrochureis

underdevelopment.

23

Figure9.Businesscardtemplate,frontandback,withAmandaCrotty’snameinserted.

CONCLUSION:Lessonsandobservations

Thegraphicdesignprocesscanseem,attimes,redundant.Comparingtheoriginal

logowiththefinishedone,theredoesn’tseemtobeaverylargeleapindesignconcept;

thereisastylizedplateandapairofutensilsineachone.Butultimatelywhattheclient

wantedwasanupdated,morecontemporary,moredynamicversionofwhatthey

alreadyhad;theyjustdidn’trealizeituntilthedesignprocesshadbeenworked

through.

Theburdenonthegraphicdesigneristodevelopadesignthatworksfortheclient

andtheneedsoftheirorganizationtocommunicatetheirmessagethroughavisual

concept.Whendealingwithaclientthatislookingtoupgradeanexistingdesign,

Amanda M. Crotty!"#$%&'(#)*'+#$&,+

!"#$%&'()*+,$-+(./)*'$0()1'

23,+4+,*+5$6'4$73(.$!8!9:

-&3,';$<!"=><8=?9#9

.@A34B@3,+4+,*+C,DCE/

24

sometimesthisdoesindeedinvolvecompletelyreinventingwhattheyhave,sometimes

itisjustaminortweak.Inthiscaseitwassomewhereinbetween.Theconceptstayed

thesamedespiteattemptsinotherdirections,butthenewversioniscleaner,crisper,

andmoreprofessional.

ThepracticeofusingCreativeProblemSolvingtechniquesintheprocessmayseem

cumbersomeandunnecessarytosomewhoprefertoworkin“quickfix”mode,orwho

arenotfamiliarwiththeprocess.Evenasasemi‐seasoneddesigneritseemedsoat

certainpoints.However,itisessentialtogothroughtheprocessinordertogettoknow

theclient,tuneintotheirneedsasanorganization,anddeveloparelationshipwith

them.Thisrelationshipwillhelpimmenselyinthestepsoftheproblemsolving

process,fromgatheringthedataallthewaythroughtoselectingandstrengtheningthe

solutions.Itiscrucialthattheclientbepartoftheprocess,foritistheiridentity,their

organization,andtheirlivelihoodthatdependsonyourdesign.

Arrivingatthedesiredoutcomeishardlyeveraone‐shotdeal.Asexploredinthis

case,manyconceptsmustbeconsidered,tried,reworked,rejected,andredrawninthe

process.Sometimesthefinisheddesignwillbecompletelydifferent.Othertimes,asin

thiscase,itwillcomefullcircle,endingwithanupgradedversionoftheoriginal

concept.Workingthroughtheprocessallowsfordivergentthoughttointroducenew

ideasandconceptsthatmaynothavecomeintoplay,anddeepenstheunderstandingof

whattheclientneeds.Sometimesitisnecessarytogofaroutsideandtakealong,

roundaboutdrivearoundtheprobleminordertoconvergeuponitsultimatesolution.

ThroughengaginginthiscreativeprocessandemployingCreativeProblemSolving

toolstosolveKTMOW’svisualproblem,weendedupwithadesigntheylove.Amanda

25

andherstaffagreedthatthislogosayseverythingtheyneedandwanttosayabout

theirorganization.Itrepresentsthedynamism,professionalism,andcontemporary

attitudeofthecompany,itappealstothecommunityitserves,andisattractiveto

donorsandvolunteers.Problemsolved.

26

References

Cabarga,L.(2004).Logo,font,andletteringbible.Cincinnati:HowBooks.

Carter, R., Day, B., &Meggs, P. (2007).Typographic design: Form and communication.

Hoboken,NJ:JohnWiley&Sons,Inc.

Davis,G.A.(2004).CreativityisForever.Dubuque,IA:Kendall/HuntPublishingCo.

Karo, J. (1975).Graphic design: Problemsmethods solutions. NewYork: VanNostrand

ReinholdCo,Inc.

Koberg,D.&Bagnall, J. (1981).The all­newuniversal traveler: A soft systems guide to

creativity,problemsolving,andtheprocessofreachinggoals.LosAltos,CA:William

Kauffman,Inc.

Landa,R.(2004).Advertisingbydesign.Hoboken,NJ:JohnWiley&Sons,Inc.

Lawson, B. (1990). How designers think: The design process demystified. Cambridge:

UniversityPress.

McKim,R.(1976).Experiencesinvisualthinking.NewYork:VanNostrand&Co.

Miller,B.,Vehar,J.,&Firestien,R.(2001).Creativityunbound:Anintroductiontocreative

process.Williamsville,NY:InnovationResourcesInc.

Miller, B., Vehar, J., & Firestien, R. (2001). Facilitation: A door to creative leadership.

Williamsville,NY:InnovationResourcesInc.

Newcomb,J.(1984).Thebookofgraphicproblem­solving:Howtogetvisualideaswhen

youneedthem.NewYork:R.R.BowkerCompany.

Poggehpohl,S.H.(Ed.).(1993).Graphicdesign:Acareerguideandeducationaldirectory.

NewYork:AIGAPublications.

Warmke,C.(2003).Idearevolution.Cincinnati,OH:HowDesignBooks.

27

APPENDICES

APPENDIXA:PreparationandProcess................................................................................ 28

A­1:Liststorm ...........................................................................................................................................28

A­2:Mindmap ...........................................................................................................................................29

A­3:RoughSketches ...............................................................................................................................30

A­4:ComprehensiveDrawings ...........................................................................................................32

A­5:PairedComparisonAnalysis ......................................................................................................33

APPENDIXB:FinishedProducts............................................................................................. 34

B­1:StyleSheet.........................................................................................................................................34

B­2:ClientStationery(Letterhead)..................................................................................................35

B­3:ClientStationery(Envelope) .....................................................................................................36

28

A­1.Liststorminglist

29

A­2.Hand‐drawnmindmap

30

A­3.Firstsetofroughsketches

31

A‐A­3.Firstsetofroughsketches,continued.

32

A­4.Firstsetofcomprehensivedrawings

1 2 3

4 5 6

33

A­5.CompletedPairedComparisonAnalysis

34

B­1.StyleSheet.TheStyleSheetreferencescolorformulasandfontsforusebythedesigner,client,andprinter,andanyothervendorswhomayusethedesignasdeemednecessarybytheclient.Thisensuresconsistencyinusage.

35

B­2.Letterheadforstationerysystem.Imagehasbeenscaledtofitthisdocument.

Actualsizeisstandardletter,8.5”x11”.

!"#$%&'()*+,$-+(./)*'$0()1'$$2$$34,+5+,*+6$7'5$84(.$!9!:;$$2$$-&4,'<$=!">?=9>@:#:$$2$$AB+)C<$.DB45ED4,+5+,*+F,GFH/

36

B­3.Envelopeforstationerysystem.Imagehasbeenscaledtofitthisdocument.Actual

sizeisstandard#10businessenvelope,9.5”x4.125”

!"#$

%&'

()*+,

$-+(

./)*

'$0

()1'

23,+

4+,

*+5$6

'4$7

3(.$

!8!9

:

37

©2011DeannaL.Clohessy