Elio L. Arteaga, MFA GRA1111c – Graphic Design 1

“Of all the competencies necessary to be a graphic designer, creativity is the most elusive” (Landa, 2014) Catherine Cassalino’s design for a book cover was inspired by a scene with shadow puppets (Landa, p. 97) Landa, R. (2014). Graphic design solutions (5th ed.). Boston, MA: Wadsworth.

Can creativity be taught? In 2010, I had a student that attested that creativity could not be taught, that it’s innate to each of us, and that as soon as I say, “Why don’t you make the sky green and the grass blue?” I’m giving you my ideas, not empowering your own.

Can creativity be taught? Upon looking through my personal library, I selected one of my favorite and most cherished books on creativity, The Universal Traveler by Don Koberg and Jim Bagnall. They actually call this process “problem-solving and the process of reaching goals.”

Can creativity be taught? Without giving you any of their own ideas, they say, “hand-draw 10 pencil sketches on drawing paper of different solutions to the following creative challenge:” You begin to draw, and the first few ideas are played- out clichés you’ve seen a million times before anyway. When you say to yourself, “I’ve run out of ideas: I can’t go any further,” but you force yourself to keep going, that’s when the truly original ideas begin to appear.

Facets of creative thinking: Recognizing associations of common attributes Metaphorically comparing unconnected things Elaborating and modifying details Visualizing imaginary objects and events

Characteristics of Creative Thinkers Courage – Take risks, don’t always play it safe. Receptiveness – to new ways of thinking. Take constructive criticism, and embrace new ideas. Curiosity – explore, so you can grow intellectually, artistically and technically. Flexibility – keep up with the times, be open to new ways, or know when to drop an idea that’s not working. Be observant – pay attention to details that might inspire your next deign project. Recognize connections – always look for how two things relate to each other.

Brainstorming “Brainstorming,” a phrase coined by advertising executive Alex Osborn in the 1930s in his book Applied Imagination: Set aside 15 minutes of uninterrupted time to come up with as many ideas as possible—do not stop until the time is up. Don’t judge the value of any idea until the end. Be permissive and even silly. After the time is up, select the strongest ideas, and even combine two or more into an even stronger idea.

Mind Mapping A mind map is a visual representation of the various ways words, themes, images, thoughts, or ideas can be related to one another.

Thumbnail Sketches Von Glitschka at Lynda.com explains explains what thumbnail sketches are, how many you need, and how to select your strongest ideas from the sketches. Von Glitschka at Lynda.com explains explains what thumbnail sketches are, how many you need, and how to select your strongest ideas from the sketches.

Oral Presentation Talking about your design problem may reveal insights (so you can hear yourself). Explaining the design problem to someone unfamiliar with it will force you to organize and articulate your thoughts, which might lead to a better understanding of the problem and ultimately to a solution.

Attribute Listing Choose a place or thing. List its attributes. Then choose one attribute and focus on it. Think of ways (from conventional to outlandish) to change that attribute.

Visual Metaphors Gillette Sensitive Skin Mach 3 commercial Nationwide Insurance “Big Baby” commercial Nationwide Insurance “Small Child” commercial Apple “Mac vs. PC, Networking” commercial

Keep a Sketchbook or Journal Visual memory is momentary and passes quickly. Keep a sketchbook/journal with you at all times to record ideas, jot down notes, list things to do, or just doodle and draw.

Concept Generation Who is the audience? What is the problem? Where does this problem exist? When does this happen? Why is it happening? How can we overcome this problem?

Concept Generation Start with visual brief collage boards (see Chapter 4). Lead with a word list. Join words with an image to form a cooperative message (neither should repeat the other but they should complement one another). Start by selecting a typeface that is appropriate in form and voice. Set up a symbolic color palette. Try a “chance collage” by tearing found papers and materials, dropping them onto a larger sheet of paper, then gluing the pieces down wherever they happen to fall. Begin with a simple image that relates to your topic. Then alter it in a startling way to see it anew. Using ink and brush or a digital pen and tablet, spontaneously draw type and an image so that they are inseparable; they should be intertwined and emblematic.

Concept Generation What story do you need to tell? Every design tells a story, whether it is a logo or a website. Identify intriguing scenes in a book or article that embody the editorial essence (see Figure 5-1). Define the meaning of the logo’s name (see Figure 5-8). Visualize the theme or plot line (see Figure 5-9). Rewrite the goal of the communication. Identify one emotional connection you want the audience to make with the design. Write one takeaway from the visual communication. How can you engage people with the brand or entity or message? How can you make the brand or group social, make it work/live in a social media space?

Paula Scher, Pentagram Studios Hillman Curtis’s documentary on Paula Scher, principal at Pentagram Studios. Hillman Curtis’s documentary on Paula Scher, principal at Pentagram Studios. Curtis, D. H. (n.d.). Paula Scher [Video file]. Retrieved from artist-series/paula-scher/

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