The innovative way to maximize the realization of design ideas

Absrtact: Like most designers, we are convinced that choosing and exploring the most successful, memorable and exciting designs is the key to supporting our work in each project. For us, a new challenge begins, never simple enough to ask ourselves,

Like most designers, we are convinced that choosing and exploring the most successful, memorable and exciting designs is the key to supporting our work in each project. For us, a new challenge begins, never too simple to ask ourselves, what might be the best way, and then sit down in front of the computer and try to realize the idea.

After studying the target, we almost always start with a piece of paper and a pencil and draw a variety of designs to help bring together and develop ideas that have matured in our minds. In this article, as part of the innovation process, we will explore how to use drawings and tags.

This is an example of a tag that helps us design ideas on the type of work and images. Note that the change in markup indicates the different degrees of the type.

We found that using drawings and markers to study design options on paper was a great way to make sure that we were moving in the right direction on a project, and that we didn't think that the workflow would inspire unexpected solutions, or that we were unlikely to see hope. As a problem-solving tool and skill, we will focus on different types of drawings and tags that will become an important part of the visualization and exploratory design, including quantity, type, and no image.

Why is the layout level and tonal effect of the style needed to be valued in painting?

Fonts with different tones and characteristics, lines and words come together, depending on the intensity of your tones and the size and nature of the arrangement, and the viewer will be attracted more or less. We can find some good examples by reading newspaper and Jacek Utko magazine design. In the example page below, we are shocked by the large number of dynamically created text that has a different word size, number of points, and ways and images. In particular, changes in tonal values entice readers to browse the Web page in a particular sequence.

From Liudas Parulskis and Vilmas Narecionis we can see the work and art direction, Jacek Utko for Lithuanias Verslo zinios Weekend edition of the design of some beautiful pages. This layout dramatically utilizes the diversity of structure and hue, as well as large-scale comparisons.

In the layout, the structure and tonal characteristics are used as much as possible in a specific sequence to help guide the viewer to browse, that is, aesthetics. If the concept of visualization can be properly designed, judged and realized, these qualities should be effectively captured by painting and tagging. This can be done easily by a relatively quick design shorthand exercise, and many designers are familiar with the use of this piece. A larger type is learned, capturing the nature of the text, the number of pounds and the proportions, and the tonal differences; the text can be embedded, or "gray bar" uses the labeling technique, using pens, pencils, and different pressures to perform typography and tonal differences.

The example of this article is to show and capture infinite rhythms, as well as the diversity of typesetting options and combinations, but they still show that even in early painting the visual effects of grasping subtle and changing speed are critical. As you work, drawing and tagging styles can evolve into a difference between display and crawl layout and hue, for example, using all uppercase serif fonts, which are very different from the visual "impact" of uppercase and lowercase characters.

Find the right marker tool and paper

To emphasize the refinement of this graphic design, we should also briefly comment on the tools that can be used to express these nuances of typography. The glossy lightweight paper we use in the UK is called layout paper, and this translucent, inexpensive material is ideal for tracking a worksheet and quickly refining the diagram. We talk to a lot of designers about mixing tag tools, depending on what they want to create; some people work with markers, others like to use more fiber-tipped pens, and some use soft pencils to draw. On the one hand these choices seem to have in common that they allow the designer to create a thicker, darker mark by changing the hardness and pressure, and gently pressing it to form a lighter, finer hue.

Develop your own design shorthand

Back to this "relatively rapid" visual description, in reality, this process can be time-consuming. Although the results may not be very detailed, this is the most efficient and creative way of working that we can find, and thoughtful, especially in the face of completely new design challenges.

The visual effects of the drawings and markings we're talking about here look at multiple levels. They capture alternatives to structure and tonal detail layouts, and they are good ways to explore different components of alternatives, which are useful when they can be used as templates to simplify programs to achieve final design.

Typography and tone will make the design more and less prominent. Cover, color, font size, color, number of points, character spacing, line spacing, and overall spatial distribution affect the density of the design, resulting in brightness or dark work. All of these aspects make good use of drawing and tag capture, affecting not only tonal values but also subtly affecting typesetting quality. Most of the time the visual effect captures only the range and location of the text, not the more detailed features.

The layout of the Aleksandrs Golubovs does not show the change in the level or font between size, number of points, or line spacing. Using more versatile markup to minimize the extra work, it's easy to find all these missing elements.

The following example shows that we do not recommend spending a lot of time marking, and relatively speaking, it is enough to convey a realistic and satisfying effect.

The above visual effects are examples of the number of pounds changed, the size, the guide, and the case of the different marker styles displayed. Markers, pens and pencils have been mixed here, and any tool can be used; however, ideally, creating tools with different quality tags to respond to the pressure of diversity is best.

Why are visual design types so useful?

We think it is a good way to exploit the visual effects of drawing and marking to develop ideas, extend the design and explore the possibilities of innovation. Drawing often drives us to produce unexpected or exciting designs, which is a way we have not considered. There is an amazing connection between the brain and the hand, which effectively translates and visualizes the tiniest design ideas, including typography and tonal changes. Painting is a form of expression in this connection. There are many well-known quotes about the brain, the connection between the heart and the hand. At the end of 19th century, British artist and writer John Ruskin said, "The education of a young artist should always revolve around the relationship between the brain, the hand and the heart." "Art and design arise from the most delicate machinery, which is the human hand," Ruskin said. ”

1950, Richard, British designer and historian Guyatt, the design of three kinds of interrelated elements of brain, heart and hand are introduced. The brain provides logical thinking, the heart causes emotional stimulation, and the trick is that the design concept is done by hand.

In our own design practice, as part of our and student work, we often use visual rendering of the two levels. These two forms we call microscopic and macroscopic. Microscopic visualization explores the more intimate details of alternatives in more complex design challenges, such as how headings, subheadings, and text are formatted together, and how images and text are connected.

When we have made the most effective relationship portfolio decisions, we can develop and apply design challenges at other micro levels. By taking some effective methods to solve microscopic visual effects, we will go to the second level of visualization: macroscopic vision. By using semitransparent layer paper, we quickly track and assemble a set of microscopic visuals to form a complete "page" grouping. That is, at this stage, we use page parameters to plot and try to be possible when the size and composition are different.

These images show some of the miniature sketches we gave to the "Sticky Graphics" design book. This book is about storage devices, and we are sure that we want to create a lasting impression. In our design drawings, as shown above, we represent the hierarchical results of design points and headings, possible typography and tonal changes, and we also note the composition aspects of these design micro-element requirements. The final image shows the main numbers of these drawings.

The three images were created by graphic designer Abigail Urwin, who generously shared some of her macroscopic design drawings and visual effects. In these examples, Abigail the design for a news-disseminated magazine. These pages will eventually contain five separate small articles, and under a common theme. At the beginning of the two images, she is exploring other ways to design these articles. To the third image, Abigail has begun to show how she put the five articles together under an advertisement.

These examples show the initial microscopic vision of our first book, "Layout: Make it more suitable". These drawings pay attention to typography, hue, hierarchy, and construction choices, and two of them show the explanations of these design figures.

To start a new design in this way, we always first search out the most complex aspects of the project. Find a design system to solve the most difficult problems, it is easier to adapt to the final design of the system and relationships, make the project simpler. There are no hard rules in all aspects of visual sorting. We have found that the order of hand drawing and computer drawing changes, and that these two methods are sometimes merged together. However, using both of these methods is the best way to maximize the design idea.

If you are a seasoned designer, is visualization really necessary?

In a completely new design project, the methods described above help to ensure that our results are not limited to the computer in any way, or that we can achieve what we aspire to, but not necessarily the most appropriate and exciting operations, through relatively simple operations. Drawing helps us to output the most effective design concepts in the central phase and forces us to find the best way to achieve the desired results. Of course, if we start with a blank sketch paper and pencil, do research to get inspiration, and then intelligently design without capping.

Do we tend to simply reuse palette styles in previous projects, just for comfort and speed? We are, but it is also to improve our satisfaction to take the time and effort to try alternatives and to develop completely different options to expect the results to improve. We will make a satisfactory solution on time, but it is definitely not the most effective, exciting and satisfying solution.

Turn a drawing into a design

An important aspect of this process is the ability to turn subtle markers into final works. This requires a detailed and accurate assessment of the drawing. The subtle processing of tones and structures in your vision helps create a valuable image and picture type, in fact, all other aspects of the design. Take a closer look at subtle visual effects and use them as a nuance for selecting fonts, including points, trajectories, kerning, and even line spacing.

The transition from smaller paper visuals to Web pages or print designs is difficult, and we often discuss this with students. A system now seems to work well--albeit a proportional size that relies entirely on the final design visual effect--the system scans or meticulously photographed visuals, and then drags it onto the background of the digital file as the template to use for the final work. When the design is fully rendered, you can delete the template.

The three images here show what is described in the previous paragraph. The first step shows a simple drawing on the front page of an electronic newspaper. The next two images show the visual effects of staged rendering. Digital rendering, including types, is displayed in magenta area to differentiate layers, to achieve the purpose of the article.

Another reason for drawing: inspiration for styles and images

Another reason for tagging is to broaden our thinking about styles, and we've done very effective measures, including practicing on our book create Impact with Type Image and color. The method includes finding examples of styles and then cutting and pasting them to form a new layout. Pasting content doesn't make sense, but abstract results can be surprisingly inspiring in designing projects that include types.

This practice has been very popular with students, and they are inspired by the design that captures abstract layers. In the example shown here, the students have pooled style cases to create contrast and dynamic combinations of structure and hue, and these designs are not stressful.

It's tempting to quickly generate design convenience and instant gratification on a computer screen. This approach produces a concept that can be accepted. However, if a designer desires a broader, interesting and practical visual concept, it is impossible to achieve this work entirely on the computer.

We have no way to belittle the computer; This part of the asset is invaluable to the designer. But we firmly believe that it will not replace the brain, heart and hand these intuitive ways. Drawing by hand first and then by computer is not immutable, if we first use them to explore and develop the most effective solution, so that the audience and designers like.

If ideas are maximized, the concept of paper and pencil must be part of the design process. There are no designers to follow any rules or exact style, but they need enough precision and detail to be able to make informed judgments. We find style templates to cut and paste, and putting together unusual combinations can also be an inspiring starting point. However, there is not a set of rules and not to do the design process, the appropriate amount of drawings, marks and tests are obligated to improve the final results.

This article provides an excellent opportunity to check your drawing and markup to make a difference when you have an idea. Prior to this, we wrote a wider range of books about typography and tonal design features and images, but simply talked about this topic, including Create Impact with Type Image and color and the Graphic Exercise Book. These two practical guides are valid guides for graphics and design foundations.