Philosophy edifying my design process
Still a young-ish designer, I've got a lifetime of learning in the craft of visual communication. However, I've discovered that I arrive to my work with a set of design criteria to yield powerful design work:
I firmly believe that compelling visual communication occurs when it is clear, accessible, and impressive. Clear to immediately relay its message; so it should be simple. Accessible to make it relatable and understood; so it should be human. And impressive to engender a spirit of wonderment; so it should be artful.
These three criteria have guided me to create design work that communicates meaningfully.
Design should be simple
Every once in a while, I get a feeling that things become too much: a constant hum of a furnace, a spew of photos and drawings on a refrigerator, or even a super sweet latte.
I don’t think that supersaturation is desired. A plethora of words and objects in a layout wouldn't allow me the ability to effortlessly gather the message being presented to me. I may become overwhelmed and stop looking without a clear visual flow to follow.
Simplicity isn't a means of getting rid of something; it is a means of leaving the perfect amount of something—all to avoid the “too much” and to elevate the remaining design into center stage elegance.
With a total of twenty-two lines constructing a star, an M, and a reversed upward arrow, this logo is easily retained in someone's mind through its simple construction.
Design should be human
Humans have developed language—a way to effectively communicate.
However, I propose that symbols have a greater emotional pull than language: symbols provide illustrations of human processes. They give insight as to how an earlier people hunted and survived via wall paintings; they demand drivers to stop via red octagons; and they even unify whole belief systems in a few straightforward shapes.
These ideas are easily conveyed without the mechanical syntax and lengthiness of language. Being mindful of regional and cultural ideas, symbols and stylized illustrations allow elaborate concepts to become highly accessible.
A diamond mimicking the shape of a construction road sign contours this logo, allowing me to impart a sense of development, headway, and improvement.
Design should be artful
I see art as being a creative and expressive experience. An experience derived from an artist's intention and a viewer's interpretation. And due to this dichotomy of artist intention versus viewer interpretation, it is a way to connect at a profound level by holding a dialogue with a silent, unknown other.
It is at this dialogue where truths may be murmured; where emotions may be stirred; where divides may be bridged; and where minds may be marveled. Pieces of artwork comprise a network of all of the creations and expressions made by mankind. They become the cultural identity of our human race.
This makes it imperative that all of my works should be made with craft and consideration for my viewers' interpretation.
Graceful outlines and repeating petal shapes along with the use of vivid colors at shape intersections presents wonderment and, perhaps, some artistic merit.
Method for developing your design
I embrace a process for procuring ideas and cultivating meaningful design. This is the creative process that you can expect from working with me encapsulated in six parts.
Define the project
Design is very personal. An accomplished design tells the story of who your are. That’s why I logically start by meeting you and discussing your project. I want to familiarize myself with you and your vision for your project. I'll inquire about design goals and details and exchange ideas with you. It is imperative that I get a grasp on the goals of your project. Key objectives for defining your project include:
Outlining a unique, one-of-a-kind design that represents you and your brand perfectly.
Identifying design characteristics that will make you look credible and trustworthy.
Seeking ways to express your personality in every aspect of your organization.
And creating an unforgettable first impression with potential customers, contributors, or supporters.
Collect information
Once I have your go-ahead to start, I’ll form a creative brief. I’ll act as your project’s search engine, seeking more information to get a more complete picture on your visual communication needs. This will outline your project, its goals, your values and ideas, and a scoop of my exploration, including information on your targeted audiences, potential challenges and constraints, likely outcomes, and deliverables.
Brainstorm concepts
Delving into the creative brief, my next focus is to grow provocative concepts by discovering context and nuance. A mind full of blazing activity, I keep it old-school and start with word webs to evolve and connect ideas, employing keywords that I pinpoint in your brief. Everything really is connected. I’m often surprised at the intersections of these webs, uncovering new and exciting directions to take your project. I will usually conduct at least three word webs, comparing formed gestures to your brief to ensure that I haven’t missed any marks.
Ultimately, graphic design is a means of communication—an excitingly linguistic endeavor. And while I’m not necessarily your copywriter, I use words to set the foundations of any visual communication piece to make it clear, accessible, and impressive.
Develop visuals
Feeling convinced about a few concepts, I will further explore them visually, drafting up some preliminary roughs for your project and filtering through alluring options. I’ll apply some creative adventurousness and begin the joy of designing. I like draft using pencil-and-paper as I don’t feel the constraint or distraction of a digital canvas for the preliminary roughs.
Having composed some roughs, be it quickly sketched logos or jotted-down layouts, I’ll build the artwork for your project and refine and re-refine your project's design.
For a brand, typically I’ll scan the preliminary roughs and digitally compose their shapes and lines, then adjust and tweak through a handful of drafts, finally arriving at the concept that I'd be showing you. For a layout, I’d translate your brand and design components into layout software, establishing paragraph and character styles and component appearances, and then plug in client-provided graphics and copy.
If there is an out-of-house service is needed for your project, I’ll contact the right specialist and mediate communication on your behalf.
Improve design
I will send a proof of the project your way and await for any comments, questions, or requests for adjustments that you may have. And to be honest—you may not completely like what I present. I may miss a thing or two that you wish to communicate. Or, perhaps, you decide to take the project on a different direction. No problem at all! Tell me what's up.
I really do appreciate hearing your feedback and would love to make your edits. External reactions to my design is so helpful and can allow me to take your project down new and captivating paths.
I’ll be sure to keep your goals in mind when improving your design. If there’s a change that may be contrary to your goals, I’ll bring it up in our dialogue. But fundamentally, this is your project, I want to ensure that it is everything that you want to be.
Publish project
After proofing and receiving final approval from you, your project is done. Tada! Your new design is going to brilliantly communicate on your behalf, telling tales of your unique story and voice. All finalized artwork is released to you. If print materials were in your project's scope, they would be produced at this point. If code work was in your project’s scope, I’d begin publishing it for the world to see—along with good vibes from me.
