DEFORM ULATING space a design editorial
ari lamb camela tubbs
christian perkins christina longhurst danelle cheney jade gelskey jay merryweather j.j. embleton katie poloni kaitlin schafer kim shelby kindal erickson tenia wallace tyce jones
D E F O R M ULATING
a design editorial
M Y G E TA WA Y
MY MIND designed right here
It’s all in your mind. by Jade Gelskey Mind set. What does this common term really mean? Is it your thoughts, your feelings or is more complicated then that? Your mind is where you do your best and worst work, your mid set is the reason. Keeping your mind “in the right place” is critical to designing well. ἀ e right place for you might be different than other designers. Some times a mind set is simply a feeling, whether or not you need to be happy, sad or other. Keeping a happy mind set for most is ideal and can be done in a variety of ways. Frustration is not a place the designer should spend time. ἀ ere is always a better mind set to be in. Figuring out the way you can keep your mind in the right place is important so that when we struggle designing ,we can go back to that place in the most efficient way possible. We need to know what gets each of us excited, what makes us happy. If you understand this about yourself no matter what you can work to change your mind set. In a way we can look at this mind set as a physical place. ἀi s might help with visualization. ἀi s ‘place’ is either conductive to achievement or it is discouraging and influences bad design. Its the difference between a room with open windows, where ideas flow freely and illumination is primary and closed in dark room where it is difficult to see anything. None the less design well.
If you are in the dark room with no windows there are some things you might try if you have not quite figured out what works for you. Yoga is a fabulous way to slow your thinking, clear your mind and relax your body. Yoga has been practiced for more than 5,000 years, and currently, close to 11 million Americans are enjoying its health benefits. (WebMd.com) If that many people do it, there must be some thing good each of us can get out of it. Another idea is to take it outside. Spending time outdoors in the sun can increase your vitamin D levels which can improve mood and overall disposition. Exercising can always improve your mood as well When we work out we reduce stress hormones, increase endorphins and boost serotonin. ἀ ese benefits can be felt immediatly. Regardless of what you decide works best for clearing your mind make sure to try some thing. Sitting, frustrated waiting around for a new mind set will not help the final product to find completion. Take the time to help yourself get into the best mind set you can and see where your creativity takes you.
by ari lamb If you have an idea it might refer to something perceived through the senses [: I had no idea it was so cold out], to something visualized [: the idea of a joyous family outing], or to something that is the product of the imagination [: a great idea for raising money]. Idea is a comprehensive word that applies to almost any aspect of mental activity. With so many mental connections being made in one personâ€™s mind, keeping track can become quite a task.
Designers handle this problem all the time. Creative ideas come and go sometimes in the blink of an eye, and remembering your creative thought process is just as important as remembering your passwords or bank account numbers. Ideas are the fuel behind the bigger concept, the inspiration. But on their own, they are o˜ en fragile, or easy to forget; a small detail your brain may tuck into the back for safe keeping, never to ÿ nd it again. Keeping track of ideas is all about fast action and documentation for some. As soon as a creative solution passes through their mind, they must jot it into a sketchbook, write it in their computer or ÿ nd another way to freeze the moment in time. ˛ is practice can be extremely helpful for more than one reason.
Creative thinking is rarely a grand ah-ha moment. Problems generally are not solved with one grand concept that hits a designer like lightning. ˛ at’s not to say that these ah-ha moments never occur, but more o˜ en creative problem solving is a series of ‘good ideas’ that work themselves together to form a brilliant concept. ˛ is is the beauty of writing down the small ideas as they come, allowing a designer to see these connections on paper and let the chaos of many ideas collide into a successful solution. ˛ ese are the “happy accidents” or the truly organic solutions. Keeping track of one’s energy can also allow for deeper collaboration between minds. When ideas are put on paper, it allows others absorb these thoughts and expand on them with a new process of creative thinking. Two minds will double the creative output and challenge each other to dig deeper; ÿ nd a stronger connection of concepts to answer the charge at hand. Keeping track is the ÿ rst step to inspiration, exploration and collaboration.
YOURS by Cami Tubbs
People have so many ways to remember their thoughts and ideas these days. Some have palm pilots, or sticky notes in every place imaginable. A notebook, napkin crumpled in their pocket, computer, or within their mind. Not one of these is necessarily a wrong or right way. Diáź€erent techniques work better for diáź€erent people. It is all about finding he method that works best for you. The way I keep track of ideas is by letting them drift from possibilty to possibility in my mind and constantly mulling the options over.
If I start sketching or writing down too many details I get caught up in the little things and the main idea never solidifies. After I figure out my idea, that is when it gets put down in ink. This must happen before I move on to thinking about something else. Some people have to write ideas down at the very moment it enters their mind, and before it escapes their memory. Others are the cutting edge of technology and have one gadget that they can write down their idea, schedule when they can begin working on it and make an appointment with someone to discuss it, all in one minute.
Space is the boundless, three-dimensional extent in which objects and events occur and have relative position and direction.
by J.J. Embleton In the definition of space, if the word “space” is replaced with something less physical there is created a very interesting subject. The word that I was thinking of putting in the place of “space” is the word “Ideas.” Many times ideas are objects, events, or designs that occur randomly and lead to a position or direction. Most of the time ideas come sporadically and are boundless and of course have no real physical nature because they are in our mind. But due to this complete absence of physicality most of the time ideas are lost very quickly and because of that we must store them somehow. The way that I store my ideas and creative inspirations is by writing or drawing them in a sketchbook.
The sketchbook is a obviously physical thing so when we put ideas in it, the ideas are converted to something tangible that we can come back to, see, analyze, critique, etc. In that sense we could think of how we keep ideas as equations that translate our ideas into something we may eventually build upon. For this reason, in a way, I look at my sketchbook as a very precious thing that holds the keys to what I want to create. Also a sketchbook is something easily transportable, something that can be quickly expressed in when ideas come suddenly, and lastly is organized enough that you can return to those ideas. This is important because if we return back to the original idea of how intangible ideas are it is extremely useful to have the method of collecting ideas very quickly accessible. Now whatever you do to collect your ideas just remember that they come and go like flying by at the speed of light. If you are not ready, many times you will lose the idea just like a light being turned off will lose the idea just like a light being turned off.
I return to my computer daily. Most of my work is done through the computer. Even if I have nothing to do (which is rare) it is still part of my routine to check it at least once a day. A notebook can easily be misplaced making it hard to return them. ˜ ere are better ways to use your time other than looking for a notebook. Unlike notebooks, Computers are connected with the rest of the world. ˜ e user can reach most of the world and seek inspiration from almost anywhere. It gives you ideas you may have never found on your own. Writer’s Block is less common when you have so much inspiration at your ÿ ngertips. ˜ e organization of a computer is much more productive than a notebook. On a computer the user is able to go back and change information very easily. When this is done in a notebook it stains your otherwise white pages and leaves an awful mess. When I cannot ÿ nd information I can let the computer do the searching for me. When you are using a notebook information can be easily lost and it results in the user ˝ ipping through the pages. ˜ is can waste valuable time.
Retaining The Mind
Some people keep track of their ideas by documenting them in a notebook or journal. ˜ is is an unfortunate inconvenience. A notebook is something that can be lost without much e° ort. A desktop computer never leaves its desk and is easy to keep track of. A desktop computer can always be found in the same spot, assuming that no one steals it.
by Tyce Jones
Organizing Your Life by kaitlin schafer I learned that each person has a di˛ erent ways of storing and keeping track of ideas. Some people use a sketchbook, and write down ideas when they came to them. Another method is digitally, everything is stored on the computer in folders and ÿ les. ˝ ese ÿ les are named and organized to the persons speciÿ cations. Finally designers can keep ideas in their brain. Personally I like to work with the last method, because it makes the most sense to me. My brain is a giant ÿ ling cabinet that holds all my thoughts and ideas and keeps them organized. ˝ e thing I like about working in my brain is that when you lose track of ideas, they can come back to them in the new ways that wouldn’t have originally come about. Combining new ideas with old ideas can create magic. Another factor that is also important, is that my brain also stores my tidbits from daily life, which can lead to something that would spark and idea. On the ° ip side of that, daily life can also get in way of
creating ideas. It comes down having the discipline to return to the idea, and get back in the working mood. Sometimes this discipline works out, and other times it doesn’t. In the end, it’s about ÿ nding a balance between work and life. When the balance right is found and thoughts combine in the right way, the creative juices ° ow and create something great. I like this idea of being able to swap out ideas for other ideas. I have found that from my year’s experience of creating, I’m constantly getting new ideas, but as a designer I can’t forget my past ideas. Past ideas are your foundations, and a spring board for continuing ideas. If it weren’t for my brain I probably would have forgotten these ideas, they would be lost in sketch book, or in some ÿ le on a computer somewhere. But my brain is always with me, that means my ideas are always with me.
Opposition In Art ἀin gs by John Christian Perkins We all experience opposition in life. Art i s n o ex ception. W hen i t co mes t o reaching for those golden concepts and making t hem a r eality in a rt, f or m e, there seems b e the same things in the way every time. Time. We w orship i t. We li ve a nd die b y i t. B ut t here n ever i s en ough o f it. Sometimes I f eel like I co uld execute an ide a o r t weak i t en ough t o b e w ell pleased w ith it, but, li ke a si lent crocodile, t ime a lways sn eaks u p o n m e a nd destroys my enthusiasm. ἀ ere must be some ancient, irrevocable curse upon all artists everywhere to never have enough time, I ’m s ure o f i t -o r m aybe i t’s j ust procrastination, ei ther wa y. ἀ e l ack of t ime p oses a s erious p roblem t o m y workmanship. Weakness in t alent. ἀ ere a lways seems to be some formal imperfections and p roblems I a m n ever q uite a ble t o
resolve in m y work. I’m never s atisfied. It is very disheartening. Either that, or I’ll have this great idea I’m really excited about, b ut f or in ability t o ex ecute t hat idea in a wa y t hat’s co nsistent w ith m y vision I g et frustrated. I ts like reaching for some great treasure with jello arms, no matter how hard I try and effort I put forth, m y j ello-arms w ill a lways hin der me. So, what is to be done? Am I cursed to struggled with these problems always? Yes. I t i s in o pposition t hat w e g row. Consider the tree grown with too many anchors. With out experiencing the full force of nature, the tree can never grow an adequate root system to stand on it’s own. S o i t i s w ith t he a rtist, t he r esistance will strengthen him. ἀ ough it’s hard, and at times I really don’t like it, the struggle against time and lack of talent will make me better.
CREATIVE MIND by christina longhurst
And you wonder why I haven’t finished that yet? It may seem that my creative mind, which can be referred to as scattered, is disorganized and dysfunctional. However, this is how it works. It has to. As a matter of fact, if I could have my ‘druthers’ I’d construct my time and deadlines so that I could accomplish one thing at a time, somewhat chronologically, and in a timely and orderly fashion. But every designer knows that it doesn’t work this way. In fact, it can’t. A designer must be pulling inspiration and direction
from multiple sources. A healthy amount of overlapping allows for those quick, yet monumental moments in a project or job where I think of that ‘thing’ or ‘element’ that pulls everything together; that “out-of-thebox” thinking where “the box no longer exists” moment, like my professor would say. It gets me excited about the project and the concept and makes the rest of the creative process that much better.
by J.J. Embleton One of the things that most gets in the way of my ideas, is when I dislike a project I am working on. Usually this is because it does not push me creatively, but sometimes as a designer I just have a block of ideas and creativity. As designers we do not always do work that we really want to do because many of those times we have to do what the client wants or what suites them the most. But even in those projects most of the time there is a sense of creativity, openness, and interpretation that can make the job a desirable project. But sometimes when there is very little room for creativity or openness we can feel like we have lost the ability to produce the work. On occasions when we feel that we have run
out of inspiration we have to look to certain things be able to achieve success. I personally look to my idea sketchbook, my previous work, and to friends to break the opposition to my inspiration. This can help break what feels like a death to creative people and in particular to designers or artist who are working on a deadline and must get the work done. If you feel like you work is going to be the death of you, one thing that I have heard that may be a good source of working through those hard times is â€œfake it till you make it!â€? When trying to get work done we might not necessarily be the best thing to fake the piece of work but it also usually helps to just start working and that will help destroy the artist block.
Writerâ€™s block is a condition, associated with writing as a profession, in which an author loses the ability to produce new work. Writerâ€™s block may have many or several causes. Some are essentially creative problems that originate within an authorâ€™s work itself.
It’s all in the challenges. by Jade Gelskey Design is a challenge. ἀi s is one of the main reasons why we choose to be designers. Whether it be a client asking for a complex and difficult book design or designing our personal logo, the difficulty is always there. Now, not all challenges are created equally and we need to be able to distinguish between ones that are real and ones we create in our own heads. One challenge that can be a little tougher to tackle is ourselves. ἀi s can take different forms, just as we are all different designers. For some, it is adding extra work to an already growing list of things to do. Or it may be the choosing over-complication. Both can hinder our design process and bog down our creativity. Creative flow is the essence of good design. Why is it we allow things to hinder this important addition to any good design process? Sometimes its personal issues, some times its external influences of designers around us and some times it is working to straighten out the volume of stuff in our minds. Personal issues are a pretty common thing that can hinder your creative flow. Maybe you can’t stop thinking about how hurt you are after a fight with your significant other. Maybe you are struggling with issues resulting from your childhood. Try and take some time to look at yourself and figure this out. ἀ e realization that these issues are affecting our design work is critical to figuring out how to get our flow back.
While each of the mentioned issues are important to our lives, to be a designer (with these types of tendencies) we need to work to get to a place where we can shut off those thoughts and clear our mind. A clear mind allows creativity in and gives us a place to put all of our thoughts about our design, and work through those critical project related problems. ἀ e other thing that the designer can remind ones self about is that how good it will feel once the design is complete. Not only will we feel good but then we can re-allot time to deal with the issue that was clouding our brains during the design process ἀ e distinction between the right time to deal with issues and then to design is key to moving forward and expanding our creativity. Challenges truly are the essence of life. ἀ ey allow us to learn lessons, triumph over adversity and become better designers and humans. When things go wrong it does us benefit to laugh it off and move forward. Face and embrace the next challenge head on, realize who you are and what personal issues you need to overcome and tackle each of the problems you are facing in their appropriate times. Embracing challegens will make the difference!
an dr e re the qu alit se a ie po
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e of any work of a valu e rt.â€? u
â€œSi mp licit y
measure the hat tr st
Oozing Simplicity by tenia wallace “Simplicity and repose are the qualities that measure the value of any work of art.” Frank Lloyd Write. With art the desiger needs to have a foundation of simplicity, and clarity. ἀ e first step of the design process is finding what the main objectives. After analyzing the project, designers need to go forward and represent the objectives in such a way that the viewer understands the purpose of the design is right away. Many designs that fail is when the designer doesn’t keep the objectives in the forefront of their mind. When a consumer looks at an advertisement several things should pop off the page. Product being sold, the company selling the product, and where to purchase the product. ἀ e same thing should apply to every design, we have the primary , secondary, and tertiary objectives.
It’s like designing with a blindfold. I am reaching for ideas that I don’t want to create, and there’s nothing worse than forced creativity. It has no heart. I throw myself into a project and hope I don’t remember what I really wish I were doing when I’m in it knee deep. Sometimes forgetting is easy. The project sucks me in, and for moment, I believe I’m satisfied. Other times, not at all. I have to force myself to reach up and tear down the visions of where I want to be. There is a fine line between enjoying it and just working it, and sometimes projects cross the line multiple times.
blinded by ambition
by kimberly shelby
Desire for something else begets loathing for current work. I want to be standing behind a camera with thousands of dollars worth of explosives going off in front of me, not sitting in an office, designing a poster that will be torn down in a week. Yes, the poster is thrown away; yes, the movie is over when it ends, but it’s where my heart is that matters. I have to remember and hope that when they say,“Good things come to those who wait,” there’s some truth to it.
by christina longhurst
It’s all around us. I’m seeing it the moment I’m writing this, when I got up this morning, when I drove home for the holiday last weekend, in the store, on my clothes, in my fridge, in my car, on someone else’s car, and I see it everyday. What is it? Design. If we all took a moment during the day and just observed the design that already exists around us, we would be able to contribute to that already existing foundation of what is great design and what isn’t effective design. We are all attracted to certain styles, esthetics and over-all looks of the ephemeral design around us. Stop.
˜ ink of why it works. Why it doesn’t work or maybe how it could be improved. I was doing a portraiture photo shoot recently when the autumn leaves created a majestic background. ˜ at subtle detail dramatically changed the outcome. It’s at those moments when I consider accentuating that ‘background-detail’. By doing so, I provided direction and a focus for a di“ erent visual problem. By giving a small amount of time and attention, I was able to be further inspired.
Conversations Be Thy Guide by John Christian Perkins When I’m trying to move closer to t hose e lusive g ood ide as, I li ke t o use co nversation. A s if w ith sn eaking tenticles, I a m a ble t o p ick t he b rains of those I chat with to perfect my ideas. Talking w ith o thers a lso a llows m e t o recgonize t he s trong a nd w eak p oints of my ide as. Whether they’re an a rtist or n ot, i t do esn’t m atter. T alking a nd hearing o ther p eople’s in put i s a v ital reἀnement process. Other t imes w hen I a m de aling with a cr eative m ental b lock a nd h ave no ide a w hatsoever, t aking a b reak t o chat w ith f riends a nd r oommates c an help a g reat deal. It loosens me up and allows the creative currents to flow more freely. Without k nowing i t, t he p eople I t alk w ith a re h elping m y cr eative process a long a nd s aving m e. W hether
the t alking y ields a ny n ew cr eative breakthrough on my part or not (more often than not it do es), I s till value the relationships of those around me and am grateful for the opportunities I have to chat with them. There a re s ome in stances w hen I do n’t f eel co mfortable r evealing m y concepts. T alking w ith p eople i s s till helpful, w ithout g iving a way w hat exactly I ’m t hinking, I w ill s teer t he conversation to topics that complement the ide as I ’m de veloping. I n t his wa y, I’m m ore li kely t o g et p ure, h onest feedback when the people I’m taking to are n ot worried about contradicting or offending me. Art c an n ot b e m ade in a c loset. Concepts a re n ot b orn o f n othing. Getting out to actually talk to people is a sure way of winning those golden ideas.
IDEA SUCCESS F ROM GOOD
by Cami Tubbs
Everybody has projects they’ve done that worked out better than they could have imagined, and things that were never close to what they had hoped for. When projects work out that well, most people will use those successful elements again in other designs. Over time, we develop more and more work that is up to that level we so desire. ἀ en, when all of those great ideas are merged into one, it becomes an incredible design. With those great ideas one could weave that success together in different ways and create multiple different pieces of work out of similar great ideas.
it does not always have to be the interweaving of solely our own work. It can also be taking small successful elements from other people’s designs and making something out of it. ἀi s is what we all do with our lives anyway, we take things we like and try to replicate them in what we do everyday. Whether it be our careers, personalities, cars, or even houses, we see something that appeals to us and want it in our lives. Why not do the same thing in our design. A little of success from here and a good idea from there and eventually you have work that can’t help but be successful.
by ari lamb
Every artist has experienced artistâ€™s block at some point or another. Some artists struggle with an overbearing fear of failure. At times our ideas may seem stale or lifeless, and our creative egos take a hard hit when we fail to move through these blocks gracefully. In my experience, these are the best times to shred it all. In all its literal and destructive meaning, yes, shred your thoughts. There is no room for the good, if you donâ€™t clear out the bad. Energy is unable to flow when there are negative thoughts and ideas in the way. At these times you must expel all the negative , suffocating thoughts from your mind to make room for the new. For me, this process is in writing. In a 10 minute period of free writing I can document all of the energy in my brain, remove it and document it on a paper, book, post it, scrap paper, whatever. Sometimes I read them afterwards, other times I cast them off without a second glance.
Then in a grand and liberating moment, I tear my thoughts apart. I rip the paper into ten million pieces; crumple, crush, and destroy. I swear you can feel the energy flow back from your paper to your fingertips, your fingertips to your blood, and then back to your soul. Watching something fall to the trash, disappearing from your conscious mind is the most rewarding moment of any brainstorming session. Expelling all the negative and destroying it opens the mind to new possibilities. To creative minds so ftrained to focus on creating, assembling, speaking, there is freedom in destroying something every now and again. Try it.
by Danelle Cheney Have you ever been stuck? Hopelessly, infuriatingly, I’ve-hit-a-brick-wall-ten-mileshigh, STUCK? It happens. Not just to creatives, but every human being at some point during their lives has thrown up their hands and said in exasperation, “I just don’t know!” — e problem is, as a creative, your paycheck (or your grade, if you’re a student) depends on getting un-stuck. It’s a scary feeling to be up at midnight, the night before a big presentation, and realize that you’re running in circles. — at nothing is coming to you, and all you’ve got in your head is a big, fat, ugly blank. Don’t be afraid to walk away. Just set your pencil down, shut your computer o› , stop whatever it is you are trying to do, and leave. — is is one of the most important things you can do for your creative process. If you’ve done all the footwork—and by footwork I mean done your research, collected content and understand what you are trying to acheive—trying to force results is not going to be productive. Sometimes, you have to put it in a jar and set it aside to chill.
I mean this in the most literal way possible. For some people, it helps to move on to another project. — ey’re still being creative, but it’s a di› erent topic/genre/task so it frees up the ” ow of ideas. For others, they’d rather do something that doesn’t require thought. Go for a run, wash the dishes, talk to the dog, watch some television, whatever it takes to let your brain wind down. You’d be surprised what happens when you let your subconscious do part of the work. I’m not suggesting that a brilliant idea will strike you out of nowhere, or even that you will solve the smallest part of what you are working on. What will happen is that you can approach the project with fresh eyes and mind. Learn what works for you, and practice putting it into action.
LET IT BE.
In the real world you have to work with others to make great things happen. As with the creative world, one idea, shared with others, has endless possibilities.
In order to be creative you have to be able to share your ideas to make them happen. I have so many ideas that I want to create, make, or to start a business. The only way I can make this happen is by telling my ideas to others. Being a private person myself, I always choose to not tell anyone my ideas, and to trust no one. My pen and journal know everything, but the world will never see them. How do you get to that great idea? Some people brainstorm by themselves, thinking what they have is the best that it can get, and never look to others for input or ideas.
Can you imagine what your idea could be if you were willing to share it with others? What amazing things could happen if you were willing to brainstorm together? Should you shield the world out of your ideas? I think not. Iâ€™ve come to realize that by keeping my ideas from others, not willing to get their input, only limits my power to create amazing things. By sharing my ideas, greater things come about. The ideas, critique, and opionions of others do matter. They allow us to think about things we wouldâ€™ve never thought. The original idea will still be yours... but better. Share your ideas with the world.
artlessness: the quality of innocent naivete
innocence | in·no·cence | (in’ə-səns)
by kindal erickson
Because we are innocent do we lack creative ideas, do we lack the knowledge of the world that somehow makes our art more meaningful? I trust innocent with all my ideas, but does innocent mean there is no depth or substance, or experience to back up the thought? Or is there depth in not knowing what is going on in the minds of man, in not knowing what the world thinks about things? Or is to be innocent to know and just not care? A child is able to give so much unconditional love. Is it because they don’t know how messed up we are, or is it because they trust us? Why can the innocent trust, but we can’t trust each other? When I have an idea in my head I need to get out, I will go tell my little cousins or my horse.
So I date a boy, and then realize that the relationship just isn’t going to work, but instead of trusting myself with the ability to honestly tell the boy what is going on or trusting the boy with my feelings, I go for a horse ride and reherse the entire story to my friend the horse. He listens and walks with me. He lets me get everything out in the open, he’s someone I can trust. Can i trust the horse because he can’t talk back or because of his innocense? But of what value is his innocense to me? ἀ e same is true of a child. I could tell a child anything and I still think they would look up with big eyes of love. But do we want to tell them everything? Maybe it is the purity. I may be able to trust a child, but I don’t want anything to break into their pure, innocent heart.
portrayed through its idea and asthetic execution of that idea. A painting done in love can be rich in meaning and talent, a design can be pure to the elements that govern design. Just because one is not knowlegable of things of the world, or is innocent in the view of the common people, does not mean that they aren’t filled with great ideas and creativity. Maybe they are even more because they aren’t trying to broaden and find something new in the world, they use what the world brings to them. From this conclusion, we can not only find creativity and passion in the innocent and pure, but also trust. Trust that we will get a loving, respectiful answer, and we can always learn something from that.
So this is now the question, can someone be artistic and innocent, creative and pure; and can we impose ideas upon people who are this way? I would like to argue yes. ἀ e value of any art is
a : free from guilt or sin especially through lack of knowledge of evil : blameless b : harmless in effect or intention
SHARE YOUR LIGHT
by Danelle Cheney People have this rather annoying habit of safe-guarding their ideas. Maybe there were a lot of cheaters in their kindergarten class, or maybe they’re just plain selfish. I have never understood this attitude and I doubt I ever will. Let me explain it this way. Unless you are a direct descendant of Einstein, I severely doubt your ability to come up with earthshattering ideas by yourself.
E RAHS R UOY T HGIL
Don’t get defensive. You know it, I know it, and your dog knows it. Sure, you come up with the occasional funny joke and you even wrote the tagline that’s on all the promotional flyers now, but true brilliance? Ingenuity? Not so much. The best ideas—the ones that make us stop and stare, that make us laugh, cry, or change lives—are the result of a team. There is a difference between a team and a group of people working together. A team is united under a common goal. A team is passionate about what they are trying to acheieve and work together to get the best
results possible. If your group does not have these attributes, it is merely a group of people. You need a team. Your teammates will keep you in check. When you have a really awful idea, they won’t be afraid to tell you. When you have a really amazing idea, they will recognize it for what it is, and make it better. My best ideas have been the result of brain storming sessions, conversations, or critiques, and in no way can I claim them entirely as my own. I believe that creativity is all about drawing unexpected connections between things you’ve never thought about putting together. You need the collective of experiences, emotions, knowledge, and personalities that a team brings to achieve this. Collaboration is the key.
Relying on Trust by Tyce Jones
When I am unable to ÿ nd inspiration I will look for it through a friend. Someone you can trust telling your ideas to, who you can rely on for inspiration. Your peers can be very inspirational. You may have common ideas but you still don't see the world eye to eye. Building ideas with them is much more efÿ cient than collecting ideas from some random website. Finding a new opinion outside of your own paradigm can be a rewarding experience. It allows you to view information in a way you may have never thought of before. ° is new understanding can also broaden your horizons and allow you to open up to new ideas as well. ° is is how personal growth works and is applied to life. Whenever I burnout on ideas I seek inspiration elsewhere. When in this situation I usually turn to my peers, friends and/or classmates. Preferably from someone who lives outside of my city so I can get a fresh perspective.° is normally proves to be a successful experience.
Physical space is often conceived in three linear dimensions, although modern physicists usually consider it, with time, to be part of the boundless four-dimensional continuum known as space time.
Shooting Stars by J.J. Embleton
When I think about where I do my best work it is not a physical space with actual dimensions. This is because most of the time in the randomness of my mind I feel like I am just hit with great ideas. If I had to choose a certain place that I do my best work, I again donâ€™t think that it would be a specific place. I think that it would just be somewhere that I can imagine things, have an open mind and not feel constricted. But because of how I receive these great ideas and how fast and random they come I donâ€™t think I could ever choose one physical space.
Like modern physicists classifying space I think I receive my ideas in a more boundless fourdimensional continuum called my imagination. Sometimes I feel a little immature because my inspiration usually comes for things that I pretend are happening. But if you feel like I do sometimes I think that we should not worry. Even if we are creating something in our mind it can be grounded in reality. And if it happens to be grounded, in our imagination possibilities are endless and we truly can do anything. I once heard that it is better to shoot for the stars and miss than aim at a pile of shit and hit. And I believe this to be true and feel that if we are using our imagination we should do this.
Trash or Treasure? by kaitlin schafer When I come up with ideas, I like to believe that they all have some sort of merit, and could develop into something. Not every idea you have will great. Some will be good, some bad, and some that are just awful. When you have a brilliant idea come to your head, you deἀnitely should go for it, and when you have bad ideas you need to use them as a spring board for improving the idea. The next step after you get these ideas is showing the designs to fellow designers. This is when the process can get frustrating, because your designs will be rejected or kept and revised. Getting one’s work critiqued is something that every artist and designer must get used to. Critiques can be difficult because there is the possibility that they could be dropped in the trash. If it’s dropped in the trash the right way it can be a learning process, but if it’s done the wrong way it can
have some negative consequences. I ἀnd the when I go into a critique, I learn more when I get constructive and positive feedback. The constructive feedback allows me to see the mistakes on a design, and how others feel about it. The positive feedback gives that little boost, so that I will continue on the design and not drop it completely. The trouble starts when you can’t ἀnd any positives, and it turns into a rant about how bad it is. I avoid telling my ideas to the people who rant. I know that all my ideas aren’t good and that I need to improve but in general I do have good ideas. My ideas could be the next big thing, and I have to ἀnd someone who see’s the same potential that I see.
It’s all in your experiences. by Jade Gelskey Experiences...we all have them! ἀ e good experiences come with the bad, and for most of us we have a little bit of both. ἀ ese experiences shape the way we are as human beings and designers.
through the toughest problems in your design career. What a shame to miss out on all of the benefits and assistance you can get from these seemingly simple design processes all because of external forces.
Maybe your poignant experiences make it difficult for you to design with certain subject matter. Maybe you have experiences that are pleasant, and those are the ones you get excited about. Whatever the case may be, self awareness of those experiences can help you move forward when you are struggling with designing,as well as with your life in general.
While the design process is a small microcosm of what we all do and experience daily, we need to look at our outside experiences and see how they are affecting our work in any way we can figure out. Also, if you realize that you are unable to work on or get excited about certain projects due to an experience in the past you will now know what to avoid. ἀ ere is no shame in knowing what you are good at and what works for you. Embrace it, and make whatever it is work for you.
Design, in its essence, is an outlet for the internal dialog. ἀi s dialog can be forming and molding the way you do business in ways that are not positive. You might be missing out on what different parts of being a designer can do for you. Some people might find that when they sit down and look at the experiences affecting them, they notice recurring themes. Due to family circumstances, maybe you struggle with working in group settings. Sharing your ideas. Giving positive feedback in critiques as a group. All have importance and we are missing out as designers if we do not take advantage of the opportunity each of us posess. Not to mention without these you will not be getting the most from your school experience (if you are attending university, school etc.) or gaining the critical feedback for working
ἀ e deconstruction of this issue is important for all designer, to have, because once you know better, you do better. If you know you have an external experience affecting your process negatively you are able to work at changing this to a more constructive way of working through the design process. Each and every one of us has these experiences which have shaped who we are. ἀ ere is no sense in discrediting these as part of why we do the things we do. Take some time, look at your experience and see the benefits of the new self awareness you will gain. Your designs will thank you.
Not All Can Know by John Christian Perkins I lo ve t alking a bout ide as. E specially in a rt or politics. I en joy hearing people’s input and giving my own. However, there are situations when I do n ot want to share my thoughts, my ideas and my concepts as they are developing. Mainly it is with the boss that I am most r eluctant t o s hare w hat my ide as are for a project or assignment. I like to keep my initial thoughts secret. It’s not that I h ave a p roblem s howing w ork that is unpolished or unἀnished, at that point t he ide a i s h ammered o ut a nd solid. When t he ide as are in t heir em bryonic state, that’s when I am against sharing -especially to a boss or client. I really don’t like to present my ideas to someone who is asking for the
ἀnal p roduct. M y ide as, m y p roposals, MUST be thought out, the details hammered out, before I a m willing to open up. This i sn’t s ome ado lescent di strust of authority or resentment of power, it’s a manifestation of my desire to be professional. I want to show my employer, teacher, client etc, my very best. Another c ause i s sim ply a f ear o f looking b ad. I do n’t wa nt t o r isk s haring a stupid idea, I’d rather mull it over, critique and perfect it on my own with feedback f rom m y co lleagues t o m ake sure I know what I’m talking about. Other p eople h ave n o p roblem brainstorming and opening up to t heir employers a nd c lients, b ut f or m e, m y ideas remain sealed until they are ready.
Imagination by tenia wallace
Lingerie advertisements start to blend in with each other when looking and them over and over. ἀ ey generally have an attractive young women wearing the garments in a seductive pose. ἀi s can be very effective, but everything is laid out for the viewer, A challenge I wanted to approach was how to sale a piece of lingerie with out using the traditional composition. I went back and forth trying to figure out to have it on a person or have just the product. I was going through all of the possibilities and what the image would be with the two different options. Having a person in the lingerie would make the advertisement to sexual, I needed something that implied but didn’t actually show anything. I took the clothing and placed it in several different areas trying to get the right composition and coloring for the photo. “Design must sedue, shape and more importantly, evoke an emotional response.”
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is stronger than perfection
by ari lamb
Life’s magic is in the details. Whether it be a work of art, a friday night date, or a piece of clothing, the small e˜ orts are what enhance an experience from ordinary to something a bit more.
In doing so, we may appreciate the small e˜ orts of our peers, or see the beauty in an old design. ˝ e details are the soul of being human, and the excitement of being a designer.
When we look at our fondest memories, we tend to remember the smallest details that make that moment come to life with every recall. What we were wearing, the smell in the air, the song that was playing-- all of these are the magical pieces that make life extraordinary.
˝ e meticulous intersections give a little extra to that painting, magazine spread, or poster design. We ÿ nd ourselves most proud of the details, the secrets that we know were our biggest accomplishments, but others may think we mastered with ease. ˝ at extra e˜ ort can make all the difference. When you ÿ nd perfection down to that last curve or line, everything else falls together. ˝ e details are where the heart rests and our creative energy ÿ nds true passion in design.
So o° en we are caught up in looking at the bigger picture and we forget to take a moment to appreciate all the tiny, seemingly insigniÿ cant attributes of that big picture. Looking at the details can give us a new perspective that opens up our eyes to the time, e˜ ort or insight of a moment.
You’re Never Fully Dressed
Smile by kindal erickson
“You’re never fully dressed without a smile.” -Matin Charnin Some people take so much time and care into the placement of their hair, thier outἀts, their total appearance, when the feature that is going to stand out, no matter how much time is placed on the physical, is the personality. No matter how bright the clown costume, the clown will not be any happier if he is frowning. The President in his suit will not look more caring with a scowl. The most important feature we can wear is the personality that shines through our smile. My little brother was such a mischief maker, is still a mischief maker. He used to take off his diaper and spread its contents all over the bedroom walls. When
I walked into the room and the stench completely took over my senses, it was always the ear to ear smile that reminded me that I did love my little brother. Nothing is more contagious than that adorable little toddler smile. And while we probably shouldn’t be walking around in nothing but a diaper, nothing does more to attract and brighten than the warmest feature we have. So, whether you are a clown, a politician, or a two year old, people percieve you based on how you reflect your personality. After all, “you’re never fully dressed without a smile.”
I accessorize my life by wearing bright colors, or stand out items. Those are usually seen in my shoes, jewelry, hats and purses. How am I going to stand out if my own style can’t be reflected in a piece of jewelry or the color of my shoe? Wearing accessories makes my outfit. They reflect my style, and make me stand out. It’s amazing what you can do when you add a piece of jewelry to a plain outfit. Adding that accessory can make it amazing, kind of like the icing on a cake. It’s okay without, but why would you want to do that? Accessories are a way for people to express themselves. They are a way to add that lasting impression on someone you have your eye on-a future employer, or just in the world around you.
Girls can accessorize in many different ways. Try putting a pair of dangly earrings in, wear a headband in your hair, pop your outfit with some color using a cute handbag, dangle a beaded necklace from your neck. How impressive do you feel now? Boys are not left out of dressing to impress. That colorful tie, a shiny watch, or a a nice ring can really set a good impression. It’s all about using your own space to create a lasting impression. Your body is your canvas to express who you are as a person. Your style, your personality, your way of living are all reflected in how you present yourself. Accessorize your space with your own style and you’ll be glad you did.
Wearing Confidence. by Tyce Jones
˜ e most important thing you wear when working with a client is conÿ dence. Most clients would agree with me about that. If you appear to be not conÿ dent than You will be less successful at selling your idea. You not only want to sell your idea but you also want to sell yourself. ˜ is will also help you win future work with the client. Conÿ dence is something you can only achieve when you are prepared. ˜ is not only makes me look impressive but also allows me to take pride in work what you do. Doing your homework will give you the conÿ dence you need to work with a client. When working with a client it is important to be prepared in every way possible. ˜ e best way to achieve this is by having the knowledge that will impress them. Doing your homework will give you the conÿ dence you need to work with a client and they will notice a di˛ erence.
it’s better in the
by kimberly shelby There’s a reason nudist colonies exist, and it’s not to make the rest of the world uncomfortable. Those nudists are on to something. Ideas come from the freedom to choose anything and everything. When the clothes are gone, there’s nothing left to inhibit creativity. Even the design of my clothing, from the color to the brand, can influence my design. Ill fitting clothing leads to bad, uncomfortable ideas. I don’t want to be sitting in formal clothing and trying to design a rock concert poster. Any influence can be too much. I want to start with a clean slate. I’m not going to waste time wishing I wasn’t sporting that push-up bra or too tight jeans, I’m going to make it happen and then my design can be free too.
Newport Nudist Colony letting freedom ring since 1987
A Modern Grownups Guide to Dressing by kaitlin schafer
Work is deἀned as an activity in which one exerts strength or faculties to do or perform something. If we go by what work is deἀned as, work can be almost anything. If you look around you right now, there is probably somebody working. Each person wears something different when they work, because not all work environments are the same. As I work right now, I’m wearing jeans and tee shirt while others around me are dressed to impress, next to the sweats and hoddie crowd. Each look has its place in the work world, and depending on where you are and what you are doing, you could be in any of the categories. A large amount of our population wears a suit and tie every day. There could be a variety of reasons for this, but most likely it’s because it’s what they are required to wear. This dress code is enforced because it helps the company have a professional image. The idea of dressing up starts when we are young. As a young person, you dress up to look more adult. When you reach adulthood, you dress up to look distinguished. Looking distinguished gives you an air of conἀdence
When you wear jeans and tee-shirts, it’s a different feeling. Instead of feeling distinguished, you are comfortable, and are able to do work that requires you get a little dirty. Everything from yard work, to school work is done in this type of clothing. Feeling comfortable allows your thoughts to flow more freely. When your thoughts are free you are more productive. You have yet another feeling when you are part of the sweats and hoodie crowd. It pushes the limits of comfortable and verges on lazy. When you wear this look, you aren’t going to impress anybody, but it if helps you create then it works. Sometimes wearing something really comfy can backἀre on you; because it doesn’t feel like work wear. The trick is ἀnding something to motivate you while being comfortable.
Design is a many-faceted discipline. Under the single title of designer, one could be a web designer, publication designer, interactive designer, exhibition designer, experience designer, interior designer, architect, information systems designer, etc., etc. Each facet requires its own unique set of skills, but there is one skill that is important above all else: creativity. I believe that this word is often mis- or overused, but at its heart lies the essential task: to create.
enhance one’s creativity and ideation, but I firmly believe that the most important space in regards to creativity is the artist’s state of mind. For me, that space is typography. I am endlessly fascinated by it and have discovered that when I work with type, it is like walking through a doorway in my mind to a room that is bright with a million possibilities. I can see several ways to solve the problem of presentation, and I work through them rather quickly. Form, meaning, contrast all work together seamlessly.
There are countless books, articles, and guides to help artists be “creative”. One search on Amazon.com alone turned up 17,476 results. Studies have confirmed From my experience, that some people ideation becomes easier are most adept with with practice, but the by Danelle Cheney logic and numbers, fact of the matter is if the while others are more designer isn’t interested in the subject of the project, he or she will not comfortable working with words and concepts. The strengths of the mind vary be producing brilliant ideas in that space. as much as the individual. Within the many When I say “space”, I am referring to a mental facets of design, surely there is one that state of being. I could go on and on about you will not only be comfortable in, but studio spaces and home spaces that will bloody brilliant.
pr challenge run it out keep pushing opportunity rapid breathing muscle control dripping sweat hitting the wall elevated heart rate
The High by kindal erickson
It’s the repetitive pounding of your feet, echoed in each heart beat. ἀ e intense intake of breath to spread enough oxygen throughout your body to keep it going. When I feel the weakening it is my mind that has to strengthen everything else. Have you ever felt like you could push yourself just a little further and finally break into something great? ἀi s is the time when everything makes sense, when I run through the best ideas, when I think of something good, when something in life makes sense. It has been called the runner’s high. A feeling of euphoria that is experienced by many individuals engaged in strenuous activity. ἀi s is associated with a release of endorphins by the brain.
Picture this: every muscle in your body working in some way to carry your body wherever your mind leads. Now, instead of thinking ‘run’, think fly. ἀ e definition of running is when both feet are suspened in the air, if just for a moment. ἀi s is flying, this is running. Combine this with all the chemicals in your body becoming alive...leaving everything else behind and finding the feeling of accomplishment, pushing that barrier. When our brain and body are in that state, it is called the high. When our brain is clear, our heart is open, things are better. ἀi s is the time for ideas, thought, a designing high
IT’S A PIECE OF CAKE by christina longhurst
How does one create? Or be creative? How does one measure creativity? It is interesting that there are many people who deem themselves as uncreative, not artistic, or one who simply cannot draw a stick figure. Studies proven that a person’s confidence in their artistic abilities lessens with age. A small child can make many crayon hash marks on a coloring book page and be proud of his or her creation. In fact, they often want to share it. However, with age, we feel that our abilities should somehow better qualify us for perfection in everything we do, including our creative endeavours. So because someone is, lets say a Master of Accounting, they somehow find justification in saying they are not a creative person, and often times avoid opportunities of even experimenting the ‘theory’ or ‘lie’. (I call it a lie because they’ve not even given the idea of being creative a chance.)
There is a level of experience that is usually met to gain acceptance as an artist, whether that acceptance is of someone else or yourself; and this experience provides familiarity. Once a task or exercise becomes familiar, that task or exercise has become a skill. Those skills then come to mind faster; quick enough that they are hardly given thought. For example, when learning to walk, it was literally a ‘one-step-at-a-time’ process. But, with experience, walking becomes such a familiar exercise that we tend to think of a million other thoughts while doing it. Familiarizing myself on any given subject— my surroundings, content given for a project, trends, other designers’ work, the current design software, common interests or the buzz about the latest movie—provides an archive of inspiration. This is ability to provide something new with something that has been done. This is what creativity is.
Hit That Beat
by kimberly shelby I never know when that idea is going to hit and send me into a psychotic, creative rage. For some designers it’s in the shower. Other’s it’s staring at a blank wall and getting lucky, but we all know there’s a wall that must be torn down to get to that perfect idea but when we are standing there looking at that seemingly impossible wall, we have to decide how we are going to deal with it. How about turning on some Akon and grabbing a sledgehammer? I have learned there’s nothing a heavy beat can’t help solve. When I know nothing but the bass pounding through my ears and resonating down into my chest, that when the ideas come. No one’s watching as I dance through a world of color and angles. I’m not pleasing anyone with what my head’s creating. It’s just feels good at the moment. I solve the problem through a steady rhythm that only I can hear. In that moment there is nothing but empty space and the beat that begs for me to get up and move. There’s no taking out the garbage, or forgetting to grab the mail. There’s no dirty dishes or grocery shopping. It’s me and whatever my imagination shoves my way. No inhibitions, no judgment’s. Just me and my mind’s dance floor.
O nly by Cami Tubbs
ἀ ere is only one place where all colors work together in harmony, the composition is always perfect, and no matter what the content is, it will always take your breath away. Could you imagine if every design had that same effect on us? ἀ e wild outdoors have aesthetics down to a perfection. Why not look to the outdoors when needing to come up with inspiration? Quite often, designers look to other designers work to trigger new ideas. If a designer payed attention to the little details while in the outdoors, they would be amazed by how well different arrangements of shape work well together. Various textures create visual interest and unique color arrangements spur new ideas.
ἀ e best part about using the great outdoors as your inspiration is that your chances are very high for creating 100% original work. Originality is vital. Once people have seen something over and over it looses its novelty and appeal. We are completely surrounded by the items that we pass by everyday and after not too long we stop noticing them as they blur into our environment. People travel the world just to see and experience things that they have never seen before. If we could take just a portion of that natural intrigue for something new and embed it into our designs it would make a world of difference.
To do lists, things we want to do before we die, list of items to get at the store. It’s how people try to keep order in their life. I write so many lists that I feel like I write a list to write a list. Needless to say, they make me feel like I’m keeping my life in order. They outline what I have to do to reach my goal and let me visualize how I am going to accomplish that. People all have things they have to do, but weather it be going to the grocery store, or making our beds, or finishing a homework assignment we always have the same end goal-to be done. The reality of life, though, is that there is always something that needs to be done. People are constantly running to the finish line, only to see another finish line ahead. Each time breaking through with relief, but we never stop running until they break through the next one. Many times people get stuck in a rut and don’t know how to complete those goals. The best way to keep in order what you need to accomplish
is to make lists. If you need more inspiration, make a bucket list of what you want to do before you die. Have life goals, and plan your daily to do lists around those. Creating a list to reach a finish line helps me to keep my creative ideas in order. There are so many thoughts and ideas in my head, they can get lost quickly if I don’t write them down. When I have a great idea, the first thing I do is get it down on paper, then from there I brainstorm my lists. Designers wouldn’t believe what their brain will come up with if they give it a pen and paper and let their thoughts flow from there. Soon they’ll have a list of great ideas, and best of all, be out of your creative roadblock. Whichever list you are making, whether you have a great creative idea, a grocery list, or a bucket list, have a dream and go for it. Reach that finish line, and run proudly to the next.