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After landing a client, the designer's first chore is to communicate and develop the initial idea, whether it's a storyboard for a film or ad, or a multifaceted marketing campaign for a product or service. Learn how to transform a client's request into a presentable concept in this course. Craig Smallish walks through the development process for various creative scenarios, from assessing the client and the scope of the job to free-associating and sketching your ideas. Learn to create descriptive copy to accompany your visuals and create iteration after iteration of your design. Finally, Craig shows how to choose your strongest idea through a process of refinement.
When we compare rough and revised sketches, we can see that there are some basic similarities as well as distinct differences. Often rough sketches are very simple images whereas revised versions tend to be a bit more polished. Although they are finer renderings than the earlier stick-figure drawings, revised sketches are still a long way from an artistic masterpiece. The reason we produce revised sketches is to work toward improving the elements and composition that define our concept.
When we produce a revised sketch, we'll generally consider two things. First, how will our concept be communicated and what types of media will be used? For instance, the media might include: print, digital, broadcast, or possibly a campaign combination. Whatever the format, we'll need to begin adapting the sketch to fit within those parameters. Certainly, how we structure a composition for an extreme horizontal layout will be entirely different in a vertical configuration.
The revised sketch state is where we apply these details. Second, we'll need to think about what perspective and stylistic approach will help best communicate our idea, and how that will affect our concept. Stylistic approach is a huge factor to consider when we think about how much impact our concept will have. Deciding on photography and video, or illustration and animation, is just the beginning. If we consider the limitless number of different artistic styles available and how our concept could be communicated most powerfully, we realize the right selection is absolutely vital.
For instance, let's look at two images of taxi cab. The first a playful cartoon, might best function for a concept seasonal whimsy. The second image motion blurred, gritty photo, gives us a far more dramatic feel. Both taxi cabs yet, these stylistic approaches emote to very different sets of feelings. Along with determining style, the perspective the viewer sees our concept can also dramatically affect the feel or the mood of our idea.
While viewing a subject at normal eye level, we can see how it places us into somewhat of a comfortable peer to peer relationship with the subject. Now, we can see that shifting that angle to a lower vantage point empowers the subject figure. Now, if we move that vantage point up, suddenly we, the viewer gain the power in this equation. The distance we view our subject will also impact the feel. Placing the subject at a distance, buffers the viewer with a little security, while thrusting that figure into the foreground, will invade our personal space.
Like these images, reference material can help us work through revisions of our sketches. It's important to collect this material, both for visual aid and style choice. In fact, you can even trace the imagery. Tracing is a completely legitimate approach for producing revised sketches. Skillful application of perspective and style within the media you will be working, will help you to communicate your concepts with far greater impact.
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