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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.
The task to create innovative and effective concepts can be pretty daunting. Now, it's one thing to look at a great concept, and point to why it's so successful. But coming up with your own great ideas is an entirely different prospect. So where do you start? Let's say it's Monday morning, and we wake up to find we're working with a client with little to no time or budget. In that instant, we'll appreciate how beneficial it is for both client and creative to have a predefined process to develop our project.
The concept building process we'll focus on in these lessons, has several components that can be used either together or pulled apart and used individually. The strategy begins first, by establishing foundational concepts through identifying the core values of a project. Then, we'll create a content explosion through the free association process, identifying related content on an exponential scale. Next, we'll assemble note-sketched descriptives, setting the stage for all possibilities.
Then, we'll pull back the curtain and bring our vision to life through rough sketching, exploring multiple iterations. Finally, we'll examine our strongest concept contenders and explore a range of variations. While these processes may appear somewhat formulaic, the more they're practiced, the more they'll become second nature. Incorporating a creative process or method gives the designer two things.
First, it gives the creative a greater range of alternatives to select from. Secondly, it legitimizes the concepting process, allowing your creative to retrace the path they took from start to finish. Being able to retrace the route functions as one of the best resources a creative has in defending their concept, or as I like to say educating your client. This often times is the distinct difference in being able to convince a client that your concept is the absolute best approach.
Versus having your idea tossed aside, and the job going to someone else. Ultimately, one of the most important things a creative can do is produce as many different ideas as possible. Having a wide array of choices available is very often the difference between delivering a good concept as opposed to a great concept.
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