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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.
As exciting as it is, to see the range of concepts we're developing by looking for core values building free associations and sifting through surplus material there's still more to be discovered. By considered thematic variations of our existing ideas, we may find interesting alternatives or. Better solutions altogether. Take for instance the project we're working on for the Kinetico mini solar panel. We have our deserted island scenario coming together that's a castaway guy who's finally found his paradise because he has his very own mini power grid and he's using that opportunity to finally get away from the rat race.
But, if we take that same basic concept, then, tweak it this way or that, how am I to play out, simply changing out the setting, background senery or character profile can change our concept considerably (NOISE). So, what if our character never made landfall after his ship went down? What if he was adrift in a well-supplied life raft, with his handy solar panels.
He might wave off potential rescuers, because he's perfectly happy floating around out there. He's probably even fashioned a home made sail out of his shirt. He's happily sailing the sea. And, you know, he's fully equipped with his GPS because he's got functioning mobile. In fact, maybe our guy see the ship approaching and instead of signaling wildly for attention, he's going to dug beneath the gunner of the boat, hopefully he doesn't get spotted.
His trusty galloper's there. Looking at 'em curiously. Sketching our way to the story, hopes to visually construct the scene. When we keep the pieces separate, little sketches like this, it removes that nagging concern for composition. We're still creating ideas, not creating designs. So worrying about compositional details Is only going to slow us down. Now, this is a twist of our original storyline and it's worth exploring.
Given time, I'm sure there's many more variations of our story out there that we can develop. Now, what if we swapped island setting out for a tropical jungle? Our guy crashes in some remote rainforest. How might that affect his life? And how might that affect the stories outcome? In any number of ways, that single switch in location is going to change our story very dramatically, in fact, who knows where this one could go? So by looking at our concepts not as singular ideas, but as doorways which could potentially open to any number of alternative solutions, it will boost our creative output considerably.
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