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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.
With two solid concepts brewing for our mini-solar-panel project it's time we begin some rough sketches, As we draw we will be thinking about how different viewpoints can affect the feel of our scenes as we produce a number of rough iterations. Drawing accuracy in composition doesn't matter, and we already know the rough sketches aren't going to be pretty. But, even though they're rough, the sketching process will help us flesh out the concepts even further as we contemplate those scene ingredients that'll communicate our idea most effectively.
The concept we will begin with is our electric guitar player at the campfire. I think it's an interesting metaphor which illustrates that divide between conventional and alternative energy sources. We've got our note sketch pieces on hand for reference and a good feel for how the story plays out: college friends on a camping trip sitting around the campfire. One guy's strumming an acoustic guitar. The next thing we know the other guy pulls out a solid body electric, plugs it in an voila! The electric versus acoustic duel begins.
As were initially sketching this, let's start with the most direct viewpoint. We can begin anywhere in the drawing, so let's start with our guitar-toting duo. We've got electric guy and acoustic man. We've got a big log bench for the fireside seating. We've got the background, we've got pine trees, We've got the campfire burning some logs, and flame, electric guitar cord trailing to the amp, and our daisy-chained little solar panels.
Of course we've got the crescent moon. The straightforward view is something we'd see if we were right there sitting fireside along with these guys. Just as we've done with her other concepting strategies, when you're rough sketching it can really be helpful to put yourself as the viewer into the scene. Each different perspective of the scene can set a different tone for the story. Now, let's switch to a different perspective. What if we were presented the same story from the viewpoint of an owl perched on a tree branch high above the scene, looking down on the people below.
Or maybe we check out the same scene from water's edge--the ground-level view from the eye's of a turtle. Looking over these variations, we can see that rough sketching really pays off. Whether it's shifting the point of view, adding support characters, tweaking background scenery--it's far easier to make changes in this early stage than later on down the line. When we rough sketch, it's not only the quickest route to bringing our concepts to life, but also a great means to assess the most effective solutions for communicating all of our ideas.
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