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E. H. Butler Library at Buffalo State CollegeDigital Commons at Buffalo State
Creative Studies Graduate Student Master's Projects International Center for Studies in Creativity
8-2011
Creating Visual Solutions: Using Creative ProblemSolving Techniques in Graphic DesignDeanna L. [email protected]
AdvisorFirst ReaderJon Michael FoxSecond ReaderJohn CabraThird ReaderDepartment Chair
Follow this and additional works at: http://digitalcommons.buffalostate.edu/creativeprojects
Recommended CitationClohessy, Deanna L., "Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design" (2011). CreativeStudies Graduate Student Master's Projects. Paper 143.
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Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design
by
Deanna L. Clohessy
An Abstract of a Project in Creative Studies
Submitted in Partial Fulfillment of the Requirements
for the Degree of
Master of Science
August 2011
Buffalo State College State University of New York
Department of Creative Studies
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ABSTRACTOFPROJECT
UsingCreativeProblemSolvinginaGraphicDesignContext
ThisprojectexaminesthewaysthatCreativeProblemSolving(CPS)techniquescanbe
usedinpartorinwholetosolvevisualproblemsinthedesignprocess.Theproject
researchescreativeprocessandvariousmethodsemployedwithin,introducesnewor
modifiedapproachestoCPSindesign,anddemonstratestheapplicationofCPSin
designthroughacasestudyinvolvingthedevelopmentofanidentitysystemforalocal
business.
________________________________________________DeannaL.Clohessy
________________________________________________
Date
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Buffalo State College State University of New York
Department of Creative Studies
Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design
A Project in Creative Studies
by
Deanna L. Clohessy
Submitted in Partial Fulfillment of the Requirements
for the Degree of
Master of Science
August 2011
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iv
Buffalo State College State University of New York
Department of Creative Studies
Creating Visual Solutions: Using Creative Problem Solving Techniques in Graphic Design
by
Deanna L. Clohessy
A Project in Creative Studies
Submitted in Partial Fulfillment of the Requirements
for the Degree of
Master of Science
August 2011
DatesofApproval:
___________________________________________________________________________JonM.Fox‐ProjectAdviser
______________________ ____________________________________________________DeannaL.Clohessy‐Candidate
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Acknowledgments
Many,manythanksto:
⋅Myfamilyforallyoursupportandencouragement,especiallymysisterColleenforthe
swiftkickinthepantsandforinsistingthatIstopwhiningandfollowmydream.
⋅AllthewonderfulpeopleintheBuffaloStateCommunicationDesigndepartment,most
notablyProfessorStanFriesenforprovidinggreattutelage,advisement,
encouragement,andanimalcrackersthroughoutthejourneytomyBFA,andforthe
continuedsupportasIcontinuetogrowwithinmycareerasadesigner.
⋅MyprofessorsattheInternationalCenterforStudiesinCreativity.Eachofyouhas
touchedmylifeinsuchunique,profoundways,itwouldbeimpossibletolistthemall.
⋅Allmyfriends,forhavingmyback,distractingmewhenIneededabreak,andbeingso
understandingwhenIdisappearedundertheworkload.IhopeyouknowhowmuchI
appreciateandloveallofyou.Evenyou,GP.Extra‐specialthankstoJenniferMcDougall
andChristopherTreacyforDECADESofloveandfriendshipaboveandbeyond.
⋅AmandaMatyjasCrottyandKen‐TonMealsonWheels,forgivingmetheopportunity
toserveyourorganization’sneedsandforbeingsuchagraciousclient.
⋅Mycoworkersat7799whoputupwithmyfreneticmoodsandmyfatigue‐addled
brain,andweresowillingtoaccommodatemyschedulechangesandweirdavailability.
⋅Andfinally,auniverseofthankstoalltheinfluentialauthors,designers,musicians,
scholars,andartistswhoseworkhasmotivated,educated,inspired,andenlightenedme
throughoutthisprojectandsomanyothers.
Toallofyou‐mygratitudeisimmeasurable.
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TABLEOFCONTENTS
Abstract..................................................................................................................................................................ii
Signaturepage....................................................................................................................................................iv
Acknowledgments .............................................................................................................................................v
I.INTRODUCTION ...........................................................................................................................1
GraphicDesign............................................................................................................................1
IdentityDesign ...........................................................................................................................................3
II.CASESTUDY:KENTONMEALSONWHEELS .....................................................................4
Clientmeetingandinterview.................................................................................................5
Client’sgoalstatement.........................................................................................................................11
Thecreativeprocess.............................................................................................................. 11
Liststorming:Alineartool ...................................................................................................................14
Mindmapping:Theroundaboutway ...............................................................................................14
Tothedrawingboard............................................................................................................................17
Convergingonaconcept ......................................................................................................................19
Revisionroundone .................................................................................................................................19
Revisionroundtwo:UsingPairedComparisonAnalysis..........................................................20
Applyingthedesign ................................................................................................................ 22
III.CONCLUSION:LESSONSANDOBSERVATIONS.............................................................. 23
REFERENCES ....................................................................................................................................................26
APPENDICES .....................................................................................................................................................27
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INTRODUCTION
GraphicDesign
Whatdographicdesignersdo?Theobviousanswer,ofcourse,isthattheyengagein
thepracticeofgraphicdesign.Fromtheproductmanufacturer’slogotothepackageit
comesintotheadvertisingcampaignpromotingit–agraphicdesignerisbehindallof
it.Butwhatdoesthismean,really?Wheredodesigners’ideascomefrom?Wheredo
theyfindtheirinspiration?Whatisthecreativeprocesstheygothrough?Whattools
dotheyuse?Howdotheygetfromthefirstconcepttothefinishedresult?Andwhat
exactlyisgraphicdesign?
In1995,TheInternationalCouncilofGraphicDesignAssociates(ICOGRADA)defined
graphicdesignas“anintellectual,technical,andcreativeactivityconcernednotsimply
withtheproductionofimagesbutwiththeanalysis,organizationandmethodsof
presentationofvisualsolutionstocommunicationproblems,”anddefinedthetaskof
thegraphicdesigneras“toprovidetherightanswertovisualcommunicationproblems
ofeverykindineverysectorofsociety”(www.gdc.net).Thegeneralconsensusremains
centeredononefundamentalfunction:graphicdesignersareproblemsolvers.
Itismorethansimplyputtingpentopaper(ormousetodesk,orstylustotablet,asit
were)andcomingupwithafancy,eye‐catchingdesign.Thisisnotamatterofcreating
asingularpieceofartwork,a“oneanddone”kindofproject.Thegraphicdesigneris
presentednotsimplywiththetaskofcreatingsomethingattractivetolookat,butis
ratherpresentedwithavisualproblemthatneedssolvingonmultiplelevels.The
designerisexpectedtolookattheproblemand,throughthecreativeprocessand
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problemsolving,arriveatacommunicativevisualsolutionthatworksnotjustforthe
client,butfortheclient’saudienceaswell.
Designerscreate,choose,andorganizetheseelements—typography,images,andtheso‐called“whitespace”aroundthem—tocommunicateamessage.Graphicdesignisapartofyourdailylife.FromhumblethingslikegumwrapperstohugethingslikebillboardstotheT‐shirtyou’rewearing,graphicdesigninforms,persuades,organizes,stimulates,locates,identifies,attractsattentionandprovidespleasure(Poggenpohl,1993,p.1).
Carter,Day,andMeggs(2007)identifythedesignprocessas“asequenceofeventsthat
beginassoonasthedesignertakesonaproblem,”notingthatthe“problem‐solving
processisajourneythatrequirescourageandpatienceandconfidence”(p.201).The
burdentypicallyplacedonagraphicdesignerisnotjusttosolvetheproblemforthe
client,butalsotoconvincetheclientthatthesolutionistherightoneforthem,their
company,ortheirproduct.Sometimesaclientwillhaveaveryspecificideaofwhat
theyhaveinmind.Othertimestheyhaveabsolutelynoideainwhatdirectionthey
wanttohead.Itfallstothedesignertopresentthesolutiontotheclientinsuchaway
thatthedesigniswellreceivedandcontextuallyappropriate.Creativityismostoften
definedasnoveltythatisuseful.Whenconsideringthefunctionandpurposeofgraphic
designasIjustdescribed,thedefinitionofcreativitycanmostassuredlybeappliedto
that.Atitsbaselevel,designperformsafunction.Gooddesignmustperformafunction
andatthesametimebenovel,settingitselfaboveandapartfromothers.Atechnically
soundbut“cookiecutter”designisnotnovel;adistinctivedesignthatlackstechnical
meritisnotuseful.
JerzyKaro(1975)identifiedtwelvemethodsofapproachingraphicdesign:
allegorical,direct,dramatic,emotive,illustrative,impact,implied,symbolic,
typographical,unusual,whimsical,orwordless.Theymayalso,whereappropriate,
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combineanyofthemethodstosuittheneedsoftheclient,butitisultimatelyuptothe
designertopossessthe“skillandabilitytotranslatethatnewimageorlanguageintoa
visualform,tocommunicateit,andtoensureitsacceptancebytherelevantsectorof
thecommunity”(p.10).
Manyquestionsareasked,manyvariablesareconsidered,manychallengesare
statedbeforethedesignerevenbeginsthephysicalprocessofcreatingthedesign,and
theprocesscanbenefitgreatlyfromseveralCreativeProblemSolving(CPS)tools.
NaturallyeveryCPStoolisnotappropriateorrelevant,andinsomeinstancesonly
certainelementsofparticulartoolsmaybeofuse.Sometoolsarebestusedinagroup
setting,whileothersmaybeusedappropriatelybyanindividual.
IdentityDesign
Oneofthemanyservicesagraphicdesignermayofferisidentitydesign.The
elementsthatmakeupacorporateidentityarewhatanorganizationwilluseto
establishanddifferentiateitselffromotherorganizations.Identityiscrucialtoan
organization’ssuccess,anditisthegraphicdesigner’sjobtovisuallycommunicatethe
organization’sdesiredmessageandprojectedimageaspowerfullyandeffectivelyas
possible.Thinkaboutsomeofthemostrecognizablebrandsandwhatyouassociate
withthem.WhatdoyouthinkwhenyouseetheGoldenArchesofMcDonalds,thered
andwhite“wave”patternofCoca‐Cola,ortheNike“swoosh?”Theseareallexamplesof
successfulidentitydesign;recognizedandimmediatelyidentifiabletheworldover,they
carrywithinthevisualimageaproduct,aservice,amissionstatement,anda
reputation.
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However,anorganizationdoesn’tneedtobeamulti‐billiondollarworldwide
corporationtobenefitfromakeenlydevelopedandwell‐executedidentitydesign.Even
thesmallestcompaniesneedidentitiesthatwillmakethemrecognizableandwill
properlycommunicatewhotheyareandwhattheyareabout.Andasthefollowing
casestudywillshow,CPStechniquesarehighlyeffectiveintheidentitydesignprocess.
CASESTUDY:KENTONMEALSONWHEELS
WhenAmandaCrotty,theExecutiveDirectoroftheMealsonWheelsfranchiseinthe
Kenmore‐Tonawandaarea(mostoftencolloquiallyabbreviatedas“Ken‐Ton”),
approachedmefordesignadviceontheirnewlogo,Iwasmorethanhappytooffermy
services.Theyhadcomeupwithsomething,buttheywerenotsureitreallyfitthe
imagetheywerehopingtoproject.WithoutknowingtoomuchabouttheMealson
Wheelsorganization,Iaskedhertomeetwithmeandinthemeantimesendmewhat
theyhad.
Thefirststepincreatinganorganization’sidentityistodeveloptheanchorofthe
identity,thelogo.LeslieCabarga(2004)definesalogoas“aspecificdesignwithunique
characteristicsmadeasacorporate‘signature’”(p.12)andliststhreebasicrulesfor
creatingone:“Alogoshouldbe(1)Intelligible:Neverconfuseapotentialcustomer.(2)
Unique:Makeitdifferentfromotherlogos,avoidtrendiness.(3)Compelling:Thedesign
shouldprovokefurtherinvestigation”(p.12).Thedesignermustconsiderallaspectsof
aclient’sneedswhendevelopingtheconcept,andturnthoseneedsintoaviableand
workablevisualsolution.
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Uponfirstlookingattheexistinglogo(Figure1),Isawtheconceptualintention.The
clientwasdefinitelytryingtoconveymotionandfood,usingthecircleasavisual
analogy,“acomparisonbasedonsimilaritiesorparallelqualities”(Landa,2004,p.67),
toindicatebothaplateandawheel.Whiletheconceptwasgoodandmostcertainly
clearinitsobjective,therewereseveraldesignimprovementstobemadethatIcould
see.However,intheinterestofdeferringjudgmentandneedingmoreinformation,Iset
thelogoasideinmyclientfileandoptedtonotattemptanyimmediatemodifications.I
hadideas,butIwouldwaituntilaftermeetingwiththeclienttostarttheprocess.
Figure1.Theexistingclientlogoasitwaspresentedtome.
Clientmeetingandinterview
BeforemeetingwithMs.Crotty,IdecidedthattheIdentifyingtheGoal,Wish,or
ChallengestepwithintheExploretheChallengestageofthePlainLanguageVersionof
CPS(Figure2)wouldbemyprimarylaunchingpointintheprocess.Iknewthat
Amandahadafewspecificchallengesinmind,butinordertoproperlydevelopa
graphicidentityforKen‐TonMealsonWheels,Ifirstneededtoknowsomebackground
information.ImetwithAmandaoneafternoon,armedwithmynotebook,my
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sketchbook,andthefirststepinthePlainLanguageVersionofCPS,theClientInterview
sheet.DuringtheinitialmeetingwediscussedthehistoryofKen‐TonMealsonWheels,
whattheorganizationdoes,andwhattheirbiggestchallengesareintermsoftheir
currentidentity.
Figure2.ThePlainLanguageVersionofCPS.Inthiscasewearestartingwiththe
Identifygoal,wish,orchallengestepwithintheExploretheChallengestage.
CrottywasrelativelyforthrightinexpressingwhatitwasthatKen‐TonMealson
Wheelsneeded.MealsonWheelsisavolunteer‐basedorganizationthatprovides
deliveredmealstoelderlyandhomeboundresidentsinthecommunity.Themain
prioritywasdevelopinganidentitythatwouldprojecttheirdesiredimageforpurposes
Ex
plore the Challenge Generate Ideas
Prepare for Action
Gather Data
Clarify the Problem
Generate manyideas
Select & Strengthen Solutions
Plan for Action!
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offundraisingandvolunteerrecruitment.Asanot‐for‐profitorganizationrunby90%
volunteerstaffandprivatelyfundedthroughdonorsandbusinesssponsors,they
neededanidentitythatwouldmakethemlookprofessionalandorganized.Amanda’s
concernwasthatthecurrentlogoandprintmaterialsdidn’tlookprofessionalenough,
andwouldthereforereflectpoorlyontheorganization.Shewantedsomethingthat
wouldreflecttheorganization’sdynamism,energy,andenthusiasminitsmission–
somethingthatwouldsay,“We’vegotouracttogether,we’reprofessional,andwe’dlike
youtovolunteerforusand/orgiveusmoney.”Someoftheprintmaterialstheyused
forsolicitingdonations,sponsors,andvolunteersweresimpleWorddocuments
reproducedonaphotocopier,which,inAmanda’sopinion,gavetheorganizationan
amateurishappearance.Yetontheoppositeend,herconcernwasthatanythingtoo
fancywouldmakeitappearasiftheorganizationwerefrivolouslyspendingfundson
designworkandprinting,ratherthanonitsservices.Certainlytherehadtobeaway
tostrikeabalance.Iproceededtoaskthefollowingquestions:
• Whatisabriefhistoryofthesituation?
• Whoisinvolvedinthesituation?
• Whoisthedecisionmaker?
• Howdoyouownthischallenge?
• Whoneedstobeapartofthesolution?
• Whomightgainifthesituationisresolved?
• Whatsuccesseshaveyouachievedsofar?
• Whatarethingsthathavehelpedyou?
• Whataresomeobstaclesyou'veencountered?
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• Wherehaveyoufoundhelp?
• Howlonghasthisbeenaconcern?
• Whymightthisbeanopportunityforyou?
• What'sbeenthoughtofortriedalready?
• Whatareyourgutfeelingsaboutthischallenge?
• Howareyourfeelingsaffectingyourbehavior?
• Whatmightbeyouridealoutcomeorgoal?
(Miller, Vehar, & Firestien, 2001)
TheanswersprovidedbyAmandagavemeanexcellentlaunchingpointfromwhichI
couldhelpherformulateagoal,wish,orchallengestatement,whichwouldinturngive
meastartingpointindevelopingwhatIneededtocreatetheiridentity.
Dataprovidedduringtheclientinterviewincludedthefollowingkeypoints:
• Ken‐TonMealsonWheels(KTMOW)wasestablishedin1977.
• Thecurrentlogowascreatedbythetown’sgraphicsdepartment.
• KTMOW’sneedsasanorganizationhavechangedandtheyneedanewgraphic
imageaspartoftheiroverallbrandingandmarketing.
• TheorganizationhasaverysmallstaffandtheboardtowhichAmandareports
isnotinvolvedinday‐to‐dayoperations.AstheExecutiveDirector,Amandawill
makethefinaldecisions.Shewillnotbeopeningthisprocessuptovolunteers,
astheyareneitherawareofthebehindthescenechallengesnorwhatthe
organizationreallyneedsoutofthisprocess.Theyarealsoaversetochangeand
arelikelytobeunwillingtowantanythingnew.
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• Amandaseesherselfaspartofthesolution,aswellasme(thedesigner),and
possiblyprinterswhomightbeabletoprovideservicesatareasonablerate,if
notatadiscount.
• KTMOW’sclientswillbenefitfromthis(betterfundraisingwhichwillallow
KTMOWtohiremorepeople,procurehigherqualityingredients,producehigher
qualityproducts,providemorevarietyinmenu,andsoforth).
• Thevolunteercoordinatorwillbenefitbyhavingmoreprofessionallooking
materialstotrainour275+volunteers.Asanorganizationthatreliesalmost
exclusivelyonvolunteerefforts,havingpropertrainingmaterialsisparamount.
• Alocalprinterhadcomeupwithsomethingforfreethatbetterpresented"Ken‐
Ton"inthelogo,butneverfollowedthrough.
• LookingatotherMealsonWheelsprograms’graphicstoseewhattheyaredoing
hashelpedindevelopingideasforwhatKen‐Tonmightwantfortheirs.
• Takingmarketing/brandingseminarshashelpedalso.
• Obstaclesincludecost,limitedtimetodedicatetotheeffort,andinstitutional
resistancetochange.
• Despiteeffortstofindhelp,theyhavenotbeensuccessfulinfindingany.
• ThishasbeenaconcernsinceAmandatookoverthepositionofExecutive
Directortwoyearsagoandbeganthedirectivetomodernizetheprogram.
• Theyareattemptingtocompletelyoverhaultheorganizationsoitcanoperate
ona21stcenturylevelandservetheirclientsaccordingly.
• Therehavebeennoattemptsin34yearstoundertakesuchaneffort.
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• Amanda’sresponsetohergutfeelingsaboutthesituation:“WehaveGOTtoget
thisdone.ThenIcanhaveawebsitedevelopedandhavemoreprofessional
lookingcommunicationpiecesinallaspectsofthisprogram.”
• Becauseofherfeelingsaboutthesituation,shefeelsdesperatetogetitdone.As
aresult,thisprojecthasherfullattentionandherotherdutiesarebeing
neglected.
• Amanda’sidealoutcomeisgreatsuccessintheirbrandingefforts,raising
substantialamountsofmoneyandhelpingalotofpeople.
AmandathenprovidedmewithKen‐TonMealsonWheels’MissionandVision
StatementsandCoreValues:
Mission:Topromotethehealth,dignityandindependenceofelderlyor
disabledpeoplelivingintheKen‐Toncommunitybydeliveringnutritiousmeals
andsharinginformationaboutrelevantservices.
Vision:Wewill…
• beoneofthearea’sleadingprovidersofnutritious,affordable,highqualitymeals
• providemealstoeligiblerecipientswhorequestservices
• bearewardingexperiencetovolunteersandstaff
• provideactiveandthoroughcasemanagementforallmealrecipients
• haveafullBoardofcommittedmemberswithdiverseskillsetswhohave
aconnectiontothiscommunityandtheclients
Values
• Respectforthedignity,privacyandvalueofall
• Compassionforclients,volunteersandourstaff
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• Empowermentoftheelderlyanddisabledtoliveindependentlyandofourvolunteerstomakeadifferenceinthelivesofothers
• Excellenceandacommitmenttoperformanceimprovement
• Careforthehealthandwell‐beingintheservedpopulation
• Cost‐effectiveandaffordableservices
AfterconsideringAmanda’swishes,desires,andgoalsforKTMOW,weconvergedupon
thegoalstatementthatmostaccuratelyreflectedtheprimarychallenge:
Itwouldbegreatifwehadanidentitythatreflectsourmission,vision,andvalues,
andprojectsourdesiredimageasadynamicandprofessionalorganizationin
ordertoappealtodonorsandattractvolunteers.
Nowthatwehadestablishedourgoalstatement,Icouldgettoworkondevelopingthe
solution.
TheCreativeProcess
Nodesignprojectistrulyasoloproject,astheclienthasinputtotheprocessalong
theway,butatthisstageitisasoloventureasIcomeupwiththeinitialconcepts.
AccordingtoJohnNewcomb(1984),Iamnotuniqueinmypreference.“Thereisno
denyingthatideascanbeimprovedorthatnewhybridideascanappearwhenyoucan
tugthebestonesbackandforthwithothercreativepeople.Butstartalone”(p.171).
AWallasPlainLanguageHybridApproach
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Mytypicalmodusoperandiwhendevelopingadesignistomovethroughamultiple‐
stagecreativeprocessthatcoincideswiththeCPSprocess(Figure3).GrahamWallas
createdamodelofprocesscomprisedoffourstages:Preparation,Incubation,
Illumination,andVerification,andthismodelmostcloselyresemblestheprocess
throughwhichImove.BryanLawson(1990)includesanextrainitialstep,a“periodof
‘FirstInsight’(Kneller1965)”which“simplyinvolvestherecognitionthataproblem
existsandacommitmentismadetosolvingit”(p.109).
First Insight
Incubation
Illumination
Veri!cation
Ex
plore the Challenge
Generate Ideas
Prepare for Action
Gather Data
Clarify the Problem
Generate manyideas
Select & Strengthen Solutions
Plan for Action!
Identify goal, wish,or challenge
Preparation
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Figure3.TheFive‐StageModelofCreativeProcess(adaptedfromLawson,1990)and
howthestagesofPlainLanguageCPSoverlapinprocess.
Ibeganbylookingatthechallengestatementagain.Atthetopofmysketchbook
page,Iwroteitout.“Itwouldbegreatifwehadanidentitythatreflectsourmission,
vision,andvalues,andprojectsourdesiredimageasadynamicandprofessional
organizationinordertoappealtodonorsandattractvolunteers.”Myfirstinsightwhen
consideringthechallengestatementandthekeydatapresentedbytheclientduringthe
interviewwas,“thislogomustbedynamicandbalanced.”IknewfromwhatCrottyhad
toldmethatIneededtocomeupwithsomethingthatmatchedtheirneeds,thatlooked
professionalandcontemporary,butthatwouldstillhavecommonappealandmake
sensetothosewhorelatedtotheorganization.
Toprepare,mynextstepwastolookattheexamplesoflogosfromothercities’Meals
onWheelsprogramsandstudythemfromavisualcommunicationperspective.Thisis
whatDonKobergandJimBagnall(1981)callthistheWhatOthersHaveDonemethodof
analysisingettingtoknowtheproblem,notingthat“bothyouandyoursituationare
partsoflongchainsofinterrelatedsituationsovertime”andthatthismethod“deals
withthecriticalexaminationofsolutionsthatothershaveappliedtosolveproblems
similartoyours”(p.52).Isawlogosthatworkedverywell,thatclearlyand
immediatelycommunicatedtheprograms’messages.Likewise,Isawlogosthat
communicatednothingandwerenotvisuallystimulating.
Takinginspirationfromtheformer,IbeganthenextstageoftheCPSprocess,
generatemanyideas.Todothis,Iengagedmyselfinsomeindividualbrainstorming.
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DifferentfromthetraditionalmethodsofStick’emUpandBrainwriting,bothofwhich
relyongroupdynamicstowork,individualbrainstorming’smaindrawbackisthat
withoutagroupfacilitator,itrequiresafairamountofdisciplineforonetocontrolthe
“internaleditor‐theinternalvoiceofcriticismwhichmayleadyoutoignoreanidea
thatseemstodumbortrivial”(Hayes,1989,p.289).
Liststorming:alineartool
ThroughoutmydesignpracticeIhaveutilizedamethodIcallListstorming.
ListstormingissimilartotheStick‐em‐UpBrainstormingmethod,whereinadiverse
rangeofideasisgenerated.DuringthispracticeImakelistsofalltherelatedwordsI
canthinkofthatmightberelatedtotheproblem.Inthiscaseitwaswordssuchas
meals.Food.Nutrition.Eat.Feed.Taste.Delicious.Fun.Hot.Wheels.Cars.Motion.
Movement.Mobile.Independent.Travel.…andsoon.WhenIhadalistof20,Iwentfor
20more.WhenIfeltIhadexhaustedallmypotentialwords,Iturnedtomyother
preferredmethodofMindmapping.
Mindmapping:Theroundaboutway
Thistoolallowsonetosee“thebigpicture,”andservesasaroadmapofideas,
concepts,thoughts,andunlikethelinearqualityofListstorming,moreaccurately
followsthethoughtpatternsofideation.Theprocessofideationisnotrational,orderly,
orlogicalone,butrather“anintuitiveprocessofexplorationandopenness,of
appreciationandobservation”(Warmke,2003,p.9).Carter,etal(2007)comparethe
creativeprocesstoaroadmap,pointingoutthat“therearemanywaysofreachingthe
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finaldestination.Ifsideroadsaretaken,itwillprobablytakelonger…butsideroadsare
almostalwaysmoreinterestingthanwell‐traveledhighways”(p.201).Ifind
Mindmappingtobeasessentialasthesketchbookonwhichit’sdrawnandmore
importantthanthecomputeronwhichIcreatedesigns.Andwhiletheoriginal,hand‐
scrawledmapmightlooksomewhatchaoticandincomprehensibletotheoutside
viewer,itisaninvaluabletoolforindividualproblemsolvingandaspartofthegraphic
ideationprocess.Figure4isacleaned‐upexampleofamindmap.Theoriginalcanbe
foundintheappendix.
Notethatthelistofwordsgeneratedintheliststormingprocessdoesnotdirectly
translateintotheMindmap.Somewordsdoreappear,butthetransitionfromoneto
theothercanbesomewhatsplintered,asisthecasehere.ThepurposeoftheMindmap
isnottosimplyplugtheliststormedwordsintoit,buttoserveasanon‐linear
alternative.ThinkoftheListstormasthehighway‐straightandquick‐andthe
Mindmapasthetownjustofftheexit.Bothareinthesameareaandwillgetyouwhere
youwanttogo.Insomecasesthemindmapwill,indeed,employmanymorewords
fromtheliststorm,butinthisparticularcaseitisnotso.Bothtechniquesareextremely
helpfulandvaluableontheirown,however,regardlessofhowcloselytheymightor
mightnotcorrespond.
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Figure4.Acleaned‐upversionofaMindmap,showingtheflowofideas.Seeappendix
fororiginalhand‐drawnmap.
Oncetheconceptkeywordshavebeenestablished,it’stimetostarttheconcept
drawingprocess.InthiscaseIoptedtoincubateforashorttimeinordertoallowall
theinformationinthepreparationstageto“sinkin”andgivemyselfsomespaceforthe
ideastotakeshape.AsJohnNewcomb(1984)advises,“thewisecreativepersonwill
shelvethesevisualideasandallowhissubconsciousmindtocontinueworkingonthe
problem”(p.170).Afteradayhadpassed,Ipulledoutmysketchbookagain,lookedat
myscribblings,andstartedroughsketching.
It would be great if we had an identity that re!ects our
missions, vision, and values, and projects our desired image as a
dynamic and professional organization in order to appeal
to donors and attract volunteers
BringsFood
ProvidesCompany
Convenient
Fast
Comfort
Nourishment
Cheer up/
Prevents/easesdepresssion/
loneliness
Nourishment for body and soul and mind
ProfessionalOrganization
(appeal to donors
H2 AttractVolunteers
Sense of Community and Caring
Happy
MovementDynamismNutrition
Community
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Tothedrawingboard
Rough“thumbnail”sketchescanbeasdetailedorasvagueasthedesignerprefersto
makethem,andinmycaseIsketchconceptually,withjustanideaofwhatIwantto
draw.Simplelinesandshapescomprisemostofwhatturnsupinthisstage,andIdon’t
actuallytakethesetotheclient.Thesearestrictlyformyselfandrepresentanother
divergentthinkingphase.Quantityismoreimportantthanquality,andfromthese
initialroughsIconvergeanddevelopmyfirstsetofcomprehensivedrawings(also
referredtoascomps).Thesearemuchclearerandmoredetailed,andtheprocessis
nowmovingintotheinitialpartoftheverificationstage.
Whereastheroughsaresimplysketchedwithoutregardtodetails,thecompsmust
bemorecarefullyconsideredandtakeintoaccountseveralfactors.It’scrucialtokeep
inmindthatasuccessfullogowilltranslateuniversallyintothreecolorprofiles:color,
grayscale,andblackandwhite(forapplicationswhereacolorlogoisnotapplicableor
ininstanceswhereacolorlogoiscopiedonamachineorprintedingrayscale,for
example),anditmustbescalableineitherdirection.Thelogowillgoonbusinesscards,
letterhead,signs,documents,posters,andamyriadofothermaterials,andifitisnot
abletoscaleclearlytomanysizesortranslateintoallthreecolorprofileswithoutlosing
resolutionorreadability,itwillnotwork.Blueandgreenwerechoseninitiallybecause
theyrepresentthetowncolors.Icontactedthemunicipality’scontractedprinter,and
requestedthecolorformulastoensurethecorrectcolorswereused.
Justasthecolorarrangementmustbecarefullyconsidered,thetypetreatmentmust
becarefullychosentoensurethetextiseasilyreadwhenscaleddown.Forthisproject
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18
IinitiallytriedoutanumberoffontsthatIfeltconveyedthestyleandmessageofthe
organizationthatwerealsoscalable.Iplayedaroundwithsomedecorativefontsand
mixedandmatchedserifandsansseriffonts.
Iultimatelypresentedeightinitialdesignconceptstotheclient(figure5).Thisisa
fewmorethanthefourtosixImighttypicallyoffer,butinthiscaseIfeltalleight
conceptshadmerit.Uponpresentingthem,Iaskedtheclienttochoosetwotofourthat
appealedtothem,afterwhichwewouldconvergeagain.
Figure5.Firstsetofcomprehensivedesignconceptdrawingspresentedtoclient.
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19
Convergingonaconcept
IttookCrottyafewdaystomeetwithherteamanddiscussthedrawings.Although
shewouldultimatelyhavethefinalsayinwhichdesignwaschosen,shedidwantto
includeafewkeypeopleinthereviewprocess.Shecalledmeandsaidtheyhadagreed
onnumberssevenandeight.Theteamthoughteachdesignrepresentedwhattheyhad
inmind,buttheyhadafewrequestsgoingforwardintothefirstroundofrevisions.For
thefirstconcept,IwasaskedifIcouldofferafewmoreoptionsintermsoflinesand
shading.Forexample,withblacklettersandawhitebackground,orperhapswith
outlinesoftheutensilsversussolid.Forthesecondchoice,theylikedtheconceptbut
thoughtthedesignitselfwastoounwieldy.TheyrequestedthatIshortentheutensils
orenlargethewheels.
Revisionroundone
Itweakedthetwoconceptstheclienthadchosen,andcameupwiththreevariations
oneachone(Figure6).Forthefirstone,Ivariedlinethicknessontheutensils,
reversedthepositiveandnegativespaceonboththecircleandthetext,andplayed
withthedropshadow.Forthesecond,Ishortenedtheutensilsandmovedthemdown
betweenthewheels,andcreatedaborderaroundtheentiredesign.Idecidedto
narrowthefontchoicesdown,choosingtwoseriffontstoapplyuniformlytoeach
design:TrajanPro(Bold)forthewords“Ken‐Ton”and“on”andParisianfor“Meals”
and“Wheels.”IsentthembacktoKen‐TonMealsonWheelsandawaitedtheirdecision.
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Figure6.Firstsetofrevisions,asrequestedbyclient.
ThenextdayAmandacalledmeandsaid,“wehavealittledilemma.Seemswe’reat
animpasse.Weknowwedefinitelydon’tliketheverylastone(numbersix),butwe
can’tagreeonwhichoftheotherswelikebest.Canyoudosomethingtohelpitalong?”
(personalcommunication,April,2011).Iofferedtomeetwithherandherteamto
conductamini‐facilitationlaterintheweek.
Revisionroundtwo:UsingPairedComparisonAnalysis
IarrivedattheKen‐TonMealsonWheelsofficeandmetwithAmandaandtwo
volunteerboardmembers.Becausethiswasaprettystraightforwardproblemthe
solutionforwhichwasbasedonamatterofvisualpreference,IusedamodifiedPaired
ComparisonAnalysistooltohelpthemdecidewhichlogodesigntouse(Figure7).
Pairedcomparisonsareusedtocompareseveraloptionsagainsteachotherinpairsin
ordertodeterminethemostimportant(orinthiscase,themostpopular).
1 2 3
4 5 6
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21
Figure7.ModifiedPairedComparisonAnalysistohelpclientdecidewhichdesignto
use.
Becausetheywereallinagreementthatnumbersixwasabsolutelywhattheydidnot
want,Idroppeditfromthelistofoptions.Numbersonethroughfivewereassigneda
letterfromAtoE,respectively.Igaveeachgroupmemberasheetandaskedthemto
compareoneagainsttheotherandthenrankhowstronglytheyfeltabouttheir
preferencesonascaleof1to3.Astheymadetheircomparisons,aclearchoicebegan
toemerge.Comparedagainstalltheothers,Awasthemostfrequentlychosenand
highestrankedchoice.Oneoftheboardmembersremarkedthatwhenpresentedin
Options Total A
B
C
D
E
A/B A/C A/D A/E
B/C B/D B/E
C/D C/E
D/E
Paired Comparison Analysis: choose which you prefer in each pair and assign it a preference number. When !nished, add up number and place in total column next to corresponding choice.
Slight preference
Moderate preference
Strong preference
1
3
2
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22
thisfashion,thechoiceseemedsoobvious,butwhensimplyfacedwithmakingthe
choicepriortousingthepairedcomparisontoolithadseemedsuchadauntingdecision
tomake(Figure8).
Figure8.Finishedlogowithcolorprofiletranslations
ApplyingtheDesign
Nowthatthelogowasfinished,itwastimeto“plugitin”totheotheritemsinthe
identitypackage.Irequestednamesandcontactinformationforeachemployeethat
wouldneedcards,andIdesignedacardtemplateintowhicheachperson’sinformation
couldbeentered(Figure9).Forthis,Iwentwithaclassicyetcontemporarydesignfor
thecard.Thelogoitselfalreadyconveysthemessagethattheorganizationis
professionalanddynamic,soIoptedtokeepthecarddesigncleananduncomplicated.I
alsodesignedletterheadandenvelopes(appendix),thedesignforwhichcoordinates
withthebusinesscards.Atthetimeofthispaper,aninformational,tri‐foldbrochureis
underdevelopment.
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23
Figure9.Businesscardtemplate,frontandback,withAmandaCrotty’snameinserted.
CONCLUSION:Lessonsandobservations
Thegraphicdesignprocesscanseem,attimes,redundant.Comparingtheoriginal
logowiththefinishedone,theredoesn’tseemtobeaverylargeleapindesignconcept;
thereisastylizedplateandapairofutensilsineachone.Butultimatelywhattheclient
wantedwasanupdated,morecontemporary,moredynamicversionofwhatthey
alreadyhad;theyjustdidn’trealizeituntilthedesignprocesshadbeenworked
through.
Theburdenonthegraphicdesigneristodevelopadesignthatworksfortheclient
andtheneedsoftheirorganizationtocommunicatetheirmessagethroughavisual
concept.Whendealingwithaclientthatislookingtoupgradeanexistingdesign,
Amanda M. Crotty!"#$%&'(#)*'+#$&,+
!"#$%&'()*+,$-+(./)*'$0()1'
23,+4+,*+5$6'4$73(.$!8!9:
-&3,';$<!"=><8=?9#9
.@A34B@3,+4+,*+C,DCE/
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24
sometimesthisdoesindeedinvolvecompletelyreinventingwhattheyhave,sometimes
itisjustaminortweak.Inthiscaseitwassomewhereinbetween.Theconceptstayed
thesamedespiteattemptsinotherdirections,butthenewversioniscleaner,crisper,
andmoreprofessional.
ThepracticeofusingCreativeProblemSolvingtechniquesintheprocessmayseem
cumbersomeandunnecessarytosomewhoprefertoworkin“quickfix”mode,orwho
arenotfamiliarwiththeprocess.Evenasasemi‐seasoneddesigneritseemedsoat
certainpoints.However,itisessentialtogothroughtheprocessinordertogettoknow
theclient,tuneintotheirneedsasanorganization,anddeveloparelationshipwith
them.Thisrelationshipwillhelpimmenselyinthestepsoftheproblemsolving
process,fromgatheringthedataallthewaythroughtoselectingandstrengtheningthe
solutions.Itiscrucialthattheclientbepartoftheprocess,foritistheiridentity,their
organization,andtheirlivelihoodthatdependsonyourdesign.
Arrivingatthedesiredoutcomeishardlyeveraone‐shotdeal.Asexploredinthis
case,manyconceptsmustbeconsidered,tried,reworked,rejected,andredrawninthe
process.Sometimesthefinisheddesignwillbecompletelydifferent.Othertimes,asin
thiscase,itwillcomefullcircle,endingwithanupgradedversionoftheoriginal
concept.Workingthroughtheprocessallowsfordivergentthoughttointroducenew
ideasandconceptsthatmaynothavecomeintoplay,anddeepenstheunderstandingof
whattheclientneeds.Sometimesitisnecessarytogofaroutsideandtakealong,
roundaboutdrivearoundtheprobleminordertoconvergeuponitsultimatesolution.
ThroughengaginginthiscreativeprocessandemployingCreativeProblemSolving
toolstosolveKTMOW’svisualproblem,weendedupwithadesigntheylove.Amanda
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andherstaffagreedthatthislogosayseverythingtheyneedandwanttosayabout
theirorganization.Itrepresentsthedynamism,professionalism,andcontemporary
attitudeofthecompany,itappealstothecommunityitserves,andisattractiveto
donorsandvolunteers.Problemsolved.
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References
Cabarga,L.(2004).Logo,font,andletteringbible.Cincinnati:HowBooks.
Carter, R., Day, B., &Meggs, P. (2007).Typographic design: Form and communication.
Hoboken,NJ:JohnWiley&Sons,Inc.
Davis,G.A.(2004).CreativityisForever.Dubuque,IA:Kendall/HuntPublishingCo.
Karo, J. (1975).Graphic design: Problemsmethods solutions. NewYork: VanNostrand
ReinholdCo,Inc.
Koberg,D.&Bagnall, J. (1981).The allnewuniversal traveler: A soft systems guide to
creativity,problemsolving,andtheprocessofreachinggoals.LosAltos,CA:William
Kauffman,Inc.
Landa,R.(2004).Advertisingbydesign.Hoboken,NJ:JohnWiley&Sons,Inc.
Lawson, B. (1990). How designers think: The design process demystified. Cambridge:
UniversityPress.
McKim,R.(1976).Experiencesinvisualthinking.NewYork:VanNostrand&Co.
Miller,B.,Vehar,J.,&Firestien,R.(2001).Creativityunbound:Anintroductiontocreative
process.Williamsville,NY:InnovationResourcesInc.
Miller, B., Vehar, J., & Firestien, R. (2001). Facilitation: A door to creative leadership.
Williamsville,NY:InnovationResourcesInc.
Newcomb,J.(1984).Thebookofgraphicproblemsolving:Howtogetvisualideaswhen
youneedthem.NewYork:R.R.BowkerCompany.
Poggehpohl,S.H.(Ed.).(1993).Graphicdesign:Acareerguideandeducationaldirectory.
NewYork:AIGAPublications.
Warmke,C.(2003).Idearevolution.Cincinnati,OH:HowDesignBooks.
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APPENDICES
APPENDIXA:PreparationandProcess................................................................................ 28
A1:Liststorm ...........................................................................................................................................28
A2:Mindmap ...........................................................................................................................................29
A3:RoughSketches ...............................................................................................................................30
A4:ComprehensiveDrawings ...........................................................................................................32
A5:PairedComparisonAnalysis ......................................................................................................33
APPENDIXB:FinishedProducts............................................................................................. 34
B1:StyleSheet.........................................................................................................................................34
B2:ClientStationery(Letterhead)..................................................................................................35
B3:ClientStationery(Envelope) .....................................................................................................36
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A1.Liststorminglist
Page 36
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A2.Hand‐drawnmindmap
Page 37
30
A3.Firstsetofroughsketches
Page 38
31
A‐A3.Firstsetofroughsketches,continued.
Page 39
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A4.Firstsetofcomprehensivedrawings
1 2 3
4 5 6
Page 40
33
A5.CompletedPairedComparisonAnalysis
Page 41
34
B1.StyleSheet.TheStyleSheetreferencescolorformulasandfontsforusebythedesigner,client,andprinter,andanyothervendorswhomayusethedesignasdeemednecessarybytheclient.Thisensuresconsistencyinusage.
Page 42
35
B2.Letterheadforstationerysystem.Imagehasbeenscaledtofitthisdocument.
Actualsizeisstandardletter,8.5”x11”.
!"#$%&'()*+,$-+(./)*'$0()1'$$2$$34,+5+,*+6$7'5$84(.$!9!:;$$2$$-&4,'<$=!">?=9>@:#:$$2$$AB+)C<$.DB45ED4,+5+,*+F,GFH/
Page 43
36
B3.Envelopeforstationerysystem.Imagehasbeenscaledtofitthisdocument.Actual
sizeisstandard#10businessenvelope,9.5”x4.125”
!"#$
%&'
()*+,
$-+(
./)*
'$0
()1'
23,+
4+,
*+5$6
'4$7
3(.$
!8!9
:
Page 44
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©2011DeannaL.Clohessy