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- September 2, 2012
Site Updates and New Opportunities for Branding
September 2, 2012Read moreI recently updated the themes for the davidseah.com so they look the same as the main page. The result is that everything looks more unified, which is pretty great. This has given rise to new thoughts, however:
- Now that everything looks like one site, what I need to do is shoot custom headers for each sub blog
- The website also now starts to resemble a magazine, which puts a different standard on the kind of writing I do.
- It would be nice to now make collections of related content for people to browse. I have a lot in the back catalog that can be updated.
- It would also be nice to provide a little more guidance as to what this website stands for, now that I myself am clear on it.
First things first: the headers need customization. This seems like a daunting task at first, because the headers can be anything, but there are a few things I know:
- The dimensions are fixed in width and aspect ratio.
- I just need to shoot a few objects on white and that would be a perfectly adequate first pass that we (or rather, I) can react and respond to.
- So, let’s set up the lighting and then find some objects that are representative of each sub blog header.
Let’s list the sub blogs with an appropriate representative object:
- Coding – I want a high-key image (meaning it’s lighter colored, more white than black). Code is an abstrat concept, but I could use a glowing screen showing text shot at an angle.
- Design – Sketches on paper, with an object on top of it that is the real version of it, or a prototype
- Making – A collection of tools
- Agenceum – I’m thinking a bunch of lego people in an agency diarama.
- Gear – This has to be something kind of cool and technical looking. Maybe this screen
- Infotech – Servers, Screens, Backup…hm. Maybe it’s a photo of an ethernet port?
- Food – I have so many pictures I can use
- Soc – A picture of a diary? A nie journal and fountain pen?
- Arts – I see a gallery space, white walls, art hung…but that’s kind of the high falutin’ part of it. The arts are a state of mind, or a spark of excitement and possibility, and also about truth. I’m seeing a daub of white paint on a white palette, presented starkly.
- Reading – booooooks
- Letters – This is more about correspondence than writing. Maybe a forum? A podium? A conversation?
Not everything on this list lends itself to a simple symbol, so one thing I can do to unify everything is just to stylize it all as black and white. I’ll make myself an index card that lists all the categories, and see if I can start collecting the imagery.
- August 31, 2012
Designing a Brainstorm Boosting Tool
August 31, 2012Read moreI recently reconnected with James Allen, founder of a UK-based consultancy called Creative Huddle, to have a meta-discussion about the nature of creativity. We had a good time picking each other’s brains on our relationship with creativity, what it was, and whether it could be taught. While I personally believe that everyone has some hidden potential ready to be unlocked, creativity seems to be in a different class. I suppose it takes a certain kind of fearlessness, either by having an innate willfulness of spirit that causes one to push forward new ideas despite what others think, or by virtue of being safe within a supportive environment where judgement of new ideas is not considered threatening or damaging. It’s not so much the ability to have ideas that is at the root of creativity; it’s having the desire and will to express them in the first place, so they may see the light of day.
The notion of a judgement-free zone played very well into a current topic of interest for James: creating enabling tools for productive brainstorm sessions for business people who aren’t in a bona-fide “creative industry”. Creativity, he noted in one conversation, applies to every field. The first step of a productive brainstorm is to create ideas in the first place. Lots of them. Many of them that might be regarded as terrible, but are the necessary stepping stones toward greater ideas.
What would a “brainstorm helper tool” look like? And could we MAKE it? I agreed to do some exploration for fun, and to my delight James was fine with the idea of sharing the process as we go.
Here’s how he kicked off the process a few weeks ago:
This impressive mind map outlines the key elements that James had identified as contributing to a good brainstorming session, from process to mindset to technique to facilitation. He explained it to me over Skype in some detail; he also has a series of blog posts that explain the elements of brainstorming on The Creative Boom if you’d like to know more. My task: figure out how to make some kind of one-sheet diagram that would help participants in a brainstorm session come up with ideas by suggesting fruitful ways to think, emphasizing quantity over quality while gently supporting the process.
Using the mind map as a starting point, I noted that many of the idea generating approaches seemed to share patterns, so I grouped them together (figuring this might be helpful to brainstorming noobs that liked the comfort of structure). I also reworded them to evoke a mental image and reaction. For the purposes of this first draft, we assumed that a moderator would be present to set tone and establish the rules of the brainstorm, so I didn’t worry about putting that into the sheet; it’s designed to trigger ideas so you can write them down to evaluate later. One or two sheets per idea, we figured, would be good. As a quantitative measure, the number of idea papers used and stuck up on the wall for all to see is the metric.
To the right is my first pass interpretation of the one-sheet brainstorming helper. It’s a sketch with many unresolved elements, though I shamelessly allowed my myself to use as many cheesy Illustrator effects as possible to impart some personality to it. Gotta try stuff to see if it sticks! The idea is that you start from the top, and meander down a path to hit upon an idea that catches your fancy.
There are many things that I don’t like about it, but it seemed like it was going somewhere, so I was curious to see how James would react. One of the wonderful things about a creative collaboration, when both parties share the expectation that there are no real rules other than a commitment to nudging the problem toward some direction, is that every interaction creates something new and unexpected, which in turn drives the pursuit of excellence.
James liked the first pass, and he re-interpreted the squiggly lines as a pick your own adventure game, providing a sketch that resembles a kind of game board (left). One idea is that you place a marker on the sheet, and move it from node to node. Each node has a suggested idea, and you fill the idea in a box somewhere. You have some freedom in picking how many nodes you want to visit, and each node has a multitude of possible destinations. What I like about this approach is that the user is more constrained in choice, which is a useful creative trick, in a way that might feel more like guidance.
Filling in all the nodes with ideas and routing them around the page will be a challenge that I’m planning to tackle next week…I really have no idea what it will look like at this point. I’m a little freaked-out at the layout challenge, and I’m not looking forward to routing all those nodes in a way that looks nice. The first step is to just start laying in elements and drawing lines.
So that’s where we’re at right now. James has posted his reflections on the process so far on his own blog as part of our creative discourse. Stay tuned for future developments!
- August 29, 2012
Business Card: Making the Master
August 29, 2012Read moreNow that I’m pretty settled on the design, it’s time to prepare the file for printing. Over the years I’ve picked up a few tips about making sure things come out OK.
First…don’t trust your monitor or your printer when it comes to color, unless you’ve calibrated it. I haven’t calibrated my monitors, so I grabbed my trusty Pantone Process Color Guide and used them to verify how the colors I had selected would actually print.
This picture was taken at my desk under half sunlight, half artificial light, which is terrible for color checking because of the unnatural color spectrum; lamps are either reddish (halogen, incandescent) or somewhat greenish (fluorescent). So I went outside as it was a bright clear day and ideal for color checking; natural daylight is the standard. An overcast day or standing in shadow would have imparted a blueish cast to the colors.
My Process Color guide shows me how colors actually look on paper. Process color is a combination of 4 primary colors used in color printing: Cyan, Magenta, Yellow, and Black. With these colors, you can create a pretty good mix of hues, but it’s not perfect. What looks good on the screen will usually look dustier and less intense on paper, especially when printing on uncoated paper stock. An uncoated paper is naturally dull, whereas coated stocks tend to show colors brighter. I’m planning on printing on uncoated stock because I want to write on the back of the cards, so I may have to get them printed by the local full-service printer to get them the way I want.
I selected some likely oranges, yellows and blues from the process color guide that looked good together, sharing the same saturation and tone so they all stood equal in weight. I picked colors that didn’t have black added to them, because adding pure black tends to make colors look muddy.
I also tinted the blacks. While I could have specified 100% black for everything, it’s common to add a bit of color on top of it (but not too much, otherwise the ink might smear from overloading). I again checked the Pantone process color guide, looking at some examples of rich blacks, and added 35% blue to the black text running under my name (thus unifying them by subtle hue grouping), and adding 35% yellow to the text inside the process boxes. If I’d used pure black in the yellow boxes, I think black text would have knocked-out the background color, and look a little disassociated. Adding a little bit of yellow might help. We’ll see.
With the colors squared away, it was time to reassemble the Illustrator into something print-ready.
This document has been sized to the dimensions of the card (2×3.5 inches). Colors are defined as global masters, so changing one swatch changes all objects that are colored by it. Outside the document in the non-printing area are instructions about this particular printjob. Additionally, there is an additional layer for text that has been converted into outlined shapes. By doing this, I don’t need to supply font files to the printer, which simplifies the way this works. The original text layer, which remains editable should I want to make changes in the future, is set to “not print”, as is the printing guide layer.
On a side note, it’s interesting to compare the screenshot above with the printed image from my home printer:
The screenshot shows much more difference between the inner yellow and the outer orange than what actually shows in the print. It’s hard to predict exactly what will happen at the printer without doing a “proofing print”, which is their best guess at how the actual print job will come out. If I was super anal, I would do a “press check” to look at the prints as they were coming off the actual press, which gives us some flexibility in adjusting some parameters. Anyway, as my home printer isn’t calibrated either, that’s why I’m relying on the Pantone process color guide as a reference and winging it.
Checking the card again, I decided to shift the entire card right a tad, to help optically center the design a bit more. Before, it was centered mathematically, but the dotted line jagging to the left shifts the center balance slightly.
Now…to have the card printed! So many choices to pick from.
- August 28, 2012
BizCards and Application Icons Progress
August 28, 2012Read moreIf you’re not sick of this already, I’ve posted what I hope is the final round of my new business card design in the design process journal.
Also, I started sketching some ideas for an iPad application icon, if you happen to be interested in the thought process I’m going through. This icon will be for the upcoming Emergent Task Planner app, and this is turning into a hairy branding exercise…just what the heck do I call all the stuff I’ve been doing with productivity forms? How do I turn that into a simple icon? Anyway, we’re probably a couple weeks out from having a workable beta ready. Al’s been plugging away at the app between gigs. For fun, we’ve made our experimental development Trello board public so you can see where we are (or where we are not :)
- August 28, 2012
2012 Business Cards, Round 3
August 28, 2012Read moreAfter taking a weekend break from the last round of personal business card design, I headed to Starbucks to see if I could finally get the design resolved.
To recap, here’s round 1 and round 2:


And here’s round 3:
H: This is the combination of the round 2 feedback, fixing the bottom text address and trying a different slogan, which I ended up not liking because it seemed to try too hard to wedge everything in.
I: Having all the elements decided upon, it was time to come up with a final set of proportions and spaces. I noodled around for about 90 minutes at Starbucks, resolving balance and fixing weights. One problem that kept coming up was the balance of space between the top half and bottom half of the card (you can see how unresolved it is in H). So I tried splitting it, increasing the weight of my name from bold to semi-bold, and then tried crossing that void from the diagram to my name with a dotted line to draw a more immediate connection, centering the name to create a strong focal point with more whitespace around it. It battles the diagram in terms of visual weigh, but with the dotted line and separation I think it actually works pretty well. I also increased the weight of the contact information lead-in, so they would more actively draw attention from the bold name. I eyeballed a lot of the spaces to get a kind of consistent unit spacing with horizontal and vertical gaps by squinting at it…I think I have a pretty good balance (the name might still be a tad low, but it’s hard to judge with the dotted line).
Revision I is the release candidate, barring any horrors that come to light.
There are a few things I need to check, like whether the process colors I’m using will actually print anything like I hope they will, and making sure that I’m within the safe frame of the card edge (I think it’s 1/8th or 1/16th of an inch; it depends on the printer).
This impressive mind map outlines the key elements that James had identified as contributing to a good brainstorming session, from process to mindset to technique to facilitation. He explained it to me over Skype in some detail; he also has a series of blog posts that
To the right is my first pass interpretation of the one-sheet brainstorming helper. It’s a sketch with many unresolved elements, though I shamelessly allowed my myself to use as many cheesy Illustrator effects as possible to impart some personality to it. Gotta try stuff to see if it sticks! The idea is that you start from the top, and meander down a path to hit upon an idea that catches your fancy.
James liked the first pass, and he re-interpreted the squiggly lines as a
This picture was taken at my desk under half sunlight, half artificial light, which is terrible for color checking because of the unnatural color spectrum; lamps are either reddish (halogen, incandescent) or somewhat greenish (fluorescent). So I went outside as it was a bright clear day and ideal for color checking; natural daylight is the standard. An overcast day or standing in shadow would have imparted a blueish cast to the colors.
This document has been sized to the dimensions of the card (2×3.5 inches). Colors are defined as global masters, so changing one swatch changes all objects that are colored by it. Outside the document in the non-printing area are instructions about this particular printjob. Additionally, there is an additional layer for text that has been converted into outlined shapes. By doing this, I don’t need to supply font files to the printer, which simplifies the way this works. The original text layer, which remains editable should I want to make changes in the future, is set to “not print”, as is the printing guide layer.
The screenshot shows much more difference between the inner yellow and the outer orange than what actually shows in the print. It’s hard to predict exactly what will happen at the printer without doing a “proofing print”, which is their best guess at how the actual print job will come out. If I was super anal, I would do a “press check” to look at the prints as they were coming off the actual press, which gives us some flexibility in adjusting some parameters. Anyway, as my home printer isn’t calibrated either, that’s why I’m relying on the Pantone process color guide as a reference and winging it.



H: This is the combination of the round 2 feedback, fixing the bottom text address and trying a different slogan, which I ended up not liking because it seemed to try too hard to wedge everything in.
