Creative Strategies;
Lateral Thinking/Idea Generation/The Message
Strategies are a key skill when concerning lateral thinking in idea generation. Since understanding the application of these strategies I have felt a marked improvement in realising how my concept generation comes about/makes them strong. Some of the most useful methods are listed below;
• Play with words • Mixing and matching
• Typographical • Comparison before/after
• Shock value • Repetition/repetition
• Metaphors • Exaggeration
• Changing/contrasting context • Signs and symbols
When controlling these strategies though, it is important to bare in mind other importances, as acutely said by Herbert Bayer, 16/03/79;
"The creative process is not performed by the skilled hand alone, but must be a unified process in which the head, heart and hand play a simultaneous role."
In personal summation to this quote, it is important that not only do you go through the motions and blindly follow the strategies; but you must combine the methodology along with some 'illustrative' skill and an appropriate heartfelt message behind it too. This can be correlated into a loop;
The Message;
When I then look into the message, several pieces of graphic design spring to mind. Foremost the famous VW Beetle adverts of 1950 where the message was vital in convincing their audience, set in a strong and contrasting ideal set. The design agency DDB, Doyle Dane Bernbach used lateral thinking to convey this message in a revolutionary way partially using the shock factor. Although these designs seem ordinary by our standards now, they shocked the market in 1950 by both breaking and adhering to rules all advertising agencies used. While maintaining the formulaic layout other agencies used, DDB took a lateral slant by portraying the target audiences' true desires over the propaganda marketed 'dreams' the general public knew they would struggle to reach/maintain.
While these are influences for the origin of the message and thus possible appropriate route of lateral strategy, these can also be used in deciding which form of media production is best suited for the design.
to persuade/to invite/to engage
DESIGN FOR INVITATION
an offer/service/idea/communication
to inform/to educate/to understand
DESIGN FOR INFORMATION
complex data/information/simple concepts
to express/to debate/to opine
EXPRESSIVE GRAPHICS
emotion/value/ethics/graphic language
Visual Language;
Semiotics/Experimentation/Media/Treatment
When looking into both media and experimentation one piece I found extremely interesting; Logorama created by H5; François Alaux, Hervé de Crécy and Ludovic Houplain, and produced by Autour de Minuit. I especially liked this combination of experimentation and animated media because of its wit and clearly thought out design. Despite this, it didn't overly inspire me in my work but more served as entertainment to me.
On the other hand, there is the 2012 olympic campaign. Concerning experimentation and semiotics, I appreciate and understand the concept/execution behind the video below. While I find the message behind it clear and inspirational in its pro-activity and life generation to the ceremony, I am one of the many who finds the print logo a vulgar design.
London 2012 / Brand Launch from Universal Everything on Vimeo.
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