Being a designer means that you will constantly need to come up with new concepts and ideas. The way we present them is of crucial importance.

In the following tutorial, I will show you how I have modeled a new packaging concept for Doritos inside 3DS Max. You can see the whole concept and read more about it at my Behance profile.

However, I will offer you more than just a regular tutorial in this post. I will also talk and present ways how to use 3D software as a tool for generating and exploring new ideas.

Step 1

Since the base of the packaging is a hexagon, the best way to start is by creating a cylinder with only 6 sides.

If you try to render it now, even though there are only 6 sides, the edges will still look soft which is something we don’t need. In order to sort this out, turn off the “Smooth” option.

Step 2

Now it’s time to start editing the primitive. In order to work non-destructively, instead of converting the cylinder to Editable Poly, we will add a modifier.
Go to the Modifier tab and from the Modifier List, pick Edit Poly (notice that after this action the soft edges will appear again in the viewport).

Pick the Polygon Selection Mode [4] and select all faces [Ctrl+A]. Then scroll down to the bottom of the Modify Tab, and under Polygon: Smooting Groups, click the Clear All button. The edges will become sharp again.

Step 3

Now since we have the base, it’s time to work on the triangular sides.

Switch to Vertex Selection Mode [1] and select the middle vertices. The easiest way to do this is to go to the front viewport and drag a selection around the middle row.

Now we need to rotate those vertices  by 30°   (doesn’t matter whether it’s clockwise or counter-clockwise)

Few edges need to be added in order to divide the shape on triangles. For that purpose we will use the Cut tool (Modify tab > Edit Geometry > Cut, or use the shortcut Alt+C). After we active this tool, a crossbar will appear which we can use to draw the missing edges by clicking over the vertices that need to be connected.

After that, right mouse click to exit the Cut Tool and activate it again by using the shortcut Alt+C in order to draw another edge.

Step 4

When you’re done, check your model for extra vertices. Sometimes when you’re using the Cut Tool,  it happens to click near a vertex instead of over it, which creates additional points that we don’t need, so we have to fix this.

If there are no obsolete vertices in your model, feel free to skip this step.

Make sure you’re still in Vertex Selection Mode, and under Edit Vertices, choose Target Weld.

First, click over the additional vertex, and then over the original one. This will automatically weld them together, without affecting the position of the original vertex.

Step 5

Now we will work on the proportions of this packaging until we come to a satisfying result.

1. Exit out of the Vertex Selection mode by clicking over the yellow icon.

2. Take the Select and Non-Uniform Scale tool [R] (notice that you might need to click the shortcut a few times in order to pick the proper Scale Tool, or if you’re using your mouse, click and hold over the Scale icon until you can see all tools available underneath it).

In the Perspective Viewport, drag the Z axis until you get to 80.

Now the triangular sides look better since their sides are equilateral.  However the top and the bottom part of the packaging look pretty big. Let’s narrow them down.

Go to Vertex Selection Mode [1] again. In the Front Viewport select the top and bottom row of vertices. Take the Scale Tool [R] and in the Front Viewport and drag the Y Axis until you get to 85.

Now the proportions are much better.

Exploring new ideas through experimentation

Since we are very close to the end result, I would like to talk about how to use 3DS Max (or any other 3D software)  for testing a concept or coming up with new ones.

The most important thing is to question everything.

These are all questions that I ask myself regularly when developing a new idea. It helps me drift away in unknown directions where interesting things can happen :)

Stackability is a very important aspect of every packaging. By making copies of the same model, I can easily test it. In this case, the hexagonal base works perfectly for stacking as well as fitting more product into a smaller space. The design is also extremely strong for withstanding vertical pressure and is less likely to be damaged during transport and handling.

I isolated one triangular row and multiplied it. Although the resulting form looks interesting, it’s not the most suitable solution for a packaging. Maybe for another kind of object?

Chips and dips always go together. By splitting the 3D model in half, I developed a form that can be easily used as a dip container. Then I made different variations of the bottom row.

Step 6

Rendering the model

I will be using VRay for rendering the final image. From my experience, It’s the best and easiest-to-use software for creating realistic visualizations. However, the same result can be achieved with other renderers as well.

I won’t go in too much detail since you can find an abundance of tutorials for creating studio lightning and adjusting the render settings in VRay.

CREATING THE BACKDROP

Start with a line, assign Fillet and turn on rendering visibility.

MATERIAL SETTINGS (used for the backdrop and the packaging)

Vray Standard Material with lighter Diffuse Color (R225 G225 B225).

RENDERING SETTINGS

Turn on Indirect Illumination. Use Irradiance map as an engine for Primary Bounces and Light Cache for Secondary Bounces.

If you try to render it now, you will get a result similar to this:

Although it looks pretty realistic, there’s something that doesn’t quite sell it. We will fix this in the following last step.

Step 7

The problem with the current 3D model are the edges of the packaging. If you take a paper and fold it, creases will appear.  So we also need to simulate those creases here.

Start by selecting the packaging and making a copy of it [Ctrl+V].

We will use the Lattice Modifier in order to accentuate the edges. This modifier basically transforms every object into a wireframe.

You will find it under Modifier Tab > Modifier List > Lattice. Make sure you copy the same parameters as below.

Now we will erase the accentuated edges at the top and the bottom. Without them, it looks more natural.

First, while the object  is still selected, click the right mouse button and choose Convert to Editable Poly.

Pick the Edge Selection Mode [2], select the top and the bottom row of edges and hit the [Delete] button.

Hit the Render Button [F9] and you will get the final Doritos Packaging rendering:

Hope you found this tutorial useful. The second part will be published soon where I will cover the texturing process.

And remember, 3DS Max is not just a visualization tool, it’s a tool for generating new ideas.

——————

Please write in the comments below what kind of other nontraditional methods  you use in your daily work for coming up with new ideas.

Title Photograph by Ted Prapas

The callused hands, the dirty brows, and the sweat-drenched boots. I’m talking about the blue-collar worker. The men and women who wake up every morning with a day full of manual labor in front of them. From coal mining to telephone pole repair to high-rise construction workers, the working class makes the world go with their hard work, dedication and sweat equity. Many people choose to look down from their suits and cubicles at this working class with disdain and belittlement. As designers, we may sometimes feel like we’re somewhat above the hammers and nails and lunch pails of our blue-collar brethren.

Now to be sure you’re on track, this isn’t an article on social class or the choice of profession. Rather, I want you to focus in on some lessons every designer (and possibly any other white-collar worker) can learn from those who pack a lunch pail and put in a hard hat’s day. Just because we’re in a service industry, doesn’t mean their aren’t elements of our profession that resemble the situations faced by the working class. And with the Internet becoming more and more essential to our society, those who’s jobs it is to build and layout the web (you and me) can, in a way, be considered the blue-collar class of the information age.

So put down your Wacom tablet and pick up your hard hat as we look at 5 lessons every designer can learn from the Blue-collar worker.

It’s Hard Work

Chopping down trees or putting on a roof in 100 degree weather is no easy task. There’s not much glamor or relaxation when it comes to many blue-collar jobs. Workers are asked to work and work hard. In many circumstances the environment is not pleasant and the job at hand can be strenuous, both physically and mentally. It takes dedication and sometimes a lot of sweat to get the job done right. And you don’t usually find too many complaints from those who’ve made it their careers to put in the hours in such conditions.

As a designer, a lot of what we do is hard. Now we’ve all probably been in that state of flow from time to time where inspiration comes easily and the hours fly by, but often we find ourselves battling the grind of deadlines and client demands. A lot of effort can go unnoticed as we sweat out the last few pixels before we ship off a design. And sometimes even finding the right inspiration can be hard enough.

Expecting ideas to just come to you is the wrong approach. Take time every day to work out some ideas and build up a reservoir of designs. You’ve got to put in the hours even when it’s not the most pleasant of circumstances or even when the dollar signs aren’t stacking up.  It’s these consistent work habits that will turn you into a design machine. Having the ability to crank out work even when you’re not feeling your best will pay off. So pack your lunch pail, put down that Starbucks and get to work.

Focus on Your Craft

Many, if not all manual trade jobs, begin with apprenticeships. The reason being is most of what you learn in a blue-collar workplace happens on the job. There aren’t too many textbooks or blog articles on how to mix cement or chop wood. Understanding the ins and outs of a workplace happens by spending time with those who’ve mastered their craft. Knowing the right way to hold a jackhammer happens while you’re operating a jackhammer for the first time; you don’t get a degree from jackhammer school.

Taking a similar approach with design, you should be spending more time doing and less time reading. While I believe education in design theory is great, most of what you’ll pick up happens when you’re creating or watching others create. Find a mentor. Take on an internship. Develop your specific craft through work and more work. The more time you spend using your tools and practicing your specific crafts, the more of an expert you’ll become. Ask questions from those who’ve come before you. Answer questions for those who are just now learning. And be proud of what you’ve accomplished. Just as with many blue-collar workers, designers can sit back at the end of the day and actually see something they’ve accomplished.

Take Care of Your Tools

Almost every blue-collar worker has his or her hands on a tool for most of the day. That tool could be tiny screwdriver or a massive diesel front-loader. Regardless of size or function, a good worker knows his tools, and more importantly, knows how to take care of his tools. Painters wash off their brushes at the end of a job. Auto mechanics have a home for each one of their hundreds of tools. Every tool should be treated with care.

So what are our tools as a designer? First, we have our physical tools. Pens, paper, computer software, etc. help us get designs out of our mind and into function. Ensure that whatever system you use is well maintained and in proper-working condition. Updates to your computer or keeping your drawing tools in pristine condition will ensure that when an idea comes, you’re ready to jump into action.

An organized work bench will make finding the right tool fast and easy. If you’re a web designer, having a file structure of common elements and templates at hand will make sure your designs start off quickly and consistently. Carrying a notebook with you at all times, means you’re ready for any and all forms of inspiration.

Finally our biggest tool, our mind, should be taken care of the most. Getting enough sleep and staying healthy will keep your mind sharp and ready for the mental strain that many designers face.

Don’t Be Outsourced

With more and more service-based industries popping up in the Western World, many blue-collar jobs have been outsourced to developing countries. This is also, in large part, due to the lower wages offered in many of these developing countries. If you’ve lived your life working in a blue-collar profession, only to find out that your job is being shipped overseas, it can be devastating and sometimes impossible to find similar work.

The same can hold true for many in the design industry, especially those in web design. Finding work done cheaper overseas is especially easy when the Internet is bridging the gap. So how do you avoid being outsourced?

Add value. While there are many blue-collar jobs that are being outsourced, there are still those highly skilled hard workers that will always have jobs locally, primarily because they make it worth it. So how do we add value as designers? This is where we step away from the manufacturing class and into the service class. Offer clients interaction and services that are impossible to get from overseas interactions. Expand your skill set to include complimentary services. Whatever your specific method, make sure your not easily replaceable.

When the Whistle Blows, Call it a Day

Finally, a simple lesson that is sometimes easy to miss is, when the day is over, leave the work alone. There’s a growing trend in the information age to blur the lines between work life and home life. Having a healthy work-life balance should be somewhere high up on everyone’s priority list. There are always going to be more opportunities to get ahead and more work to be done. If you don’t learn anything else from the blue-collar worker, take away the will to put your work aside and spend time with your family and friends. Many times the work can wait until tomorrow. So listen for the whistle and call it a day.

Let’s start with an obvious statement: Photoshop is an incredibly popular application. I don’t think that really comes as a surprise to anyone. Many people would probably even point to it as the single most popular image editing application on the planet. There are dozens of sites dedicated strictly to teaching the various intricacies of how to use Photoshop, and thousands more that publish Photoshop tutorials on a regular basis.

As popular as it is though, Photoshop is not free from significant criticisms. It can certainly be a real drain on your system resources, and is famous for crashing suddenly – invariably when you’re right in the middle of something really important. This recent installment of Brad Colbow’s The Brads captures this perfectly:

I also posted the question “what drives you nuts about Photoshop?” to Twitter and got some interesting answers from my followers:

• when my cursor gets stuck on the hand symbol, for no apparent reason (via @wjwinoz)
• re: Photoshop – the price. (via @ptamaro)
• no right click for cutting and pasting (via @biotwist)
• Hate that despite its bloat, Photoshop is still the best thing out there. I wish there was something leaner and meaner. (via @keysthatclick)
• Nothing. I use FW! =P (via @iamhenrym)
• that it crashes all the time #PSsucks (via @amberweinberg)
• the track pad gestures being automatically on in cs4 once your canvas is askew its really hard to line it back up (shortcut?) (via @willistyling)
• The price. I’ve purchased at least 12 times over the years (via @ptamaro)
• The price! (via @gregmcmillan)

The Unexplored Reason

Clearly, people have some issues with Adobe’s premier product. Still, it remains at the top in terms of popularity – far, far ahead of applications like GIMP, Pixelmator or Corel’s Photo-Paint (which I personally started learning on). In discussing why this might be, we could talk about development and innovation, and how Photoshop always seems to be introducing new features (the new content aware fill looks incredible). We could talk about the integration with the rest of the extensive Creative Suite, which while not perfect, is still pretty good. We could even talk about marketing and the way Adobe builds the hype around each new offering.

These are all very valid points and worthy of discussion, but there is one interesting fact that I think often gets overlooked in this whole discussion, and it has to do with language itself. The name Photoshop has literally evolved beyond itself.

It has become a verb.

I don’t think you will find it in any official dictionaries (yet), but there is an entry in the Wiktionary. The fact remains, however, that the once proper noun “Photoshop” has been absorbed into the vernacular and transformed (in spite of Adobe’s apparent protest) into a verb having to do with the digital modification of an image, seemingly regardless of what actual software may have been used. To quote that vast body of knowledge that is Wikipedia:

photoshop is widely used as a verb, both colloquially and academically, to refer to retouching, compositing (or splicing), and color balancing carried out in the course of graphic design, commercial publishing, and image editing

How many people remember the Dove Evolution video, which uses some simple time lapse technology to demonstrate the evolution of an attractive though somewhat ordinary woman into a full blown glamour model? Much of the process is achieved through makeup, but some significant changes are also achieved by means of digital manipulation. The final product is, admittedly, quite stunning but that’s hardly the point.

The point is that if we saw that in a magazine or on a billboard and turned to someone – even someone who is in no way involved in design – and said “that is so photoshopped,” we would be under the assumption that the other person will understand that what we actually mean is that we think that the image has been digitally modified to remove any “imperfections”. By simply looking at the finished image, we have no real way of knowing if the touch ups were done in Photoshop or one of its competitors, yet we use the word without so much as a second thought.

The Genericized Trademark

Of course, this is hardly an isolated phenomenon, and some other contemporary technologies have also seen similar occurrences with their own names. Google is probably the best example. Today, only the absolutely most isolated or technologically unsavy people fail to understand when you say you’re going to “Google” something.

I am also finding that the same thing is happening with Facebook, though to a lesser extend. Instead of saying “I’ll send you a message through Facebook” or “I’ll write on your wall” (which has always struck me as a strangely vandalistic terminology), people are beginning to adapt the phrase “I’ll Facebook you”, simply meaning that they will engage in some form of communication through that particular social network.

This process is can ultimately lead to something called the genericized trademark, and is a really interesting linguistic development. Again, Wikipedia has a short list of “trademarks that have lost their legal protection in the US”. Some of these brand names that have become so synonymous with a particular product or commodity that you might not even know that they are a brand name.

Thermos? Zipper? Escalator? Before researching this, I seriously had no idea that these were originally brand names.

I also found a blog post entitled brand names that have become everyday nouns, which lists some similar products that, while likely still protected, do still tend to be used in a very generalized way.

How Photoshop Benefits

So how can this help Photoshop maintain its market share? I think it’s simply a matter or prevalence. The applications’ name has developed into a verb because it is so widely used and known. Designers use it. Artists use it. Photographers us it. Its fame has become so widespread that it has actually trickled out of these circles and into the public discourse in a way that none of Adobe’s other offerings have.

How many of your non designer friends would know what Illustrator is? InDesign? Flash might be a bit more well known, but probably more as a product that is experienced on the internet rather than an application for building rich, dynamic and interactive content.

Given all this, I would argue that Photoshop has found itself in a rather interesting position. One of the key elements of successful branding is always mindshare. When people think about a particular type of product, what brand do they think of first? Everyone wants to be right at the top of that list, and companies go to great lengths to compete with each other in order to grab that spot, which is probably coveted as much – if not more – than the number one spot on a particular Google search.

What better way to achieve this level of mindshare than to have your product name actively being used to represent an entire field of work? After years of hearing people talk about Photoshopping this or Photoshopping that, when a budding designer, artist or photographer is looking to get into the industry, what software do you think they’re going to turn to first?

Probably Photoshop.

This doesn’t necessarily mean that they’re going to actually purchase Photoshop and use it as their application of choice. There are many other factors involved in this decesion – not the least of which has to be price. Still, I would maintain that Photoshop is probably the first place that many beginners will turn to, simply because it is a name that has gained so much mindshare, through everything we have already talked about.

A Fine Balance

Now, I’m certainly not suggesting that this genericized trademark stuff is the sole reason that Photoshop sits tall and proud as the king of the digital imaging arena. There are certainly many other reasons, many of which have probably contributed directly to Photoshop becoming so popular in the first place. It’s an interesting concept, though, and one that I have not seen discussed all that much in the design community.

I am also not suggesting that Adobe’s premier offering will never be toppled from its place of prominence. The whole process of genericized trademarks can actually be very dangerous for companies. If a particular trademark becomes too generic, the ability to maintain legal protection can be lost and the name becomes a part of the public domain. The moment that happens, it is available for anyone to use, and you would see dozens of different “photoshops” popping up all over the place.

Obviously, Adobe doesn’t want that to happen, and I’m sure that they are monitoring the situation very closely. If it ever appears the use of Photoshop as a verb ever starts to move into dangerous territory, you can be sure that Adobe will take steps to stop it and protect itself.

In the meantime, however, Adobe continues to offer minor protests against the use of Photoshop as a verb. Personally, however, I have a sneaking (and completely unsubstantiated) suspicion that they are actually secretly enjoying this phenomenon, and the mindshare it helps them maintain.

I was once told an inspirational little nugget of truth that I have clung to since, and allowed its influence to guide me along my path. The saying was told to me by an old manager whom I worked under for only a short time, but whose simple words stuck with me. He said, ‘Good is the enemy of great.’, and the words took a second to wash over me and for me to fully grasp what it was he was saying, but it was simply this. If you are content with being good, then you will never by great.

I thought about this for a while, as we often do when things strike us profoundly. In essence, we get to a point where we consider ourselves, or say our design skills are good and rather than continue to allow ourselves to grow, we stay stagnant. Satisfied with our progress to the point where, even if we don’t realize it, we stop progressing. We are good, and we know that, and as long as we are happy with that label, we will never strive to improve and possibly become great.

At one time, we are all beginners, but it is where we take ourselves from that starting point that matters. We all have different abilities when it comes to design, and though our strengths and talents may fall in different areas, it is how we play to and outside of these strengths that really set us apart. It is a case of good vs. great, and here is a look at what I mean.

Good Designer

A good designer has taken the time to learn the basics of design, on which they will build their foundation, and they settle comfortably into this place. They nurture the developed and inherent skillsets they have refined into a good fashion with which they begin to make their mark on the design world. A good designer listens to their clients and does whatever necessary to meet the demands made of them. They take few risks that might upset the norm and challenge the trends currently shaping the community.

A good designer takes on clients that do not ask them to reach outside their settled comfort zone, allowing them to not dare beyond their safety netted borders. They are never the best at processing and handling constructive criticism, seeing it more of an attack and reason to be defensive. A good designer is fine with being a good designer as long as it is paying the bills and keeping their portfolio stocked. A good designer is just that, good, and they are happy with that. Which means, they will never be a great designer.

Great Designer

A great designer is always taking time to learn more about the complexities and subtleties of design, never resting in their pursuit of knowledge. They do not settle into a comfort zone, because their passion pushes them to keep delving into, and trying new things. A great designer engages their clients guiding them towards the right design, overdelivering on the expectations placed on them. They are always taking risks in their work allowing creativity and ingenuity to lead them over the trends that are steering so many others.

A great designer takes on clients that challenge them to reach beyond their comfort zone, and dare into new territories and unexplored landscapes. They welcome feedback and use those critiques to further hone their creative skills and efforts. A great designer does not consider themselves to be great, as much as they see themselves as successful with a gallery of interesting and varied work. You see they are always striving for more and pushing forward, knowing not that they are great, but just that they are designers.

Defining – Where It Gets Tricky

Defining this is where things can tend to get more than a little tricky, because good designers can assign themselves the title as they deem themselves worthy and a success. But alas, great designers are defined by their work and by others, merely deeming themselves a success based on their line of satisfied clients. And though the cybersea is densely populated in the design arena, there are so many various levels of professionals working in the field it can be hard to get a barometer reading as to just where it is you land. Lots of people get hung up trying to figure out where it is they are, forgetting the most important part.

It does not matter where we are, just where we take ourselves from any one point that matters. Remember that this is a journey, and as such, the wheels should never stop turning. We all have within us the potential for greatness, however, some of us get sidetracked along the way by being good at what we do.

Where Do We Go From Here?

If the question is good enough for Buffy and the gang to poignantly ponder in song, then it is certainly good enough for this path to greatness, I mean, hello, she was the chosen one. Anyway, where do we go from here, is certainly the better question to be asking yourself, than where am I at? It indicates that desire to press on and keep moving forward, which a big first step on the path to greatness. There are a few things you can do to ensure that you are heading in the right direction and they are listed below.

Keep Moving Forward

Never be satisfied with where you are at in design. It is always changing and you should be growing along with it. You should effectively never stop learning. Keep challenging yourself to learn and do more, never let your skills and talent stagnate.

Be A Leader, Not A Follower

Guide your clients to the right design choices do not let them lead you to a subpar, phoned-in performance. Yes, listen to their suggestions and know what they want, but find the best way to give it to them without compromising your talent or reputation.

Try To Set Trends, Not Be A Slave To Them

Design trends come and go almost with the seasons, and there is no shame in designing in that theme, especially if you never have before, but do not let these whims become your only bearing for what to do. Think outside the proverbial box, and find new directions to veer off in.

Critical Thinking Accepted

The design community is available to garner valuable feedback and insight regarding your work, but you have to know how to take and use constructive criticism and not let it bother or deter you. Learn to identify true criticism from callous comments intended merely to upset you, and this will be easier to do.

Collaborate, A Great Way To Reset The bar

Working with others in the community is another invaluable tool you have at your design disposal for sure. This always challenges you to step it up a notch and push yourself more so than working with a client on a project can. This can also be a fun way to learn new things from other designers, good or great.

Stay Inspired

One thing that separates the goods from the greats is passion. Our passion keeps us inspired as long as we keep it fed and the flame fanned so it does not burn out. Always turn to new avenues to find inspiration so that your creative mind stays revitalized, and your perspective fresh.

That Is All On This End

So what are your thoughts on the differences between what makes a good and great designer? What else would you add to the list of things to do?

Recently a project came our way that we were extremely excited about, however, as things unfolded, we realized that the project was doomed from the start. Now as designers we are used to working with non-creatives, or at least people who are not in, or do not understand our field, therefore you have to work across an information gap. This is something we are used to dealing with, but in the context of the discussion about to take place, it only makes things, that much more difficult. This project had the gap, but beyond that, there was an underlying instruction from the client that let us know this would be an utter waste of our time. ‘We want it to appeal to everyone across the board. Consumable to all.’ It was at this point, that we walked away.

You see, going back to Honest Abe’s words of wisdom and tweaking them as we mentioned before, we work under the premise that you can appeal to some of the people all of the time, but you cannot appeal to all of the people some of the time. Perhaps we have too much of a cynical streak running between us, but as varied as the masses are, even when broken into discernible groups based on similar interests or occupations, we believe that there is not much that they will all find appealing. As designers, this is reflected easily in the fact that we all have differing tastes and opinions as to what designs and styles appeal to us.

Breaking Down the Myth

Universal consumability, in the creative communities, is a myth. Given that our tastes play such a large role in our creative consumption, finding a flavor that everyone is going to appreciate equally generally will not happen. The appeal of what we create will have a heavy draw for some and perhaps little to none for others. The sooner we come to that realization, the less stressful and more fun our designs will be to create, thus making our job easier. And if we compromise our creations to try to bring in that universal appeal, we will slight our audience, and our designs. Allow us to elaborate.

When we create something, it will automatically appeal to a certain crowd for a specific number of reasons (theoretically at least, we hope there will be some appeal, and for the sake of this argument, we will work under the premise that there will be some inherent draw). Now if we take away from those areas, to try and make it appeal to another crowd, we have already lessened the appeal of our design for the crowd that initially responded to it. The more aspects we include or alter to further that mass appeal, only takes the design farther from both its original intent and audience. Look at it in terms of a peanut butter and jelly sandwich.

The PB&J Factor – An Analogy for the Ages

If you make a PB&J sandwich, then you are only appealing to those people who like PB&J sandwiches. There is really no way to alter the sandwich to make it appeal to those who don’t like PB&J, and if you tried, then it will tend to lose appeal to the PB&J crowd. And even in your group of PB&J fans, there are still degrees that affect the sandwiches appeal. There are those who like more PB than J and vice versa. Once again, you can alter the amounts of PB&J to try and appeal to both, but chances are, you are going to end up with a sandwich that still appeals to one faction over the other.

So what does this all mean (beyond the fact that we are apparently hungry for a PB&J sandwich and are a little particular as to its construction)? It means as designers, we need to accept that our work is not going to have that mass appeal and trying to design with that in mind can have more of a negative impact on the work, not to mention our psyche, than a positive one. Universal consumability simply means an end product that falls far short of its potential and intent, and since when has that ever been appealing to anyone? So when you are designing, do it with focus. Meaning basically do it with a particular audience in mind, and go for it.

The Client Variable

When working with a client, designing with focus may be a bit of a challenge, but it can be done. It is our responsibility as designers to lead our clients towards decisions and away from bad choices, this is simply one of them. If the client keeps pushing for more mass appeal, we need to be able to make them understand why that will effectively hurt the project. We need to make the client choose a crowd to appeal to, and work within those boundaries while not trying to reach out beyond that crowd so much that it no longer appeals to anyone.

In the case of the project we walked away from, we made our attempts to sway the client over to our side, but after a couple of attempts and lots of time wasted we surrendered and threw in the towel. Perhaps we should have tried harder, but we did not see our arguments as having any effect whatsoever. Not to mention, we had not thought of that whole sandwich analogy, so we walked away. With so many opinions, tastes, and overall individuals populating the masses, trying to design for them all is a mistake. But designing with focus, never will be!

Finding Your Audience

In order to find your audience and allow them to guide you in your work, you must make sure that you are doing two major things. One, connecting with your audience. And two, listening to them once you have connected. Now as we mentioned before, when we create, our product will have inherent appeal to certain members of the crowd, but you first need to find that audience that you are going to be designing with in mind to bring them in and make them aware of what it is you are doing. Reach out via the various social media outlets to find the fans that will be drawn to the designs you will be crafting. Other places to try to connect with the audience you are seeking are related sites and blogs who share a similar style or mission as you. By becoming more active on these related sites, you can easily tap into that necessary connection you are after for your business or blog.

After you have made this connection, then the next step is so simple to accomplish as you are engaging the crowd. Listen to what it is they are talking about, or moreover, what they are looking for. This is easy to find out because overall, people like offering their constructive critiques on where the community is lacking or letting them down. So ask. Get in there and mix it up a bit. Talk to your audience to find ways that you can improve your work so that its reach is much more effective. Take these suggestions and critiques that you find being repeated from various places and make adjustments to fine tune the direction of your designs. Afterall, what is the purpose of connecting with them, if you are not going to listen to what it is they have to say. You can also interview others in your field, who may share in the audience that you are seeking to tap into, and find out what they have done to connect and listen to their followers. What helped with their reach? It may be something that can help you as well.

Again, when dealing with a client, it is still important that you have this connection and avenue for access to the intended audience, so if the client is not already tapped in, then you both need to work out the best way to extend this reach before you begin. Having this understanding of who you are trying to appeal to with the design, can assist you invaluably, and making sure the client does as well should help ensure that they are not steering you away from their target with their input. So this is always a critical factor in the overall equation, and trying to reach out in a universally consumable way, is only going to close you off from your audience not widen them. So know which audience you are going to go after, and focus on them as you move forward.

That is All

So that concludes the talk from this side for now, but just use the comment section below to keep the discussion going and offer your thoughts and perspectives on this topic.

Typography is a very powerful tool in a web designer’s arsenal. We have seen simple websites glorified in an instant with the use of proper typography. We have seen brilliant websites pale because the “type” tone they used was all wrong. Understanding typography and implementing its usage might be an art, but it is not so different from being in a society and adapting the etiquettes of proper language, behavior and tone.

Let us take a look at the Square Eyed Website for instance and try to analyze how they make the typography on their page talk to the visitors.

The Typographic Crescendo

Just like when you spot someone across the road or happen to meet around the corner of the street, you say “Hey Steve!” reasonably loud. You don’t take a pause and mumble something under your breath. When someone visits your website, you need that attention grabbing greeting that will make them want to hang around and see what else you have to say. I call it the Typographic Crescendo. It is that first impression that will linger throughout the day in their minds and make your website a little bit more memorable than others on the internet. In typographic terms, it has to be loud. Hence, the huge popularity of big type being used in websites nowadays. A slab serif or sans serif will do the trick perfectly. A font that is clearly readable and has just a tiny bit of distinguishing mark like a curvy “s” in this instance on the Square Eyed site will stay with the visitor. Pick what you would want your visitor to remember and put that in big, bold, beautiful type in the top one third area of the website. Let it be your “Hey Steve!”

The Type Tone

Using the right tone on a website is extremely important for the message you want to convey. When you talk to a client or customer, your tone is usually professional, a little bit casual, polite and approachable. You wouldn’t talk to them as if you were talking to your best buddy or to a 6 year old child who just dropped your phone on the pavement. You usually don’t talk too loud, or too fast, or too slow, or loud one minute and very soft the next. Now extend that hypothesis to the website when you are planning out the “tone” of your content. Depending on your site’s demographics, you want the visitors to your site to feel comfortable reading what you have to offer. Take the Square Eyed website for instance, they are using an engaging style of dialogue, but more importantly they have placed the right emphasis on using an appropriate tone. They come across as a group who are just trying to casually inform you of the work they are doing. There is no preaching involved and no sudden loud noises. There is no clutter.

The Type Tone would consider the following elements on a web page.

• The proper use of language.
• The proper use of an appropriate typeface to convey the message.
• The use of bold and regular typeface for emphasis.
• The number of words used in a reasonable sized square grid area.
• The proper use of punctuation and styles [for eg. italics].
• The proper use of kerning in a word and spacing between words.

Camouflaging Typography

In a real world situation, when you are a tourist in a new country, your words and lingo appear exotic to the locals and you stand out, which is a great thing. But you can’t be a tourist forever. You either go back to your home country or you decide to stay on. Now if you do stay on, the novelty of being that guy with the fun accent quickly wears off and you either get tired of repeating yourself or you adapt to the local language and lingo subconsciously. When you do something drastic with typography on your website, you will most definitely stand out and maybe start a trend. But you also run the risk of losing that wow factor pretty soon and then you are stuck with something glaringly different that just doesn’t work as well. And then you have to adapt.

One of the most powerful qualities of typography that a lot of people fail to explore and embody, is its ability to blend in and camouflage itself in a design. The letters and words become one with the layout, blending and working with the colors and elements. The words are there because you are reading them but they are so beautifully integrated in the design and layout, that you just can’t separate them into two different aspects of the web page. In the Square Eyed website, a lot of attention is paid to the color palette. The typography is in one color throughout the page, yet the page has dark and light bits. The contrast of the color of the type with the color of the web page is not very stark which makes the fusion seamless. Learning to camouflage typography in your designs is not only a fun process, but is the final step in creating a web page that talks to your visitors, doesn’t shout, doesn’t preach, doesn’t instruct; but just talks to them.

Intro

As creative people we are always looking for that spark of energy or that person who’s work never fails to get our heads thinking in a new and more creative direction. I have profiled eight people/design groups who I always look towards for inspiration with both product and graphic design.

Works of Daniel Eatock

Works of Ross Lovegrove

Works of Jonathan Ive

Works of Naoto Fukasawa

Works of Ara Peterson

Works of Alberto Seveso

Works of Seymour Powell

Works of Graham Smith

Final Thoughts

Thanks for reading this post. Who inspires you? Drop us a comment below.

With Adobe CS4 about 6 months old now, have you made the upgrade yet? Are you willing to spend that much on an upgrade? Will you be pulling your hair out or enjoying the ride? If you find yourself going bald over the decision, here are few tips that might help you out.

Wait Till The Right Time

Learn the new software when you don’t have a project due. Nothing’s worse than trying to learn something when you have a deadline on a project. Use your old software until you feel comfortable, then make the jump to the new version. It’s a good idea to play around with the 30 day trial versions before making the big purchase.

Find Something To Like

Let one or two new features in the new suite inspire you and focus on what you can do with those features. The creative energy you get from this can drive you to go deeper into other aspects of the software. The newer suite has a bunch of tweaks with the workspace that go a long way toward speeding up your workflow. You’ll grow to appreciate them.

Invent Your Own Projects

Come up with projects that you want to do that will utilize the new features that Adobe has implemented. Few things are better than seeing a new concept materialize in a way that couldn’t be done before. When designing for experimentation as opposed to a specific project, you are free to experiment and create without limitations. If you’re strapped for creative ideas search for a good tutorial to use as a starting point.

Watch Training Videos

One of the freebies that Adobe offers as a part of registering their software is a subscription to Lynda.com. Sign up with them for a free month and let them walk you through the new features on video. Many of us our visual learners, so watching a video may be much more beneficial than reading documentation.

Share The Word

Focus on the things you like about the new upgrade and talk/blog about them. This keeps you active and looking at things in a positive light. Many times teaching is a great learning tool in itself. You force yourself to know a topic well enough to teach someone else.

Conclusion

If the jump to the new Creative Suite leaves you finding more hair around your design area than on your head, hopefully this article helps you out.

Honestly, there was a time when I automatically looked forward to the next version of the Adobe Suite and all the new features. Now I find that maintaining enthusiasm for upgrades has become much more of a challenge. If you find yourself in the same boat, maybe some of these ideas will do the trick.

Have you ever cranked out a t-shirt design for a client or yourself, only to find out the printer does not do 4-color process printing? If this has happened to you, you were probably left with a lot of lost hours without much to show for it.  We want to clear that up for you and provide you with the information to avoid the same problem next time.

Four color process printing, or sometimes referred to as full-color printing, is the process of mixing CMYK inks to print a high quantity of colors on a t-shirt.  It is much more common to see full-color printing on paper and that’s because the quality of the end result can be drastically better than on fabric.  T-shirt screen printing is best accomplished when using single solid spot colors.

Here are some images of t-shirts printed with four color process:

Sometimes, 4-color process printing is unavoidable when you are dealing with a photograph or an image with a lot of colors and/or shades and gradients. While I won’t bore you to sleep with the printing side of the operation, I can suggest you ask the printer a few simple questions from a design perspective:

1. First and foremost, do you print 4-color process?

This is very important because not all printers do.  The process is very much a science and printers are skeptical because the customers expectations are not in line with reality.

2. Is it screen printing or digital printing?

Screen printing, is the real deal.  Digital printing is like T-shirt printing with an inkjet on steroids.  Digital has come a long way, but still has quite a way to go.

3. How much do you charge for the color separations?

Believe it or not, you can provide a printer with a high resolution, high quality image, and they still charge you a hefty sum for separations.  Unfortunately, it is a necessary evil, because the printer has to be comfortable with the screen angles, screen mesh, halftones, etc. All of this is accomplished in the color separations process.

4. Can you print 4-color process on dark colored garments as well as white tees?

Printing four color process on dark t-shirt adds even more difficulty to an already difficult job. It is very common to find a screen printer that will print four color process, but only on white t-shirts.

5. What format and DPI do you prefer to work with?

There is a wide variety of formats preferred ranging from a high-resolution tif to the original Photoshop PSD file with layers. Some printers prefer 300 dpi while others think that is too high.

6. Any suggestions or preferences that I should know about before I get started on the artwork?

I can’t even begin to tell you what the answer may be on this one because of different strokes for different folks. One thing I can be sure to make you wary of is to avoid lots of detail in the artwork.  Some of it inevitably gets lost in the separations.

Here are some more examples of t-shirts printed with four color process:

If you are unfamiliar with RSS feeds be sure to check out whatisrss.com to learn all about them. Then grab a feed reader and start subscribing :) Specky Boy has a good post that offers his opinion of the Top 10 Web Based RSS Readers for you to use.

Overview

My RSS feed reader is stocked with 100′s of feeds from the design community. The articles that fill my reader, inspire me, teach me, and keep me up to date with the latest in the design community. It has become instrumental to helping me grow and keep up to date with this quickly changing field.

Introduction

Freelance graphic designer Tim Smith was kind enough to put together this list of 5 reasons why you will benefit from subscribing to design blogs.

Unfortunately, some people have stayed away from subscribing to design blogs. They fail to see their importance and how they will benefit from them. This post will offer you five reasons why you should subscribe start subscribing.

1. Useful Information on the Industry

Many design blogs offer articles and updates on software, conferences, tutorials, how-to’s, and the list goes on. For the start up designer and the experienced one, this increases your knowledge of the ever growing design industry.

2. Connect With Other Creatives

I subscribe to many blogs and most of my contacts I have are designers that either comment on blogs or write for them. You can link to their site, view their portfolio and find inspiration. This brings us to number three.

3. Get Inspired

Many design blogs will showcase work from a designer and others will list their favorite inspiration websites. This is extremely helpful because we all need some inspiration and ideas from time to time. It’s impossible to be creative all the time.

4. Freebies!!

Most design blogs will give away free stuff. You’re probably asking yourself. Really? Free? Yup, Free! Some will give away vectors, wordpress themes, website templates, icon sets and a lots of other cool stuff. Some blogs will even let you submit your own freebies. This will give you exposure.

5. Exposure

If you ever decide to submit either your work or an article, this will now showcase you to the blog’s substantial readership. The article will always link back to your site, which will increase your traffic and hopefully your clients.

Final Thoughts

I hope you have found this post useful and that you’ll consider subscribing to this blog and many others. Grant over at Colorburned provides an awesome list of “127 RSS Feeds That All Designers Should Subscribe To”. It’s a great resource that will definitely get you started. The bottom line is that there will always be something that we don’t know and that we can find useful.