The Organic Process – In my career, I’ve always sketched. I believe in the organic process of an idea going from the brain, to the pen in your hand, and then to the paper. Fleshing out a concept in this way, is a necessary series of steps. It was more customary in the pre-computer era. Now there is a tendency among some in the younger generation to go directly to the graphic programs to “visualize” an idea. Drawing is a skill that must be encouraged and cultivated. In design schools there is such an emphasis on the need to acquire skills in the various software programs, that the primitive and organic process of visualizing through drawing is neglected. Students don’t see it as a path to becoming a great designer. The truth is that a few minutes drawing out an idea can save hours on the computer, later.
Going straight to the computer is also a way of limiting what the final design may look like. So often when a student begins to visualize on the computer, they move elements around continuously, in a liquid fashion. There is never a decision about a structure or an arrangement of forms. When things finally get to a certain place, they just stop.
I’ve never been a “pencil” sketcher. For me, it has always been the permanence of ink on paper that appeals. To me, sketching with a pencil, and periodically erasing, then sketching, then erasing, defeats the whole purpose. I don’t care very much what sketch looks like after I draw it. I do care very much what it means. If it conveys the idea, then it is a good sketch. I will admit that when I am going to present this very preliminary type of thumbnail to a client, I tend to draw it over a couple of times so it is presentable. But still, no pencil and eraser.
Sketching let’s you get all of the obvious, trite, and expected solutions out of the way. You sit down and draw out whatever comes to mind. You go down the laundry list of items and things that relate to your product or service. If you’re selling the idea of a condo on the beach, you might draw a beach, beach ball, sunglasses, bikini-woman sunbathing, etc. But then, you might draw those things, and many more, in a very straightforward and obvious way. Sketching like this helps get the mind moving. Then, you might start to free-associate and start to bring in things that aren’t obvious. You draw a picture of an executive in suit walking down a city street with a surfboard under his arm. The idea of a real “concept” has begun.
Heavy Lifting In The Real World – The one thing that has driven and guided my career as an art director and designer is concept. Today more than ever, business communications have to be on target, on message, on strategy, and better than everyone else’s. Investing in marketing, advertising, and design is critical for a company’s success. Some businesses are cutting budgets. Everyone wants more, for less. At the end of the day, someone has to do the heavy lifting. The real creative work. A great idea doesn’t come out of the end of an Illustrator brush. A Flash effect isn’t a concept. Style without substance, glitter without game, just isn’t going to cut it in this economy. The inclination is to take shortcuts. Do it cheaper, get a freebee, do it yourself. But real original design and creative advertising messages still “cut through the clutter”. Just like 10 years ago, just like 30 years ago.
The concept, the actual thought, usually takes no small amount of effort. Hours of research, creative meetings with a copywriter, and hundreds of sketches are all part of the “heavy lifting” it takes to do design and advertising at a high level.
I’ve seen job postings asking for someone to run a marketing department with “knowledge of all the major design programs for web and print, including Flash”, but with no mention of the “thinking” part. In the business world there is a great deal of emphasis on computer skills. I think there may be a lack of understanding of the creative side.
We designers are expected to do more than we used to. Never before in the history of design have we had to have so much technical knowledge, and also have so much expensive equipment and software. At the same time, we have virtual complete control over the final product. The problem is that clients sometimes neglect the substance and put too much emphasis on the sizzle.
Young designers and art directors coming up through the ranks should take note of one important fact. The big money usually goes to those who have the big ideas. Art directors who have been trained in “concept” have the most potential. In the advertising and design business, those who can handle the heavy lifting of strategy, message, and concept, have a huge advantage.
