Introduction
âDifficult situations breed astonishing results.â
â Jeffrey Veen
Have you ever struggled to complete a design project on time? Or felt that having a tight deadline stifled your capacity for maximum creativity? This book is for you.
Within these pages, youâll find eighty creative challenges to help you reach a breadth of innovative design solutions, in various media, within any set time period. By completing these challenges, youâll round out your skills by exploring projects along the full continuum of design disciplines, from the bread and butter of branding and collateral to the wild world of advertising to the user-centered practices of creating interactive projects. Along the way, weâll take brief forays into wayfinding, editorial design, video and motion graphics, and many other areas of our continually expanding practice.
To aid you in conquering these challenges, Iâll provide useful brainstorming techniques and strategies for success. By road-testing these techniques as you attempt each challenge, youâll find new and more effective ways of solving tough design problems and bringing your solutions to life.
BECOMING MORE CREATIVE TAKES PRACTICE
Designers are often encouraged to bluff their way through unfamiliar deliverables in order to bootstrap their way toward a stable career, and my experience was no different. My first decade as a designer was humbling. A typical day in the life looked like this:
Two fresh logo sketches for your new wine bar by tomorrow? Catalog cover designs for your cruise lineâs venture into South America? Home and secondary page user interface examples for a technology consulting web site by Friday? No problem. Iâll figure things out before I collapse on my keyboard, exhausted, at 2:00 A.M.
During those years in the trenches, I discovered that:
Failure is a necessary component of creativity.
Well-seasoned designers understand that resilience in the face of repeated failure is the only path to success. Improving as a designer requires us to consciously choose to explore novel territory as part of our daily work. David Kelley from IDEO calls this âenlightened trial and error,â and it is the best way to seek out a great result that fulfills your clientâs business need.
Process is more important than the final product.
As architect Matthew Frederick notes, âBeing process-oriented, not product-driven, is the most important and difficult skill for a designer to develop.â Being aware of your working process as a designer and reshaping it to fit the problem presented to you is a lifelong practice that will define your career. However, donât forget what Mark Rolston of frog design says:
Topics Covered in This Book
Trying these eighty challenges will take you on a trip through most of todayâs prominent design disciplines. Theyâre organized into the following categories:
FOUNDATION SKILLS
copywriting
design history
grid systems
illustration
paper engineering
photography
physical prototyping
research
typography
WORK DISCIPLINES
Advertising and Marketing
guerrilla tactics
online ads
out of home ads
print ads
posters
TV commercials
Branding
annual reports
collateral
identity development
product packaging
Editorial and Film
book covers
magazine layout
music packaging
film posters
Interactive Media
information architecture
interaction storyboarding
user interface design
Product Design
Store Design and Wayfinding
environmental graphics
retail store experiences
trade show booths
wayfinding
Type Design
Video and Motion Graphics
hand animation
storyboarding
âPlans are no substitute for the real thing⌠Process is a means to an end. Our purpose is to create.â
Rote repetition rarely leads to deep design intuition.
Your design process consists of the living, breathing flow of actions that you takeâsome conscious, some unconsciousâas part of solving a client problem. As you repeat similar types of design projects, you become more proficient in identifying which of these actions lead to a well-designed result. But we radically improve our skills when we are forced outside of our comfort zone and asked to solve problems that seem foreign, or use tools or methods that seem alien to us.
Youâll never have enough time to work on a paid client project.
Having less time to work on a project can lead to more creative results, if youâre smart about how you use that time. We often expend a good part of our projects bemoaning our lack of time to solve a client problem, rather than fully using our time to confront it. Deadlines come fast and furious, no matter whether you are a solo designer, work in-house at a company or have a role at a design firm or creative agency. Client deliverables will always verge outside your areas of expertise. A designerâs career is more like a marathon than a series of sprints, and maintaining a productive, yet creative pace is the only way youâll stay sane.
Designers become more creative by learning to access their intuition.
We become better designers when our design skills are grounded in intuition. One of my favorite designers, Paul Rand, said, âThe fundamental skill [of a designer] is talent. Talent is a rare commodity. Itâs all intuition. And you canât teach intuition.â Thatâs true. You canât teach intuition in a classroom lecture. But you can become more intuitive by solving wildly divergent design problems in a disciplined manner.
UNDER CONSTRAINTS, CREATIVITY THRIVES
Completing the eighty challenges in this book and abiding by the unique constraints of each design problem will force you to confront your inner critic and improve your working habits in order to keep the pace, as well as develop a clearer sense of how to access your design intuition in the pursuit of more meaningful design concepts and visual executions. It will also teach you to embrace failure as part of your working process, and to become more confident in your capacity to create meaningful designs in any time frame.
These are worthwhile goals for anyone seeking a long-term career in design. Rather than being endlessly driven by the fear that you may not have enough talent to be the next Ăźber-designer of the century, you can be confident that you have the necessary skills to solve a greater breadth of design problems.
HOW TO COMPLETE A CHALLENGE
Getting Started
Before diving into solving a challenge, read it carefully. Theyâve been crafted to test your design skills regarding everything from visual aesthetics to nuanced business strategy to product innovation. You may need to conduct research before you can complete the challenges in the last third of the book.
What Tools Will You Use?
Here are some of the tools you can use when executing these creative challenges:
PRODUCTION TOOLS
black marker
colored markers and pencils
colored paper
craft knife
cutting mat
glue
needle and thread
pencils
ruler
tracing paper
transparent tape
DIGITAL TOOLS
digital camera or mobile device
visual design software, such as
Adobe Creative Suite
About the Time Limit
Each challenge includes a time limit for how long you can spend on idea generation. Within this time limit, you should be exploring a range of ideas with pencil sketches. Working with pencil and paper is the fastest way to land on a direction for a com...