This document discusses various techniques for developing successful ideas and communicating messages effectively through graphic design. It covers phases involved in idea development like insight, goals and preparation. Methods for escaping mental blocks like brainstorming and sketching are presented. The document also discusses typography fundamentals like serif vs sans serif fonts and using typeface, size and line length to ensure readability. Symmetry, asymmetry and contrast are explored for conveying messages visually. Strategies for writing clearly for an audience like starting with headlines and removing unnecessary words are also outlined.

1. School of graphic design 2014
Lecturer: Miss. Hafiza Wahida Abd Kadir

2. Chapter 7
‘But out there is where the fruit is’

3.  A successful idea is characterized by the
fact that it captures attention and
invokes emotions (joy, desire, sympathy).
 The idea should be simple and have the
capacity for further development.

4.  This involve a number of phases which have to
be passed through;
› Insight
› Goal
› Situation
› Preparation
› Openness
› Priorities
› Pauses
› Tricks of the trade
› Censorship
› Respect and lack of respect
› The idea itself

5.  The following method can be used to
escape a mental block;
› Association;
 Brainstorming (where all the suggestions are
welcome).
› Sketching;
 Drawing triggers completely new ideas.
› Opposites;
 Trying to come up with ideas using opposites and
conflicts.
› Start at the end;
 Starting with the idea and working backwards
towards the necessary prerequisites.

6.  It’s important to identify and break force
of habit with a message in an innovative
form with unpredictable content.

7. Chapter 8
‘Why 9/11?’

8.  Visible typography:
› The letters take on a personal design, which
reinforces the message.
 For instance in a newspaper header or in a
logotype.
 Invisible typography
› Form a silent link between author & reader.
› Form a silent link between send & receiver.
 As in a work of literature.

9.  Romans:
› Characterized by the difference between
thick strokes & fine hairlines & the fact that
they have serifs.
 The letters’ heels or feet.
 Sans serif:
› Characterized by their even design and the
lack of serifs.

10.  The typeface must suit the context & be
readable.
› Readability; how easy it is for the receiver to
read a text.
› Factors crucial to readability include the
typeface itself, type size & line length.

11.  Reinforcement;
› The need to highlight more clearly various
part of a text.
› The most common are use if headings &
subheadings & the marking of new
paragraphs.

12.  The whole also conveys a message.
 The symmetrical approach is
experienced by the receiver as being
organized, harmonious & elegant.
 The asymmetrical approach is dynamic
& attractive.
 The contrasting approach is
experienced in an intense fashion
through contrasting sizes, strengths,
shapes & colours.

13. Chapter 9
‘But that was much later’

14.  Need to be formulated at every stage of
communicative work, & that goes for
visual as well as verbal communication.
 What does the text have to achieve?
› Influencing & changing someone’s emotions
or attitudes?
› Teaching something?

15.  Have to know who they write for.
› Writers have to put themselves in their
reader’s shoes & think about the reader’s
needs.

16.  Have the reader in your mind’s eye
 Start with the headline
 Follow-up the headline in the text
immediately
 Be concrete and not too witty
 Write in the active voice and remove
most of the adjectives

17.  Cross out everything you can
 Remove your favorite bits without crying
 Don’t be ingratiating, but do be quite
personal
 Check the text against your strategy and
creative goals
 Have someone read what you have written
› Proof reading.

18.  Use your creativity by using typography
and visual.
 Create a visual that can communicate.
 Use software adobe illustrator and
adobe Photoshop.
› Set up as portrait or landscape.
› Use A3 size.
 Date line: 20th of March 2014.