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1. DPS Training 2009
Melissa Holcombe
Sarah Markland
Tony Nunn
Tasmanian Polytechnic
and Sublime Studio

2. programme
1. creative thinking
2. images part one
3. images part two
4. colour
5. space
6. tweaking
7. fonts
8. finishing

3. ab
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5. an ability
• to imagine/invent something new
• to generate new ideas by combining,
changing or reapplying existing ideas
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6. a process
• creative people work hard, continually improving
ideas and solutions
• making gradual alterations and refinements
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7. research & discovery
• don’t jump into a project or task without examining it
• the job, big or small can benefit from research and planning
• time spent on this phase is usually proportional to scope and
planned duration
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8. competitive analysis
• identifying strengths and weaknesses of existing designs
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9. thumbnail sketching
• thumbnails are small sketches
• intended to capture basic ideas of page composition:
header placement, column structure, text alignment
• don’t be tempted to focus on small details early in the process
• thumbnails are like icons for thoughts
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10. typography
• typography affects the overall formality or informality of a design
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11. imagery
• not always necessary in a design
• some of the most beautiful designs use typography alone
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12. composition
• overuse of photography and illustration creates crowded, chaotic
designs that obscures viewers from the intention and message
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13. why have a method?
• allows consistent creative process enabling you to make deadlines
ensuring happy clients
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14. establish the style
• what’s your target audience?
• does the type and imagery fit the style for the target audience?
• think cultural references that appeal to the target audience
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16. 1
define the
design problem
• who?
• what?
• when?
• where?
• why?
• how?

17. 2
investigate
• research
• analyse information

18. create your own
resources library

19. typefaces for all kinds of clients
www.dafont.com

20. stock photo libraries
www.sxc.hu (free)

21. colour themes, associations & meanings
swatch palette suggestions: adobe kuler
kuler.adobe.com

22. 3
generate ideas
• brainstorm
• make lists
• make sketches

23. t

24. basic guidelines
for brainstorming
Brainstorming is useful for attacking specific
problems and where a collection of good,
fresh and new ideas are needed.
Brainstorming can take place either
individually or in a group of two to ten,
with four or seven being ideal.

25. suspend judgement
Ideas are said, no critical comment is
allowed, all ideas are written down.
“To think creatively and criticise at the same
time is like watering and pouring weed killer
onto seedlings at the same time.”

26. think freely
Wild, impossible, and unthinkable thoughts
are fine. Thinking outside the boundaries of
ordinary, normal thought, brilliant solutions
can arise.

27. tag on
Improve, modify, build on the ideas of others.

28. quantity of ideas
is important
Generate a large stock of ideas so that later on
they can be sifted through.

31. • design scrapbook, place to dump ideas and experiment
• develop creativity over time
• storage for scraps/sketches and ideas that are valuable but scribbles on torn
or otherwise occupied paper
• non-conventional journal entries can inspire and extend creativity
eg: painting, drawing, sketching (although it is very important not to waste too
much time on your journal instead of your artwork)
• entries can be easily revised and used as possible content/inspiration
for later work
• keeping a journal close at hand to record any unexpected ideas or thoughts
• thumbnailing

33. • as a studio, establish
a design scrapbook
• entries can be easily
revised and used

34. evaluate the
design solution
• if steps 1-3 in the creative checklist have
been accomplished a design solution
will be apparent
• does the solution solve the design problem?
• does it need to be redesigned or modified?
• what improvements would I make?

36. 1
Is the layout simple?
• Can elements of a design be removed whilst
still getting the message across?

37. 2
Does the layout
hold together?
• Test by squinting at the design.
Is it seen as a single unified whole?

38. 3
Does the most
important element
dominate?
• What catches the eye first?

39. 4
Logical, obvious
visual flow
• Does eye flow from one element to the next?
• Quickly show the design to someone.
What is the first thing they see?
Is that what you want?

40. 5
Are the graphic elements
visually balanced?
• Where is it heavy?
• Where is it light?
• Is the design top heavy, or the opposite?
• What is the item next to the heavy spot?
• Is that where you want the viewer
to look next?

41. 6
Is the space attractive?
• Is something too big or small?
• Are there holes in the layout?
• Does everything look eye sweet?

42. 7
Is there white space?
• Is it positioned correctly?
• Is it balanced with the rest
of the design elements?

43. 8
Do the headlines
have impact?
• Broken correctly for quick reading?
• When read aloud, does it sound right?
• Is the illustration appropriate?
• Do the visuals support the personality
of the message?
• Does it have a message,
and is it the correct message?

44. 8
Is there a
visual storyline?
• Is there a logical visual order, can the reader
be comfortably led through the visual?

45. Thank you for
travelling with us.
Please retain your ticket
for the next boarding.

46. placement
eye path
figure/ground
rule of thirds
design principles
design elements

47. design elements

48. colour
Has three properties: hue, intensity and value.

49. value
The lightness or darkness.

50. line
Straight, curved, thick, thin, solid, dashed,
dotted, blurred, fuzzy, etc.

51. shape
Lines that join.

52. format
A design’s relationship to its border.

53. texture
Flat, glossy, wet, furry, sandy, leathery, etc.

54. design principles

55. balance
The way elements are arranged.

56. emphasis
Dominance given to an element.

57. harmony
A union of aesthetically compatible elements.

58. movement
Produces the look of action.

59. movement
Produces the look of action.

60. pattern/rhythm
Repetition of an element.

61. proportion
Relationship of one part to another.

62. tension
Capable of causing anxiety or excitement.

63. unity
Combination of all elements into one whole.

64. variety
The use of diversity.

65. rule of thirds

66. golden section
The Fibonacci sequence is a number
sequence in which each number is the sum
of the two previous numbers. The golden
section is a measurement divided by Phi 1.618
which produces the larger of the two golden
sections.
1+1+2+3+5+8+13+21+34+55+89+144+233+377

67. rule of thirds
The rule of thirds states that by dividing a
design with two evenly spaced horizontal
and vertical lines to create 9 parts, the
intersections of these lines are the most
preferred focal points of a design. This is
because at these points, the eye has the best
perception of the main object in relation to the
surrounding objects.

68. rule of thirds
By applying the rule of thirds to your artwork,
you can stress the focal point.

69. figure/ground

70. figure/ground
The cognitive ability to separate elements.

71. eyepath

72. eyepath
The eye follows the path you create.

73. placement

74. placement
Centred.

75. placement
Off centre.

76. placement
Along an edge.

77. placement
Cover the whole ad.

78. placement
Cropped off by the format.

79. placement
Rotated.

80. Thank you for
travelling with us.
Please retain your ticket
for the next boarding.

81. type selection
image manipulation
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82. readability

83. readability
Using type over images effectively.

84. readability

85. readability
Placing a solid shape under type.

86. readability
Is it meant to be read?

87. value

88. value
Value gives emphasis to type.

89. value

90. value

91. image manipulation

92. image manipulation
Use Photoshop

93. image manipulation
Use inDesign

94. image manipulation
Use both

95. type selection

96. type selection
Type should suit the image.

97. type selection

98. type selection
Point size, leading, line length,
tracking and kerning.

99. Thank you for
travelling with us.
Please retain your ticket
for the next boarding.

100. ns s
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Co W ha
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101. Use of colour
Colour is one of the most important
elements of design.
It evokes emotions and has deep
psychological and cultural associations.
It is important as a designer to use these
to create an association between your client
and their target audience.

104. Warm Cool
colours colours

105. The colour wheel is the most basic tool for
creating harmonious colour schemes.
It can be divided into two distinct colour
schemes, cool and warm.
White, black and greys are considered
neutral colour schemes.
Colour schemes are formed in relation to
the colour’s position on the wheel.

107. Analogous Split
Complementary
Complimentary

108. Square
Triad Tetrad

111. Launceston’s largest range of pool and spa options
128 Invermay Road, Launceston . 6300 4455
www.prestigepools.com.au

112. Everything you need to get outdoors.
Tasmania’s largest
range of outdoor gear.
ALPINE 108 Charles St Launceston · 6326 4848

114. The true experience of Australia’s vast and beautiful outback.
108 Grenfell Street, Adelaide · (08) 8422 7799 · www.spinifex.com.au

115. want one?
e xclusi v e
autos 118 Hobart Road, Launceston · 6340 5590
www.exclusiveautos.com.au

118. hot
fun
fast
active
passion
adrenaline
attention grabbing
stimulates appetite

119. bright
cheerful
noticable
energetic
optimistic
imaginative

120. warm
gentle
informal
comforting
enthusiasm
affordable/cheap
appealing to children

121. calm
fertile
restful
natural
healthy
youthful
refreshing
environmental

122. cool
calm
serene
tranquil
relaxing
spiritual
peaceful
trustworthy

123. secure
dignified
confident
expensive
prestigious
dependable
professional
businesslike

124. regal
quality
wisdom
opulence
exclusive
luxurious
ceremonial

125. cute
sweet
loving
caring
tranquil
calming
feminine
romantic

126. strong
solemn
modern
powerful
intelligent
authoritative
sophistication
always in fashion!

127. security
stability
success
affluence
neutrality
professionalism

128. rustic
earthy
natural
mature
outdoors
wholesome
environmental

129. Colour associations are widely used in
developing brand identites.
natural, refreshing fun, imaginative

130. strong, sophisticated, fashionable
attention grabbing, stimulates appetite, fun

132. Thank you for
travelling with us.
Please retain your ticket
for the next boarding.

133. economising space
space using type
macro/micro space
whitespace space in design

134. space in design

135. space in design
Efficiently using space in design.

136. space in design
Space is added to a design to emphasize
information.

137. space in design
Balance

138. space in design
Harmony

139. whitespace

140. whitespace
Whitespace shouldn’t be considered
blank or empty space.

141. whitespace
Using whitespace can eliminate the chance of
a design appearing busy and cluttered.

142. whitespace
Using whitespace can make a design
easier to read.

143. macro/micro
space

144. macro/micro space
Macro space is the space between major
elements in a design.

145. macro/micro space
Micro space is the space between smaller
elements.

146. macro/micro space
Using macro and/or micro space can be a
subtle way to enhance a design.

147. space using type

148. space using type
Space can be applied to a design
through the use of margins and leading.

149. space using type
Space can also be applied through the correct
use of type family and weight.

150. space using type
Type hierarchy.

151. economising
space

152. economising space
Set up a basic grid.

153. economising space
Use margins.

154. economising space
Choose the correct point size.

155. economising space
Choose correct leading, kerning and tracking.
leading
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kerning and tracking
Typography
Typography
Typography

156. economising space
Crop images.

157. economising space
Use whitespace.

158. economising space
Use your creativity.

159. Thank you for
travelling with us.
Please retain your ticket
for the next boarding.

160. Index
1. Creative Thinking Harmony................................................57 Forms of Colour..................................... 108
Movement..............................................58 Warm and Cool Colours........................... 109
More Movement......................................59 Cool Colour Chart................................... 110
Ability.................................................... 5
Pattern and Rhythm................................60 Prestige Pools........................................ 111
Process.................................................. 6
Proportion.............................................. 61 Alpine................................................... 112
Research ����������������������������������������������� 7
Tension..................................................62 Warm Colour Chart................................. 113
Analysis................................................. 8
Unity.....................................................63 Spinifex................................................ 114
Thumbnail.............................................. 9
Variety...................................................64 Ferrari.................................................. 115
Typography........................................... 10
Rule of Thirds.........................................65 Colour Associations................................ 116
Imagery................................................ 11
Golden Section.......................................66 Colour Associations in Western Culture..... 117
Composition.......................................... 12
Thirds Rule.............................................67 Red Colour............................................ 118
Method................................................. 13
Focal Point.............................................68 Yellow Colour......................................... 119
Style.................................................... 14
Figure and Ground..................................69 Orange Colour....................................... 120
Creative Checklist.................................. 15
Seperate Elements..................................70 Green Colour......................................... 121
Define the Design Problem...................... 16
Eyepath................................................. 71 Light Blue Colour.................................... 122
Investigate............................................ 17
Eyepath Creation....................................72 Blue Colour........................................... 123
Own Resource Library............................. 18
Placement..............................................73 Purple Colour......................................... 124
Typefaces for Clients.............................. 19
- Centred..............................................74 Pink Colour............................................ 125
Stock Photo Library................................ 20
- Off Centre...........................................75 Black Colour.......................................... 126
Colour Themes & Meanings..................... 21
- Edge..................................................76 Grey Colour........................................... 127
Generate Ideas...................................... 22
- Whole Ad............................................77 Brown Colour......................................... 128
Brainstorming........................................ 23
- Cropped..............................................78 Colour with Brand Identity...................... 129
Basic Guidelines..................................... 24
- Rotated..............................................79 Coca-Cola and Dolce & Gabbana.............. 130
Suspend Judgement............................... 25
- Suica..................................................80 McDonald’s Logo Colour Comparison......... 131
Think Freely.......................................... 26
Suica.................................................... 132
Tag On.................................................. 27
Quantity of Ideas................................... 28 3. Images : Part Two 5. Space
Resources Library.................................. 29 ........................................................... 133
Visual Diary........................................... 30 Part Two Images.....................................81 Space in Design..................................... 134
Thought Process.................................... 31 Readability.............................................82 Efficiently using Space............................ 135
Plan...................................................... 32 Type over Images....................................83 Why add Space to a Design?.................... 136
Design Scrapbook.................................. 33 I Love this Town......................................84 Balance................................................. 137
Evaluate Design..................................... 34 Solid Shape under Type...........................85 Harmony............................................... 138
Proof Reading........................................ 35 Meant to be Read....................................86 WhiteSpace........................................... 139
Simple Layout........................................ 36 Value.....................................................87 Is it Blank or Empty Space?..................... 140
Layout Hold........................................... 37 Emphasis to Type....................................88 Using Whitespace................................... 141
Dominate Element.................................. 38 Earthquake.............................................89 Whitespace with Readabilty..................... 142
Visual Flow............................................ 39 Street Edition.........................................90 Macro or Micro Space............................. 143
Visual Balance....................................... 40 Image Manipulation.................................91 Macro Space Definition........................... 144
Attractive Space.....................................41 Use Photoshop........................................92 Micro Space Definition............................ 145
Whitespace........................................... 42 Use InDesign..........................................93 Using Macro/Micro Space........................ 146
Headlines Impact................................... 43 Photoshop and InDesign combined............94 Space Using Type................................... 147
Visual Storyline...................................... 44 Type Selection........................................95 Space, Margins and Leading.................... 148
Suica.....................................................45 Type Suit................................................96 Other ways to use Space......................... 149
Type hierarchy....................................... 150
2. Images : Part One Caulfied Race..........................................97
Economising Space................................. 151
Point size, Leading, Line Length,................
Tracking and Kerning...............................98 Set up a basic Grid................................. 152
Part One : Images................................... 46 Use Margins........................................... 153
Design Elements..................................... 47 Suica.....................................................99
Point Size.............................................. 154
Colour................................................... 48 4. Colour Leading, Kerning and Tracking................. 155
Value..................................................... 49 ........................................................... 100 Crop Images.......................................... 156
Line.......................................................50 Use of Colour......................................... 101 Use whitespace...................................... 157
Shape....................................................51 Colour Schemes..................................... 102 Creativity.............................................. 158
Format...................................................52 Colour Wheel......................................... 103 Suica......................................................
Texture..................................................53 Colour Deal........................................... 104 Please retain your ticket
Design Principles.....................................54 Harmonious Colour Schemes................... 105 for the next boarding.............................. 159
Balance..................................................55 Colour Harmonies................................... 106
Emphasis...............................................56 Colour Relationships............................... 107