1、中文 5490 字， 2800 单词， 14800 英文字符 英文原文： Graphic Design Solutions Robin Landa CH04 Creativity and the Graphic Design Process A SUCCESSFUL GRAPHIC DESIGN SOLUTION IS, AS THE ADAGE GOES, A RESULT OF PERSPIRATION AND INSPIRATION, REQUIRING FOCUS, CRITICAL AND CREATIVE THINKING, AND RIGOR. OF ALL THE PROFIC
2、IENCIES NECESSARY TO BE A RESPECTABLE GRAPHIC DESIGNER, CREATIVITY IS THE MOST ELUSIVE. ONE CAN WELL LEARN HOW TO PROBLEM SOLVE AND COMPOSE YET STILL PRODUCE PERFUNCTORY SOLUTIONS. BEFORE YOU EMBARK ON SOLVING DESIGN ASSIGNMENTS, ENHANCING YOUR CREATIVITY WILL ENHANCE EVERYTHING YOU DOFROM GRAPHIC D
3、ESIGN TO HOW YOU LIVE YOUR LIFE. CREATIVE THINKING Creative thinking is the ability to stretch beyond the ordinary, to be original, innovative, and flexible in ones thinking. For example, creating a mnemonic device (a memory aid) is one way to think creatively, connecting unrelated things with a sin
4、gle visual in a design context. For TheH, a new online community of musicians and music fans, Visual Dialogue determined they needed a strong logo to serve as a mnemonic device for what they were about (Figure 4-01). Other aspects of creative thinking are: associative thinking (recognizing commonali
5、ties, common attributes) metaphorical thinking (identifying similarities between seemingly unrelated things) elaboration and modification (working out details and being able to propose alterations) imaginative thinking (forming images in ones mind and imagining the unlikely CHARACTERISTICS OF CREATI
6、VE THINKERS Certain characteristics are markers of creative thinking: Courage: Fear quashes creative risk taking and supports playing it safe. Courage coupled with intellectual curiosity fuels creativity。 Receptiveness: Being open to different ways of thinking as well as constructive criticism allow
7、s you to embrace possibilities and new ideas. Flexibility: Not only do an agile mind and flexible personality allow you to keep up with the times, they allow you to bend with the path of a blossoming idea or let go of a path that is not fruitful. Being Sharp-eyed: Paying attention to what you see ev
8、ery day (shadows, juxtapositions, color combinations, textures, found compositions, peeling posters, etc.) allows you to see inherent creative possibilities in any given environment, to notice what others miss or do not think noteworthy. Seeking and Recognizing Connections: Creative people are able
9、to bring two related or unrelated things together to form a new combination； they arrange associative hierarchies in ways that allow them to make connections that might elude others. TOOLS THAT STIMULATE CREATIVE THINKING Beyond enhancing personal creative characteristics are tools that aid creative
10、 thinking. Besides using these creativity techniques for concept generation, some designers and students use them as visualization and spontaneous compositional tools (see Chapter 5 on visualization and Chapter6 on composition). Brainstorming (Group or Individual Tool) In Your Creative Power, publis
11、hed in 1945, Alex Osborn, an advertising partner at BBDO in New York, presented a technique he had been using for years at BBDO: brainstorming. The objective of Osborns technique was to generate ideas that could be solutions to advertising problems； the notion was that an uninhibited atmosphere woul
12、d cultivate the flow of creative thinking. Traditional brainstorming is conducted with a group of people so that one contributors thought builds on or triggers anothers, although it may even work better when modified for individual use, since there is no holding back. (See sidebar How to Brainstorm
13、in a Group.) Osborns Checklist (Individual Tool) In the mid1960s, American artist Richard Serra began experimenting with nontraditional materials, including fiberglass, neon, vulcanized rubber, and lead. He combined his examination of these materials and their properties with an interest in the phys
14、ical process of making sculpture. The result was a list of action verbs Serra compiled to roll, to crease, to curvelisted on paper and then enacted with the materials he had collected in his studio. To Lift by Serra, made from discarded rubber recovered from a warehouse in lower Manhattan, is a resu
15、lt of the rubbers unique response to the artists enacting of the action verb to lift. 1 (moma.org). “It struck me that instead of thinking what a sculpture is going to be and how youre going to do it compositionally, what if you just enacted those verbs in relation to a material, and didnt worry abo
16、ut the results?” Richard Serra Before Serras sculptural experimentations, Alex Osborn, BBDO, created an inspired check- list technique as a tool to transform an existent idea or thing. (For example, if you magnify something, you could add height, length, or strength； or you could duplicate, multiply, or exaggerate.) Arguably, this could be the only tool you ever need to foster creative thinking. In short, Osborns Checklist is composed of action verbs: Adapt Modify
