Today, I’m picking on a talented German artist who works in 3DS Max.
His rendering’s crisp CG details draw me in, but then send my eyes to flit back and forth across the image in want of a strong focal point to stick to. Poor tonal organization=no focal point=weak visual punch. I respect the self restraint the artist displays with a limited palette, but he needs to organize, unify, and simplify these tonal shapes.
In a highly-complex image such as this, only focal points should have such severe light/dark contrast.
Violating this rule yields a too-busy image. That in mind, I spent 15 minutes retouching the image in Photoshop. (I’ll confess it’s rude of me to do this to a stranger’s work, but wait until you see the difference.) Notice how now the tones look correctly and coherently grouped, thereby uncluttering the image.
“The purpose of art is not to reproduce reality, but to create a new reality of equal or greater impact” -Duane Loose
I remember watching a package designer lay out sans serif type and bold, clean geometric patterns while he listened to Zero 7 and M83. He told me that to master the modern style, he had to work exclusively in that style and explore all its nuances. He’d won dozens of awards.
I wondered as I watched: how much credit does this music get for his creative output? What happens when The Shins or Suicide Machines or Mozart replaces the ethereal electronica on his playlist? Would the tempo change disrupt his flow, or could it even steer his creative output in a new direction?
Stephen King blares Judas Priest and Black Sabbath as he writes second and third drafts. Would the tone of his prose shift if he listened to slow, haunting music or to polka? I really want the answer to be yes, but I understand that coincidence does not imply causality. Steven King’s taste in prose may complement his taste in music, but Continue reading “How Does Music Affect Your Creative Output?”→
Here are 5 package design lessons I’ve learned this past month from my outstanding creative director:
Simplify . . . Don’t over-design!
Completely understand the visual vocabulary of the brand before you dive into designing. Brand strength comes from brand consistency.
As a designer, strive for a consistent style of your own. A jack-of-all-trades designer with a wide stylistic variety in his portfolio will be less sought after by high-quality clients than a specialist who hones in on a distinctive style and masters the nuances of that style. When you look at Robert’s work, you see that he maintains a stylistic consistency even while adapting his style to very different brands (e.g., Pureology vs Redken).
Use your packaging to engage customers emotionally, not intellectually. That means design objects of beauty, not objects that require pages and pages of justification.
In addition to being beautiful, a well-designed package is highly legible. Never make consumers work to discern what’s inside the package.
My creative director specializes in 360° branding in the beauty and health industry. He’s one of the very best at what he does, and it’s been a privilege to work alongside him.
Here’s an exercise to get an artist past his or her familiar go-to vocabulary of shapes. Paint a silhouette of a shape. Then duplicate the shape a number of times, reflecting, rotating, and distorting it in the process.
I don’t see any reason why you couldn’t use this method to build patterns for package design or GD. The shapes below all pertain to environment design, but have a look at the results:
This is a girl I know very well. She has beautiful skin.
I narrowed my usual range of colors to paint the skin tones on this one. Cut alizarin crimson and the usual ultramarine, cobalt, and cerulean blues from the lineup. I cut even the cadmium red.
So I built the whole face with only white plus 4 colors: Yellow Ochre, Venetian Red, Raw Umber, and Viridian. Of these, I used Viridian the most (it’s a weak mixing color). I mixed dozens of colors with these, all with a generous heap of Galkyd added.
My best advice is to cut any out-of-the-tube colors from your palette. Just get rid of them! Make it a rule. In fact, you’d do well not to even use umbers or siennas, because you can mix your own umbers and siennas and they’ll be richer and more under your control. I use raw umber only when I’m mixing dark colors, and I use raw sienna only to make greens and blues earthier or warmer.
Also, if a color mixture has lots of white, keep it thick and opaque. I probably used more Galkyd than I should have, but that was just to keep the brushstrokes clean. Another solution for getting clean, smooth, dynamic brushstrokes is to lay down a wet layer of Galkyd + stand oil + turpentine and then paint atop that layer with thick paint (no turp, no medium). Definitely try this technique if you’ve never done it before.
I only had a touchpad to work with for this one. The underlying drawing was a pencil sketch I made to show students how to reduce mountains to simple geometric shapes to more easily predict shadows. Even the trees are simple cones. This was the first Photoshop painting I’d ever done. All downhill from there.
Try using texture brushes as erasers to texture the edges of your forms. Paul Lasaine has an exceptionally in-depth tutorial on how to do this. Paul is one of the best in the world (me and my hyperboles, right?), so go check it out.