Design Process
1. Descriptive statistics
Variables per Series (Participant) and per Sketch
Variables
M
SD
Min
Max
N
479
Series (N =31)
Sketches
16.26
9.50
5
49
Time on taska
42.85
15.33
13
84
All
9.65
3.30
4
17
27
Fixed: G, N
2.00
0.00
2
2
2
Fixed: great, neutral
0.74
0.96
0
2
2
Free
4.90
2.44
0
9
19
Idiosyncratic
2.00
1.44
0
4
4
8.55
4.57
2
19
--
Objects
Combinations
9over4
Sketches (n = 479)
Objects
3.97
2.27
1
13
27
Time on taska
1.65
3.38
1
10
--
All
6.76
5.34
0
31
3361
Fixed: G, N
3.71
3.04
0
12
1843
10.15
0.79
0
9
75
Free
2.45
3.13
0
17
1217
Idiosyncratic
0.45
1.34
0
8
226
Alterations to objectsb
Fixed: great, neutral
Note. aTime on task is rendered in minutes.
b
sketches: N =
466, first sketches cannot contain an alteration in relation
to the preceding sketch. Counted were the alterations that
1
Design Process
2
could be scored per object: type, line, texture, position,
detail, size, and composition.
Participants used more than three times as many free and
idiosyncratic objects as fixed objects. We may assume that the
semantic task criteria have guided the associative production
of free and idiosyncratic objects. Creative cognition depends
on the power to produce such associations (Boden, 1986). In
this sense, the frequency of free and idiosyncratic objects in
the sketches reflects the creativity of our participants.
Design Process
3
Alterations in Features, Composition, and Combination in First
and Second Halves of the Series
Alteration
New
Repetition
Old
Features, N = 9652
First Half
Second Half
Sum
1470
(15%)
2472
(26%)
575
(6%)
753
(8%)
3455
(36%)
927
(10%)
2223
(23%)
5827
(61%)
1502
(16%)
Composition, N = 1606
First Half
325
(20%)
319
(20%)
107
(7%)
Second Half
181
(11%)
476
(30%)
198
(12%)
Sum
506
(31%)
795
(50%)
305
(19%)
Combination, N = 466
First Half
130
(28%)
75
(16%)
27
(6%)
Second Half
104
(22%)
85
(18%)
45
(10%)
Sum
234
(50%)
160
(34%)
72
(16%)
Note. The values represent sums of alterations over all
sketches, except first, last, and middle sketches of uneven
series (N = 414). New items are predominant in the first half
of the design process and repeated and old ones in the second
half. Noteworthy is that combinations were repeated equally in
both halves.
Design Process
2. Guidelines I-8
Guideline 1
DESCRIPTION OF THE TASK
Design a LOGO which consists of the letters 'G' and 'N'
The LOGO will be used to introduce a new softdrink, named the Great Neutral
The purpose of the softdrink is to become an alternative to Pilsen beer
in the cafe
The young intellectuals are the targeted consumer group
The LOGO will be used on labels and on packing
and it will also be used for an advertisement campaign.
The LOGO will be executed in black and white.
4
Design Process
Guideline 2
A LOGO should have the following characteristics:
1.
maintains its clarity on a small scale (labels)
2.
maintains its clarity on a large scale (packing, t-shirts, posters, billboards, light
advertisements, and airplane advertisements)
3.
derives its form from the letters out of which it is composed
4.
derives its form from the message which is communicated
5.
displays a balanced accordance between the black and white surfaces (planes?)
6.
is executed in line and/or shading.
Examples of features 3 through 6 you will find on the following pages.
5
Design Process
Guideline 3
EXAMPLES
feature 3
the logo derives its form from the letters it is composed of
see the following examples:
a.
Hawker Siddeley Ltd.
Airplane Factory
Tattersfield, England
b.
Heinrich Bickle
Manufacturer of Industrial Materials
Germany
c.
Manufacturers Hanover Trust.
Bank
America
6
Design Process
Guideline 4
feature 4
the logo derives its form from the message it communicates:
see the following examples:
d.
House of Harambee
Organisation for better Interracial Relationships
Jackson, America
e.
Racine Press
Newspaper Publisher
America
f.
Lumber Factory
Switzerland
7
Design Process
Guideline 5
feature 5
the logo displays a balanced accordance between the black and white surfaces:
see the following examples:
g.
L’Incontro
Art Gallery
Italy
h.
Urban Coalition
Social Services
America
i.
Karl Franken
Precision Tools
Germany
8
Design Process
9
Guideline 6
feature 6
the logo is executed in line and/or shading.
see the following for examples with line:
j.
I. Rokeach & Sons
Trading Entreprise
Germany
k.
Allende & Brea
Lawyer in Patent Business
Argentine
l.
Royal Crown Cola
Partnership for Soft Drinks
America
(Guideline 6 continues)
Design Process
(Guideline 6 continued)
feature 6
the logo is executed in line and/or shading.
see the following for examples with shading:
m.
Tecnicas de Communication
Advertisement Agency
Spain
n.
J. Fink
Printshop
Germany
o.
Rieussit S.A.
Printing Studio
Spain
10
Design Process
Guideline 7
While working please take note of the following:
1.
take a new sheet each time you want to make a change or alteration
2.
mark the criteria according to your own assessment of the sketch
(you will find an elucidation of the criteria on the following page)
3.
draw your final design on the pieces of paper labeled "label" and "packing-paper"
4.
Put the sketches you do not want to employ any further in the out-basket.
Success
11
Design Process
12
Guideline 8
ELUCIDATION OF THE CRITERIA
You can assess each sketch according to seven criteria.
Mark, between zero and a hundred, to what extend each sketch displays the forms or features
associated with the criteria.
non-alcoholic
to what extent do you think the sketch displays forms or
features that can be associated with this criterium
cafe-atmosphere
to what extent do you think the sketch displays forms
or features that can be associated with this criterium
intellectualism
to what extend you think the design will appeal to
young intellectuals
large/small
the design can be applied on a large as well on a small
scale without loosing its clarity
black/white
black surfaces are in accord with the white sufaces
line/shading
to what extend do you think the possibilities of line and
shading are utilized
are you making progress
to what extent do you think you are making progress and
is the final design getting closer
Design Process
3. Categories for encoding the sketches
Object Categories. Object and Type
Type
No
Objects
1
2
3
4
Fixed objects
Print
Script
1
‘G’
capital
small
capital
small
2
‘N’
capital
small
capital
small
3
great
capital
small
capital
small
4
neutral
capital
small
capital
small
Free objects
5
text
capital
6
glass
7
small
capital
small
straight wide
beer
cocktail/wine
bottle
lemonade beer
wine
tin can
8
table
flat
round
oval
rectangular
9
stool
flat
cushion
backrest
footrest
10
tray
flat
round
oval
rectangular
11
background complete half
quarter
partly
12
frame
complete half
quarter
partly
13
person
complete torso
head
head + hands
14
bubbles
bubbles
foam
--
15
straw
straight bent
pair
--
16
fruit
fruit
--
--
17
spectacles spectacles --
--
--
18
hat
prof.
hat
cap
--
19
reading
book
newspaper --
spray
--
--
13
Design Process
20
waiter
waiter
penguin
--
14
--
(Object categories continues)
(Object categories continued)
Type
No
Objects
1
2
21
apron
apron
22
necktie
butterfly-tie
23
lamp
hanging
3
-tie scarf
standing
table
4
----
Ideosyncratic objectsa
24
other
unit
composite repetition (mirror)image
Note. Objects in sketches were encoded according to four
types. Fixed objects were given with the instructions, free
objects were generated by participants, and ideosyncratic
objects showed no semantic relationship with the task
criteria.
aWe
observed four ideosyncratic objects in the series, No 24
to 27.
Design Process
15
Feature Categories
Feature categories indicate for each object the type of line, texture, position, size, and detail
used.
Line
1
single line
2
double line
3
combination 1 and 2/multi-line
4
no line (border of texture)
5
waved/forked
6
interrupted
7
shadowed
Texture
1
single line
2
white (not filled)
3
black (filled)
4
mixed (black and white parts)
5
shaded/striped horizontal/vertical
6
shaded/striped diagonal to the right/left
7
shaded/striped circular
8
dotted
9
other
Position
1
upright, standing, vertical
2
to the right up
(Feature categories continues)
(Feature categories continued)
Design Process
3
laying, horizontal, to the right
4
to the right below
5
up side down
6
to the left down
7
laying, horizontal, to the left
8
to the left up
9
centric, expands evenly
16
Detail
1
form addition
2
form omission
3
form change
4
texture addition
5
texture omission
6
texture change
7
semantic addition
8
semantic omission
9
semantic change
Size
1
bigger
2
smaller
3
higher
3
shorter
(Feature categories continues)
(Feature categories continued)
5
wider
Design Process
6
narrower
7
number more (as group)
8
number less (as group)
17