Applying the Design Process - Visual Communication Design
Transcript Of Applying the Design Process - Visual Communication Design
152 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
CHAPTER
6
Applying the Design Process
Explore what has come before you, do your research, look outside of your vision. Don’t just look at design and designers for inspiration. Look at art, food, nature, listen and read, ideas aren’t confined to the realms of your medium, be it print, digital or strategy. They’re everywhere, they all inform and communicate.
(Clinton Byrne, AGDA Student Council Member, Desktop magazine, 16 February 2012)
Overview
This chapter looks at specific stages of the design process and the ways imagery is created and manipulated both manually and digitally. Designers use a design process to organise their research, inspiration and analysis to support their interpretation of a given brief. Using a range of media, materials and digital or manual methods designers generate ideas further and reflect on potential options. The design process is underpinned by design thinking including evaluation and using the brief as a point of reference. Therefore, different stages of the design process may be revisited. This chapter will look at producing imagery in response to a brief including the selection of appropriate methods for different purposes and audience needs.
This chapter will cover:
• an overview of the design process • drawing methods to visualise ideas and
concepts • different manual and digital methods • media and materials for visualising ideas and
developing concepts • thinking about the design elements and
design principles when using methods • refining and presenting visual
communications using manual and/or digital methods. (VCAA 2012)
CHAPTER 6 Applying the Design Process 153
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
The Visual Communication Design Process
BRIEF
RESOLUTION OF
PRESENTATIONS
Presentation of visual communications that
satisfy the brief
RESEARCH Information is collected
for inspiration,
Client needs Purpose
investigation and analysis
Target audience
REFINEMENT Modi cations and changes in response
to feedback and evaluation
against brief
Context Constraints
DEVELOPMENT
GENERATION OF IDEAS
Application of research, information and inspiration
when creating design ideas
OF CONCEPTS
Selection of ideas and
development of 2D and 3D
visual communications
Figure 6.1
creativDe,EcSritIicGaNl anTdHreI NecKtiIvNe tGhinking
The visual communication design process model (VCAA, The Visual Communication Design Study Design (2013–2017), page 13)
The visual communication design process supports the creation of visual communications. The model as illustrated in Figure 6.1 identifies a non-linear path of specific stages that can be used as a framework when creating visual communications for a given design brief. Analysis, reflection and
evaluation, which underpin the design process, are not completed at specific stages in the design process; rather they are ongoing and require creative, critical and reflective thinking. This is referred to as ‘design thinking’.
154 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Examine
A Little Note on Design Thinking
The Port Phillip Estate project (Figure 6.2) was designed by Studio Round.
The image in Figure 6.2 was initially discovered through experimenting with media to look at ways of developing a unique image. Experimentation with media and materials can lead to a clever design solution. The visual communication design process is underpinned by design thinking.
6
Figure 6.2 The image at the top was the result of experimenting with media. The image was then used as part of the identity for Port Phillip Estate.
Instruct
Stages in the Design Process
Development of the brief: • client identification • communication need(s) • purpose • target audience • context • constraints.
Research: • gathering ideas, information and resources • investigation • analysis and interpretation
• may use observational drawing to record ideas or existing objects and spaces.
Generation of ideas:
• drawing on research to explore ideas
• incorporation of visualisation drawings
• freehand ideation sketches.
Development of concepts:
• selection of preferred ideas
• application of a range of media, materials, methods, design elements and principles
CHAPTER 6 Applying the Design Process 155
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Instruct continued
• creation of two- and three-dimensional visual communications where appropriate to the brief
• continuation of visualisation drawing may still occur and commencement of presentation drawing methods.
Refinement:
• editing, adapting and tweaking visual communications in response to client feedback and/or the brief.
Resolution of presentations:
• the production of fully refined visual communications that meet the requirements of the brief.
Examine
A Visual Communication Design Process
The Brief Figures 6.3–6.6 visually represents the design process undertaken by Finlay Williams to produce a set of Christmas cards. The client required a set of unique designs that needed to work together as a set in black and white. A handmade contemporary look was required that would appeal to adults.
Figure 6.3 Images gathered during research for the Christmas card brief
156 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Examine continued
Research Research may include drawing from observation, taking photographs, or looking through the internet, stock photo libraries and previous designs.
Generation of Ideas Visualisation of drawings of images and ideas for layouts, including media trials with cut paper and ink and exploration of colour, shape and line.
Reflect on ideas generated, then discard, retain or develop these ideas further. Possible discussions with client and referral back to brief. If ideas are limited the designer may go back to undertake further research.
6
Development of Concepts Selection of best concepts and designs trialled. Lino printing application and computer-generated design methods explored.
Resolution of Presentations Resolution of final design fulfilling the needs of the brief.
Refinement of Ideas Modifications and changes made to design chosen by client. Computer used to refine solution. Designer presents ideas for the set of cards to client. The designer will present up to three different design directions. The client chooses the design that best fits the need and marketing strategy.
Figure 6.4 Generation of ideas
Figure 6.5 Development of concepts
Figure 6.6 Resolution of presentations
Development of the Brief
Initially at the commencement of the design process a brief is set and a designer will then undertake research to investigate ideas and collect
inspiration and resources. The research is followed by the generation of ideas. Ideas are evaluated, which assists a designer to continue in developing concepts or undertaking further research. The designer is at the stage of resolving their ideas
CHAPTER 6 Applying the Design Process 157
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
when all of the requirements of the brief are met. If a resolution cannot be met then the designer may revisit one of the previous stages.
Research
Research is the process of gathering information to assist in developing and generating ideas. Research also includes analysing and interpreting the information collected. It is more than cutting and pasting collected imagery into a visual diary with random annotations. Designers analyse and interpret their research to determine and justify what is going to be useful as a means for inspiration and to provide starting points for their design work.
When gathering ideas and inspiration a designer may:
• look at aspects of previous designs and branding that might be used for inspiration
• investigate the work of an artist or designer
• look through websites and follow blogs
• subscribe to magazines including online magazines
• be inspired to take photographs of their surroundings or the environment suited or appropriate to the brief
• be influenced by their everyday life (the street they live in or the cafe in which they drink their coffee)
mood board a type of poster that may include
images, texts, samples of objects
and materials arranged in an
inspirational format. Used to assist designers in fulfilling a brief and to communicate to the members of a
design team
• conduct interviews
• look through books and literature relevant to the brief
• visit galleries
• observe objects (observational drawings) and take observations of surrounds
• use colour samples and swatches.
The analysis of research may be the way a colour palette has been used or a photographic technique has been applied. These then may be interpreted into a simple mood board or a series of written brainstorms and thumbnail sketches
to be applied in the next stage of the design process – the generation of ideas.
Like other components of the design process, research may occur throughout the design process to provide continual support for ideas, to gain fresh directions and to assist with feedback from a client.
Embark
Mood Board
You are required to create an identity card for another student in your class. The card is to be in the presentation format of a mood board and should include your classmate’s name and written adjectives. All imagery and words need to reflect your class mate’s personality.
Figure 6.7
An example of a mood board, which includes imagery, colours, textures and type
158 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Generation of Ideas
During this stage designers apply the information and inspiration gathered during their research. Designers work in different ways to generate ideas including written brainstorms, thumbnail and concept sketches. Observational drawings produced earlier are replaced by visualisation drawings produced with media that is quick and doesn’t require time to perfect (pencil and a fine liner are examples). These are not polished or refined drawings and the annotations beside them assist in explaining the idea. The designs being created at this stage are still fresh in the mind of the designer and not fully visualised. That is, the ideas created at this stage are starting points.
Figure 6.8
Simple story boards and dummy books can assist picture book illustrators and designers with planning and preparing the layout of a publication
6
At this point a designer may have produced:
• brainstorming with words
• thumbnail sketches (see Figure 6.9)
brainstorming a method used to generate ideas for problem solving
• concept sketching • brief annotations • lots of quick sketching • pencil and/or fine liner illustrations • marker drawings or anything that
is quick to assist in generating ideas quickly
thumbnails small images used to represent design ideas. Often produced quickly when generating ideas
• notes taken from discussing ideas with other designers or even the client
• the generation of a broad range of ideas
• visualisation drawings developed from observational drawings
• the interpretation and development of any mood boards (see Figure 6.7)
• dummy books and story boards (a technique/process used by illustrators of books)
annotations refers to written comments made on the drawings or designs in a folio. Generally the comments are reflections and evaluations on designs completed.
• work may have commenced using the computer and programs such as Photoshop® or Illustrator®.
Figure 6.9 Thumbnail sketches are used as part of the generation of ideas for the Geelong Youth Choir logo
CHAPTER 6 Applying the Design Process 159
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Figure 6.9 [cont.] Thumbnail sketches are used as part of the generation of ideas for the Geelong Youth Choir logo
160 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Analysis, Reflection and Evaluation
Evaluation is a continual process undertaken by a designer throughout a project. Following the generation of a wide range of ideas designers will analyse, reflect and interpret their ideas and the material generated. They make decisions about what ideas will be developed further and those that will be discarded. If there are not enough concrete directions to follow, a designer will go back to generating more ideas and even undertake further research if required.
Evaluation may include:
• meeting with the client
• comparing designs to previous projects
• sharing ideas with colleagues
• referring back to the brief.
Figure 6.10 Geelong Youth Choir logo: development of concepts
6
Development of Concepts
After working quickly and mostly on a small scale the designer then spends more time developing selected concepts. This stage of the design process involves decision making and selecting concepts that suit the target audience and relate directly to the design brief.
Development of concepts may include:
• testing and trialling different directions with different media and materials and the design elements and principles. For example, an idea for a logo may be created using watercolour and coloured inks to explore different ways of achieving fluid-like imagery. The element of shape may be emphasised to create a high level of contrast whilst the element of line may be used to explore fine detail
• incorporating different methods. The design for an illustration may be drawn freehand, constructed in a software program like Illustrator® or even screen printed
• exploring presentation formats, which could then form part of a review stage for the design team, client feedback or for other professionals working on the project. A designer needs to critically evaluate the concepts developed and make some crucial decisions as to the final design direction. A designer can utilise a number of strategies
to assist in this process including judging whether the design concepts fulfil the criteria of the design brief. This can be done by using a checklist, panel discussion, a designer report, a spreadsheet, which checklists the criteria for the communication, need or a graph indicating survey results for desired solution.
Refinement
The refinement stage involves selecting potential ideas that fulfil the requirements of the brief. A designer then produces refined images of their ideas making subtle changes where appropriate to design elements and principles. The methods of production are usually determined by this stage; however, they are incorporated with a high level of technical skill. The use of media and materials is refined further with the designer making final choices; for example, the type of paper to be used and selecting gouache over watercolour paint. Technical skills required by methods or appropriate to particular media and materials are necessary. The designer produces more sophisticated imagery.
At this stage of the visual communication design process, a designer has had client feedback and other constructive feedback for review of their work. It is now a designer’s responsibility
CHAPTER 6 Applying the Design Process 161
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
CHAPTER
6
Applying the Design Process
Explore what has come before you, do your research, look outside of your vision. Don’t just look at design and designers for inspiration. Look at art, food, nature, listen and read, ideas aren’t confined to the realms of your medium, be it print, digital or strategy. They’re everywhere, they all inform and communicate.
(Clinton Byrne, AGDA Student Council Member, Desktop magazine, 16 February 2012)
Overview
This chapter looks at specific stages of the design process and the ways imagery is created and manipulated both manually and digitally. Designers use a design process to organise their research, inspiration and analysis to support their interpretation of a given brief. Using a range of media, materials and digital or manual methods designers generate ideas further and reflect on potential options. The design process is underpinned by design thinking including evaluation and using the brief as a point of reference. Therefore, different stages of the design process may be revisited. This chapter will look at producing imagery in response to a brief including the selection of appropriate methods for different purposes and audience needs.
This chapter will cover:
• an overview of the design process • drawing methods to visualise ideas and
concepts • different manual and digital methods • media and materials for visualising ideas and
developing concepts • thinking about the design elements and
design principles when using methods • refining and presenting visual
communications using manual and/or digital methods. (VCAA 2012)
CHAPTER 6 Applying the Design Process 153
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
The Visual Communication Design Process
BRIEF
RESOLUTION OF
PRESENTATIONS
Presentation of visual communications that
satisfy the brief
RESEARCH Information is collected
for inspiration,
Client needs Purpose
investigation and analysis
Target audience
REFINEMENT Modi cations and changes in response
to feedback and evaluation
against brief
Context Constraints
DEVELOPMENT
GENERATION OF IDEAS
Application of research, information and inspiration
when creating design ideas
OF CONCEPTS
Selection of ideas and
development of 2D and 3D
visual communications
Figure 6.1
creativDe,EcSritIicGaNl anTdHreI NecKtiIvNe tGhinking
The visual communication design process model (VCAA, The Visual Communication Design Study Design (2013–2017), page 13)
The visual communication design process supports the creation of visual communications. The model as illustrated in Figure 6.1 identifies a non-linear path of specific stages that can be used as a framework when creating visual communications for a given design brief. Analysis, reflection and
evaluation, which underpin the design process, are not completed at specific stages in the design process; rather they are ongoing and require creative, critical and reflective thinking. This is referred to as ‘design thinking’.
154 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Examine
A Little Note on Design Thinking
The Port Phillip Estate project (Figure 6.2) was designed by Studio Round.
The image in Figure 6.2 was initially discovered through experimenting with media to look at ways of developing a unique image. Experimentation with media and materials can lead to a clever design solution. The visual communication design process is underpinned by design thinking.
6
Figure 6.2 The image at the top was the result of experimenting with media. The image was then used as part of the identity for Port Phillip Estate.
Instruct
Stages in the Design Process
Development of the brief: • client identification • communication need(s) • purpose • target audience • context • constraints.
Research: • gathering ideas, information and resources • investigation • analysis and interpretation
• may use observational drawing to record ideas or existing objects and spaces.
Generation of ideas:
• drawing on research to explore ideas
• incorporation of visualisation drawings
• freehand ideation sketches.
Development of concepts:
• selection of preferred ideas
• application of a range of media, materials, methods, design elements and principles
CHAPTER 6 Applying the Design Process 155
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Instruct continued
• creation of two- and three-dimensional visual communications where appropriate to the brief
• continuation of visualisation drawing may still occur and commencement of presentation drawing methods.
Refinement:
• editing, adapting and tweaking visual communications in response to client feedback and/or the brief.
Resolution of presentations:
• the production of fully refined visual communications that meet the requirements of the brief.
Examine
A Visual Communication Design Process
The Brief Figures 6.3–6.6 visually represents the design process undertaken by Finlay Williams to produce a set of Christmas cards. The client required a set of unique designs that needed to work together as a set in black and white. A handmade contemporary look was required that would appeal to adults.
Figure 6.3 Images gathered during research for the Christmas card brief
156 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Examine continued
Research Research may include drawing from observation, taking photographs, or looking through the internet, stock photo libraries and previous designs.
Generation of Ideas Visualisation of drawings of images and ideas for layouts, including media trials with cut paper and ink and exploration of colour, shape and line.
Reflect on ideas generated, then discard, retain or develop these ideas further. Possible discussions with client and referral back to brief. If ideas are limited the designer may go back to undertake further research.
6
Development of Concepts Selection of best concepts and designs trialled. Lino printing application and computer-generated design methods explored.
Resolution of Presentations Resolution of final design fulfilling the needs of the brief.
Refinement of Ideas Modifications and changes made to design chosen by client. Computer used to refine solution. Designer presents ideas for the set of cards to client. The designer will present up to three different design directions. The client chooses the design that best fits the need and marketing strategy.
Figure 6.4 Generation of ideas
Figure 6.5 Development of concepts
Figure 6.6 Resolution of presentations
Development of the Brief
Initially at the commencement of the design process a brief is set and a designer will then undertake research to investigate ideas and collect
inspiration and resources. The research is followed by the generation of ideas. Ideas are evaluated, which assists a designer to continue in developing concepts or undertaking further research. The designer is at the stage of resolving their ideas
CHAPTER 6 Applying the Design Process 157
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
when all of the requirements of the brief are met. If a resolution cannot be met then the designer may revisit one of the previous stages.
Research
Research is the process of gathering information to assist in developing and generating ideas. Research also includes analysing and interpreting the information collected. It is more than cutting and pasting collected imagery into a visual diary with random annotations. Designers analyse and interpret their research to determine and justify what is going to be useful as a means for inspiration and to provide starting points for their design work.
When gathering ideas and inspiration a designer may:
• look at aspects of previous designs and branding that might be used for inspiration
• investigate the work of an artist or designer
• look through websites and follow blogs
• subscribe to magazines including online magazines
• be inspired to take photographs of their surroundings or the environment suited or appropriate to the brief
• be influenced by their everyday life (the street they live in or the cafe in which they drink their coffee)
mood board a type of poster that may include
images, texts, samples of objects
and materials arranged in an
inspirational format. Used to assist designers in fulfilling a brief and to communicate to the members of a
design team
• conduct interviews
• look through books and literature relevant to the brief
• visit galleries
• observe objects (observational drawings) and take observations of surrounds
• use colour samples and swatches.
The analysis of research may be the way a colour palette has been used or a photographic technique has been applied. These then may be interpreted into a simple mood board or a series of written brainstorms and thumbnail sketches
to be applied in the next stage of the design process – the generation of ideas.
Like other components of the design process, research may occur throughout the design process to provide continual support for ideas, to gain fresh directions and to assist with feedback from a client.
Embark
Mood Board
You are required to create an identity card for another student in your class. The card is to be in the presentation format of a mood board and should include your classmate’s name and written adjectives. All imagery and words need to reflect your class mate’s personality.
Figure 6.7
An example of a mood board, which includes imagery, colours, textures and type
158 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Generation of Ideas
During this stage designers apply the information and inspiration gathered during their research. Designers work in different ways to generate ideas including written brainstorms, thumbnail and concept sketches. Observational drawings produced earlier are replaced by visualisation drawings produced with media that is quick and doesn’t require time to perfect (pencil and a fine liner are examples). These are not polished or refined drawings and the annotations beside them assist in explaining the idea. The designs being created at this stage are still fresh in the mind of the designer and not fully visualised. That is, the ideas created at this stage are starting points.
Figure 6.8
Simple story boards and dummy books can assist picture book illustrators and designers with planning and preparing the layout of a publication
6
At this point a designer may have produced:
• brainstorming with words
• thumbnail sketches (see Figure 6.9)
brainstorming a method used to generate ideas for problem solving
• concept sketching • brief annotations • lots of quick sketching • pencil and/or fine liner illustrations • marker drawings or anything that
is quick to assist in generating ideas quickly
thumbnails small images used to represent design ideas. Often produced quickly when generating ideas
• notes taken from discussing ideas with other designers or even the client
• the generation of a broad range of ideas
• visualisation drawings developed from observational drawings
• the interpretation and development of any mood boards (see Figure 6.7)
• dummy books and story boards (a technique/process used by illustrators of books)
annotations refers to written comments made on the drawings or designs in a folio. Generally the comments are reflections and evaluations on designs completed.
• work may have commenced using the computer and programs such as Photoshop® or Illustrator®.
Figure 6.9 Thumbnail sketches are used as part of the generation of ideas for the Geelong Youth Choir logo
CHAPTER 6 Applying the Design Process 159
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Figure 6.9 [cont.] Thumbnail sketches are used as part of the generation of ideas for the Geelong Youth Choir logo
160 VISCOMM A Guide to Visual Communication Design
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press
Analysis, Reflection and Evaluation
Evaluation is a continual process undertaken by a designer throughout a project. Following the generation of a wide range of ideas designers will analyse, reflect and interpret their ideas and the material generated. They make decisions about what ideas will be developed further and those that will be discarded. If there are not enough concrete directions to follow, a designer will go back to generating more ideas and even undertake further research if required.
Evaluation may include:
• meeting with the client
• comparing designs to previous projects
• sharing ideas with colleagues
• referring back to the brief.
Figure 6.10 Geelong Youth Choir logo: development of concepts
6
Development of Concepts
After working quickly and mostly on a small scale the designer then spends more time developing selected concepts. This stage of the design process involves decision making and selecting concepts that suit the target audience and relate directly to the design brief.
Development of concepts may include:
• testing and trialling different directions with different media and materials and the design elements and principles. For example, an idea for a logo may be created using watercolour and coloured inks to explore different ways of achieving fluid-like imagery. The element of shape may be emphasised to create a high level of contrast whilst the element of line may be used to explore fine detail
• incorporating different methods. The design for an illustration may be drawn freehand, constructed in a software program like Illustrator® or even screen printed
• exploring presentation formats, which could then form part of a review stage for the design team, client feedback or for other professionals working on the project. A designer needs to critically evaluate the concepts developed and make some crucial decisions as to the final design direction. A designer can utilise a number of strategies
to assist in this process including judging whether the design concepts fulfil the criteria of the design brief. This can be done by using a checklist, panel discussion, a designer report, a spreadsheet, which checklists the criteria for the communication, need or a graph indicating survey results for desired solution.
Refinement
The refinement stage involves selecting potential ideas that fulfil the requirements of the brief. A designer then produces refined images of their ideas making subtle changes where appropriate to design elements and principles. The methods of production are usually determined by this stage; however, they are incorporated with a high level of technical skill. The use of media and materials is refined further with the designer making final choices; for example, the type of paper to be used and selecting gouache over watercolour paint. Technical skills required by methods or appropriate to particular media and materials are necessary. The designer produces more sophisticated imagery.
At this stage of the visual communication design process, a designer has had client feedback and other constructive feedback for review of their work. It is now a designer’s responsibility
CHAPTER 6 Applying the Design Process 161
ISBN 978-1-107-68829-2
© Jacinta Patterson and Joanne Saville 2012
Photocopying is restricted under law and this material must not be transferred to another party
Cambridge University Press