E 文傳播學扭 /91 年 12 月出版 軍 ι 嘲 !Number 2 ' 77-86
創建設計過程中的重暴因素方析 Elements ofthe Designer's Creative Process
*玉昆舉例啊，Lauren) ，料進輕盈(Li en，Helen)
摘要 設計家在車 IJ新設計中有些重要的因素與知識來協助不斷的創新，有創意的設計家必須融 入勇敢、求新、可人的意念及說服力。創新的設計不能透過模仿的技巧或模糊的概念來達 成，本文將透過案例及各種不同的方式來介紹創新的要素以及設計家如何有智慧的掌握觀眾 的目光焦距，從創意者、作者、實務、觀眾及對話的界面來加以詮釋以作為概念討論的基 礎，文中附上簡要的藝術設計歷史及結論。並舉例說明創意設計的要素，作者附上個案一:
目前正在芝加哥上映的 The Kid S阻ys 叩 the Picture電影個人作品。個案二: Robert Evans個 人作品。個案三: Dis叩開 ry Health Channel個人作品，說明創意設計的要素
Abstract
The kind of design that comes out on TV and subway advertising and magazines is all too easy to get boring and unoriginal. How does a designer create something new with all the parameters of business and the market and the knowledge of what already works on the droned masses? The designer has to take charge of the client and bedarin臣， bold, yet be able to convince. Designing for the new isn't about copying the latest tricks like drop shadows,blurs and cutouts, Itis about the message. What are you trying to convey and what is the most innovative way to do that? How can a designer capture the attention of their audience in an intelligent way?
關鍵詞﹒劃意設計，動畫設計
Keywords: Creative design,Animation design
*三五瓦舉紐約早曹電影卸車設計單IMotion Graphics Designer,New York
目錄
1. Authorship (作者面創意歷程與構思)...78
2. Practice (實務面實務結合呈現歷程).. . . ..79
3. Audience (觀眾面). . . ..81
4. Dialogue (藝術對話) ...81
5. Art and design history (藝術與設計之歷史回顧). . . ..82
6. Conclusion (結論) ...82
1. Authorship
Since the beginning of the modem notion of fine art and design, the issue of what qualifies an author has always been discussed. As the Bauhaus critiqued the art academy during the end ofWWI students of art and design were urged to find their own individuality. Manifestos written about art called for the art practice to focus on society and not just to be drones of academic training.
One of the Bauhaus' chief function, as stated in Walter Gropius', The Theory and
01宮anizationofthe Bauhaus (1923),was to
liberate the individual by breaking down conventional patterns of thought in order to make way for personal experiences and discoveries which will enable him to see his own potentialities and limitations. '
In order to increase the quality in design, the designer needs to be free to express meaning in the way that they want to. Of course with the die剖， marketing departme瓜，
public opinion, tight deadlines and low budgets all vying for a say in how it should be done,it can be difficult. But when a designer succeeds,individual creativity can be explored.
Although, it can be easy to exalt in how a designer can express personal opinions
through commercial work it is a complicated notion. As designer and Yale Professor Michael Rock,explains in his essay,GraphicAuthorshi泣，
“ SOme of the basic, institutional features of design practice have a way of getting tangled up in zealousattemp旭 at self-expression. The idea of a decentered message does not necessarily sit well in a professional relationship in which the client is paying a designer to conveyspeci日em品annation or emotions."2
Rock,at fir泣， criticizes the authorship movement in Graphic Design,but then offers a solution to the problem by comparing it to the same issues of authorship in film direction.
how do you compare a film poster with the film itself? The very scale of a cinematic project allows for a sweep of vision not possible in graphic design. Therefore,as the single design project lacks weight,graphic auteurs,almost by definition,have long established bodies of work in which discernible patterns emerge. The auteur uses ve可
specific client vehicles to attain a consistency of meaning. . . Perhaps泣 '5 the absence or presence of an overriding philosophy or individual spirit that diminishes some designed work and elevates other.-'
Many designers and design companies in America create authorship through publishing graphic books on their work documenting their design processes or declaring manifestos Such books include, Paul Rand's, A Designer's Art, David Carson's, The End ofPri則，
Tibor Kalman's, Tibor Ka/man:Perverse Optimist,etc
Newness is created when the designer understands their own uniqueness and creates according to their experiences. Ultimately, as Michael Rock concedes that “authorship is...a device to compel designers to rethink process and expand their methods."
2. Practice
Creative practice is the active involvement in Ii起， not design. The importance of nurturing the designer's experience is undervalued in academic settings. Designers must constantly be aware of their su叮oundingsand find ways to engage with it through self-education, observation, experimentation and an exchange of ideas. They must have an understanding of the world and events in socie旬， politi瓜，history,culture and literature.
The way a designer interacts with life defines the inspirations and designs that they produce. To constantly question all things, events, cultural notions,and social situations
2S肌 enHeller,ed.,The Education of a Granhic Designer (New York:Allworth Press,1998) 151-152
keeps the creative mind ready to design. The mind must also practice taking things that we always know and erasing that knowledge and starting from scratch.
DE-SIGNING. All the indicators of an image or idea that works within a system or culture must be dissected,analyzed and forgotten. Only then will something new sprout
When a seed is planted and we learn how to care for it, nurture and feed it and it eventually dies,the plant might die,but all that we learned is still there. All the experiences of picking off the dead leaves, killing the insects that infested 此， turning the pot around to give even lighti時， are things that feed creativity. The process is just as important to learn from as the outcome.
In addition to this constant re-evaluation of symbols in surroundings is the experimen-tation of form.
The De Stijl group believed,as an extension of Cubism,in a pure expression of form devoid ofliteral translations ofnature as they state in JI，勿nifesto 1 (1918):
If an object of experience as such enters visibly into the work this object is an auxiliary means within the expressional means. The mode of expression will in this event be inexact.
When the aesthetic experience is expressed directly through the creative means of the branch of art in question,the mode of expression will be exact
The aim of the formative artist is simply this: to give fonn to his aesthetic experience of reality or one might alsos呵， his creative experience ofthe fundamental essence ofthings The visual artist can leave the repetition of stories,fairy-tales,etc.,to poets and writers The only way in which visual art can be developed and deployed is by revaluing and puri-fying the fonnative means. Arms, legs, trees,and landscapes are not unequivocally painterly means. Painterly means are: colour,fonns,lines and planes.4
This abstraction of visual modes to unidentifiable ends is an exercise in expression directly through form. For example,iftwo small dots are met by a larger square the feeling ofheaviness is conveyed. This feeling ofheaviness can express emotions such as oppression,
grandeur, obstacle, pe口nanence or rigidity. Continuous experimentation with pure forms can lead to a wider vocabulary of expression. Because of the variation in the way these
fo口nstranslate among individuals and cultures it is important to understand the context in
order to communicate effectively. The designer must also keep pace with what kind of media the public is exposed to.
3. Audience
Whether you are trying to appeal,surprise,scare,seduce, or amuse,the audience is a defining guide. Because the audience is a constantly shifting fo口n designers need to keep up with the introduction of new styles and techniques.
With the advent of cable television and stations like MTV being seen around the world, the spread of imagery and its interpretation in every society is constantly being created and re-created. When the public becomes accustomed to seeing a certain style,the public either matures in stylistic preference and seeks constant change or adapts to the style and becomes accustomed to its message. A designer must decide between copying the norm because they know it reaches a certain audience or trying something different.
The value of the latter is in the creation of an ongoing conversation with a constantly maturing audience. But the disadvantageis 甘ying to keep up with the speed of change.
4. Dialogue
Dialogue had always been an essential element to help the fine artist re-think their devices, take responsibility for their message and understand how their work functions socially, historically,politically and philosophically. It is this critique that helps the artist remain innovative and critical
Fine arts discourse is restricted to the art world and is even more narrowed based on the type of work. Although museums offer the possibility of greater participation, the dialogue remains in the art world through artists,art critics,writers and academia.
In the design profession the dialogue remains the client and the market group. There is less critique surroundi月 the work because the pu叩ose of the design is to satisfy the
clie帥， sell the product and increase earnings. As opposed to the fine arts whosepu叩ose IS
simply to express an idea. Therein lays the problem that designers face: where is the critique in form and message? As with all trades, there are the trade publications and juried awards,but without a greater sense of the community of designers it is hard to see a designer's relation to the whole of design and its effect on society. There is less chance of innovation and accountability for what is created. Designers must actively pursue and create a channel of communication with other designers and critics in order to create something new
5. Art and Design History
Concerning the scarce design discourse thatexis郎， it is limited to the design community and does not involve the opinions of non-designers. Therefore,people new to design who have never entered the discourse may be oblivious to its concerns. Leaders like Herbert Bayer and Paul Rand and movements like Dadaism and the Bauhaus are important to understand where modem design originates. Without researching how design movements are created,it is very difficult to continue the journey of newness. Knowing how personal designs are in日uenced by society and history empowers the designer to break free from what has already been deeply assimilated. In order to create interesting work in the design world a designer must constantly explore and reinvent themselves.
Art and design history teaches us not to repeat ourselves and simultaneously points us in other directions. It is important to look at movement in art and design and what they wanted to change about society. Design must be positioned in the world environment,not just where it will be seen in what magazine or on what TV channel. The consequences of advertising must be thought about. Cultural roles and stereotyping must be considered
6. Conclusion
In order to keep ideas and designs 仕esh， the designer must balance ideas of author-ship, practi白， audience, dialogue and art and design history. Without a balance of these concepts the designer is bound to continue copying the latest trend and not focusing on their inner vision.
Case Studies
As a motion graphics professional, I am constantly re-educating myself and creating an environment as it pertains to di叮hent projects. In a recent film I worked on, The Kid
Stay.δ in the Picture,strategies of the autobiography were reinvented. The film chronicled the ups and downs of Robert Evans, the Hollywood producer responsible for The Godfather,Love Story and Rosemary's Baby. The historical photographs that are usually untouched in a doωmentarywere cut up and animated to create the feeling of seeing these events happen as they were told. I worked with the directors, Brett Morgen and Nanette Burstein to get a sense of how they wanted to portray the living legend's life and the truth about surviving in Hollywood
The I'12-hour film was composed of animated photographs, film and video footage. In order to get to all of more than 50 animations and hundreds of photographs in the month we had to fini 鉤， the film was broken down into sections and shots were distributed based
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。n the idea
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or interest Irom th已 destgners. All the dcsigners lllmiii 曰 ri/ed themsel 、 es 叭 ith the rough-cut or draft 、 ersion of the mo、 ie and the baek-ground of Robert E、 ans. The directors participated in almost all th 已 design and c入 ecution of the ani-mation in a room full of motion graphic designers.Macinto泊的‘ Iligh Definition telc\ isions and hard
dri 、 es. The desigt刊的 made Quicktime motion tests or dailies sho叭 ingasketched 、 ersion of theit ideas. At the end of the day there 叭 as a Crtltqu已
、、 ith the directors and designers going 0、 erall the shots that \\ere 叭。 rked on. Graduallv‘ aftcr subte\t
discussions. color decisions. timing adjustments
and dc~ign issues 叭 ere sorted Oul. the tlnal ptece
叭 as appro、 cd. Then the shots 叭叭 e rendered in Iligh Delinition quality. stOt 已 d. backed up and outpulled to Digi 日 eta tapes. Th山叫 tapes 叭的 C
討ent out to the editot 、、 ho assemblιd the piece on an A、 id editing 、tation. Finally. the directors took the assembled rough draft and 皂a、 e the cOl乃 to
the music and sound compo、ers to make the final adjustments. The film premiered at the Sundance him Festi 、 al and the Cannes I ilm h:sti 、 al
projected throu芷 h Hi 旦h Definition projections
Latet司 the Iligh Delinition 、 crsinn \\ as COIl\ened to Ii 1m and sho叭 n tn mo、 ie theaters nation叭 ide.
Designing Motion Graphic~ ha、 c parameters that must be mastet 已d. In addition to time. music‘
motton 、 isual material changes and 3-di l1len~iollal
space‘ the designer must undersland the meaning
behind the me出age
In the 、 hot abo 、 e. the narrator.仁、 ans. IS
talkitH! about ho、、 h已川、 ested in a no、 c l. called
.. The Detecti、 U ..、、 hose rights he sold to
T叭叭llieth Centur、 Fo\ 叭 hich started his eareet My trealtnent of the shot is the coming together of ditTcrent elements in thc no、已I. The title cnters
to complcte the book. Thc illustration of a ©CopynghI2002USAFllms
seducti 、 ely posed woman. from the co、 er， comes down the front. Placing the seducti\e woman on the front parallelcd how Evans' was attracted by the book and then convinced 20thC Fox into a dcal. The covcr is deeonstructed and the images overlapped to show what might have gone on in
Evans 司 head as he read the book and made the
decision to buy and then sell the rights. It was
his 、 ision that came together and sold the book The next shot illustratedlhe first time E\'ans
\Vas disco、 ered and 叭 ritten about in the press
The subtext of this scene 叭 as that it \Vas both a
IOr!unate occurrence and the beginning of his
double-edged relationship 叭 ith the press that made him who he was and destroyed him. 1001 this shot、 I had the original article from the news-paper which included his picture as a young aspiring producer. The music in this scene was a bit ominous andnot exactly as eekbratory as you
\Vould eλpect 、、 hen describing his lucky break
into the industry. Thc colors 、、'ere dark and old to
sho叭 the time period as 叭 ell as loreshado 叭 his
do叭 nfall \\ ith the press. I enlargcd the phOIO-graph so that the audience in the theater could see the grain of the newspaper and feci that there was an ominous darkness over the event. As I reduced the image 、 the picture of Evans' smiling face is IOrllled completing the juxtaposition and foreshadowing of later e、 ents
The anecdotes that the directors described to me helped me loml a better idea of 、，vhat kind of man Robert E、 ans 、、'as. II 叭 as lmportat1l get a
sense of E、 ans while creating animation for his autobiography. It allo 叭'ed me to relate to the person and create from my personal 、 iew. It is important when researching for a topic to open the avenues of discussion and observation
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、 '、﹒已。 Copynght2002Dlscove叩 Channel This ne:\t project required a different approach. The task 叭 as to create a I-hour documentary explaining the changcs a mothel and her fetus undergo during pregnancy. The
Disco、 ery Health Channel 叭 as airing a senes on
叭。 men's health issues and pregnancy for the month of July and August 2002. This 叭 as pal1 of a larger medical series on anatomy and physiology that arc cventually sold at the Disco 、 cry Channel storcs and online
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The goal of this project \\ as 10 educate the
、 Ie 叭 ers about ho帆 the 叭 oman's body changes
and ho叭 the fetus de 、 clops through personal accounts as opposed to impersonal medical descriptions. The documelllary follo\\'s se、 eral
pregnant 叭。men at differelll stages of birth. The look and feel 叭 as based on the photographer. Lennan Nilsson's，、、 arm and glo叭 ing photo-graphs ofIi 、 e embryo洹
First、 the creative team views the animatic,
the rough-edit 、 id 巴。、 erslon ‘、、 hieh includes
、 olee-o、 ers， footage of the 叭。 men and
inter-、川、\'s 叭 ith the doctors. There are also the place-holders for the animations selling up the time and narration. There帆 ere 15difTerent 川 ternal physi-ology animations and 4 external animations
Next,research was done to understand life processes like how the fetus' eyes are formed,
how the fetus breathes, how the mother's organs are compressed, etc. Then, the
style-命ames are sketched as issues like camera angle, lighting, positionin臣， movement and graphic elements are decided. After the style企ames become more developed, the client reviews them with the doctor and approves or makes changes and animation is executed.
With this project, I needed to understand how to educate the viewer in a simple and clear way. I researched many anatomy books with different approaches to the same processes. I also did this in order to educate myself on each life stage. I collected photo-graphs of embryos and images that used the same look and feel that we were going for. It
was important to surround myself with images of pregnancy in order to have a feel for the greater picture
References
Gropius, Walter (1938)The Theorv and OnzanizatiOI 、 ofthe RauhausTrans. Herbert Bayer. New York Museum ofModem Art. (Harrison,PP. 338-343)
Harrison,Charles and Paul Wood,ed.,(1992)A rt in Theorv 1900-1990Cambridge: Blackwell
Hell前.， Steven ed.,(1998)The Educationof 且Granhic Desi2:ner New York: Allworth Press
Rock,MichaelGranhic Authorsh巾， PP.149-l58
Van Doesburg (1974). Theo and the De Stijl Group. M盟主且 to 1. Trans. Nicholas Bulloch. London
