آموزش نرم افزار ایندیزاین از مقدماتی تا پیشرفته

آموزش تایپوگرافی ایندیزاین Adobe InDesign Brainstorming with thumbnail sketches

پس از اینکه جلسه اولیه خود را با مشتری خود داشته باشید و تمام جزئیات پروژه را آماده کرده اید، وقت آن رسیده است تا طوفان مغزی را شروع کنید. بهترین راه برای انجام این کار این است که مجموعه ای از اسم های کوچک را بنویسید و بنابراین در این فیلم من می خواهم به صحبت در مورد طوفان مغزی با طرح های کوچک و نحوه انجام این کار را انجام دهم. بنابراین اول و مهمتر از همه، یک ریز عکس چیست؟ خوب، یک تصویر کوچک، اساسا رندر وفاداری کم چیزی است که شما قصد طراحی آن را دارید. این می تواند یک لوگو، یک وب سایت، یک بروشور، یک کارت بازرگانی باشد، شما آن را می نامید، می توانید آن را کوچک کنید، و در واقع یک روند بسیار سریع و آسان است و بسیاری از افراد به روش های مختلفی کمک می کنند. چرا آنها برای پروسه طراحی بسیار مهم هستند؟ به سادگی، ریز عکسها چندین چیز را برای شما به عنوان یک طراح انجام میدهند. شماره یک، آنها به شما کمک می کنند ایده های خود را به صورت فیزیکی بدست آورید. اگر شما چیزی شبیه به من هستید، دقیقه ای که شروع به کار روی چیزی می کنید که شما از طریق سر خود یک میلیون ایده مسابقه می دهید و مگر اینکه شما یک کامپیوتر فوق العاده هستید، واقعا این اطلاعات را حس می کنید. انجام طرح های ریزه کاری یک راه عالی برای به دست آوردن این چیزها در یک ورق کاغذ است. این نیز به شما را مجبور می کند تا ایده های بیشتری بسازید. اگر این برگۀ بزرگ کاغذ را داشته باشید و فقط طرح های کوچکی کوچک را می نویسید، می خواهید آن را با اطلاعاتی که شما می توانید آن را پر کنید، به طوری که آن را به نظر می رسد و به شما کامل است. این همچنین برای کمک به شما در جلوگیری از چیزی است که ما به دید تونل میپردازیم. و این چیزی است که به من بسیار اتفاق می افتد زمانی که من از طریق فرایند ریز عکسبرداری نمی کنم. اگر من فقط از کامپیوتر نشستم و شروع به طراحی چیزی کردم، در این طراحی احساس عاطفی به خود گرفتم. من به آن نگاه می کنم و من فکر می کنم، آره، مرد، شما می دانید چه، من این را داشته ام. من فقط می توانم از آن عبور کنم، من نیازی به ریزه کاری آن ندارم، هیچ چیز، من فقط می روم و آن را انجام می دهم. و با گذشت زمان من با آن روبرو هستم، من واقعا از آن خوشحال نیستم. اما من واقعا نمیتوانم آن را از بین ببرم، چون به این نقطه میرسم که جایی هستم که من درست مثل این مدت زمان زیادی را صرف این کار کردم و واقعا فکر نمیکنم، می دانید، شاید فقط چیزی است که می توانم نیشگون بگیرم برای بهتر شدن But in the long run you're better off not working on one idea, but working on several when you first start out. It's also going to provide you with something I call an ideation vault. Chances are, if you work with one type of client you're going to work with that type of client again. Like let's say a law firm, a real estate agency, whatever the case maybe and you may need to keep some of those ideas that you had over the years. In some sort of vault and this helps you do that, especially if you keep them in physical form. My recommendation is to take all of the thumbnail sketches that you create and keep them as both a physical copy and then also scan them back into your computer and keep those in some way shape or form. This is going to help you down the road when you get to one of those times when you inevitably run into what we call the wall and this is going to help you break through that wall. All right. Let's go through some of the basics of what I do when I start to sketch. The first thing that I do is I break out my sketchbook. And if you don't have a sketchbook, that's okay. You don't have to have a sketchbook necessarily, but you can just get a piece of paper. It could be as simple as a printer paper or it could be a notebook, spiral-bound notebook. Anything will work, as long as it's something that you can write on and that is free of distractions. So I like clean white paper, the best for that. I also make sure sometimes that I use a template. And I've create my own template that I use for myself many different times and I've included that template inside of this course. So here is what that thumbnail template looks like. And so it's just a basic grid of small thumbnails that I use. I use this for all different types of stuff. This could be a business card, this could be a website, this could be a logo. It lends itself most to projects like logos, icons, small pieces of artwork and things like that but you could create your own thumbnail sketching templates for many different things. You could have a page layout one, you could have a poster size one. Whatever the project is, you could have your own template for that. Now, I've included this free inside of your Exercise Files Folder so I want you to go and grab this and make sure that you have a couple copies of it printed out because as we continue to go throughout this course, you're going to need this, especially when we get to the challenge in this chapter. You're going to need this specific thing. Printed and ready to go so that you can get the ideas cranking in your head about what you're going to do when I give you the project to work on. So here are some tips when you're creating your sketches. Number one: only spend about one to two minutes on each sketch, maybe not even that long; one minute might be the tops. You just need to quickly sketch out a rough idea. Remember, you need to just create it and move on. Don't spend too much time with it because, in the end, details do not matter. This is a low fidelity basic shape, basic line version of whatever it is that you're trying to create. And you also don't need to be repetitive, either. When you get stuck in a repetitious pattern, where you're just going through and drawing the same thing, that's when it's time to take a break and start writing things down verbally. So, you say, okay, I want this type of element, this type of element, here's an idea, here's a thought, and that's going to help you kind of spark those little ideas that are going to help you translate those into thumbnail sketches. And finally I want you to always fill up the page, don't just stop at 3-5 sketches. That page that I showed you awhile ago has something like 20 some odd sketches on it. I want you to fill that thing up. I want you to even experiment farther than that. Fill up two sheets, three sheets, four sheets. However many ideas you have floating in that head of yours, I want to you go ahead and sketch out all of those ideas. Because only then will you be able to truly, truly commit to the one single design. Because you'll be able to weed out through all the bad stuff. My mantra when it comes to thumbnails is that they allow your eyes to breath and your imagination to run free. So give your eyes a break and let your imagination do what it's meant to do, create amazing stuff.

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یک شنبه 6 خرداد 1397 - 9:53 AM

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آموزش جامع ایندیزاین Adobe InDesign Typography - Planning Project

در نهایت زمان شروع کار بر روی پروژه های ما است، اما قبل از اینکه ما واقعا می توانیم شیرجه بگیریم، ابتدا باید طرح را طرح ریزی کنیم. و یکی از مهمترین مواردی که شما قصد انجام آن را در هنگام برنامه ریزی پروژه خود دارید، ملاقات با مشتریان شما است. در حال حاضر، این لزوما به این معنی نیست که شما در هر صورت باید یک مشتری پرداخت داشته باشید. مشتری شما می تواند خودش باشد این می تواند رئیس شما در روز کار شما باشد. این می تواند یک دوست یا یک عضو خانواده باشد. هر کس از شما خواسته است که هر کاری که این پروژه انجام می دهد، مشتری شما باشد. و شما باید دقیقا بدانید که چه چیزی آنها را می گیرند و چه چیزی از این پروژه نیاز دارند. و به منظور انجام این کار، شما قصد دارید چیزی را به نام یک خلاق خلاق به وجود آورید. خلاصه خلاصه اساسا یک مصاحبه بین شما و مشتری برای تعیین تمام جنبه های مختلف است که می خواهید به هر آنچه که این پروژه طراحی است. خلاصه خلاق نیاز به پاسخ به برخی از سوالات ساده است. مانند، برای مثال، کسی مشتری چیست؟ آنها چه کار می کنند؟ پس زمینه آنها چیست؟ آنها کجا کار می کنند که انجام می دهند؟ چه کاری انجام می دهند؟ رقابت آنها چیست؟ بازاریابی رقابت چگونه این رقابت را باز می کند؟ چطور رقابت انجام هر کاری است که ما برای این مشتری انجام می دهیم؟ شما همچنین باید مخاطبان هدف را بدانید. چه کسی در حال مشاهده این کار است پس از پایان آن؟ همچنین باید به چه چیزی پاسخ دهد؟ دقیقا چه چیزی برای شما ایجاد می کنم؟ یک وبسایت؟ یک کارت بازرگانی؟ بروشور؟ یک برگه چه می توانم برای شما انجام دهم؟ چه زمانی؟ چقدر باید این پروژه را کامل کنم؟ I also throw in here, with the when, a budget. It doesn't necessarily correspond to time, but deadline and budget are two very, very important things. Where? This is the function of the design. Where is it going to go? This graphic that I'm creating. Is it going to be on a bill board? Is it going to be on a business card? Does it need to be reproducible on a website? Where is this going to be seen, how often, and from what distance? All of those things are things that I take into consideration when I'm designing something. And why? What's the overall goal for this project? What are you meaning to do with it? Attract new clients, retain existing clients, B2B, what is the purpose of this overall project? How can I help you get there and what specifically do you want from me in this project? These are all of the questions that can be contained within a creative brief. Now, when you're developing your brief, you need to just be very casual about it. Ask them realistic questions. Don't get real scientific, or overly what I call designy when you're developing these questionnaires. Just be very straightforward about it. I open up one of these three applications when I'm developing my creative briefs. Word, Pages, InDesign, whatever my preferred word processing tool of choice might be. Doesn't matter what. Yours could just be regular old Text Edit. You could hand-write it if you want to. In any form, though, you need to make sure that they have something tangible they can hold in their hands or on a device and that they can interact with. They can write answers, type answers, whatever the case may be, so that they can then send that back to you. You don't want to just be sitting there while the client's trying to think of all this information. You want to be able to give them sometimes to take with them so that they can go home, they can think about it, they can give you all of the information you need within this document. Never try to force the hand of the client when you're developing the brief. Here's a little sample brief. I know you can't read most of what's on the screen, but it's just a really simple one. This is exactly what the creative brief is going to look like that we're going to work with in a minute. As you can see, it's just a series of questions. Who's the client? What's the background? Project overview, goal, target audience, message and tone, visuals, and specifics needed. Those are the questions that I'm getting answered within this brief. And this is something I can print. I can give to the client. They can fill it out, they can make notes, and then they can give it back to me. I can read it. I can make notes and then I can take that back to them with any additional questions that I might have. This is the process that we call the client interview. And you need to make sure that you're well versed in the art of client interviews because it is definitely an art. There's entire websites devoted to the interaction between designers and clients. And, if you go to some of those websites, you'll see that it can often times be a frustrating process for those people who don't really know how to handle it. So, my suggestion is to develop a creative brief that works for you, that deals in simple terms and that is easily communicated to the client. If you need some extra help doing that, we have several classes here at lynda.com on design business principles that will help you along the way. The first of which is actually called Running a Design Business and we have one specifically geared towards developing creative briefs. This is with Terry Lee Stone, and it's a really great course. And you can actually finish it in just over an hour, so it's a really quick watch. I highly recommend watching this when, and if, you take the time to start your own design business. It's a very good course. In addition to that, you might also want to check out Von Glitschka's Foundations of Logo Design. Where in Von talks about the entire process of meeting with the client, managing expectations, and some of the psychology that goes into it. Von also gives you a really great free template along with this course to use as your own creative brief. No matter what you use to develop the brief or the interview process, this is one of the most important things you're going to do, because if you don't understand the wants and the needs of the client. They're not going to understand the work that you do, and ultimately, you're going to lose that client, in the long run.

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یک شنبه 6 خرداد 1397 - 9:53 AM

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