Balance can be symmetrical or asymmetrical. Sometimes a piece is intentionally off balance.
Symmetrical balance means that both sides of an axis are the same, like a reflection. It feels solid, unmoving, formal, classic, and complete. The axis can be vertical, as in a butterfly. It can be horizontal, like the reflection of a landscape on water. It can be angled. There can be more than one axis. In art, the two sides need not be exactly the same. A melody played by an oboe can be balanced by the same melody played by tenor sax. The goal is to achieve a sense of equality.
Asymmetrical balance means that the sides are different, but have the same overall weight. Weight is more of a feeling than a measurement. One large object can be balanced by a handful of small objects. A small black chair can be balanced by a large pale pink couch.
The dividing axis does not need to be in the center. Off center is more interesting, modern, and suggests movement. Be aware of where your axis is, and balance accordingly.
No balance at all is unsettling to most people. It will leave them uncomfortable and feeling that something is missing. This is sometimes the goal, and you can use this effect to your advantage.
When your work has an incompleteness or pulls you in one direction more than another, it probably lacks balance. Add some weight to the lighter side.
February 18, 2010
February 4, 2010
Step 5: Refine
After the execution phase of the creative process, you need feedback. Even if you have been asking for and incorporating feedback all along, the final critique is a milestone. You will have one or several comprehensive models, and perhaps variations on each of those. Now you present them to the client or patron. If this is a personal project, you step back and look at your work with detachment. Every comment or suggestion should be taken seriously, even though your tendency is to defend your work.
So many outcomes are possible at this point. You might get approval to go ahead, proceed with changes, or get sent "back to the drawing board." The most demoralizing is to have your idea picked apart and watered down so much that it no longer resembles the vision you had in the beginning. This is very common when dealing with a committee. Everyone has different taste, some people just don't get it, and everyone wants to weigh in with a suggestion in order to feel they have contributed. You can avoid this fate by insisting on having one person with the executive authority to approve your project before you agree to take it on.
Nevertheless, you now have some concerns to address. Although frustrating, this is a chance to take your work to a higher level. If you can determine the underlying goal behind a specific suggestion, you as the artist will likely have a better way to achieve it.
Next, you throw yourself into the finished piece. You incorporate the best of the ideas, find better ways to accomplish goals, and disregard suggestions that will weaken the piece (getting approval if necessary). All of your work and play comes to fruition in the unveiling to the client, patron, or the public.
So many outcomes are possible at this point. You might get approval to go ahead, proceed with changes, or get sent "back to the drawing board." The most demoralizing is to have your idea picked apart and watered down so much that it no longer resembles the vision you had in the beginning. This is very common when dealing with a committee. Everyone has different taste, some people just don't get it, and everyone wants to weigh in with a suggestion in order to feel they have contributed. You can avoid this fate by insisting on having one person with the executive authority to approve your project before you agree to take it on.
Nevertheless, you now have some concerns to address. Although frustrating, this is a chance to take your work to a higher level. If you can determine the underlying goal behind a specific suggestion, you as the artist will likely have a better way to achieve it.
Next, you throw yourself into the finished piece. You incorporate the best of the ideas, find better ways to accomplish goals, and disregard suggestions that will weaken the piece (getting approval if necessary). All of your work and play comes to fruition in the unveiling to the client, patron, or the public.
January 28, 2010
Step 4: Execute
Once you have done your research, generated your potential solutions, and incubated them, the time has come to execute. Choose your best ideas and get busy with your tools of the trade. Depending on the scope of the project and medium you are using, you will be preparing 2 to 12 proofs of concept. These might be scale models or computer-generated proofs or rough cuts. The mindset in this stage is attention to detail and excellence. You will find yourself making modifications to your ideas based on the capabilities of your materials and tools. Pursuing several variations of each idea is worthwhile. As your idea takes shape, focus on strengthening the underlying theme. Do not lose sight of your target audience. If you run into limitations or questions about the final production, call a specialist to work through the possibilities.
Some ideas that looked great on paper appear weak when executed, or just don't work for some reason. That is why you have a handful of ideas in play during this phase.
Research used the analytical left side of your brain, generation used the creative right side of your brain, and incubation used your subconscious. In the execution, you will be using both the analytical and creative parts of your brain. You will feel much more grounded than in the pure brainstorming phase, and you will be engaging the editor that makes judgments. Yet, this is still a very creative process and new breakthroughs will occur as you work. Your level of skill has a lot to do with your ability to realize a satisfying outcome.
Some ideas that looked great on paper appear weak when executed, or just don't work for some reason. That is why you have a handful of ideas in play during this phase.
Research used the analytical left side of your brain, generation used the creative right side of your brain, and incubation used your subconscious. In the execution, you will be using both the analytical and creative parts of your brain. You will feel much more grounded than in the pure brainstorming phase, and you will be engaging the editor that makes judgments. Yet, this is still a very creative process and new breakthroughs will occur as you work. Your level of skill has a lot to do with your ability to realize a satisfying outcome.
Creativity by Quantity
One way to accomplish a creative breakthrough is by sheer quantity of solutions. Set a goal of coming up with 100 ways to solve the problem. You will quickly go though all the obvious answers and cliches, and soon enter the realm of the ridiculous. In order to reach 100, you will be forced to think creatively. Because few people will push themselves as far, you will very likely have some ideas that no one has thought of before. Furthermore, all the unique experiences and thoughts that only you can bring to the exercise will make your list of 100 uniquely different from anyone else's.
Once you have your 100, a few ideas might pop out as having the best potential. If not, you'll have to go through the list more systematically. The ideas that are the farthest out there might even be worth pursuing, so don't automatically cross them off.
Yes, this method can be time-consuming and mentally taxing. It can also be loads of fun, especially in a group.
If your destination is true creativity, don't get off at the first exit.
Once you have your 100, a few ideas might pop out as having the best potential. If not, you'll have to go through the list more systematically. The ideas that are the farthest out there might even be worth pursuing, so don't automatically cross them off.
Yes, this method can be time-consuming and mentally taxing. It can also be loads of fun, especially in a group.
If your destination is true creativity, don't get off at the first exit.
January 7, 2010
The Sketchbook
Inspiration can be fleeting. Your sketchbook is the net to capture elusive ideas as they flutter by.
Size: Small enough to be able to carry around with you. Large enough to write and draw in, and occasionally paste a tear sheet or interesting object.
Cost: Cheaper is better. You don't want to be afraid to "waste" pages. You can even bind together some used copier paper and write on the blank side. I like to use a pad of graph paper. If you'd rather have a beautiful and expensive sketchbook and will actually use it, go for it.
Depending on your art form, you will use your sketchbook in different ways. Surprisingly, many visual artists write a lot of words in theirs, and many writers draw pictures. You may enjoy using color, or a brush, or nothing more than a pencil. However, don't let the medium be an obstacle to getting your ideas down.
You don't ever have to show your sketchbook to anyone, so don't be self-conscious about what's in it. If someone insists on seeing your book, and you don't want to show it, tell them I said you don't have to.
The sketchbook is a receptacle for unedited ideas. Many or most of these will go nowhere. Some will ferment for years before coming to fruition. When using your sketchbook for the generation phase of the creative process, they will be on the fast track. Won't it be fantastic when a current project has the seed of an idea already planted in your sketchbook from long ago?
Keep a sketchbook by your bedside to record dreams, and ideas that come in the twilight of consciousness just before sleep and just before waking up.
The act of recording something in itself gives the idea staying power. It has been traced into the neurons of you brain and will be there for longer than if you hadn't written it down.
Size: Small enough to be able to carry around with you. Large enough to write and draw in, and occasionally paste a tear sheet or interesting object.
Cost: Cheaper is better. You don't want to be afraid to "waste" pages. You can even bind together some used copier paper and write on the blank side. I like to use a pad of graph paper. If you'd rather have a beautiful and expensive sketchbook and will actually use it, go for it.
Depending on your art form, you will use your sketchbook in different ways. Surprisingly, many visual artists write a lot of words in theirs, and many writers draw pictures. You may enjoy using color, or a brush, or nothing more than a pencil. However, don't let the medium be an obstacle to getting your ideas down.
You don't ever have to show your sketchbook to anyone, so don't be self-conscious about what's in it. If someone insists on seeing your book, and you don't want to show it, tell them I said you don't have to.
The sketchbook is a receptacle for unedited ideas. Many or most of these will go nowhere. Some will ferment for years before coming to fruition. When using your sketchbook for the generation phase of the creative process, they will be on the fast track. Won't it be fantastic when a current project has the seed of an idea already planted in your sketchbook from long ago?
Keep a sketchbook by your bedside to record dreams, and ideas that come in the twilight of consciousness just before sleep and just before waking up.
The act of recording something in itself gives the idea staying power. It has been traced into the neurons of you brain and will be there for longer than if you hadn't written it down.
December 10, 2009
Eureka
Sometimes an idea enters your mind fully formed and without effort. Sometimes you will be able to conceive the end result during the research or generation stage of the process. Sometimes all the incubation in the world doesn't lead to a great idea. Sometimes the pieces all fit together only when you begin the execution. The value of following a 5 step process is that it will lead to a satisfactory result even when the eureka moment never happens. When it does, you are experiencing a true gift.
Step 3: Incubate
This may be the most important step of all. During incubation, you take your conscious mind off the project and allow your unconscious mind to work. Sleeping is a very effective form of incubation. Whether you "sleep on it" all night or take a nap, you might wake up with insight. Almost anything you do that puts your mind in a free and relaxed state is conducive to arriving at your eureka moment.
Incubation does not come with a guarantee, but it is an essential part of the creative process. It keeps you from jumping to conclusions or running with an idea that hasn't ripened. When under pressure, even a 15 minute break can make a difference. The point is to take mental focus off the problem at hand and put yourself in a state that nurtures creativity. Openness, calm, freedom, playfulness, and losing track of time are characteristics of the creative state of mind.
Although incubation is placed as step 2 in the process, it is valuable at every stage.
- playing a game (preferably with children)
- taking a walk
- playing or listening to music
- going to an art gallery
- taking a drive (long, no traffic)
- going to the library
- cooking or baking
- changing locations
- talking with colleagues (not involved in the project) for another perspective
- participating in a hobby or class
- taking a bath
- doing yoga
Incubation does not come with a guarantee, but it is an essential part of the creative process. It keeps you from jumping to conclusions or running with an idea that hasn't ripened. When under pressure, even a 15 minute break can make a difference. The point is to take mental focus off the problem at hand and put yourself in a state that nurtures creativity. Openness, calm, freedom, playfulness, and losing track of time are characteristics of the creative state of mind.
Although incubation is placed as step 2 in the process, it is valuable at every stage.
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