Tuesday, January 10, 2012

The Habits of Creative People

K-Squared Designs loves keeping up with ways to be creative and different design perspectives. Here is a great article from designtaxi.com by Leo Babauta:

 
In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone.” –Rollo May

Creativity is a nebulous, murky topic that fascinates me endlessly: How does it work? What habits do creative people have that make them so successful at being creative?

I’ve reflected on my own creative habits, but decided I’d look at the habits that others consider important to their creativity. I picked a handful of creatives, almost at random—there are so many that picking the best would be impossible, so I just picked some that I admire, who came to mind when I thought of the word “creative”.

In reviewing their lists, and my own habits, I found one that stood out. It’s the Most Important Habit when it comes to creativity.

The No. 1 Creative Habit

In a word: solitude.

Creativity flourishes in solitude. With quietness, you can hear your thoughts, you can reach deep within yourself, and you can focus. Of course, there are lots of ways to find this solitude.

Here are a few different ways of creative people I've talked to or researched on:

Felicia Dayactress, known for her work on Dr. Horrible’s Sing-along Blog, Buffy the Vampire Slayer, and The Guild.
Day says makes “sure to be creative first thing in the morning, before doing anything for the outside world, really sets the day up for me. It makes it feel that creating is my job, not answering emails.”

Ali Edwards—an author, designer, and leading authority on scrapbooking.
One of her top habits wasn’t exactly solitude, but is related: “Do nothing. I have a habit of welcoming time away from my creative work. For me this is serious life-recharging time where my only responsibility is to just be Mom & Wife & Me. Doing nothing has a way of synthesizing what is really important in my life and in my work, and inspires me beyond measure. When I come back to work I am better equipped to weed out the non-essential stuff and focus on the things I most want to express creatively.”

Chase Jarvis—an award-winning photographer.
“Creativity sometimes washes over me during times of intense focus and craziness of work, but more often I get whacked by the creative stick when I’ve got time in my schedule. And since my schedule is a crazy one and almost always fills up, I tend to carve out little retreats for myself. I get some good thinking and re-charge time during vacations, or on airplanes, but the retreats are more focused on thinking about creative problems that I’m wanting to solve. That’s why I intentionally carve time out. I make room for creativity. Intentionally. The best example of what I mean by a retreat is a weekend at my family’s cabin. It’s a 90-minute drive from my house on the coast. There are few distractions. Just a rocky beach and a cabin from the 60s with wood paneling and shag carpet. I go for walks, hikes, and naps. I read. I did get an internet signal put in there to stay connected if I need it. But the gist is—quiet. Let there be space for creativity to fill your brain,” he says.

The Greats on Solitude

Of course, many other creative people have believed in the habit of solitude.

Wolfgang Amadeus Mozart—prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.
Mozart says: “When I am, as it were, completely myself, entirely alone, and of good cheer–say, traveling in a carriage or walking after a good meal or during the night when I cannot sleep–it is on such occasions that my ideas flow best and most abundantly.”

Albert Einstein—theoretical physicist, philosopher and author who is widely regarded as one of the most influential and best known scientists and intellectuals of all time. He is often regarded as the father of modern physics.
Einstein says: “Although I have a regular work schedule, I take time to go for long walks on the beach so that I can listen to what is going on inside my head. If my work isn’t going well, I lie down in the middle of a workday and gaze at the ceiling while I listen and visualize what goes on in my imagination.”

Franz Kafka—one of the most influential writers of the twentieth century. Novelist and writer of short stories whose works came to be regarded as one of the major achievements of twentieth century literature.
Kafka says: “You need not leave your room. Remain sitting at your table and listen. You need not even listen, simply wait, just learn to become quiet, and still, and solitary. The world will freely offer itself to you to be unmasked. It has no choice; it will roll in ecstasy at your feet.”

Pablo PicassoSpanish painter best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. His revolutionary artistic accomplishments brought him universal renown and immense fortunes throughout his life, making him one of the best-known figures in twentieth century art.
Picasso says: “Without great solitude no serious work is possible.”

The best art is created in solitude, for good reason: it’s only when we are alone that we can reach into ourselves and find truth, beauty, and soul. Some of the most famous philosophers took daily walks, and it was on these walks that they found their deepest thoughts. My best writing, and in fact the best of anything I’ve done, was created in solitude.

A few of the benefits that I’ve found that I gain from solitude are:
-time for thoughts
-getting to know ourselves better
-facing our demons, and dealing with them
-space to create
-space to unwind, and find peace
-time to reflect on what we’ve done, and learn from it
-isolation from the influences of other helps us to find our own voice
-quietness helps us to appreciate the smaller things that get lost in the roar

The No. 2 Creative Habit

While it might seem contradictory, the No. 2 habit when it comes to nurturing creativity is: participation. This can come in many forms, but it requires connecting with others, being inspired by others, reading others, and collaborating with others.

But how can you have both solitude and participation? They obviously have to come at different times. Finding the balance is key, of course, but it takes a conscious effort.

Why are they both important? We need both inspiration from outside, and creation from within.

Felicia Day says:
“When I am most productive I am the most ruthless with my schedule. I will literally make a daily checklist with, ‘one hour gym’, ‘30 minutes of internet research’, and ‘drink 3 glasses of water’ on it. For some reason being that disciplined creates a sense of control that I wouldn’t have otherwise, as a self-employed person. And I get the most out of the scheduled hours that I have for writing.”

Ali Edwards says: “Take notes… It’s essential for me to write down my ideas when they come to mind…otherwise, poof, they disappear way too quickly as I move on to the next task. I use my phone, my computer, and a Moleskine notebook to jot down thoughts and ideas, and then I move them into Things every week or so.”

Chase Jarvis says:
-Live a creative life everyday: I very much believe in doing creative things everyday. For one, I take photos and videos almost everyday. The camera doesn’t matter. I use my iPhone everyday. Just taking photos keeps me in a creative head space. Hell, I play with my food and draw and doodle.
-Moderate Expectations: Make it a habit not to judge yourself on your creative output. Sometimes your creativity is on fire. Other times, it’s not. It’s hard sometimes when you make art in a professional commercial capacity because you’re paid to be ‘ON’, but you’ll save yourself a lot of grief if you make it a habit to be cool to your psyche when your creative mojo isn’t firing on all pistons.
-Shake Your Tree: When I’m starting to feel stale, I make a habit of getting into adventures. Break molds. Drive home from work a different way. Stir up my routine. I get active and shake my tree.
-Find fun: Doing what you love inspires you to be more creative. Make time and space for having fun. All work and no play makes Jane a dull girl.
Lastly, being creative means living a creative life. Expect yourself to have one. Believe you are creative. Know that you are. Make that the most important habit of all.

Habits No. 1 and No. 2 might seem contradictory. But in my experience you can’t really hit your creative stride until you find a way to balance both habits.

“Creativity is essentially a lonely art. An even lonelier struggle. To some a blessing. To others a curse. It is in reality, the ability to reach inside yourself and drag forth from your very soul an idea.” —Lou Dorfsman 

This is a great article for any designer no matter what experience level. K-Squared Designs believes in the creative and the power of imagination. Visit us at www.k-squareddesigns.com or give us a call at 270-761-K2DS if you want to talk about any of your creative ideas!

Wednesday, December 28, 2011

A Small Typography Lesson

At K-Squared Designs we eat, sleep and breathe typography:

For those with zero-knowledge of typography, Noodlor created an infographic ‘A Quick & Comprehensive Type Guide’ that covers the basics: common typefaces, typestyles and type anatomy. Noodlor also lists out the ‘messages’ some types send: Arial as neutral, Serif as timeless, and Comic Sans as “Oh God please don’t!”
Just a little bit of info for you today! Like this infographic? For any of your design needs visit www.k-squareddesigns.com or call us at 270-761-K2DS.

Tuesday, December 20, 2011

17 Things You Didn't Know About Your Morning Coffee

K-Squared Designs bringing you a little coffee trivia information.... because we drink a lot of coffee.

Just a little bit of info for you on this dreary Tuesday, now go have yourself a cup! Like this infographic? For any of your design needs visit www.k-squareddesigns.com or call us at 270-761-K2DS.

Monday, December 19, 2011

The Evolution of Corporate Logos

K-Squared Designs presents The Evolution of Corporate Logos from inc.com:

Apple
Probably few remember the original Apple logo, which featured Sir Isaac Newton sitting under a tree with the inscription ‘“Newton … A Mind Forever Voyaging Through Strange Seas of Thought … Alone.” Thankfully, within a year, Jobs was introduced to Rob Janoff, a young designer based in Palo Alto, California who was assigned to help market the clunky Apple II, a far cry from today’s sleek MacBook. “For inspiration, the first thing I did was go to the supermarket, buy a bag of apples and slice them up,” recalled Janoff in an interview with Sync Magazine. “I just stared at the wedges for hours.” Eventually, Janoff created the polychromatic Apple logo which survived until 1998.


BP
Founded in 1909, British Petroleum’s (BP) original logo was designed by an amateur who submitted his emblem in a company-wide competition. “A Mr. AR Saunders from the purchasing department won an employee competition in 1920 to design the first BP mark, a boxy ‘B’ and ‘P’ with wings on their edges, set into the outline of a shield,” the company notes on its site. BP, which is now officially incorporated as BP p.l.c., updated its logo in 2000, incorporating green and yellow, perhaps as a means to associate a “green” mentality with the company. Lauded by marketing gurus at first, the logo was later scrutinized (and lampooned) in 2010, when BP became responsible for perhaps the world's worst oil spill.

Ford
Perhaps one of America’s most recognizable brands, the Ford logo has retained its familiar oval shape since the company’s founding during the turn of the 20th century. In 1909, the first logo with the distinctive lettering was designed by C.H. Wills, an engineer and draftsman who was with the company since its incorporation. Though Wills passed away in 1940, the oval emblem he created lives on. In a press statement announcing the company’s most recent logo update in 2003, Jan Valentic, Ford’s vice president of global marketing noted that "The oval is a memorable visual symbol that conjures up great images of the storied experiences people have had with their Ford vehicles…Ford, the oval, is a thread in the fabric of our culture."


IBM
Tracing IBM’s logo back to its origins brings us back to 1889, when the International Time Recording business was founded. In 1911, ITR merged with the Computing-Tabulating-Recording Company — the forerunner of IBM. About a decade later, the tongue-twisting Computing-Tabulating-Recording Company simplified its name to the International Business Machines Corporation. “The ornate, rococo letters that formed the "CTR" logo were replaced by the words "Business Machines" in more contemporary sans-sarif type, and in a form intended to suggest a globe, girdled by the word "International,” according to the company's site. The company’s current logo was design by Paul Rand in 1972, and “horizontal stripes now replaced the solid letters to suggest ‘speed and dynamism.’”
Shell
Shell, one of the world’s oldest oil companies, traces its humble roots back to a shopkeeper named Marcus Samuel who sold antiques and decorative shells and wanted to expand his business. After a merger in 1907, the Royal Dutch Shell Group was formed with the shell, or “pecten,” as its official emblem. According to Shell, it’s not exactly certain why or how the logo came to be. One explanation comes from the original business of selling shells as decorations; however, some within the company disagree. Some evidence points to an investor named “Mr. Graham” whose Spanish family coat of arms bore a shell emblem.
 
UPS
In 1907, 19-year-old Jim Casey borrowed $100 from a friend to start the American Messenger Company, which, using the help of his two brothers, made deliveries on foot and by bicycle. Fast-forward ten years, when Casey merged his company with a local competitor, and created its first logo, a shield with an eagle carrying a package. Paul Rand, famous for designing some of America’s most notable corporate logos including IBM, UPS, Enron, Westinghouse, and ABC, designed UPS’s third logo in 1961. In 2003, UPS, along with marketing consultancy FutureBrand, spent two years designing the most recent logo.

Walmart
Walmart first opened its doors in 1962. Founded in Arkansas (where its headquarters remain today), Walmart began to experience significant growth in the 1970’s, when the first Walmart distribution center was opened. Walmart’s logo has gone through several iterations since the company’s founding. Perhaps the logo with the most significant departure was the “Discount City” emblem, which was only used in print advertising, on company uniforms, as well as in-store signage.

For any of your design needs visit www.k-squareddesigns.com or call us at 270-761-K2DS.









Wednesday, December 14, 2011

K-Squared Designs bringing you a great article featuring book cover designs from the casualoptimist.com

Favorite Covers of 2011
by Dan on December 13, 2011

After posting my long overdue picks for 2010 last week, here are my selections for my favorite book covers of 2011. I’m currently reading Where The Stress Falls a collection of writing by Susan Sontag published in 2001. In an essay about art she quotes Paul ValĂ©ry on the painter Corot. “One must always apologize for talking about painting” he says. I know just what he means. I feel the same way about book design. Perhaps even more than a painting, what you see is what you get with a book jacket. If you have to explain why it works, it probably doesn’t. Or you’re talking to the wrong crowd. But there’s something else too. I also feel like I need to apologize for not knowing more; for producing reductive lists like this one; for being, well, so presumptuous…

The 2011 list has changed a few times in the last few days and would likely be different again if you asked me tomorrow — not for lack of quality you understand, but simply because narrowing the list down to a manageable number and deciding which should be in the final 'top 10' was just plain hard. This isn’t a definitive survey of book covers in 2011 by any means (sorry!) it’s simply a list of the book jackets that caught my eye this year — designs I thought that were beautiful, a bit different, audacious, a bit out of the ordinary, a bit worthwhile… I’m grateful to all the designers who created these covers, who gave me suggestions and helped me source the images. Once again, I’ve been struck by their generosity. Nevertheless I have surely I’ve missed some great covers. Tell me what they are in the comments.


1Q84 by Haruki Murakami, designed by Chip Kidd (Knopf)
Art of Immersion, by Frank Rose, designed by Jason Booher (W. W. Norton)

The Best American Comics 2011 Edited by Alison Bechdel, illustration by Jillian Tamaki (Houghton Mifflin Harcourt)

The First Husband by Laura Dave, designed by Jaya Miceli (Penguin)

The Mystery Vase by Andrea Gibson, designed by Amy Thompson (Write Bloody)

The Pale King by David Foster Wallace, designed by Gray318 (Hamish Hamilton)


The Psychopath Test by Jon Ronson, designed by Matt Dorfman (Riverhead Books)

The Sisters Brothers by Patrick Dewitt, designed by Dan Stiles (Ecco)

This Will Be Difficult to Explain by Joanna Skibsrud, designed by Michel Vrana (Hamish Hamilton Canada)

Vault by David Rose, designed by David Pearson (Salt Publishing)
Series:

Penguin Great Food by various, designed by Coralie Bickford-Smith (Penguin)

James M. Cain series, designed by Evan Gaffney (Vintage)

Kafka series, designed by Peter Mendelsund (Schocken)

Le Carré series, designed by Matt Taylor (Penguin US)

Vintage Oliver Sacks, designed by Cardon Webb (Vintage)

Steven Jay Gould, designed by Sam Potts

Maybe these designs have given you inspiration for your own work, or maybe you just want to read a couple of them now. K-Squared Designs loves keeping up with current design work and book covers go overlooked sometimes. As always call us with any of your designs needs at 270-761-K2DS or visit www.k-squareddesigns.com.

Friday, December 9, 2011

The 15 Minute Makeover: Photoshop Beauty Retouching

K-Squared Designs bringing you a very informative article from dpreview.com:
A split image showing results both before and after my 15 minute makeover.
Skin needs to be retouched. Even beautiful skin with great makeup. The problem with most of the Photoshop techniques I’ve experimented with over the years (burning & dodging individual pores, Surface Blur filter, Dust and Scratches filter, etc.) is they take too long, aren’t very convincing, or - worst of all - make the subject look like a victim of plastic surgery gone bad.

In this article I’m going to show you a combination of techniques I regularly use that results in beautiful, smooth skin that still looks totally real. Best of all, it won’t take all day to accomplish. From start to finish, an experienced Photoshop user should be able to do this in about 15 minutes.

Our workflow follows three basic stages.

1. Manually retouch big flaws and wrinkles via a separate retouching layer

2. Merge the retouching edits into the image layer

3. Use the Red channel of the merged layer to smooth the skin

Before we get started I want you to beware of and avoid what I call Photographer’s Tunnel Vision - that compulsive desire to do the fun stuff first. Making things perfect comes at the end, not the beginning, of the retouching process. Keep your eye on the big picture (no pun intended).

The first tools we'll be reaching for are the Clone Stamp Tool and Spot Healing Brush. With these we can retouch major blemishes, flyaway hairs, and any other texture/color irregularities.

Stage 1: Retouch Obvious Blemishes and Imperfections 
Create a new, empty pixel layer above the Background layer to receive the retouching. The trick here will be to choose the Sample All Layers option while using the Spot Healing Brush and the Current and Below option for the Clone Stamp Tool. This ensures that your chosen tool will copy pixels from the Background into the new layer above it.
Go to Layer>New>Layer and add a new, empty pixel layer.
Start by retouching the most obvious problems first. Then tackle progressively more subtle issues.

Turn off the visibility of the Background layer to see the edits of your retouching layer in isolation.
Here you see the appropriate sampling options for the Clone Stamp Tool and the Spot Healing Brush.



Why not retouch right on the Background layer? If you make a mistake, and don’t notice right away, you have to start all over again! Well, couldn't I just duplicate the Background layer, you may ask? That's better than nothing, but it’s still not a great solution: any retouching you do this way is interwoven into the image pixels, so mistakes can often be more complicated to correct.

By contrast, using a separate 'retouching layer' is elegant. It avoids destructive editing, keeps file sizes small, and allows you to easily change your mind or correct mistakes. Since there’s nothing in the retouching layer but retouching edits and transparency, mistakes are easily dealt with; just delete or erase problem areas without touching the rest of your work. Of course, if you like the adrenaline rush of working without a safety net, be my guest. But don’t say I didn’t warn you.

Cloning and Healing

The Clone Stamp Tool (S) has been a standby for retouchers for many years. To use it, make sure the Aligned Sample box is checked and set the sampling option to Current and Below, which allows you to match tone, texture and color. Option/Alt+click to set the source from which to copy. Then click or brush to remove the blemish.

The Spot Healing Brush (J) is a more recent addition to Photoshop that does a remarkable job of automatically matching tone, texture and color. To use it, enable the Content-Aware and Sample All Layers options. There's no need to set a source point, just click or brush to remove the blemish. This tool can often seem like magic, but it's not infallible. If your first stroke with the Spot Healing Brush isn’t perfect, undo (Cmd/Ctrl+Z) and try stroking from a different direction. To be certain your work is perfect, always view your file at 100% magnification when retouching. If texture, tone, or color do not match, undo and try again. Our goal is for each brush stroke to be invisible - even to you.

With either tool, you will find that some blemishes call for a single click, while others are best removed with a series of short brush strokes. Initially you may have to experiment to find which situations calls for one or the other, but with practice, this will become second nature.

How do you know when you're ready to move on to the next stage? Retouch as I've described above until you’re satisfied that no flaws bigger than a freckle are visible anymore.
Tip: You can use more than one retouching layer. At left you can see I used three separate layers to retouch this file; one for skin blemishes and such, another to retouch the model’s hair and a third for the area under her eyes.
For even finer control, you could make separate retouching layers for working underneath each eye, on the neck, or anywhere else.

Pay Attention to the Eyes

I always use a separate layer when working on the eyes because it allows me to adjust the opacity of the retouching; striking a perfect balance point between enhanced and overdone. Allowing a bit of the original image to show thorough keeps everything real. It’s up to you how much. If you’ve never done this, you’ll be amazed at the control you can exercise by adjusting the overall opacity of an under-eye retouching layer.

Yes, I know… You can achieve the same result by varying the opacity of the brushes. But with brushes you have to get it exactly right the first time. There’s no experimenting. No changing your mind later. It’s so much easier (and more powerful) to smooth away folds, bags, or dark circles under the eyes, and then dial back the opacity until it looks believable. Take a close look at the examples below.
Here is the image with only skin retouches applied. The eyes could use a little help.

Here is the image with my 'retouching - under eyes' layer at an opacity of 100%. The result is far too strong and looks fake, but this is actually by design. I've purposely overdone the retouching here, knowing that I can always reduce the layer's opacity. Remember, you can always go below 100% but not above it.

Here is the same retouching layer but at an opacity of 50%. Perfect!  
Stage 2: Merge All of Your Layers Into a New Layer

Now we're ready to merge all of our working layers into a brand new layer. Why a new layer? Because in a moment we’ll be using the Red channel as the basis for our skin smoothing, and we need that channel to include all of the visible information: the original pixels and the retouching.

Furthermore, we don't want to lose access to the hard work we've done up to this point, so we want to copy all of these layers into a new layer, rather than simply flattening the image! The Merge Visible command is found in the fly-out menu at the upper right of the Layers Panel as well as in the main Layers menu. But here's where a keyboard modifier is a must. Holding the option key when choosing this menu item tells Photoshop to merge into a new layer. Otherwise, it's virtually the same as Flatten Image. The keyboard shortcut for merging all visible layers into a new layer is Opt+Shift+Cmd+E (Alt+Shift+Ctrl+E on Windows). This shortcut is affectionately known as 'The Claw'. Try it with one hand and you’ll understand why!
Since the merged layer will appear above whichever layer is active at the time, highlight the top layer in the stack before merging. Hold the option key when choosing this menu item, so Photoshop merges everything visible into a brand new layer. The merged layer appears here (on the right) as Layer 1.

As you can easily find yourself with multiple retouching layers, now is a good time to get them organized by using layer groups. Select your retouching layers in the Layers panel and choose New Group From Layers in the panel's fly-out menu. Give the group a name, like oh, I don't know, 'Retouching' and hit OK. This is a great way to keep your layers manageable and easily accessible.

This post will be continued on Monday! K-Squared Designs wants you to learn Photoshop tricks! www.k-squareddesigns.com 270-761-K2DS

Monday, December 5, 2011

Inspiring Website Designs

K-Squared Designs offers many forms of website design. To give you a little inspiration for your future website here are a few designs we really found interesting from fromupnorth.com:









Hopefully some of these designs stood out to you or gave you some inspiration for your own website design. K-Squared Designs can help you get started with a new professionally designed website. Visit us at www.k-squareddesigns.com or call us at 270-761-K2DS today!