Addepar Form Studies. Addepar Form Studies. Exploring Identity Through Line, Shape, and Composition. Craig Gephart Nick D Amico Ryan Smith

Transcription

1 Addepar Form Studies Addepar Form Studies Exploring Identity Through Line, Shape, and Composition Craig Gephart Nick D Amico Ryan Smith Edited by Patricia Gael

2 Addepar Form Studies Exploring Identity Through Line, Shape, and Composition

3 Contents Foreword Intro Shape Line Shape & Line Application Conclusion 112

4 Foreword Don Adleta is a professor emeritus of graphic design at Ohio University. Don completed his post-graduate research in the Basel, Weiterbildungsklasse für Grafik, Switzerland. Adleta continues to extend the historic design lineage through teaching, research and dialogue. His videos on the teaching philosophy and the process of Wolfgang Weingart are part of the international tour of Weingart Typografie Exhibition, Museum für Gestaltung, Zürich. The process evident in the following pages reveals design thinking often not discussed or documented. This intensive method of processing design requires rigorous focus and attention to details. The methodology used by the Addepar design team to achieve this level of sophistication shares a direct lineage with the advanced graphic design thinking originated by Armin Hoffman in the Basel School of Design, Switzerland. This distinct school of thought changed the processing of design. Instead of decorating, designers were able to creatively evolve an intelligent design. Hoffman s philosophy was based on the act of doing. This process was about making design and not appropriating or imitating design. It involves rigorous visual research which embraces contextual conditions and is achieved only by those with a comprehensive knowledge of formal aesthetics. The process initiated by Hoffman in Basel encourages investigations to be neither preconceived nor predictable. They are fresh and are directly related to the topic. In this process, after a body of research is accomplished the results are simply juxtaposed and assessed for metaphoric qualities and their aesthetic formal conditions. After which, the designers return to the making of more designs, then the context is revisited to refine the overall success again. This is how the most influential designers continue to create identity systems that remain timeless. Designers using this process are forever creating innovative ideas and concepts. It is evident in this book that Addepar s design team employed this design process of doing design. It was through numerous uninhibited visual experiments that they realized an appropriate library of expressive conditions which could be applied to a variety of contexts. As a result of observing, analyzing, synthesizing, reacting, and revisiting the search, this team was able to comprehend and project a variety of possible approaches for future applications. Ryan, Nick, and Craig s constant evaluations peeled away what was not essential or what was not aesthetically pleasing. This Addepar Form Studies book expands the potential of what a successful identity system can accomplish. These results allow the identity to breathe with the core of whatever context it is placed. This research exhibits a comprehensive knowledge of how visual language works. By reviewing these aesthetically pleasing visual essays, future designers can assign an appropriate application to any given criteria, therefore truly translating and visually interpreting the message for Addepar. It is exciting to see this process amplified in such a document. It helps us understand the degree of expertise required to speak in a visual language that is able to echo the algorithm of complex factors involved to compliment a dynamic organization s identity system. Don Adleta 05

5 Intro About this Book Addepar Form Studies documents a series of studies that explored how Addepar s logo and its elements could be composed into countless combinations to define the brand s visual language. The design studies archived here now serve as a research library from which we can pull ideas for new projects. We re able to re-purpose these compositions to fulfill the demands of medium and emotion for example, a formal sales document, a friendly newsletter, an exciting recruitment poster, and so on. Our goal is to create a singular, cohesive brand identity that is also robust enough to allow us to match specific visual messages with the requirements of form and audience. This book also demonstrates how designers think by providing examples of their processes and visual strategies. The formal exploration illustrated here is a well-practiced graphic design exercise, common in academic circles, but not always applied in the field or made accessible to nondesigners. We want to show that effective design isn t magic: it s created through research, experimentation, reflection, validated decision making, and a bit of serendipity. The design process is much more logical and scientific than many assume. We hope what follows is useful to both designers and non-designers alike. The compositions highlight our use of fundamental graphic design techniques; the organization reveals both our high-level process and the way one composition can lead to the next; and the text explains our strategies, describes the visual nuances at play, and ultimately documents a useful archive for the Addepar brand identity. Academic Design Process To develop Addepar s brand identity, we followed a practice that will be familiar to designers educated in the Swiss style. There is no one-size-fits-all process for creating design content, but we hope that this visual explanation of the path we followed will shed some light on one way designers explore and make decisions. The overall process can be imagined as a funnel that repeatedly narrows and expands. Designers begin with infinite possibilities and then restrict themselves to a set of parameters. After exploring within these parameters, they identify successful ideas, expand upon them in sketches, and filter the results to discover what works best. Then the designers meet for a group critique where they share ideas and designate new, more complex parameters that will allow the project to grow systematically as the process repeats. Balancing an end goal with ample room for play and discoveries ensures compelling, research-driven design decisions. All art is relationships, all art. That is how you have to begin. Paul Rand Conversations with Students 06 07

6 Define Parameters Designers must define a project s constants and guidelines before they can sketch ideas. Setting these parameters helps tune out distraction and sharpen designers sensitivity to details. Constraints narrow the set of possibilities to specific, concentrated ideas, creating an environment in which the effects of a variation can be observed systematically. This focuses the designers attention and defines the scope of the eventual critique. While developing the Addepar brand s visual language, the first constraint we placed on our sketches was a standard composition format. The space where a sketch lives can influence the viewer just as much as the marks themselves. Because there would be a wide range of potential applications for our designs, we needed a single format through which we could compare formal design qualities. We chose a square, 6 x 6 composition that was neutral and reproducible. We restricted the shapes in our sketches to the two oppositefacing parallelograms of the Addepar logo and the lines that trace their angles. We also chose to use only black and white, which allowed us to see the shapes as figure and ground, creating compositions with negative and positive space. These were the overarching parameters for the project, but we also implemented more finite rules to build complexity in sequential phases. We agreed to introduce the basic elements of our design (shapes and lines) one at a time, as you will see in the sections that follow. We began with compositions based on a single parallelogram. After exhausting the compositional possibilities for that shape alone, we introduced variations, like adding the second parallelogram, changing the shapes relative sizes, repeating shapes, moving them about, and adjusting the amount of black and white. Similarly, when we worked with lines, we adjusted the number, direction, and weight progressively. With each step our compositions became more complex. The parameters we placed on our project may sound oppressive, but they allowed us to focus intently on unique aspects of the composition. Our stable framework established space for invention and opened new avenues for creative exploration and growth. Sketch Within a clear set of parameters, a group of designers can explore autonomously, allowing each individual s personal touch to influence his or her compositions. Although bound by the same rules, designers have the freedom to play with the formal elements, their arrangement, and the composition s overall voice by experimenting with spatial relationships, scale, repetition, rhythm, texture, symmetry, and so on. The more each designer explores, the more possibilities the team can later analyze and discuss. As our work took shape we could characterize its emotion, generating new possibilities for exploration. If a sketch felt relaxed, how might it be imagined as chaotic? How could we shift it from static to dynamic or youthful to mature? The primary goal was to experiment and discover the power of abstraction. By rearranging elements we created relationships between the negative space and the objects, as well as between the objects themselves and the edges of the composition. Consider one object in the composition. Now consider two. Every element introduced creates multiple new relationships. We individually compared and adjusted our sketches through a series of iterations, aiming first for quantity over quality. When we had a revelation in a study, we expanded on all of its possibilities. We encouraged tangents and welcomed happy accidents. The breadth of our work built a dense web of visual research, where one thread branched into many to create a shared language. Once we felt satisfied or realized we had exhausted our investigation, we stopped, pinned up, compared, and critiqued the decisions that made our compositions. This reflection period introduced new life, allowing the process to continue. "The harder you work the luckier you get." Gary Player Our design theory and practice were inspired by Armin Hofmann s Graphic Design Manual. Hoffman describes the impact of a single point in a composition and the ways that impact can change when additional points are added. An individual object in space is relative only to itself and the space around it. Varying its scale and position can change the relationship between figure and ground, positive and negative, light and dark diametric elements that, when altered, impose inverse effects on one another. When a second object is added to a composition each object must relate both to its own space and the space of the other. Using two objects allows designers to experiment with multiple sizes and positions and their interaction in space. Additional shapes quickly add complexity. Hoffman s premises are simple, but they eloquently describe the many possible sensitive relationships and variations that can be created to elicit different emotions and visual avenues. The most successful compositions tend to feel the most harmonious. When a composition has fluid rhythm, clear strategy, and minimal visual hiccups, the viewer should able to approach it with comfort and interest

7 Reflect and Critique Criticism is immensely valuable to the design process. Art and design live in the world, not just in the studio, and their lasting impact is validated by society an audience that includes everyone but the creators themselves. Because design is democratic, designers can t withhold their work: they need to share ideas and find ways to support decisions. Critique helps to dispel the myth of the creative genius, encouraging designers to set their egos aside in favor of more collective thinking. At Addepar, we scheduled frequent group critiques to keep our project on course, but we also allowed critiques to happen organically. For each discussion, we printed standardized copies of all of our studies (often around 40 sketches per person), labeled them, and pinned them up. We first took time to reflect on our work as a whole, pondering others sketches, connecting them to each other, identifying the most successful, and targeting new opportunities. Taking this step back quickly sparked new ideas and also made quality easier to compare. After our moment of quiet reflection, we asked each designer to talk through his sketches, describing the process, what worked and what didn t, and which discoveries became fixations. Design can be isolating: we had been immersed in our work for hours and could get lost on tangents. Explaining our work to each other not only allowed the group to understand it, but also helped us each to reflect on our own paths. While listening to the group s responses we aimed to understand the reception of our compositions, not to defend our work. The critiques allowed us to identify gaps in our logic as well as ideas worth further exploration. Organic, inclusive critiques and strong collaboration empowered us to create our best work. After several group critique sessions, our work became increasingly cross-pollinated. We combined designs and blended their elements. Nothing was proprietary. Critiques for the Addepar studies typically ended in one of two ways we either felt comfortable progressing to the next phase of complexity, or we were compelled to experiment further within the current phase. Most commonly we decided to move forward, but we were careful to leave time at the very end of the process to revisit especially interesting studies from each phase. Finalizing Design Decisions After group critique, designers redefine their parameters and sketch again. By identifying and polishing promising visual ideas, they can breathe fresh air into their work. This cyclical process continues as long as the project demands. With each pass designers learn more and progressively hone in on the most valuable sketches: they design, iterate, and funnel down. Identifying an end is subjective, but the decision is often informed by validation from peers, users, and clients. At Addepar, we concluded our brand studies when we felt there were enough valuable and diverse compositions to apply in practice. The collection of sketches here includes the most successful work from that three-week process, but Addepar s designers will continue to expand on these ideas with the passage of time or the addition of new designers to our team. In the pages that follow, we walk you through our sketches to explain the dominant design principles at play. We ve organized the compositions to demonstrate the effects of our progressive parameters and the opportunities they added

8 01 Shape 12 13

9 When we began our studies, Addepar s brand identity relied on little more than its logo. We found our first opportunities in its basic elements. Fortunately, the logo s simple geometry was easy to deconstruct and re-appropriate; a more organic form may have required additional abstraction. Our primary objective was to capture the essence of Addepar s identity and communicate it to our stakeholders. The Addepar logo can be broken down into two geometric shapes: opposite-facing parallelograms. These shapes appear very basic, but through their unique angle and proportions they become recognizably Addepar. With shape as our initial parameter and a set format for our composition frame, we began sketching freely. In our first compositions we permitted the use of both parallelograms and any number of treatments, but we soon found that our sketches ranged too broadly. After a group critique, we agreed to restrict ourselves to more finite constraints in the next phases. We ve arranged the shape compositions that follow to progress from simple to complex, and we ve grouped them according to the formal qualities they exhibit We began by using the shapes individually, then in juxtaposition, and finally in more complex arrangements of multiples. The Addepar logo, at right, is composed of two oppositefacing parallelograms. The left points upwards and right, referencing growth

10 Adjusting the scale gave our compositions depth and relative size, creating a dialogue and hierarchy between the shapes. By combining shapes we were able to create new elements that still referenced our logo

11 We also experimented with tightening the space between shapes to create more solid, rigidly constructed compositions. Repeating groups of shapes and sizes creates depth, while restricting the composition s shapes to five consistent sizes maintains a sense of logic. Our goal was to create an even texture or grey, preventing the eye from getting caught in one place

12 Pattern is created by repeating a simple arrangement of shapes without indicating a clear beginning or end. Using patterns with varying densities and distances creates contrast and changes the overall color. In these sketches we used the figure/ground relationship within a pattern to allude to movement and dimension

13 22 23

14 With a new combination of our shapes we were able to create a tightly spaced pattern in which the negative and positive spaces draw equal attention

15 We also explored depth through circular, spiraling compositions. Gradations of scale create an extreme sense of depth. We used this effect to design a composition appropriate for themes like communication, transformation, or change

16 These sketches use even amounts of black and white and speak more directly to the origin of our studies. Here is another example of starting simple. Here we focus on abstracting figure and ground by cropping the shapes to an extreme. Overlapping shapes introduced new possibilities

17 Further exploration of overlapping shapes revealed more complex possibilities

18 Conscious irregularities create the numerous focal points that make this grid interesting and visually stimulating. The dense and uniform black and white shapes can be a metaphor for binary code and computer systems

19 02 Line 34 35

20 Line is a useful counterpart to shape: both are very basic marks within design. A line s angle, length, weight, and the medium used to create its textural quality can all be adjusted infinitely to elicit different emotions. To reference the sharp, geometric aesthetic of Addepar s logo, we maintained crisp lines that follow the 57.5 angle. We started with a single line to familiarize ourselves with the effects of its weight and position on the space around it. This helped us understand the potential avenues of repeating the same line. When we moved from shape to line in our Addepar experiments, we decided to add additional structure to our research process. We divided the line phase into finite steps, each of which introduced a new parameter. First, we experimented with just one angle in one weight. Next, we varied the weight with a static angle and then varied the angle with a static weight. Finally, we combined our variations. We found that our sketches demonstrated great range even when we restricted ourselves to varying a single parameter. Enforcing constraints allowed us to examine our results with a sharper lens and to progress through our research quickly and methodically. Our group critiques became more focused and fostered playful, friendly competition. One Angle, One Weight We began our line studies by restricting the two basic parameters at play: the line s angle and the weight, or thickness, of the stroke

21 Next, we began to repeat and compose lines of the same size and weight. Many of the basic compositions we created during this phase became the foundation for the complexity we added later

22 40 41

23 One Angle, Multiple Weights Introducing the freedom to adjust the weight and length of the line opens up new possibilities. For example, unlocking the constraint on weight allowed us to experiment with foreground and background, providing the illusion of depth. The differences between the lines encourages the viewer to make comparisons. As you can see in the composition at the top left, the bottom, bolder line feels closer to the viewer. Bleeding the lines off the edge of the frame prevents the viewer from making assumptions about their size and position in space and instead directs attention to the division of ground space

24 This composition could be used to suggest sound or other waves traveling through space

25 In this series of sketches we experimented with horizontal lines abstracted from the Addepar logo to create gradations of negative and positive space. Applying the Addepar angle created a composition much more reminiscent of our brand and identity. The results felt very different from our other compositions, and we ultimately decided that the sketches did not reflect Addepar clearly enough

26 In the next stage we began to mix weight and repetition. This series emphasizes intuitive, emotional exploration to create compositions that are louder, more energetic, and more aggressive. After taking a thought to its extreme, we tried to boil it back down to its essence. This simplified version is easier on the eye and more clearly communicates motion, speed, and forward progression, which were at the core of our feelings during review

27 By rearranging and adding density to the previous sketch, we emphasized texture and gradation over the individual lines. The organization of these thinner and smaller lines creates the idea of order, leadership, and change

28 Adding more strokes and variation and then increasing the composition s density took this sketch from mechanical to organic. The end result could reference brush strokes, rain, or another intense motion

29 We were all especially drawn to this composition. Many of the qualities we enjoyed are in this simple and understandable form change in weight, progression, illusion of depth, and confusion of figure and ground. The intense increase and decrease in line weight and the jagged negative and positive space almost suggest a more aggressive change

30 One Weight, Multiple Angles In the next stage of our line experiments we returned to our single-line, single-weight restrictions while introducing a new parameter: angle. Allowing multiple angles added new dimension to our work. Intersections and zig-zags were now possible. We discovered that depth, dimension, and texture are effective illusions. With the refreshing addition of a second direction we were able to create angles that invite the viewer to navigate the negative space that surrounds the lines

31 This progression demonstrates a shift towards a more evenly dense texture, or optical grey. Notice where the illusion of dimension is most distinct and where it is least

32 The change in direction and resulting space between lines creates a strong sense of depth and perspective that could reference prism shapes, architecture, or landscapes

33 Dense, thick lines can feel like shapes an effect that challenged the constraints we placed on our sketches. This is also a new way to study figure/ground relationships through line. Repeating hard intersections gives the impression of layering. We get a sense of depth from these layers, but a more shallow depth than we ve seen in other compositions

34 We experimented with the boundaries of line and shape beginning with very heavy lines that obscured figure and ground. Next, we found that sharp and consistent intersections added perspective and the illusion of shapes layered in threedimensional space. By bleeding lines off the edges of the frame and preventing the viewer from seeing full shapes, we were able to find a middle ground in the line/shape illusion. The composition at left uses adjacent lines and tight negative space to mimic light and shadow projected onto shapes. We can see this effect start to disappear as we shift to heavier lines and larger spaces in the following sketch. We found this route to be the most pleasing because it invited viewers to choose their own perspectives. Leaving an open question in design lets the audience participate, ultimately creating more engaging and memorable work

35 This design used an outlined version of a previous composition. The shapes were then offset to create expanding, concentric lines. The result is an intense, vibrating texture reminiscent of op-art. The center became less interesting than the peripheral. Cropping the composition highlights the dramatic directional shifts and calms some of the visual vibration. Adjusting the weight of the black lines to match the white spaces gives the composition an added level of refinement and contrast

36 Choosing different crops and arranging/ rotating them dulls the optical effect, but draws attention to the details and divisions. The result is reflective of quilting or a puzzle. Repeating the composition creates a symmetrical, tiling pattern that accentuates the texture and optical confusion

37 Multiple Weights, Multiple Angles In the final phase of our line sketches we allowed ourselves full freedom. Grounding ourselves in the lessons learned from our previous experiments allowed our work to become more imaginative and reach its full potential. We used our core ideas as starting points for new explorations, and often combined elements from previous sections. When we simplify the number of elements and the marks themselves, each individual element and the space around it gains importance. Reduction allows the viewer to become more acutely aware of the objects, the tension between objects, and the space in which they live. This is largely the concept and technique behind Minimalism. Notice how much more personality is perceived in the elements composed. This idea played out in previous sketches, but we felt these compositions were exemplary. We explored this idea again when we introduced shape and line together. A return to simplicity rejuvenates the sense of possibility within the set of constraints

38 We combined ideas and techniques from different sketching phases. In this composition we cropped an earlier sketch and created a collage from its pieces. This is a slightly more complex version of the simple sketches from the previous page. The result may emulate overlapping layers of sound. You can sense what the differences might be by their size and rhythm

39 This composition, like those on the opposite page, use a variety of angles. We deviated slightly from our parameters to explore more kinetic and whimsical tones

40 03 Shape & Line 76 77

41 Combining line and shape opens a wide realm of interactions. Gradually building up to this phase prevented mental overload, and the insights we gained from previous research and discussions prepared us for the increased complexity. We built many of these compositions from scratch, slowly testing the possibilities of using these variables together in the same space. Other compositions were created by simply combining previous studies and adjusting as needed. Our sketches quickly became complex and often difficult to refine. Some of our favorites were the simplest, which feel approachable, allowing the viewer time to absorb the sensitive interactions. Simple compositions function well in practice because they are less demanding on the eye. However, complex designs provide excitement and energy. The variety of sketches allowed us to cater to several different audiences. The amount of variation in our sketches, all developed under the same set of criteria, was exciting to us as designers. It proved the flexibility of our original mark, the possibilities of the process, and the unique character each designer brings to the table

42 Using just few elements while paying careful attention to space, arrangement, and the edges of the frame keeps the eye active. These dynamic sketches can feel both quiet and energetic. We thought these carried more of a narrative than others. Rather than just accepting the composition for its formal nature, we felt the need to assign meaning to these objects and their relationships. They seem to exist with intention

43 Outlined shapes feel transparent and contrast with the surrounding solid forms

44 In these compositions, alternating angles and the combination of lines and shapes creates an illusion of folds and dimension

45 This progression demonstrates the evolution of a composition. A discovery was made which produced one element, then that element was explored and arranged until the idea felt fully satisfied. The way these white and black shapes overlap produces a visual paradox

46 Using multiple solid shapes balances the composition. Adding solid shapes and heavier line weights disrupts the pattern and draws attention to the new elements

47 This series of orderly compositions suggests logic, reason, and mechanical processes. Though the arrangements are very different, they reflect a coherent tone

48 92 93

49 Surrounding solid shapes with concentric lines draws attention to the depth of the black color, making it feel other-worldly. We also imagined these representing a zen garden

50 The symmetry of these designs and their isolation at the center of the composition makes them especially unique to our other explorations

51 We combined compositions that convey similar moods, introducing an element of serendipity. These individually composed pieces became assets in a library we can pull from to create new compositions

52 We also designed individual components that we could use and manipulate when they suited our purposes. Playing with these components allowed us to design at both micro and macro levels Because our micro and macro components were all designed according to the same constraints, they can be combined into new and coherent sketches. In this playful composition, the viewer is encouraged to appreciate each element. Its whimsical nature might be more appropriate for a younger audience

53 04 Application

54 After reflecting on the final group of sketches and seeing the range of our experimentation, we were satisfied that we could conclude our studies. We were ready to apply our work and measure its impact on the Addepar brand. Processing and discussing our compositions made us aware of the different emotions our work could elicit. Addepar has several nuanced audiences with diverse communication needs. We could foresee which of these audiences might subscribe to our different styles and emotions. As Addepar s design needs change and grow, we ve been able to use our library of sketches to find a graphic flavor appropriate to each occasion. The unbiased formatting of our black and white, square sketches has allowed us to re-appropriate our work easily. By understanding the core concepts conveyed by each sketch, we can apply and recompose an idea to suit the medium, format, and messaging needs of each new project. We ve also extended our research through additional experimentation with color, photography, and typography. The following is a small sample of our applied studies

55 Daily Communications There are many printed and digital materials that represent Addepar on a regular basis. These were immediate and impactful places to test our studies. Our communications collateral demonstrate the versatility of the core concepts and how in context, their emotions amplify. We used dramatic contrast to create a sense of energy for recruits. We toned down the colors and added photography when we needed a more sophisticated approach

56 Build 2014 Our 2014 Build campaign was designed to recruit graduating college students. We merged our studies with typography to make a simple message original. Letters were designed on a grid of evenly spaced and weighted lines, then overlayed with grid of lines at the Addepar angle. Intersections were cut and combined until a sound composition was finished. The result references some of our bold, uncomplicated line studies, but presents only typography. The dramatic nature and contrast of this design felt appropriate for the young audience and our high energy message. Addepar is reflected as progressive, complex, impactful, and intriguing

57 Addepar, New York When we moved into a new office on Madison Avenue, we wanted to bring some character to our space and solve some common environmental design problems. Our compositions found fantastic homes on the blank walls and glass around the office. We had a chance to really refine some of our designs and show them off in a really public way. We chose designs that felt professional yet compelling. Employees working in the office can now absorb the identity regularly, heightening the culture of design within the company. Applying dense compositions in frosted vinyl to conference room glass created privacy. A subtle application of our angle also made creative room markers

58 Conclusion As designers and contributors to Addepar, we were pleased with our process and we continue to be pleased with the results of our work. Most of all, our studies convinced us that this academic style of design practice can support the pragmatic needs of our business. The outpour of aesthetic ideas and emotional representations will continue to provide useful graphic treatments for Addepar s communication collateral. While the library of ideas we built feels large, we believe it can continue to expand. New designers or new parameters can open many new visual paths a thought that excites us for the future of design at Addepar. As the company continues to move forward and demand more aesthetic support, our challenge will be finding new parameters and ideas that will refresh our work and generate more targeted results. There should be no separation between spontaneous work with an emotional tone and work directed by the intellect. Armin Hofmann Graphic Design Manual

59 Work & Design by: Craig Gephart Nick D Amico Ryan Smith Written by: Nick D Amico Ryan Smith Edited by: Patricia Gael Foreword by: Don Adleta Published independently Printed by Blurb. Typefaces used include Tiempos, Gotham, and Univers. All images are original content owned and copyrighted by the designers and Addepar. Made possible by Addepar