StephenSanity - Transportation Designer / Concept Artist

STILL ALIVE

2011-12-23T02:19:00.001-08:00

testing testing...
I will be adding some new work soon

Alias Practice - WIP

2011-10-06T23:16:00.000-07:00

realized need to design in some details that show scale .

also needs a function - seek and destroy or recon

Practice - TRON Inspired Obviously

2011-09-24T02:55:00.000-07:00

UAV Drone model WIP

4 Fun

2011-09-18T02:14:00.000-07:00

Audi Co-Co

2010-11-13T23:43:00.000-08:00

schedule:

buyer concept research inspiration 1 hr

package 1 hr

front ideations

rear ideations

final renders 3 views

1 scenario view

orthos

rough alias model

sketch refinement

refine model

model renders in key shot

gotta work on my viscom and design sense

only way to grow is to challenge yourself

Design Process - Vic Viper Tribute

2010-10-31T23:56:00.000-07:00

Sketch Direction 1:

Sketch Direction 2:

Refinement:

Orthos:

3 View renders:

Model:

ENVIRONMENTS
PROPS

CHARACTERS

Paintings

2010-10-25T21:26:00.000-07:00

Discipline in sketching a car (linework, perspective, focal point, shading, composition on page) and discipline as student (just like in the real world) be on time, perfect work, nothing missing better if with some extra quality work (basically better 35 perspective sketches then the 30 requested).

"We ask: “what’s your story?” When some people present sketches within the team, it’s not about mine or Adrian’s opinion (even though Adrian decides at the end of the day, that’s clear), but about the question of what their story is?What makes that design better than any other design?

Why? Tell your story. When you look at a sketch you don’t think about what everyone else thinks about it. First, you as the designer have to like it and be proud of it. You have to feel that it moves you." - Anders Warming

Landscapes 2

2010-09-30T19:03:00.000-07:00

Still learning environments:

Landscapes

2010-09-22T16:54:00.000-07:00

ImagineFX #060 September 2010

2010-09-09T12:37:00.000-07:00

Add caption

I was published in this month's issue of Imagine FX 's reader fxpose. Thanks Imagine FX for sending my work out across the world!
Check it out here...

Next time I'm gonna try to do a tutorial for them...

now back to work.

Honda Concept : MultiGenerational Family Vehicle Interior

2010-08-13T18:20:00.001-07:00

IP Direction 1: Mecha Box...optimism from solid forms of technology.

IP Direction 2: Layered Opacity....sense of immersion thru layers of opacity: chosen for development

Build Physical Model

Build Animation

Belleza Ballerino

2010-06-28T04:08:00.000-07:00

proximity, orange bits...fix color scheme...

Poster Design Mini Project

Next series...some more...workers, contemporary, architectural, athlete,...

what type of mobility would a dancer whose physical body is 90% elegant prosthetics, but whose mind is fully human use?

evolution of dance....when artificial limbs can do more than just physical ones...

theme of physical limitation becoming physical addition

in reality we all have handicaps..they can become strengths as much as weaknesses

to do: research buyer, research prosthetics, technologies that enable the vehicle

ideations on different ways prosthetics can be done...skeletal? sold? liquid? gel based?

Six Steps to Create an Excellent Concept Idea - Concept Development Tutorial

2010-01-25T21:49:00.000-08:00

Summary of Concept Development Research Project:
[Introduction]: Why Design Students Need to Learn Conceptual Development?

Excellent Design = Excellent Concept + Excellent Craftsmanship

Excellent design is excellent ideas and excellent expression of these ideas. A thorough design education requires educating students in mastery of craft and mastery of concept.
Excellent craft without excellent concept results in an aesthetically pleasing piece of art but, without meaning or purpose.

Excellent concept without excellent craftsmanship leads to good ideas poorly communicated. Design students should not only be educated in craft less they only become excellent craftsmen. Half of their design education will be absent. When mastery of craft is combined with mastery of ideas design reaches its full potential. Excellent Content and Excellent Form create Excellent Design.
Six Steps to Creating an Excellent Concept Idea:

"dialog can trigger concepts worth creating, ideas that need to exist" j.rosetto

Digital Painting Tutorial - "The Bridge [Transfuturism III]"

2010-01-02T16:54:00.000-08:00

Here's a Step by Step Process of how I work on a painting:

Phase I - Concept + Research [Preparation]
[0.0. Concept:] Before I start doing any actual drawing or painting I brainstorm ideas for what the subject matter and message of the piece is about. This is the concept and for me is the most important part of the entire process. Starting with a strong concept is the foundation for everything that follows. I aim to define the concept with a few sentences. This is determined by the brief, or project goal, or story. In this piece the initial concept was "Futuristic sci-fi scene featuring a vehicle inspired by a classic automobile."
[0.1. Concept Refinement:] Starting with the initial concept i define the specifics of the story. For "Futuristic sci fi scene " I decide to choose a sunset on a bridge, and the vehicle will be inspired by Paulo Martin's 1970 Ferrari Modulo.
[0.2. Concept Research:] Once the concept specifics are defined I research the elements included in the piece. For this specific painting I gathered photo ref of bridges, sunset lighting, and the original 1970 vehicle.
[0.3. Thumbnail sketches:] I do thumbnail design sketches for all the main elements in the painting: the scene comp, the design of the elements, and the main vehicle. The design of the individual elements also communicate the story of a futuristic scene, so each element is designed to appear as something that could exist but doesn't yet for the year 2040.

Phase II - Painting Rough Block In
[1.1. Initial Comp:] Starting with monochromatic values I place the main elements of the painting. The general linear perspective and camera angle are also set. Dramatic lighting is also used to control the areas of contrast to set up the focal points. Using the rule of thirds, I place the front wheel and headlights at the vertex of the bottom left thirds. I set up the lighting conditions to create the highest amount of contrast of value and color in this area. Monochromatic values are used to create depth with atmospheric perspective using a limited value range in the Background [light values 2-4], Middleground [full values 0-10], and Foreground [dark 7-9]. Thinking about color theory I establish a simple foundation for a complementary color scheme of warms and cools [orange vs blue]. All of the previous thumbnail designs for the elements are also used in this step.
[1.2. - 1.3. Comp Refinement:] First I flip the entire image to get a new look at what i have so far. I start defining the shapes in the bg thinking about how they relate to the rest of the painting. I create a secondary focal point by silhouetting a future city in the opposite third relative to my focal point, then I use the large sweeping curve of the bridge to lead the viewer back into the foreground where my main focal point is. I'm also using the warm lighting of the sunset in the bg and cool shadows in the fg to separate the bg from the fg. I also squint to check the value arrangements and see if the main shapes are working.
I add a small bit of preliminary lighting effects to test my ideas of the headlights and front corner as the main focal point. I check what i have done so far and decide its time to move on to the next phase.

Phase III - BG Rendering
[2.1. BG City + Bridge:] From here on out I'll mostly be rendering. My approach to digital rendering is a hybrid of techniques from traditional oil painting process [working bg to fg, tightening up in focal areas, controlling edges and gradients to make forms read], and the techniques offered by new technology [adding details and lighting effects].

After all the rough ins I begin finalizing the bg. My goal is to indicate a future city and bridge without actually completely rendering it. The purpose of this being not to distract from the main focal point that I will fully render later. I've increased the saturation and grouped the shape silhouettes to make them more dominant as a shape. I use a small amount of color shift to create depth of the bridge coming forward away from the sunset behind the city. [2.2. - 2.3. MG Bridge Rendering:] I fix the linear perspective from the previous step to define where the corners of the road are relative to the vehicle. I change the design form language of the structural elements of the Mg bridge seen in the upper corner to something more experimental and not seen today. I also change the design to to have dominant structures with subdominant rails or beams to create more interest. I use hard edges to define the shapes and highlight the corners of the forms with the warm light of the sunset. The changes I make to the vehicle are just place holders to remind myself of where I'm going later on in the painting. With the Bg and secondary elements 90% complete I check what I've done so far and move on to the focal point, the vehicle rendering.

Phase IV - Focal Point Vehicle Rendering
[3.1. Wheels:] The wheels are created using the ellipse tool as a guide to get the series of crisp concentric ellipses. I also keep in mind the lighting direction as i render. I only create one then duplicate and transform the other. Place both according to the pre existing perspective grid lining up the minor axis of both wheels to the vanishing point outside the image.

[3.2. Main Vehicle Body:] A simple step using value changes to show the form changes as the forms turn away from the light. I use mostly a digital airbrush with 10-30% opacity to build up values. I also don't worry too much about the edges as I'll clean everything up in the next step. The goal is to just get the main form changes to read.
[3.3. Defining Forms Using Edges and Values:] Continuing from the last step I use a hard edge brush with higher opacity to increase contrast and harden the edges to create crisp form changes. I also add the warm highlight on the far side of the vehicle and a hard edged reflective highlight to indicate the glass material change. The glass highlight is placed representative of the cool light source illuminating the front corner. I then use a smaller brush to add some of the smaller highlights and details. Lastly I indicate the wheels turning with a few brush strokes. When I'm satisfied with how all the forms read I move on to the last phase.

Phase V - Detailing + Effects
[4.1. - 4.3. Paint Stripes, Lights, + Textures] I add a paint stripe with a hard brush and create a headlight pattern using a light fx brush [glow-painter/colordodge-ps]. As I do so I'm thinking about my composition and remember why I set up the image in this way. I want the front corner to be my focal point so it should have the most value change[full range 1-10], clearly defined forms, and most color contrast [adjacent complementary colors]. I add some minor textures to the various surfaces using a hardlight layer with very low opacity to add some noise and variation to surfaces and some subtle warm light near the rear of the vehicle and cool light near the front. A minor touch is a bit of motion blur in very limited areas [near the wheels, on the road]. Everything is finally coming to an end. All that preparation work was for this moment.
The Finished Painting
[Final:] I flip the image once more, add reflections on the ground by duplicating and lowering opacity of the new layer, and add some final brush strokes just for my own taste, and its finally done - a full finished painting. Of course I can always go back and make changes but for now I consider this piece done and I don't have any more time to spend on it.
Thanks for reading this far. I hope this tutorial was helpful and enjoyable!

Ford AGCT [Archived Genetics Camping Tourer] Fall 09

2009-11-07T04:24:00.001-08:00

A vehicle for researching genetic bio diversity across america

Story Scenes:
1. Bio Tech Company HQ

Motion Piece

Project preview

2009-10-02T16:40:00.001-07:00

Ford A-G-C-T [Archived Genetics Camping Tourer]

New Direction:

Working on a project. Theme is the cycle of advanced technology. Technology investigates nature - nature inspires technology. Then the cycle repeats.

reminder: keep studying keep working, concept, craftsmanship, design, presentation

photgraph the model...and touch up

How to find an ID job [via-core77]

2009-08-14T16:55:00.000-07:00

A useful, simple and insightful article on applying for a job....I think I would also add the necessity of networking though since more often than not jobs come from who you know in design fields.

original article:http://boards.core77.com/viewtopic.php?f=3&t=19771

As an employer we have been frustrated with the poor applications that we have received recently. Here are some of the most major errors we're seeing:

1.Poor grammar, lack of capitalization, typos, poor spelling, and no indication of which job they are applying to. Even if English is your second language, use spell check and grammar check! Ask friends to look things over. Craftsmanship is key.

2.Individual jpgs sent as samples. There is no way we are opening 10 attachments, period. Sorry. You've been rejected. Next!

3.Calling when the ad says no calls - this is a variation of the less common but more annoying version of the, "I'm just stopping by, can you see me now?"

4.No sketches or background material in your portfolio.

5.Not following pretty basic instructions in job wanted ad on how to apply

Here are the ingredients to a great application: Cover letter, Resume, and Samples
Cover Letter - research the company and write a personalized letter. This can be the email that you attach your resume and samples to. Please tell me in this letter which job you are applying to - DUH! I don't care why you want to move to my city (I don't care that your girlfriend live here) but I do care about why you think you are right for my company.

Resume: Please keep this to one page unless you have tons of experience. Sponsored studios don't count as experience, sorry. Include a graduation date. My last post was for a true junior designer. I had juniors trying to appear as if they had 3 or more years of experience. I disqualified those people. Too bad. Be honest.

Samples could be a teaser or a complete portfolio:

Teaser: 1 project with support work or 3-4 projects in final form

Complete portfolio: Should consist of 3-4 projects (minimum 3) from start to finish. You should document your thinking and decision making process from start to finish. We are looking for how much exploration and research you did, mechanical ability, aesthetics, and sensitivity to the user. We want to see the bad ideas you rejected as well as the really crazy ideas your instructor thought were too blue sky. We also want to see your mock ups. We are looking for your visual communication skills - this means sketching. If you can't sketch, it's still better to include your thinking than to not include it.

Portfolio Advice From Luciano Bove:
http://www.designertechniques.com/designers/lucianobove1.htm

Concept Art Portfolio Advice from Feng Zhu:
http://www.fzdschool.com/announcement_features_article16.htm

Design Sessions Portfolio Advice:
http://training.sessions.edu/resources/interviews/interviews/nomi_altabef.asp

Creative Strategies Icons + Micro Projects

2009-08-12T13:44:00.000-07:00

Intro: This is a sample of work from Creative Strategies, one of the best courses at accd. The goal of the class is of course learning to be more creative and developing better creative processes to solve problems. Each week we are given a creative/ design challenge and we then have one week to solve it as creatively as possible.

Creative Strategy Icons: I created these to help keep track of my own mental processes and also to quickly communicate to an audience how i was thinking at a certain phase in the design process. The strategies are fairly loose so actually there are infinite variations within these themes for creativity.

Seven Day Journal: The task was to create a journal with the theme "What is left of the Day?" The creative strategy i used in this case was problem framing to redefine what it meant to experience a day. For me one day was a beginning and an end and this is how i see the completion of a sketch book. So one day for my journal is one completed sketchbook.

Copic Sketch Chess Set: This challenge involved using repurposed or recycled materials. One of my other accd nicknames besides "Stephensanity" is "The Recycler." This is because you will often find me during crunch times digging through trash or repurposing materials to create last minute projects that turn out relatively well. This is one of those cases. Time was less than three hours to concept and final execution.

LEGO Futurist Farm Track-Tor: Final challenge was to create your own strategy and project. I've been wanting to do something with LEGO for a long time so i finally did for this project. My self project was to create and model my own genre of LEGO. I called my strategy "let GO" applied to "LEGO." "LetGo" means trusting all your training and life expierience to create something that is orginal and good. We train as designers to be good so trust your skills, draw from your unique life experiences and have faith that whatever you make will be unique because your life is unique. And it will be good because you've been trained well and have all that practice under your belt.

note to self: do some sketches and put LEGO project into book..integrate LEGO into design process

Futurism I

2009-07-29T17:06:00.000-07:00

World Design Independant Study Summer 2010
Creating a world for Intellectual Property
Lunar Racing League
Process:
What if we raced on the moon whose physical environment lacks atmosphere and has gravity of only 1/6 of earth's?
research:space race..current NASA, types of race rules , lunar environment, plans to colonize the moon

Developing the Concept:
Contrast, the struggle between good and evil. Old(historic art) vs New(high tech)

Designing the Vehicles:
Package+Function Ideation"Hell's Lost Soul" Necrotechnic, Chaotic Seduction, Twisted Rhythm
rough thumbs

"Heaven's Cast Away" Smooth Shelled, Simplistic Strength, Optimized Detail
rough thumbs
Designing the Comp

Stuck: changed the color palette but now i am stuck, lots of small perspective problems, and not sure what's going on in the bg...nor am i certain about the correct render process

still needs a few more rounds someday i'll get to it

Ideas: pontoons open to reveal....extra power surge, zip lines, grappling hooks, turbo ? anything?

notes:...more detail and color variation in fg to separate from bg, atmosphere affects color saturation hue intensity, get feedback from instructors, kitbash painting scraps, erase out areas unwanted, adjust layers attributes to match rest of img, paint over, masks, layers, lighting more interactive

more modern minimalist designs...detailing..materials? reflected light?
dont abuse the dodge...not too many highlights..becomes too noisy

custom brush:edit:define brushpreset
brushes:loadbrushes
brushes: save brushes

design the elements
time 2-3 working days
goal 1/2 day

to do:
back story for other vehicles/nations
develop packaging
explain the bio adaptive mechanics system
design the other vehicles
design graphics and logos[themes ideations etc]
comp out the other paintings
work on ideation technique: cleaner...clearer...
orthographics
start the alias model
finish alias model
render in hyperdrive
vehicle graphics

ask for input from other designers/instructors:
grnr, weston, humphries, scott, kevin, entertainment kids
kim, velas[need to finish those projects btw]

Final Painting

Paintings II

2009-07-11T07:02:00.001-07:00

Intro: All of these paintings were done for the inspiration/passion/fine art section of my portfolio during 6th semester Viscom with John Krysteski.
They were created in Corel painter X using mostly the palette knife brush. The process of searching through automotive design history, seeing and experiencing all the great designs from the past and adding my own interpretation was one of the most enjoyable things for me. I think this series of classic paintings gave me a chance to go back and visit my roots from my old oil painting days. I used the same process i would as if i were doing a landscape. It's scary, with that kind of traditional painting process, i had to have faith in the process of loose to tight, general to specific. All of these paintings look like they are not working until the final thirty minutes when i tighten everything up and add the final touches that bring it all together.

M1 Allnight - 07/09
Process+Context: This is definitely my favorite painting of the classics' series. I worked on it for 10 hours straight from 8pm to 6am the next morning (Hence the title "M1 Allnight"). During that time i didn't care about anything else except painting this piece. I was focused and didn't worry about any of the other work i had to do that night. I had the feeling that artists sometimes get of being "in the zone" and i knew it would be one of my best. A lot of the time went into arranging the composition and wrestling with the color theory. I was inspired by the strength of the iconic BMW motorsports racing stripes and for some reason just really wanted to do a dramatic painting of this iconic motor vehicle. When i'm older i think i'll look back at this one and i think i'll still like it regardless of what anyone else says.

Pininfarina P5 Saturday Post - 08.09
I had this car in mind for a classic painting for a few weeks before i got to it. It was one of the last ones i did. Looking at my other paintings and the energetic/ heavy brush work style i used in them didn't seem to fit this one. With most of the other paintings my autopilot style is high energy and drama. For this one it felt like the mood should be something like the flavor of vanilla - smooth and comforting. Almost like a Norman Rockwell painting as opposed to a Sargent (both of whom i find much inspiration in painting).

Countach Noir - 08.09
Another scary painting. Scary for me cause it didn't look like it was gonna be working till the last fifteen minutes and scary in tone in general. The Countach is one of the few iconic autos that have an even more iconic aerial view. I imagined this being driven in some Italian Crime Noir film, by the hero or the villain escaping through the night chasing someone or being chased by something unknown.

Porsche Legacy - 08/09
This was originally just one part of a larger painting dealing with all the iconic vehicles in the Porsche marque's history. After spending two hours on the portrait of Ferdinand Porsche i realized it was not going to be economical time wise and decided to save that painting for a later date. I usually paint the car as the focal point of the painting, but in this case i wanted to try something different and left the car loose and made the portrait the focal point. It was good to practice my portrait painting skills that i haven't used in three years.

Paintings I

2009-06-22T16:14:00.001-07:00

Intro: This series of paintings are the first paintings i did for my inspiration/passion/fine art section of my portfolio. They were done in 6th semester Viscom with John Krysteski. Software used was Corel Painter X using the palette knife brush.

Paulo's Ferrari - 07.09
The Ferrari Modulo created by Paulo Martin while at Pininfarina is one of the cars that moves me most deeply in terms of automotive design. Some critics argue that its not functional, has a horrible turning radius, etc...but i think they miss the point of this vehicle. This design is about hopes and dreams, vision, and inspiration. Ultimately this leads to an excellent brand image boost for Ferrari and Pininfarina at the time. I describe the form language of this design as "Cosmic Geometry," form language that represents the hopes and dreams of the 70's era in terms of advaced space technology, and the dreams of taking mankind further through space exploration. Someday with design i want to do something equally inspiring, that will uplift the people and represent their hopes and dreams in the current or future age.
In terms of painting, i used a horizontal composition to give it a narrative impression. As if reading the image from the left to right or right to left. The top right portion looks like a rear view but it is actually a front of the car with the red stripe bleeding through. Some parts are exaggerated to increase the sense of the dominant profile.

Dino Rossa - 06.09
This interior piece was a struggle from the beginning to end. It was hard to compose and hard to paint and still not sure if it really is finished. There was a sliver of the cars exterior red showing through because of the A-pillar. I decided to spread this out as an accent and used it in the corners to add more passion with the color and direct your eye back into the composition.

1972 Citroen Camargue by Bertone - 06.09
This was one of those pieces that seemed to have a life of its own. It just came together by itself. I picked some strange colors and they just worked on the first try which almost never happens. What really helps this painting is the dramatic perspective and glaring highlight on the hood and then repeated as an accent in the glass highlight. It makes a nice rhythm of triangles which is an unconscious subtle impression of the Citroen double chevron logo. Now that i've pointed it out i can't stop staring at it.

Checkmate - 05.09
If not for this painting turning out relatively well i would not have been able to make the others. My semi success wth this first one gave me confidence to tackle the later ones. Although it might not be one of my best in terms of technique it is one of my favorites for what it represents. A first success.
This painting also has a hidden story. The car itself is not even a real car. It is based on a slot racer model.

Stratos Zero - 08.09

Process: Concept Help Poster

2009-05-21T18:29:00.000-07:00

I'm working as an adviser for the concept help workshop this term with Frido. The goal is to document and streamline my own concept development process as well as teach others how to make their concepts better and become better at generating good concepts overall.

Concept Notes

2009-04-25T20:33:00.000-07:00

Preparing for the workshop, these are the questions i have: and my current thoughts

How do you develop a concept? - To develop a concept same as developing anything, process + time. Good concept meets the project goals, starting with strong project goals leads to a strong concept.

What makes a good concept? - still working on this answer. addresses the design brief, does more with less, unique, moral, redefine paradigms, solves problems, addresses cultural and societal values, contextual, basically a strong story...what story you want to tell and why you want to tell it? Is it a story we've heard already? There is value in originality, inventiveness, entrepreneurship, value innovation, decrease cost while increasing value to the user or client.

Why is it important? - Excellent design consists of two sides of the same coin, excellent content and excellent form. Another way to say this is good ideas and good communication of these ideas. Content is the message. Form is the expression of that message. Being strong in form or craft is only one side of the coin, excellent content is even more important. There are different philosophies regarding content and form. I usually default to Form as the expression of Content. I have also heard Content is form. Form is content.
Example GINA light from DesignworksBMW. GINA philosophy is the content, the message, the idea. The expression of this message, the form, is the changing fabrics, surfacing, alternate architecture, the physicality. Another example, from music, there is song and then there is the voice that sings the song, the song is the message, the singng is how that message is conveyed. Excellent music has excellent song or message and an excellent musician who can express the song through their voice or instrument. Same with writing. Good book has strong story and good writing to go with it.

Concept process? - The design process can also be applied to the concept development process. When developing a concept use the same process of research, evaluation, ideations, refinements, and final proposal. The specifics of process are constantly changing within this framework. Creativity applied to concept.

Time? - It takes time to develop anything. The idea of development implies a time characteristic.

05/21/09 Idea Quotes

“Everything begins with an idea.” Earl Nightingale

“An idea that is developed and put into action is more important than an idea that exists only as an idea.” Hindu Prince Gautama Siddharta, the founder of Buddhism, 563-483 B.C.

“A single idea / the sudden flash of a thought / may be worth a million dollars.” Robert Collier

“A pile of rocks ceases to be a rock when somebody contemplates it with the idea of a cathedral in mind.” Antoine de Saint-Exupery

“There is one thing stronger than all the armies in the world, and that is an idea whose time has come.” Victor Hugo

“You have to have an idea of what you are going to do, but it should be a vague idea.” Pablo Picasso

"The way to get good ideas is to get lots of ideas, and throw the bad ones away." Linus Pauling

Define the problem, identify the constraints, understand the problem, identify the project goals, self, audience, identify the audience. knowing the audience helps to define the goals, defining the goals helps to arrive at solutions.

Research, explore, gather information relevant to your now defined problem.
Propose solutions. Refine solutions. Choose better solutions and develop further.

Concept definitions: is a cognitive unit of meaning— an abstract idea or a mental symbol sometimes defined as a "unit of knowledge," built from other units which act as a concept's characteristics. A concept is typically associated with a corresponding representation in a language or symbology such as a word. (wikipedia)

Interior 4

2009-04-18T14:26:00.000-07:00

Team Project: Stephensanity +T. Armstrong
Create a small interior that is spacious, stylish & smart.

How to get smarter

2009-04-02T22:46:00.000-07:00

1. Tackle Something New
-anything that challenges your brain. ie brush teeth with opposite hand, dining somewhere new, talk to someone new. improves memory and intellectual performance.

2. "Brain Rest" Everyday
-45 minutes a day to do nothing. ie listening to music, book reading, walk-but not tv..should be quiet

3. 30 Minutes of Aerobic Exercise
-ie swimming, stair climbing. This increases creativity level. Helps brain cells grow. Exercise improves circulation, more energy goes to your brain, helps you think positively, helps your body and blood pressure.

4. Get Some Sleep
-we are prone to mental lapse and mistakes without enough rest. Learning and memory are solidified in the brain during sleep.

5. Chill
-ie meditation, browsing, anything that cuts stress will help you think creatively and clearly.

6. Eat Brainfood
-omega 3 fatty acids (fish, avocados, walnuts). Improve brain cellrepair and mental functioning.

The clearer you are, the better you'll perform. Problem will be solved easier. Form an dcontent are inseperable.