1. TRANSFORMATIONS The world of reality has its limits; the world of imagination is boundless. Not being able to enlarge the one, let us contract the other. Jean Jacques Rousseau Jean Jacques Rousseau

2. Creativity Creative Imagination is a interplay of several key functions:  Synthesis- the mind’s ability to form uniform patterns out of chaotic input  Simplification- ability to reduce complexities to basic elements  Detachment- disassociation of left brain thinking (logical) that allows insights to emerge from the right brain thinking ( intuitive)  Energizing- activating the mind towards making new connections, reassociations, and modifications.

3. Creative Process  Preparation- Inquiry, Research  Incubation- Time to think  Illumination- Application and Communication of Ideas  Verification- Reflection

4. Transformation: Operational Techniques  Magnification: The "reconstruction" of a subject on a much larger scale than of the original; for example, a pencil sharpener, eight feet high as a subject for sculpture.

6. Minification  Making an object appear smaller. An image- development strategy used to decrease the apparent size of an image. The contrast between the large female figure and the tiny man expresses the artist's idea that the evil is not a omnimpotent force greater than ourselves--a force that is more powerful than ourselves. But rather, evil in in reality that miniscule, insipid character within our own mind. Perhaps the greedy selfish thought, the indifference, the envy, and the desire to harm.

7. Multiplication  Repeating images or forms within a composition, a grid structure-a kaleidoscopic pattern, in reflected images, et cetera.

9. Substitution  Changing the original qualities of objects and surfaces: a "soft" hone, a "wooden" light bulb, a "concrete" pillow, et cetera.

10. Reversals  Reversing colour, perspective, functions, relative sizes and so on; reversing the "laws of nature," such as gravity, et cetera.

12. Fragmentation  Splitting or fragmenting objects or images. The subject may be either partially developed, fragmented, or dismembered. Splitting planes, as in Cubist art.

14. Partial Delineation  Drawing carving, or presenting only a portion of an image in its finished state; depicting an image emerging or becoming engulfed in its environment- Michelangelo's ‘Slaves’ for example.

16. Distortion  Changing an object or image by deformation, distortion, or progressive states of degradation; burned, dissolved, decomposed, crushed, cracked, et cetera

18. Disguising  The use of latent or hidden images; obscuring the qualities by wrapping, masking or camouflaging.

20. Metamorphosis  Depicting images or forms in progressive states of change.

22. Salvador Dali - Metamorphosis Of Narcissus

23. Transmutaton  A radical form of metamorphosis; creating Jekyll-and- Hyde transformations, mutations, alterations, hybridizations, re- materializations.

24. Simultaneity  Presenting several views or time modes simultaneously; for example, simultaneous presentations of side, top, back, and bottom views, as in Cubist painting; temporal dislocations, such as the simultaneous presentation of childhood and adult memories or various time-space situations; simultaneous presentation of different sensory experiences

26. Soft Focus  Changing focus of all or parts of an image; blurred edges or con- tour lines; photographic images blurred by movement or panning. Monet- Houses of Parliament, Sunset

28. Transference  The intrusion of an object or element into a space or environment not normally its own; the displacement of an object or elements into a new situation. For example, a huge egg towering above the skyscrapers of New York City's skyline.

29. Unexpected combinations

31. Juxtaposition  juxtaposition, juxtapose - The state or position of being placed close together or side by side, so as to permit comparison or contrast.  Robert Minor produced this drawing as an editorial cartoon, commenting on a 1916 steel workers' strike. He emphasized the thrust of the soldier's bayonet by drawing its direction as the counterpoint to that of the worker's body. The grace of this juxtaposition results in our feeling all the more shock at the sight of the pointed blade.

33. Videocon "Clean Any Kind of Dirt" outdoor campaign Print Ads, Consumer Created by Ogilvy & Mather Mumbai this campaign illustrates the core function of Videocon washing machines in an interesting and un-category-like manner. Every washing machine brand claims to remove dirt. But the agency took the idea beyond the obvious to show cleanliness like it was never shown before—removing dirt and coupling it with social commentary. The campaign was rolled out across major metro areas in India and included a TV spot, print ads and posters. Zahid Shaikh/Heeral Desai, art directors; Naved Siddiqui, designer; Hemal Jhaveri, writer; Piyush Pandey/Sumanto Chattopadhyay, creative directors; Amol Jadav, photographer; Milind Aglave (chimney/dump truck)/Manish Raut (sewage pipe), photo finishing artists. www.ogilvy.com

34. Academy of Television Arts & Sciences trade ads Print Ads, Business When The Academy of Television Arts & Sciences needed to get the word out that original content distributed over broadband was eligible for the Primetime Emmy Awards, Wong Doody Los Angeles created this campaign. Titled “Welcoming Broadband to the World of Television,” it acknowledges the Academy’s rich history, yet keeps the focus on the future. Playing on the love and evolution of television, the ads feature still images from Emmy-nominated television favorites like “I Dream of Jeannie” and “Bonanza” with digitally-enhanced images that show the characters using computers—juxtaposing television programming’s past and future.

35. Collapsing Volume  (or vice-versa: expanding two-dimensional forms into three- dimensional objects): Rendering three- dimensional subjects to appear flat or transparent, through the use of contour line, silhouette, transparent planes, et cetera. And the reverse: a well-known painting interpreted as a three-dimensional form.

36. Animation  Inanimate subjects can be made "to come to life": organic or in-organic subjects can be given human qualities. Functions can also be implied through image repetition and progression; for example, overlapping silhouettes of scissors in various open and closed positions to suggest "cutting."

38. Progressive Image Breakdown  Subjecting an image to treatment that tends to deteriorate, obscure, or progressively break down to simple shapes or patterns; using translucent collage overlays to obscure images, sequential photocopying to break down detail; gridding and transforming; computer serialization, etc.

40. Positive-Negative Reversal  : Using the photographic negative rather tprint (or both) in a composition; using female molds or concave shapes abstract figurative sculpture (as in the work of Alexander Archipenko '- Cubist sculptors).