SENIOR THESIS PROPOSAL
For my senior thesis, I would like to tackle design of massive magnitude: creating my own bar from the floor up. In doing so I will learn about environmental graphics, information design, architecture, bar design, and experiential design.
INTRODUCTION
What makes a place experiential? How do you use design tools including architecture, graphic design, package design, branding, and environmental design to bring out a feeling? Experiential design focuses on a cohesion throughout collateral that goes as deep as architecture to menu design. When experiential and environmental design are done right you can feel it.
Have you ever been to the Rainforest Cafe? The ceilings are shrouded in faux shrubbery, a starlight sky underneath. Elephants, apes, and mountain cats adorn the walls and are animated to appear real. The furniture and signage make you feel as if you are on a jungle safari. This is experiential design.
THESIS STATEMENT
Experiential marketing focuses on how consumers connect to a product or service; The experience of it leads to brand loyalty. I would like to research how restaurant and bars use experiential marketing throughout their business. Graphic design is vastly encompassing and allows the designers reach to cover furniture, space, printed material, web material, and more.
In creating my own bar from the ground up, I will be allowed full control to entirely design a brand physically and visually. I will explore traditional branding as well as environmental design. I will learn to use all areas of graphic design to create a cohesive look and feel that helps establish and keep brand loyalty.
SENIOR PROJECT BIBLIOGRAPHY
AvroKO. "Best Ugly: Restaurant Concepts and Architecture by Avroko." Harper Design. 2008.
Baer, Kim and Jill Vacarra. “Information Design Workbook: Graphic approaches, solutions, and inspiration plus 30 case studies”. Rockport Publishers. 2008.
Berger, Craig M., Skolnick, Lee; Lorenc, Jan; "What is Exhibition Design." RotoVision. 2007.
Braun. "Drink! Best of Bar Design." Braun Publish. 2009.
Calori, Chris. "Signage and Wayfinding Design. A complete guide to creating environmental graphic design systems." Wiley. 2007.
Daab. "Bar Design." DAAB MEDIA. 2007.
Dernie, David. "Exhibition Design." W.W. Norton & Co. 2006.
Editors of Phaidon. "The Phaidon Archive of Graphic Design." Phaidon Press. 2007.
Fiell, Charlotte. "New Graphic Design: The 100 Best Contemporary Graphic Designers." Goodman Books. 2013.
Fili, Louise. "Elegantissima: The Design and Typography of Louise Fili." Princeton Architectural Press. 2012.
Finke, Gail Deibler. "You Are Here: Graphics That Direct, Explain, & Entertain." Watson-Guptill Publications. 1999.
Gibson, David. "The Wayfinding Handbook: Information Design for Public Places." Princeton Architectural Press. 2009.
Grote, Jason. "Significant Objects." Fantagraphics. 2012.
Heller, Steven. "100 Ideas that Changed Graphic Design." Laurence King Publishing. 2012.
Helvetica. Gary Hustwitt. Plexifilm, 2007. DVD.
Herriott, Luke. "1,000 Restaurant Bar and Cafe Graphics: From Signage to Logos and Everything in Between." Rockport Publishers. 2007.
Hora, Mies. "Official Signs & Icons 2." Ultimate Symbol. 2005.
Hunt, Wayne. "Environmental Graphics." Collins Design. 2004.
Katz, Joel. "Designing Information: Human Factors and Common Sense in Information Design." Wiley. 2012.
Krauel, Jacobo. "Clubs & Bars Design." Links International. 2011.
Lorenc, Jan and Lee Skonlnick with Craig Berger. "What is Exhibition Design?" RotoVision. 2007.
McLuhan, Marshall. "The Book of Probes." Gingko Press Inc. 2011.
Mollerup, Per. "Wayshowing > Wayfinding: Basic & Interactive." BIS Publishers. 2013.
Neumeier, Marty. "The Brand Gap: Expanded Edition." Peachpit Press. 2005.
Passini, Romedi. "Wayfinding: People, Signs, and Architecture." Focus Strategic Communications. 2002.
Petar, David. "How to Build a Bar That Lasts & Do It Right So It Doesn't Fall Apart." David Petar Publishing. 2012.
Poulin, Richard. "Graphic Design and Architecture, a 20th Century History: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World." Rockport Publishers. 2012.
Poulin, Richard. "The Language of Graphic Design: An Illustrated Handbook for Understanding Fundamental Design Principals." Rockport Publishers. 2012.
Quartino, Daniela Santos. "New Bars & Restaurants 2." Harper Design. 2010.
Rendgen, Sandra. "Information Graphics." Taschen. 2012.
Shaoqiang, Wang. "Night Time: Innovative Design for Clubs and Bars." Promopress. 2013.
Skinner, Tina. "Design for Restaurants and Bars Inspiration for 100s of International Hotels." Schiffer Publishing. 2003.
Stones, John. "Very Small Cafes & Restaurants." Laurence King Publishing Company. 2011.
Treu, Martin. "Signs, Streets, and Storefronts: A History of Architecture and Graphics along America's Commercial Corridors." Johns Hopkins University Press. 2012.
Tufte, Edward R. “Envisioning Information.” Graphics Press. 1990.
Van Der Vlugt, Ron. "Logo Life: Life Histories of 100 Famous Logos." BIS Publishers. 2012.
Venturi, Robert and Steven Izenour, Denise Scott Brown. "Learning from Las Vegas - Revised Edition: The Forgotten Symbolism of Architectural Form." The MIT Press. 1977.
Viction Workshop. "Palette 01: Black & White - New Monochrome Graphics." Victionary. 2012.
Wheeler, Alina. "Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands." Whiley. 2006.
12.03.2013
unit 9: people make mistakes
CHAPTER SYNOPSIS
This chapter focuses on mistakes and tries to convey that they aren't always a bad thing. It's important to learn from mistakes, especially in the world of design where we are typically designing an interface for someone else to use. Nothing is fail safe and it's good to realize that you can always build and fix after realizing that there is a problem.
As I mentioned, there is no fail safe product. Trying to think ahead as to where there might be mistakes allows you the time to change the design to prevent such mistakes. It's important to prototype and test the product multiple times to know how people respond to it. Knowing that people will make mistakes means that you should also prepare to have an error message. An error message should be in plain language that a user can understand and should also explain what was done, what was done wrong, how to correct and an example. People tend to make more errors under stress- in the design world that can mean when people are performing a boring task raise their arousal level with sound, colors and movement. When the task is more difficult it's good to lower the arousal level with muted colors, no sound, and no movement.
Mistakes are not always bad. Errors may sometimes have a positive consequence, an action that doesn't give the desired result but provides info to help achieve the goal. Errors also may have a negative consequence, a dead end, return to starting point, or the action cannot be reversed. Testing for mistakes allows you to find where people commonly struggle so that you can make it a smoother transition by correcting the errors.
People make predictable errors and use different error strategies to solve their problems. There are three types of performance errors: commission errors (additional unnecessary steps taken), omission errors (omitted steps), and wrong action errors (appropriate point in the procedure but the wrong action is taken). Categorizing the type of errors that people are making helps you find a solution. There are three kinds of error strategies: systematic exploration (explores all possible ways to find what is needed), trial and error exploration (tries different actions symbols, menus, icons, controls, etc.) and rigid exploration (same action over and over even though no good result occurs). Collecting data on which error strategy a user experienced can help you solve the problem. It's good to think about your target audience and if they are young or old and if they are a novice or expert. However, don't discredit older populations because they can still solve tasks, they just might do it differently than a younger population.
CHAPTER ANALYSIS
I think the moral of this chapter is a really important take away: it's okay to make mistakes and it's okay when people make mistakes in your design. When people make mistakes using your interface it's good to record it so that you can fix the problem so it won't continue to be a mistake.
I felt that this chapter reiterated what our previous book said: test users! Probably the most beneficial thing you can do for your design is test users to help you notice which mistakes you can change. As the last chapter suggested, people have short attention spans and tend to get frustrated with things that don't work correctly or that take too long. It's good to correct mistakes in your design to avoid a negative feeling about the product.
Overall I found this chapter to be full of good information that it's important to realize as a designer. Instead of thinking of a mistake as a flaw think of it as additional information in order to create a smooth system.
RELATED LINKS
http://www.osu.edu/eminence/E2ENews/eminenceblog/779.htmlRSA
You need to make mistakes to get ahead.
http://www.nfib.com/business-resources/business-resources-item?cmsid=57071
Four website design errors and how to fix them.
http://inspiredm.com/web-design-mistakes/
How to fix common web design mistakes.
http://99u.com/articles/7108/staying-strong-under-stress
How to stay strong under stress and not make mistakes.
http://99u.com/articles/19442/the-key-to-great-feedback-praise-the-process-not-the-person
Give feedback praising the process and not the person.
This chapter focuses on mistakes and tries to convey that they aren't always a bad thing. It's important to learn from mistakes, especially in the world of design where we are typically designing an interface for someone else to use. Nothing is fail safe and it's good to realize that you can always build and fix after realizing that there is a problem.
As I mentioned, there is no fail safe product. Trying to think ahead as to where there might be mistakes allows you the time to change the design to prevent such mistakes. It's important to prototype and test the product multiple times to know how people respond to it. Knowing that people will make mistakes means that you should also prepare to have an error message. An error message should be in plain language that a user can understand and should also explain what was done, what was done wrong, how to correct and an example. People tend to make more errors under stress- in the design world that can mean when people are performing a boring task raise their arousal level with sound, colors and movement. When the task is more difficult it's good to lower the arousal level with muted colors, no sound, and no movement.
Mistakes are not always bad. Errors may sometimes have a positive consequence, an action that doesn't give the desired result but provides info to help achieve the goal. Errors also may have a negative consequence, a dead end, return to starting point, or the action cannot be reversed. Testing for mistakes allows you to find where people commonly struggle so that you can make it a smoother transition by correcting the errors.
People make predictable errors and use different error strategies to solve their problems. There are three types of performance errors: commission errors (additional unnecessary steps taken), omission errors (omitted steps), and wrong action errors (appropriate point in the procedure but the wrong action is taken). Categorizing the type of errors that people are making helps you find a solution. There are three kinds of error strategies: systematic exploration (explores all possible ways to find what is needed), trial and error exploration (tries different actions symbols, menus, icons, controls, etc.) and rigid exploration (same action over and over even though no good result occurs). Collecting data on which error strategy a user experienced can help you solve the problem. It's good to think about your target audience and if they are young or old and if they are a novice or expert. However, don't discredit older populations because they can still solve tasks, they just might do it differently than a younger population.
CHAPTER ANALYSIS
I think the moral of this chapter is a really important take away: it's okay to make mistakes and it's okay when people make mistakes in your design. When people make mistakes using your interface it's good to record it so that you can fix the problem so it won't continue to be a mistake.
I felt that this chapter reiterated what our previous book said: test users! Probably the most beneficial thing you can do for your design is test users to help you notice which mistakes you can change. As the last chapter suggested, people have short attention spans and tend to get frustrated with things that don't work correctly or that take too long. It's good to correct mistakes in your design to avoid a negative feeling about the product.
Overall I found this chapter to be full of good information that it's important to realize as a designer. Instead of thinking of a mistake as a flaw think of it as additional information in order to create a smooth system.
RELATED LINKS
http://www.osu.edu/eminence/E2ENews/eminenceblog/779.htmlRSA
You need to make mistakes to get ahead.
http://www.nfib.com/business-resources/business-resources-item?cmsid=57071
Four website design errors and how to fix them.
http://inspiredm.com/web-design-mistakes/
How to fix common web design mistakes.
http://99u.com/articles/7108/staying-strong-under-stress
How to stay strong under stress and not make mistakes.
http://99u.com/articles/19442/the-key-to-great-feedback-praise-the-process-not-the-person
Give feedback praising the process and not the person.
12.02.2013
unit 8: how people feel
CHAPTER SYNOPSIS
How People Feel is a chapter that really dives into emotions and emotional response. When designing, it is important to remember that certain design elements can change how a viewer feels.
There are seven basic universal emotions: joy, sadness, contempt, fear, disgust, surprise, and anger. Emotions are expressed physically as a result from a specific event and typically lead to action. Moods are longer lasting than emotions, usually a day or two, and they may not be triggered by a specific event. Attitudes are a cognitive conscious brain component. It's important to remember that people identify the seven basic emotions in photos and it's best to not only pick the most emphasized version of an emotion but to use real-looking emotions, not fake.
New research is showing that muscle movement and emotions are tied together. Botox (a product that essentially freezes muscles from movement) and the emotional ties to muscles has been tested and found that if you cannot physically feel emotion (for example mouth muscles pulling upward for a smile) that you are less likely to not feel the emotion at all. In design it is important to watch for unintended facial expressions as a reaction to your design choices, for example type that is too small may lead to squinting which creates a frown-like face and can create negative feelings.
People are programmed to enjoy surprises. People typically find enjoyment in new and novel things that capture their attention. People are also happier when they are busier. Idle time is usually incredibly frustrating and makes people equate the amount of waiting time with worth for finished object. It's important to keep interest during times of waiting (think loading animation). People also find more difficult things to be more enjoyable, for example, when joining an online community if there are more steps to become a part of it, people tend to enjoy it more. Think of Facebook, and how you create an entire profile.
Listening to music releases dopamine and it makes people happy. Of course, music taste is not universal, so it's good to allow people to individualize their music for a website, product, design, or activity. Your favorite music induces euphoria. Smells are also important to consider, though not digitally (yet!) Smell is the most powerfully linked sensation to memory. Companies actually use smell for branding purposes. Did you know that in Disneyland scents of vanilla and peppermint are released through the vent systems in Main Street?
Speaking of branding, look and feel is an indicator of trust. People are quick to make a decision about what is and what isn't trustworthy so it's important to keep in mind design factors that can help make it through the first trust rejection phase. Design elements such as color and font should be consistent throughout the branding. People tend to want what is familiar when they are sad/scared. Think of comfort food for the brain.
Finally, this chapter explains how people usually overestimate reactions to future events. They also typically feel more positive before and after and event than during it. It's smart to take their opinion of something a few days after use to get a higher satisfaction rate.
DEFINITIONS
Amygdala versus Thalamus- The Amygdala is a part of the limbic system that is involved with processing memory and emotional response. The Thalamus regulates consciousness, alertness, and sleep while also aids in relaying sensory and motor signals to the cerebral cortex.
"Welcoming Warmth"- A blend of scents used by the Sheraton to make people feel welcome. The blend contains fig, freesia, and jasmine.
Nucleas Accubens- A part of the brain that is active when a person experiences pleasurable events. Also plays a role in pleasure, indicating laughter, reward, fear, aggression, impulsitivity, addiction and the placebo affect.
Attention Restoration- After voluntary attention and focus is spent, a person can experience a number of things that can restore their attention bank. Mark Berman found that people who had taken a break and walked through the city's arboretum after being depleted of their voluntary attention scored higher on an attention based test than those who had walked through the city. Other studies have shown that people who could see nature scenes from the hospital needed less pain medication and had shorter stays than those who could see brick out their window.
CHAPTER ANALYSIS
I truly found this chapter to be the most interesting so far. As incredibly emotional creatures, it is so important to design with the parameters in mind that people can be affected emotionally by any and all design choices, such as typeface, type size, color, layout, etc. There are many design choices that are not obvious but control feelings in users.
I think that my biggest take away in this chapter was learning about how people are happier when they are busier. I applied this thought to my own life. I realized that once I had finished my grocery shopping I was increasingly frustrated in the amount of time I had to wait in line. If I had been interested in the gum or candy or magazines by the register, I may have been distracted enough to not get upset. In design I can think of a handful of times where waiting is just painful. The idea of using loading animations and interactive advertisements are really valuable assets to keeping people happy while they wait.
The book stated that people not only overestimate their reactions to future events but also feel more positive before and after an event than they do while it's taking place. These were really interesting points to me. People are not good at predicting their feelings therefore it's good to take opinions about future changes with a grain of salt. Have you ever said that you would not use a site or app if it overhauled the way it worked, only to find that it made life incredibly easier? Reactions after the fact will ultimately not be as strong as the user imagined it would be.
How People Feel is a chapter that really dives into emotions and emotional response. When designing, it is important to remember that certain design elements can change how a viewer feels.
There are seven basic universal emotions: joy, sadness, contempt, fear, disgust, surprise, and anger. Emotions are expressed physically as a result from a specific event and typically lead to action. Moods are longer lasting than emotions, usually a day or two, and they may not be triggered by a specific event. Attitudes are a cognitive conscious brain component. It's important to remember that people identify the seven basic emotions in photos and it's best to not only pick the most emphasized version of an emotion but to use real-looking emotions, not fake.
New research is showing that muscle movement and emotions are tied together. Botox (a product that essentially freezes muscles from movement) and the emotional ties to muscles has been tested and found that if you cannot physically feel emotion (for example mouth muscles pulling upward for a smile) that you are less likely to not feel the emotion at all. In design it is important to watch for unintended facial expressions as a reaction to your design choices, for example type that is too small may lead to squinting which creates a frown-like face and can create negative feelings.
People are programmed to enjoy surprises. People typically find enjoyment in new and novel things that capture their attention. People are also happier when they are busier. Idle time is usually incredibly frustrating and makes people equate the amount of waiting time with worth for finished object. It's important to keep interest during times of waiting (think loading animation). People also find more difficult things to be more enjoyable, for example, when joining an online community if there are more steps to become a part of it, people tend to enjoy it more. Think of Facebook, and how you create an entire profile.
Listening to music releases dopamine and it makes people happy. Of course, music taste is not universal, so it's good to allow people to individualize their music for a website, product, design, or activity. Your favorite music induces euphoria. Smells are also important to consider, though not digitally (yet!) Smell is the most powerfully linked sensation to memory. Companies actually use smell for branding purposes. Did you know that in Disneyland scents of vanilla and peppermint are released through the vent systems in Main Street?
Speaking of branding, look and feel is an indicator of trust. People are quick to make a decision about what is and what isn't trustworthy so it's important to keep in mind design factors that can help make it through the first trust rejection phase. Design elements such as color and font should be consistent throughout the branding. People tend to want what is familiar when they are sad/scared. Think of comfort food for the brain.
Finally, this chapter explains how people usually overestimate reactions to future events. They also typically feel more positive before and after and event than during it. It's smart to take their opinion of something a few days after use to get a higher satisfaction rate.
DEFINITIONS
Amygdala versus Thalamus- The Amygdala is a part of the limbic system that is involved with processing memory and emotional response. The Thalamus regulates consciousness, alertness, and sleep while also aids in relaying sensory and motor signals to the cerebral cortex.
"Welcoming Warmth"- A blend of scents used by the Sheraton to make people feel welcome. The blend contains fig, freesia, and jasmine.
Nucleas Accubens- A part of the brain that is active when a person experiences pleasurable events. Also plays a role in pleasure, indicating laughter, reward, fear, aggression, impulsitivity, addiction and the placebo affect.
Attention Restoration- After voluntary attention and focus is spent, a person can experience a number of things that can restore their attention bank. Mark Berman found that people who had taken a break and walked through the city's arboretum after being depleted of their voluntary attention scored higher on an attention based test than those who had walked through the city. Other studies have shown that people who could see nature scenes from the hospital needed less pain medication and had shorter stays than those who could see brick out their window.
CHAPTER ANALYSIS
I truly found this chapter to be the most interesting so far. As incredibly emotional creatures, it is so important to design with the parameters in mind that people can be affected emotionally by any and all design choices, such as typeface, type size, color, layout, etc. There are many design choices that are not obvious but control feelings in users.
I think that my biggest take away in this chapter was learning about how people are happier when they are busier. I applied this thought to my own life. I realized that once I had finished my grocery shopping I was increasingly frustrated in the amount of time I had to wait in line. If I had been interested in the gum or candy or magazines by the register, I may have been distracted enough to not get upset. In design I can think of a handful of times where waiting is just painful. The idea of using loading animations and interactive advertisements are really valuable assets to keeping people happy while they wait.
The book stated that people not only overestimate their reactions to future events but also feel more positive before and after an event than they do while it's taking place. These were really interesting points to me. People are not good at predicting their feelings therefore it's good to take opinions about future changes with a grain of salt. Have you ever said that you would not use a site or app if it overhauled the way it worked, only to find that it made life incredibly easier? Reactions after the fact will ultimately not be as strong as the user imagined it would be.
11.20.2013
unit 7: people are social animals
CHAPTER SYNOPSIS
This chapter discusses the magic of human nature and how we are incredibly social animals. It shares a lot of interesting information about how people empathize, lie, interact, and laugh. It is important to understand how people interact to understand how to design for them.
While we are incredibly social animals, testing has been done to find out how our social groups work. Dunbar, an anthropologist, tested primates and found a correlation between brain size and average group size. His studies have come to suggest Dunbar's number which indicates that the maximum social group size (that is close and stable) per person is 150 people. Tying in to Dunbar's research, we are also told that the brain responds differently to the people that you know personally. We are programmed to pay special attention to friends and relatives. Understanding this is the first step to knowing that all social media is not created equally (facebook versus twitter versus linkedin).
The chapter also discusses that uses of imitation and empathy. People can be influence with use of imitation. Mirror neurons explain how someone might react as if they are doing one thing just by watching another person perform an action. The book suggests that using stories can help influence people and gain empathy.
It is also important to understand in this day and age that it is very important to follow social rules in online interactions. When designing think of a person to person interaction and design as close to that as you can. Usability guidelines tackle these issues.
Synchronization can help users understand what you're trying to explain. Using live video with audio can help create a social attachment. It's important to know not to rely on reading if you want people to understand information clearly.
Finally, the chapter discusses the power of laughter. Laughter is a bonding agent between any people. It is universal, a form of social communication, and as you might have experienced before, contagious. According to the book, women tend to laugh twice as much as men and the speaker telling a story typically laughs twice as much as the listener. Along with laughter, smiles are also important to creating a relationship with your customer. Real versus fake smiles make a difference in your believability.
DEFINITIONS
Dunbar's Number- the cognitive limit of people whom one can keep a stable social relationship with.
Mirror Neurons- a neuron that fires when one subject does or witnesses another subject perform an action. Neuron firing when the subject is only witnesses the action creates a mirrored response to the subject doing the action, thus mirror neurons.
Synchronous Activity- do an activity simultaneously with multiple subjects. Includes moving at the same rate, existing at the same time, having identical periods and having identical phases.
Duchenne Smile- a "real smile" that not only involves the muscles of the lips lifting upwards, but also includes the muscles of the eyes contracting.
CHAPTER ANALYSIS
This chapter was very informative and conveniently tied in nicely with my current Psychology class. It also reminded me of a book called Tipping Point. I appreciate the importance of a relationship between a user and their experience. Most graphic designers are designing digitally and it's important to not lose the personable experience in doing so.
I love Dunbar's number and the experiments that came from it. In the book Tipping Point, there is a chapter about a business who uses the idea of this number as a business model. Everyone is on the same level (there are no bosses) and the business successfully thrives. After the business reaches over 150 people they break up the people into sections. I think it is important to understand how our social networking blankets us and makes people feel like they have more relationships than they do. It is also really important to understand which networking sites are for what.
The other part of this chapter that I found to be very interesting was the bit on how people lie differently. People tend to lie the most over the phone and the least when writing with pen and paper. This comes in handy to know when trying to get feedback. Feedback tends to be most accurate when shared one on one. People tend to be more negative towards others when using email versus pen and paper.
This chapter discusses the magic of human nature and how we are incredibly social animals. It shares a lot of interesting information about how people empathize, lie, interact, and laugh. It is important to understand how people interact to understand how to design for them.
While we are incredibly social animals, testing has been done to find out how our social groups work. Dunbar, an anthropologist, tested primates and found a correlation between brain size and average group size. His studies have come to suggest Dunbar's number which indicates that the maximum social group size (that is close and stable) per person is 150 people. Tying in to Dunbar's research, we are also told that the brain responds differently to the people that you know personally. We are programmed to pay special attention to friends and relatives. Understanding this is the first step to knowing that all social media is not created equally (facebook versus twitter versus linkedin).
The chapter also discusses that uses of imitation and empathy. People can be influence with use of imitation. Mirror neurons explain how someone might react as if they are doing one thing just by watching another person perform an action. The book suggests that using stories can help influence people and gain empathy.
It is also important to understand in this day and age that it is very important to follow social rules in online interactions. When designing think of a person to person interaction and design as close to that as you can. Usability guidelines tackle these issues.
Synchronization can help users understand what you're trying to explain. Using live video with audio can help create a social attachment. It's important to know not to rely on reading if you want people to understand information clearly.
Finally, the chapter discusses the power of laughter. Laughter is a bonding agent between any people. It is universal, a form of social communication, and as you might have experienced before, contagious. According to the book, women tend to laugh twice as much as men and the speaker telling a story typically laughs twice as much as the listener. Along with laughter, smiles are also important to creating a relationship with your customer. Real versus fake smiles make a difference in your believability.
DEFINITIONS
Dunbar's Number- the cognitive limit of people whom one can keep a stable social relationship with.
Mirror Neurons- a neuron that fires when one subject does or witnesses another subject perform an action. Neuron firing when the subject is only witnesses the action creates a mirrored response to the subject doing the action, thus mirror neurons.
Synchronous Activity- do an activity simultaneously with multiple subjects. Includes moving at the same rate, existing at the same time, having identical periods and having identical phases.
Duchenne Smile- a "real smile" that not only involves the muscles of the lips lifting upwards, but also includes the muscles of the eyes contracting.
CHAPTER ANALYSIS
This chapter was very informative and conveniently tied in nicely with my current Psychology class. It also reminded me of a book called Tipping Point. I appreciate the importance of a relationship between a user and their experience. Most graphic designers are designing digitally and it's important to not lose the personable experience in doing so.
I love Dunbar's number and the experiments that came from it. In the book Tipping Point, there is a chapter about a business who uses the idea of this number as a business model. Everyone is on the same level (there are no bosses) and the business successfully thrives. After the business reaches over 150 people they break up the people into sections. I think it is important to understand how our social networking blankets us and makes people feel like they have more relationships than they do. It is also really important to understand which networking sites are for what.
The other part of this chapter that I found to be very interesting was the bit on how people lie differently. People tend to lie the most over the phone and the least when writing with pen and paper. This comes in handy to know when trying to get feedback. Feedback tends to be most accurate when shared one on one. People tend to be more negative towards others when using email versus pen and paper.
11.19.2013
11.14.2013
unit 6: what motivates people
MARSHMALLOW EXPERIMENT
First, I should note that Scott your link is no longer correct. http://youtu.be/QX_oy9614HQ This link will take you to the video that I'm guessing you wanted us to see.
This was a really cute video that packed a powerful punch. The experiment shows different test subjects (children) that are placed in a room with a marshmallow. They are told that if they are patient and wait to eat the marshmallow until the leader comes back in the room they will get two marshmallows. Knowing children and their love of all sugary things, we come to expect that most will not be able to wait. We get to see them agonizing over whether they should wait or not.
*SPOILER ALERT*
It turns out that most of the children do, in fact, wait until the leader comes back in the room. The motivation of having another is definitely enough to wait to eat the marshmallow.
The fact that this experiment uses kids is interesting to me because we don't credit them with much critical thinking. If you were to test adults this same way I think you would have to use something much different than a marshmallow. Money, perhaps. Regardless, the results from this test show us that we are willing to go through more waiting if we are thoroughly motivated.
The show Community had an episode where they did a social experiment with waiting. I highly recommend you check it out.
Teaser:
http://youtu.be/5_2IR454jQg
Full episode (you have to pay for it but it's worth it):
http://youtu.be/uH0Iq_ZBpHQ
CHAPTER SYNOPSIS
Chapter six focuses on how people are motivated. As a designer, it's important to engage and motivate your users to create "repeat customers." It's surprising to learn in this chapter that the typical thought of using money as motivation is not always the best option.
As we discussed last week, people are motivated to complete a task the closer they are to the end of the goal. This is called the goal-gradient effect. People tend to focus on whats left than what is completed. However, once a customer has reached a reward they are at higher risk of becoming a lost customer, or at least taking a break from the service.
Rewarding is really important and interesting as motivation. The chapter talks about the casino and how they use a variable reward schedule. Your reward must be desirable to the audience. You might be surprised to learn that people are more responsive to intrinsic rewards than extrinsic rewards. Intrinsic motivation is like playing a board game because its exciting, not because you win money at the end. Extrinsic motivation is like studying so that the reward will be a better grade. If you are using extrinsic rewards it is important to keep it unexpected.
This chapter talks about dopamine and how it aids in making people addicted to seeking information. It ties in the fact that small amounts of information keep people interested in searching to find more. People are also motivated by progress and mastery. There are a few more important take-aways: the ability to delay gratification starts young (see marshmallow experiment), people are inherently lazy, forming a habit takes a long time, people like to do things themselves, and people are motivated to compete when there are fewer competitors.
CHAPTER ANALYSIS
This chapter was very interesting and so far has felt like one of the most important chapters. I do believe that there are a few conflicting points. For example, the book talks about how people are motivated to compete when there are less competitors. I feel like this contradicts the statement that people do things for a challenge (when discussing intrinsic vs extrinsic rewards). Personally, I prefer to be challenged. I can honestly say that I have felt deterred from something before if there was a lot of entries, however, when it comes to trivia night, for example, I prefer to play where there are the most teams for a better challenge.
One thing that I found strangely humorous was the section about how people are motivated by progress. I was just having a conversation the other day where I described to Charles the strange psychological feelings of seeing a percentage of completeness on a social network profile. Facebook has recently adopted a bar that shows "how complete" your profile is. My immediate response is to feel somewhat incomplete if my profile is not at 100%. I feel like I need to fill in all of the information in my profile so that I will get a reader bar that shows 100% complete. However, I do not feel like it is necessary to have all of the information the website is asking me for (privacy purposes). It is an interesting idea to play on this idea that people want to be "complete."
Overall, I felt that this chapter had some great take aways for a designer to utilize. Rewarding can be helpful to bring repeat customers. Habit forming takes a long time and it's important for you as a designer to be patient when "training" your users.
RELATED LINKS
http://youtu.be/u6XAPnuFjJc
RSA Animate video based on a Dan Pink's speech about how we are motivated.
http://youtu.be/wfcro5iM5vw
Dan Ariely Ted Talk discussing the essence of human motivation.
http://zenhabits.net/get-off-your-butt-16-ways-to-get-motivated-when-youre-in-a-slump/
How to get out of your slump and get motivated by Leo Babauta.
http://www.forbes.com/sites/nextavenue/2013/07/19/how-to-stay-motivated-and-accomplish-anything/
How to be motivated and accomplish anything from Forbes magazine.
First, I should note that Scott your link is no longer correct. http://youtu.be/QX_oy9614HQ This link will take you to the video that I'm guessing you wanted us to see.
This was a really cute video that packed a powerful punch. The experiment shows different test subjects (children) that are placed in a room with a marshmallow. They are told that if they are patient and wait to eat the marshmallow until the leader comes back in the room they will get two marshmallows. Knowing children and their love of all sugary things, we come to expect that most will not be able to wait. We get to see them agonizing over whether they should wait or not.
*SPOILER ALERT*
It turns out that most of the children do, in fact, wait until the leader comes back in the room. The motivation of having another is definitely enough to wait to eat the marshmallow.
The fact that this experiment uses kids is interesting to me because we don't credit them with much critical thinking. If you were to test adults this same way I think you would have to use something much different than a marshmallow. Money, perhaps. Regardless, the results from this test show us that we are willing to go through more waiting if we are thoroughly motivated.
The show Community had an episode where they did a social experiment with waiting. I highly recommend you check it out.
Teaser:
http://youtu.be/5_2IR454jQg
Full episode (you have to pay for it but it's worth it):
http://youtu.be/uH0Iq_ZBpHQ
CHAPTER SYNOPSIS
Chapter six focuses on how people are motivated. As a designer, it's important to engage and motivate your users to create "repeat customers." It's surprising to learn in this chapter that the typical thought of using money as motivation is not always the best option.
As we discussed last week, people are motivated to complete a task the closer they are to the end of the goal. This is called the goal-gradient effect. People tend to focus on whats left than what is completed. However, once a customer has reached a reward they are at higher risk of becoming a lost customer, or at least taking a break from the service.
Rewarding is really important and interesting as motivation. The chapter talks about the casino and how they use a variable reward schedule. Your reward must be desirable to the audience. You might be surprised to learn that people are more responsive to intrinsic rewards than extrinsic rewards. Intrinsic motivation is like playing a board game because its exciting, not because you win money at the end. Extrinsic motivation is like studying so that the reward will be a better grade. If you are using extrinsic rewards it is important to keep it unexpected.
This chapter talks about dopamine and how it aids in making people addicted to seeking information. It ties in the fact that small amounts of information keep people interested in searching to find more. People are also motivated by progress and mastery. There are a few more important take-aways: the ability to delay gratification starts young (see marshmallow experiment), people are inherently lazy, forming a habit takes a long time, people like to do things themselves, and people are motivated to compete when there are fewer competitors.
CHAPTER ANALYSIS
This chapter was very interesting and so far has felt like one of the most important chapters. I do believe that there are a few conflicting points. For example, the book talks about how people are motivated to compete when there are less competitors. I feel like this contradicts the statement that people do things for a challenge (when discussing intrinsic vs extrinsic rewards). Personally, I prefer to be challenged. I can honestly say that I have felt deterred from something before if there was a lot of entries, however, when it comes to trivia night, for example, I prefer to play where there are the most teams for a better challenge.
One thing that I found strangely humorous was the section about how people are motivated by progress. I was just having a conversation the other day where I described to Charles the strange psychological feelings of seeing a percentage of completeness on a social network profile. Facebook has recently adopted a bar that shows "how complete" your profile is. My immediate response is to feel somewhat incomplete if my profile is not at 100%. I feel like I need to fill in all of the information in my profile so that I will get a reader bar that shows 100% complete. However, I do not feel like it is necessary to have all of the information the website is asking me for (privacy purposes). It is an interesting idea to play on this idea that people want to be "complete."
Overall, I felt that this chapter had some great take aways for a designer to utilize. Rewarding can be helpful to bring repeat customers. Habit forming takes a long time and it's important for you as a designer to be patient when "training" your users.
RELATED LINKS
http://youtu.be/u6XAPnuFjJc
RSA Animate video based on a Dan Pink's speech about how we are motivated.
http://youtu.be/wfcro5iM5vw
Dan Ariely Ted Talk discussing the essence of human motivation.
http://zenhabits.net/get-off-your-butt-16-ways-to-get-motivated-when-youre-in-a-slump/
How to get out of your slump and get motivated by Leo Babauta.
http://www.forbes.com/sites/nextavenue/2013/07/19/how-to-stay-motivated-and-accomplish-anything/
How to be motivated and accomplish anything from Forbes magazine.
11.06.2013
unit 5: how people focus their attention
CHAPTER SYNOPSIS
This chapter goes into detail of how people focus their attention. It's starting to become apparent that many of the processes in user experience are related. We are starting to see a lot of repeat in these chapters, which let's you know that really everything ties together.
People have selective attention (and hearing). Usually a viewer is going to focus on large photos and text/colors. There are certain things that your unconscious scans for such as your own name, food, sex, and danger. That being said, the items that can help in your design to garner the most attention are as follows: danger, sex, food, human faces (especially if they are looking at the user), stories, loud noises, and anything that moves (think flash ads on websites). When utilizing sound for attention vary noises according to intensity and attention level needed. For example, the sound of a foghorn typically is a high intensity noise that gets attention well whereas the sound of chimes is a low intensity noise that people typically don't pay attention to.
As we found in the last chapter, people like to organize things on their own if you do not provide organization for them. People in the same fashion filter information. It's important to use hierarchy to control what people focus on. Make important items stand out 10 times more that you think necessary. Salient cues are when people only pay attention to what you need for a given task. This is an interesting article that pertains to salient branding using examples of branding from Subway.
The two most important informational bits I found in this chapter were the Suzuki method information and the myth-busting of multitasking. First, the Suzuki method explains that constant repetition doesn't require constant attention. The book gives examples of learning music and how at some point you do not actively think about what you are doing, instead you just do. Secondly, multi-tasking isn't a real thing. The human brain isn't really capable of juggling multiple thought-conscious items at once. Designing where the user has to rely on multi-tasking leads to errors in what you're asking them to do. Sustained attention doesn't last more than 10 minutes, so it's important to keep demos and tutorials under 10 minutes and if you need more time than that to take a break in between.
CHAPTER ANALYSIS
What I found most difficult about this chapter is that fact that it didn't capture me as the others have so far. Is that because I am reading about how people don't really focus and it's then created a thought that I shouldn't focus on the reading? I'm not sure, but I did find it ironic.
I think the most useful information in this chapter is the 10 minute attention span detail. When I think about videos, tutorials, or steps I've had to take in any endeavor, I know that I avoid anything that looks too long. I may find a video that seems interesting, but when I see that it's 15 minutes I am quick to turn it off or lose interest. It's important to keep this in mind when designing so that your viewer doesn't miss any information or lose the point of your piece.
RELATED LINKS
http://www.wikihow.com/Focus
This article discusses ways in which you can focus. Who couldn't use a bit of help in that arena?
http://unbounce.com/landing-pages/designing-for-conversion-8-visual-design-techniques-to-focus-attention-on-your-landing-pages/
Visual cues to use in design to drive focus and attention.
http://blog.usabilla.com/getting-your-design-priorities-right-with-focus-on-the-user/
How to create a design focusing on the user's needs. Includes hierarchy tools.
This chapter goes into detail of how people focus their attention. It's starting to become apparent that many of the processes in user experience are related. We are starting to see a lot of repeat in these chapters, which let's you know that really everything ties together.
People have selective attention (and hearing). Usually a viewer is going to focus on large photos and text/colors. There are certain things that your unconscious scans for such as your own name, food, sex, and danger. That being said, the items that can help in your design to garner the most attention are as follows: danger, sex, food, human faces (especially if they are looking at the user), stories, loud noises, and anything that moves (think flash ads on websites). When utilizing sound for attention vary noises according to intensity and attention level needed. For example, the sound of a foghorn typically is a high intensity noise that gets attention well whereas the sound of chimes is a low intensity noise that people typically don't pay attention to.
As we found in the last chapter, people like to organize things on their own if you do not provide organization for them. People in the same fashion filter information. It's important to use hierarchy to control what people focus on. Make important items stand out 10 times more that you think necessary. Salient cues are when people only pay attention to what you need for a given task. This is an interesting article that pertains to salient branding using examples of branding from Subway.
The two most important informational bits I found in this chapter were the Suzuki method information and the myth-busting of multitasking. First, the Suzuki method explains that constant repetition doesn't require constant attention. The book gives examples of learning music and how at some point you do not actively think about what you are doing, instead you just do. Secondly, multi-tasking isn't a real thing. The human brain isn't really capable of juggling multiple thought-conscious items at once. Designing where the user has to rely on multi-tasking leads to errors in what you're asking them to do. Sustained attention doesn't last more than 10 minutes, so it's important to keep demos and tutorials under 10 minutes and if you need more time than that to take a break in between.
CHAPTER ANALYSIS
What I found most difficult about this chapter is that fact that it didn't capture me as the others have so far. Is that because I am reading about how people don't really focus and it's then created a thought that I shouldn't focus on the reading? I'm not sure, but I did find it ironic.
I think the most useful information in this chapter is the 10 minute attention span detail. When I think about videos, tutorials, or steps I've had to take in any endeavor, I know that I avoid anything that looks too long. I may find a video that seems interesting, but when I see that it's 15 minutes I am quick to turn it off or lose interest. It's important to keep this in mind when designing so that your viewer doesn't miss any information or lose the point of your piece.
RELATED LINKS
http://www.wikihow.com/Focus
This article discusses ways in which you can focus. Who couldn't use a bit of help in that arena?
http://unbounce.com/landing-pages/designing-for-conversion-8-visual-design-techniques-to-focus-attention-on-your-landing-pages/
Visual cues to use in design to drive focus and attention.
http://blog.usabilla.com/getting-your-design-priorities-right-with-focus-on-the-user/
How to create a design focusing on the user's needs. Includes hierarchy tools.
unit 4: how people think
CHAPTER SYNOPSIS
The importance of understanding how people think is huge when you realize that you are designing for said people. If you cannot understand how they think and read you cannot design in a way that gets your message across. This chapter covers many mental processes that can be utilized to effectively create a design piece.
As we have previously learned, people tend to process small bits of information at a time rather than large bits of info. Mental processing can be seen in loads that have varying amounts of cognitive (memory), motor (action), and visual (seeing) skills. Fitts Law discusses that there is a relationship between speed, accuracy and distance. As a designer, it is important to evaluate loads of processing and take into consideration that sometimes more "clicks" is better because it requires less cognitive and more motor skill (which is easier for the user). It's also important to keep in mind that people have wandering minds so it's important to give hyperlinks to make your way around a page. It's also good to get people's attention with the use of storytelling because it makes the information understandable, interesting, and memorable.
Cognitive Dissonance Denial focuses on the fact that as a being we are somewhat stuck in our opinions. The less we know about something, the less likely we will pay attention to someone convincing us of it's ability to be better at something. The book uses the example of an avid iPhone user being shown a new Android yet not really paying attention because they already like their phone and don't care if the person says the Android is better (I definitely have personal experience with this one).
Mental models and conceptual models are very important to understand as a designer. They relate to usability and UX. Mental models are a thought process and opinion of how someone might expect something to work, while the conceptual model is how the interface actually works. It's also important to keep in mind that people understand and learn best from examples such as photos and videos of a process (imagine downloading a new app and the first time you use it you see a tutorial of what each section is with fake examples).
There were definitely a lot more take-aways in this chapter than we have seen thus far. I think it's important to remember that people tend to create organization for themselves if you haven't presented it, that people are affected and see things differently depending on their culture, time is relative and it's always helpful to show process indicators and to break up steps to create ease and functionality.
DEFINITIONS
Goal-gradient Effect- states that you are more motivated to complete a goal as you near the end. A behavioral trait that was studied using rats in a maze. Research found that the rats would run faster the closer to the end (food) goal.
Operant Conditioning- a type of behavioral modification where a specific behavior is increased or decreased through the use of positive or negative feedback. When training a dog you are told to praise good behavior, thus increasing the likelihood that the dog will preform the behavior again to receive your positive feedback.
Dopamine- an organic chemical found in the brain and outside the nervous system. Dopamine functions as a neurotransmitter in the brain to send signals to other cells. In the brain, it helps function with reward, motivation, cognition, etc.
CHAPTER ANALYSIS
This chapter has been the most informative in my opinion thus far. I definitely felt that there was a lot of repeat, and that could come from the fact that it shares many points with the "Don't Make Me Think" book.
I agreed with many points that the chapter made. I found the storytelling bit to be interesting and eye-opening. I can think of many different examples where I've seen or read storytelling and thus become engrossed in something. I also felt that storytelling tied into the part about the flow state in the chapter. It is an interesting concept to attempt to create a flow state for a user. I try to imagine a time where I am "in the zone" and I'm engrossed and focusing my attention. The book suggests to give people control over their actions, break difficult stages into chunks so that the user feels like the goal is challenging yet achievable, give consistent feedback, and minimize distractions. I think that when trying to create a flow state it is immensely important to keep in mind the wandering mind points.
My favorite part of this chapter was the part that talked about ways of being creative. While I felt like it was slightly out of place (because I struggle to imagine a situation where you need to design to induce creativity) I really found the types of creativity interesting. Deliberate and cognitive creativity requires previous knowledge of a subject. It is basically the act of putting together existing information in a new way. Deliberate and emotional creativity requires quiet time. These are described as "A-ha!" moments that deal with feelings and emotions. Spontaneous and cognitive creativity require the user to stop and walk away from the problem. I feel like this is most prominent in school (I can hear Sigrid or Scott saying to take time away from a project and revisit it later with a fresh mind). Basically the conscious brain stops working on a problem and the unconscious brain has time to solve the problem. I remember when I was coding my website I came up with this strange problem that a certain piece wasn't showing. I searched my code and wracked my brain for hours but couldn't figure out why. I left to go to a meeting at work. On the drive back home I suddenly realized my problem since I had given myself time away. I simply forgot to close a tag. Finally, there is spontaneous and emotional creativity which cannot be designed for. It's an artistic moment of epiphany or like a religious experience.
I really appreciated the section about the importance of time. It immediately made me think of an online shopping cart and how the sections are broken up. First you enter your log in. Next, if you do not have one you create one. It typically starts with name and email. Then you move on to mailing information. Finally purchase info. These sections are broken up in a way that takes about the same amount of time per page, and allows the user to feel a break and an accomplishment before moving on. If you simply have all of these steps on one page a user might not feel they have time to complete everything.
(side note: Scott, I could use a lot more dopamine for motivation for these blog posts)
The importance of understanding how people think is huge when you realize that you are designing for said people. If you cannot understand how they think and read you cannot design in a way that gets your message across. This chapter covers many mental processes that can be utilized to effectively create a design piece.
As we have previously learned, people tend to process small bits of information at a time rather than large bits of info. Mental processing can be seen in loads that have varying amounts of cognitive (memory), motor (action), and visual (seeing) skills. Fitts Law discusses that there is a relationship between speed, accuracy and distance. As a designer, it is important to evaluate loads of processing and take into consideration that sometimes more "clicks" is better because it requires less cognitive and more motor skill (which is easier for the user). It's also important to keep in mind that people have wandering minds so it's important to give hyperlinks to make your way around a page. It's also good to get people's attention with the use of storytelling because it makes the information understandable, interesting, and memorable.
Cognitive Dissonance Denial focuses on the fact that as a being we are somewhat stuck in our opinions. The less we know about something, the less likely we will pay attention to someone convincing us of it's ability to be better at something. The book uses the example of an avid iPhone user being shown a new Android yet not really paying attention because they already like their phone and don't care if the person says the Android is better (I definitely have personal experience with this one).
Mental models and conceptual models are very important to understand as a designer. They relate to usability and UX. Mental models are a thought process and opinion of how someone might expect something to work, while the conceptual model is how the interface actually works. It's also important to keep in mind that people understand and learn best from examples such as photos and videos of a process (imagine downloading a new app and the first time you use it you see a tutorial of what each section is with fake examples).
There were definitely a lot more take-aways in this chapter than we have seen thus far. I think it's important to remember that people tend to create organization for themselves if you haven't presented it, that people are affected and see things differently depending on their culture, time is relative and it's always helpful to show process indicators and to break up steps to create ease and functionality.
DEFINITIONS
Goal-gradient Effect- states that you are more motivated to complete a goal as you near the end. A behavioral trait that was studied using rats in a maze. Research found that the rats would run faster the closer to the end (food) goal.
Operant Conditioning- a type of behavioral modification where a specific behavior is increased or decreased through the use of positive or negative feedback. When training a dog you are told to praise good behavior, thus increasing the likelihood that the dog will preform the behavior again to receive your positive feedback.
Dopamine- an organic chemical found in the brain and outside the nervous system. Dopamine functions as a neurotransmitter in the brain to send signals to other cells. In the brain, it helps function with reward, motivation, cognition, etc.
CHAPTER ANALYSIS
This chapter has been the most informative in my opinion thus far. I definitely felt that there was a lot of repeat, and that could come from the fact that it shares many points with the "Don't Make Me Think" book.
I agreed with many points that the chapter made. I found the storytelling bit to be interesting and eye-opening. I can think of many different examples where I've seen or read storytelling and thus become engrossed in something. I also felt that storytelling tied into the part about the flow state in the chapter. It is an interesting concept to attempt to create a flow state for a user. I try to imagine a time where I am "in the zone" and I'm engrossed and focusing my attention. The book suggests to give people control over their actions, break difficult stages into chunks so that the user feels like the goal is challenging yet achievable, give consistent feedback, and minimize distractions. I think that when trying to create a flow state it is immensely important to keep in mind the wandering mind points.
My favorite part of this chapter was the part that talked about ways of being creative. While I felt like it was slightly out of place (because I struggle to imagine a situation where you need to design to induce creativity) I really found the types of creativity interesting. Deliberate and cognitive creativity requires previous knowledge of a subject. It is basically the act of putting together existing information in a new way. Deliberate and emotional creativity requires quiet time. These are described as "A-ha!" moments that deal with feelings and emotions. Spontaneous and cognitive creativity require the user to stop and walk away from the problem. I feel like this is most prominent in school (I can hear Sigrid or Scott saying to take time away from a project and revisit it later with a fresh mind). Basically the conscious brain stops working on a problem and the unconscious brain has time to solve the problem. I remember when I was coding my website I came up with this strange problem that a certain piece wasn't showing. I searched my code and wracked my brain for hours but couldn't figure out why. I left to go to a meeting at work. On the drive back home I suddenly realized my problem since I had given myself time away. I simply forgot to close a tag. Finally, there is spontaneous and emotional creativity which cannot be designed for. It's an artistic moment of epiphany or like a religious experience.
I really appreciated the section about the importance of time. It immediately made me think of an online shopping cart and how the sections are broken up. First you enter your log in. Next, if you do not have one you create one. It typically starts with name and email. Then you move on to mailing information. Finally purchase info. These sections are broken up in a way that takes about the same amount of time per page, and allows the user to feel a break and an accomplishment before moving on. If you simply have all of these steps on one page a user might not feel they have time to complete everything.
(side note: Scott, I could use a lot more dopamine for motivation for these blog posts)
10.31.2013
thesis ideas
I've been contemplating thesis ideas over the span of the past few quarters. Senior year can seem really ominous with the realization that senior project is coming. After writing all of the ideas I came up with down I started to weed it out and these are three possible senior thesis options (thus far).
First option:
Vegan made sexy.
Project: create an app and packaging design that work together interactively to make vegan recipes seem less hippie and more mainstream.
Project: create an app and packaging design that work together interactively to make vegan recipes seem less hippie and more mainstream.
Thesis: Food and gender marketing. Sexualization of food products.
Initially I thought that it would be really fun to create a vegan restaurant or food truck. I could expand product to grocery stores and local markets. The idea of a food truck has been really over-done (in my opinion) lately by seniors coming out of my school. As it is important to stand out I decided to drop the idea of a food truck and look into the idea of an app. App design showcases an ability to create UX and usability as well as differentiates graphic design students from one another.
After meeting with Tony, I decided to chose one of the two following options:
Second option:
Ballard Grill & Ale House or 4B's Redesign/Overhaul
Project: create an entire branding and environmental graphics for 4B's bar in Ballard. Take the existing bar and change it to create an experiential brand and bar design.
Thesis: Experiential Branding. Creating the perfect bar.
For this project I would like to take real life design projects and create them during school. I currently work at the bar and we do not have a logo, business cards, or any REAL look and feel. The current managers have tried to create some consistent feel but haven't quite maneuvered it. I would like to change the environmental design as well as create a logo, business card, signage and menus.
Third option:
Bar Design.
Project: create a bar from the ground up. Come up with any and all design that will be seen in the bar.
Thesis: Experiential Branding. Bar creation and user experience.
This project would allow me to create my own bar. I would chose an experience that I would like create in the bar (for example apothecary style) and design the bar and collateral in a way that exemplifies that. I could potentially work with an ID student to create three dimensional items and architecture blueprints. I would create environmental design, menus, logo, signage, etc.
10.22.2013
unit 3: how people remember
CHAPTER SYNOPSIS
Chapter 3 goes in depth with how people tend to remember. It discusses the pros and cons of memory as well as the human reaction to memory. It is important to understand how the memory works when designing to help those viewing your design.
As you may have experienced in life, short-term memory can be unreliable. Working memory is memory that you need for less than a minute. For example, when you are at a web page and you fill out a form, the next page might have a captcha (the box that asks you to retype the letters/digits you see). You use working memory when you read the word and then look away from it to type it. In order for working memory to be successful, the user must have their attention focused. In design it is important to not ask people to remember information (such as numbers or letters) from one page to another.
As we understand, memory can be created from repetition. There are a few ways that this chapter suggests that we help create memory. People can handle 4-item chunks of information (think of phone number clusters 3-3-4 instead of 10 individual numbers). Memories are patterns of connections between neurons, so repetition can help the user create a memory. Recognition is easier than recalling something. Typically a user will be more successful in recognition because it will utilize context whereas recollection can lead to false information. People tend to remember the most recent information that they have been given, so it's important to focus the most impertinent information toward the end of whatever you are showing the person.
This chapter also discusses that memories can change. When we dream our mind is recalling events from the day and making them into memories and associations. Memories can change each time they are recalled. Flashbulb memories are usually relating to traumatic or dramatic events that become vivid memories to the storyteller, yet usually full of errors. The book uses an excellent example of a flashbulb memory when they discuss how you might remember the attacks on September 11th, 2001. The event was very traumatic, thus revving up the emotional amygdala that happens to be near the long-term memory coding part of the brain, the hippocampus. Emotions get tied up in the memory, causing information to change.
While discussing the importance of giving your viewer what they need to remember it is important to understand that it is okay for the user to forget. It's not a conscious effort to forget something (usually) and it is usually more helpful than detrimental. If you have important information that the viewer needs to remember its best to provide it in the design, or make it easy to find that information.
CHAPTER ANALYSIS
This chapter has been my favorite thus far. There was a lot of really great information to use as a designer and just for life in general While I feel like I have a good grasp of the lacking ability of short-term or working memory, I was surprised by the information that I read about memories and the fact that they are no concrete.
In my experience with online classes I have found it incredibly hard to read e-books. One of my biggest arguments is that the way the pages get broken up. For example, one page will have text that relates to an image that is on the next page. Typically in hard-printed books these pieces of information would be together. Online, I am forced to go back and forth multiple times to remember what the information about the picture is and to see the picture. This can be seen as an issue with working memory.
The fact that memories can change is also an interesting one. I have heard my mom on more than one account retell a story but not exactly how it happened. Maybe feelings were misplaced from the beginning of the story and it has changed the whole feel of the story. I used to find it really annoying because it felt like she preferred exaggeration (the jury is still out on that) but now I know it might just be a serious of connections and patterns that are trying to be created and turned into memory (even if it is wrong memory).
Chapter 3 goes in depth with how people tend to remember. It discusses the pros and cons of memory as well as the human reaction to memory. It is important to understand how the memory works when designing to help those viewing your design.
As you may have experienced in life, short-term memory can be unreliable. Working memory is memory that you need for less than a minute. For example, when you are at a web page and you fill out a form, the next page might have a captcha (the box that asks you to retype the letters/digits you see). You use working memory when you read the word and then look away from it to type it. In order for working memory to be successful, the user must have their attention focused. In design it is important to not ask people to remember information (such as numbers or letters) from one page to another.
As we understand, memory can be created from repetition. There are a few ways that this chapter suggests that we help create memory. People can handle 4-item chunks of information (think of phone number clusters 3-3-4 instead of 10 individual numbers). Memories are patterns of connections between neurons, so repetition can help the user create a memory. Recognition is easier than recalling something. Typically a user will be more successful in recognition because it will utilize context whereas recollection can lead to false information. People tend to remember the most recent information that they have been given, so it's important to focus the most impertinent information toward the end of whatever you are showing the person.
This chapter also discusses that memories can change. When we dream our mind is recalling events from the day and making them into memories and associations. Memories can change each time they are recalled. Flashbulb memories are usually relating to traumatic or dramatic events that become vivid memories to the storyteller, yet usually full of errors. The book uses an excellent example of a flashbulb memory when they discuss how you might remember the attacks on September 11th, 2001. The event was very traumatic, thus revving up the emotional amygdala that happens to be near the long-term memory coding part of the brain, the hippocampus. Emotions get tied up in the memory, causing information to change.
While discussing the importance of giving your viewer what they need to remember it is important to understand that it is okay for the user to forget. It's not a conscious effort to forget something (usually) and it is usually more helpful than detrimental. If you have important information that the viewer needs to remember its best to provide it in the design, or make it easy to find that information.
CHAPTER ANALYSIS
This chapter has been my favorite thus far. There was a lot of really great information to use as a designer and just for life in general While I feel like I have a good grasp of the lacking ability of short-term or working memory, I was surprised by the information that I read about memories and the fact that they are no concrete.
In my experience with online classes I have found it incredibly hard to read e-books. One of my biggest arguments is that the way the pages get broken up. For example, one page will have text that relates to an image that is on the next page. Typically in hard-printed books these pieces of information would be together. Online, I am forced to go back and forth multiple times to remember what the information about the picture is and to see the picture. This can be seen as an issue with working memory.
The fact that memories can change is also an interesting one. I have heard my mom on more than one account retell a story but not exactly how it happened. Maybe feelings were misplaced from the beginning of the story and it has changed the whole feel of the story. I used to find it really annoying because it felt like she preferred exaggeration (the jury is still out on that) but now I know it might just be a serious of connections and patterns that are trying to be created and turned into memory (even if it is wrong memory).
10.17.2013
contest entry options
 |
| My first potential entry into an illustration competition is an illustration I did of Wednesday Adams. I used mauve colored Canson paper as a base, hadowed with Prismacolor grey tones, and color with Prismacolor colored pencils. This is one of my favorite conceptual illustrations from school. The idea is that this is Wednesday's reaction to bringing home the new Adam's baby. |
 |
| My second contest option is this image I manipulated in Photoshop. I took a photo of this building during the day (see below), created a night time scene, and painted the photo so that it looked like lights were on and illuminating the trees. |
 |
| Original photo. |
 |
| Another possible contest entry. This is a charcoal illustration I did to pay homage to various fairytales. It's a bit like a photo hunt to find and identify each piece that comes from a story. This would be for the Forsaken Nature competition. |
10.16.2013
thesis response four
The fourth thesis I read is by Eric Davey called The Effects of Mise en Scene on Motion Graphics. Elements of mise en scene include "costume and makeup, setting, lighting, and point of view." These elements may also apply to motion graphics, which is what Eric decided to base his paper on. My initial problem with this thesis is that it didn't IMMEDIATELY give a non-dictionary definition of mise en scene. After googling to find out what it meant I suppose I could have figured it out know what a mise en place is, however, it would have been nice to get a person to person verbalized definition. Mise en scene basically covers what is scene on the screen at a given time including set, characters (in costumes and makeup), etc.
Being a picky designer, I found it humorous and ironic that when the author was discussing how important setting is and how an overwhelming set can cause confusion or lack of interest in the main object Eric's paper was presented in a way that was confusing. The fusion of images spread throughout the text caused my eyes to drift and created hierarchical difficulty in reading. But, back to the writing. I did like his examples of set design and how they did or did not affect the viewer negatively. His points about how important color usage is really rang true to me as a designer. It is so important to know the meanings of colors and hues and to be able to use them in a way that create a feeling without being overtly obvious to the viewer. I felt like the color could have been tied in with the lighting since they really work together. However, I did find his examples about key lights and fill lights to be very interesting.
Point of view is very important, not only in motion graphics but in all graphic design. I do believe that this was potentially one of the most important areas to describe mise en scene. I feel like Eric appropriately discussed it's use in movies however I feel like he fell short on examples of motion graphics.
In conclusion, I enjoyed Eric's thesis. I do feel like it left something to be desired as far utilizing motion graphics as examples. I found most examples to be strictly movie examples and that made me pull away from the subject of the paper. I also think that it would have been beneficial to incorporate videos into the paper like Corina did to really nail down what a motion graphic is for the reader.
https://dl.dropbox.com/u/1683194/ais_classes/portfolio_pres/13wi/thesis/Davey%20Thesis.pdf
Being a picky designer, I found it humorous and ironic that when the author was discussing how important setting is and how an overwhelming set can cause confusion or lack of interest in the main object Eric's paper was presented in a way that was confusing. The fusion of images spread throughout the text caused my eyes to drift and created hierarchical difficulty in reading. But, back to the writing. I did like his examples of set design and how they did or did not affect the viewer negatively. His points about how important color usage is really rang true to me as a designer. It is so important to know the meanings of colors and hues and to be able to use them in a way that create a feeling without being overtly obvious to the viewer. I felt like the color could have been tied in with the lighting since they really work together. However, I did find his examples about key lights and fill lights to be very interesting.
Point of view is very important, not only in motion graphics but in all graphic design. I do believe that this was potentially one of the most important areas to describe mise en scene. I feel like Eric appropriately discussed it's use in movies however I feel like he fell short on examples of motion graphics.
In conclusion, I enjoyed Eric's thesis. I do feel like it left something to be desired as far utilizing motion graphics as examples. I found most examples to be strictly movie examples and that made me pull away from the subject of the paper. I also think that it would have been beneficial to incorporate videos into the paper like Corina did to really nail down what a motion graphic is for the reader.
https://dl.dropbox.com/u/1683194/ais_classes/portfolio_pres/13wi/thesis/Davey%20Thesis.pdf
thesis response three
The third thesis I decided to read was Cultural Fusion in Brand Strategy by Aeson Chen. This thesis focuses on Aeson's belief that "cultural hybridization which avoids the pitfalls of gentrification, exoticism and orientalism... will have a huge impact to create a new value to the world." While some might argue that cultural fusion can "dilute the original traditions and styles," I too believe that the future of design is a more conglomerate of many styles and cultures.
Aeson describes the potential problems of fusion as gentrification, exoticism and orientalism. Gentrification is a common term used in real estate that describes the action of renovation of housing to bring in an upper or middle class citizens while displacing lower income businesses and families. Exoticism is our draw to the unfamiliar. We often find ourselves interested in styles that we aren't used to and we might utilize a style to represent a look and feel of something. However, this can turn out negatively because misrepresentation can occur and it can lose its traditional meaning. Orientalism is a type of stereotyping that can again create misrepresentations and create a negative impact on a culture.
In his thesis, Aeson chose really interesting examples cultural fusion that has failed and succeeded. I appreciate that he incorporated food, fashion, and design. I too have found it interesting that most "foreign" food to Americans we take and bastardize to our taste. Italian food (pizza, pasta), Mexican food (tacos, rice and beans) etc. all take form of something foreign to the original food culture. Many people may find that when they travel the food doesn't taste like American versions of the food they are eating. I found the examples of successful fusion to be VERY beautiful and exciting.
In conclusion, I felt Aeson's thesis was very interesting and it made a beautiful argument for fusion the right way. We have come a long way in art and design and being inspired by other cultures and styles can create some amazing work.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/12fa/thesis/chen_aeson_thesis.pdf
Aeson describes the potential problems of fusion as gentrification, exoticism and orientalism. Gentrification is a common term used in real estate that describes the action of renovation of housing to bring in an upper or middle class citizens while displacing lower income businesses and families. Exoticism is our draw to the unfamiliar. We often find ourselves interested in styles that we aren't used to and we might utilize a style to represent a look and feel of something. However, this can turn out negatively because misrepresentation can occur and it can lose its traditional meaning. Orientalism is a type of stereotyping that can again create misrepresentations and create a negative impact on a culture.
In his thesis, Aeson chose really interesting examples cultural fusion that has failed and succeeded. I appreciate that he incorporated food, fashion, and design. I too have found it interesting that most "foreign" food to Americans we take and bastardize to our taste. Italian food (pizza, pasta), Mexican food (tacos, rice and beans) etc. all take form of something foreign to the original food culture. Many people may find that when they travel the food doesn't taste like American versions of the food they are eating. I found the examples of successful fusion to be VERY beautiful and exciting.
In conclusion, I felt Aeson's thesis was very interesting and it made a beautiful argument for fusion the right way. We have come a long way in art and design and being inspired by other cultures and styles can create some amazing work.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/12fa/thesis/chen_aeson_thesis.pdf
unit 2: how people read
CHAPTER SYNOPSIS
This chapter focuses on how people read. It is very important to understand how people are reading our information so that is it read correctly. It starts by disputing something we learned at a young age: that reading capital letters are more difficult than reading sentence case letters. According to "myth" we've learned that the eye is not so much triggered by the shape of the word, but more so anticipating the shapes of the letters for recognition.
As we've all experienced, reading and comprehending are not one and the same thing. The chapter discusses the use of a Flesch-Kincaid formula can aid in determining how difficult something you've written is to read. For example, thus far my synopsis is rated at a 12th grade reading level and has an ease of 41 to read (on a scale to 90 where 90 shows ease of readability as seen in comic books).
A few more take aways I found important in this chapter: It takes different areas of the brain to view, listen, speak, and generate words. As humans we naturally look for patterns and the use of serifed fonts can help lead us letter to letter. Font choice is extremely important; an overly decorative or difficult to read typeface will result in the reader losing the meaning of the text. Font size is important; it's important to have your font big enough so that your readers of varying ages may read it (this blog is a bad example of this). Reading on a computer screen is more difficult than reading in print and there are necessary steps to take in order to make it easier for your viewer to do so such as adding contrast between foreground and background, breaking up text into chunks, and using larger point size. People read longer line lengths more quickly, but are more comfortable with shorter line lengths.
DEFINITIONS
Saccade- movement of the eyes between fixed points. An example of a saccade is the rapid eye movement between words when we are reading. We might not realize that the eyes are moving rapidly because we feel like we read in smooth sentences, but realistically our eyes are bouncing from word to word.
Fixation- fixation is the moment of stillness or pause between the saccade when reading. The eyes bounce between words and usually take a small pause which is called fixation.
CHAPTER ANALYSIS
This chapter felt like a review of earlier classes in my study. As a graphic designer I absolutely must have a tight grasp on typography and readability in order to express my ideas with type. Hierarchy and the use of titles and headlines is very important in my field and in our society. Unfortunately, I feel like people take-away the headline more than the information written after it, so it is immensely important to get the overall idea of the piece in the headline. I can't begin to explain how many times I've seen people post exclamations on facebook by quoting the title of an article from The Onion as truth instead of farce. It's incredibly frustrating, but our society is more interested in speed than content it seems. Portlandia hits home in a funny skit, "Did You Read?" about competitive reading. To me this sums up more than just our obsession with headlines, but really our obsession with knowing many things and being less focused on one specialty.
My favorite section in this chapter was the section that focused on checking readability with the Flesch-Kincaid formula. I think it is a really useful tool to use when writing for a specific audience. Of course, this means that you need to know your audience before writing for them. I will really use this tool in my future when designing and copy writing for specific audiences.
This chapter focuses on how people read. It is very important to understand how people are reading our information so that is it read correctly. It starts by disputing something we learned at a young age: that reading capital letters are more difficult than reading sentence case letters. According to "myth" we've learned that the eye is not so much triggered by the shape of the word, but more so anticipating the shapes of the letters for recognition.
As we've all experienced, reading and comprehending are not one and the same thing. The chapter discusses the use of a Flesch-Kincaid formula can aid in determining how difficult something you've written is to read. For example, thus far my synopsis is rated at a 12th grade reading level and has an ease of 41 to read (on a scale to 90 where 90 shows ease of readability as seen in comic books).
A few more take aways I found important in this chapter: It takes different areas of the brain to view, listen, speak, and generate words. As humans we naturally look for patterns and the use of serifed fonts can help lead us letter to letter. Font choice is extremely important; an overly decorative or difficult to read typeface will result in the reader losing the meaning of the text. Font size is important; it's important to have your font big enough so that your readers of varying ages may read it (this blog is a bad example of this). Reading on a computer screen is more difficult than reading in print and there are necessary steps to take in order to make it easier for your viewer to do so such as adding contrast between foreground and background, breaking up text into chunks, and using larger point size. People read longer line lengths more quickly, but are more comfortable with shorter line lengths.
DEFINITIONS
Saccade- movement of the eyes between fixed points. An example of a saccade is the rapid eye movement between words when we are reading. We might not realize that the eyes are moving rapidly because we feel like we read in smooth sentences, but realistically our eyes are bouncing from word to word.
Fixation- fixation is the moment of stillness or pause between the saccade when reading. The eyes bounce between words and usually take a small pause which is called fixation.
CHAPTER ANALYSIS
This chapter felt like a review of earlier classes in my study. As a graphic designer I absolutely must have a tight grasp on typography and readability in order to express my ideas with type. Hierarchy and the use of titles and headlines is very important in my field and in our society. Unfortunately, I feel like people take-away the headline more than the information written after it, so it is immensely important to get the overall idea of the piece in the headline. I can't begin to explain how many times I've seen people post exclamations on facebook by quoting the title of an article from The Onion as truth instead of farce. It's incredibly frustrating, but our society is more interested in speed than content it seems. Portlandia hits home in a funny skit, "Did You Read?" about competitive reading. To me this sums up more than just our obsession with headlines, but really our obsession with knowing many things and being less focused on one specialty.
My favorite section in this chapter was the section that focused on checking readability with the Flesch-Kincaid formula. I think it is a really useful tool to use when writing for a specific audience. Of course, this means that you need to know your audience before writing for them. I will really use this tool in my future when designing and copy writing for specific audiences.
thesis response two
The second thesis I chose to read was Kinetic Typography: Implementing Narrative by Corina Rivera. She explained the ways that kinetic typography can be used as a "means of storytelling and character development." She focuses on the use of kinetic typography for movie title sequences. According the Saul Bass, a movie sequence will set mood and the underlying core of the story of the film.
I really enjoyed Corina's examples of kinetic type in movies. I feel like there are a number of films that always stick out in my mind as having a really wonderful opening sequence with interesting type. It's always fun when a film starts out with interesting type for the credits and I find that many animated films from Pixar and Disney utilize new ways to incorporate otherwise "boring" information. Even older Disney movies had an element of interest in the opening credits (specifically Cinderella where as the opening story is told there are pages turning, etc). Its a far departure from older films such as The Wizard of Oz, where you see static type on a page and are less likely to pay attention.
The fact that Corina also delved into the world of typefaces and their meanings was very interesting. I felt like it was an integral part of her argument. As a graphic designer, I know the value of a typeface choice as well as the way its general shape can be read and dissected. I'm really glad to see that she used the example of the opening scene for The Girl With The Dragon Tattoo. It is one of my favorite recent opening scenes, and while the typography is not the focus, it FITS extremely well with the dark imagery. The Shop Vac example reminds me of the music video for "It's Alright With Me" by Eric Hutchinson. Using the typography in a playful movement really emphasizes the exciting nature of the film or video.
Overall, I felt like Corina's thesis was very interesting and I learned about some 2D art rules that can be used in animated type and a 3D world. I have been very interested in kinetic typography for a long time and it is interesting to dissect that world.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/13su/thesis/Rivera_Corina_Thesis.pdf
I really enjoyed Corina's examples of kinetic type in movies. I feel like there are a number of films that always stick out in my mind as having a really wonderful opening sequence with interesting type. It's always fun when a film starts out with interesting type for the credits and I find that many animated films from Pixar and Disney utilize new ways to incorporate otherwise "boring" information. Even older Disney movies had an element of interest in the opening credits (specifically Cinderella where as the opening story is told there are pages turning, etc). Its a far departure from older films such as The Wizard of Oz, where you see static type on a page and are less likely to pay attention.
The fact that Corina also delved into the world of typefaces and their meanings was very interesting. I felt like it was an integral part of her argument. As a graphic designer, I know the value of a typeface choice as well as the way its general shape can be read and dissected. I'm really glad to see that she used the example of the opening scene for The Girl With The Dragon Tattoo. It is one of my favorite recent opening scenes, and while the typography is not the focus, it FITS extremely well with the dark imagery. The Shop Vac example reminds me of the music video for "It's Alright With Me" by Eric Hutchinson. Using the typography in a playful movement really emphasizes the exciting nature of the film or video.
Overall, I felt like Corina's thesis was very interesting and I learned about some 2D art rules that can be used in animated type and a 3D world. I have been very interested in kinetic typography for a long time and it is interesting to dissect that world.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/13su/thesis/Rivera_Corina_Thesis.pdf
thesis response one
The first thesis I chose to read is one by Kwan-Yi/Candy Chan. She wrote about manual or user guide design. She discusses the problems that may arise with the design of manuals that might have "too much text, a lack of pictorial information, ambiguous and difficult to understand directions." She also brings up the issue of when the selling of a product enters international territory and the problems that arise with additional language information and barriers in instructions. Her paper is focused on how our current "media and technology can effectively sharpen manual and procedural instruction design."
I really enjoyed learning about technologies that I wasn't even aware of (such as Texture lab application and haptic technology) in this paper. As a designer, it's important for me to understand the cutting edge of technology. The idea of utilizing various types of forward thinking technologies to help an seemingly ancient practice (when was the last time you FIRST read the manual before putting something together?). I feel like if these manual practices were more tech-forward more people would be willing to watch or learn before putting things together (although I'm certain that LEGOs gave us incredible practice with building).
I also really appreciated the honesty in the areas of problematic solutions to international audiences. Though I have rarely had problems where I couldn't read the manual (I think I've picked up an item or two from IKEA that had directions in Swedish but not English) I can imagine how incredibly frustrating that can be. Being fluent in Spanish has taught me that rarely can words and sentences really be directly translated. I think a great idea would be for a company to offer to pay a variety of people for their instructional videos on youtube in other languages.
Overall, I thought that Candy's paper was well-written and well researched. Since she is originally from Japan, I appreciate that she chose a subject that has potentially affected her life. She posed great questions and solutions for updating a design area that really needs a make-over.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/13su/thesis/KwanYi_Chan_SeniorThesis.pdf
I really enjoyed learning about technologies that I wasn't even aware of (such as Texture lab application and haptic technology) in this paper. As a designer, it's important for me to understand the cutting edge of technology. The idea of utilizing various types of forward thinking technologies to help an seemingly ancient practice (when was the last time you FIRST read the manual before putting something together?). I feel like if these manual practices were more tech-forward more people would be willing to watch or learn before putting things together (although I'm certain that LEGOs gave us incredible practice with building).
I also really appreciated the honesty in the areas of problematic solutions to international audiences. Though I have rarely had problems where I couldn't read the manual (I think I've picked up an item or two from IKEA that had directions in Swedish but not English) I can imagine how incredibly frustrating that can be. Being fluent in Spanish has taught me that rarely can words and sentences really be directly translated. I think a great idea would be for a company to offer to pay a variety of people for their instructional videos on youtube in other languages.
Overall, I thought that Candy's paper was well-written and well researched. Since she is originally from Japan, I appreciate that she chose a subject that has potentially affected her life. She posed great questions and solutions for updating a design area that really needs a make-over.
https://dl.dropboxusercontent.com/u/1683194/ais_classes/portfolio_pres/13su/thesis/KwanYi_Chan_SeniorThesis.pdf
10.11.2013
10.10.2013
10.08.2013
unit 1: how people see
CHAPTER SYNOPSIS
This chapter is all about how people see. It explains that vision is not simply what our eyes bring in, but also how our brain interprets these things. It helps if you think of an optical illusion.
DEFINITIONS
Geon- geometric shape icons used to help identify objects.
FFA- fusiform face area that allows the brain to recognize faces by using interpretive channels.
Canonical Perspective- a perspective similar to a three quarter view, that usually shows an object slightly from above and skewed to the left or right.
Affordance- cues from an object that help communicate how you can and should interact with them. For example, a can opener has a twist knob that fits your hand and is attached to a circular device that might indicate that you turn it.
CHAPTER ANALYSIS
I found this chapter to be very interesting. Personally, I know I am plagued by patterns. I constantly scan life around me to see patterns; kitchen counter tops, tile floors, carpeting, and ceiling panels never escape my wandering eyes. I am so obsessed with finding patterns that I try to live a patternless life. I see them everywhere, so I attempt to get away from them.
In design, it is especially important to understand what your viewer expects. I have web design in mind when I discuss this. If you create something that looks like a button yet is not click able you will find that a user of the website will quickly become frustrated. A viewer is used to different tabs or links on a page to typically stay in the same order and place from page to page. Imagine how frustrating it would be if on each page the links changed order or were placed in a different area.
There were many good take-aways from this chapter (mostly what I've listed above) that I found to be interesting. However, I do feel like I had a lot of the knowledge from this chapter already. I feel like a lot of these "rules" or ways of changing design for usability are very often focused on in this school. An artist can make something pretty, but a designer can make it work.
This chapter is all about how people see. It explains that vision is not simply what our eyes bring in, but also how our brain interprets these things. It helps if you think of an optical illusion.
This particular illusion suggests that our brain can take what our eyes see and misinterpret it. It appears that the second shape has a longer line than the first, when in reality the lines are the same length. This is an example of what this chapter focuses on.
There are a few main take-aways from the chapter: peripheral vision accounts for most of what we see, humans by nature attempt to find patterns, people can scan screens and look at them in a way that relates to what they have seen before, people pick up visual cues from shapes, and things that are placed closely together are typically interpreted by the viewer to mean they belong together. All of these lessons can help a designer to build something for a customer. If you have a good understanding of how things are read and seen you are better prepared to create something that is not only readable, but understandable to the viewer.
DEFINITIONS
Geon- geometric shape icons used to help identify objects.
FFA- fusiform face area that allows the brain to recognize faces by using interpretive channels.
Canonical Perspective- a perspective similar to a three quarter view, that usually shows an object slightly from above and skewed to the left or right.
Affordance- cues from an object that help communicate how you can and should interact with them. For example, a can opener has a twist knob that fits your hand and is attached to a circular device that might indicate that you turn it.
CHAPTER ANALYSIS
I found this chapter to be very interesting. Personally, I know I am plagued by patterns. I constantly scan life around me to see patterns; kitchen counter tops, tile floors, carpeting, and ceiling panels never escape my wandering eyes. I am so obsessed with finding patterns that I try to live a patternless life. I see them everywhere, so I attempt to get away from them.
In design, it is especially important to understand what your viewer expects. I have web design in mind when I discuss this. If you create something that looks like a button yet is not click able you will find that a user of the website will quickly become frustrated. A viewer is used to different tabs or links on a page to typically stay in the same order and place from page to page. Imagine how frustrating it would be if on each page the links changed order or were placed in a different area.
There were many good take-aways from this chapter (mostly what I've listed above) that I found to be interesting. However, I do feel like I had a lot of the knowledge from this chapter already. I feel like a lot of these "rules" or ways of changing design for usability are very often focused on in this school. An artist can make something pretty, but a designer can make it work.
10.03.2013
contest entry options
Communication Arts Magazine - Illustration Design Contest
http://www.commarts.com/competitions/illustration
Fee- Student $35
As one, if not, THE most renowned design magazines, I think it would be awesome to take the chance to send in a student illustration. I have a particular piece that I am fond of, my illustration of Wednesday Adams that I created earlier this year.
Hiiibrand Awards 2013
http://www.graphiccompetitions.com/graphic-design/hiiibrand-awards-2013 http://www.graphiccompetitions.com/jump.php?contest=hiiibrand-awards-2013
Fee- Identity $12 (60 hi coins) Logo $8 (40 hi coins) Package $8 (40 hi coins)
While I need to do more research into the hi coins to dollars conversion, I like this contest because I have some identity systems that I really like and would be interested in entering them. For this particular contest I am thinking of using my Backdoor at Roxy's or Bathtub Gin logos or identity systems.
Creative Anarchy - HOW Books
http://www.graphiccompetitions.com/jump.php?contest=creative-anarchy-call-for-submissions
Fee- None
This contest discusses the nature of following and breaking design rules. You enter two pieces that showcase each following and breaking of rules. While I'm not sure I have a piece right now that I would be interested in sending in, I know that I could potentially create something interesting.
Forsaken Nature
http://allartcompetitions.com/art-competition/foresaken-nature-call-for-entries/#.Uk3fymSgnJY
Fee- $35
This competition wants a piece that the artist creates of a "Forsaken Nature." Being a fan of all things creepy and dark, I feel like this would be a great fit for a contest for me. I have a large charcoal drawing of a somewhat messed up fairytale that I think could be a good entry. I would also, however, be interested in creating something new for this contest.
Fee- Student $35
As one, if not, THE most renowned design magazines, I think it would be awesome to take the chance to send in a student illustration. I have a particular piece that I am fond of, my illustration of Wednesday Adams that I created earlier this year.
Hiiibrand Awards 2013
http://www.graphiccompetitions.com/graphic-design/hiiibrand-awards-2013 http://www.graphiccompetitions.com/jump.php?contest=hiiibrand-awards-2013
Fee- Identity $12 (60 hi coins) Logo $8 (40 hi coins) Package $8 (40 hi coins)
While I need to do more research into the hi coins to dollars conversion, I like this contest because I have some identity systems that I really like and would be interested in entering them. For this particular contest I am thinking of using my Backdoor at Roxy's or Bathtub Gin logos or identity systems.
Creative Anarchy - HOW Books
http://www.graphiccompetitions.com/jump.php?contest=creative-anarchy-call-for-submissions
Fee- None
This contest discusses the nature of following and breaking design rules. You enter two pieces that showcase each following and breaking of rules. While I'm not sure I have a piece right now that I would be interested in sending in, I know that I could potentially create something interesting.
Forsaken Nature
http://allartcompetitions.com/art-competition/foresaken-nature-call-for-entries/#.Uk3fymSgnJY
Fee- $35
This competition wants a piece that the artist creates of a "Forsaken Nature." Being a fan of all things creepy and dark, I feel like this would be a great fit for a contest for me. I have a large charcoal drawing of a somewhat messed up fairytale that I think could be a good entry. I would also, however, be interested in creating something new for this contest.
3.02.2013
app design strategy part two
My mood board app
App that works on iPhone as well as iPad-
Helps user create mood boards in a time efficient matter, allowing use of photos on camera as well as an in-app camera feature. Produced by FontShop- shows their fonts for text (profit based).
APP FEATURES
My saved boards
New board
-using a template or blank
-adjustable margins for templates
Share boards
-email
-facebook
Tutrorial
-app touch commands
MOODBOARD FEATURES
Snap margins (smart margins, can be set to 0 but will no allow overlap)
Pinch to zoom/alter size
Font picker (font shop provided fonts)
-color choice
-will likely provide full alphabet of font or "Lazy brown fox…" sentence)
Color picker (color wheel with hex code)
Take photo (in app camera)
-crop allowance
Upload photo (access to photo albums)
-crop allowance
USERS
Designers
-Graphic
-Web
-Interior
-Fashion
Occasional use
-weddings
- events
Prefers a speedy app that can design a quick and easy mood board to send to clients
On the go
Prefers to snapshot their own images for ideas for textures, colors, fonts, etc
Likely a designer who doesn't want to spend time designing a mood board in indesign
Inspired by local life surrounding them
Interested in sharing ideas to someone in their life to translate them into their decor/event/etc
Has used an iphone/ipad before and can utilize common intuitive design (pinch to shrink, etc)
APP DEFINITION STATEMENT
My mood board
Fontshop Mood board
Dream board
Idea board
Inspiration board
WHAT DO WE NEED
Access to photos saved in phone
Updated list of fonts available at font shop
Possible "memory" feature for "my recent…" or "my favorite…" choices
In-app camera
2.20.2013
app design strategies
Expanded from the Taco hunter idea to be broadened and geared toward a Spanish native away from home. Can be for tourists, new-to-towners, or just people interested in getting more into their culture. Will be offered in English and Spanish language. This could be a gateway app and if it goes well it could be branched out for other cultures, non-English native.
FEATURES
Geolocation feature to find nearby things
- Carnicerias
- Spanish grocery stores
- Restaurants
- Churches
- Hospital- spanish speaking
- Bank
-add new location if not available
Events
ESL/Citizenship class dates
Favorites- save places you've been
USERS
Spanish speaking users
Students from out of the country (or just out of town)
Prefer to go to a butcher shop for meat
Need specialty seasonings or grocery products
Prefer to speak spanish (native language)
Likes the neighborly feel of market- like sales places
Interested in participating in cultural events
On the go, needs to be able to find services they need easily and comprehensively
Looking to keep their culture alive in new home
Likes familiar things
Interested in learning or broadening knowledge of English language and culture
APP DEFINITION STATEMENT
Bringing your culture home.
Culture Connect.
WHAT DO WE NEED
Some sort of backing company (be it a local cultural center or ?) to update event and els course lists
Geolocating is pretty self sufficient, but will have the option to add a new place if it is not listed
app design brainstorm
Taco Hunter
This application will utilize the gps/locater and direct it's user to the nearest Mexican food place! Realistically, it wouldn't be a great app if it was sponsored by one specific group, so I'd probably have to find a local city paper (like The Stranger) to sponsor it. Possible in app links could be a "nearest place" page, "my favorites" where you can save your favorite spots, "search" for a specific mexican food item, and "restaurant" pages that describe where it is, their phone number, some blurb and the menu.
Seattle Pet Adoption
A locally sponsored app, maybe by Seattle Humane Society. Basically, I have been recently looking into adopting a dog (while I'm at work, thus on my phone) and am constantly sent to non-mobile-optimized websites that are insanely difficult to navigate, as well as see their options. I would like to create a fun app that really helps get animals adopted. I imagine it will be really fun, with bios and pictures of animals available to adopt.
Museum Tour
Virtual tour guide for a local Seattle Museum. Will include information on the the featured gallery, walk through maps, and potentially links to finding and buying artwork or prints? Probably has been done, but I imagine it could be a useful app if you are so inclined to LEARN about the art you're seeing. If you're even going to museums.
The Stranger's Bar A Day
Sponsored by Seattle's The Stranger Magazine, this app would be maybe a one time a year app that suggests a bar to go to every day. The app would open with the (potentially sponsored) bar of the day. It would contain information about why it was chosen, when it's hours are, location, etc. Could potentially become a deal offering app, where the on the day for a bar it would have specials? This idea came to me because I know that Seattle is a huge city with tons of options as far bars and I personally always try to explore new places. This would be a great way to get people out!
This application will utilize the gps/locater and direct it's user to the nearest Mexican food place! Realistically, it wouldn't be a great app if it was sponsored by one specific group, so I'd probably have to find a local city paper (like The Stranger) to sponsor it. Possible in app links could be a "nearest place" page, "my favorites" where you can save your favorite spots, "search" for a specific mexican food item, and "restaurant" pages that describe where it is, their phone number, some blurb and the menu.
Seattle Pet Adoption
A locally sponsored app, maybe by Seattle Humane Society. Basically, I have been recently looking into adopting a dog (while I'm at work, thus on my phone) and am constantly sent to non-mobile-optimized websites that are insanely difficult to navigate, as well as see their options. I would like to create a fun app that really helps get animals adopted. I imagine it will be really fun, with bios and pictures of animals available to adopt.
Museum Tour
Virtual tour guide for a local Seattle Museum. Will include information on the the featured gallery, walk through maps, and potentially links to finding and buying artwork or prints? Probably has been done, but I imagine it could be a useful app if you are so inclined to LEARN about the art you're seeing. If you're even going to museums.
The Stranger's Bar A Day
Sponsored by Seattle's The Stranger Magazine, this app would be maybe a one time a year app that suggests a bar to go to every day. The app would open with the (potentially sponsored) bar of the day. It would contain information about why it was chosen, when it's hours are, location, etc. Could potentially become a deal offering app, where the on the day for a bar it would have specials? This idea came to me because I know that Seattle is a huge city with tons of options as far bars and I personally always try to explore new places. This would be a great way to get people out!
2.06.2013
book promotional website: site map
The Book: describes the book and potentially convinces the user to purchase the book by showing reviews.
Characters: talks about the interesting characters.
Author: talks about the author and his other works as well as offers a place where the user can purchase the book.
Events: lists events such as upcoming releases and touring options.
book promotional website: moodboard & type/color choices
 | ||||||
| Asterios Polyp Mood Board |
Color Scheme: Possibly the most inspiring part of this book is way that colors are used. Being a graphic designer it is really fun to have the chance to work with this book because it uses the over printing process. To choose colors I simply pulled from the most prominent colors in the book.
Texture: Texture is used in this book to convey the differences between the characters. Hana is sensitive and emotional and the lines that are used for her are complex and curvilinear. Asterios on the other hand is very serious and logical and the lines that are used for him are greatly geometric, architecture-like shapes.
Typography: I would really like to incorporate some funky, chunky, and geometric feeling type. The book title uses a very squared typo choice with various overprint shapes to create something visually interesting. I have chosen a variety of typefaces that I think would compliment the book cover without completely stealing from it. I am definitely leaning towards the idea of using a big chunky decorative font with an almost utilitarian, sci-fiesque compliment.
 |
| Asterios Polyp Typography & Color Choices |
book promotional website: project statement
JOB: BOOK PROMOTIONAL WEBSITE
CLIENT: DAVID MAZZUCCHELLI & PANTHEON BOOKS
ITEMRS: PROMOTIONAL WEBSITE FOR GRAPHIC NOVEL ASTERIOS POLYP
PROJECT DESCRIPTION:
Create a website to promote the graphic novel, Asterios Polyp. Website needs to be visually similar, but not the same as the book cover. It should offer a link to purchase the book or other books by the same artist as well as an event page that shows tours and upcoming releases.
TARGET AUDIENCE:
Men ages 24-40, interested in graphic novels as well as intricate stories
Women ages 22-30, likes romantic stories as well as comics
Women ages 22-30, likes romantic stories as well as comics
The target audience is a more mature group as far as age goes, since this graphic novel is not a traditional children’s comic. I would suggest upper to mid twenties for men and lower twenties to early thirties for women. Being a graphic novel and not a comic, it has a storyline that can be be romantic or dramatic. There might as well be an older following of people that follow all of the author’s works that can be considered a secondary target audience.
PURPOSE:
The purpose of this website is to allow users to read about the novel, characters, and see snip-its from the story as well as to get them to purchase the novel and potentially others by the same author. It will also promote the author’s book tours.
OBSTACLES:
Keeping the site mature enough for the audience while still using the overall feel and graphic nature of the novel. Convincing the user to purchase the book by showing excerpts without giving it away. Creating a webspace that can be revisited to follow upcoming releases and touring information.
STYLE & TONE:
Follow style and tone of book cover. Color scheme found in book as pink, blue, yellow, and purple. Utilize strong, geometric typefaces that compliment but do not duplicate the cover title. Experiment with transparency and overprint techniques. Geometric strong shapes meet emotional squiggly shapes. Line drawing. Overall tone should feel logical and straightforward, similar to the tone of the voice in the main character. Architectural and mathematical.
ABOUT THE BOOK:
This graphic novel follows Asterios Polyp, who might be described as logical, rational, and cold. He has his way with woman, leaving a trail of broken hearts behind him.
The story moves between the past and the present and shows the reader the true character of Asterios. We meet Hana, who changes everything.
“The triumphant return of one of comics’ greatest talents, with an engrossing story of one man’s search for love, meaning, sanity, and perfect architectural proportions. An epic story long awaited, and well worth the wait.
Meet Asterios Polyp: middle-aged, meagerly successful architect and teacher, aesthete and womanizer, whose life is wholly upended when his New York City apartment goes up in flames. In a tenacious daze, he leaves the city and relocates to a small town in the American heartland. But what is this “escape” really about?
As the story unfolds, moving between the present and the past, we begin to understand this confounding yet fascinating character, and how he’s gotten to where he is. And isn’t. And we meet
Hana: a sweet, smart, first-generation Japanese American artist with whom he had made a blissful life. But now she’s gone. Did Asterios do something to drive her away? What has happened to her? Is she even alive? All the questions will be answered, eventually.
In the meantime, we are enthralled by Mazzucchelli’s extraordinarily imagined world of brilliantly conceived eccentrics, sharply observed social mores, and deftly depicted asides on everything from design theory to the nature of human perception. ”1
ABOUT THE AUTHOR:
David Mazzucchelli has been making comics his whole life. Known chiefly for his collaborations - with Frank Miller on seminal Batman and Daredevil stories, and with Paul Karasik on an adaptation of Paul Auster's novel, City of Glass - he began publishing his own stories in 1991 in his anthology magazine, Rubber Blanket. Since then his short comics have been published in books and magazines around the world. Asterios Polyp is his first graphic novel. 1
REVIEWS:
For decades, Mazzucchelli has been a master without a masterpiece. Now he has one. His long-awaited graphic novel is a huge, knotty marvel, the comics equivalent of a Pynchon or Gaddis novel, and radically different from anything he's done before. Asterios Polyp, its arrogant, prickly protagonist, is an award-winning architect who's never built an actual building, and a pedant in the midst of a spiritual crisis. After the structure of his own life falls apart, he runs away to try to rebuild it into something new. There are fascinating digressions on aesthetic philosophy, as well as some very broad satire, but the core of the book is Mazzucchelli's odyssey of style—every major character in the book is associated with a specific drawing style and visual motifs, and the design, color scheme and formal techniques of every page change to reinforce whatever's happening in the story. Although Mazzucchelli stacks the deck—few characters besides Polyp and his inamorata, the impossibly good-hearted sculptor Hana, are more than caricatures—the book's bravado and mastery make it riveting even when it's frustrating, and provide a powerful example of how comics use visual information to illustrate complex, interconnected topics. Easily one of the best books of 2009 already. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
“Mazzucchelli manages to combine breathless formal experimentation and read feeling into a story where every line, color choice, and panel arrangement builds toward a cohesive whole, lending an air of epic proportions to what would otherwise be a simple tale.” –Library Journal
“This is an epic, emotionally rich, symbol-laden work that promises to redefine the graphic novel...David Mazzucchelli has made a beautiful, elaborate construction that coyly juggles style and content in a way few cartoonists are capable of.” –Globe and Mail
“This brazenly original and complex work is easily one of the year's best novels, graphic or otherwise…Brilliant. Absolutely brilliant.” –San Jose Mercury News
“David Mazzucchelli's boldly ambitious, boundary-pushing graphic novel is remarkable for the way it synthesizes word and image to craft a new kind of storytelling, and for how it makes that synthesis seem so intuitive as to render it invisible…Asterios Polyp is a fast, fun read, but it's also a work that has been carefully wrought to take optimum advantage of comics' hybrid nature — it's a tale that could only be told on the knife-edge where text and art come seamlessly together.” –NPR’s The Five Best Books to Share with Your Friends
“As ever, Mazzucchelli keeps both the visual and storytelling fireworks coming…This is a work that demands to be read, re-read, analyzed, and discussed.”—Comics Bulletin
“Formally daring yet stylistically self-assured, Asterios Polyp is a bona fide masterpiece and the early frontrunner for best graphic novel of the year…It’s the presentation— the use of narrative symbolism, color and visual metaphor—that truly sets the book apart. Much like he did with Year One over 20 years ago, Mazzucchelli has once again raised the bar for his entire artform.” –Chicago Sun Times
“This is a comic for artists, and it plays with space and color in ways that maybe only artists will understand, but it is a story for everyone, and Asterios Polyp is easily among the best graphic novels ever made. Go read it, and read it twice.” –Providence City Paper
“Mazzucchelli experiments with numerous art styles and pushes the envelope with challenging digressions into philosophy, religion and mortality throughout Polyp's tale. The engrossing effort culminates with a bombshell that will leave readers reeling.” –Toronto Star
“In Asterios Polyp -- the best of the summer's new releases -- Mazzucchelli employs spotlights, coloring schemes, knitting, Aristophanes, an identical twin who died at birth and the wide array of secretions from a woman's body to lead us into the self-centered world of the title character even as the center implodes…. Asterios Polyp is a primer for both the fervent possibilities and the rich rewards of the graphic novel.”—Portland Oregonian
“Now, after a decade-and-a-half, he has re-re-emerged with Asterios Polyp, an epic, emotionally rich, symbol-laden work that promises to redefine the graphic novel. Published by Pantheon Books (home to master-class cartoonists such as Art Spiegelman, Chris Ware and Dan Clowes), Asterios Polyp is Mazzucchelli's first graphic novel. It is also happens to be his masterpiece, the culmination of 25 years of promise….Mazzucchelli has made a beautiful, elaborate construction that coyly juggles style and content in a way few cartoonists are capable of.”—Globe and Mail (Canada)
“The beauty of Asterios Polyp is that its core tenet, the need to pay attention to life as it happens, is so well reflected in the book itself—in its lush paper tone and rough-hewn, elegant design—and in the way all the formal devices serve the story. As such, it rewards attention and even devotion.” –Bookforum
“The more you study Polyp, the more there is to discover. This is a book that stands with works by Updike, Roth, and other giants of American literature. It is undoubtedly one of the best novels of the year.” –The Stranger
“Asterios Polyp is a perfect marriage of words and pictures. Every drawing, color choice and panel layout is pregnant with meaning.” –Columbus Dispatch
“Mazzuchelli is using color to convey ideas in a way not attempted by most graphic novelists. The book is all about style, design and visual language, and Mazzuchelli is moving the discussion of all of these forward with Asterios Polyp.” –Matt Price's best graphic novels of 2009
Asterios Polyp will cause comic-book buffs to swoon, sure, but the narrative — after a fire, an arrogant architect slowly begins to rebuild his own life — makes it much more than a pretty picture book.” –Modern Tonic
“What Mazzucchelli accomplishes, though, with remarkable clarity and a jazzy pop-culture eye, and which the written word has a tougher time with, is portraying silence, moments between something said and something to come -- even thought itself. That sticks; those last pages are as tender and heartbreaking a portrait of lost time as I can recall, and no less powerful for being nearly wordless” –Chicago Tribune
“Critics have decried the modern graphic novel's focus on form at the expense of content. With "Asterios Polyp," Mazzucchelli has put paid to that charge: It's funny, it's warm and it's beautiful. Go read it.” –Newsday.com
“It contains a relatively simple story (and probably a deceptively simple one), but told in a dazzlingly stunning array of comic book techniques not possible in other mediums. Mazzucchelli is a genius of the form.” –Forbidden Planet
“Each panel is a moment in the story that when connected to other panels becomes part of a scene or sequence that is rich in storytelling and fertile with ideas, inquiry, and themes.” –ComicBookBin, A+ review
“Visually, Asterios Polyp is the lushest comic of the year--maybe of the last the 10 years, a decade not exactly thin on astounding cartooning. Mazzucchelli's work has all but abandoned the realistic musculature and architecture that made him stand out from his superhero peers. Asterios Polyp feels like three or four cartoonists working in concert, often on the same page, all of them firmly working on the "stylized" end of comics' spectrum.” –Baltimore City Paper
“This fan of the novel is an ever bigger fan of the magic that happens in comics, and only in comics, when text and art work together to create something wholly, wonderfully new. In books like Jimmy Corrigan -- and the just released ASTERIOS POLYP by David Mazzucchelli, it happens on every. Single. Page.”—NPR.ORG
“This absorbing, idiosyncratic tale of love, ambition and opportunity marks the return of one of the modern masters of graphic storytelling.”—Miami Herald
“You’ll be in awe of how perfect it is and certainly envious of it if you are a writer. What a beautiful, staggeringly brilliant piece of literature.”—Contra Costa Times
‘The book is a satirical comedy of remarriage, a treatise on aesthetics and design and ontology, a late-life Künstlerroman, a Novel of Ideas with two capital letters, and just about the most schematic work of fiction this side of that other big book that constantly alludes to the “Odyssey.”…. “Asterios Polyp” is a dazzling, expertly constructed entertainment, even as it’s maddening and even suffocating at times. It demands that its audience wrestle with it, argue with it, reread and re-examine it. Isn’t that the ultimate purpose of style?’—Douglas Wolk, NYTBR
“Heady with philosophical and mythological references, Asterios Polyp vaults Mazzucchelli into the top rank of graphic artists. It’s a sweeping, provocative book that blends the richness of the traditional novel with the best modern art. Mazzucchelli’s style - effortless and so versatile that you can’t imagine Asterios in any other medium - is sweeping in every sense.”—Boston Globe
“It's a remarkable, bravura achievement - funny, harrowing and thought-provoking.”—San Francisco Chronicle
"A dazzling expertly constructed entertainment...that is a satirical comedy of remarriage, a treatise on aesthetics and design and ontology, late life Künstlerroman, a Novel of Ideas with two capital letters..." –The New York Times Book Review
“Asterios Polyp reads like an intricately designed and heartfelt work of metafiction, juggling design theory, philosophy and sly nods to other cartoonists to create a dryly funny masterpiece.”—Time Out New York
“It's as if John Updike had discovered a bag of art supplies and LSD. Elegant, deceptively simple line work and nearly subliminal color symbolism make everything go down like candy. The narrative comes back to earth for a profoundly satisfying climax, but you'll want to keep turning pages - all the way back to the beginning, for another read."
–Entertainment Weekly
“Haunting and beautiful.”—Los Angeles Times
Subscribe to:
Posts (Atom)