Signature Sheet

Signature Sheet- I meet with Doug, Tony, Melanie, and Sigrid.

Dark Horse Wine Project Sheet.

Strangers on a Train Project Sheet.

Steak Ninja Project Sheet.

KY Jelly Ad Campaign Project Sheet.

Marilyn Monroe Project Sheet.

INDIVIDUAL NOTES:

Doug suggested that with my Steak Ninja project I show some work without the crosshair handle bar in my process book. He didn't like my Strangers on a Train typography music video. He said it was slow, boring, and didn't showcase anything of me, only what the program can do. Doug liked my Marilyn Monroe typography video, though. He suggested I try to make it sexier. As far as my KY Jelly Ad Campaign, Doug hated it. He said I was misdirected in art direction and he doesn't understand at all what I've done with it. He thinks it makes my work look uncreative and boring. The only critique he had for my Dark Horse was to grunge up the type.

  

Melanie liked my Dark Horse wine branding. She suggested that I actually create the bottle so I could take better photos to show. She also wanted me to mock up the parallax website. Melanie liked both my Marilyn Monroe and Strangers on a Train video. She wanted me to make sure overheard is one word and not two and she caught a terrible typo. She loved my KY Jelly Ad Campaign. She wants me to create a tradebooth or a parade float for it. She thinks that it would be great if I could get sachets manufactured. She wanted me to build out at least 2 physical packaging items that I can show.

Sigrid didn't have much critique for my Dark Horse Wine branding. She suggested that I change the envelope size for the stationery mock up. She also wants me to right align numbers in all of my projects and table of contents. She liked the idea of making sachets for the KY Jelly Ad Campaign. She wasn't sure of the three words at first, she felt that kinky and lucky fit together but silky didn't. After explaining the target audience for the specific silky ad, she agreed that it worked. Sigrid really liked both the Marilyn Monroe and the Strangers on a Train videos. She found them to be fun and well done. She suggested that for Steak Ninja I show an example of how I would have kerned the logo (the K needs to be opened).

Tony really wanted me to create the physical bottle for Dark Horse wine as well as the gift box packaging. He suggested to get the desired effect of a matte bottle with a shiny logo I use sand blasting. He wanted to emphasize the importance of having a mocked up website for Dark Horse. He didn't have much to say about Marilyn Monroe or Strangers on a Train. Tony suggested that I create some sort of meta data back end ideas with the My Moodboard App. He wants the app to create hashtags so that mood boards can be searchable. As far as the KY Jelly Campaign, Tony suggested I create a web banner ad with Adobe edge. He also liked the idea of doing a tradebooth and sample packets. I showed Tony my potential Smoking PSA Ad Campaign. He really liked the imagery and suggested I make it the hero and make the information much smaller so the images can draw the client in. He thought both the mobile and the pacifier were the most successful photos and that the teddy bear was a bit lacking in comparison. 

Artifact Ideas

Portfolio Timeline

TIMELINE

WEEK ONE

Establish projects for panel

Establish projects for website

Collect projects

WEEK TWO

Meet with Tony to discuss projects

Start website

Select theme/template or muse

Work on Darkhorse website mock up

WEEK THREE

Meet with Melanie to discuss projects

Meet with Nathan to discuss projects

Artifact sketches due

Start laying out process book

WEEK FOUR

Meet with Doug to discuss projects

Finish website

Signature sheet due

Job packet for Rene due

Marilyn & Strangers projects completed

WEEK FIVE

Present Steak Ninja & My Moodboard to Melanie for signature

Present Marilyn and Strangers to Nathan for signature

Work on KY Ad campaign 

Preliminary mock up of artifact due

Work on personal identity

Logo

Resume

Business card

WEEK SIX NO SCHOOL

Begin work on senior project

Update menu/action upon food received 

Personal identity prints ordered

WEEK SEVEN

Meet with Tony/Melanie for sign off on Dark Horse and KY ad campaign

Meet with Doug

Continue progress on senior project

Grey Scale Process book

Designed CD due

WEEK EIGHT

Artifact due

Signature sheet due

Projects finalized

WEEK NINE

Finalized website with all projects/photos up

Send Scott progress of process book

WEEK TEN

Have all printed materials gathered

Business card

Resume

Projects

Project Books

Mounted prints

Final process book due

Artifacts ready

Prepare for panel presentation

Doppelganger

If you could be anyone that you wanted, who would it be? This question is not one that haunts me often. I'm quite pleased with who I am and the direction I'm heading in. However, for the sake of this class and this blog post, I'll pretend I ponder this. 

During Career Development, we were required to set up informational interviews to attend to learn about the "real life" graphic design field. Possibly my most memorable meeting was with Jennifer, or Jenn, Stewart. She and Gage Mitchell were the soul designers and owners of Modern Species Graphic Design Firm. I set up a group interview with Gage and Jenn but they suggested I also do a personal interview and bring them some projects to see. 

I brought a few projects and showed them during the interview as I would if I were interviewing for a job. They enjoyed my presentation and offered good advice for future interviews. After I finished showing my work they showed me some of their projects.

Modern Species specializes in working green and sustainable. Both Gage and Jennifer have an intense love for the environment and prefer to leave less of a footprint where possible. Their clients are brands that I am familiar with (So Delicious, Craft Beer Week, etc). 

Before Jenn joined Gage in the graphic design endeavor she was a copy writer. I've always been interested and passionate about writing. One of my favorite things about design is having the ability to create clever tag lines and change/write body copy. 

Jenn and Gage are both active in AIGA. They are a happy team in their business and private lives. I look up to both of them for their views on sustainability, design, and love-business balance. For these reasons, if I had to be someone else, I would choose to be Jennifer Stewart, the mostly vegetairian with a penchant for sweet things. 

Thesis Proposal

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.

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.

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.