Crystal Marquez Mastery Journal FULL SAIL UNIVERSITY Media Design MFA

MDM530 Week 3

Brand strategy is a proposed plan or decision for the brand to successfully deliver the promise to the intended audience. Defining the audience needs and collaborating internally to understand the brand promise is needed to create a successful brand strategy.

The Role of Strategy in Branding

Strategy plays an important role in branding by keeping the brand consistent and developing a relationship with the consumer. Intense research is required before a specific strategy can be utilized in branding. (Vincent, 2012) describes positioning as a significant strategy in branding. Researching the target audience to understand the needs and aspirations that should be fulfilled is required to conceive the correct strategy. In the Kinecta rebrand case study 3.5 the designer and marketing team needed to research the target audience to understand why the rebranding resulted in a negative outcome, although their mission statement was positive. (VanAuken 2013) argues that the designer must understand basic human needs to create a brand strategy. Understanding the prime needs of the audience of the product the brand delivers is essential. Kinecta did not communicate with the community it aimed to represent before changing the Nix brand name proved to have a negative effect on the brand. Strategy requires deep research to develop properly, the drawback is that it is time consuming, however, positive solutions for the correct strategy will be the benefit. In the Nix case study, it is proven that collaborating and researching the audiences needs is an essential strategy for brand success

Collaboration in the Branding Process

Collaborating is essential in the branding process to understand the company's core values and aspirations. Starting from within is a proven strategy for collaborative success. (Yohn, 2014) argues that holding brand engagement sessions within the company helps representees of the brand understand their role. Brand design is not a solo journey, it is a team effort and collaborating internally as well as externally will deliver positive branding solutions. (Neumeier, 2006) describes collaborating internally and teaching the company how to think like artists and see what is not there, helps the brand to differentiate. Collaboration leads to successful branding strategies and a greater understanding of the Brand. Relentless research is required and understanding the consumer is an endless task. In the Kinecta rebrand of Nix the collaboration with the marketing team to research the consumers' needs and aspirations proved to be a crucial turning point for the rebrand.

Adjusting Strategy for Audiences

Each target audience is different, in the fact that they will have different needs and aspirations. Research can determine what strategies to adjust and figure out which will work on the target audience. (Wright, 2019) states that emotions drive the brand experience. The designer must gain an understanding of how to connect the consumer emotionally to the brand. Developing a culture internally for the brand, before venturing externally is significant in the design process. (Busche, 2014) illustrates a detailed infographic on adjusting strategies for the audience. A recipe for branding with guides to follow for success. After performing the imperative research in the community, Nix was able to adjust their branding strategy by renaming the brand to connect better with the community. Understanding how certain words will have a negative effect on the audience, is essential. The designer must formulate a strategy based on the target audience's needs to create a bond of trust and fulfill promises. The benefits of adjusting strategy, is fulfilling the promise of the brand.

In conclusion, the role of strategy and collaboration is significant design process on branding. Research is key to adjusting strategy to deliver the brand promise to create a bond between the target audience and the brand.

Busche, Laura. (2014). Lean branding: Creating dynamic brands to generate conversation. Lly O’Reilly Media, Inc. https://learning.oreilly.com/library/view/lean-branding/9781449373481/ch03.html

Neumeier, Marty. (2006). Zag: The number-one strategy of high-performance brands. New Riders. https://learning.oreilly.com/library/view/zag-the-number-one/0321426770/ch08.html

VanAuken, Brad. (2014). Brand aid. (2nd ed) Amacom. https://learning.oreilly.com/library/view/brand-aid-2nd/9780814434734/xhtml/chapter4.html

Vincent, Laurence. (2012). Brand real: How smart companies live their brand promise and inspire fierce customer loyalty. Amacom. https://learning.oreilly.com/library/view/brand-real-how/9780814416761/xhtml/ch01.html#ch01

Wright, Kai D. (2019). Follow the feeling: Brand building in a noisy world. Wiley. https://learning.oreilly.com/library/view/follow-the-feeling/9781119600497/c04.xhtml

Yohn, Denise Lee. (2014). What great brands do: The seven brand-building principles that separate the best from the rest. Jossey-Bass. https://learning.oreilly.com/library/view/what-great-brands/9781118824337/xhtml/Chapter01.html

Design challenge using the application Adobe Premier Pro, to assemble a brand vision video.

MDM530 Week 4

MDM555 Week 1.

Copywriting is an essential part of brand development. Attracting the target audience and building a relationship relies on communication. The copywriter must deliver a concise, believable message that inspires the audience to answer the call to action.

Benefits versus Features

Benefits are what the product/service can offer, and features are the visuals, the actual product and what makes them different aesthetically. Benefits will build a relationship with the target audience. In the Case study of Volkswagen (Rogalle 2022) the company helped Germany recover from the war to begin manufacturing again, it was a slow take for Americans in which Volkswagen had to renew and rebuild the relationship. Offering the features of the vehicles and how it could add value to the audience's lifestyle was an essential strategy to build trust. The audience is always looking for ways to connect (Dahlstrom 2019). To build the connection, a story must be told about the brand's identity and core values to build a connection. Brands need communication to survive (Vincent 2012). Compared to the case study of Volkswagen, this is an accurate statement and proves to be essential as Volkswagen is surviving and innovating 75 years later in America. Communicating the benefits of the brand has attracted and held a fierce customer loyalty. The difficulty of this concept is maintaining and staying fresh throughout the years, if the brand promise is delivered it will beat the odds and stay fresh with the changing times.

Personas

Personas are the representation of the brand personality. This fictitious character is created to identify with the target audience. Through intensive research a persona is developed to build a relatable character and to the designer/copywriter a better understanding of the audience and their needs, aspirations and desires. Volkswagen developed a car beneficial for everyday people, that is affordable and tech savvy. (Rogalle 2022) In contrast, Tesla is aiming for upper-class citizens interested in the look of prestige while being environmentally friendly. Two entirely different audiences, however, both are looking to become more environmentally safe. The copywriter is required to perform intensive research of the brand to create a persona of the targeted audience for useful copy to be written (Vincent 2012). Communication is used to develop a personal connection with the target audience (Horbery & Lingwood 2014). It is essential for the copywriter to create a persona to benefit the brand and deliver the promise. The difficulty lies in differentiation, finding the key element that stands apart from other brands.

Writing Ad Copy that Sells

Ad copy that sells is when a personal relationship with the target audience is built. Staying consistent and delivering the brand promise. First and foremost, the headline is of great importance. Headlines must be unique to each client and the service they perform or product they are selling (Hernandez 2016). Structure and guidelines must be followed, and different mediums are to be used with different services/products. Different techniques are used depending on the services being offered (Miller 2012). The copywriter must deliver the most information in as little words as possible. Using keywords is a formula that has been proven to work across all mediums. For instance, Volkswagen uses a vintage photo in contrast with a modern photo to confirm the brand's delivery on their promise.

Very little copy is used, and the focus of the image shows that they listened to the desires and aspirations of their audience. The headline states 100% electric, the images following show a smiling modern woman with a sign saying thank you, and a vintage photo of a woman who is determined to make a change. The call to action is important, to save the environment.

In conclusion, creative communication is fundamental for copywriting. Developing a persona to build a bond with the audience is necessary and requires intensive research. Capturing the audience's attention and delivering the brand promise is priority when writing copy that works.

Dahlstrom, Anna. (2019). Storytelling for product design. In Story telling in design. (Chapter 3) O’Reilly Media, Inc. https://learning.oreilly.com/library/view/storytelling-in-design/9781491959411/side-03.xhtml#_idParaDest-20

Hernandez, Eleazer. (2016). The art of copywriting. In Leading creative teams: Management career paths for designers, developers and copywriters. (Chapter 9) Apress. https://learning.oreilly.com/library/view/leading-creative-teams/9781484220566/A417288_1_En_9_Chapter.html

Horbery, Roger & Lingwood, Gyles. (2014). The brands in your hands. In Read me. (Chapter 7) Laurence King. https://learning.oreilly.com/library/view/read-me/9781780676807/13_chapter-title-7.html

Miller, Michael. (2012). Writing online ads. In Web words that work: Writing online copy that sells. (Chapter 16). Adwords. http://www.url.com

Rogalle, E. (2022). 1.5 Case Study: Volkswagen. Full Sail Online.

https://online.fullsail.edu/class_sections/163183/modules/658031/activities/309139

Shaw, Mark. (2012). Writing for retailing and products. In Copywriting: Successful writing for design, advertising and marketing. (Chapter 5) Laurence King. https://learning.oreilly.com/library/view/copywriting-2nd-edition/9781780670003/12_chapter-title-5.html#toc8

Vincent, Laurence. (2012). Expressing the promise. In Brand Real: How smart companies live their brand promise and inspire fierce company loyalty. (Chapter 7). AMACOM. https://learning.oreilly.com/library/view/brand-real-how/9780814416761/xhtml/ch07.html

MDM555-O WK 2

Developing a brand voice is imperative for a brand to thrive. For the designer to develop the brand voice, critical research must be performed to gain a personal understanding of the target audience.

Brand Voice

A brand voice is the personalization of the brand. With the voice, the brand can connect with the target audience and build a bond. (Dahlstrom 2019) argues that to build the brand persona, there must be empathy. This will create a personal understanding of the audience, and a relatable experience. (Lalaounis 2020) describes how common interests, like friendships, will be based on common ground experiences. This will help form the bond with the audience. Lalounis decribes the brand voice as the brand mantra. This will remain consistent in order to be effective. (Rogalle 2022) discusses in the Volkswagen case study how Volkswagen was able to find a way to express how they differentiate from the rest of the automotive industry by presenting a completely different ad than what the public was accustomed to. This strategy was intriguing and interesting for the consumers who were looking for something new and more efficient. Compared to Harley Davidson (Roku 2013) whose brand voice is a representation of a rebel, and patriotic to America. Harley dares its audience to stand out yet stand together. Volkswagen is geared more to a family vehicle with reliability and cost effectiveness. The benefits of creating a brand voice are building a personal bond with the audience, and remaining consistent and delivering the brand promise proves to be a successful strategy.

Writing for Radio

Writing for radio is an intense process which demands accuracy and verbally concise copy. Delivering the brand message in as few, yet powerful words as possible. Attracting the audience and persuading them to answer the call to action creatively, quickly. (Lee-Royston et al 2012) discusses the importance of understanding the audience and delivering their needs. As with the case study of Volkswagen (Rogalle 2022) the emotional needs of the target audience were studied and understood, catering to how it made the audience feel. (Soechtig 2022) Personalization builds an emotional bond with the audience. The audience needs to feel that the brand will add value to their life. Steve White Radio Commercial with Drivers Wanted Jingle uses a creative jingle that resonates with the target audience with catchy, humorous tune. The brand voice stays on brand, bringing a smile to the audiences.

Brand Tone

Brand tone is how the brand voice is delivered. If the target audience is corporate oriented, then the voice should be clear and informative and not many puns involved. Harley Davidson would be aggressive and rebellious; a nursery rhyme and lullaby music would not fit as a tone for Harley Davidson. (Vincent 2012) describes how the brand voice must be deeper than a few words, it must connect with the audience on an emotional level. The brand tone can achieve this by staying consistent and carrying the brand voice in an appropriate manner. (Wozniak et al 2010) discusses how the brand voice reflects the core message and the brand promise. With intense research of the intended audience, the designer can understand and project the proper tone needed to carry the brand voice. The brand tone and brand voice should be in sync and carry the message consistently. The video Steve White Radio Commercial with Drivers Wanted Jingle has a cheery tone that reflects the brand voice. A little bit of humor while delivering the brand catch phrase “drivers wanted”. The drawbacks of the brand tone veering away from the brand voice create a disconnect with the audience, which can break the bond and lose trust due to inconsistency. The benefit of keeping the brand tone and voice in sync is building trust with the audience by staying consistent. Consistency builds trust, and veering away from the brand voice by using a different tone can show unreliability and create a gap.

In conclusion, the brand's voice and tone should reflect the brand's promise and core attributes. Building a bond with the audience needs consistency and an understanding of their needs and aspirations. For the audience to trust the brand they need to be transparent, concise and never deliver chaos or unpredictability.

Dahlstrom, Anna. (2019). Storytelling in design. O’Reilly Media. https://learning.oreilly.com/library/view/storytelling-in-design/9781491959411/side-06.xhtml

Lalaounis, Sotiris T. (2020). Strategic brand management and development. Routledge. https://learning.oreilly.com/library/view/strategic-brand-management/9781000298185/ch13.xhtml#book-part-002

Lee-Royston, David & Purkiss, John. (2012). Brand you. Pearson International. https://learning.oreilly.com/library/view/brand-you/9780273777694/html/chapter-012.html

Rogalle, E. (2022). 2.5 Case Study: Brand Voice. Full Sail Online.

https://online.fullsail.edu/class_sections/163183/modules/658032/activities/3809147

Soechtig, Steven G. (2022). Make your brand matter. Wiley. https://learning.oreilly.com/library/view/make-your-brand/9781119860341/c09.xhtml#head-2-57

Taneja, Roku (December 22, 2013) Brand personality: Harley davidson.

https://dailymarketingread.wordpress.com/2013/12/22/brand-personality-harley- davidson/

Vincent, Laurence. (2012). Brand real: How smart companies live their brand promise and inspire fierce company loyalty. AMACOM. https://learning.oreilly.com/library/view/brand-real-how/9780814416761/xhtml/ch07.html

For MDM555 week 2 design challenge I created a companion display unit for an audio recording advertisement. This was a fun challenge and a push outside of my comfort zone. I learned a new program "Adobe Audition" and I look forward to more design challenges.

MDM555 Week 3

Branding consists of building trust with the target audience by delivering the brand promise, a tagline to describe the essence of the core values and it may use a public service announcement to bring together the community for a call to action. There are many more elements to a brand, however, the three mentioned above are the main objectives to be discussed.

Brand Trust

The definition of brand trust is the relationship created between the target audience and the brand. Consistency is an important strategy that provides comfort to the audience and a steppingstone for building an emotional bond. (Saucier, Savard Cynthia & Shariat, Jonathan. 2017) describe how it's the audience that builds the brand and the survival of the brand is dependent on trust. (Parker, Roger C. 2013) confirms that consistency is the foundation of trust as it builds comfort and familiarity. (Rogalle 2022) discusses in her case study the consequences of breaking brand trust and how the Volkswagen company had to recuperate and rebuild trust, however not all brands can revive after such a significant violation of trust. Practicing honesty and transparency is imperative to the brand's survival. Chik-Fil-A is another example of broken trust by donating to anti-gay organizations. They have listed apologies and have statements on their website, also cutting ties with certain organizations as well as aligning with new organizations to rebuild trust within the community. The benefits of building brand trust is customer loyalty and a tribe that commits to the brand, with a feeling of value added to their lives. The drawbacks are if the brand is inconsistent or breaks the bond of trust, there may not be a second chance for the brand to reposition itself with integrity again.

Taglines

Taglines are an important element of the brand, describing in short, the core values and mission. (Kingsley, Mark. 2023) describes the tagline as a verbal logo that resonates with the target audience. A tagline should be memorable, short and easily understood. Depending on the brand style, humor can be used or a catchy phrase. (Lalaounis, Sotiris T. 2020) argues that brand slogans must accentuate the brand philosophy as well as emphasize the brand promise. Two brand slogans that come to mind are Disneyland “the happiest place on earth” and Nike “just do it”. These two slogans have been embedded in the audience's minds for a few decades as the brands have continually delivered their promise and sustained trust within the community. Disneylands tagline captures the essence of the brand by bringing joy to the audience, for the majority the thought of Disneyland is happy memories or if one has not had the chance to visit, a place to make happy memories in the future. Nike’s slogan reflects the essence of its brand by empowering the community that they can do anything, especially in the right sneakers or gear. A strong supporter of the sports industry with safety and values in mind, they deliver the brand promise. The benefit of this concept is creating a familiar, memorable idea of the brand. A tagline can help resonate with the intended audience, however if done wrong, it can be a disaster. Creating a slogan requires intense research to ensure proper delivery and function, triggering a positive emotional response from the audience.

Public Service Announcements

Public Service Announcements are a strategy used to inspire the community to a call to action. They can also influence proper safety measures and preventative steps to stay safe. PSA’s are also a tool to alert the community. (Soechtig, Steven 2022) highlights how public service announcements can engage the community and bring together like-minded individuals for a cause. (Neumeier, Marty 2005) describes how the design team must perform extensive research to understand the audience and what their needs and aspirations are. This can impact the quality of the PSA and provide positive results to resonate with potential donors. "Friends don’t let friends drive drunk” is a campaign that promotes safe driving and has proven longevity as well as inspired a nation to drive sober. The call to action is to drive sober, and don’t let others drive drunk. “Keep America Beautiful” is a campaign to prevent pollution. This call to action is to prevent pollution so we can ensure a long life for our planet.

In conclusion, brand trust, taglines and public service announcements are a priority in brand development and the designer/copywriter must perform research of the target audience to ensure that trust is built, the mission is reflected in the tagline and the public service announcements inspire and engage the audience.

Kingsley, Mark. (2023). Universal principles of branding. Rockport Publishers. https://learning.oreilly.com/library/view/universal-principles-of/9780760378212/xhtml/089_Chapter084.xhtml

Lalaounis, Sotiris T. (2020). Strategic brand management and development. Routledge. https://learning.oreilly.com/library/view/strategic-brand-management/9781000298185/ch14.xhtml#sec2-017

Neumeier, Marty. (2005). The brand gap. New Riders. https://learning.oreilly.com/library/view/the-brand-gap/0321348109/ch03.html#ch03lev1sec1

Parker, Roger C. (2013). Design to sell. Microsoft Press. https://learning.oreilly.com/library/view/design-to-sell/0735622604/0735622604_ch03lev1sec1.html

Rogalle, E. (2022). 3.5 Case Study: Brand Trust. Full Sail Online.

https://online.fullsail.edu/class_sections/163183/modules/658033/activities/3809155

Saucier, Savard Cynthia & Shariat, Jonathan. (2017). Tragic design: The impact of bad design and how to fix it. O’Reilly Media, Inc. https://learning.oreilly.com/library/view/tragic-design/9781491923603/ch06.html#gather_as_much_data_as_you_can

Soechtig, Steven. (2022). Make your brand matter. Wiley. https://learning.oreilly.com/library/view/make-your-brand/9781119860341/c09.xhtml#head-2-57

MDM555 Week 3 Design Challenge

In this challenge I combined the use of Adobe Audition and Adibe Premier to create a 30 second video advertisement. Learning techniques and combining programs as well as writing copy for advertisement.

This video is a reflection of the 3 most valuable concepts I wrote about in this course. I feel I need to study more tutorials on Adobe Premier Pro to really get the hang of it.

MDM565 Week 1

X-Height

X-height is a valuable concept when it comes to determining which typefaces to choose. According to Stocks and Lupton (2024) this is the designer's secret weapon. Larger x-height gives the appearance of a bigger point size making it a perfect choice for smaller text. Krysinski, Mary Jo (2017) describes how to compare the x-height between different typefaces using the letter x. This technique demonstrates that two fonts with the same point size, the one with a larger x-height appears larger. Analyzing the x-height proves to be a key technique when choosing a typeface, especially for body copy.

When combining different typefaces for contrast, x-height is the leading element to compare between the two choices. Cullen, Kristen (2012) argues that examining similar characteristics will result in positive design solutions. The best result is when using typefaces designed by the same designer. Using a sans serif and a serif font is compatible, contrary to using two different serif fonts. Strizver, Ilene (2010) discusses how typeface choice can make or break a design, analyzing the x-height is a proven method that works.

Researching this concept, I discovered that combining two similar typefaces from different designers has a negative effect on my feelings towards the design. For example, combining two sans serif typefaces from different families with different x-height is unappealing.

When I combined 2 typefaces with the same x-height with different characteristics like slab serif and sans serif, I can understand the concept and why it works. They compliment each other

Another technique, using the same font family but different styles gave me another positive result. The importance of x-height and contrast proves to be essential in design.

Font Families

The concept of font families is essential to designing with type. Strizver, Ilene (2010) describes how fonts have personalities and can convey feelings. Using typefaces from a super family can allow the designer to use multiple characteristics within the same family to work together in harmony. In the case study “Artists at the Field” Medina, Fernando (2016) demonstrates how using typefaces from the same family is essential to great design. Combining the type with artistic elements was a positive solution that was understandable and enjoyable.

Poulin, Richard (2013) describes that when choosing a typeface, it is imperative for the characteristics to match. Using typefaces from the same font family can guarantee a positive result, from the headline to the copy. This technique will capture and maintain the reader's attention. To achieve the desired result, the designer must analyze the typeface to understand what emotions will illicit.

With this technique, it is easy to see the value of font families. Using different characteristics from the same font family can provide a comforting reading experience. The headline, sub head and copy work together effortlessly without distracting from communication. Within a brand, a font family would be ideal as it can convey the message needed to be communicated. In publication and design it is a proven method that works.

Expressive Typography

Expressive typography is a technique used for display fonts. This form of typography is where a designer can get creative as demonstrated in the case study of “Artists at the Field” designed by Medina, Fernando (2016). His creative use of the T-Rex skull incorporated within the design was a clever touch. Using the font Gotham Bold this was achieved resulting in a positive design solution that captures the audience's attention. When the audience discovers the T-Rex skull it is a delightful revelation, especially for younger viewers who associate the museum with dinosaurs.

The body copy should always be legible; however, the display font can be expressive where the designer can manipulate and distort the text to convey emotions. Saltz, Ina (2013) describes letterforms as having personality and in this context, stereotyping is used in a positive form. Soft, rounded letters represent femininity and bold, block letters represent masculinity. Researching the audience can give the designer insight on which typeface to choose and which direction to head in.

This technique is valuable for design purposes. If used properly it can convey emotions and provide details that the reader can discover. Using type in this form I created a visual combining all three concepts using expressive typography. The typeface family I chose was Elza, the x is red to represent x-height and the word expressive is broken a part for a creative touch.

MDM565 wk 1 ReqDC

This design challenge was choosing and combining typefaces. I chose typefaces that would express the holidays chosen, without any color or design elements. I was unsure how creative we could get, so I remained neutral following form and function.

MDM565_WEEK 2

Art vs Design

Art and design are both forms of expression. The major difference is that art is a form of self expression while design expresses communication. Poulin, Richard. (2017) discusses how expression is not something that can be taught, and is unique to each individual designer. Unique styles and techniques are developed over time. Art is visual representation of the artists inner self, and each interpretation of a piece can vary from viewer to viewer.

Visual communication can creatively express a message that will be clearly understood by the audience. With art, there is no wrong answer or misunderstanding as it is up to the audience to interpret the message with their own feelings. Graphic design is about problem solving and visually communicating. Poulin, Richard (2011) describes how the designer can combine elements creatively to convey a precise message to the audience providing a solution. Art puts the creator first, while design puts the creator in the background.

Creatively delivering a message is no easy task. Providing a visual experience capturing and maintaining the audience is essential to solving the design problem. Janet Froelich designed the cover of The New York Times Style magazine depicted in the book “The Language of Graphic Design” (Poulin, Richard. 2011) using an abstract approach while maintaining the shape and form of their famed letter T. Combining abstract art to deliver a message is a visually pleasing technique, inviting the reader to open the cover and read more.

Design Decision

Every element of design requires strategic decision making. From the format, typefaces used, and imagery takes research and experimentation from the designer. Samara, Timothy. (2007) describes organizational methods to help guide the designer through the process. Depending on the information needed to be visually expressed, different methods as well as grid options will be used.

The common factor in all design decisions will be format. As discussed by Vit, Armin & Polacio, Bryony Gomez. (2009) placement of text and images combined involves critical thinking and observation. Colors as well as typefaces and images must work together to present an aesthetically pleasing design solution. The designer will face hours of research and experimentation to decide which solution will best solve the design problem.

In the book “Graphic Design, Referenced” (Vit, Armin & Polacio, Bryony Gomez. 2009) images are provided to show examples of design decisions that worked. One that I found showcased an annual report that can take (what some may call boring information) and formatted it in a way that was visually pleasing and enticing to read. The layout, colors and typefaces used are interesting and provide an appealing take on the report. This design looks simple, yet I can imagine the hours spent researching and experimenting that it took to come to this decision. The color contrast works, as well as the typeface decisions presenting a legible, readable piece.

Types of Visual Hierarchy

Visual hierarchy is an essential method of communication design. Guiding the reader through the important elements of the message provides an understanding and visual appeal. Strizver, Ilene. (2010) discusses the different techniques the designer can implement to form hierarchy. Changing the weight, color and scale are methods the designer uses to separate the type by level of importance. A bold, heavy headline in contrast to a smaller sub head and an even smaller body copy is a proven method that works when visually communicating with type.

Formatting the design to establish visual hierarchy requires an understanding of how typefaces and images can work together. Ambrose, Gavin & Harris, Paul & Theodosiou, Sallyanne. (2020) provide details on how to make these elements work, especially typography. Working with grids is a common, proven technique that helps establish hierarchy in design. Visual communication requires hierarchy to deliver a message without confusing the audience. Creating an appealing design that informs the audience is the solution to a design problem.

An example of visual hierarchy provides type and graphic elements working together. Strizver, Ilene. (2010) provides an example designed by red canoe in her book “Type Rules; The Designers Guide to Typography” where the headline is a bold serif typeface in contrast to the sans serif sub head and body copy. The O’s in the copy are red, a universal color for strong emotions which work well with the image of a stovetop boiler. Darker colors are used for the headline and sub head, while the less important information is a lighter color.

MDM565 wk 2 ReqDC

MDM565 Week 3

Combining text and images

The combination of text and images is a challenging process for the designer as they have to convey the tone and mood capturing the audience's attention and taking them on a visual journey through the elements. Maintaining the audience's attention so they can interpret the message and understand takes research and experimentation. Wedell, Tom & Skolos, Nancy. (2006) discuss how images and text can work together as a whole or separately, however they must work harmoniously. Common colors set a tone and mood, the type can be integrated in the image or separately. With experimentation the designer can feel out what works.

A strong, unified design can present a clear message to the audience. Malamed, Connie. (2015) demonstrates visual examples of fragmented designs versus unified for the designer to clearly understand the impact a unified design will have on the audience. When the message is clearly understood, the design problem has been solved. Malamed suggests the grid technique as a proven method to combine elements in a practical, organized way to visually communicate.

In this image provided by John McWade, in his book “Before and after ® : How to design cool stuff” I can see how combining text and images can provide a visual experience. Demonstrated here is a simple technique adding curves that accentuate the text. Changing the weight of the typeface can establish hierarchy and adds subtle differentiation. The image is not boxed in and the text is strategically placed following the pink lipstick on the model. The curves really present a nice flow and unifies the design.

The elements of visual design

Design is a form of storytelling, visually communicating a message. The designer can creatively piece together messages combining elements to solve a design problem. McWade, John.(2009) discusses a technique where the designer can produce multiple images from one. Establishing hierarchy in an aesthetically pleasing layout is key. Differences in sizing can demonstrate importance and lead the audience on a visual journey. Combining elements is a creative task and requires experimenting and decision making by the designer.

Organizing elements is a critical process that is vital to the overall design. The designer should avoid placing elements scattered with no direction. Illustrations, photos and type should work together in harmony to create a mood that fits the message. Hembree, Ryan. (2006) describes techniques that are proven solutions to organizing design elements. Utlizing grids and templates is a great solution for the designer's creative process. Each element of the visual design is a decision that should be analyzed and strategically placed to inform the target audience.

In this example from John McWades book Before and after ® : How to design cool stuff” I can see how the elements work together as well as the hierarchy. Creating multiple images from one is a technique that is proven to work. Creating harmony and conveying a tone relative to the message is vital. The color used matches the images and the typefaces work together. Color use is an important decision to unify the design.

The principles of design

Design principles are rules that are essential for the designer. Creating a mood board to generate ideas is an important technique that works. Karjaluoto, Eric. (2013) describes how following the principles of design can create a meaningful experience for the audience. Design is problem solving, and adhering to the principles is a valuable process. Time and efficiency are critical principles in visual communication. Writing down ideas and experimenting is another valued principle.

There are basic layout techniques that the designer can follow, although the rules can be broken occasionally, the principles are the rules that need to be followed when visually communicating. Hagen, Rebecca & Golombisky, Kim. (2017) illustrate a step-by-step guide for the designer to utilize. In design, form follows function. Design's job is to evoke emotion and deliver a message to the audience. Research is one of the most valued principles in design so that the message can be communicated effectively.

This example demonstrates how the designer can deliver a message adhering to the principles. From the book “White space is not your enemy”. (3rd Ed) by Rebecca Hagen & Kim Golombisky this design demonstrates how an aesthetically pleasing visual can be accomplished by using grids and templates to achieve a message. The hierarchy is established by level of importance, every element is strategically placed to deliver the message.

Hagen, Rebecca & Golombisky, Kim. (2017). White space is not your enemy. (3rd Ed) AK Peters/CRC Press. https://learning.oreilly.com/library/view/white-space-is/9781351668767/xhtml/11_Chapter03.xhtml#ch3-5

MDM565 week 3 design challenge

MDM565 Week 4

Sonic Branding

Sonic Branding is the sound identity of a brand. In today's experience-based time, brands need more than just a visual identity. Beckerman, Joel. (2020) argues that visual branding is not enough to sustain an audience. Sound triggers emotions faster than visuals, using the sense that humans use the most. Sonic branding can guide the audience on sensory journey of the brand experience. This concept of branding requires intense research to create an audio landscape that can be used across multiple media platforms.

With the use of sound, sonic branding triggers emotional and memorable responses from the audience. Kingsley, Mark. (2023) describes how sonic branding may not always be musical but uses sound effects to impact the audience creating a memorable experience. If done correctly, this concept of branding is an efficient technique that can be used across various platforms, extending the brand story and providing an enjoyable user experience while staying true to the brand promise. The possibilities of sonic branding are endless and with experimentation and critical thinking, the designer can incorporate sound that provides a positive design solution.

From both perspectives, it holds true that sonic branding is an efficient form of design that engages the audience with the brand experience. Today, audible experience is more prevalent than ever before. Understanding how sound can be incorporated into branding is a game changer for designers and learning these techniques is essential. I have provided an example of sonic branding that includes McDonalds, T-mobile and more iconic brands. The sonic branding of these brands is memorable and embedded into our minds so well, that even hearing these sounds without a visual we know which brand they belong to.

Three Categories of Sound

The three categories of sound are sound effects, music and voice. Understanding these categories is an essential part of media design. Roberts-Breslin, Jan. (2017) describes how designing with sound is a demanding, methodical practice that requires the designer to research and experiment throughout the design process. Each element is specified for a different purpose, creating functionality of the design. Diegetic sound is the audio that only the characters and story can hear, while nondiegetic sound is the soundtrack and voiceovers that the audience hears. These two categorized parts of the design are essential for telling the brand story and engaging the user experience. Shifting the dynamic, layering the images and sound is an integral part of media designing. Combining the elements together creates a sound mix that will create a memorable user experience if done correctly.

The craft of sound design is important to a media designer. Sinclair, Jean-Luc. (2020) describes in detail how sound design tells a story that visuals alone cannot. It takes time for the designer to achieve the solution when layering sound effects, voice and music and experimentation is imperative. Understanding the audience and researching the demographics is fundamental and a proven method that works. Researching and experimenting is a team effort that requires multiple professionals to work together. Seasoned designers utilize the technique of layering the three categories of sound which involves creative and critical thinking. Turning down the music during a horror scene can exhibit the importance of sound in storytelling and the effect it has on human emotion.

Both perspectives prove that sound design is essential, especially in branding. Understanding these categories and learning to utilize the techniques is essential for the media designer's career. In the times we live in, audio is everywhere. Combining and layering the three categories of sound is a fundamental process that requires research and experimentation as well as an empathetic understanding of the target audience. In the example I have provided of Allstate mayhem commercial, the three categories of sound are utilized to create a story that visuals alone cannot provide.

Audio Logo

The audio logo is a valuable brand asset that can bring life to brand development. Lentin, Geoff. (2016) discusses the importance of the audio logo and its functionality in media design. Using music or sounds that are already in use is not as memorable as a brand specific sound. The media designer can create a sound that is unique to the brand and creates an audio identity that is original and exclusive. The audio logo impacts the audience triggering a memorable experience if done right. The sound should tell the brand story and add to the visual identity. Creating a memorable sound will have a long-lasting positive effect on the audience enhancing the brand and resulting in a positive design solution.

Branding has an essence, an experience the audience will enjoy and remember. The audio logo is essentail to create this user experience and maintain the brands promise. Case, Amber & Day, Aaron. (2018) illustrate a guide for the media designer to utlize when designing with sound. Creating an interactive checklist is an essential technique. Sound is an imperative part of design, especially in the experience-based society we live in today. Case et al describe how everything has sound identity, from furniture to household appliances, sound is an essential part of the human experience. Creating an audio logo will enhance the brand image if done correctly and will trigger feelings in the target audience.

These perspectives have demonstrated that audio logos are an essential part of branding. Creating an audio logo is a game changer for brand development and an advanced form of design that is a positive design solution that works across multiple platforms. The audio logo engages the audience triggering emotions and a mood for an enjoyable brand experience. In the example I provided, it demonstrates the effect of an audio logo. The sound is unique to each brand and provides a positive user experience, the added vocalization of the brand is a reminder of who the sound belongs too and works well with the sound effects creating a mood for the brand. Audio logos can set a mood and tone that visuals cannot and enhances the brand identity.

Beckerman, Joel. (2020). Scoring the world: A systems-thinking approach to sonic branding and design. Music & the moving image. 13(1), 3-20. https://search-ebscohost-com.oclc.fullsail.edu/login.aspx?direct=true&db=asu&AN=142318191&site=ehost-live.

Case, Amber & Day, Aaron. (2018). Designing with sound. O’Reilly Media, Inc. https://learning.oreilly.com/library/view/designing-with-sound/9781491961094/ch05.html

Kingsley, Mark. (2023). Universal principles of branding. Rockport Publishers. https://learning.oreilly.com/library/view/universal-principles-of/9780760378212/xhtml/086_Chapter081.xhtml

Lentin, Geoff. (2016). Sonic branding: Why logos should be heard as well as seen. Design Week (Online Edition).1 https://search-ebscohost-com.oclc.fullsail.edu/login.aspx?direct=true&db=asu&AN=117901663&site=ehost-live.

Roberts-Breslin, Jan. (2017). Making media. (4th ed). Routledge. https://learning.oreilly.com/library/view/making-media-4th/9781315283913/xhtml/Ch07.xhtml#sec7_6

Sinclair, Jean-Luc. (2020). Principles of game audio and sound design. Focal Press. https://learning.oreilly.com/library/view/principles-of-game/9781351731126/xhtml/Ch05.xhtml#sec5_1_2

MDM570_Wk1DC

For Dia De Los Muertos, I chose percussion music with ghost sounds as well as children laughing. My decisions were based on a festival atmosphere where there would be music, celebrations and sugar skull face painting for children. Combining ghostly whispers, an ominous voice and ending with children's laughter to lighten the tone in the end as a reminder that it is a celebration.

With the celebration of Juneteenth my goal was to set a tone of a music festival, combining Caribbean music with a crowd of people and fireworks in the background. The celebration of freedom and culture was the mood I aimed to create using categories of sound.

Earth day I chose a light, calm guitar instrumental, adding in bird sound effects and an ambient park setting sound effect. I did not use voices in earth day as I wanted to convey a more nature related tone. The story I aimed to tell was one of a calm, nature based atmosphere, celebrating Earth Day.

Programs used for all three design challenges were Adobe Photoshop, Premiere and Audition.

MDM570 Week 2

Selective Attention

Selective attention is the concept where target can be used as fixation for the audience to follow direction. Objects or characters can be used as a device to capture the audiences attention, it can also be used to puzzle the audience by element of surprise. While they are focused on the target, other elements can go unnoticed until the right moment.

In daily life, selective visual attention is present. Zhang & Lin (2013) describe how repeating surroundings and predictive environment can have a slight change and the audience will potentially notice immediately. This concept is used to guide the audience through the story. When done correctly, the audience can comprehend the message without distraction from unimportant details. Contrasting colors, like dark against light can be used as a form of selective visual attention, as the audiences eyes will focus be drawn to the elements and process the information.

Selecting the shots is imperative for the director and the editor to guide the audience on an experience in the story. Owens (2017) argues that if the shot works, the audience will move forward, however if the audience is distracted by other details it will be a failure. The most common elements to use to engage the audiences attention are brightness, focus, motion and a dominant figure. These elements can guide the audience through the story without distraction if done properly. Bright clothing or objects, and sharp objects are also proven focus elements that are used for selective visual attention.

Both perspectives demonstrate the importance of selective visual attention in editing. This concept can also be used to hide details as well, the audience will not notice the editing, as it will appear seamless since their focus is on the subject selected to guide their focus. I found this example of selective visual attention that demonstrates how elements can change and go unnoticed by the audience. This example is a test that presents the concept of selective visual attention and how it works in film editing. If the details are important, this can result in a failure as the audience will not notice the change if they are focused elsewhere.

Rhythm

Rhythm is universal motion. Everything in the universe has rhythm, as it is movement. From the stars in the sky, to the wind blowing, a heartbeat and the air we breathe all have rhythm. Elevating rhythm awareness skills can sharpen the techniques of the editor as they have a better understanding of the raw material and when to cut scenes. When it comes to film editing, rhythm is the overall flow of the scene.

The rhythm of a scene is concept that will set the tone and feel for the audience. Bowen (2013) describes how the rhythm controls the audiences reactions and emotions. The flow of the scene and the quality of the rhythm is in the hands of the editor. The edited content should have a degree of manipulation, and depending on the message that is being conveyed will determine how much manipulation is needed. The flow of the scene is the rhythm, presenting media at different times and intervals should maintain the rhythm of the story.

The editor can enhance their rhythmic intuition by engaging in rhythm awareness exercise. According to Pearlman (2015) rhythm is universal, it is part of life. From the air we breathe, our heartbeats and even walking, there is rhythm. The editor can sharpen their rhythm awareness by painting, cooking, sailing and dancing. Understanding rhythm can help the editor become in tune with the physical responses of sound and movement and can use this skill to make the scene feel "right". Editing film is all about feeling and everything in the material has rhythm.

Both perspectives demonstrate the importance of understanding rhythm. This knowledge can guide the editor on where to cut. Understanding rhythm is imperative to keep the flow of the story as well as keep the audience engaged. In this visual sample I have provided of a Kawasaki commercial you can feel the rhythm and the feeling it gives the character and motorcycle enthusiasts. The overall flow is adrenaline pumping and the cuts are made inline with the rhythm for an experience.

Pacing

Pacing is the speed of the composition and the timing of when the editor makes cuts. As a general rule, faster pacing is used for action and speed scenes whereas slower pacing is reserved for instructional videos and documentaries. Slower pacing can also be used to build suspense and tension in a scene as well.

Reisz & Millar (2009) describe how the editor uses intuition to set the pace of the film. Action sequences use a faster pace to give the idea of speed, using quick cuts from scene to scene. Slow pace can build suspense and they use Hitchcock movies as an example of slow paced suspense scenes. The editor can control the reactions of the audience by using this technique. The rhythm of the scene determines the pacing and the editor will use intuition to combine these concepts.

Transitioning from scene to scene involves a creative understanding of pacing. According to Foust & Fink (2017) there is no set number of edits, it is all guided by the intuition of the editor. Pacing sets the tone of the scene, and transitioning between scenes sets the atmosphere. Generally documentaries will have a slower pace then music videos as documentaries are more informational and music videos is about artistic expression. They warn that the editor shouldn't cut pace scenes based on formula as this will create an automated atmosphere without much feeling. The scene will be an experience for the audience, and when done correctly, the story will be felt.

Both perspectives demonstrate that pacing is an essential concept for the editor to understand. To create an experience for the audience to react and understand, pacing is utilized to cut at the right times. Pacing is intuitively understood by the editor and determined by feeling. In the sample I have provided, a commercial for a theme park, it is a fast paced sequence with the tone of adventure. The pacing provides a feeling of happiness and escape from reality to enjoy family fun away from home. The slower cuts and slow motion effects show the smiling faces of visitors, inviting the audience to come and join the fun.

Bowen, Christopher. (2013). Grammar of the edit. (5th ed). Routledge. https://learning.oreilly.com/library/view/grammar-of-the/9781000914306/xhtml/chapter1.xhtml#sec1_3

Fink, Edward J. & Foust, James C. (2017). Video production. (ed 12). Routledge. https://learning.oreilly.com/library/view/video-production-12th/9781351685214/xhtml/Ch11.xhtml#_15031-0969_h2_ch011_012

Pearlman, Karen. (2015). Cutting Rhythms. (2nd ed) Routledge. https://learning.oreilly.com/library/view/cutting-rhythms-2nd/9781317516422/xhtml/Ch01.xhtml#sec0005

Owens, Jim. (2017). Video production handbook. (6th ed). Routledge. https://learning.oreilly.com/library/view/video-production-handbook/9781315530550/12-9781315530574_chapter-chapter6.xhtml#chapter6.4

Reisz, Karel & Millar, Gavin. (2009). Technique of film editing, reissue of 2nd edition. (ed 2). Focal Press. https://learning.oreilly.com/library/view/technique-of-film/9780240521855/chapter-55.html

Zhang, Liming & Lin, Weisi. (2013). Selective visual attention: Computational models and applications. Wiley-IEEE Press. https://learning.oreilly.com/library/view/selective-visual-attention/9781118060056/c01anchor-1.html#c01anchor-1

MDM570_Wk2DC

Dia de los Muertos

My plan for the cinemagraph Dia de los Muertos was to capture the essence of the holiday. This was a challenge, as most videos of parades and festivals were very crowded and organic. I changed my mind and went with a less crowded video featuring a person with their face painted as sugar skull. They were holding a candle for a loved one, which I used the repeat loop to capture the flickering flame. This could capture the essence of the holiday, using the undying flame as a metaphor for the undying love for those who have passed. I faced some difficulty, as the camera was panning for the shot, and had to really feel out when to cut to capture the flame. My decision to choose this shot in the video for the still, was based on capturing the character deep in thought. Perhaps reminiscing of a time when they were in the company of the loved one who passed on.

Juneteenth

For Juneteenth, I wanted to continue the feel of celebration of a festival and chose a music performance video. This required some critical thinking, as there was a lot of movement from the performer and background. I decided to focus on the lighting and used the repeat loop to capture the movement of the lights. The lights acted as a frame for the performer and I felt this choice would accentuate the celebration atmosphere. My decision on when to capture the still shot was the eyes. I wanted to create eye contact with the audience, so they can feel the performers mood, as if he is performing exclusively for them. I aimed to create a connection, and that is through the eyes.

Earth day

My choice for earth day, was to set an ambient tone. I chose a river with a small waterfall to showcase the beauty of nature and represent earth day. I decided to focus on the small waterfall and the movement of the river using the repeat loop to give a calm, soothing effect. The beauty of clean water and the importance it has for life. This was difficult, as the video itself is zooming in on a journey up the river and capturing the right moment required feeling just when the moment was right. I chose this portion of the video for the static image as the waterfall was centered and gave a cascading effect. I also used repeat loop on portions of the water to give the audience an experience of tranquility. Water is an important aspect of earth day since we need water to sustain life. I aimed to capture the beauty of water and set an ambient tone of nature.

Motion Graphics

Motion Graphics is graphic design in motion. Currently, people are using more devices for digital information than print. This is where motion graphics are a more common design concept than ever before. Static images still serve their purpose; however, more brand developers are incorporating motion graphics into their brand development. Krasner (2013) argues that it is in the best interest of the media designer to study motion graphics. Motion graphics encourages user interaction and can establish a mood and atmosphere for the audience.

Communicating information to the audience is the purpose of motion graphics. Jackson (2018) discusses how motion graphics are mainly used for short time-based media such as titling for TV and film, music videos, animated logos and information messaging. Design principles are the foundation for motion design as it is problem solving. Finding the best solution to communicate the message through motion graphics and provide the audience with a positive experience. Motion can set a mood and tone for the delivery and requires intense research of the target audience to find an exceptional motion design solution.

Both perspectives mentioned above provide inspiration for the media designer to develop an understanding of motion graphics. With the new technology offered today it opens doors for designers to elevate their career by incorporating motion graphics in their toolbox. I have provided an example of a Nike advertisement that uses motion graphics to capture the audience's attention. The bright colors and fast pace combined with sound offer an exciting experience for the audience, advertising with motion graphics offers more engagement than a magazine spread and represents a strong future for design.

Difference between Animation and Motion Graphics

The major difference between animation and motion graphics is that motion graphics are used for delivering information. Animation is storytelling for a film, or TV where the characters can bend the laws of physics whereas motion graphics would be used for the titling and credit information. Animation is motion graphics, but motion graphics is not animation. Blazer (2019) discusses the differences between the two concepts and how similar they are. Both can use the three-structure technique, with slight differences as motion graphics must deliver a solution to a problem. Animation usually delivers a resolution to a conflict. Both concepts are forms of storytelling in design with animation bending the rules where motion graphics adheres to reality based information.

Animation has more free range of movement compared to motion graphics. Typography, abstract shapes and logos are the main ingredients to motion graphics whereas animation is more character based with a story to tell. Animation can tell a fictional story that is exciting to the audience and the things the characters do may not exist or be possible. The opposite holds true for motion graphics where the information must be true and deliver a message to a target audience. An atmosphere can be set with motion graphics to set the tone to capture the attention of the target audience. Taylor (2013) describes how the motion graphics designer must understand the rules of animation to bring the motion graphics to life.

Comparing the two perspectives results in a similar argument that proves animation and motion graphics follow similar principles, yet motion graphics is all about delivering the message. Animation and motion graphics can be combined where the animation can be a story, or for instance a short film, and the motion graphics can deliver the credits, title and information about the film. This is where the two concepts can merge together in harmony to produce a story, while using the motion graphics to deliver the information. I have provided a visual example of an animated short that uses motion graphics for the end credit information.

Language of Motion Graphics

Motion graphics uses a specific language to communicate information. Timing is an important aspect of motion graphic language, and it consists of three categories, timing, phrasing and pacing. Webster (2005) illustrates how the motion graphic designer can use motion to communicate the message. By understanding the principles of graphic design, and the language of motion graphics, the designer can create a positive design solution that delivers the message. Every element of the motion graphic is planned out and designed. Understanding the language of motion graphics is key to creating a design that can capture the audience and communicating a message.

Creating a design brief is a key technique that the motion graphic designer can utilize. Motion graphics play a major role in titling. Motion graphics combine the language of graphic design, film and animation. Understanding each concept will elevate the designers' understanding of motion graphics. Braha& Byrne (2012) offer great insight on the language of motion graphics and how to implement it for creating motion design. Understanding hierarchy and timing is beneficial for the motion designer and understanding this language will help create motion graphics to deliver the message needed.

When comparing both perspectives I have come to the conclusion that combining the language of film, graphic design and animation will help to better comprehend the language pf motion graphics. The principles and rules don’t change and reality based motion graphics are created to deliver information. Important elements of this language are timing, hierarchy and pacing. Using typography and abstract elements to communicate a message is a key principle for media designers using motion graphics. I have provided a visual example of the language of motion graphics.

Blazer, Liz. (2019). Animated Storytelling. (2nd ed). Peachpit Press. https://learning.oreilly.com/library/view/animated-storytelling-2nd/9780135668023/ch02.xhtml#ch02lev1sec1

Braha, Yael & Byrne, Bill. (2012). Creative motion graphic titling. Routledge. https://learning.oreilly.com/library/view/creative-motion-graphic/9780240814193/xhtml/ch01.xhtml#S15

Jackson, Chris. (2018). After effects for designers. Routledge. https://learning.oreilly.com/library/view/after-effects-for/9781351736633/xhtml/07_Chapter01.xhtml

Krasner, John. (2013). Motion graphic design. (3rd ed) Routledge. https://learning.oreilly.com/library/view/motion-graphic-design/9780240821139/013_9780240824703_chapter4.html

Taylor, Angie. (2013). Design essentials for the motion media artist. Routledge. https://learning.oreilly.com/library/view/design-essentials-for/9780240811819/

Webster, Chris. (2005). Animation: The mechanics of motion. Focal Press. https://learning.oreilly.com/library/view/animation-the-mechanics/9780240516660/xhtml/13_chapter04.xhtml#sect-35

MDM570_Wk3DC

Earth Day

For Earth day I revisited the design challenge from the previous course for inspiration. I chose the revised file, and decided to go with a plant to signify Earth day. The attributes communicated in the animation is the stem growing with leaves. I used this animation to communicate growth and the importance of plant life. Life on earth is sustainable with plants and if we don't have plants, then we will not survive. The motion is aimed to capture the audiences attention and remind them of the importance of plants. Earth day celebrates saving the earth and plant life plays a major role in survival. The color green was used as another representation of plant life and Earth. I chose a bold sans serif font for Earth and a script for day to incorporate the stem and leaves of the plant. The motion graphic is aimed to be a memorable experience for the audience.

Dia De Los Muertos

The design choices made for Dia De Los Muertos consisted of a sugarskull for the o in Muertos and a western font choice. I decided to use a laser effect reveal to set the mood for celebration. The bright effect against the dark background reminded me of lighting candles and celebration. The attributes I aimed to communicate was the sugarskull to represent the holiday and the lighting and reveal to represent a candle flicker. The motion should elevate the communication by capturing the audiences attention and delivering an exciting experience. Lighting candles for loved ones who passed on is a way to celebrate Dia De Los Muertos and a reminder that loved ones who passed are still celebrated although they are not here physically. I used the file from last course for inspiration, as it had the sugarskull painting as well as lit candles to represent the holiday.

Juneteenth

For Juneteenth I used the photoshop design from the previous course as inspiration. I decided to use a broken chain for an icon replacing the u. The photo is representing a live music celebration for Juneteenth, and I wanted to dive into a deeper meaning behind the holiday with the static logo. The broken chain represents freedom from slavery and with the animation I used a shattering effect to represent that. The motion is aimed to capture the audiences attention and remind them of the chains that have been broken and the freedom that was fought for. The motion elevates this communication by inspiring the audience to remember and think about the past, present and future. The broken chain should be a reminder of the suffering, and how it had to be broken. I decided to incorporate the chain as the U for a creative touch to speak to the audience.

For my refinement, I went back to Dia De Los Muertos and refined the fire effect and added vapor reveal. Fire is an element represented in Dia De Los Muertos by lighting candles at the alter to represent the souls. The fire is supposed to light the way back home for the souls. My aim was to deliver an experience for the audience by using the fire element, like the candles for the holiday.

MDM615 Week 1: Brand Messaging

What benefit is being promised? Achievement

To whom is it being promised? 8 -14+ interested in early engineering skills

Why should they believe you? Helps develop cognitive skills and Science, Technology, Engineering, and Mathematics (STEM) techniques. Free replacement pieces with warranty.

The service I chose for my thesis is 2) A small wooden toy manufacturing company from Madison, WI that is ready to go national. Achievement is the need that will be fulfilled with this product. Felton (2013) describes achievement as the need to exercise a skillset and perform difficult tasks. Basic engineering and understanding mechanics are skills that are difficult to perform and require a great deal of learning. This falls into the category of esteem and self-actualization needs, where the children can discover their inner potential resulting in an achievement-oriented project. Achievement at a young age can be a catalyst to a positive career path in mechanical engineering.

The demographic for this company is children and teens from 8 to 14+. Some of the wooden toys and puzzles are intricate and may need a parent's help, so this can include family participation. The psychographic is children and teens interested in learning basic Science, Technology, Engineering, and Mathematics (STEM) skills that interest them, such as building vehicles, and other mechanical projects that need gears to operate. The need that logically connects the product to the psychographic is achievement. Joy (2024, May 9) describes how these puzzles inspire creativity and critical thinking in children and teenagers.

The features of this product are beginner, intermediate and experienced 3d puzzles and toys. Lazer cut pieces made in Madison, WI are all made of wood. They consist of wood gears and parts, as well as rubber bands for the more experienced builders to animate the toys. The gears are pieced together so that the toys move when wound up. Beginner puzzles are basic and with each level of experience the toys are more advanced with smaller pieces. Free lifetime replacement parts are offered with a warranty. These 3d puzzles test the potential of the psychographic guaranteeing a sense of achievement once the toy is built. The more advanced the puzzle, the greater the sense of achievement, and promotes cognitive development skills for young people who are interested in engineering.

Felton, G. (2013). Advertising: Concept and Copy (3rd ed.). W. W. Norton. https://bookshelf.vitalsource.com/books/9780393733921

Joy, C. M. (2024, May 9). The application of 3D wooden puzzles in Education. Robotime Online. https://www.robotimeonline.com/blog/the-application-of-3d-wooden-puzzles-in-education

MDM615 Week 2: Voice and Tone.

Thesis Application

Name of Product or service: WoodWi

Core Message:

What benefit is being promised? Understanding

To whom is it being promised? Children and teenagers ages 8 -14+ interested in early engineering skills.

Why should they believe you? Wooden gears animate the 3D puzzles without any electronics, they must be assembled correctly to move. Learning how to assemble these toys helps develop cognitive skills and techniques in Science, Technology, Engineering, and Mathematics (STEM). Connect with the 3D puzzle community and mentors via social app.

Theme / Style: Learning

Brand Personality is / isn't

1. Is Creative Isn’t electronic

2. Is Entertaining Isn’t dangerous

3. Is Educational Isn’t dull

Potential Taglines:

1. Imagination in Gear.

2. Build. Wood. Gears.

3. Get your gears turning!

Positioning Statement (Narrative): Opening the box to an array of laser cut wood waiting for you to separate the pieces and begin building your masterpiece. A QR code for you to scan to connect to the app and join the 3D puzzle community. The directions are clear, concise and help is available. Learn how these gears animate your 3D puzzle, no electronics or wiring. You can wind up your wooden motorcycle, or carousel and watch your finished pieces come to life. Friends and family can join, or you can build alone. Develop an understanding of how these fully functional mechanisms work in the real world.

Design Rationale

Name

The name I chose is WoodWi. After brainstorming possibilities, I found the portmanteau technique to be the best solution. Being that the Toy company was founded in Wisconsin and consists of wood toys, I combined the location and the product for a fun play on the words. WoodWi reflects the theme creatively, like a question “Would we?” The audience is children and young teenagers, so the name is easy to say with a hint of silliness.

As discussed by Felton (2013) portmanteau is the technique that combines words to create a new word. The word wood is easily identifiable, and it is what the toys are made of. Wisconsin abbreviated is WI, which is where the business began, and I decided to combine that in the name for a creative touch. The name itself doesn’t make sense, however, it is memorable and fun sounding.

The name is set to appease a younger crowd, one that rolls off the tongue easily and is entertaining. The benefit is understanding, so would we learn something from these puzzles? Absolutely, since psychographic is interested in learning early skills of mechanical engineering, it made sense to create something fun and identifiable.

Potential Taglines

The potential taglines reflect the benefit while emphasizing the product. The first potential tagline “Imagination in gear” is simple and direct. To be in gear means to start working, imagination in gear is a short way of stating the imagination is working. Imagination is needed to create possible outcomes when learning a new skill. The benefit is being promised to a young audience, helping them gain an understanding of the functionality of mechanical engineering. EIN Presswire (2023) describes how 3D puzzles enhance creativity and imagination, therefore imagination in gear is a relevant slogan that has potential.

The second potential tagline follows the rule of three. It can also work well with the name forming a question “would we build wood gears”? The 3D puzzles are built with wood and gears for function. Many things come in three, as described by Felton (2013) and it works well for slogans. This potential slogan works with the name and benefit of understanding. To understand mechanical process, learning how to build and how gears work is the benefit, as well as the obvious fact that it is all made of wood.

The third potential solution is “Get your gears turning” is a joking way of saying getting started or thinking hard. This potential slogan is a quirky way to support the the benefit of understanding. Felton (2013) discusses when creating a slogan, to sell the benefit. In this case, the benefit is learning and using some humor, getting the gears to turn in someone's head basically means getting them to think or understand.

Narrative

The narrative reflects the messaging/ theme of the brand by describing the unboxing of the product and its contents. Once the box is opened, the learning process begins persuading the audience to imagine the possibilities. Describing the product and the potential outcome reflects the brand promise.

Joy (2024) describes how 3D puzzles are important in education and how it can be a fun way to learn S.T.E.M. skills. The narrative describes how the audience can connect with other like-minded individuals via an app as well as communicate with mentors for help completing the projects. Using creativity and imagining the completion of the puzzle is described by bringing the individuals masterpiece to life.

Learning to build 3D puzzles is beneficial for the psychographic who is interested in early engineering. Combining creativity and entertainment all while learning real world application with a helpful community connected through an app is the message that is conveyed in the narrative. From what comes in the box to the potential result is discussed in the narrative for a call to action.

Joy, C. M. (2024, May 9). The application of 3D wooden puzzles in Education. Robotime Online. https://www.robotimeonline.com/blog/the-application-of-3d-wooden-puzzles-in-education

Felton, George. (2013). Advertising: Concept and copy (3rd ed.). W. W. Norton. https://bookshelf.vitalsource.com/books/9780393733921

News provided by EIN Presswire Aug 24, 2023. (2023, August 24). Exploring the fun and educational benefits of 3D wooden puzzles. FOX 4 Kansas City WDAF-TV | News, Weather, Sports. https://fox4kc.com/business/press-releases/ein-presswire/651747183/exploring-the-fun-and-educational-benefits-of-3d-wooden-puzzles/

MDM615 WK 3

Thesis Application

Name of Product or service: WoodWi

Core Message:

What benefit is being promised? Understanding

To whom is it being promised? Children and teenagers ages 8 -14+ interested in early engineering skills.

Why should they believe you? Wooden gears animate the 3D puzzles without any electronics, they must be assembled correctly to move. Learning how to assemble these toys helps develop cognitive skills and techniques in Science, Technology, Engineering, and Mathematics (STEM). Connect with the 3D puzzle community and mentors via social app.

Theme / Style: Science Fair

Brand Personality is / isn't

1. Is Inventive Isn’t electronic

2. Is Entertaining Isn’t Shocking

3. Is Educational Isn’t Scholarly

Tagline:

Imagination in Gears!

Positioning Statement (Narrative): Your athletic older brother has always brought home trophies and awards for his achievements in sports. This year your school is hosting a science fair, now is your chance to showcase your talent! Your love for 3D puzzles and mechanical engineering can finally take to the stage. Opening the box to an array of laser-cut wood waiting for you to separate the pieces and begin building your masterpiece. A QR code for you to scan to connect to the app and join the 3D puzzle community. The directions are clear, concise and help is available. Learn how these gears animate your 3D puzzle, no electronics or wiring. You can wind up your wooden motorcycle, or carousel and watch your finished pieces come to life. Friends and family can join, or you can build alone. Develop an understanding of how these fully functional mechanisms work in the real world.

Design Rationale

Color Palette

The color palette chosen represents a learning environment. According to NorvaNivel (2023) greens, blues, and mauves promote creativity and reduce anxiety. Oranges and yellows boost energy and are great for engagement. A tip shared for designers is that too many bright colors can be overstimulating, which is not the tone needed for a learning environment.

Understanding is the benefit promised in the core message, the primary colors of light brown and burnt umber reflect creativity and engagement. The theme of the core messaging is a science fair, and the decision to utilize this color palette was discovered with research in color theory. Secondary colors of yellow, purple, green and blue reflect the benefit as well. AdamsMorioka (2008) describes how colors create a mood and evoke responses. The light brown and burnt umber fall into the mauve and orange family, set the tone for engagement and creativity.

Utilizing the colors chosen for this brand identity, the goal is to reflect the core message and harmonize with the theme. Science fairs are all about understanding and the 3D puzzles are an activity used in STEM lab. The color palette works well to engage the audience, setting the tone and creating a mood.

Line Quality

Line is an important element in graphic design, setting a tone that harmonizes with the core message. With the ability to evoke response, line elements can bring the design together, or differentiate other elements such as colors and imagery. It can also be used as a guide for the audience's eye, with hierarchy. The decision to use a thin line with the shape of a gear was the solution for this brand to reflect the benefit which is understanding.

The theme for the brand “WoodWi” is a science fair using the 3D puzzles that consist of gears and wood pieces for the psychographic to engage in the benefit of understanding. With line being one of the four formal elements of graphic design, it is important that line choice reflects the benefit and features. Brown (2019) discusses how line elements are used to combine and differentiate the design.

The separations in the line element are mathematically correct, reflecting the features of the brand. These lines will be used across different media platforms combined with other elements to create a look and feel that reflects the product and features of WoodWi. Gears are an important feature of this product, therefore a gear shape was implemented in the line. Together these line elements can enhance the comprehension of the core message.

Imagery

Imagery is essential for visually communicating a product/service. This powerful component creates and experience for the audience that needs to be memorable and understood. Using imagery to convey the message is imperative, and should reflect the benefit and features of the brand.

The imagery used for WoodWi are children building 3D puzzles for a science fair. The colors used in the imagery should include the primary and secondary colors from the color palette to stay consistent with the design elements. The imagery should match with the design elements and reflect the core message and theme.

When deciding what imagery to use, it must reflect the product, theme and benefits of the brand. Images of the psychographic creates a relationship with the audience as they can relate and visualize themselves participating in the activities shown. A tribal effect can occur, where the audience feels a sense of belonging with the visual's presented. Visualizing the psychographic and what their needs are, with research, can result in positive design solution.

AdamsMorioka. (2008). Color design workbook. Rockport Publishers. https://learning.oreilly.com/library/view/color-design-workbook/9781592534333/xhtml/ch03.html#ch03lev1sec1

NorvaNivel. (2023, August 15). The power of color in a learning environment. NorvaNivel US. https://norvanivel.com/the-power-of-color-in-a-learning-environment/

Brown, E. (2019, May 4). How to create impact using lines in graphic design?. Design Mantic. https://www.designmantic.com/how-to/how-to-use-lines-to-create-an-impact-in-graphic-design

Thesis Application

I created a brand vision board that applied the design principles discussed in this weeks learning material.

MDM620 Week 1: Logo Concepts

Design Rationale

Explain the process explored for the Step 1 content.

The process of my thumbnail sketches began with revisiting the look and feel and vision board for WoodWi. To remain consistent with the tagline, “Imagination in Gears!” influenced the decision to incorporate gear icons. A few other ideas came to mind, thinking of wooden toys, like a wooden train, however the theme for this brand is science fair and that does not seem to fit well. Building a train from wood pieces and making it work does take some STEM skills, which could be demonstrated in a science fair.

Include at least one visual aid that helps to illustrate the design decisions made.

Following the elements of design Airey (2009) I aimed to keep it simple. Thinking of how the logo would be used in different media from print to web I aimed for a minimalist approach, mainly using the gear icons keeping the tagline in mind as well as the science fair theme. Airey (2009) discussed how the visual identity of Vanderbilt University combined symbols that represented the University. With this demonstration of using elements relative to the brand, my decision to use elements from the vision board was highly influenced.

Explain why the logos circled are the strongest choice. Make sure to explain all three in detail.

The first thumbnail sketch circled was originally the idea when the look and feel was being created. Incorporating gear symbols for the o’s in WoodWi as well as the dot of the i tied the logo to the tagline and the product features. Using gears to build a working wooden model helps with STEM learning and activities. This is a very simple concept and will work to stay consistent with the brand identity.

The second thumbnail circled is a simplified version, just using the W initials of the brand inside gear icons. Using basic icons to commit to memory will be easily identifiable to the audience and trigger the memory of the tagline as well as the product features. This simple approach will be valuable on multimedia platforms from print to web and everything in between.

The third thumbnail circled uses the line element from the look and feel of the brand identity as well as a simple “W” from the brand name WoodWi. The line element incorporates the gear icon, which is the main product feature that will be suited for the science fair theme. Children 8-14+ can build wooden models with gears that are fully functional and demonstrate STEM capabilities. This simplistic approach will commit to memory, the main focus for this brand is the gears and that iconic element is an important aspect of the brand.

Airey, D. (2009). Logo design love: A guide to creating iconic brand identities. New Riders. https://learning.oreilly.com/library/view/logo-design-love/9780321657251/ch3.html#ch3

MDM620 Week 2: Logo Refinements

Step 1: Thesis Application

Step 2: Design Rationale

WoodWi is a small wooden toy manufacturing company from Madison, WI that is ready to go national.

Specializing in 3D puzzles that help children 8-14+ develop cognitive skills and techniques in Science, Technology, Engineering, and Mathematics (STEM), WoodWI is ideal for science fair projects.

A. WoodWi (Logo Option #1)

B. The Evolution of option 1 was slight changes in the font and gear icon shape. A bold, headline font will work best, as well as a large center opening of the gear icons that represent the “o’s” in WoodWi.

C. The headline font, which will be Owners text black, from the brand guidelines is a bold sans serif font. The gear icons work best with a wide opening to represent the o’s in WoodWi. The icons and font create visual unity with elements and font from vision board. Malamed (2015) describes how using similarity creates a visual theme for the audience.

D. The message the design is communicating is an imaginative way of using gears. 3D puzzles that incorporate gears for movement of the toy is the feature which is represented by the icons.

E. The design accurately represents the brand by unifying the design utilizing the elements from the vision board. Neumeier (2005) describes the five areas of communication to look for which are distinctiveness, relevance, memorability, extendibility, and depth.

F. The design is appropriate fro the target audience of children 8-14+ consisting of Bold, easily read font choice as well as simple icons that represent the brands main feature. The design speaks to them by using the gears creatively to unify the logo. Using the elements in this way demonstrates to the target audience that they can creatively use the wooden gears to complete the 3D puzzle, similar to how the wordmark is complete and unified using the gear icons.

References:

Malamed, C. (2015). Visual design solutions: Principles and creative inspiration for learning professionals. O’Reilly Online Learning. https://learning.oreilly.com/library/view/visual-design-solutions/9781118864043/c09.xhtml#c09_level1_4

Neumeier, Marty. (2005). The brand gap. New Riders. https://learning.oreilly.com/library/view/the-brand-gap/0321348109/ch03.html#ch03lev1sec1

A. WoodWi (Logo Option #2)

B. Design concept two began as two solid gear icons with the letter W in each, above the brand name “WoodWi”. The evolution of the brand consisted of developing the icons and their placement with the name. The W’s were removed from the icons and the name placed with an arched look beneath the icons. Further development of this concept can create the illusion of a smiley face.

C. The strength of this design is the gear icons that represent the feature of the product. Unifying the design with the elements of the vision board creates visual harmony with the other elements of the brand look and feel. Bokhua (2022) describes the process of elimination and finding the best concept to represent the brand. Logo option 2 works well as the icons represent the brand features. Karjaluoto (2013) describes how to deliver appropriate solutions for the design problem, in this case the gear icons and a creative effect on the text can create a harmonious logo using icons and font.

D. The message this design is delivering is fun, creative and imaginative. With further development of this concept the logo can give the audience a hidden puzzle to be solved in the logo, a smiling face by using their imagination. Since this brand is geared towards children who will use their imagination to solve puzzles, this is a creative concept that represents the brand.

E. The design accurately represents the brand by incorporating the gear icons as well as a visual puzzle that can be solved by using the imagination. “Imagination in Gear” is the tagline that represents the brand and the theme.

F. The design is appropriate for the audience (8 to 14+) and it focuses on the use of imagination when seeing the hidden smile if the concept is developed properly. The gear icons represent the main feature of the product and are incorporated to attract children who are interested in STEM learning. Piecing together 3D puzzles that are fully functional are ideal for science fair projects and help develop cognitive skills for children interested in early engineering.

References:

Bokhua, George. (2022). Principles of logo design. Rockport Publishers. https://learning.oreilly.com/library/view/principles-of-logo/9780760376522/xhtml/08_Chapter04.xhtml#lev47

Karjaluoto Eric. (2013). The Design Method: A Philosphy and Process for Functional Visual Comminication. New Riders. https://learning.oreilly.com/library/view/the-design-method/9780133438963/ch09.html#ch09lev1sec1

A. WoodWi (Logo Option #3)

B. The design began using the line quality from the vision board. Incorporating the line with the brand name in a unified design while staying consistent with the brand elements was part of the development process. The evolution went from just a half gear icon to a more refined approach using the line quality from the vision board.

C. The strength of this concept is the use of the line quality from vision board. Incorporating the gear is a strength that represents the brands features. Another strong element of the logo is how the line continues under the brand name representing imagination. The beginning stages were weaker as they only used a partial gear, without an element of imagination. The final result ties in and as Halloran (2013) discusses how to make the brand memorable by remaining consistent with elements which is demonstrated in this concept. Airey (2012) Discusses the many mediums the brand utilizes for marketing and how to keep in mind this fact, this logo concept will be readable at different sizes for different mediums.

D. The message the design is communicating is a creative use of gears, remaining unified with the brand elements as shown in the vision board. Staying consistent with brand elements creates a sense of harmony and builds trust with the audience. The message is understandable, and simple. Ai

E. The design accurately identifies with the brand by incorporating the line quality and use of the gear icon which will remain consistent throughout the brand identity.

F. The design is appropriate for the target audience of youth ages 8-14+ interested in early STEM skill development using 3D puzzles, ideal for science fairs.

References:

Halloran, Tim. (2013). Romancing the Brand: How Brands Create Strong, Intimate Relationships with Consumers. Jossey-Bass. https://learning.oreilly.com/library/view/romancing-the-brand/9781118828977/c03.xhtml#c3-sec-0006

Airey David. (2012). Work for Money, Design for Love: Answers to the Most Frequently Asked Questions About Starting and Running a Successful Design Business. New Riders. https://learning.oreilly.com/library/view/work-for-money/9780133052794/ch05.html

A. WoodWi (Logo Option #4)

B. Logo option #4 began as a gear icon with a W in the center. Including the name was essential, however finding the placement of the name required creative thinking. Stacked below and arched above were concepts leading to the final concept, which is centered above the name.

C. With this logo the goal was to create a simple, memorable icon that eventually can stand-alone without the typography. The self-evaluation process was presented with different formats combining the type and the icon. Peters (2023) describes that functionality is important and can be achieved with simplicity. The evolution of this logo option was simplified to meet that standard. Hardy (2011) describes the refinement process as essential before digital. By refining the logo on paper a solif final concept was created.

D. The message the design is communicating is creativity with gears. The gear icon is present and consistent with the brand look and feel. The tagline “Imagination in Gears!” unifies the design. The main feature of this brand is wooden gears that operate fully functional 3D puzzles.

E. The design accurately represents the brand with a large gear icon centered above the name. This format with the icon draws the audience to the gear first before reading the name and tagline. The audience will recognize this icon and understand that gears are the main feature of this product before reading about it.

F. The design is appropriate for the target audience of 8-14+ year olds interested in early engineering and STEM skills. These fully functional 3D puzzles are ideal for science fairs demonstrating the child’s skills. The large gear icon will attract the target audience looking for mechanical puzzles that operate with gears.

References:

Peters, Allan. (2023). Logos that last. Rockport Publishers. https://learning.oreilly.com/library/view/logos-that-last/9780760383186/xhtml/10_Chapter01.xhtml

Hardy, Gareth. (2011). Smashing logo design: The art of creating visual identities. O’Reilly Online Learning. https://learning.oreilly.com/library/view/smashing-logo-design/9781119993568/

A.WoodWi (Logo Option #5)

B. The evolution of logo option #5 was very minor, only experimenting with different block shapes and icons as well as 3d perspective for the type. The final concept sketch is tightly unified with minimal space in between the blocks and gear icons. The letters are boxed in squares to give the appearance of wood blocks and the gears are the letter o in the design.

C. This logo is creative; however, details can be lost once it is downsized for smaller application. The letters have a boxed in feel and the gear icons are a strong representation. According to Evamy (2012) geometric shapes allude to badge designs and may not work for this concept. Overall, the idea is strong although it may not work for smaller application.

D. The message the design is communicating is fun and educational. The simple design is recognizable as a creative building game or puzzle by using block icons to outline the letters. The gear icons for the letter O work well in unifying the design.

E. The design accurately identifies the brand by using shapes and gear icons to illustrate the name. The outcome is a building block look with gear icons to stay consistent with the brand look and feel.

F. The design is appropriate for the audience 8-14+ as it is a simple, harmonious design that works well demonstrating creativity with gears, the main feature of the product. Simple shapes are recognizable to a younger audience than very detailed icons, which work well together.

Reference:

Evamy, Michael. (2012). Logotype. Laurence King. https://www.oreilly.com/library/view/logotype/9781856698948/

A. WoodWi (Logo Option #6)

B. This design began as stacked blocks and through the evolution, gear icons were implemented to represent the main product feature and tagline. Overall the design works well, however readability may prove to be an issue.

C. The design is a creative demonstration of stacked type and the gear icon is a consistent element of the brand. It works harmoniously with the tagline, unifying the design. Evamy (2012) describes stacking text as an interesting dynamic which can be pleasing for the target audience. This concept suggests an Architectual feel, however, with the brand name it creates a chaotic feeling as the placement does not generate a unified feeling.

D. The message the design is communicating is educational, building blocks. The gear icons for the letter O are consistent throughout the brand look and feel and is a main feature of the product.

E. The design represents the brand accurately; however, it may prove to be a weak choice as readability is an issue. Stacked designs work in some cases, yet in this case it is not a strong choice.

F. The design is appropriate for the target audience of children 8-14+ who enjoy STEM projects to learn early engineering skills. This design is weaker than the others as readability can be an issue.

Reference:

Evamy, Michael. (2012). Logotype. Laurence King. https://www.oreilly.com/library/view/logotype/9781856698948/

MDM620 Week 3: Logo Vectors

Step 1: Thesis Application

Part 1: Self-Evaluation

Part 2: Vector Production & Evaluation

Part 3: Finalize Single- and Full-Color Logos

Step 2: Design Rationale

Explain why the Step 1 content effectively informed the decisions made for the selected designs.

Step one was a critical process for evaluating each logo concept. Simplicity and readability played a major role in the decision process. Repeating the drawings helps narrow down the results and understand what will work. Showing the designs to a second person for review for readability purposes and comprehension was utilized in the decision process. The stacked, vertical design was eliminated as it was time consuming to read.

Briefly explain each design decision made in the development of the solution presented in Step 2 of this assignment.

Functionality and simplicity are imperative when designing a logo. It is essential for the logo to work across all media from print to web without losing detail. Peters (2023) discusses that when developing a logo, the designer researches favicon dimensions as well as embroidery for marketing purposes. Simplicity is essential as fine details can be lost and will not work for all mediums and this is proven to be problematic for promotional material as well as web purposes. When deciding which design to move forward with, understanding promotional material and its requirements will prevent problems in the future. Fine details will be lost in small applications preventing certain applications to be used.

During the exploratory stage in the design process, the designer can evaluate which design will work best by refining and self-evaluating. Bokhua (2022) discusses how repetition in sketching takes time and experimenting with different concepts is essential. It proves to be too time consuming to develop the logo in vector format too early, only to find that it won’t work.

Below are examples of the sketching process, to vector evaluation from the book "Logos that Last" by Allan Peters.

Finally, explain why the two presented designs are considered the strongest from the other choices?

The two designs chosen for the final concept are simple, readable and speak to the demographic. The gears are represented in the logo since they are the main feature of the product. The demographic is children ages 8-14+ interested in STEM skill development so the logo needs to be simple, fun and readable. The first choice is a wordmark with gear icons as the o’s and the dot of the eye that is aesthetically pleasing and creative. The second choice is the surprise illusion of a smiling face that inspires an imaginative view. “Imagination in Gears” is the tagline for this brand and the second option inspires the audience to imagine a smiley face with the gears as eyes and the brand name as the mouth. It is a hidden surprise element that works. The message conveyed to the audience is that this product has functioning gears which are essential for building the mechanical toys that move. The second option requires imagination to see the smiling face, which can even be compared to a robotic face. These options will elevate the brand by inspiring imagination and promoting the main feature of the product, wooden gears.

References:

Bokhua, George. (2022). Principles of logo design. Rockport Publishers. https://learning.oreilly.com/library/view/principles-of-logo/9780760376522/xhtml/08_Chapter04.xhtml#lev47

Peters, Allan. (2023). Logos that last. Rockport Publishers. https://learning.oreilly.com/library/view/logos-that-last/9780760383186/xhtml/10_Chapter01.xhtml

MDM620 Week 4: Style Guide

MDM650 Week 1: Media Choices and Planning

WoodWi

Media Assets List

• Letterhead Package
• Logo Animation
• Social Media Package
• Swag: Tshirt, canvas bag, baseball hat
• Bus stop poster
• 30-second animation loop
• Website

The media assets list chosen aim to create a connection with the target audience (children 8-14+). The letterhead package will be used for static media to deliver information accompanying the toys in their packaging. This may include brochures about science fair information and the benefits of STEM activities, with link to website. A social media package will be provided to connect with the audience as well as links to websites. They can post their reviews and interact with like-minded individuals. The logo animation will be a fun memorable experience for the audience on certain web platforms where it can be utilized. Swag will be available as prizes or gift merchandising. The bus stop poster will be an informative media asset for inner-city children and their parents who mainly use public transportation, a link to social media platforms and website will be available with QR code. A 30-second animation loop can be used for advertising on game and social media platforms and/or video platforms. A website will be available for the target audience to purchase the wooden toys as well as learn more about the features and benefits the product offers. All assets besides swag will have link to social media and website. Swag will have tags with QR code linking social media and website, as well as business card with links.

Research

Developing a schedule is essential when designing media assets for a brand. This concept can improve reliability as well as keeping track of progress. When communicating with the client, this asset can be shared so that they know what to expect and where the project stands. In this deadline driven field, it is an important organizational skill that keep the project on track. (Airey 2012) describes project planning as a touchstone an aspirational document. Comparing this document to a map before driving, it makes sense to develop a production sheet for projects. (Hembree 2006) advises designers to keep a design/development record of the processes. A production schedule beginning with concept sketches is an accurate way to keep on schedule for delivery.

Solving Problems

My development process for the production sheet consisted of planning around my work schedule and predicting the time frames I have available. Working in the field, I have an idea of how long projects will take as well as experience with previous projects within this program. Working in a high turn around environment I have an understanding of how to quickly execute projects on a strict deadline. With this experience I am able to predict an approximate time frame that the projects should take. With this knowledge I planned my schedule accordingly.

Sketching Ideas and concepts for the media assets is a creative concept for brainstorming ideas before rendering them in the programs needed for the media output. This concept helps generate ideas and narrow down the applicable concepts. Jumping directly into the programs prove to be time consuming when the concepts are not evaluated on paper beforehand. (Karjaluoto 2013) describes sketching and brainstorming as a valuable concept and should be done quickly and efficiently.

Collaboration

The collaboration I sought out was with Megan (classmate and friend) as we communicated through text where we were at and what ideas we had for updating vision boards. I was unable to share a pic as I was away from my desk when we text, however we described what changes we were implementing and if they would suit the brand look and feel.

Acquiring Competencies

The new skills I acquired through this week's course material was planning a production schedule. At work this duty is performed by the production managers and usually out of the designers' hands. In the art department we have a 24-hour turnaround for schematic mockups and revisions that the rep advises. This was interesting and a valuable learning experience to understand and apply to commissioned work or add to resume/portfolio when seeking other opportunities once I graduate. This skill can also be applied to expand my duties at work if available.

References:

Airey, D. (2012). Work for money, design for Love: Answers to the most frequently asked questions about starting and running a successful design business. O’Reilly Online Learning. https://learning.oreilly.com/library/view/work-for-money/9780133052794/ch06.html

Hembree, R. (2006). The complete graphic designer. O’Reilly Online Learning. https://learning.oreilly.com/library/view/the-complete-graphic/9781592532599/chapter-17.html

Karjaluoto, E. (2013). The design method: A philosophy and process for functional visual communication. O’Reilly Online Learning. https://learning.oreilly.com/library/view/the-design-method/9780133438963/

MDM650 Week 2: Media 1

Letterhead Package and Social Media Package draft

Refined Letterhead and Social Media Package

Research

The video Unblock IT ( McWade, 2013) was informative and useful during the refinement process. Understanding how to think outside of the box, literally, when designing since we live in a world of boxes. Letterhead packages are very box shaped, and designing without rectangles and freeing the logo was a creative design decision. Using design elements from the look and feel, without boxing them in was an interesting technique to be utilized.

The brand guide, vision board and look and feel ensures the design decisions will use the brand voice and remain consistent and memorable for the audience. (Soechtig, 2022) discusses how firstly, the brand guide is the essential tool when designing media assets for the brand.

A brands foundation is trust, using consistent elements and imagery will build trust and familiarity with the audience. The brand is about what the audience says it is, not what the designer says it is (Neumeier, 2005). The decisions for each media asset were based on consistency and utilizing the brand guidelines and vision board for design elements.

Solving Problems

This week's design process began by drafting a vector mockup of the letterhead and social media package. After the midweek discussion, the drafts were refined by correcting the scaling and improving the imagery. Small bodies of copy were used rather than long paragraphs. The imagery and graphics used are consistent with the look and feel of the brand, as well as the vision board. Considering that this brand is preparing for launch, consistency builds recognition and trust with the audience.

Collaboration

Collaboration was done with my classmate and friend, Megan. We helped brainstorm and we discussed our goals for this week’s assignments. Pictures of our progress were shared through text messages. The outcome of the feedback shared was positive and inspirational.

Acquiring Competencies

New skills acquired this week were utilizing the brochure and stationary templates included with Adobe Illustrator that has the exact sizes for the letterhead mockups. During the discussion, I also learned about attention spans and keeping information short and concise for the audience. Adding links for the viewer to access more information is essential for the brand. Presenting media packages should convey a realistic idea for the brand. The brand vision board and look and feel is a fundamental tool when designing media assets for the brand.

McWade, J. (2013, February 27). Unblock IT - learning graphic design: Things every designer should know video tutorial: Linkedin learning, formerly Lynda.com. LinkedIn. https://www.linkedin.com/learning/learning-graphic-design-things-every-designer-should-know/unblock-it?u=50813145

Soechtig, S. G. (2022, August). Make your brand matter. O’Reilly Online Learning. https://learning.oreilly.com/library/view/make-your-brand/9781119860341/c11.xhtml#head-2-69

Neumeier, M. (2005, August). The brand gap. O’Reilly Online Learning. https://learning.oreilly.com/library/view/the-brand-gap/0321348109/apa.html#app01lev1sec1

MDM650 Week 3: Media Asset Production

Bus stop poster draft

Swag placement and sizing draft

Animation Draft

Finalized Renders

Animated Logo

Research

Seeking an emotional connection with the audience is imperative for a brands survival. Humans are emotional beings and purchasing products are based on how it makes the audience feel (Yohn, 2014). The brand story is meant to create the connection with the audience and fulfill a need. In the development of WoodWi, the target audience are children 8-14+ interested in STEM learning activities. The brand theme is science fair, and with this information simple questions were asked to intrigue the audience and interest them in learning more about the product. The media is designed with minimal information, a call to action and links to different platforms to learn more about the features and benefits of the product. Attention span is an important factor to consider when designing and directing the audience to platforms where they can find out more on their own time is essential. (Neumeier, 2008) discusses how branding consists of ethical decisions and how the audience expects the same morals from their brand choice as their fellow humans. Combining ethics and aesthetics is an example of good design. Exhibiting the brands voice and tone throughout the design process, and making design decisions based on the brand story is imperative.

Solving Problems

The development process for this weeks media assets was based on the brand story and the message that needed to be conveyed. Utilizing the core message to understand the target audience influenced every design decision. The animated logo displayed turning gears which is the main feature of the brand. Wooden 3D puzzles that are fully operational without the use of electronics are the products WoodWi is selling. The animated logo displayed turning gears, which speaks with the brand voice. The bus stop poster utilized the assets from the brand vision board and remained consistent with the brand story. Studying the principle of depth (Neumeier, 2008) helped develop the media assets and the understand how to convey the brand message using the brand voice and tone.

Collaboration

Collaboration consisted on texts and photo exchange with my peer and friend, Megan. We discussed consistency and utilizing the vision board elements. Building brand trust and recognition is essential when launching the brand. The vision board should be used as the designer's tool box when designing media assets to remain consistent. The core message will be present with the voice and tone of the brand and remain on track.

Acquiring Competencies

This week sharpened design skills and techniques with animated logos and merchandise development. Key concepts were remaining consistent with the brand story, look and feel as well as the voice and tone. When designing for a brand it is essential to understand the core message and the target audience. Utilizing the brand vision board for media assets makes for a better flow when designing.

References

Yohn, D. L. (2014, January). What great brands do: The Seven brand-building principles that separate the best from the rest. Jossey-Bass. https://learning.oreilly.com/library/view/what-great-brands/9781118824337/xhtml/Chapter02.html#sec5

Neumeier, M. (2008, December). The designful company. New Riders. https://learning.oreilly.com/library/view/the-designful-company/9780321620682/ch03.html#ch03lev1sec3

MDM650 Week 4: Brand Asset Completion

Rationale

Researching similar websites for 3D wooden puzzles like UGEARS the design decision was made to use a simple, navigation. When refining the 3D puzzles available for purchase will be listed, as well as STEM information. The website is needed for this brand to sell their products and encourage their audience to participate in STEM activities. Social media platform links are available as well as a review page and an about page. The website is the hub for information that the audience needs.

The animation is still in drafting phase, it will be a simple, delightful animation to capture the audiences attention and convey a happy emotion. The smiley face icon represents happiness that the audience should feel when developing an understanding for STEM activities with 3D wooden puzzles. Design decisions are based on the brand story, core message and vision board. The theme is science fair, and information on science fairs are available on the website as well. The media assets all lead to the website where detailed information about the brand WoodWi is available.

Final Prototypes of website and 30 second animation

Step 2: Video Rationale

MDM640 Week 1: Brand Playbook Development

MDM640 Week 1: Research Component

ROI (return on investment) is the specific justification on spending. Shareholders, clients and corporations use this method to determine if the outcome if worth the cost. Developing an understanding of ROI is essential for a designer as speaking in numbers using hypothesis (Faljic, 2020) and should be rephrased as assumptions rather than guesses. Most CEOs do not fully understand what the design department does, however, they do understand the profit gained. Communicating a project to upper management should include how much time saved and the benefits for the company. Researching the numbers for the project and communicating this information with confidence can have a successful impact on approval of a project.

Measuring the success of design and the revenue it produces is done using ROI. Researching hard and soft data to deliver the communicate the information on why the company needs certain media assets to capture the target audience is essential. (Phillips & Phillips, 2019) Prototyping to understand real reactions to the products and with A/B testing the analysis can be used to determine the ROI. A/B testing is an unbiased way of determining the success of the product, in real time. (Graphicszoo, 2024) A/B testing is a great way to see the results of a product for analysis. Before launching a product or service it is advised to prototype and run testing as this will eliminate mistakes after the launch. Understanding what works and what doesn’t is essential when determining the ROI. Investors need to understand where their money is going, why and how it will produce a profit. Cost effectiveness is essential, investors do not want to spend more than they will earn or this will result in negative ROI. Testing is beneficial, understanding the audience's reaction and if their needs are being met can all be found with prototyping and A/B testing.

This is an essential tool for the designer to utilize when convincing the audience that a product has the benefits that they need. It all boils down to proper research and experimentation before launching. Building trust with the target audience is the goal and delivering the brand promise.

Faljic, A. (2020, June 12). How to estimate the Roi of Design Work. Inside Design Blog. https://www.invisionapp.com/inside-design/estimate-roi-design-work/

Phillips, J. J., & Phillips, P. P. (2019). Roi Basics, 2nd edition. Association for Talent Development. https://learning.oreilly.com/library/view/roi-basics-2nd/9781950496389/OEBPS/c02.htm#c02-s1

Graphicszoo. (2024). Graphic Design Subscription Services On Demand: Graphics Zoo. Graphicszoo.com. https://www.graphicszoo.com/article/importance-of-a-b-testing-in-graphic-design

MDM640 Week 2: Research Component

Step 1: Research Component

Prototyping and testing are an essential part of the design process. To gain a better understanding of how the audience reacts to the product is imperative. The brand must build a trusting relationship with the target audience by delivering the benefits the brand promises. Research is required and this is done with prototyping and A/B testing. (Whitenton, 2018) argues that printing the static images at scale is effective with showing more content to the user. Users are asked to describe the media in 3-5 words as well as “why” they like the design. This feedback is important because the users can evaluate the design before release which can prevent misunderstandings and loss of revenue by fixing any errors before it is made public.

Assumptions should not be made because you as the designer, or the stakeholder likes the design. The target audience should be the key to determining if the product is expressing the brand. Cognitive bias should be avoided, simply put if the designer likes the color blue it does not mean it will function with the brand look and feel. Testing early and often (Schmidt, 2021) is a positive way to prevent undesired results. Understanding the target audience's needs is discovered by intense research and often developing a persona. With a persona the designer separates themself from the design and focuses on designing for a particular audience and not what they like. This allows the designer to visualize what the target audience expects from the brand and keeps the focus on the brand story.

In conclusion, testing is imperative before launching the brand, product or service to be sure that the results will be positive. It is important to keep in mind that assumptions and cognitive bias should be avoided. Building a trusting, reliable relationship with the target audience by staying consistent and delivering the brand promise will keep the brand alive to withstand the test of time.

Whitenton, K. (2018, November 9). How to test visual design. Nielsen Norman Group. https://www.nngroup.com/articles/testing-visual-design/

Schmidt, M. (2021, May 20). A stitch in time saves nine - how a couple of hours of design research can save you from failure. Medium. https://medium.com/insights-observations/a-stitch-in-time-saves-nine-how-a-couple-of-hours-of-design-research-can-save-you-from-failure-38057b83d058

MDM640 Week 3: Brand Playbook Development

MDM640 Week 3: Brand Playbook Development