Ginger Palmisano Mastery Journal Full Sail University Media Design MFA

Inspiration

Mastery Journey Timeline

Career: My goal in getting my MFA is to be able to better serve my students and freelance clients.

Graduation: I will look for three new small businesses with the goal of helping them with their media design needs.

Deconstructed Steps:

• I will make network connections to the small business community through existing contacts and make a list of at least twelve local small businesses in need of media design.

• From this group, I will select six potential clients and develop connections with their decision makers.

• I will develop a media design proposal for each of these connections.

• I will present my ideas and work with decision makers to develop a plan for each business.

• After confirming details, I will sign contracts of engagement with three new clients.

• Finally, I will develop strong media design packages with the goal of growing their business.

A great resource for connecting with local small businesses is networking (White, 2015). I plan to work with the Apopka Chamber of Commerce and National Association of Women in Business Orlando (NAWBO) to develop connections. LinkedIn is another resource I plan to use, as I look at current connections and groups in my PLN like IDSA Women in Design Community as well as alumni groups from Full Sail, Rollins and Pensacola Christian College.

White, K. (2015). Freelancing - Are you ready to go solo? Medical Writing, 24(3), 140–144. https://doi-org.oclc.fullsail.edu/10.1179/2047480615Z.000000000309

MDM525 Week 1

Vision

As a designer, I aspire to gain new skills in programs previously unused and to develop a portfolio of projects that demonstrate creativity, growth and potential.

I value integrity, creativity and innovation in design.

My talents are creativity, time-management and business instinct. I understand how to put boundaries like deadlines and budget around the creative process and how to work within those boundaries.

I hope my legacy is leaving people better than I found them. As a professor, this means inspiring the next generation of designers by sharing my knowledge, experiences, and passion for design. I desire that my work is creative and impactful enough to make a difference in a positive way.

Values

Stefan Sagmeister and Jessica Walsh are partners in a New York-based design firm known for their creative and innovative work in branding, graphic design, and interactive media. Their “Beauty” project is overwhelming in its vision of timeless values of boldness, freedom, and tradition.

Susan Kare is an influential graphic designer known for her work in typography, icons, and other interface elements. Her designs are creative, meaningful, and intelligent.

James Turrell has challenged the conventions of art to sculpt light to his vision. His wisdom, creativity and innovation have been the foundation of Turrell’s larger than life projects.

My values embrace tradition and integrity, both in my work and personal life. I firmly believe tradition can be infused with creativity, intelligence, and a bold spirit, challenging conventional boundaries.

Mission Statement

To seamlessly blend artistry and functionality, my mission as a designer is to create visual experiences that inspire, inform, and resonate with authenticity. By nurturing creativity, fostering collaboration, and upholding ethical principles, I aim to contribute to a world where design elevates and enriches the human experience.

References:

Hylton, W. S. (2021, May 1). An exclusive look at James Turrell’s visionary artwork in the Arizona Desert. Smithsonian.com. https://www.smithsonianmag.com/arts-culture/james-turrell-visionary-artwork-arizona-desert-180977452/

Norris, L. (n.d.). Developing a personal vision statement. Squarespace. https://static1.squarespace.com/static/5765deb1be659449f97fcbf5/t/5770b309579fb313164a7a37/1467003657818/LINDYNORRIS.COM+-+How+to+Develop+a+Personal+Vision+Statement.pdf

Sagmeister, S., & Walsh, J. (n.d.). Beauty – Sagmeister & Walsh. Sagmeister & Walsh. https://sagmeisterwalsh.com/work/all/beauty/

Susan Kare: Biography, designs and facts. Famous Graphic Designers. (n.d.). https://www.famousgraphicdesigners.org/susan-kare

Design Challenge Week 1 MDM 525

This week’s design challenge was based Alexander Girard’s “New Sun” created in 1972 for Herman Miller and rendered on cloth. Using the pen and line tool, as well as a provided template, I created a replica of “New Sun” as a vector graphic in Adobe Illustrator. As this was my first time working with Adobe Illustrator, I learned a lot about use of the pen tool and manipulating the art board in this challenge.

MDM 525 Week 2

Design Research Essay

Purpose of Research

The fundamental objective of research is to establish hypotheses, gather data, analyze findings, draw conclusions, and apply discoveries. In the context of design, specific principles are in place to steer the creative process, ensuring that the outcomes are both impactful and effective (Heller, 2013).

UX, short for “User Experience,” currently takes center stage in design, emphasizing a human-centric approach. To grasp the art of designing for a superior user experience, it is essential to delve into the 'why,' 'what,' and 'how' of a product (Grobstein, 2022). Uncovering these answers necessitates thorough research.

Principles of Research for the Designer

Before beginning research, the designer must have clarity of purpose and contextual understanding (Acayo & Schwanbeck, 2015). To achieve a clear sense of purpose, it's essential for the designer to begin by thoroughly comprehending the creative brief. This brief should offer a complete and detailed overview of the project, including its purpose, goals, necessary elements, limitations, and anticipated outcomes (Skolos & Wedell, 2012). Furthermore, the creative brief should convey the project's narrative, technical aspects, financial constraints, time constraints, and the resources available.

When thinking about the contextual understanding, the designer must understand the environmental, cultural, and social factors (Stone, 2010). Based on this information, the designer should set a clear research goal for the design.

When a designer embarks on the research phase, it's crucial to incorporate collaboration and feedback integration into the process. This is because involving diverse perspectives can greatly enhance the quality of the final product (Heller, 2013). Effective collaboration should encompass multiple individuals with varying viewpoints, ideally representing different levels of expertise. This approach enables the designer to gain insights into the problem and potential solutions from a wide range of angles.

Simultaneously, as collaboration and feedback integration take place, it's essential for the designer to remain flexible and open to adapting the design based on new information, data, or insights (O’Grady & O’Grady, 2009). This flexibility ensures that the design can evolve and improve as the project progresses.

To gather data, the designer must use qualitative and quantitative research methods. Qualitative methods will ensure a UX understanding (Walter, 2020) and quantitative research provides data that is reliable and valid (Acayo & Schwanbeck, 2015).

Qualitative research is a research method that focuses on gaining a deep understanding of human behavior, experiences, perceptions, and motivations. It involves collecting and analyzing non-numerical data, such as focus groups, observations, product testing and interviews.

Quantitative research is an empirical research method that deals mainly with the systematic collection and interpretation of numerical data. The primary objective of quantitative research is to quantify relationships, patterns, and trends in the data and draw conclusions that can be applied to a larger population or used to make predictions.

Importance of Design Research

Research allows the designer to engage in intelligent storytelling. To connect with the consumer, it is essential to build their story. Anna Dahlström in Storytelling in Design. (2019), beautifully connects the principles of storytelling to user experience.

The characters in the story are the consumers. Research informs the age range, the demographics, ethnographics, and psychographics of the end-user (Heller, 2013). It tells the designer what factors motivate the consumer to action. Further, research informs the designer of the emotions that drive the consumer (Walter, 2020).

The setting of the story is equal to how the consumer will use the design. Researching helps the designer determine the space and environmental parameters for the design (O’Grady & O’Grady, 2009). This gives the story structure and form from which the designer can establish well-informed constraints for the design.

The forces in the story of design are the collaborators and feedback. These factors can influence and change the story as it unfolds. Integrating these aspects can avoid costly missteps in design like recalls, redesigns or ending up with a product simply that does not work.

When the story is told through informed research, the design will reflect this (Stone, 2010). The consumer feels that the design is connected to their personal story, and this increases brand loyalty, setting a competitive advantage. Furthermore, the designer has produced an innovative solution that impacts the greater design community (Skolos & Wedell, 2012).

A Case Study

In Designing for Emotion, Aaron Walter (2020), discusses a case study demonstrating the power of research in design.

Sara Blakely, the founder of the successful shapewear brand Spanx, researched her consumer’s story to break into a market that was already well-established.

When Blakely launched Spanx, the women's undergarment section in department stores was saturated with dull packaging, featuring uniform models with slender body types that conformed to societal ideals. The competition was unexciting and disconnected from the customer base.

Spanx packaging was bright red, humorous and fun. This branding approach created a sense of familiarity and intimacy, creating a friendship with her end-user (pun intended.)

Instead of adhering to the beige packaging norm with slim models, Spanx packaging showcased lively cartoon depictions of women from diverse demographics and body types wearing the product. This concept extended to the inside packaging as well to engage the consumer. They adorned it with cartoons inspired by Bazooka bubble gum, humorously highlighting the shortcomings of the competition and emphasizing that Spanx was a superior product. Inspired by this creative touch, some Spanx customers even pinned these cartoons on their office cubicle walls or hung them on their refrigerators.

Using research, Blakley tapped into powerful emotions that helped her establish a brand that grew through word-of-mouth. She was able to connect to the emotion and unmet needs of her customer’s story.

Conclusion

Research is the cornerstone of successful design. It equips designers with the knowledge and insights needed to understand user needs, identify problems, and create innovative solutions. Research guides decision-making, fosters creativity, and ensures that design efforts are user-centered and aligned with broader goals. It empowers designers to stand out in competitive markets, challenge norms, and build brands that resonate with their target audiences. Ultimately, research not only enhances the quality of design but also elevates its impact, transforming ideas into tangible, meaningful, and effective creations.

References

Acayo, P. & Schwanbeck, A. (2022, September 6). Create highly effective design solutions [Video]. Learning design research. LinkedIn. https://www.linkedin.com/learning/learning-design-research/create-highly-effective-design-solutions

Dahlström, A. (2019, December). Storytelling in design. O’Reilly Online Learning. https://learning.oreilly.com/library/view/storytelling-in-design/9781491959411/

Grobstein, E. (2022, December 23). What is UX Design and why is it important?. https://www.uxax.org/. https://www.uxax.org/post/what-is-ux-design-and-why-is-it-important

Heller, S. & Talarico, L. (2011). Design entrepreneur: Turning graphic design into goods that sell. Rockport Publishers.

O’Grady, J. V., & O’Grady, K. (2009, February). A designer’s research manual. O’Reilly Online Learning. https://learning.oreilly.com/library/view/a-designers-research/9781592535576/

Skolos, N., & Wedell, T. (2012, August). Graphic design process. O’Reilly Online Learning. https://learning.oreilly.com/library/view/graphic-design-process/9781856698269/

Stone, T. (2010, July). Managing the design process-concept development. O’Reilly Online Learning. https://learning.oreilly.com/library/view/managing-the-design/9781592536177/

Walter, A. (2020, June). Designing for emotion. O’Reilly Online Learning. https://learning.oreilly.com/library/view/designing-for-emotion/9781098125608/

Design Challenge Week 2: MDM 525

The design challenge for this week involved transforming Alexander Gerard's textile sketch into a vector graphic utilizing the Pen tool, Shape Builder, and Bezier curves in Adobe Illustrator. This task presented a significant challenge and provided valuable insights into innovative applications of Adobe Illustrator tools. Although it took several hours to finish, it proved to be an enjoyable and instructive project.

MDM 525 Week 3

Assessing Client Needs Essay

Defining Client Needs

Defining client needs means identifying and articulating the requirements, desires, and goals of a client. This procedure necessitates gaining a deep understanding of what the client aims to accomplish, the challenges they aim to address, and the results they anticipate. This involves going beyond what the client communicates for the project and extends to what the client needs for the stated business goal. The foundations of defining the client needs are effective communication, thorough research, and analytical efforts.

In the Chase case study (2008), Margo Chase and Chris Lowery discuss the importance of being able to express to the clients that the designer understands the business problem. Lowery points out that the audience is not another designer, but a consumer. Explaining the process of research, articulating the business problem correctly, and understanding what the client wants to achieve with the design are all critical to defining the client's need.

In contrast, designer Michael Bierut was commissioned by The New World Symphony to create a new brand identity (Skolos & Wedell, 2012). The designers made the mistake of jumping right into design because there was excitement about the idea. Bierut recalls that there was an emphasis on the visceral reaction, not the creative brief. The result was a very dissatisfied client and the designers were sent back to the drawing board.

Effective design doesn't arise from intuition, talent, or chance. Instead, it is born from thorough research and a deep understanding of the subject. As Monteiro (2014) points out, this begins with laying a strong foundation and utilizing the tools outlined in the research. This strategic approach empowers clients to take full ownership and maintain their brand consistently, even in the designer's absence. The ultimate objective is to equip the client with the knowledge and resources necessary for self-sufficiency in brand management, fostering a genuine understanding and appreciation, (Chase, 2008). To attain this objective, the designer must lay a solid foundation for defining client needs.

Client Communication

Client communication is the process of exchanging information, messages, and feedback between the designer and the clients. It encompasses various forms of interaction, such as written or spoken communication, creative brief, and any other form of disbursing information to keep clients informed, address their inquiries, provide updates on projects or services, and ensure their needs and expectations are understood and met. Effective client communication includes two-way communication between the designer and the client. It is vital for building and maintaining positive client relationships, as it fosters transparency, trust, and alignment. Neumeier (2005) posits that brands don't develop in isolation but result from the interaction of thousands of people over a long period. Without client communication, the designer cannot understand the evolving business.

Chase (2008) points out that sometimes the designer has to convince clients to accept a design solution that is a stretch for them or something the client had not considered. It can be difficult to communicate this to the client. The way to overcome this obstacle is methodical communication. Lowery describes the methodical process of leading the client through the psychographic map, the research, the aspirations of the brand, and the goals of the company. This communication will allow the client to understand the planning and accept potentially "scary" changes.

On the other hand, Bierut (Skolos & Wedell, 2012) continued to go back and forth with his client. The designs were deemed either too industrial or too overworked. One of the challenges Bierut faced was a lack of clarity from the client. Bierut did not take the time to research, ask the right questions, and establish limits on client changes. The case study details over 12 iterations before Bierut finally asked the client to sketch ideas and share them. It was at this point that communication started to be beneficial to the designer and the client felt ownership of the design.

One of the biggest mistakes a designer can make is the misapplication of client communication. Sobel (2020) recalls making a presentation instead of having a conversation. He remembers talking nonstop, not asking thoughtful questions or addressing the client's specific challenges. Though he did have client communication, it was far from effective and ultimately led to the loss of the client. Communicating with the client includes understanding the client's communication style and speaking to them in a way they prefer (Stone, 2010). The challenge with this can come in limiting the number of people communicating and limiting the number of changes from the client (Stone, 2010).

Meeting Client Needs

Meeting client needs means satisfying the specific requirements, desires, and expectations of a client in a manner that aligns with their business goals and design preferences. It involves delivering products, services, or solutions that effectively address the client's challenges, fulfill their objectives, and provide value to the project and the organization.

Four specific things that Chase did for Chinese Laundry to meet their needs were the lettering, the icon, the packaging, and the ownership of the style guide. The design team created iconic lettering that allowed Chinese Laundry to be unique and easily recognized. The icon of the hummingbird was simple and communicated femineity and lightness. In a brilliant move, the design team listened to the way the consumer used the packaging of the shoes. By innovating the box into a drawer, adding a handle, and making the construction sturdier, Chase was able to stretch the client's dollar and market reach. Finally, giving the client ownership of the style guide met the client's ongoing design needs. This allows Chinese Laundry to modify the design as the need changes.

The case study for The New World Symphony ended with a design success. The final version was innovative, and modern and met the needs of the client (Skolos & Wedell, 2012). At the end of the process, the design created an emotional, visceral response and provided an intellectual context. Bierut stated, "When I look at what we ended up with, it was what was being asked for all along." While the design ultimately met the client's need, the missteps in communication and defining the need were certainly detrimental to the overall project, costing time and money.

The purpose of good design is to meet the client's needs. The difficulty can come from balancing innovation with the client's limitations or willingness to make changes (Heller, 2011). It is important to realize that often the designer will draw on personal experience to create a design, but that this experience must be grounded in the understanding of the client. Meeting the needs will likely evoke an emotional response (Chase, 2008) as will the story that the design is telling about and to the consumer (Dahlström, 2019).

References:

Chase, M. (2008, September 4). Branding [Video]. Creative inspirations: Margo Chase, graphic designer. LinkedIn. https://www.linkedin.com/learning/creative-inspirations-margo-chase-graphic-designer/branding

Dahlström, A. (2019, December). Storytelling in design. O’Reilly Online Learning. https://learning.oreilly.com/library/view/storytelling-in-design/9781491959411/

Heller, S. & Talarico, L. (2011). Design entrepreneur: Turning graphic design into goods that sell. Rockport Publishers.

Monteiro, M. (2014, November). You’re my favorite client. O’Reilly Online Learning. https://learning.oreilly.com/library/view/youre-my-favorite/9780134077994/

Neumeier, M. (2005). The brand gap. New Riders.

Skolos, N., & Wedell, T. (2012, August). Graphic design process. O’Reilly Online Learning. https://learning.oreilly.com/library/view/graphic-design-process/9781856698269/

Sobel, A. (2020). It starts with clients. John Wiley & Sons, Inc.

Stone, T. (2010, July). Managing the design process-concept development. O’Reilly Online Learning. https://learning.oreilly.com/library/view/managing-the-design/9781592536177/

Design Challenge Week 3: MDM 525

This week's design challenge focused on letterforms. The challenge was to replicate Alexander Girard's signature in Adobe Illustrator. Using the pen tool, this design was created in multiple layers as well in preparation for animation in Adobe After Effects. The challenge was interesting and fun as it involved more freeform lines and curves.

MDM525 Week 4

Refined/Revised Design Challenges

Week 1

The color was changed from CMYK to RGB and color checked against the swatch to match the original design. Some of the design was in one layer and some was in another layer. All layers have now been combined into a single layer design. Some of the linework was adjusted for better precision.

Week 2

The areas were refined to make certain the shape is rounded in the areas that did not follow the template. The shapes that were outside the detailed lines were deleted and re-drawn to improve accuracy. Using the direct select tool helped get these lines more appropriate and reflected the overall piece more concisely. Additionally, Pathfinder tool was utilized to create true negative space instead of using white shapes to indicate negative space.

Week 3

The lines were refined to better reflect the thickness or thinner line required for the design. Some of the letters were deleted and redrawn to better reflect the template design.

Week 4

I completed all the optional challenges, so I selected a textile from Alexander Girard called, "Names". I have been working to refine my pen work and felt this challenge would be a good exercise.

MDM530 Week 1

Evolution of Branding

Introduction

This post will explore three facets of branding: capturing attention, fostering human connections, and projecting brand personality.

Branding for Attention

When branding for attention, the task is creating and managing a brand in a way that is specifically designed to capture and hold the attention of the target audience or consumers. In a highly competitive marketplace with numerous brands vying for consumer attention, branding for attention involves strategies that make a brand stand out and engage potential customers effectively (Budelmann et al, 2019). This may include using eye-catching visuals, compelling storytelling, unique value propositions, and marketing techniques that are designed to pique the interest of the target audience and keep them engaged with the brand.

Ultimately, the goal is to create a strong brand presence that not only attracts attention but also retains it, leading to increased brand recognition, customer loyalty, and ultimately, business success (Jura, 2020). When the campaign is well-balanced, brands can use attention-getting strategies to create opportunities for market differentiation and appeal to consumers looking for unique solutions.

However, this strategy can have drawbacks. The brand may grab a consumer’s attention, but not long-term engagement and loyalty. The campaign must be careful not to overpromise or exaggerate a brand’s ability to consistently deliver. Another drawback could be the need to constantly refresh the attention-grabbing strategy to keep the consumer engaged in short bursts. The biggest drawback with focusing on attention is running the risk of inauthenticity. To mitigate these drawbacks, it's important for the brand to strike a balance between capturing attention and delivering a consistent, meaningful brand experience that aligns with the brand's core values and resonates as authentic with its target audience.

In contrast, this strategy can be highly effective when used wisely. For example, Walt Disney World Resorts had an attention-getting campaign using the tactic of “surprise and delight.” In this campaign, Cast Members were encouraged to seek out interactions and opportunities to create “Magical Moments” for the consumers. This could be anything from giving a consumer a sticker to comping an entire meal. The consumers were then encouraged to share their Magical Moments on social media (Karthikeyan & Bajj, 2023). These interactions were authentic, on-brand and supported the foundational promises of the brand.

Brand for Human Connection

In branding for human connection, the designer builds and promotes a brand in a way that fosters meaningful and emotional relationships with the target audience. This focus is in creating a brand identity that resonates with people on a personal level, elicits emotions, and establishes a genuine connection. Through brand storytelling, the target market connects emotionally to the brand (Dahlström, 2019).

Branding for human connection is about going beyond transactional relationships and creating a deeper, emotional bond between the brand and its customers (Lalaounis, 2021). When done effectively, it can lead to increased customer loyalty, advocacy, and a more loyal customer base.

Some potential drawbacks for using branding for human connection include emotional burnout and scaling. Continuously maintaining emotional connections with customers and employees can be emotionally draining for brand representatives. As a brand grows, it can be challenging to maintain the same level of personal connection with an expanding customer base. Maintaining consistency as the brand scales is a significant challenge. As with attention-getting methods, sustainability over time can be difficult to achieve.

A brand that has had successful human connection branding is Chick-Fil-A (Vaught, n.d.). Storytelling, authenticity, and community building are hallmarks of this successful brand. Scaling challenges were addressed well and there has been consistency across the many stores nationwide.

Projection of Brand Personality

The projection of brand personality is a branding concept that involves giving a brand human-like characteristics and traits to make it relatable and appealing to consumers. This is a way to give a brand with distinctive qualities, values, and a unique character to differentiate it from competitors and connect with target audiences on a personal level (Millman, 2012). The goal is to make the brand feel more like a person with whom customers can form emotional connections.

The projection of brand personality is a strategic branding technique that humanizes a brand, making it more relatable and memorable for consumers (Budelmann et al, 2019). It plays a significant role in shaping how consumers perceive and connect with the brand. When done correctly, the consumer develops loyalty and feels emotionally connected to the brand.

Drawbacks for projection of brand personality center around perceptions of being disingenuous, stereotyping and misconception. When the consumer anthropomorphizes a brand, the stakes are higher for genuine, authentic interaction and alignment with the target audience’s ideals. For instance, if the consumer feels that the brand has shared ideals, and the brand departs from these ideals, the consumer feels “betrayed” and will leave the brand entirely (Reimann et al, 2018).

In the Southwest Case Study (Kratz, n.d.), the airline developed a brand centered on authenticity and the human connection. Every aspect of the brand was centered on the human connection and how the consumer would perceive Southwest on an emotional level.

Nike is another great example of using projection of brand personality. The brand has a strong personality and authentically follows this in its campaigns, product designs and community engagement. The Nike brand is synonymous with all things sports, achieving the goal of brand superiority.

Conclusion

In the world of branding, there are three aspects that deserve inspection: capturing attention, fostering human connections, and projecting brand personality. These three facets work together to shape the perception of a brand, forging lasting bonds with its audience, and making it truly stand out in the ever-evolving landscape of business and marketing. Each aspect demands authenticity and connection with the target audience.

References:

Budelmann, K., Kim, Y., & Wozniak, K. (2019). Brand Identity Essentials: 100 Principles for Building Brands. Rockport Publishers.

Dahlström, A. (2019, December). Storytelling in design. O’Reilly Online Learning. https://learning.oreilly.com/library/view/storytelling-in-design/9781491959411/

Full Sail Online (2023). 1.5 Case Study: Southwest Airlines. In Brand Development. Full Sail University. Retrieved August 7, 2023, from https://online.fullsail.edu/class_sections/128053/modules/498064/activities/2929421

Jura, B. (2020, June 16). Communication Strategies for brands competing for attention. American Marketing Association. https://www.ama.org/marketing-news/communication-strategies-for-brands-competing-for-attention/

Karthikeyan, A., & Bajj, A. (2023, May 23). Marketing strategies of Walt Disney: Creating magic, crafting success. StartupTalky. https://startuptalky.com/marketing-strategies-of-walt-disney/

Kratz, A. (n.d.). Southwest Airlines Case Study. Full Sail Online Login. https://online.fullsail.edu/class_sections/163175/modules/647937/activities/3752781

Lalaounis, S. T. (2021). Strategic Brand Management and Development: Creating and Marketing Successful Brands. Routledge. October 28, 2023, https://learning.oreilly.com/library/view/strategic-brand-management/9781000298185/

Millman, D. (2012). Brand bible: The Complete Guide to building, designing and sustaining brands. Rockport.

Neumeier, M. (2005). The brand gap. New Riders.

Price, H. (2021, April 1). Understanding how brands achieve a human connection during live sports. Chernoff Newman |. https://chernoffnewman.com/news/understanding-how-brands-achieve-a-human-connection-during-live-sports/

Reimann, M., MacInnis, D. J., Folkes, V. S., Uhalde, A., & Pol, G. (2018). Insights into the experience of brand betrayal: From what people say and what the brain reveals. Journal of the Association for Consumer Research, 3(2), 240–254. https://doi.org/10.1086/697077

Vaught, J. (n.d.). Chick-fil-A marketing: Giving back while pushing forward. The Nine. https://www.nine.is/blog/chick-fil-a-marketing

Design Challenges: Week 1

In the Week 1 Required Design Challenge, I constructed a brand vision board using Adobe InDesign and the images provided. Having never used InDesign before, I found this challenging. However, the tutorials provided and lessons found on LinkedIn Learning were very helpful. I feel I learned a lot in this challenge.

The Week 1 Optional Design Challenge gave me the opportunity to follow the provided creative brief to develop my own brand vision board. Pushing myself further with InDesign was enjoyable and necessary to move myself forward in my skills.

MDM530 Week 2

Brand Development

Introduction

This post aims to explore the critical process of determining audience needs, defining a brand's core identity, and establishing meaningful connections with target audiences. By investigating how a deep understanding of audience preferences and values informs the shaping of a brand's core values and messaging, designers can uncover strategies for fostering lasting and impactful relationships between the brands and their audiences in the ever-evolving landscape of marketing and communication.

Determining Audience Needs

Determining audience needs involves identifying and understanding the specific requirements, preferences, and desires of the audience that a brand intends to serve. This process is essential for creating a brand strategy that effectively meets the needs of the intended customer base. Only through comprehensive research can this audience need be determined. It is critical to use qualitative and quantitative methods, to study demographics, psychographics as well as ethnographic data to ensure the need of the audience is accurately determined.

This determination of need is an ongoing process in branding, requiring ongoing data acquisition and feedback from the target audience (Casey, 2023). By staying attuned to the audience and adapting the branding strategy as needed, brands can build a strong and lasting connection with consumers.

In the Pepperidge Farm Case Study, the brand team not only talked to consumers, but also watched the audience’s shopping habits (Full Sail Online, 2023a). By going a step further to determine how the target audience interacted with the cookies, the team was able to determine that the audience need was to experience the cookies a luxury purchase.

Walt Disney was a good example of determining audience need. Disney began with the goal of creating entertainment that appealed to parents and children alike (Alonso, 2023). By further looking at audience need, Disney realized that parents and children needed a safe place to play together, and so developed parks that appealed to the whole family. When the company continued to acquire data and feedback, resorts were added. The Walt Disney Company developed its various lines of business by responding to the basic needs of the target audience.

As shown, determining audience need can lead to audience relevance and retention. However, it can also be resource intensive and data collection can be difficult. In the example of Pepperidge Farms, Brad Nix states that the cost saving measures enacted by Campbell’s had to be disregarded to maintain market shares (Full Sail Online, 2023a). Companies will need to conduct a cost-benefit analysis to determine if focusing on audience need to feasible.

Defining a Brand's Core

Defining a brand's core is the process of identifying and articulating the fundamental attributes, values, and unique qualities that make a brand distinctive and memorable. It involves delving deep into the heart of the brand to uncover its essential character, purpose, and the promises it makes to its target audience.

Organizations that maintain honesty in their business positioning and authenticity in their brand endeavors strike a balance in presenting their products and services, refraining from both understating and overstating their offerings (Budelmann et al, 2019).

As in the Pepperidge Farm case study (Full Sail Online, 2023b), the parent company diminished the brand’s core with disastrous results. By returning to the unique qualities that made Pepperidge Farm distinctive (paper cups, premium chocolate), the brand’s core value was restored and the market share was restored.

Proctor & Gamble (P&G) is considered the “grandaddy” of product branding (Hatch &Schultz, 2008). The company is home to over 65 distinctive brands, many in the same segment. However, the brand core of each maintains unique qualities and promises to the target audience for each brand. Tide (Understanding the tide detergent target market, 2022), for example, began in 1946 for tough stains and this brand value carries through to 2023. Dreft was developed by P&G in 1933 to be a gentle and safe detergent for babies and is still the market leader today.

Benefits of defining the brand’s core include strong identity and lasting customer loyalty. In this way, generational target audiences are established (ie the consumer who purchases the same brand of peanut butter that the mother purchased.) However, there are drawbacks to this in terms of stagnation and inability to change with trends (Segel & Hatami, 2003).

Connecting to Audiences Meaningfully

Meaningful connections to a brand’s target audience results from understanding consumer needs, values, and aspirations. This understanding is used to shape messaging, content, or actions to align with the audience (Mullen & Johnson, 2013). The aim is to build trust, loyalty, and engagement by demonstrating authenticity, empathy, and a genuine commitment to addressing the consumer’s interests and concerns.

In the case study for Pepperidge Farm, Brad Nix discussed the campaign proposal to regain market share (Full Sail Online, 2023a). By connecting with the buyer persona, the team at H&K developed messaging to busy moms. This connected to the audience to communicate luxury and relaxation. It reassured women that they were seen and understood by the brand, creating a connection in a meaningful way.

The Dove “Real Beauty” campaign is another example of connecting to audiences meaningfully (Celebre & Denton, 2014). Dove connected with the target audience concern about the standards of beauty for young girls. This campaign featured women of all ages, skin types and body types and said that all of these women were examples of beauty. However, there were those in the target market who felt Dove and its parent company, Unilever, were complicit in establishing these unrealistic beauty standards and were perpetuating it in other brands from Unilever.

The benefits of meaningful audience connections are consumer loyalty and buy-in to the mission of the brand. A challenge in connecting meaningfully is the communication gap between what the audience associates with the brand as juxtaposed to what the brand is actually (Lalaounis, 2021). If the company makes a decision that is in keeping with the brand, but not the audience’s perception of the brand, the connection will be broken (Reimann, 2018).

Conclusion

This post has explored of the crucial process of understanding audience needs, defining a brand's core identity, and cultivating meaningful connections with target audiences. At the heart of successful branding is understanding, adaptability, and meaningful connection which converge to shape the landscape of marketing and design.

References:

Alonso, T. (2023, February 15). How disney became the world’s entertainment leader. Strategy Study. https://www.cascade.app/studies/disney-strategy-study

Budelmann, K., Kim, Y., & Wozniak, K. (2019). Brand Identity Essentials: 100 Principles for Building Brands. Rockport Publishers.

Casey, M. (2023). Content strategy toolkit: Methods, guidelines, and templates for getting content right. New Riders. https://learning.oreilly.com/library/view/the-content-strategy/9780138059262/ch07.xhtml#ch07

Celebre, A., & Denton, A. W. (2014, February). The good, the bad, and the ugly of the dove campaign for real beauty. The Inquisitive Mind. https://www.in-mind.org/article/the-good-the-bad-and-the-ugly-of-the-dove-campaign-for-real-beauty

Full Sail Online (2023a). 2.3 Research: Brand Action & Behaviors - Brad Nix [Video]. In Brand

Development. Full Sail University. Retrieved November 2, 2023, from https://online.fullsail.edu/class_sections/163173/modules/633662/activities/3673788

Full Sail Online (2023b). 2.5 Case Study: Pepperidge Farm. In Brand Development. Full Sail University. Retrieved November 2, 2023, from https://online.fullsail.edu/class_sections/163175/modules/647938/activities/3752789

Hatch, M. J., Schultz, M. (2008). Taking brand initiative: How companies can align strategy, culture, and identity through corporate branding. Jossey-Bass. https://learning.oreilly.com/library/view/taking-brand-initiative/9780787998301/

Lalaounis, S. T. (2021). Strategic Brand Management and Development: Creating and Marketing Successful Brands. Routledge. October 28, 2023, https://learning.oreilly.com/library/view/strategic-brand-management/9781000298185/

Mullen, B., & Johnson, C. (2013). The Psychology of Consumer Behavior. Taylor and Francis. https://learning.oreilly.com/library/view/the-psychology-of/9780898598575/xhtml/14_chapter07.xhtml

Segel, L. H., & Hatami, H. (2003) Mind the gap: Loyal Z: Why gen Z customers won’t be Tied Down to one brand. Global management consulting. https://www.mckinsey.com/~/media/mckinsey/email/genz/2023/04/2023-04-04b.html

Reimann, M., MacInnis, D. J., Folkes, V. S., Uhalde, A., & Pol, G. (2018). Insights into the experience of brand betrayal: From what people say and what the brain reveals. Journal of the Association for Consumer Research, 3(2), 240–254. https://doi.org/10.1086/697077

Understanding the tide detergent target market. AMPLIFY XL. (2022, October 3). https://amplifyxl.com/tide-detergent-target-market

Design Challenges: Week 2

In this week's required design challenge, the assignment was to recreate the Brand Book for Harvest Restaurant in Adobe InDesign, using provided assets. This was then turned into a virtual flip book. Though faced with some technical issues, the design challenge was enjoyable and provided further exploration of the capabilities of InDesign.

For this week’s optional challenge, I used Adobe InDesign and assets from Adobe Stock photos to create brand vision book that communicates the same brand attributes from the brief, but in a different way. Using many of the assets from last week's optional challenge, I was able to present these in a new way. I really enjoyed working on this project.

MDM530 Week 3

Brand Strategy

The Role of Strategy in Branding

The role of strategy in branding is to guide the development, communication, and management of a brand to create a consistent, compelling, and competitive identity that resonates with the target audience (Lalaounis, 2021). and supports the business's long-term objectives.

Kinecta Federal Credit Union acquired Nix Check Cashing seeking to gain a new market without researching and understanding that market’s needs and uses (Full Sail Online, 2023b). After they began losing the base of Nix Check Cashing customers, the proper research was done and the strategy was adjusted. In re-creating an identity that resonated with the target audience, Kinecta was able to meet the business objective (Full Sail Online, 2023a).

North Face is a company who understands developing strategy that is compelling and consistent (Budelmann et al, 2019). By using authentic storytelling, North Face features real customers in their strategy. This allows North Face to showcase how its products can enhance the consumer’s experience in real world settings (Marketing strategies and marketing mix of the North Face, 2023).

While a well-executed branding strategy offers many advantages, it's essential to strike a balance between a well-defined strategy and the flexibility to adapt to changing circumstances. The drawbacks often arise from mismanagement or an overly rigid approach. A successful branding strategy should be adaptive, aligned with business goals, and supported by efficient execution.

Collaboration in the Branding Process

Collaboration in the branding process refers to the practice of multiple individuals or teams working together, often from different departments or areas of expertise, to create, develop, and manage a brand. It involves the collective effort of various stakeholders to ensure that the brand's identity, messaging, and overall strategy are aligned and effectively communicated to the target audience (Casey, 2023).

Kinecta found collaboration in an unusual place. In this instance, this collaboration was directed at the consumer (Full Sail Online, 2023a). They discovered that the target market was cashing checks, then adding minutes to their phones at another store, sending money via Western Union, walking down the street to pay the rent, etc. When Kinecta used collaboration of many departments to provide all these services in one transaction, not only did they gain the convenience fees, but the target audience developed brand affinity.

Saks Fifth Avenue’s collaboration in the branding process took a more traditional route (Millman, 2012). What this meant for Sak’s was that the traditions could not be put in the way of progress, but that progress had to respect tradition. This collaboration was very successful as each department worked to maintain a balance between progress and past.

There are significant advantages in collaboration in the branding process, but it is essential to manage potential drawbacks effectively (Chasser & Wolfe, 2010). Clear communication, well-defined roles and responsibilities, and a balance between creative input and decision-making efficiency are key to successful collaboration in branding.

Adjusting Strategy for Audiences

Adjusting strategy for audiences is about recognizing the diversity within a target market and tailoring the brand's approach to be more relevant, engaging, and effective for each segment. It's a customer-centric approach that acknowledges that a one-size-fits-all strategy may not be as successful in reaching and resonating with diverse customer groups (Mullen & Johnson, 2013).

Kinecta realized that the target market did not trust banks or financial institutions (Full Sail Online, 2023a). When they changed their name and their service offerings, they saw the rewards of adjusting the strategy for the audience. Through understanding and adapting to the needs of the audience, Kinecta was able to establish and gain trust (Full Sail Online, 2023b).

Slack, a well-known application for business collaboration and chat, had its origins in a company called Tiny Speck, which initially created a computer game named Glitch (Wilson, 2021). Although Glitch proved to be unsuccessful and was discontinued in 2012, one noteworthy feature from the game was its interactive and colorful chat functionality that both players and employees found appealing. Following the closure of Glitch, the team recognized the potential of this powerful collaboration tool and subsequently introduced the Slack app in 2013. Founder Stuart Butterfield sent out a memo at the beginning of the 2014 relaunch, sharing his philosophy with his employees: “Build Something That People Want.” This adjustment for the audience has proven to be wildly successful as the consumer base continues to grow.

While adjusting a strategy for audiences offers substantial benefits, it's crucial to weigh these advantages against the potential drawbacks and challenges. Successful implementation often requires a well-planned and well-executed approach that balances customization with efficiency and maintains a consistent brand identity (Full Sail Online, 2023a). The complexity, time commitment and potential for cannibalization of another market segment can dissuade companies from taking this approach. The decision to adjust strategies for audiences should be based on a careful analysis of the target market and business objectives.

References:

Budelmann, K., Kim, Y., & Wozniak, K. (2019). Brand Identity Essentials: 100 Principles for Building Brands. Rockport Publishers.

Casey, M. (2023). Content strategy toolkit: Methods, guidelines, and templates for getting content right. New Riders. https://learning.oreilly.com/library/view/the-content-strategy/9780138059262/ch07.xhtml#ch07

Chasser, A. H., & Wolfe, J. C. (2010, July). Brand rewired: Connecting Intellectual Property, branding, and creativity strategy. O’Reilly Online Learning. https://learning.oreilly.com/library/view/brand-rewired-connecting/9780470575420/ch03.html

Full Sail Online (2023a). 3.3 Research: Directing Creativity - Brad Nix [Video]. In Brand

Development. Full Sail University. Retrieved November 7, 2023, from https://online.fullsail.edu/class_sections/163175/modules/647939/activities/3752795

Full Sail Online (2023b). 3.5 Case Study: Adjusting Strategy. Full Sail University. Retrieved November 7, 2023, from https://online.fullsail.edu/class_sections/163175/modules/647939/activities/3752797

Lalaounis, S. T. (2021). Strategic Brand Management and Development: Creating and Marketing Successful Brands. Routledge. October 28, 2023, https://learning.oreilly.com/library/view/strategic-brand-management/9781000298185/

Marketing strategies and marketing mix of the North Face. The Brand Hopper. (2023, August 23). https://thebrandhopper.com/2023/08/23/marketing-strategies-and-marketing-mix-of-the-north-face/

Millman, D. (2012). Brand bible: The Complete Guide to building, designing and sustaining brands. Rockport. https://learning.oreilly.com/library/view/brand-bible/9781592537266/chapter-69.html

Mullen, B., & Johnson, C. (2013). The Psychology of Consumer Behavior. Taylor and Francis. https://learning.oreilly.com/library/view/the-psychology-of/9780898598575/xhtml/15_chapter08.xhtml

Wilson, A. J. (2021, July 6). Slack: Case study. Medium. https://medium.com/empathy-for-change/slack-case-study-5833a57289d2

Design Challenge Week 3

This week's required design challenge was to assemble a brand vision video from the assets provided using Adobe Premiere Pro. Having some video editing experience helped me in learning basic aspects of Premiere Pro, but there were some struggles. Overall, I am looking forward to working with this program more in order to gain mastery.

MDM530 Week 4

Reflection Video

Design Challenge Corrections

Week 1 adjustments included the drop shadow adjustment on the word 'Modern' and placement of the objects was double-checked and moved as needed. Additionally, there were some of the words that did not have the small cap feature correctly applied, so that was also remedied.

For Week 2, I corrected the line on the stroke layers and adjusted these to better match the sketch.

In completing the Week 3 optional challenge, I was able to incorporate some varying elements to meet the design brief in a different way.

MDM 555 Week 1

Introduction

Crafting compelling ad copy goes beyond clever writing; it requires a strategic blend of understanding the product features and benefits, identifying the buyer persona, and communicating in a way that resonates with potential customers. Mastering these elements can elevate the writing, creating purchasers and brand advocates.

Benefits versus Features

When creating copy for a product, it is critical to think about the benefits versus the features. Copy that emphasizes the features of a product will place the focus on the product. Conversely, when the writer focuses on the benefits, the consumer is the center (Shaw, 2009).

In the Volkswagen case study (Full Sail Online, 2023), the American consumer was accustomed to a large, flashy car. But these vehicles were costly to purchase and maintain. By highlighting the features of affordability, Volkswagen was able to differentiate itself and capture market share. Similarly, Publix Supermarkets appeals to its target market with messaging focused on making shopping a pleasure and community building (Shastri, 2022). The commercials and print ads do not focus on the sales or the layout of the stores, but rather on the feeling the target audience will benefit from by choosing Publix.

Whereas focusing on the features of a product or brand can make a company appear self-serving and cause disengagement, there are times it can be advantageous. When they add to differentiation or a technical understanding, it would be appropriate to highlight features. Conversely, when focusing on benefits, the copy can be more engaging and focuses on the consumer (Horberry, 2010). However, if the target audience feels that there is not enough information, this engagement will be very transitory. Ultimately, it is in the balance of these perspectives that create successful copy.

Personas

A persona is a fictitious person, based on research, who represents the larger target market. The target market is general in the sense that it has an age range, a general geographic area, etc. The persona has a name, an age, an address, a job, income, worries, hobbies and more.

The target audience for the 1959 Volkswagen Beetle was the American family who just wanted a small, affordable family car that would go far on a tank of gasoline. The family who wanted simplicity, reliability and something different (Full Sail Online, 2023). By appealing to the American public in fun and unique ways, Volkswagen found success (Stearns, 2011).

Conversely, Tesla’s target audience is driven by status, technology and ecological concerns (Dudovskiy, 2021). These consumers are upper middle to upper class in terms of education, income and spending habits. Whereas this audience enjoys a fuel efficient vehicle, this is the only aspect shared with the Beetle.

There are certainly more benefits than drawbacks to developing a persona for the target audience (Salminen, 2021). The research into the target audience will always be beneficial for the company, designer, and marketing team. This understanding will ensure connections to the consumer and successful communication. However, this process does take time and resources, which is something that can be difficult for stakeholders to understand.

Writing Ad Copy that Sells

When writing copy for purpose of selling, one has tailor the content to the audience. Whereas all good writing should be done with the audience in mind, copywriting for sales will have a compelling story, call to action and usually technical specifications (Miller, 2012).

The main purpose of a headline is to hook the audience’s attention. This has become especially important in a digital age wherein the headline may be all the audience sees (Miller, 2012). In this case, the headline must be compelling enough to make the consumer click the headline to read the rest of the copy.

The body copy is the delivery on the promise of the headline (Veloso, 2013). The body copy should contain the benefit statement, sales pitch and call to action. The call to action is critical because otherwise the copy is just information.

In the above ad, the headline and image catch the audience’s attention immediately. Initially, the self-deprecation aspect adds humor and intrigue. The body copy goes on to explain that, while a 7’1” athlete could not fit, almost every other American family can find versatility, performance and fuel efficiency. Interestingly, there is no clear call to action. In this case, the ad copy is banking so much on benefits that the audience will create their own call to action.

Conclusion

When developing ad copy, it is critical to research the product and audience. This research is used to determine clear benefits, develop the buyer persona and create the copy that sells.

References:

Dudovskiy, J. (2021, May 1). Tesla segmentation, targeting and positioning: Overview - Research-Methodology. Business Research Methodology. https://research-methodology.net/tesla-segmentation-targeting-and-positioning-overview/

Full Sail Online (2023). 1.5 Case Study: Volkswagon. Full Sail University. Retrieved November 25, 2023, from https://online.fullsail.edu/class_sections/163183/modules/658031/activities/3809139

Horberry, R. (2010, January). Brilliant copywriting. O’Reilly Online Learning. https://learning.oreilly.com/library/view/brilliant-copywriting/9780273727347/chapter-27.html

Miller, M. (2012, December). Web words that work: Writing online copy that sells. O’Reilly Online Learning. https://learning.oreilly.com/library/view/web-words-that/9780133354102/ch01.html#ch01lev1sec1

Salminen, J. (2021, February 19). Risks and disadvantages of using personas. The Persona Blog. https://persona.qcri.org/blog/risks-and-disadvantages-of-using-personas/

Shastri, A. (2022, October 21). In-depth marketing strategy of Publix - 2023. IIDE. https://iide.co/case-studies/marketing-strategy-of-publix/

Shaw, M. (2009, March). Writing for retailing and products, Copywriting. O’Reilly Online Learning. https://learning.oreilly.com/library/view/copywriting/9781856695688/09_chapter05.html

Stearns, E. (2011, April 11). Marketing win: VW Beetle. Foster Blog. https://blog.foster.uw.edu/marketing-win-vw-beetle/

Veloso, M. (2013, February). Web copy that Sells, 3rd Edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/web-copy-that/9780814432518/xhtml/ch3sec12.html

Wilt Chamberlain Volkswagen Print Ad. (n.d.). Pintrest.com. Retrieved November 25, 2023, from https://i.pinimg.com/originals/6e/67/63/6e6763d8d7f23d83e3c6ec6f6be8e71e.jpg.

Design Challenges

Required Challenge

In this week's challenge, students were given the creative brief, ad dimensions and style guidelines. We were directed to write the copy for a full-page print advertisement for Lucky Dog Rescue Orlando, a fictitious non-profit organization. I used three separate stock photos to make up this image and used a texture overlay to elevate the image.

Optional Challenge

For the optional challenge, we were directed to create two additional full-page print advertisement for Lucky Dog Rescue Orlando, a fictitious non-profit organization. I wanted to capitalize on the time of year and incorporate the sense of holiday in these ads. I used a photo provided by the University and used elements from two other stock photos to create a Central Florida holiday feel.

This stock photo was used without modification. It perfectly conveyed the image I wanted of a single Millennial woman, with holiday elements, feeling contentment with a dog.

MDM 555 Week 2

Introduction

This post discusses crafting compelling brand voice and brand tone specifically tailored for radio. From the intricacies of writing impactful scripts to mastering the nuances of delivering an unforgettable message, these are the vital elements that shape a brand's identity in the dynamic landscape of marketing.

Brand Voice

Brand voice is how a brand presents its personality. Brands maintain a consistent and deliberate voice across all forms of advertising and marketing (Budelmann & Kim, 2019). An organization's brand identity, comprising its name, tagline, and editorial style, collectively forms its distinctive voice.

Volkswagen’s brand voice was shaped by Maxwell Dane, Ned Doyle, and Bill Bernbach. This agency brought something fresh and new to the advertising scene – honesty. (Full Sail Online, 2023). By developing a voice that is fun and genuine, Volkswagen’s brand voice resonated with consumers.

Similarly, Wendy’s brand voice is rooted in authenticity and fun (Marketing Insights for Professionals, 2023). By engaging with competitors and consumers on social media in unique and humorous ways, Wendy’s sets a clear and distinctive brand voice.

Brand voice is important because it gives a brand reliability, connection with the audience, and authenticity (Forrester, 2020). When consumers feel they know a brand, they are more likely to build trust and loyalty. The caution of brand voice is to avoid becoming stale, irrelevant, or inflexible. When the right brand voice connects to the target market, the brand can be assured of success.

Writing for Radio

Writing for radio can present a unique challenge for designers as the words must become the picture painted for the consumer. Radio ads must grab the audience’s attention, mention the client and unique selling proposition, and get right to the point of the ad (Geller, 2012). They should maintain the brand voice and tone, using the right tools to get and maintain audience engagement.

Ogilvy’s radio ad named “Stalker” for Volkswagen (2017) hits every mark. It grabs the attention and uses audience alienation (Blau, 1989) to misdirect the audience then hit the punchline of the ad. This keeps the brand voice of Volkswagen, harkening back to the ads like, “Lemon.”

Geico is a brand that has embraced humor in their radio advertising. In 2019, The Martin Agency (2019) created the ad, “Disclaimer.” This spot quickly launches into a humorous take on legal disclaimers while still communicating the unique selling proposition and brand voice of Geico.

Brand Tone

A brand’s tone is the way a brand communicates with its target audience. It includes word choice, emotional appeal and writing style (Heald, 2022). Unlike brand voice, brand tone can vary from interaction to interaction (Millman, 2012). However, brand tone will follow the brand voice in terms of foundational brand personality.

The Volkswagen ad “Stalker” has an offbeat and humorous tone. This works well with the voice of the brand voice because it is fun and relatable. Volkswagen is talking on the human aspect of finding oneself unable to stop an awkward interaction. This resonates with the target audience and embraces fun and honesty.

“33” was a radio spot written by Badillo Saatchi & Saatchi for Olay Puerto Rico (2012). This brand tone celebrates the accomplishments of a woman with a ticking clock in the background. Abruptly, the ticking stops while the woman’s accomplishments continue to be listed. The key phrase drops, “Time stops when you want it to.” This keeps with the brand voice of empowerment and timelessness.

If a brand chooses to veer away from brand voice in brand tone, there must be a specific purpose. The benefit to keeping tone and voice consistent is in brand recognition, loyalty and dependability. However, there are times when it is necessary to distance the brand tone from the brand voice. While this device can be used to adapt to societal or audience shifts, it is important to maintain balance and not stray too far afield. The risk one takes is in brand confusion and losing audience engagement.

References:

Badillo Saatchi & Saatchi. (2012, May). Olay: “33” Radio Ad by Badillo Saatchi & Saatchi Puerto Rico - AdsSpot Advertising Archive. AdsSpot.me. https://adsspot.me/media/radio/olay-33-0a1f6affc2d1

Blau, H. (1989). Receding into Illusion: Alienation, the Audience, Technique, Anatomy. New German Critique, 47, 93–117. https://doi.org/10.2307/488109

Budelmann, K. & Kim, Y. (2019). Brand Identity Essentials: 100 Principles for Building Brands. Rockport Publishers.

Forrester, J. (2020, December 4). Council post: The Importance of Brand Voice and tone. Forbes. https://www.forbes.com/sites/forbesagencycouncil/2020/12/07/the-importance-of-brand-voice-and-tone/?sh=33ab50d32c5e

Full Sail Online (2023). 2.5 Case Study: Volkswagen. Full Sail University. Retrieved December 1, 2023, from https://online.fullsail.edu/class_sections/163183/modules/658032/activities/3809147

Geller, V. (2012, July). Beyond Powerful Radio, 2nd edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/beyond-powerful-radio/9780240522241/45_Chapter31.xhtml

Heald, E. (2022, April 6). Brand Voice and tone: 5 ways to define and use in content. Content Marketing Institute. https://contentmarketinginstitute.com/articles/define-brand-voice/

Marketing Insights for Professionals. (2023, June 5). 8 brands winning with their unique tone of Voice. https://www.insightsforprofessionals.com. https://www.insightsforprofessionals.com/marketing/leadership/brands-winning-unique-tone-of-voice

Millman, D. (2012). Brand bible: The Complete Guide to building, designing and sustaining brands. Rockport.

Ogilvy. (2017, August). Volkswagen: Stalker, funeral, PC • ads of the worldTM: Part of the clio network. Ads of the WorldTM. https://www.adsoftheworld.com/campaigns/stalker

The Martin Agency. (2019). GEICO: Disclaimer. GEICO: Disclaimer | The Martin Agency | GEICO | D&AD Awards 2019 Pencil Winner | Radio Advertising Campaigns | D&AD. https://www.dandad.org/awards/professional/2019/radio-audio/230950/geico-disclaimer/

Design Challenge

Required Challenge

This week, we were to use Adobe Audition to write and produce a 30-second radio spot for Lucky Dog Rescue Orlando. We also needed to create a companion display unit.

Companion Display

Optional Challenge

This week, we were to use Adobe Audition to write and produce a 15-second radio spot for Lucky Dog Rescue Orlando. We also needed to create a companion display unit.

Companion Display

MDM 555 Week 3

Introduction

In today's fast-paced market, where consumers are bombarded with choices, building and maintaining trust with your audience is paramount. Trust forms the bedrock of any successful brand, influencing customer loyalty, purchasing decisions, and overall brand perception. This post explores the intricate relationship between brand trust, memorable taglines, and the impact of public service announcements (PSAs).

Brand Trust

Brand trust is the level of confidence and faith consumers have in a brand to fulfill its promises. This trust extends beyond mere product performance to encompass moral, ethical, and legal practices undertaken by the brand. Consumers are inclined to trust a brand when they perceive it as reliable and aligned with their values. If a brand breaks that trust, consumers may interpret it as a betrayal, feeling personally wronged by the brand (Reimann et al., 2018). Therefore, it is crucial to safeguard and nurture brand trust.

In a notable case study, Volkswagen shattered brand trust by falsifying emission records (Full Sail University, 2023) in a manner that appeared intentional. By unequivocally admitting wrongdoing, offering sincere apologies, and making restitution, Volkswagen managed to regain some semblance of brand trust.

An infamous incident from September 29 to October 1, 1982, saw nine people in the Chicago area lose their lives after consuming cyanide-laced Tylenol (Latson, 2014). The situation was terrifying for consumers who initially couldn't comprehend how Tylenol was causing deaths. Johnson & Johnson, the parent company of Tylenol, responded swiftly and decisively by recalling all Tylenol products, establishing hotlines for consumer queries, and urging the public to avoid the medicine. As the intentional tampering was the work of an external perpetrator, Tylenol was perceived as a victim by consumers. To further fortify brand trust, Tylenol implemented packaging in tamper-resistant bottles, revolutionizing medicine packaging and solidifying its brand trust.

As noted by Pamela Danzinger (2021), "The faith consumers have in institutions to fill a role in their lives that they cannot fill themselves and to act as their agent in resolving things they can’t solve on their own." This places a substantial responsibility on brands to meet and exceed consumer expectations, making brand trust more fragile yet crucial in the current market (Fisher & Vallaster, 2008). Brands that successfully navigate these challenges and build trust will be rewarded with consumer faith and loyalty.

Taglines

Taglines are brief, catchy phrases that serve to define a brand's unique selling proposition and differentiate it in the market. They often play a crucial role in conveying the essence of a brand, especially when the brand name itself doesn't clearly indicate the product or its purpose (Budelmann & Kim, 2019). It is advisable to use taglines alongside the brand's logo whenever possible.

Airlines face a challenging road in establishing a unique selling proposition and brand differentiation, given the similarity in the core services they provide. Delta Airlines, for instance, has adopted the tagline, "Fly the friendly skies," suggesting a focus on superior customer service (Torodov, 2023). In contrast, Uzbekistan Airlines opted for the tagline, "Good Luck." A humorous observation by a consumer of Uzbekistan Airlines noted, "I've flown with them...you will need all the good luck you can get!"

A well-crafted tagline has the power to make a brand memorable and distinctive. According to Till & Heckler (2010), taglines should adhere to the 3 M's: memorable, meaningful, and motivating. When a tagline aligns with these principles, it becomes a valuable asset for the brand. However, taglines can become outdated, the meaning may shift over time, or they could be used against a brand if trust is compromised. For instance, Campbell's Soup modified its tagline from "Soup is Good Food" when the FDA raised concerns about sodium content. The new tagline, "Mmm! Mmm! Good!" maintains its appeal without answering questions about nutritional value. Brand custodians must remain vigilant to ensure that taglines remain relevant and in harmony with evolving consumer expectations.

Public Service Announcements

A Public Service Announcement (PSA) is a commercial for a non-profit organization or a non-commercial announcement meant to inform or educate the public about a service, warning, or social issue (Matusitz, 2022). It is a good way to engage audiences for the benefit of non-profit organizations.

For more than 75 years, Smokey the Bear has been reminding Americans, “Only you can prevent wildfires.” This PSA has served as a poignant reminder to protect wildlife and forests, featuring a memorable call to action and a lovable character.

In another impactful PSA, TalkAboutAutism.org conveys a powerful message through an ad showing a family at one end of a long table and a child at the other end sitting alone. Messaging on the wall emphasizes, “The longer a child with autism goes without help, the harder they are to reach.” The call to action advocates for early intervention, highlighting the crucial role families play in this step.

PSAs can be a significant benefit to the public in terms of information distribution and to non-profit organizations in terms of cost-effectiveness (Geller, 2012). However, it is a common misconception that PSAs are entirely free. Savvy non-profit boards recognize that resources are needed to create an effective PSA. Moreover, they are dependent on media outlets, which have limitations on the amount of airtime allocated for PSAs. Non-profits may find that the competition for these slots can be intense, necessitating strong connections with decision-makers and strict adherence to deadlines.

Despite these challenges, the benefits of PSAs outweigh the drawbacks. Pursuing this avenue can be highly rewarding for any non-profit organization committed to raising awareness and making a positive impact on society.

References:

Budelmann, K. & Kim, Y. (2019). Brand Identity Essentials: 100 Principles for Building Brands. Rockport Publishers.

Danziger, P. N. (2021, June 6). Brand Trust is built on the cause consumers care most about: Themselves. Forbes. https://www.forbes.com/sites/pamdanziger/2021/06/06/brand-trust-is-built-on-the-cause-consumers-care-most-about-themselves/?sh=4a8470da5f32

Fisher, C., & Vallaster, C. (2008, December). Connective branding: Building Brand Equity in a demanding World. O’Reilly Online Learning. https://learning.oreilly.com/library/view/connective-branding-building/9780470512401/10_chapter-03.html

Full Sail Online (2023). 3.5 Case Study: Brand Trust. Full Sail University. Retrieved December 4, 2023, from https://online.fullsail.edu/class_sections/163183/modules/658033/activities/3809155

Geller, V. (2012, July). Beyond Powerful Radio, 2nd edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/beyond-powerful-radio/9780240522241/45_Chapter16.xhtml

Latson, J. (2014, September 29). Tylenol Poison Spree 1982 becomes Crisis Management Case Study. Time. https://time.com/3423136/tylenol-deaths-1982/

Matusitz, J. (2022, September). Fundamentals of Public Communication Campaigns. O’Reilly Online Learning. https://learning.oreilly.com/library/view/fundamentals-of-public/9781119878070/c04.xhtml#c4-sec-01002

Reimann, M., MacInnis, D. J., Folkes, V. S., Uhalde, A., & Pol, G. (2018). Insights into the experience of brand betrayal: From what people say and what the brain reveals. Journal of the Association for Consumer Research, 3(2), 240–254. https://doi.org/10.1086/697077

Till, B. D., & Heckler, D. (2010, February). Effective branding begins with a name...and other keys to creating brands people love. O’Reilly Online Learning. https://learning.oreilly.com/library/view/effective-branding-begins/9780132143233/ch01.html

Todorov, G. (2023, August 4). 180 best clever business tagline [and slogan examples] 2023. Learn Digital Marketing. https://thrivemyway.com/business-tagline/

Week 3 Design Challenge

This week's task was to create a PSA for Lucky Dog Rescue Orlando. We were provided with the end logo MP4 and had to develop the script, using Adobe Audition to record voiceover. I used a combination of videos and used Adobe Express to create a video with the background removed and stock photos to create a Christmas scene for the dogs. My dad provided the male voice for the PSA.

MDM 555 Week 4

Reflection Video

Design Challenges

Following the critique of my classmate and instructor, the Design Challenge from Week 1 was reworked in Adobe InDesign. This changed several aspects of the ad, including sizing and text placement.

To add to my portfolio, I created a 15 second commercial for Lucky Dog Rescue Orlando. By conscripting the whole family, a video was created to represent different dog sizes and ages.

MDM 565 Week 1

X-Height

When looking at typography, one should start with the x-height of a typeface when making design decisions. This term refers to the height of the lowercase letters (excluding ascenders and descenders) in a typeface (Krause, 2015) and is based on the lowercase letter “x”.

Fonts can vary in appearance even within the same typeface, so the x-height becomes the crucial way to determine the proper choice for a design. The x-height will also determine the weight that should be used to maintain legibility and should be around eighteen percent of the x-height (Tselentis et al., 2012). It's key to consider that most letters in running text are lowercase. Because of this, variations in the shapes of lowercase characters and the openness of counters have the most significant impact on legibility. Lowercase characters exhibit substantial differences in shape between typefaces, not only due to proportions but also because of characters like the double-story "a" or "g."

In this example, three different typefaces are used (Times New Roman Regular, Arial Regular and Big Moore Regular.). In looking that the x-height for each of these typefaces, one can clearly see differences that impact the overall design. It could be argued that the larger x-height is preferred due to its legibility, however that is not always the design goal (Bothra, 2023). While x-height must always be considered, there are instances where the design goal will demand choices outside convention.

Font Families

In discussing type families, it is important to distinguish the terms “font” and “typeface.” Typeface denotes a comprehensive set of characters unified by a common design philosophy. Fonts, on the other hand, are subdivisions of typefaces that specify the size, weight, and style of the typeface in use. The characters or glyphs of a font maintain a consistent style to align with its font family (Carson, 2021). There are generic font families, which are grouped based on serifs or lack thereof, and specific font families, which are named and grouped accordingly.

In examining generic font families, there are sans-serif, serif, script, blackletter, glyphic, display, grotesque, realist, didones, garalde, geometric, humanist, slab-serif, and mixed (French, 2018), though these can be simplified into sans-serif, serif, script, cursive, fantasy and monospaced. Within a font family, the designer can discover a multitude of styles that can impact the design. Font families can be mixed carefully with the overall goal of the design in mind.

In this example, there are three fonts in the typeface family of Elido. When examining these fonts, it becomes clear that the x-height remains consistent, but the spacing value varies to accommodate the length or lack of serif.

Expressive Typography

Expressive typography involves utilizing typography beyond the basic conveyance of written information. Typography can be used to evoke emotions, communicate a specific mood, or amplify the overall visual impact of a design (Pamental, 2014). This approach includes creatively and artistically manipulating typefaces, fonts, letterforms, and other typographic elements to convey a message that goes beyond the literal meaning of the text and becomes its own design element.

Expressive typography empowers designers to break conventional rules and craft distinctive narratives by employing diverse elements such as fonts, sizes, repetition, form, color, and more. Challenging the confines of traditional typography can result in innovative and attention-grabbing designs that resonate with target audiences (ShapeSpace, 2023). Designers should embrace experimentation with different font styles, sizes, colors, and spacing to construct a visually expressive narrative.

In this example, there are three typographies used in a variety of ways to express emotion. In the first example, a simple drop shadow is used to give visual interest to a cursive font. Halloween Spooky uses several methods to achieve a more engraved, impactful look. Finally, the inlove font is a simple color change. By experimenting with the options in the Adobe products, the designer can achieve a variety of expressive emotions using typography.

References:

Bothra, K. (2023, May 5). X-height: How does X-height affect a font design?. Seahawk. https://seahawkmedia.com/design-glossary/x-height-affect-font-design/

Carson, D. (2021, June 7). Understanding font families: 5 types of font families - 2024. MasterClass. https://www.masterclass.com/articles/font-family-guide

French, N. (2018, June). InDesign type: Professional typography with Adobe InDesign, Fourth edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/indesign-type-professional/9780134891750/

Krause, J. (2015, July). Lessons in typography: Must-know typographic principles presented through lessons, exercises, and examples. O’Reilly Online Learning. https://learning.oreilly.com/library/view/lessons-in-typography/9780133993738/

Pamental, J. (2014, September). Responsive typography. O’Reilly Online Learning. https://learning.oreilly.com/library/view/responsive-typography/9781491907085/

ShapeSpace. (2023, June 23). Unleashing creativity with expressive typography: A guide to breaking the rules and making a statement. Shape.Space Design Agency. https://www.shape.space/unleashing-creativity-with-expressive-typography-a-guide-to-breaking-the-rules-and-making-a-statement/

Tselentis, J., Haley, A., Poulin, R., Seddon, T., Leonidas, G., Saltz, I., Henderson, K., & Alterman, T. (2012, February). Typography, referenced. O’Reilly Online Learning. https://learning.oreilly.com/library/view/typography-referenced/9781592537020/

Design Challenge Week 1

In this week's design challenge, we were directed to select three holidays from a preselected array and download the corresponding quotes provided. Using Adobe InDesign, each holiday needed one page displaying the holiday name in at least 12 different typefaces. 

We then set the eight quotes provided for the same holiday using font pairings.

Finally, we were to design three different compositions for the same holiday in black and white, using only type—no other elements were allowed. This was the most challenging, frustrating and enjoyable part of the assignment.

I used Adobe Illustrator to put the quotes on a path to create a swirl effect and then placed it in InDesign. I later realized that InDesign will do this as well...hours and a number of tutorials later.

Here, I wanted to convey tombstones. I took a lot of time finding the right font for the lowercase "t" to represent the top of the tombstone. I also experimented with font shape, but ultimately decided it went too far and it felt over designed.

I wanted to borrow from the classic 1950's horror movie poster style for this one.

In this one, I may have pushed too far into over design. I wanted to use the letters to convey someone running and wanted the audience to feel uncomfortable. The face is made of two lowercase "o"'s, an uppercase "L" and a lowercase "m" and "w".

Here, I used the text along a path (in InDesign this time) to convey the path a bunny would hop and the other quotes have bunny ears.

I wanted a more traditionally religious tone for this, as most of the quotes are about the Christian meaning of Easter. I wanted to convey the idea of the three crosses.

Finally, I wanted to use the white space to convey emptiness (like the empty tomb.)

MDM 565 Week 2

Art vs. Design

To determine the relationship between art and design, there must be agreement on the definition of both disciplines. This is an exceeding difficult task. Does one define art according to the classical definition or a modern approach? Micah Bowers believes a classical definition of art proves his assertion that art and design are one in the same. Bowers and Miklos Philips engaged in a thought-provoking debate, sharing and deliberating upon some intriguing perspectives.(2018). According to Bowers, a brand designer and illustrator, art encompasses various creative disciplines, with design being one of them, leading him to consider design as a form of art. In contrast, Philips, a UX designer, asserts that while art and design may overlap, they remain distinct fields with their own unique characteristics and purposes.

Another UX designer, Benek Lisefski (2019), offers the opinion that art has the capacity to convey the artist's perspective, raise social or political inquiries, or purely exist to enhance the beauty of its surroundings. In contrast, design lacks the luxury of such open-ended expression. Design consistently serves a particular purpose, always with a defined goal to accomplish. Any design falling short of achieving its intended objective is deemed as poor design.

While art and design must follow the same basic rules (or have a good reason to intentionally break rules) such as perspective and color, they are quite different. At its heart, art reflects the artist and design reflects the client.

In the case of “American Gothic”, artist Grant Wood wanted to depict the absurdity and tragic aspects of in rural American life. Wood’s vision was of a father and his spinster daughter, with no real relationship or warmth. The somewhat aggressive posture of the father indicates defense of the daughter and home, but his expression conveys a lack of conviction. In this case, art is Wood’s vision, and how he views rural American life. In other words, art is a reflection of the artist.

The designer is a conduit for another’s vision or expression. The goal of good design does not elevate or draw attention to the designer, but rather it communicates a message to a target audience about something or someone else. In this case, John Deere is also addressing life in rural America. However, the designer illustrates a hard-working father and his son. There is clearly warmth as the boy plays next to his father, using a miniature version of his father’s tractor. The designer is connecting the ideals of family, legacy and prosperity with John Deere as the focal point.

The key difference between art and design is that the artist strives to create their vision, passion or express themselves. The designer is a conduit for another’s vision or passion. The goal of good design does not elevate or draw attention to the designer, but rather it communicates a message to a target audience about something or someone else.

Design Decision

To make good design decisions, one must consider the basic rules of art. Keeping in mind the basic rules for color considerations, perspective, balance and more, the designer must also consider the audience and the client. In order to do this, the designer must rely on research (Labudovic & Vukusic, 2009). The creative process boils down to research, concept development, design, and implementation.

Designer and developer, Scott Riley (2018), stresses that a key part of the early stages in the design process is purposeful pessimism. Riley points out that designers and stakeholders will always struggle with hubris of believing in the value of their ideas and designs. He asserts that intentionally seeing the negatives in a design, helps remove hubris, connect to underserved audiences and promotes unconventional thinking. This part of the process is done early in the process and allows the designer and stakeholders time for refinement.

Making intelligent design decisions requires study of great other great designs, research of the client and brand and a removal of ego. The design must be about communication with the audience, not about the designer’s aesthetic. There are so very many instances of graphic designers who missed the mark in an attempt at creating art, often with hilarious and/or cringe-inducing results. One of the tamer instances comes from Pizza Hut. In a misguided attempt to modernize and make the logo more artistic, the designer removed the one of the main points of differentiation in the restaurant marketplace.

Conversely, when the designer has done the research and knows how to use artistic form to convey a message, the result can be fun and engaging. This example from Pringles has echoes of Andy Warhol, while still maintaining the brand.

Types of Visual Hierarchy

Visual hierarchy is important in design because it uses a variety of elements to guide the audience eye from information point to information point. Visual hierarchy involves organizing content within a composition to communicate information effectively and convey meaning. It guides viewers to prioritize the most crucial information before secondary content (Philips, 2019). Achieved through thoughtful manipulation of size, color, shape, distance, proportion, and orientation, the creative use of graphic elements establishes the meaning, concept, and mood of a composition by determining its visual hierarchy.

Alex Bigman (2019) discusses the importance of F-patterns and Z-patterns of visual hierarchy in relation to text elements. The F-pattern applies to text-heavy pages like articles or blog posts. Readers scan vertically down the left side, looking for keywords in headings. When intrigued, they read horizontally to the right, forming a visual pattern resembling an F or E, hence the term "F-pattern." Z-patterns are relevant to pages like ads or websites, where information isn't necessarily in block paragraphs. The reader's eye scans the top for crucial details, then diagonally shoots down to the opposite corner, repeating the process across the lower part of the page.

When designing, it's essential to think about how the audience will interact with each element. Understanding visual hierarchy is critical, as good design will flow naturally for the audience, not confuse or frustrate them. One example of visual hierarchy is using contrast to draw attention. It is not a surprise that bright colors draw more attention than darker hues. However, a designer can use contrast in a variety of creative ways.

In looking at F-patterns, this typography example is both informative and illustrative of the principle.

The design should get the viewer's attention and emphasize the importance of different elements. It involves organizing and prioritizing visual elements to create a clear and structured order, allowing viewers to navigate through the content intuitively.

References:

Bigman, A. (2019). 6 principles of visual hierarchy for designers. 99 Designs. https://99designs.com/blog/tips/6-principles-of-visual-hierarchy/

Lisefski, B. (2019, May 7). The truth about art vs. design. Medium. https://uxdesign.cc/the-truth-about-art-vs-design-c9a616de828

Labudovic, A., & Vukusic, N. (2009). Field guide: How to be a graphic designer. Rockport.

Philips, M. (2019, May 15). Design principles – an introduction to visual hierarchy: Toptal®. Toptal Design Blog. https://www.toptal.com/designers/visual/design-principles-hierarchy

Philips, M., & Bowers, M. (2018, May 8). Art vs design – a timeless debate: Toptal®. Toptal Design Blog. https://www.toptal.com/designers/creative-direction/art-vs-design

Riley, S. (2018, December). Mindful design: How and why to make design decisions for the good of those using your product. O’Reilly Online Learning. https://learning.oreilly.com/library/view/mindful-design-how/9781484242346/

Design Challenge

The assignment this week was to create three images out of stock images for three holidays, using layers and transparency. One element had to be the same in all the designs, they have to communicate a holiday and an event for a target audience.

Valentine's Day

For Valentine's Day, I created three designs to convey a cooking class for couples. The target market is couples, living in the suburbs of Orlando, age 40-45 with income levels of $50-60K annually.

For Easter, I chose a sunrise church service at the beach. This is targeting adults in the Anna Maria Island area, age 50-60 with income levels of $100-120K/annually.

Finally, there is Halloween. This was my favorite. I created a design a Scare Trail for 20-30 year olds in the Central Florida area with an annual income between $40-50K.

MDM 565 Week 3

Combining Text and Images

Blending images and text smoothly enhances understanding and visual consistency in content. This harmony occurs when images align with and complement the written material, providing cohesive support for effective communication (Marshall & Meachem, 2010). Often, visuals are used to convey messages quickly, especially in information graphics. Sometimes, images don't replace text but instead add extra information. Text itself can be seen as its own visual element.

A crucial consideration in layout design combining text and images is maintaining focus on visual hierarchy (Krause, 2015). A robust visual hierarchy guides the viewer's eyes smoothly through the design, while a weak one can result in a vague and indecisive appearance. When both images and typography work well with the written content, a design achieves visual and verbal synergy. The interaction between words and visuals shapes how the viewer interprets the message.

The most effective designs combining text and images are when each could stand on its own to convey part of the communication. The effective designer first determines everything that must be communicated. Second, the designer should decide if text or images are the best vehicle for the information. Finally, the designer has to determine how to combine these elements into a cohesive communication. Few designs are more instantly recognizable than the 1975 movie poster for “Jaws”. The design is deceptively simple as it only has a handful of elements. However, the designer used the red, bold, sans-serif font “Amity Jack.” The font is all caps and the “j” is stylized to give the impression of a fish hook. The kerning between the “a” and the “w” is pulled tight to increase the tension in the piece. The choice of so much space between the swimmer and the shark increases the dramatic effect, as the viewer knows she cannot escape her fate. Finally, the impression of nudity in the swimmer increases her vulnerability. It may be a bad hat, but that’s some great design, Harry.

The Elements of Visual Design

A graphic designer is a communicator who transforms ideas into visual representations for others to comprehend. Effective visual design often relies on the thoughtful combination and manipulation of the seven elements of line, color, shape, texture, size, space, and value to achieve the desired visual impact and communicate a message successfully (Samara, 2020). Using the elements of visual design, the designer conveys and organizes ideas into a cohesive experience, aiming to elicit a specific response.

Emma Taggert (2023) states that graphic design is a blend of art and science. Crafting an ideal poster or interface prototype poses challenges, yet creatives can rely on fundamental design principles as a helpful guide. From typography guidelines to color theory, design rules serve as a cheat sheet, aiding in the creation of clear, legible designs that fulfill their purpose and enhance user experience. Nevertheless, there's room for creativity, and breaking the rules can be a source of fun for graphic artists.

This NASA design embraces the phenomenon of a once in 175-year phenomenon when the planets align. Every design element can be seen in this truly stunning piece. The designer used line to create symmetry and a feeling of motion. Colors are used to represent depth and dimension. Size and shape are in play, giving the impression of stars, planets and ships. Space is used as a broken rule, as there is a lot of overlap. However, by breaking this rule, the designer is communicating the alignment of the planets. By strict adherence to value, the broken rule of space is mitigated, and the design feels cohesive, orderly and exciting.

The Principles of Design

The number of design principles is debated, ranging from seven to 12 or somewhere in between. However, the exact count isn't the point. Design principles offer guidelines for creating visually appealing compositions and delightful user experiences (Krause, 2015). Embracing basics like hierarchy, balance, unity, and variety empowers designers to craft digital products and graphics that users love.

Adobe (2021) discussed the principles of design and emphasized that the principle of hierarchy begins with identifying your message and design goals. Determine the most critical piece of information and ensure it becomes the focal point of the design. It is important to leverage principles of contrast and alignment to help support the determined hierarchy and design choices. Repetition and color can be useful principles to tie the design and overall look together. Proximity and balance must be considered as the design is finalized.

Though this design appears simple, one can clearly see all the design principles at work. The designer chose a variety of contrasting colors, creating a repeating block of content and observed the principles of hierarchy. Each block has room to breathe, creating proximity and balance. Though only one font is used, the designer maximized the principle of alignment in the choice of typography.

References:

Adobe Express (Ed.). (2022, October 5). 8 basic design principles to help you make Awesome Graphics - Adobe. Adobe. https://www.adobe.com/express/learn/blog/8-basic-design-principles-to-help-you-create-better-graphics

Fleck, R. (2021, December 10). 11 principles of Design (& How to use them). Dribbble. https://dribbble.com/resources/principles-of-design

Krause, J. (2015, July). Lessons in typography: Must-know typographic principles presented through lessons, exercises, and examples. O’Reilly Online Learning. https://learning.oreilly.com/library/view/lessons-in-typography/9780133993738/

Marshall, L., & Meachem, L. (2010, May). How to use images. O’Reilly Online Learning. https://learning.oreilly.com/library/view/how-to-use/9781856696586/

Samara, T. (2020). Design elements, third edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/design-elements-third/9781631598739/

Taggart, E. (2023, December 8). 7 graphic design rules that are made to be broken. Linearity blog. https://www.linearity.io/blog/graphic-design-rules/

Design Challenge

Referring back to our previous week’s Design Challenges, we created a composition that communicates the events that we've been working with through a combination of type, images, form or pattern, and color. We had to include the name of each event, the date, the quote, the call to action, and the sponsor logo provided. As a recovering marketer, I wanted to go beyond "Reserve your spot TODAY!" and create a more subtile call to action. I tried to stretch myself in this area, choosing, "Get Spicy with your Sweet" for Valentine's, "Rise & Shine" for Easter and "Nightmares Await" for Halloween.

Easter

Valentine's

Halloween

MDM 565 Week 4

Revised Design Challenge

In font pairings for Valentine's Day have been adjusted to make the quotes easier to read and create better pairings between author names and quotes.

The alignment and fonts have been adjusted to better represent the design ideal.

Halloween font pairings has been changed to create better readability and pairings for the quotes.

This design was adjusted to create better pairings and spacing.

The quote was adjusted to match the font from the title of the holiday. Additionally, the font size was adjusted to avoid competing with the main title.

MDM 570 Week 1

Audio

Sonic Branding

Sonic Branding is when audio captures the essence of a brand and communicates this to the audience. Product sonification is the incorporation of non-speech branded sounds into the user experience of products, apps, devices and technologies (Full Sail University, 2024).

Sonic branding is great way to distinguish brand personality. Sound encompasses vibrations and rhythm, elements that perpetually evolve, develop, and broaden as a repository of human creations (Write, 2019). It is the foundation of communication.

According to Mark Kingsley (2023), the objective of sonic branding isn't solely to become familiar to the average person, but rather to enhance the overall perception and emotional connection to a brand. Sonic cues succeed or fail based on context.

Snapple was known for its distinctive “pop” when opened. However, when Snapple made the switch was made to plastic bottles, the sonic cue was lost.

Three Categories of Sound

Human voice, sound effect and music are the three categories of sound. All three of these categories can work together or separately to move the story forward or create a memorable moment (Case & Day, 2018). To further classify sound, one can go beyond these categories to diegetic sound (sound that originates from the created world in which the characters live) and non-diegetic sound (sound that does not originate from the created world in which the characters live).

The categories of sound design find its roots in theater. Early sound designers used contraptions they often designed for sound effects and live musicians to create the effect desired for stage (Sinclair, 2020). This approach developed and expanded as radio, movies and television developed.

While the categories of sound remain consistent it is important to note that these must be mixed and balanced so that the necessary emphasis is created (Marshall, n.d.). It can be easy to allow human voice or sound effects to override the music. If any one of the elements is not in balance with the others this can destroy the design intent.

In this clip human voice, sound effects, and music work together. There is even the sound effect of the iconic Lego “snap” in the scene as well as a music mood change.

Audio Logo

Audio logo is a short sound that is equal to and compliments the graphic logo. It is instantly recognizable and evokes an emotional reaction (Full Sail University, 2024).

Not only is an audio logo desirable, but in today’s marketplace it is expected (Adams, et al, 2006). Audio logos are as essential as color and animation. These pieces must stand alone, and work together as needed.

Exploring sound and ideas in a collaborative environment is key to creating an effective audio logo (Mongeau, 2017). Taking the time to take risks can yield a great reward and a sound the client is excited about.

George Lucas knows how to create sound and this is another feather in his cap. It is a very straightforward sound using pitch, volume and (if you are in the theater) panning.

References

Adams, S., Morioka, N., & Stone, T. L. (2006, March). Logo design workbook. O’Reilly Online Learning. https://learning.oreilly.com/library/view/logo-design-workbook/9781592532346/

Case, A., & Day, A. (2018, November). Designing with sound. O’Reilly Online Learning. https://learning.oreilly.com/library/view/designing-with-sound/9781491961094/ch01.html#sonification_and_income_data_on_the_new

Full Sail Online (2024). 1.2 Lecture. Full Sail University. Retrieved February 8, 2024, from https://online.fullsail.edu/class_sections/194603/modules/684036/activities/3954379

Kingsley, M. (2023, October). Universal principles of branding. O’Reilly Online Learning. https://learning.oreilly.com/library/view/universal-principles-of/9780760378212/

Marshall, J. K. (n.d.). An Introduction to Film Sound. Introduction to film sound. https://filmsound.org/marshall/

Mongeau, A.-S. (2017, August 1). How to create sound for commercials - insights from an award-winning Sound Team. A Sound Effect. https://www.asoundeffect.com/sound-for-commercials/

Sinclair, J.-L. (2020, April). Principles of Game Audio and Sound Design. O’Reilly Online Learning. https://learning.oreilly.com/library/view/principles-of-game/9781351731126/

Wright, K. D. (2019, August). Follow the feeling. O’Reilly Online Learning. https://learning.oreilly.com/library/view/follow-the-feeling/9781119600497/

Design Challenge

This week's design challenge utilized last month's images. We were to study them and think about what music and sound effects would enhance the designs. Choosing one example from each holiday, I created an audio file using Adobe Audition. I learned about emotional memory, storytelling and sonification.

For the Halloween Scare Trail, sound design leads the story of being chased, hiding, and then being found (Mongeau, 2017). Having long been a fan of Poe’s “Tell Tale Heart”, the beating heart is an emotional memory that plays a role in fear and anxiety. Using a beating heart at varying speeds, volume and pan effects, heightens the anxiety and terror in the audience. Sonification is used to overwhelm the visual sense as the footsteps draw ever nearer, and the breathing and heartbeat increase (Case & Day, 2018).

The Valentine’s Day baking class is full of informational sounds. The sound effects of eggs breaking, the whirring of the mixer, the pouring of the wine and the gas burner being lit all set the scene (Full Sail Online, 2024). By adding the element of light laughter and appreciative smelling of baked food, this gives the audience information that two people are cooking together.

Easter Sunrise Service at the beach was oddly the most challenging. The beach and religious moments are often known for the absence of sound (Case & Day, 2018). The diegetic sounds of waves and seagulls were essential to the scene. The audio begins and ends with just these two elements to embrace the emotional memory of peace at the seashore. The laying of two music tracks was challenging, but the subtle playing of the iconic “Jesu, Joy of Man’s Desiring” under a more modern track is intended to connect the sacred to the secular.

References:

Case, A., & Day, A. (2018, November). Designing with sound. O’Reilly Online Learning. https://learning.oreilly.com/library/view/designing-with-sound/9781491961094/ch01.html#sonification_and_income_data_on_the_new

Full Sail Online (2024). 1.2 Lecture. Full Sail University. Retrieved February 8, 2024, from https://online.fullsail.edu/class_sections/194603/modules/684036/activities/3954379

Mongeau, A.-S. (2017, August 1). How to create sound for commercials - insights from an award-winning Sound Team. A Sound Effect. https://www.asoundeffect.com/sound-for-commercials/

MDM 570 Week 2

Selective Attention, Rhythm and Pacing

Selective Attention

Selective attention directs focus to one thing while ignoring others. The editor’s role is to direct the audience’s attention so they concentrate on what’s important and avoid being distracted by the inconsequential elements of the film (Hollyn, 2013).

Selective attention can manifest as intense focus on sound, visuals or emotions to the exclusion of others (Maddox & BetterHelp Editorial Team, 2024). It is the brains filtration system that allows one to focus on a friend’s whispered confidence in the middle of a busy restaurant.

Attention is a limited resource, so the ability to tune out unimportant details is critical to our mental well-being (Cherry, 2023). Those with autism often suffer from the inability to be selective in their attention, so they will often hum, place fingers in their ears or squint their eyes attempting to filter unimportant sensory information.

The editor can use selective attention as a device to keep the audience focused on important story elements. Using elements like motion, focus, spacing, sound or light can draw the attention to the critical story elements and allow the audience to be drawn into the film. However, selective attention can also be used to create an unforeseen story element that the audience missed all along. A great example of this is The Sixth Sense. In this film, the audience is continually misdirected from the truth of the psychologist’s situation. This was the ultimate selective attention test that most people failed.

Rhythm

Rhythm is the flow of the overall story or edit. This is something that is instinctively “felt” by the editor and the audience (Full Sail Online, 2024). The editor must use intuition to determine what rhythm best suits the story and character development.

Noted editor, Misha Tenenbaum (2024) asserts that rhythm is instinctive because life is all about rhythm in the observable universe. The movement and pattern of a storm rolling in across the sky is something that is instinctively understood and its rhythms are established.

The rhythm of a film is not dissimilar to the rhythm of a song. The film and story development should use number and length of scenes to establish rhythm like a song uses timing and chord progressions (Winter, 2023).

Rhythm is something that editor instinctively feels and not something that can be formulaic. For instance, the rhythm of the ocean will change depending on time of day, weather, season, moon cycle and geographic region. However, audiences will hear ocean waves from any of these variables and still know exactly what they are hearing. This can be applied to editing as the editor feels the rhythm needed in the story or the character development. While it can be easy to say an action movie should have a series of short, quick shots, this may not necessarily be in keeping with the overall rhythm of the story. As an example, The Avengers may risk exhausting the audience with constant quick, short action sequences which diminish the rhythm leading to the climactic final fight of the film. In any case, the rhythm should lead the audience through the story and character development with intentionality.

Jaws is an action/horror movie with some unique rhythm choices. The overarching, iconic soundtrack could have been used to drive the cut sequences, however, Oscar-winning editor, Verna Fields, used longer shots and thrashing people in the water. This should have created a slower pacing, but the pacing and rhythm are propelled forward as the audience moves through the water in anticipation of the attack. Interestingly, there was no shark used in this scene because Spielberg blew his budget. Fields chose to ignore the shark (who only gets a total of four minutes of screen time in the entire movie) creating terror and anticipation to set the rhythm of the film.

Pacing

Two elements of rhythm are timing and pacing. Pacing is the speed of the scene or edit. The pacing of a film does not follow a formula or move along at a monotonous speed (Dulaimy, 2018). Quick scenes that feature multiple cuts can be juxtaposed with long, sweeping shots without disrupting the rhythm of the film if the editor is wise on setting the pace for each scene.

Pacing is the rate of cutting, the rate of concentration of movement or change in shots and sequences, and the rate of movement or events over the course of the whole film (Frierson, 2018). Pacing can be changed throughout the scenes but should not disrupt the rhythm of the film.

Jourdan Aldredge (2020) observes that one cannot determine pacing without considering how that edit will work in the sequence of the film. Pacing has to support the rhythm or have a very good reason for breaking it. He states that Christopher Nolan’s movies can effectively move pacing of an action sequence while not sacrificing the rhythm of an emotional sequence.

There are three choices in pacing: fast, slow or somewhere in the middle. Like rhythm, this is something that the editor needs to feel and is instinctive. The only way to improve the skill of pacing is to continue to edit work. The key is to understand that pacing is the ticking in the background, keeping the film’s rhythm. It is all about balance. When the audience is engaged with a film, the pacing will consider each scene, the space between scenes and the film rhythm to ensure a seamless whole instead of a series of small vignettes.

In Top Gun: Maverick, Maverick’s Test Run scene is series of 3 second clips with a few notable exceptions. When the G-forces increase on Maverick, there are longer shots focusing the audience on his shortness of breath and physical toll. As Maverick’s plane performs a series of tight maneuvers, the clips get shorter with reaction shots merging with the plane moving through the canyon. This is a great way to vary the pacing in an action shot, using the pacing to influence audience emotion and engagement.

References:

Aldredge, J. (2020, December 22). Film pacing: 5 secrets to keep your projects from getting stale. The Beat: A Blog by PremiumBeat. https://www.premiumbeat.com/blog/5-film-pacing-secrets/

Cherry, K. (2023, December 18). How we use selective attention to filter information and focus. Verywell Mind. https://www.verywellmind.com/what-is-selective-attention-2795022

Dulaimy, S. (2018a, August 6). Film editing — the importance of rhythm and pace. Avid. https://www.avid.com/resource-center/film-editing-the-importance-of-rhythm-and-pace

Frierson, M. (2018b, March). Film and video editing theory. O’Reilly Online Learning. https://learning.oreilly.com/library/view/film-and-video/9781315474991/

Full Sail Online (2024). 2.2 Lecture. Full Sail University. Retrieved February 8, 2024, from

https://online.fullsail.edu/class_sections/194603/modules/684036/activities/3954379

Hollyn, N. (2013, August 30). Controlling what the audience sees - foundations of video: The art of editing video tutorial: Linkedin learning, formerly Lynda.com. LinkedIn. https://www.linkedin.com/learning/foundations-of-video-the-art-of-editing/controlling-what-the-audience-sees?contextUrn=urn%3Ali%3AlearningCollection%3A6796091614407327744&standalone=true&u=50813145

Maddox, L. A., & BetterHelp Editorial Team (Eds.). (2024, February 7). What is selective attention? psychology explains how it works. BetterHelp. https://www.betterhelp.com/advice/psychologists/what-is-selective-attention-psychology-explains-how-it-works/

Tenenbaum, M. (2024b, January). Rhythm and pacing: Editmentor Help Center. and Pacing | EditMentor Help Center. https://help.editmentor.com/en/articles/5461621-rhythm-and-pacing

Winter, D. (2023, November 22). How an editor controls the rhythm of a film. Lightworks - Easy to Use Pro Video Editing Software. https://lwks.com/blog/control-the-rhythm-of-a-film

Design Challenge Week 2

This week's challenge was to create three cinemgraphs using Adobe Photoshop.

In the Halloween motion graphic, the emotion drove the design decision. Here I wanted to convey mystery and suspense. This effect was achieved by choosing to have the fog move across the image at a slower pace. I intentionally chose a fog that would feel as though it was interacting with the ghostly figure.

The Easter motion graphic, the scene should evoke calm and peace. I chose to have the water moving at a gentle rhythm to subtlety convey these feelings. Water has a deep spiritual connection in the Christian faith as well (baptism and holy water), so this choice worked on both the level of emotions and on conveying the holiday’s element.

Finally, the Valentine’s motion graphic presented the biggest challenge. Originally, I worked on getting the egg to wobble slightly. However, after engaging with this week’s content, the egg does not convey romance or warmth. I made the change to having the coffee move in the cup as this is more closely linked to the senses of warmth and romance.

MDM 570 Week 3

Motion Graphics

A motion graphic is more than just a image that moves. In order to be considered a motion graphic, it must do the work of conveying information (Full Sail University, 2024).

Motion graphics are being used more often in visual media (Stevens, 2023). They have a greater impact and are more memorable compared to static images.

In recent years, motion graphics have surged in popularity because they excel at grabbing and keeping viewers' attention. Their lively motion and captivating visuals have the power to turn an ordinary story into something truly remarkable (Staff, 2023).

Motion graphics are becoming essential in a world with shrinking attention spans and information overload. As people desire to do more, know more and experience more, using motion to communicate complex concepts becomes essential.

This engaging and beautifully rendered motion graphic conveys the origins of coffee. By making wise design choices, the rhythm, pacing and tone of this motion graphic clearly conveys the message.

Difference between Animation and Motion Graphics

The main difference between animation and motion graphics is the intent. Animation is intended to entertain and can include absurd situations that cannot happen in real life. Motion graphics can and often do include animation, but the intent is to inform.

Motion is important for making the digital feel alive. As new content comes in, everything moves nicely into place, showing users where to focus (Harris & Schlemmer, 2016).

Motion graphics are a specific kind of animation. While they involve moving graphic designs, animation covers a wide range of moving images, from cartoons to Claymation (Ellis, 2019). Unlike other types of animation, motion graphics primarily focus on adding movement to graphic design elements and often have less emphasis on telling a detailed story. What makes motion graphics different from other animations is the content.

Similar to the discussion on art vs. graphic design is this conversation on animation vs. motion design. It can be easy to interchange these terms, but it is critical that the designer understand that design and motion design serve a purpose outside of the designer. The communication is driven out to an audience for an intended action or purpose.

This old-school, simple motion graphic uses animation to convey the PSA on texting and driving.

Language of Motion Graphics

The language of motion graphics consists of a vocabulary of visual elements such as shapes, colors, typography, icons, symbols, transitions, and animations, as well as principles of design such as hierarchy, contrast, balance, rhythm, and timing (Full Sail University, 2024). It is so much deeper than a moving shape and extends into artistic thought and intent.

Justin Cone (2014) recommends that instead of calling it “motion graphics”, consider instead using the phrase, “graphic design in motion.” Within this new phrasing is contained all of the fields in design (color theory, illustration, etc) all working in motion to communicate.

The language of motion is universal and it is a fundamental storytelling device (Krasner, 2013). It can be used to transform incredibly complex ideas into something that is easy to conceptualize.

Adding motion to the basic design principles doesn’t simply add another layer, it redefines the skill and the designer. It changes the very way designers communicate by adding complexity and dimension, demanding attention be paid to rhythm and selective attention. Motion gives the designer another language with which to communicate.

This humorous motion graphic of an outlet singing brings home to power to communicate the idea of battery life. It seems simple, but by everything from adding the top outlet backup singer to the slight swivel add complexity and interest to the design.

References:

Cone, J. (2014, January 6). Discover the language of motion design. Creative Bloq. https://www.creativebloq.com/graphic-design/discover-language-motion-design-11410269

Ellis, M. (2019). Motion graphics vs. animation: What’s the difference? 99designs.com. https://99designs.com/blog/video-animation/motion-graphics-vs-animation/

Full Sail Online (2024). 3.2 Lecture. Full Sail University. Retrieved February 20, 2024, from

https://online.fullsail.edu/class_sections/194603/modules/684036/activities/3954379

Harris, S., & Schlemmer, J. (2016, September 23). Making motion meaningful. Design is never done. https://design.google/library/making-motion-meaningful

Krasner, J. (2013, May). Motion Graphic Design, 3rd Edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/motion-graphic-design/9780240821139/

Staff. (2023, December 6). Mastering the language of movement: Visual storytelling with motion graphics - the absolute best video animation agency: Just animations. The Absolute Best Video Animation Agency | Just Animations. https://justanimations.com/mastering-the-language-of-movement-your-visual-storytelling-with-motion-graphics/

Stevens, E. (2023, July 20). Complete Guide to Motion Graphic Design. And Academy. https://www.andacademy.com/resources/blog/graphic-design/what-is-motion-graphic-design/

Design Challenge Week 3

For this week's design challenge, each project was approached with the theme in mind. Concepts like attention, pacing, rhythm, and sonic branding were considered for each concept. Valentine's Day was by far the most challenging. The original gif was not as smooth as desired, so this was reconceptualized. When designing the logo, the goal was to marry the sound with the heart steam coming from the coffee mug.

In the Halloween design, the logo needed to be dark and scary to fit the rest of the elements. After multiple attempts at a variety of designs, Adobe AfterEffects was used to ultimately create the logo. By using a variety of layers in varying opacities, adding a face created in Adobe Illustrator and finalizing the font, the logo was synced to the soundtrack. The abrupt start and stop was carefully crafted to increase anxiety and fear.

Finally, for Easter, the original motion graphic was reworked to create a smoother visual experience. This logo consumed the most time to create, but it was satisfying to fulfil the initial vision of the sun rising and the stone rolled away from the tomb. The audio was synced with the motion of the logo to create a strong finish to the piece.

MDM 570 Week 4

Design Challenge Week 4

The challenge presented was to create a text template in InDesign, create an audio file in Audition and import these files into AfterEffects. I then used the template to create individual text boxes and sync these up with the audio file. Finally, I added a background and a music bed to finish the project. I have learned a lot about AfterEffects in this class and it has stretched me (sometimes to the brink). The program can do so many things and it is hard to determine where to start. Overall, I am so glad to have this opportunity to learn and grow.

MDM615 Week 1: Brand Messaging.

Client Background

Mandy Madison has been a country star for 30 years and has won many awards for her music. She projects a strong, independent, attractive woman. Despite her age, Mandy exudes feminine sexuality and vitality. At the age of 50, she is crossing from country into rock and roll. This cross-over comes with her style of glitter and glitz, but now in edgy rock and roll embellishments and styling. The new cross-over music holds up the country music ideals of storytelling, national pride, family connections, human strength (Wildridge, 2022) while bringing the rock and roll style of heavy bass and drums (PMH, 2023).

What benefit is being promised? Sexuality

To whom is it being promised? Aging women who are driven to be independent, attractive and interesting.

Why should they believe you? Mandy’s concerts feature a woman who is older, but still vibrant, strong and attractive.

Definition of Need:

As one ages, sexuality changes and remaining sexually attractive becomes more challenging to achieve. Older women have a need to be seen as sexually relevant (Peterson, 2024). The need for sexuality exists in both Maslow’s Hierarchy of Needs and in Robert Settle and Pamela Alreck’s shopping list of needs. In first looking at Maslow’s Hierarchy of Needs, attending a concert of Mandy Madison would fall under love and belonging. This is an important distinction because it indicates the consumer’s most basic physical needs are met. The balance of one’s emotional well-being rests upon this need being met (Felton, 2013). Settle and Alreck further develop Sexuality as the need to establish and develop one’s sexual identity and be sexually attractive.

Psychographic and Buyer Persona

Using consumer-based reasoning, Mandy’s consumer is the focus of the design decisions. The consumer is an older female with a need to be seen as attractive, interesting, and relevant. This consumer is brand loyal, having followed Mandy for years. She identifies with Mandy and desires to be all that Mandy portrays in her concerts. The consumer is financially stable, has strong family and community connections and sees herself as independent (Shoenthal, 2022). She is tech-savvy and works hard to remain relevant in both her professional and personal life. The consumer enjoys an active lifestyle and is focused on health and wellness. The consumer does not want to be defined by her age, but by her relevance (Avenue, 2017).

Buyer Persona

65-year-old woman, Paula Kittridge is nearing the end of her career and retirement is looming. She is married to Tom and lives with her Golden Doodle, Sammy. Paula has four grown children, and her first grandchild is on the way. She lives in Cincinnati, where she sits on the board of directors for Kroger, a Fortune 500 company. She has an MBA and makes $350K annually (McClellen, 2023). She is also on the boards of several charities and the Cincinnati Arts Association. She is very active and is dedicated to health and wellness.

Paula values strong feminine qualities, regularly mentoring younger women in business. She goes to church, votes as a conservative and has traditional family values. She balances time as a wife and mother against time as an independent woman and friend. She enjoys wine, travel and is a film buff. She enjoys a wide variety of genres enjoying the escape that a good story provides. She is very comfortable with technology and is determined not to fall behind in this area. She uses reading glasses but tries to hide them if they aren’t needed. Paula covers her grey hair and has a wide array of creams and masks to help slow the signs of aging. She will not have plastic surgery, but Paula pursues many other options to make sure she stays vital and attractive.

Being a busy executive, Paula rarely shops in person. She prefers to shop online from her tablet as she watches the news or a movie and is very brand loyal. Paula is very careful with decisions and does a great deal of research on major purchases, trips, holiday ideas and events. She seeks the advice of her friends and peers but will make the decision that suits her best. Paula is active on Facebook and Pinterest, dabbling in Instagram and Twitter. She watches a lot of TikTok videos because her friends and kids send them to her but does not have an account. Paula likes to be a leader among her friend group and often encourages them to independent activities and events.

Paula wants to remain vital. She does not want to fade into the background or be seen as an aging, out-of-date woman. She wants independence and autonomy balanced with the role of matriarch of the family. She needs to be seen as a strong, attractive, interesting, and capable woman.

Features

The concert tour will be accessible to the consumer by following a multistate touring pattern. The website to purchase tickets, merchandise and concert details will be easy to navigate and interactive, for optimum user experience. The lighting and visuals will be tailored to the music and with the consumer in mind. Color choices, sizing of font will be designed with care. Elements like venue sound and climate control will be considered.

References:

Avenue, N. (2017, November 7). How marketers badly misunderstand older female consumers. Forbes. https://www.forbes.com/sites/nextavenue/2017/11/07/how-marketers-badly-misunderstand-older-female-consumers/?sh=56a952a4a2fa

Felton, G. (2013). Advertising: Concept and copy (3rd ed.). Norton & Company.

McClellen, L. (2023, August 8). What’s considered “reasonable” pay for board members at large companies? Fortune. https://fortune.com/2023/08/08/how-much-companies-pay-board-members/

Peterson, B. (2024, January 16). Brands find a new way to reach many consumers: Older women. MSN. https://www.msn.com/en-us/news/technology/brands-find-a-new-way-to-reach-many-consumers-older-women/ar-AA1n33mS

PMH, S. (2023, October 18). What is rock music? characteristics, famous bands & examples. PRO MUSICIAN HUB. https://promusicianhub.com/what-is-rock-music/

Shoenthal, A. (2022, November 9). Why gen-X women will not be aging quietly. Forbes. https://www.forbes.com/sites/amyschoenberger/2021/10/07/why-gen-x-women-will-not-be-aging-quietly/?sh=6891e14c2b6b

Wildridge, D. J. (2022, November 11). Characteristics of country music: An introduction. CMUSE. https://www.cmuse.org/characteristics-of-country-music/

MDM615 Week 2: Voice & Tone

Thesis Application

Name of Product or service: Mandy Madison Echo Tour

Core Message: You are still relevant

What benefit is being promised? Recognition

To whom is it being promised? Aging women who are driven to be empowered, relevant, and exciting.

Why should they believe you? Mandy’s concerts feature a woman who is older, but still vibrant, strong, and relevant.

Theme/Style:

Relevant

Brand Personality:

Taglines:

1. Live Loud

2. Be Heard

3. You…Only Louder

Positioning Statement:

You stride into the concert venue, feeling a surge in your heartbeat. Despite the discomfort of your shoes, you exude confidence and allure. The meticulously chosen outfit from your online hunt fits like a glove, drawing admiring glances all night long. Your companions are filled with laughter and anticipation, ready to embrace the energy of the evening. With the album playing on repeat since purchasing the tickets, you're fully immersed in the vibe of the moment. Determined to maintain your groove, you silence your phone, shutting out any distractions. As you make your way to your designated section, the pulsating lights and vibrant sounds of the music ignite the atmosphere. Spotting a perfect photo opportunity, you gather your girlfriends, knowing this night is destined for Instagram stardom. #GenXRocks #MandyMadisonEchoTour #NoKids #NoWork

Design Rationale

Name

By choosing the name “Echo” for the tour, a connection is made to the culture of a Gen X female. The Gen X female has always been at the forefront of change, challenging norms, and breaking barriers (Staff, n.d.). From fighting for gender equality and freedom from harassment to embracing diversity and inclusion, Gen X has been involved at every phase.

Echo addresses the connection between past and future. Gen X is a generation that does not forget the past, in fact they revel in it. They enjoy talking about 80’s/90’s music, culture and their experiences moving from landline to smart phones. Gen X understands that the past is important to building the future (Sherman, 2020).

The word “Echo” will allow references and symbols to be used in design decisions. An echo is audio repetition and reflection. This concept can be visually represented in a variety of ways, offering the features of variety in media creation.

Taglines

By using the tagline, “Live Loud” the target audience is encouraged to live authentically. Gen X has been dubbed the “middle child” of the generations, often feeling ignored by brands and society (Avenue, 2017). This tour encourages Gen X to live life on the main stage instead of from the shadows.

The tagline, “Be Heard” points to the desire to demonstrate empowerment and engagement. Gen X has been more vocal about being noticed and appreciated for their contributions (Shoenthal, 2022). This tagline acknowledges this need and encourages the target audience to be part of the messaging.

“You…Only Louder” is a tagline that embraces where the target audience is in their life currently and encourages them to be more visible. Though the audience needs to be authentic with the messaging, this encourages them to be loud and persistent with their voice.

Positioning Statement

In a need for recognition, it is important to note that Gen X women have their contributions often overlooked or underestimated. As a generation sandwiched between the trailblazing Baby Boomers and the tech-savvy Millennials, Gen X women have quietly but steadfastly pushed boundaries and shattered stereotypes. Entering the workforce in a time when harassment was the norm and discrimination was expected, Gen X women have tirelessly worked for change. Yet, despite their significant achievements in various fields, from business and technology to arts and activism, they continue to grapple with a lack of recognition and representation. It's essential to acknowledge the unique challenges faced by Gen X women, from balancing career aspirations with familial responsibilities to navigating societal expectations and biases.

The benefits being offered in the narrative are a recognition of relevance, a shared experience, and a sense of belonging. This concert experience represents escape from daily life with the emotional release of excitement and empowerment.

The features highlighted in the narrative are the lighting and visuals will be tailored to the music and with the target market in mind. Color choices, sizing of font will be designed with care. Elements like venue sound and climate control will be considered.

The Onlyness Statement for the Mandy Madison Echo Tour is:

The Mandy Madison Echo Tour is the only provider of a nation-wide crossover concert tour celebrating of the powerful voices and unique experiences of Gen X women. Gen X women navigated the shifting landscapes of culture, technology, and society, yet, they are often overlooked or overshadowed by other generations. Gen X women will enjoy empowerment and regard as they identify with and embrace the theme of the tour. Through music, storytelling, and shared experiences, the Echo Tour aims to give Gen X women the recognition and relevance they deserve. It is a space where their voices can echo loudly and proudly, resonating with authenticity and empowerment.

References

Avenue, N. (2017, November 7). How marketers badly misunderstand older female consumers. Forbes. https://www.forbes.com/sites/nextavenue/2017/11/07/how-marketers-badly-misunderstand-older-female-consumers/?sh=56a952a4a2fa

Felton, G. (2013). Advertising: Concept and copy (3rd ed.). Norton & Company.

Peterson, B. (2024, January 16). Brands find a new way to reach many consumers: Older women. MSN. https://www.msn.com/en-us/news/technology/brands-find-a-new-way-to-reach-many-consumers-older-women/ar-AA1n33mS

Sherman, A. (2020, October 23). Why examining your past is the best way to a better future. Psychology Today. https://www.psychologytoday.com/us/blog/dysfunction-interrupted/202010/why-examining-your-past-is-the-best-way-better-future

Shoenthal, A. (2022, November 9). Why gen-X women will not be aging quietly. Forbes. https://www.forbes.com/sites/amyschoenberger/2021/10/07/why-gen-x-women-will-not-be-aging-quietly/?sh=6891e14c2b6b

Staff. (n.d.). Here’s how generation X are Transforming the workplace. World Economic Forum. https://www.weforum.org/agenda/2017/10/heres-how-generation-x-are-transforming-the-workplace/

MDM615 Week 3: Look & Feel

Thesis Application

Pole Banner

Swag

Retro Stripe

Swag Bag

Echo Show Echo Dot

Wake Up Mug

Stanley <3's Mandy

Retro Tank

Raspberry and Tiffany Mug

Vinyl

Unisex Shirt

Lunchbox

Earings

Pretty In Pink

Hoodie

Animated Logo

Design Rationale

Research

The designer considered the purchasing habits of Generation X for promotional items, along with the products that appeal to this demographic. Since Gen X enjoys online shopping, the website must include this e-commerce functionality (McGoldrick, 2024). When creating the purchasable assets, the developers prioritized nostalgia and usefulness (Using Nostalgia to Connect, 2023).

Solving Problems

Informed by the target market research, design decisions are based on Gen X consumers across the animated logo, website, and swag package. To evoke nostalgia, the designer reviewed commercials, products, and designs from the 1980s and 1990s. This research fueled the creation of a swag package featuring jean jackets, colorful apparel, and nostalgic accessories that complemented the brand identity. The brand’s color palette directly influenced the decision to use neon in the animated logo. However, to create a more modern aesthetic, the designer opted for a dynamic and engaging interpretation of neon lighting. The website prioritized simplicity and a clear brand voice, reflecting the research that Gen X females primarily use websites for shopping and basic information (McGoldrick, 2024). Recognizing social media as their preferred platform for engagement and interest, the team opted to forgo a blog on the website.

Collaboration

Modification of original designs are based on the review of peers and professor in the live session. For example, animated logo revisions correct the small pink triangle timing and the word portion of the logo received additional intensity on the final downbeat of the music selection. The handle of the canvas bag is now brand gradient to add contrast. Several more swag items added include a jean jacket and a unisex shirt. In critique sessions, peers offered suggestions and used the class Figma board to help each other refine their work for the week.

Acquiring Competencies

New competencies actively developed include Adobe After Effects and Audition. In the review of a variety of tutorials on using plug-ins, adjusting timings, and changing effects, skills improved in both Adobe programs. Further refinements and learning came in using templates in Adobe Photoshop and InDesign.

References

McGoldrick, S. (2024, February 4). Gen X, AKA the ‘me generation’ known for taking consumption to the next level. Vision Monday. https://www.visionmonday.com/business/article/gen-x-aka-the-me-generation/

Using nostalgia to connect with Generation X. (2023, November 9). Promobile.com. https://promobilemarketing.com/nostalgia-generation-x/

MDM 650 Week 4

Thesis Application

Looping Animation

Mobile Ticket

Uniforms

Additional Merch

Video Rationale

MDM640 Week 1: Brand Playbook Development

Brand Vision Board

Brand Playbook

Self Evaluation

Book Mapping

MDM640 Week 1: Research Component

The term ROI or “Return on Investment” is often used to deny funding or resources for a project. This can be detrimental to the designer who does not understand how to use qualitative and quantitative methods for determining ROI. Clients must understand how much they stand to lose if they do not harness the power of graphic design in conversion attempts (Wendt, 2017).

The importance of measuring the ROI in designing brand communications is critical in today’s marketplace. The key to determining our ROI is to first establish the method for quantifying design work. While this can be daunting, according to Alen Faljic (2020) it comes down to the three basic steps of defining a business lever, estimating the financial impact, and communicating using a hypothesis. When defining a business lever and estimating financial impact, it is important to recognize that these reports or presentations should focus on increasing revenue and decreasing costs for the client. Creating a hypothesis, with vetted research and sound logic serves the designer’s defense of the project and the client’s confidence.

Once the project is in motion, the designer must test the hypothesis. A/B testing allows a user to view two options of a marketing asset and to determine which design is more pleasing, engaging, and so forth. For example, a consumer may be presented with a new logo design in two differing colors. The customer will decide which of the two logos is preferred. Using quantitative A/B testing further proves the designer’s theory and allows for refinement (Importance of a/B Testing, n.d.). This process can help increase the ROI by utilizing existing traffic to determine what will appeal to new customers.

Another method of testing is UX or User Experience. In this qualitative method, users will determine if the product is easy to use, navigate, intuit and more (Nodder, 2013). In UX testing, the designer may sit down with the consumer as they experience the product and ask questions or make observations about the consumer’s interaction with the asset. Like A/B testing, UX testing increases ROI by sharpening the understanding of user behavior, needs and motivations. This understanding leads directly to lower development cost and increase consumer satisfaction and loyalty (UX Research Can Boost ROI, n.d.).

References

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

How UX Research Can Boost Your ROI: A Deep Dive. (n.d.). Veracity. https://meetveracity.com/how-ux-research-can-boost-roi/#:~:text=UX%20research%20is%20a%20valuable,increase%20customer%20satisfaction%20and%20loyalty.

Importance Of A/B Testing In Graphic Design. (n.d.). GraphicsZoo. https://www.graphicszoo.com/article/importance-of-a-b-testing-in-graphic-design

Nodder, C. (2013, September 18). UX Foundations: Making the Case for Usability Testing [Video]. LinkedIn Learning. https://www.linkedin.com/learning/ux-foundations-making-the-case-for-usability-testing/benefits-of-usability-testing?u=50813145

Wendt, E. (2017, May 3). Looking for ROI? Get your graphics game on point. Brafton.com. https://www.brafton.com/blog/creation/looking-for-roi-get-your-graphics-game-on-point/

MDM640 WEEK 2: BRAND PLAYBOOK DEVELOPMENT

MDM 640 Week 2: Research Component

Avoiding assumptions and cognitive biases is essential to design to ensure rationale based in objective insights rather than the subjective perceptions of the designer or other stakeholders. Assumptions and biases can lead to designs that cannot meet user needs or exclude certain user groups, resulting in poor user experience and engagement (Full Sail University, n.d.). Cognitive biases, such as confirmation bias, where designers favor information that supports preconceptions, can further skew design decisions. Milly Schmidt (2021) categories this in three areas: Mere Exposure, wherein familiarity develops preference; IKEA Effect, or developing an affinity for one’s own creation; and Escalation of Commitment, refusal to alter course despite failings of the design.

Testing first impressions and evaluating fast and slow thinking through in-person visual design evaluations are effective ways to mitigate these biases. For instance, by showing users a design for a few seconds, and gathering their initial reactions. This helps understand users’ immediate emotional responses and whether the design communicates the intended message quickly.

Effective testing involves both the exposure to the visual and the assessment of the user reaction (Whitenton, 2018). Evaluating fast and slow thinking involves observing how users interact with the design. Fast thinking refers to intuitive, immediate responses, while slow thinking involves more deliberate, analytical processing.

During in-person evaluations, users perform tasks that require both quick interactions and more thoughtful navigation. Designers collect qualitative data through interviews and quantitative data through usability metrics to understand how the design performs under both conditions (Budiu, 2017). This comprehensive approach ensures that the design is both immediately engaging and functionally effective, addressing potential biases and assumptions by grounding decisions in real user behavior and feedback.

References

Budiu, R. (2017). Quantitative vs. qualitative usability testing. Nielsen Norman Group. https://www.nngroup.com/articles/quant-vs-qual/

Full Sail University. (n.d.). Week 2 Caset Study. Full Sail University Online. https://online.fullsail.edu/class_sections/186432/modules/726115/activities/4188920

Schmidt, M. (2021). 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

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

MDM640 WEEK 3: BRAND PLAYBOOK DEVELOPMENT

MDM 640 WEEK 3: RESEARCH COMPONENT

Importance and Performance of A/B Testing for Design

A/B testing, also known as split testing, is a fundamental method in UX design for determining which version of an asset performs better. By comparing two versions (A and B) of a single variable, A/B testing allows designers to make data-driven decisions and optimize their design for the best user experience and conversion rates. The importance of A/B testing lies in its empirical approach to decision-making, reducing the reliance on guesswork and intuition. It helps identify the most effective elements of a design or strategy, such as headlines, images, call-to-action buttons, and overall layout, ensuring that changes lead to measurable improvements in performance. Performing A/B testing involves several key steps. First, a hypothesis is formulated based on assumptions about what changes might improve the desired outcome, such as increased click-through rates or higher user engagement. Next, the audience is randomly divided into two groups, with one group seeing the original version (A) and the other group seeing the modified version (B). This random assignment helps ensure that differences in performance can be attributed to the variable being tested, rather than other external factors (Stockwell, 2016). Data points are collected and analyzed to determine which version performs better according to predefined metrics. Statistical significance ensures that the results are not because of chance, guiding decisions on whether to implement the changes more broadly.

Differences Between Qualitative and Quantitative Data in A/B Testing

A/B testing generates both qualitative and quantitative data, each providing different insights into user behavior and preferences. Quantitative datum comprises numerical information that is measured and analyzed statistically. This includes metrics such as conversion rates, click-through rates, bounce rates, and time spent on a page. Quantitative data helps identify clear, objective differences in performance between the two versions and allows for rigorous analysis of the results’ statistical significance (Budiu, 2017). It provides a high-level overview of which version performs better in terms of measurable outcomes, making it crucial for making data-driven decisions. In contrast, qualitative data is descriptive and provides insights into the reasons behind users’ behaviors and preferences. This data can be collected through user feedback, surveys, interviews, and usability testing. Qualitative data helps understand the user experience more deeply, revealing issues such as confusion with navigation, emotional responses to design elements, or specific preferences for certain features. While qualitative data may not provide the same level of statistical certainty as quantitative data, it is invaluable for interpreting the underlying reasons behind the quantitative results and for generating new hypotheses for further testing.

Improving Design Effectiveness Through A/B Testing

The combination of qualitative and quantitative data derived from A/B testing helps to improve the effectiveness of a design. Quantitative data identifies what changes lead to better performance, while qualitative data explains why those changes work. For example, if an A/B test shows that a new call-to-action button increases conversions, qualitative feedback might reveal that users find the button’s color more visually appealing or its placement more intuitive. By understanding both the what and the why, designers can make informed decisions that enhance the user experience holistically. A/B testing fosters a culture of continuous improvement, where design decisions are validated and refined based on real user data. This iterative approach ensures that changes are effective, leading to a more user-centric design process. Over time, the insights gained from A/B testing can build a robust knowledge base about user preferences and behaviors, guiding long-term strategies and helping create products and experiences that truly resonate with users. Ultimately, this leads to higher user satisfaction, increased engagement, and better business outcomes.

References

Budiu, R. (2017). Quantitative vs. qualitative usability testing. Nielsen Norman Group. https://www.nngroup.com/articles/quant-vs-qual/

Stockwell, A. (Director). (2016). UX Foundations: Research [Film]. Linkedin Learning. https://www.linkedin.com/learning/ux-foundations-research/why-is-user-experience-research-important?autoSkip=true&resume=false&u=50813145

MDM 640 WEEK 4: RESEARCH COMPONENT

Research Component: Frameworks

The framework that would be most appropriate to measure the effectiveness of the Mandy Madison ECHO Tour would be focused on Customer Experience (CX) as this addresses all touch points of the brand both physical and digital (Huang, 2021). In measuring customer loyalty and examining how this impacts the tour’s revenue, the six aspects of CX benchmarks would be key indicators of customer satisfaction. The data gathered that follows the more immediate impact are effectiveness of the experience, the ease of use, and the emotion associated with the experience (Adam, 2024). These three metrics would be used to determine what aspects of the UX would need modification to improve the CX. The data for retention, enrichment and advocacy would also be measured to determine the lasting impact of the CX.

By comparison, the case study for Cafédirect, the metrics measured were based on the touch points of sales, market impact and other quantitative metrics. 12 months after the redesign, Cafédirect could definitively show marked growth in all metrics under consideration. These metrics not only proved that the redesign was necessary, but further demonstrated the powerful reaction to the redesign. Additionally, the ROI was more than substantiated using these touch points.

Thesis Application: Reflection

Conducting weekly self-evaluations and meeting twice a week proved to be incredibly advantageous. These activities not only enhanced our ability to critique effectively but also played a crucial role in refining our design decisions and improving our final outputs significantly. As we developed the Brand Playbooks, these sessions provided opportunities to identify each designer’s strengths and weaknesses, fostering a collaborative environment where the class collectively addressed challenges, proposed solutions, and celebrated achievements. Through consistent evaluation and frequent meetings, we were able to fine-tune our approaches, ensuring that our designs were not only innovative but also aligned with our objectives. This process not only strengthened our individual skills but also contributed to the cohesive development of our overall design strategies, ultimately leading to more robust and impactful outcomes for each project.

References:

Adam, B. (2024, February 29). Customer experience metrics – how to measure CX. Qualtrics. https://www.qualtrics.com/experience-management/customer/customer-experience-measurement-metrics/

Full Sail University. (n.d.). Week 4 case study. Full Sail University Online. https://online.fullsail.edu/class_sections/186432/modules/726117/activities/4188928

Huang, K. (2021, April 28). 10 frameworks to help you measure success in design. Medium. https://uxdesign.cc/how-to-measure-success-in-design-f63f96a0c541

Reflect on the development of your Brand Playbook and the Self- and Peer Evaluations in 150 to 200 words. Describe your experience in conducting the weekly self-evaluations based on the established criteria. In what ways did they help guide the development of your Brand Playbook? In what ways did using a form help in completing the the peer evaluations?

MDM 690 Week 1

Thinking

When working through this stage of the thesis development process, I was struck by the sheer volume of work created in this program. This review of the research that informed design decisions gave me a tremendous amount of confidence in the work and designs presented. Assembling this information, allowed me to add to the research that may originally not have been as strong.

Feeling

The emotions are pride and a little bitter-sweet. I have pride in the work that has been done and am proud to be part of the Full Sail MDMFA program that has added so much to my skill set. This emotion made me work a little harder to make sure the work is being displayed in the best possible way. It is a little bitter-sweet that we are nearing the end of the program.

Doing

To ensure that this stage of the thesis development process was completed to a high degree of professionalism, I carefully reviewed all the research and added sources in sections that were not as strong. I watched several tutorials and read the class resources to make sure I had the tools to succeed. This week took over 28 hours of solid work to complete the assignment, but I am very pleased with the results.

MDM 690 Week 2

Thinking

Completing the PLO for the thesis's problem and solutions revealed the immense scope of the work produced. As I reviewed each design decision made for this brand, I felt encouraged by the solid design research and rationale. The thorough analysis confirmed that the design approach would achieve success.

Feeling

Initially, I felt very uncertain about how to approach the enormity of the work. The vast amount of material seemed daunting, and I wasn’t sure where to begin. To tackle this, I methodically reviewed each week of every previous class, gradually uncovering the numerous design decisions that had been made. This process revealed the depth and complexity of the project, as each decision carried its own significance and rationale.

Working to clearly define these decisions and effectively communicate the rationale behind each one often felt overwhelming. The intricate details and the need for precision required intense focus and a great deal of time. Despite the challenges, I persevered, dedicating countless hours to ensure that every aspect of the design was thoroughly documented and well-presented.

The hard work and dedication paid off. The comprehensive writing and meticulous layout reflect the significant effort invested in this project. I take great pride in the final product, which showcases not only the design decisions but also the thoughtful reasoning behind them. This experience has not only enhanced my understanding of the design process but also strengthened my ability to communicate complex ideas clearly and effectively.

Doing

I meticulously broke down each class into the weekly decisions made, reviewing all created content to ensure thoroughness. Following this, I verified sources and refined the work where necessary, collaborating with classmates to critique one another's contributions. This collaborative effort not only enhanced the quality of the work but also provided diverse perspectives and insights. Despite the challenges, this week stood out as one of the most demanding due to the sheer volume of work required. The process was intense and time-consuming, but it ultimately strengthened the overall project, ensuring every aspect was well-considered and accurately represented.

MDM 690 WEEK 3

Thinking

Reviewing the feedback from peers and the instructor prompted a new path of self-evaluation. This process highlighted the invaluable role of collaboration in refining existing designs and inspiring the creation of new ones. The insights gained from these interactions provided a fresh perspective, allowing me to approach the project with renewed creativity and precision.

Feeling

This week was particularly challenging. Navigating through past feedback and determining the best way to incorporate aspects of collaboration into the project required careful consideration and thoughtful decision-making. The pressure to effectively represent the collective input was intense, making it a demanding yet rewarding experience.

Doing

Methodically reviewing the feedback from each week's live lecture was instrumental in clarifying and reviewing the suggestions and discussions surrounding design decisions and revisions. By systematically addressing each piece of feedback, I could distill valuable insights and apply them to enhance the project's overall quality. This process ensured that every design aspect was carefully considered, leading to more cohesive and impactful outcomes.

MDM 690 WEEK 4

Thinking

The breadth of skills I developed was truly impressive, encompassing everything from foundational design principles to advanced technical proficiency with various software tools. I gained a deep understanding of color theory, typography, and layout design, which are essential for creating visually appealing and effective designs. My proficiency with industry-standard software such as Adobe Illustrator, Photoshop, and InDesign grew significantly, enabling me to execute complex design projects with precision and creativity. Additionally, I learned how to create responsive web designs using platforms like Wix and WordPress, which allowed me to build functional and aesthetically pleasing websites. These competencies were further complemented by my ability to conduct user research, perform usability testing, and apply feedback to iteratively improve my designs. Overall, the comprehensive skill set I acquired through the program has equipped me with the tools and knowledge necessary to tackle a wide range of design challenges in my freelance work.

Feeling

This realization was both gratifying and exciting, as it assured me that I have the capabilities to apply these skills to future projects and opportunities in my freelance work. The sense of accomplishment was profound, knowing that I had not only gained theoretical knowledge but also practical expertise that could directly impact my professional growth. It was thrilling to envision the diverse range of projects I could now confidently undertake, from creating compelling brand identities to designing user-friendly websites and engaging marketing materials. This newfound confidence opened up a world of possibilities, allowing me to attract and collaborate with clients from various industries. Moreover, the skills I acquired provided a solid foundation for continuous learning and adaptation, ensuring that I remain competitive in the ever-evolving design landscape. The excitement stemmed from the knowledge that I am well-prepared to navigate future challenges and seize opportunities, ultimately enhancing my freelance career and achieving my professional goals.

Doing

To ensure that this stage of the thesis development process was completed to a high degree of professionalism, I took several deliberate actions. Firstly, I meticulously planned each phase of the project, setting clear milestones and deadlines to maintain a structured workflow. I also dedicated time to extensive research and experimentation, continuously refining my techniques to achieve the desired outcomes. Additionally, I sought feedback from peers and mentors, incorporating their insights to enhance the quality of my work. This iterative process of review and improvement was crucial in elevating the final product. It required diligence, discipline, and a commitment to excellence, but the end result was a comprehensive and polished thesis that showcased my abilities and dedication.

MDM691 Week 1

Step 1: Research a Dream Job

SeaWorld Parks & Entertainment

Entertainment Graphic Designer

Job description

At SeaWorld, we're passionate about caring for animals. In fact, we've already rescued over 40,000 animals (and counting!). And we can save you from being stuck in just another job. Join us and help bring joy, excitement, and lasting memories to people from around the world. We're seeking enthusiastic, dedicated, and hard-working individuals to become our Ambassadors. Join us and play an important part on our incredible team!

• Support park-wide and event Theming needs with the fabrication, installation/strike and maintenance/repair of signage and graphics

• Complete requests for signage, scenic, and other graphic design elements from all areas of the parks, including Culinary, Merchandise, Operations, Zoo/Education, Entertainment, etc.

• Develop and follow style guides, color elevations, and DNA sheets as a brand steward

• Render drawings, sketches, illustrations or models of design concepts and present for approval

• Translate creative concepts into renderings and designs and provide instruction for fabrication

• Assist with material inventory process

What It Takes To Succeed

• Must be proficient in Adobe Creative Suite with an emphasis on vector-based designs (Illustrator, Photoshop, InDesign, etc)

• Associate's degree with a focus in Graphic Design or related field or equivalent combination of education and experience

• Excellent written and verbal communication skills

• Ability to climb a ladder and work at heights between 6 and 65 feet

• Ability to stand, bend or kneel for long periods of time

• Ability to bend, reach, twist and turn with complete flexibility

• Ability to lift, push and pull 50 pounds

• Comfortability working in theater and outdoor environments (dark/nighttime conditions, in/around water, in varying weather conditions)

• Comfortability working around animals

• Comfortability with exposure to noise and vibrations

• Comfortable working under deadline situations with changing priorities

Step 2: Write a Cover Letter and Resume

Step 3: Write Your Personal Brand Statement

I kept this very simple and direct: "Designer + Strategist + Educator".

MDM691 Week 2

Ethics and Moral Reasoning in Media Design

In media design, making ethical choices and using sound moral judgment is crucial. The decisions designers and advertisers make have an impact on how people see things, how much they trust brands, and even on society as a whole. When designers and advertisers do not act ethically, it can lead to serious problems like legal trouble, a damaged reputation, lost consumer trust, and even broader harm to society.

When companies engage in poor ethical practices like misleading ads or targeting vulnerable groups, they set themselves up for legal issues. Ignoring ethics can lead to costly legal problems and threaten a brand’s survival.

Unethical actions can wreck a brand’s reputation, sparking public backlash and losing consumer trust. demonstrates a clear example of this. Rebuilding a tarnished reputation can take years and requires resources and effort in public relations and marketing.

Wally Snyder’s article on ethics in advertising (2011) points out that while ads are essential for consumer choice and the economy, they often rank low in honesty and ethics. Brands that display poor ethics risk losing consumer loyalty. Once trust is gone, regaining consumer confidence is a difficult task. Snyder specifically highlights ethics surrounding advertising focused on minors, dishonesty and manipulation of information.

The Joe Camel campaign (2013) highlights the dangers of unethical advertising focused on minors. By creating ads that specifically targeted kids and teens, R.J. Reynolds not only acted unethically but also faced legal consequences that eventually killed the campaign. This case highlights why it is important for media design professionals to consider ethics, especially when dealing with vulnerable audiences like minors. Profiting by manipulating young, impressionable minds is a clear example of how unethical practices can lead to serious negative outcomes, both legally and reputationally.

The North Face case study offered by Christians et al. (2020, pp. 180–181) describes the company's dishonesty in manipulating Wikipedia. This is an example of how deceptive advertising can backfire. By changing Wikipedia images without permission, The North Face broke the rules of transparency and honesty. This led to widespread criticism, not just from the public but also from the Wikipedia community, who saw it as a betrayal of trust. Even respected brands can face major backlash when they engage in unethical practices, underscoring the need for ethical decision-making in media design.

Social media must also be approached ethically. The United Airlines case (Edwards, 2021) shows what can go wrong when ethical judgment is missing during a crisis. The initial response from United Airlines' CEO, Oscar Munoz, was a disaster. Instead of showing empathy and taking responsibility, Munoz’s statement seemed to defend the airline’s actions, which made the situation even worse. This lack of sincerity and failure to acknowledge the seriousness of forcibly removing a paying passenger made the crisis escalate. As a result, the brand faced intense negative publicity and a sharp drop in its stock value.

Another big mistake in the United Airlines case was sending mixed messages. Munoz sent an internal email to staff that described the passenger as "disruptive and belligerent" and claimed that employees "followed established procedures." This was completely different from the public statement and only made things worse. Inconsistent messaging like this erodes trust and gives the impression that the company is not being transparent, which further damages United Airlines' reputation.

The actions taken by United Airlines in this situation raise serious ethical questions. Forcibly removing a passenger who had a legitimate reason for needing to fly, and who had paid for his seat, reflects poorly on the company’s commitment to customer care. Prioritizing the airline’s logistical needs over the rights and safety of the passenger is a clear ethical lapse. This case shows why ethical considerations are so important in crisis management. Ignoring them can lead to severe consequences, including long-term damage to a brand’s reputation.

The public’s reaction, fueled by viral videos of the incident, was overwhelmingly negative. This led to a massive loss of goodwill and a sharp decline in United Airlines' stock value. The mishandling of the situation shows how poor crisis management and unethical actions can have long-lasting negative effects on a brand’s reputation. In today’s world, where information spreads quickly, brands need to be extra careful with their ethical practices to avoid such damaging outcomes.

Moral reasoning and ethics in media design are critical to a brand’s growth and sustainability. By focusing on ethical practices, brands can build trust, maintain credibility, and stand out in the market. Ethics are key to long-term success by fostering consumer loyalty, attracting top talent, staying compliant with legal standards, and driving positive social change. In today’s world, where consumers are more conscious of the ethics behind the brands they support, integrating ethics into media design is not just the right thing to do—it is essential for a brand’s success and resilience. The consequences of ignoring ethics, as shown in the article and case studies, highlight the significant risks involved. By prioritizing ethical decision-making, media design professionals can create work that is not only effective but also responsible and aligned with societal values.

References:

Christians, C. G., Fackler, M., McKee, K. B., & Kreshel, P. (2020). Media Ethics: Cases and Moral Reasoning (Eleventh) [Ebook]

Edwards, K. (2021, June 24). 4 examples of social media crises that could have been prevented - determ. Determ. https://www.determ.com/blog/social-media-crisis-examples/

Joe Camel. (2013, April 18). Ethics of Design. https://ethicsofdesign.wordpress.com/case-studies/bad-ethics/joe-camel/

Snyder, W. (2011). Making the case for enhanced advertising ethics. Journal of Advertising Research, 51(3), 477–483. https://doi.org/10.2501/jar-51-3-477-483

MDM691 Week 3

Copyright and Media Design

When creating work that incorporates images, whether designed by the creator or acquired from others like photographers or illustrators, several legal issues can emerge. Copyright infringement is a common concern, arising when images are used without proper authorization, leading to potential legal action and fines. To avoid this, designers must understand and anticipate the many ways the images could be used by the client. As stated by the AIGA, “A professional photographer sells a license to use a photograph in particular circumstances; he or she does not sell the photograph itself or the copyright to it.” (Design business and ethics, n.d., 91). The designer must secure the necessary rights or licenses, either through explicit permission from the copyright holder or by using images with appropriate commercial licenses. Consulting a legal professional when in doubt is advisable.

Trademark infringement is another risk, particularly when using logos, brand names, or trademarked elements without permission. Designers should avoid using such material unless they have explicit permission or are certain it falls under fair use.

Designers must be cautious about altering images in ways that could be misleading as this could lead to ethical concerns and/or legal issues. In the same type of mishandling, misappropriation of images is a concern when an image implies endorsement or association without consent. Designers should ensure that image use aligns with the intended purpose and doesn’t falsely suggest endorsement.

Media designers can protect their work from unintended use by clients or others through several key strategies. “You have the right to control how, when, and where your work is reproduced. ” (para. 6) The designer automatically holds the copyright, giving exclusive control over how the designs are used. It is important to assert this copyright clearly in contracts, which should outline specific usage rights, including where, how, and for how long it can be used.

Licensing agreements are another effective way to maintain control, specifying the exact rights granted to the client and any limitations on usage. Providing watermarked or low-resolution drafts can also deter unauthorized use before a final agreement is reached.

When responding to a Request for Proposal (RFP) from a potential client, it is crucial to be mindful of copyright issues. Ensure that any materials, designs, or concepts submitted are either original work or that the necessary rights to use them are obtained. Once the RFP is submitted, the client might assume certain rights over the materials provided. To avoid this miscommunication, it is critical to clearly state the ownership and usage rights of the content. This may include specifying that any submitted concepts or designs remain intellectual property until a formal agreement is in place. Taking these precautions helps prevent unauthorized use of your work and ensures that your creative rights are protected. “Pricing expert Brennan Dunn advises that you shouldn’t leave the proposal to the client’s interpretation and imagination; you have to help them see the work being done.” (Weaver, 2015, para. 34) Specificity in all aspects of the RFP and eventual contract is vitally important.

References:

Design business and ethics (n.d.) AIGA, the professional association for design. https://www.aiga.org/sites/default/files/2021-03/Design-Business-and-Ethics.pdf

Greenberg, E. C., & Reznicki, J. (2015). The Copyright Zone, 2nd Edition. O’Reilly Online Learning. https://learning.oreilly.com/library/view/the-copyright-zone/9781138022577/xhtml/07_Chapter01.xhtml#ch1

Weaver, B. (2015). Creative truth. O’Reilly Online Learning. https://learning.oreilly.com/library/view/creative-truth/9781317541554/xhtml/Ch05.xhtml

MDM691 Week 4

Sticky Note Map

By reflecting on the courses completed during each semester, I created a draft version of my experience map by writing short descriptions on sticky notes of what I did, how I felt, and what I thought.

Sketched Map

By visualizing my experiences in sketch form as peaks and valleys a diagram emerged. There were not huge swings, but there were high points and lower points.

Experience Map