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Arts345 Blog Post 11 (Week of 11/10-11/12)

I. Watch/Read: 5 color theory tips every designer should know (YouTube) + Prof. Hunter's lecture on color harmonies

As I start revising my text spread to prepare for the critique on Monday, I turn to color as the next step in taking it to the next level. I've been more and more interested in color theory recently, and as a designer, I thought I should be. Professor Hunter's lecture on color harmonies this week was very interesting, in particular the way colors turn artists, animators, even singers into visual designers.

With each new lecture comes thousands of questions about how I would actually put these color shenanigans into practice. Prior to working on the spreads, I spent quite some time researching and learning about Mina Rezghian. I had a few ideas about the colors I wanted to use to present her, but where did I even start in picking the right color? The video I watched this week gave me five pieces of advice:

Contrast matters - Work first in gray scale to ensure there is enough contrast. If things in shades of gray don't work, then they won't work in color either.

When in cluelessness, turn to color harmonies - complementary, analogous, triadic, etc. These are historically proven, scientifically backed techniques to pair the colors in a visually pleasing way. I am using this trick for my spreads.

Use neutrals - They offer visual relief and accentuate the primary colors by lending them room to stand out

Less is more - Every color has a chance to shine, but not in the same project. A palette full of bold and bright colors is a big mess. Start small.

Strive for a balance

II. What I did this week

I took the feedback I received in class and did a few more experiments with my text spread. My goal is to get more feedback and revise as needed over the weekend, before printing my spread out for the critique on Monday.

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Arts345 Blog Post 10 (Week of 11/3-11/5)

I. Watch: James Gurney’s Self-Education Journey - Draftsmen S3E04 (YouTube)

James Gurney began the podcast by defining the audience who is about to listen to his story: the artists and would-be artists, young and old, who don't have the option to go to an art school and are looking for other options. Making art, just like most of everything else in life, is a journey of the self, but how can one teach themselves to do art?

The podcast talked a bit about making art back in the day, in particular, figure drawings and animation. People used to not know how to make good figure animations because barely anyone knew about them or how to teach them. I found the way Disney solved the problem interesting: they hired models (even people in n*des, allegedly) to help study the human figures better. They even hired action experts to help understand how humans move in certain ways. The point is that you cannot learning everything on your own; most of it you can't, especially in the context of art. You need someone by your side to guide you and potentially save you from the problem that could probably take you years to solve yourself.

II. What I Did

This week, I did a few experiments with how I wanted to present Mina Rezghian, my client for the final project. I worked with Illustrator and Photoshop to bring my ideas to the surface, got feedback, explored, and gained inspiration. The cycle is about to repeat again as I am going to refine my ideas over the weekend.

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Arts 345 Blog Post 9 (Week of 10/27 - 10/29)

I. Watch: pikat, The SECRET to finding your art style (YouTube)

Note:

- One's art style is defined as their way of interpreting reality. - Understand first the fundamentals before you break them and branch off to your own style. - Even when it seems like the journey has dragged on forever, meeting your own style somewhere along the way is inevitable. As you expose yourself to things more, ideate, and create more, you will eventually have a preferred way of doing things. - Don't let your style hold you back. Go to new places, try doing new things, try going in different ways of doing the same thing.

II. Watch: How to Survive as a Freelance Illustrator (YouTube)

I decided to revisit my all-time favorite video about design, illustration, and career-related shenanigans. Marshall Vandruff is an illustrator I admired. He trained himself to work with airbrushes - because back then, demands for related skills were high, and there were not many people who were into that kind of thing. When digital tools came about, he did not hesitate to switch to digital designs and invest big in a pc. His journey shows me that passion guides you; he did everything he could to save up and sustain his passion for making art by doing the things he at best did not like immediately. Now, in search of an internship, I figure I'd better embrace a similar mindset.

III. What I did this week

There's not much going on this week for me in this class. I gathered with my classmates and figured out questions to ask MFA students as well as styles for our publication.

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Arts 345 Blog Post 8 (Week of 10/20 - 10/22)

I. Watch: What is Illustration + How To Get Into Illustration: Beginners Guide

I want to put the branding and logo design stuff aside to talk a little bit about illustration, my main objective and inspiration coming into this program. I love illustrating because it lets me retell the stories of others in a way that still leaves room for creative freedom. For one thing, it is different from art, but by no means are artistic elements lost in an illustrated piece, but rather universalized and transformed through the lens of different perspectives. And my goal as an illustrator is to come up with a visual solution that bridges whatever the problem concerns.

The second video I watched this week deals with illustration as a business, and as a student looking for an internship in illustration-based fields, I thought it'd be a good idea to start gearing myself up with plans, bits, and tips about this field. First bad news: most illustrators are freelancers, and that means they can suffer great instability. First good news: you can become an illustrator without a degree because, unsurprisingly, it's the works that matter, which often tell the clients a lot about me. A good online course can do as much as a university one for a fraction of the cost, which leads to my second bit of bad news: self-motivation and discipline are the key. I am not good with that; I could barely push myself to practice drawing 20 minutes a day. But this post isn't about complaining about my own shortcomings, so onto the next part.

Portfolio, the curated collection of my best works, needs to be diverse to minimize alienating a potential client. As the video host suggests, try a little bit of everything and see your style transform. I always thought each illustrator had to specialize in something, but that's not the case. You can do a little bit of everything; that can be fun and help you stand out a bit more, since your unique style can clash with a conventional style found in a certain area, making your work more interesting.

II. What I did this week

Work-wise, there was not much happening this week, but our class had some quite unique experiences. On Monday, we got two very special guests who talked about publication and type design, and the MFA program. On Wednesday, we went to an MFA studio where we met MFA students who showed us around the place, packed with some really interesting stuff. At this point, I am expected to condense those experiences down to themes and questions that will be used towards developing our magazine. So excited for this project.

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Arts 345 Blog Post 7

I. Watch: 6 Ways to Add Gesture to Perspective (YouTube)

This video leans slightly more towards drawing than design, but its applications, I believe, can't be more relevant. I also believe this is what my previous two illustration classes missed.

The topic of this video is shape language, specifically how different shapes can express personalities and feelings through gestures. This video taught me to change a boring box into an interesting one through rotating, bending, bloating, imploding, twisting, etc. By adding deformations to usual objects, we add personalities and styles to them, making them more interesting. And "interesting" is important because things like posters can't afford blandness. They can be about ordinary objects - e.g., a glass of water, a shipping box, a chicken egg - but they must be interesting somehow. Understanding the foundation, or the basic shapes, of these objects is the first step towards blowing the viewers' minds away.

II. What I Did This Week

This week, I finalized my web and social media ads and worked on my merch items. The ads took a while, much to my surprise, but since I did the hard part last week and my professor happened to like most of the versions I sent, I ended up combining different styles and making small tweaks to my ads. For the rest of the week, I worked on my merch items, easily the hardest technical task since I needed to refresh myself on using Photoshop. I discovered a few interesting techniques to make my mockups look realistic, and I was extremely happy with how my items ended up looking. With everything in place, I organized all the fest items into two presentation boards and mounted them up early this week. This project has been a blast.

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Arts 345 Blog Post 7

I. Reading: Editorial Design - Chapter 6

This chapter is such a throwback to that time I designed my process book in preparation for my GD+I application. In a perfect world, I'd have read this chapter way sooner, because the anatomy of a publication is literally just my process book minus the brand and other irrelevant stuff. This chapter briefly discussed everything, from the book cover to the headlines, from the content page to the tiny page numbers, every one of which contributes to an appealing, unique, and memorable reading experience. The topics of photography and illustration interest me in particular because I am all about dynamic visuals and storytelling. I am happy these elements are reminded of and reinforced in this chapter, even happier that the author mentioned the "cropping/zooming in method". It's best to show what I mean in this one excerpt:

"....by blowing up a product to massive proportions on a page, an everyday item such as a toothbrush becomes a surreal object of beauty whose sculptural qualities are revealed, making for a visually arresting page."

I realize this is what my classmates and I have been doing in our F4 project. The comics, the illustrations, themselves are already powerful, but coupling them with said method? That's one way, I have learned from this project, to sell people stuff.

II. What I Did This Week

For this week, my main objective was to do several versions of my web and social media ads. I locked myself into the same mindset I had when the professor asked for 9 poster experiments a week or two ago; tried to have fun with the process, and I did have fun. I explored and discovered quite a few tricks to make my imagery cooler. I've been doing other, more polished versions at the time of writing this, and hopefully will get them done by Friday for feedback.

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Arts 345 Blog Post 6

I. Reading: Goldenstein, How To Be a Design Student

It's baffling to think that I am getting myself into a field where I should not like to memorize facts, have defined goals, and be told what to do. The field is a "confusing, energizing, creative, intellectual, and frustrating" blob that every one of us as designers would take our entire journey to make sense of (page 12).

I guess I am among the ones tangled in this mess, with every direction to go and no destination in sight, and that sounds scary. It's like driving back home after a long trip without step-by-step instructions from Google Maps. I don't know what to expect from reading this book, but my first impression, a few pages in, is reassuring. The book isn't meant to teach people how to design a badass logo or poster; rather, it helps me get there through different strategies that embrace the chaos caused by the unknown.

II. Editorial Design: Chapter 5

I found the history of the puzzle and the process of adapting a page design to different media and, later, screen sizes to be quite interesting, as I am going through a similar problem right now, designing a Fantastic Four promotion across different media (e.g., posters, print ads, and billboards). Each medium requires a unique solution that works in harmony with the rest - because when things look off, they don't carry as much power to influence, and when they get too similar, fewer people will bother looking into it to find out what is up.

III. Watch: Why Your Designs Still Look Amateur (YouTube)

Three tips:

Switch between micro and macro thinking. Think not just about how big the title should be right now, but also how that title would look across different media, countries, and time.

Organizing layers and files like designing an app, with clear labels and structures.

When designing a logo, ask: (1) can it survive animation? (2) Can it be embroidered? (3) Does it still communicate at the size of a favicon?

IV. What I Did This Week

I spent this week designing my F4 Fest book cover. It's been quite a roller coaster of emotions with the front cover; it took me more time to design than the billboard and print ad did, and I learned quite a few cool text editing tricks in Illustrator as a result. I am looking to refine what I have so far in preparation for what comes next week.

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Arts 345 Blog Post 5

I. Watching: Aaron Draplin Takes On a Logo Design Challenge (YouTube)

Your hands are going to be freer on a sketchbook than on Illustrator. Such a great reminder that I have to sketch first and continue to do so as my ideas evolve throughout the process. It's weird to think that sketching wasn't the first step I took when designing my F4 logo, but it surely will be in my next project (thanks, Aaron). Besides sketching and jotting down thoughts and ideas that come to mind, it's also important to think about what the client wants, where a design is supposed to be seen, etc. Stuff like this forms the context that is crucial to my design development.

In what felt like 30 minutes, Aaron already came up with different ideas, designs, and versions of his logo. The thing that made it so satisfying to watch him design was the different ideas all laid out on the screen and the recurring process of switching back from paper to screen, from white background to black and textured background, from the canvas to a T-shirt. I've heard this many times, but design is a process. Neither staring at a blank page nor becoming too attached to an idea that could work will bring a result. Get to the play, trying things out; that's what we do.

II. What I did this week

This week was quite a leap from what I achieved last week. I took my professor's advice, cleared my head, kept in mind what works, and re-designed my poster. My style, minimalism aside, is cool calligraphy and dynamic poses, which happened to work to my advantage in this project. With the poster in good shape, I came back to other scans I had, chose the ones faithful to the poster's style, and went from there. I solved most of the problems in my poster, so the billboard and print ad did not take as much time to design.

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Arts 345 Blog: Week 5

II. Watching: How Posters Work With Ellen Lupton (cont.) (YouTube)

Ellen Lupton mentioned a psychological study in which people were asked to draw coffee cups. The interesting thing was that all drawings created of said subject were more or less a three-quarter view of the coffee cups instead of, say, a top-down view. The point is like the coffee cup; certain things appear certain ways in people's brains, and one of the tasks a graphic designer needs to do is to figure out those "certain ways" and do something cool about it.

And I really appreciate some of the great examples Lupton showed, such as Jan Lenica's A Bloody, Primal Scream, dominantly featuring a human face with a "gut-wrenching" design. One of the terms I learned from my Arth105 class is "Expressive", defined as the alteration of formal elements to convey something about the subject, and I realized many of the interesting posters showed in the video used this technique. I am curious to see how I would carry this into my poster design.

III. What I did this week

This week, I upped the ante with my poster shenanigans. I thank you, prof. Valdes for the feedback and am reassured that my effort has paid off. The poster isn't even close to perfect, but after class on Monday and Wednesday, I gained much wisdom and a bunch of tricks and cool ideas to experiment my poster with.

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Arts 345 Blog: Week 4

I. Reading: Editorial Design Chapter 4 (Cont.)

If there's one thing well done about our class's poster drafts this week, it's the image selection, and that's probably because figurative posters, which most of these posters are, are my favorite out of the three types of posters discussed in this week's reading. Whether the subject is assuming a certain pose, looking at the viewers, turning away from them, or doing something else, there are always opportunities to grab viewers' attention with this kind of poster. I have learned to appreciate the adaptability and expressive capabilities this kind of poster possesses, even more so now that I've gotten this far into our first big project.

II. Watching: How Posters Work With Ellen Lupton (YouTube)

I love these posters. They are clear and direct. They are dynamic and visually strong with awesome use of color contrast. I love Lupton's lecture on posters, so thanks to her now I come to the great realization that (1) Human beings want to organize things in a more narrative manner and (2) Every poster takes us somewhere. Understanding that is, Lupton said, part of a designer's secret sauce. After watching the lecture, I am excited to see how I would carry this into improving my poster further. III. What I did this week

A lot has gone on this week, but I am not very proud of what I have achieved so far. With tight deadlines, I kind of had to rush my three poster drafts and leave my plan experiments with type behind. I look forward to improving my poster ideas and executions further in the coming week.

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Arts 345 Blog: Week 3

- Reading: Editorial Design Chapter 4

If covers aren't the most valuable assets in the world, I don't know what is. This week's readings did a good job of throwing me into a state of crisis over my own upcoming cover, but more than that, it made me appreciate cover designs a lot more. A cover must be striking, attention-grabbing, identity-centering, familiar yet sufficiently different looking, and appealing yet inclusive. To repeat what I read, no wonder "many publishers and designers spend almost as much time. money, and energy on this one page as on the rest of the publication." I did enjoy reading about the evolution of covers through different periods of wars, social movements, and technological advancements. (1) Covid sucks, but if there's one thing I could thank it for, it's the fire designs that emerged in early 2020s. (2) The designs that Wallpaper invited readers to create using an app that contained limited elements looked awesome. Really love these designs. If there's one thing I am reminded of looking at these designs, it's that the primary visual element must be extremely dominant. The effectiveness of this strategy is proven, as I could see the covers work in various screen sizes. These designs are also interesting because they were some of the early examples of publishers adapting to the digital age -- when an average person would be likely to see, say, a movie poster on their phone or iPad way before they would in real life. There's a lesson here for me, and I guess many artists and designers, who are fighting against AI: we must adapt, just like those who did facing the age of digitalization.

- What I did this week

The past weekend was one of my most turbulent ones yet. I learned so much from studying and brainstorming 40 logos for Tuesday's class: tips and tricks from Photoshop and Illustrator; time-management shenanigans; 8 hours of sleep being important. I also learned to let loose and refrain from being attached to a certain design and to let the "Try and see how it turns out" mindset take over. I will be hunting Fantastic Four comics over the weekend in preparation for my first poster sketch.

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Arts345 Blog: Week 2

Reading: A Comic Book's Calling Card

I grew up not knowing much about Marvel. I didn't even hear about Iron Man (of whom I became a fan) until I came to America, nor X-Men or the Fantastic 4 until recently. Despite that, I must say, it's just insanely cool to see how an iconic superhero series evolved alongside its visual identity. It's even cooler to understand what was going on inside the heads of the artists who contributed to the logotype evolutions within the Marvel universe. I like the rivets on Iron Man's 1980s logos; I like how patriotic the Captain America logo looked and felt. I like how the artists aimed to create logos that are just as unique as their corresponding characters, so much so I doubt anyone would, say, look at X-Men the same way without their logo slapped on to the big screen.

Oh, and they discussed the Avengers' and the Fantastic Four's logos, too. The Avengers logo is interesting to me because, clearly, it is meant to encompass all of its superheroes' identities, or so I thought. The most current version is probably as simple as I could imagine, but so were the versions that came before. Having watched several Avengers movies and enjoying them to the fullest (to the point where I'd want to yell just seeing the logo in the title cards), I'd say the artists did their job well

Quote of the day!

It's a curious distinction-art and art form-but an important one. After all, a comic book cover is not created for its own purpose. It has a job to do: a cover must differentiate itself on comic book racks filled with colorful artwork.

What I did this week

There was a lot going on this week. On Monday, I had been working on my project 1's poster, looking at reference materials and figuring out how I wanted my poster to look. Along the way, I learned some useful features on Photoshop, such as layer masks and brushes, which I heavily utilized as far as my poster went. I agreed with Professor Valdes that looking at all the posters in the hall at once was an experience to behold. Everyone got their own style; made me want to hop into Illustrator to make another poster.

I am glad this project kicked off our new semester. This class may not be art, but it is an art form, and this project reminded me of why I love design again. The activity we did on Thursday was also super fun. Thank you to everyone who made this experience possible.

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Arts246 Course Reflection

Arts246 taught me to design letters and visuals that delivered the intended message effectively. That was what I thought Arts245 would mainly be about when I signed up for it, but certainly, that course was quite an unforgettable experience, and Arts246 has been a worthy continuation. There were a lot of things that I learned. Design-wise, I learned to utilize different digital applications to create things that I wanted to create. Part of this lesson pushed me to look at my vision of a final product from the angle of consistency, versatility, and accessibility. When I designed a new logotype for the Soda City Market,  my professor encouraged me to go to the market in person to understand the vibe and purpose of the place. Same thing when I designed the poster of the same subject (same thing for any poster, really). There were a lot of elements going on to think about: the texts, the photos, the visual hierarchy, etc. The question is how to pull the viewers in, keep them hooked, and make them want to be there. I needed to know how to keep the visual style consistent, where my poster would be hung, how the logotype could be adapted to new media, etc. The questions and suggestions my professor provided were helpful, as they helped me think and look at the problems from different perspectives. 

Along the previous line, there was also my enduring struggle with trusting the letters. The communication potential of such static symbols was at least peculiar to a designer like me, who's primarily interested in shapes and imagery. I tried to do a collage graphic for my Soda City Poster and an illustration for a poster I submitted to a competition. I had to abandon both of them eventually because, besides turning my schedule upside down, they drowned the presence of the supposedly main element, the type. Throughout this course, I have learned to trust the letters and type as entities capable of breathing, having a voice, and adapting to artistic needs through countless alterations. 

As for personal improvement, I have gotten better since Arts245 at seeking and receiving feedback. My tendency to take the path of least resistance when it came to pushing for room for improvement was a major problem I had in Arts245, and it did not go away, at least until I was halfway through Arts246. In every single project, I was required to print things for critique, actively engage in any feedback opportunity, and push through the final design as well as I could. I learned to go the extra mile, that is, doing the extra work and jotting down questions, before meeting up with the professor for critique. 

Arts246 was a major step towards the goals I set for myself coming into this field. It drew my attention to the world and its problems and strengthened my passion to bring forth messages that promised diversity and unity. With only a few moments away from the GD+I application deadline, I want to say thank you to both Professors Nace and Valdes for being a valuable part of my journey, and whether or not this journey will end here, I regret nothing, for I have grown so much both personally and professionally thanks to my classmates and you both.

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Arts246 Blog Week 10

For this week, I watched this video that offers some quick tips to leverage an average design. Much of what I took away from the video was a reiteration of what I learned this semester, but it's nice to be reminded once again of these important points, which are discussed in the video, especially when I am still a beginner. Some highlights:

(1) Thinking about the vibe or mood that you want to express before doing any work, and then choosing the colors accordingly. Throughout the semester, I gradually learned to see why this is important. Design is a process, and research is part of the design. I think I won't do myself any favor until I spend some time learning about the goal of the project, the intention of the clients, the message of the products, etc. Otherwise, I risk overthinking without ever moving forward

(2) Include contextual elements that the viewers can use to link what they see in a design to the presented message. I kind of understand this tip. It's like including an image, icon, or colors that help viewers connect what they see on my Soda City poster to the market, because without those elements, the viewers are going to get confused. I guess this tip is a no-brainer, right? It appears so, but when I look back at some posters we have in class that suggest anything but a fun and vibrant place, I think I need to keep this tip closer.

For this week, I did tons of research for my process book and prepared a color palette, a design that will tie my projects together, and text material. I sketched and digitalized the first versions of my table of contents and cover page. I also figured out some of the layouts that I'd like to go with, and for this weekend, all I have to do is put things together.

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Arts246 Blog Week 9

This week, I watched a video about the principles of design: Balance, Unity, Contrast, Emphasis, Repetition, Pattern, Rhythm, Movement, Proportion, Harmony, and Variety. There's a lot to take away from this video, but each point is made as clear as possible that a reiteration is not really needed. I loved the video; I might as well pin up these principles on the wall. This week and the week before (spring break), I spent time visiting past projects and making revisions in preparation for my GDI portfolio review. It's hard to pay what has gone by a visit, but I did relish every second of fixing little things that, as I failed to notice, made a big difference. It's only a little over a month away from the GD+I deadline, and the more I pay attention to the old projects, the more I regret that I did not have the mindset back then to make each and every project as perfect as possible. Well, it's less about perfection and more about learning to do better (Anyway, I am glad that the Soda City poster won't sit in my portfolio collecting dust with that ugly diagonal or logotype. The extra mile I decided to go really paid off)

Also this week, I worked on my UCDA poster. Such a unique project as I got to submit an artwork of mine to an actual competition. My biggest struggle with the poster was the fine balance between complexity and simplicity. I wanted to go for the zen-like style, but where should I draw the line beyond which the artwork simply becomes too simple?

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Arts246 Blog Week 8

This week, I watched this video by Vox on YouTube talking about what makes a great logo. At this point, I am aware of several types of logos such as wordmarks and pictorial logos, but I learned a new type of logo today called "the logo system" - which is sort of like a framework that can have endless permutations. Google's daily doodles are a great example; they lend Google a place to be part of some conversation, which Google expands beyond its own name.

Michael Beirut, the guest speaker of the video, told Vox that he thinks logos are overrated. One takeaways from this point of view: logos are just empty vessels waiting for someone to pour meaning into them. If Nike were to have a different logo and keep up its genius marketing apparatus, then whatever that different logo were could be something big. I think that's super interesting considering Nike has been around for long enough that people associate its mark with the very idea of athletic achievement. In many ways, logos are just logos until we bring them to bear something bigger than useless symbols on the page.

But the video does not undermine the process of logomaking. The video mentioned how people are divided over new logos, whether it's out of nostalgia or the way they are designed. Bad logos aside, Beirut thinks the evolution is necessary, as the video says, "Logos need to have a long life, not win points in a discussion." Some empty vessels, as logos are, are better at holding a meaning than others do.

So I guess logo designers can stay. For this week, I gathered my mood board and other materials to begin the first sketch of project 3's poster. I made the brutal mistake of focusing on the illustration first, so I was well behind on Monday's critique. It's all good though. I took a step back and went back to what I had to say about "mindfulness", and then worked on the type first. This weekend, I might try out a few ideas the professor gave me on Wednesday's critique.

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Arts246 Blog Week 7

Some notes I took while watching the documentary of Scher the designer

In one scene, Scher said the physical loss during the art making process was a huge loss for her, and I cannot relate to that. Why did she return to painting when her professional practice required her to use a computer anyway? I guess that's the same reason I still come back to my sketchbook from time to time.

Yes, the state of play. I need to go outside more and observe things more for inspiration and let my subconscious take over. Got it. It's incredible how self-motivated Scher is for her design, going outside, somewhere out of the ordinary for inspiration.

"They want proof that this is really gonna work. The problem is there isn't proof. It's how do people see and perceive and accept things" - This is probably the most useful thing I've heard since I became a designer

"I am driven by the hope that I haven't made my best work yet" - Truly an inspirational quote. Each project I do feels like a process, but I often forget it's part of a larger journey as well. One day I sit to think about how to do a, b, and c, and the next day I throw all the sketches and whatnot into the trash without reflecting on what could have been done better. I admire Scher's mindset on finding the joy in the making of stuff and continuous pursuit for improvement.

This week, I made my moodboard and sketched out a few ideas I had for the 3rd project. The other day, my art history professor discussed romanticism vs. enlightenment, where the former one emphasized human emotions and nature, much opposed to science and logic, stuff like that. I turned to romanticism to explore how I would define the concept of mindfulness.

Looking at romanticism paintings inspired me to create a semi-abstract kind of poster. The type will be the hero of course. Right now though, I am playing around with shapes and imagery, connecting the dots together.