The_Katabolic_Katipō @kyarbrougharts245-02 - Tumblr Blog

ARTS 345 Blog 7 Essential Design Skill

With this being our last reading blog discussion, the period for the F4 Campaign has also drawn to a close. The end of Project Two sees a complete campaign, consisting of a poster, an ad poster, a book cover, a web ad, a social media page, and two merchandise.

Overall, the project was an insightful learning experience, and I’m quite pleased with how my designs turned out. I was pushed beyond my boundaries, and being encouraged to play with typefaces and experiment with the layout has helped me understand the importance of breaching such design boundaries—getting uncomfortable. It aligns with our assigned reading, Chapter 6: Essential Design Skill. It states that effective design and successful publication require a broad range of practical, technical, and conceptual design skills, with grids acting as the blueprints for architecture. Effective use anchors rather than restrains.

Critiques from both my peers and professor were insightful. The blue background is my favorite, but I’m biased, as it is my favorite color. For this project, I believe I made the most of my time experimenting, and while it was stressful, the results reflect something professional and perhaps slightly unconventional.

ARTS 345 Blog 6 Creating Layout

Today’s reading ing covers chapter 5 of “Editorial design: Digital and Print,” Creating Layout. The content primarily details the importance of creating an effective layout and how to design one, being mindful of the space, purpose, font style, and weight, all help to ensure good layout design. It especially emphasizes grid structure and how such elements can be used to create impact.

As we wrapped up our F4 Campaign project, I’ve come to notice how much my project relied on grids and rulers. Because my work was strongly influenced by Swiss Design, I referred back to the grid and alignment consistently, ensuring that images, shapes, and type were lined up as neatly as possible. My poster and my book cover were the biggest components in my campaign; as such, I felt as if more time was spent experimenting with the designs’ margins and space as opposed to my other works.

Being directed to Swiss Design initially has given me what I believe to be an overall advantage in my design skills. Because the grid is so important, Swiss Design automatically forces me to adopt a more attentive mindset to detail, familiarizing me with the tedious, yet necessary bits of Graphic Design.

ARTS 345 Blog 5 Inside the publication Pt. 3

We’re advancing further into the campaign. We’ve wrapped up our main poster designs, billboards, and poster ads. Now we’re delving into Book covers, later web ads, and merchandise. With the poster finalized, understanding and aligning to a consistent style has been less stressful. I’m liking the direction of my poster and the identity of my campaign. My professor suggested Swiss Poster Design when I was initially stuck on concept ideas. The style has grown on me; I find myself leaning more and more into the geometric shapes and concise alignment.

While Swiss Design had helped me get started in my identity, I quickly found myself becoming too reliant on it. My initial book covers reflected type-shape heavy designs with absolutely no images in sight. Which is a problem, as my professor pointed out, this was a type and illustration class. I couldn't forfeit the illustration favor in type. In all actuality, I surprised myself. Usually, I’m the opposite—my work sees more illustration than typography. I’ve had to be corrected by previous typographic professors for this a few times—Odd, how it all works.

Taking my Professor’s new direction, I sought out how to implement illustration into my design covers. I played with the images in both InDesign and Photoshop, where I mainly colorized and cropped previously scanned imagery from F4 comics. I created a fairly decent number of covers, which was a bit overkill (around 30, unfortunately). To get the project done on time, I realized I needed to narrow down my decision.

There’s an emphasis on typography in Chapter 4 of our reading, which is the same chapter as seen in the previous blogs. The text explains that designers must have a sense of hierarchy, using style to help a design stand out. While our focus was on the book cover and not the inside contents like body copy or feature wells, I believe the general concept of having intentional format is reflected in my work process. I have to consider all my elements and what best captures an audience’s attention without forfeiting readability. Covers and other designs can be unconventional, but everything must be used to the brand identity’s advantage.

“Photo manipulation serves to emphasize the narration.”

ARTS 345 Blog 4 Covers Pt.2

With a good few days of work now behind us, the class is moving from logos to poster design. Unfortunately, I must admit, I was struggling quite a bit with the poster designs initially. My first batch of posters left much to be desired. Some elements, like color, worked. I was also encouraged to treat the line of my “F4” logo as comic panels, inserting images inside the negative space, which also sparked some interesting concepts. However, the initial four designs were professional and visually intriguing, which I understood, but I didn’t understand how to work around them.

This was a common consensus within the class—everyone was struggling to get their poster designs right. As such, the professor allowed us more time to work on the posters. I believe this was the best course of action, as the previous week was somewhat dedicated more to finalizing the logo and then jumping into the poster design. To make the most out of this project, I think time is just what the class needed, especially to consider imagery, how to use it, and how to use the type. Being tasked to build nine posters also helped with experimentation, working around the critique from both the professor and our peers.

Having this extra period of work and communication greatly improved my poster designs. I was allowed a decent timespan to get constructive feedback and run with it, while also peeking at my peers to see what they were up to. Working together also helped me see what was working for them, and that inspired me. I’m more productive around people anyway, and getting real-time dialogue helped relieve the stress.

The reading covered Chapter 3 again, ironically titled Covers, if you needed a refresher. In the chapter, it mentions that the cover is the most important part of the publication, needing to communicate and sell a publication's brand identity to the audience without losing them to competitors. Visuals must be interesting to successfully draw in their audience, while staying recognizable to the established style. That’s pretty accurate to what we’re trying to figure out. While we’re not a magazine and our goals won’t exactly align with such publications, we still have to be mindful of our visuals, considering how to engage with an audience and stay faithful to our brand’s identities.

ARTS 345 Blog 3 Inside the publication Pt. 2

The week’s reading revisits Chapter 4 of Caldwell and Zappaterra’s “Editorial design: Digital and Print,” titled “Inside the publication.” The chapter delves into the anatomy of publication, distinguishing and detailing crucial elements within publication, such as headlines, typography, captions, and slogans. My previous consensus about the text hasn’t changed much. The information is well-worded, and I believe it effectively helped me understand the importance of familiarizing myself with each. Some details I already knew, including the highlighted quote, “TYPE IS THE BACKBONE OF EDITORIAL DESIGN” (87).

Type is integrated in nearly every piece of a Publication’s furniture—captions, headlines, body copy, taglines—of course, it would be an integral element. However, I learned about photography and the role of commissioning in publication, and while not always necessary, “Commissioning a visual story or style is just the beginning.”

To rehash the last blog, our class has been assigned a logo for “the Fantastic Four Fest” campaign. I realized I talked a little more about the research that went into my design and my final logo design. Today, I’d like to delve a little into the process that went into making that final logo. We’ll be taking a closer look at the images featured in the last blog.

Before we began designing the project’s logo, our Professor pulled us aside to “play”. I call it that because, as students, we were given complete, creative liberty to conceptualize our logos through an abundance of art supplies. Tables were coated in a variety of paints, papers, pens, inks, and sponges. The objective was solely to create something that aligned with an “F” and a “4”.

It, surprisingly, shaved off some stress I was encountering when the project was initially introduced. I can be quite stubborn and set in my ideals. Sometimes I find myself wanting quick solutions and designs, and ultimately, I get frustrated when that method results in the opposite. Having the opportunity to work with these materials has not only helped me find some direction, but it has also helped me experiment with mediums I normally wouldn’t, especially for logo concept designs.

The paint allowed for interesting, blocky shapes, packed with texture and some other unexpected, but pleasant surprises. I even got to try out classic, fountain pens, which gave me a unique variety of line weights. While the process was enjoyable and the designs were fun, I eventually returned to my formulaic method of working. Using more structured sketches to employ my design. Why, you may ask? Because I wanted my logo to lean into a more serious tone. The designs I made during “playtime” felt just like that, play. There’s nothing wrong with that inherently; I just wanted something different for this project.

ARTS 345 Blog 2 Inside the publication

This week’s reading provided some insightful knowledge, and more specifically vocabulary, regarding publication. It’s nice to learn the proper names of a magazine's anatomy (for example: a feature well is the “middle third” displaying a book's features). I also appreciated discussion of content pages and typography. Of course both are important but it's nice to see some further emphasis on these tid-bits, it helps ground the understanding of their importance.

Outside of reading, we’ve officially begun production of our second project, in which we are redesigning a new logo for the Fantastic Four media. I’ve never seen anything related to the movies or comics, but I’ve heard of it. I know more about Marvel than anything in correlation to the Fantastic Four—so my bare-bones knowledge is that it's a super hero movie. Further research into the films showed this was, at its most generic level, a scifi-movie which ultimately helped play a role in my rough draft designs.

The class was tasked with designing a logo using only F and 4. While sketching the roughs for the logo, I quickly adopted a preference for dynamic and/or options that utilized the negative space in more interesting approaches. The first ideas (top sketches) were more play and experimentation with different material. Towards the bottom, I’m more intentional, using pencil and pen to sketch designs.

Having readable negative spaces were some of my more frustrating challenges, that and trying to attempt an ambigram. The results were interesting but I started finalizing my design after branching off from the speech-bubble inspired design. At first it was a bubble as you typically see in comics, then I made it a square shape (taking influence from an actual Fantastic Four logo); before I forfeited the speech-bubble idea and strictly attempted to make “F” and “4” in a regular box.

The logo from the 2005–2007 film helped inspire the placement of the “4”, where the crossbar of the four is kissing the side of the box. The “F” is emphasized through bold lines on the left. However a fun extra detail from this specific design is the right negative space forms an exclamation mark. A happy accident as Bob Ross would say.

ARTS 345 Blog 1 Covers

Like most assigned Graphic Design textbooks from previous courses, the visuals were the main stand-out for this week's reading—fitting for this chapter delved into Covers. There were many informative points within the reading, discussing branding, visual development of covers through history, and the shift from physical hard copies to digital covers. Note: these are just a few listed topics.

While I’ve mentioned liking the visuals presented throughout the chapter, I think more valuable was the text in understanding the importance of covers and how the development of technology changed the process of its design. The cover, according to the reading, is considered the first and most important part of a magazine. Its visuals hold the purposes of presenting a brand’s values, standing against competition, and welcoming preexisting audiences while proving interesting enough to rally a new one. The reader has reinforced my belief of the power good visuals hold. As a studying Graphic Designer major, I’ve come to understand that design is an intimate process, it requires research and energy to get the best, desired outcome. As the reading puts it, “Publishers now see the potential of a cover as an entry point to a landscape where the editor and advertiser can interact with the reader.” (Yolanda, 47).

The text highlights to me and the audience that design these covers can go beyond making one singular cover. A physical cover could require multiple formats depending on if its to be uploaded to a digital copy, and the work wouldn’t be done there if multiple websites require its own rendition of said cover. It overall emphasizes how taxing the work can be. I appreciated the page dedicated to color as it allowed me to understand the uses of each one. For example I knew orange wasn’t the most popular choice in cover design but I didn’t realize yellow was “the most difficult colour for the eye to take in [which is] why it’s seen as an unpopular colour choice for covers.”

Final Course Reflection

With the semester ending, the class is tasked with its final post: a course reflection. The overall year was a rollercoaster of experiences with many ups and downs. This year was considerably more challenging than freshman year, which I suppose is only natural, and that difficulty will only increase with each new year. I think what I most appreciated in this course was the ability to mix my graphic design work with traditional media. With renowned apps like Adobe, Photoshop, Illustrator, and Procreate being heavily associated with Graphic Design, I’m always blindsided when we’re able to use our hands and not the screens. One of my favorite designs was the collages I made for the Alphabet project, “L” and “O”. This semester also allowed me to dive more into Printmaking and Collage, so it was nice to tie the two together.

I already recognize myself as more of an Illustrative-minded designer. I think the course has helped push me more towards typography. However, I think I still need more exploration of Type as I am instinctually driven to Illustrative ideas first and foremost. I think my goal for the next school year is to be as proficient in typography as I am in Illustration.

Chapter 12 Typographic Design Process

This week’s reading was the twelfth chapter of “Typographic Design Form and Communication,” titled “Typographic Design Process.” From the intro page alone, I was hooked on the text’s reading. Strong ideas were presented, bolding, introducing the idea of how a designer balances intuition and logic.

The specific quote, “The solution to a problem emerges on rare occasion as a brilliant scrawl on a dinner napkin, but most often the problem-solving process is a journey,” summarizes the entirety of my experience in design. Occasionally, I did find myself lucky enough to develop snappy ideas—little miracles flashing by in moments of quiet or idleness. But more often than not, a lot of legwork had to be initiated in order to complete my designs. I had to actively pursue my ideas, all through the processes the texts discuss: research, gathering, realizing, sketching, etc.

The chapter explains that designs like these patience, where the process acts as a “road map” rather than linear progress, remaining until “a deadline is reached or problem criteria have been met.” I think the course has prepared students in this aspect, pushing students to manage their time and recognize expectations with real-time clients. Upon entering Graphic Design, I did not realize how taxing the profession was, and initially believed design could be solved with a fairly easy solution. Art was subjective after all. However, art and design have a completely different nature.

For the self-branding project, I’m now being challenged with finding a balance between professional design and the illustrative qualities I personally lean towards. I’m a visual-first person; as such, what’s being viewed and how it’s being viewed is important to me. As the book describes, it's not a linear process, but I hope to achieve the desired outcome and, at last, complete the criteria.

Bonus quote: “While a sketchbook is a continuing exercise in recording visual and verbal ideas, a process book records specific processes as they unfold.”

Typographic II Blog 3 Legibility

Today’s reading covers the legibility of type. It goes without saying that legible type is integral, however, the reading defined the concept in three parts I hadn’t explicitly considered: contrast, simplicity, and proportion. While I tend to lean more toward graffiti-like typefaces, I am fully aware they serve as art more often than functional types. Graffiti lacks simplicity and many suffer a lack of legibility due to complicated designs and details.

The first page of the reading also details the evolution of type, stating, “ individual shapes of letterforms…developed out of a need to improve the communication process.” I had not previously considered the alphabet to be a gradual process, sub-consciously accepting the idea that all were made simultaneously. It makes sense overall; Rome wasn’t built in a day, so why wouldn’t the alphabet? Additionally, I recently discovered there was an evolution in color, with blue being the last color to be distinguished. I think I made a connect to that as both prove gradual discoveries of established fundamentals within our world.

I think the topic of our reading is good to consider when it comes to our current project of redesigning the alphabet. I’d like to play into my preferred style of cartoons and/or letters with more details. I mentioned before I was shaping my “S” to resemble the Pokemon Serperior; however, I’m now more conscious of how the final design looks overall. Currently, I see the “S” shape; it is my own work, after all. But I don’t want to confuse my audience potentially. Additionally, I’m finding Illustrator to be more tedious than helpful with manually outlining my designs. I much prefer Procreate, even though I understand why I’m being pushed to use Illustrator. (WIP at the bottom)

Typographic II Blog 2 Anatomy of Type

This reading chapter covers the Anatomy of Type. The topic was familiar as it was previously discussed in an earlier semester with Typographic One. It was easier to piece the terms to the different parts of the letters, such as the tail, hairline, and legs. However, the chapter reminded me that a bit more studying would likely prove beneficial.

The chapter also reminded me that I have not utilized baselines or X lines in my current lettering project. I’m not sure if it’s required, but even if not, I get the feeling that they might be helpful in the development of my letters. I have a couple more ideas down, though I think I either get carried with too many or I’m stuck managing my time with this and other projects. Adulting is hard.

With that being said, I like the direction of my “S”. I’m pursuing a more gothic calligraphy style with details made to resemble the Pokemon Serperior. For the final, I think I might refine it in Illustrator. If I can figure out the tools, I should be able to get a more polished look.

Typographic Design II - Blog 2

For our first blog, we were assigned the first chapter of Typographic Design, exploring the time history of typography. My first impression was that of marveling at the progress of our technology. It’s hard to imagine a world where I would write a blog through clay cuneiforms or woodblock printing. Modern media does not often portray the meticulousness of old-world typography. Growing up on a computer has left me spoiled in a sense.

The first semester of my sophomore year was the first time I had to challenge myself when making typography. I had been accustomed to pen and paper or simply using procreate. The professor assigned us to carve type with exact blades while teaching us to understand the specific anatomy. I remember being frustrated at first, I was sloppy the first few trials with the exacto blade, and Procreate had made life comfortable and simple.

That being said, the professor heavily promoted the benefits of time-on-tool, which I have begun to see the results of. Typography Design II is pushing us for this approach as well, leading me to our third project of redesigning the alphabet. I started out of order, going with “F” first. The design is based on a cartoon fox, the material here being watercolor. “Q” is my second letter and its design is based on the renowned artist Wassily Kandinsky. Next is “A”. I initially had many alternative directions for the letter with the design mainly gravitating toward the graffiti style. Eventually, I decided to go with something playful, shaping the letter into an Among Us character. Like “Q”, I plan to use pen and markers for the final design.

Typographic Design II Blog 1 - Steal Like An Artist

The first time I heard the phrase “the best artists always steal” was from my high school poetry club director. Initially, I remember being confused, as the idea of plagiarism was consistently being warned about. In the book, Austin takes this idea and delivers it in a unique format. The graphics stand out first and foremost. Page 8 is one of the many examples I think of. Linking genetics and remix ideas is a simple yet brilliant comparison.

Another example is the comparison chart between Good Theft and Bad Theft (page 39). By itself, the chart is simple, with the lines and type being messy, and details subtly convey the realistic imperfections that come with art. Outside of the design, the information is valuable, explicitly disclosing the difference between and good theft. Good Theft includes studying and honoring the work, transforming a piece with credit and multiple influences. Subconsciously, I think I’ve always associated plagiarism with “stealing from one,” along with the idea of the topic being a black-and-white issue. However, I strongly resonate with the quote:

“Copy your heroes. Examine where you fall short. What’s in there that makes you different? That’s what you should amplify and transform into your own work.” (page 41)

I do this often, mainly when I rewrite or draw stories of media I like. Remixing media, whether it’s writing a fanfic or making a fanmade Pokemon, is done for fun. It's a way for me to think and I find myself getting invested, studying more so for fan projects than maths and sciences. It's a stronger passion I’ve always had—brainstorming new, interesting ideas for characters to pursue.

I have grown more conscious of improving myself, understanding what I like in media, and effectively incorporating it into my work. Subsequently, I’m more conscious of the impact stealing has on artists, especially with AI on the rise. I understand the significance of fair compensation and appreciation for artists who are often shortchanged. I understand this is a good direction for me, I can challenge myself to find what I like and as the book says, remix it, honoring preexisting works with time and care to analyze it.

Differentiating artists as collectors vs hoarders was also an interesting concept for me. Regarding media (arts, music, literature), I see myself with both tendencies, while Austin defines collectors as selective, only collecting things of higher value as opposed, I also get easily excited and stock material “indiscriminately”.

Final Semester Blog Reflection

This semester with Typographic Design was a challenging experience. There were many ups and downs, long nights and sleepy mornings. I’m sure I’ve mentioned this before, but this year I have pulled more all-nighters than I ever had in my life. I don’t know if that’s just the common mark of a designer or a sign I should ditch my procrastination habit.

Overall, I got a lot out of the class. I’d like to challenge myself and attempt to recognize fonts, familiarizing myself with common terminology we learned over the past months. I can be quite forgetful sometimes but I think I have an idea on how I should discipline myself to avoid unnecessary stresses. I realize a lot of problems could’ve been solved with better time management skills on my part. Something to add to my New Year's resolution I suppose.

I do think there’s been some significant improvement with my art skills after all has been said and done. I’m still pleased with the way my Nine square project turned out. I also find myself itching to do more hands-on arts & crafts as opposed to staying strictly predominant.

I thoroughly enjoyed critiques and seeing everyone’s projects. I was impressed with everyone’s improvement and I hope to see a lot of their work in the future. I think everyone has good potential. Not only that, but I appreciated getting to listen to my peers’ insight—the problems they faced, how they solved them, and how they tie everything together.

This course has reinforced my decision to be a graphic designer while making me aware just how taxing the job can be. It serves as a good reality check for incoming students. I can’t believe I’m stuck with kerning in InDesign. I suppose Adobe can’t make life easy 100% of the time.

I find it appropriate to end my final blog with my final project. I wasn’t 100% sold on the Type mark I made but I understand my limits and what I needed to prioritize in order to complete the project. With patterns, merchandise, and other slides required, I realized it was best to pick and choose my battles. In the end, I’m satisfied with the Indiana Does, my rebrand for Indiana Fever. A little tidbit I find funny is that sometimes when I read Does, I see it as “does”. Oh well, that’s the English I guess. Just like history, words repeat.

Indiana Fever Rebrand & Moodboard

Indiana Fever is one of the four logos we got to choose from for a rebrand project. Research reveals an interesting origin for the logo. Indiana Fever is named for the simple reason that Indiana loves basketball to a feverish extent. It wouldn’t be my first choice for picking a name, I definitely would not have gone with the present design as it reminds me more of a volleyball than a basketball. SLH Sports History Logo describes the current logo as such:

“...A fierce-looking female basketball player ready to throw down her signature dunk pose…truly embodying strength & power within each motion captured here; not just showing off athleticism but symbolizing courage & determination every single game played under these colors!”

In my personal opinion, the current logo does not translate this intent well. I find the logo to be lackluster with its bubbly font conveying something more like a vintage sticker— playful and less serious than the desired “ferocity” present within the team. For a rebrand, I was going to need deeper thought for an adequate result.

The team is mentioned to have first started in the 2000’s, likely the reason why the logos appear to have that more playful, vintage style. My main direction for problem solving was looking outside the concept of the state’s passion for basketball. Instead, I decided to look for other features that were famed within Indiana. One of the most popular events in Indiana is the Indianapolis 500, a Nascar sports race. Additionally, Indiana is known for its agriculture, including soybeans and corn, manufacturing, the Indiana River, and its diverse wildlife.

I’m more experienced with drawing animals so I found it best to explore ideas relating to an animal mascot. There are many competitors in mind as Indiana is known for many animals. I like the idea of River otters as a potential candidate, correlating to the Indiana River. Using a Red squirrel as a mascot could potentially serve as a decent challenge since the animal is not too popular within the sports mascot industry.

Snake species are also abundant in Indiana. Rattlesnakes and Eastern racers could make good mascots as well, both species have the opportunity to produce catchy team names such as the Indiana Racers or the Indiana Rattlers. Indiana Racers could even tie into the state’s Indianapolis 500. I also like the idea of potentially incorporating a doe or a mare as the team’s new mascot. Both animals are well known within the state, and contrary to the rattlers and races, the mammals have a relation to femininity that could be easier to incorporate into the actual mark design.

Blog 8

Blog 8:

This week we continued our Letterform project. We have designed spreadsheets presenting the initial design, the process of creating it, and the history of the font we used. I enjoyed the results of my project even though I had to customize them in Procreate. I’ve found InDesign to be a little fussy on my current computer, for whatever reason the imported Letterofrms remain blurry even after uploading them into Illustrator. Image Trace turns a PNG into a JPEG for whatever reason, making the entire process quite frustrating. Despite that, I’m still figuring it out and I think some more research on YouTube videos will do me some good.

I notice my personal preference is for vivid, dynamic detail within my art. It is something I found hard to part from with this project, especially seen within old Rhael’s design. I rearranged some things and now Qr’ax is the only design that needs any more major changes. Everything else should be easy enough to fix once I figure out the problem within InDesign.

Blog Seven

Today’s reading, titled “Hierarchy, Web Hierarchy, Web Accessibility,” covered pages 94-120. The reading starts off where Blog 5’s ended. Something important I didn’t mention last time was the topic of redundancy, which page 94 briefly delves into. Here it mentions that writers tend to avoid redundancy but highlights that such behavior can be accepted within typography. The examples the book gives are line indents and breaks. This specifically stood out to me because it cohesively compared and contrasted two feats associated with Graphic Design (type and writing) and how redundancy produces different results, explicitly illustrating how it can benefit someone depending on the work they are doing.

Graphic Design can also delve into web design, a topic this reading also covers. It mentions hierarchies and how designers can make sites more accessible to a general audience (an example mentioned being line readers for the visually impaired). I knew of the existence of these amenities but I originally did not realize that Graphic Designers could play such a big role in its creation. The reading helps illuminate how vast the job of Graphic Design can expand.

One quote in the reading that stood out to me was, “Paragraphs do not occur in nature” (Lupton, 102). I had not previously associated this fact with paragraphs. It makes sense as no animal has ever been seen to develop a written language, let alone an entire paragraph. Nor can the trees or the rocks found in the soil. It is mentioned that the standard of indenting new paragraphs began in the 17th century, another detail I did not know. Ever since then, we’ve seen most books being indented, associating the inclusion typically as professional. It draws me back to the beginning of the reading where the humans discover that indents make paragraphs more appealing and therefore repeat it. It is a desired redundancy.

Steering away from the reading, the class has remained relatively easygoing. We’ve entered the topic of mood boards and what to expect in a client meeting. Many valuable tips were shared but I think the one that stood out to me was the idea that a logo should stand the test of time, meaning logos should not have to be redesigned and if they do, there should be a minimum of ten-year lifespan before redesign.

I can see how this would be useful going forward and the importance of why design is such a time-consuming process. Lots of research must happen for the best results. One of our classmates agreed to be our test client and we are currently tasked with designing a mood board based on an abundance of responses he’s given us. On Tuesday we recorded some additional information and now I plan to figure out how to make the most faithful mood board that represents him while discerning how to design when certain traits contradict each other.

Trending Blogs

Recently Viewed Blogs

The_Katabolic_Katipō