ONYV

an AFOL and The Beatles and a green olives lover. 

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[onyv]

How do I approach user research and testing in the design process

A/ The Research process goes through several stages:

Deep research of the target group from various sources. For this purpose, I prepare a mind map (including region, ethnicity, customs and traditions, habits, linguistics, lifestyle, typical and atypical manifestations …)

I prepare a Stakeholders map of all those involved, the relationships between them, for example: those of them who can cooperate in the process; those who are competitive; people with unclear positions.. - what relationships do they enter into with each other, how can (or cannot) cooperate, what do they contribute to building the overall picture.

I use different approaches (e.g. Edward Bono's "Six Thinking Hats") to organize my initial ideas and to summarize the facts I have collected.

B/ I start the Project Development process by clearly defining the problem, proposing a campaign title and slogan, clearly stating my proposal and outlining the methodology to be used.

I prepare a detailed Empathy Map with a view to caring for the user, in which I try to "step into the shoes" of the user, imagining that I am in his position (after the initial set of collected data, this is not so difficult). So - what does the user experience:

I imagine what he thinks and feels (regarding the problem that needs to be solved);

How does he see this problem;

What does he say and do in relation to the problem and

What does he hear about the problem from the outside (media, social bubble, friendzone, etc.) I reflect all this as supporting points in the Empathy Map. 2. The next stage is " the revitalization" (giving vitality) to the target group - usually here I use the "Personas" method. This is a method that seeks to get closer to the future user based on specific, familiar, everyday experiences and sitiationts. I choose three different characters in terms of gender, social status, career, etc. who are representatives of the respective target group and imagine them situationally and visually. By sketching and creating storyboards, I play out a simulation of reality with this "personas" where they use my design. I acting out different scenarios with them. This helps me imagine how they use the design solution I propose in a real context. How does this design serve them, how do they explore it, what do they experience when using it, what remarks may they possibly have about it… I summarize the results and draw a conclusion from what has been said.

I move on to the process of designing the design itself (or more precisely, its visualization). I start by using the method of various analogies with more or less existing, familiar, and close to my design contexts, which make it clear, recognizable, understandable and desirable for the target group. I make a mood board in which I look for analogies in historical and cultural contexts, compare, contrast, sketch, choose color solutions… After which I proceed to building the digital flat 2D layout of the design. When I am ready with it, I also build a 3D model of the design (this can be a mockup (physical or digital), which will be produced in limited quantities. The goal here being to test the real, finished product in a real environment, with real users - my target group. This can be done by organizing a presentation to present the product to the group, as well as to all stakeholders and to understand the feedback).

C/ Outcome If there are any remarks, I take them into account (if necessary) and the design is ready to begin its life on the market.

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The Host of Seraphim (Remastered)

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Dead Can Dance - Mushin

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Dead Can Dance Live Full Concert Aula Magna Lisboa

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Dead Can Dance Live Full Concert Coliseu de Lisboa 2022

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The princess at the window (Princess Nesmeyana), 1920 - Viktor Vasnetsov - WikiArt.org

‘The princess at the window (Princess Nesmeyana)’ was created in 1920 by Viktor Vasnetsov in Romanticism style. Find more prominent pieces of mythological painting at Wikiart.org – best visual art database.

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Hieronymus Bosch,  Ascent of the Blessed

Iconological Analysis

Hieronymus Bosch, Ascent of the Blessed, after 1490

  ICONOLOGY 

STEP1 : ( DESCRIPTION )

At the top of the piece have an end of a large tunnel, which ends in bright light. This light coming from the other side of the tunnel. There are two figures that have already passed beyond the tunnel and have entered this light.

Also, here have a humans and an flying angels everywhere. Their clothes and wings are depicted in different colours: red, blue, green…All the figures in the painting are looking upwards towards the tunnel. There are also clouds around the figures. Clouds are gray.

Generally, the muted monochrome colour palette is predominant.

STEP 2 : ( IDENTIFICATION ) 

This piece is part of a polyptych of four panels entitled Visions of the Hereafter .(The others are Terrestrial Paradise, Fall of the Damned into Hell and Hell.)

The main motive is related to the Christian understanding of the transfer of the soul to the afterlife.

Specific subject : Humans and angels depicted are wings according to the Christian canon.

Symbolism :     

 Shapes –  * During the fifteenth-century, the entrance to paradise was depicted as a funnel  which appeared in many miniatures. The shape of the radiant funnel actually has some resemblance to contemporary zodiac diagrams but Bosch transforms it into a shining corridor through which the blessed approach God. Right beneath the tunnel, there is an array of angels helping blessed human souls towards salvation. In the lower parts of the panel there are two angels per one soul, suggesting that some humans need more help than others. As it gets closer to the top of the panel, there is a one to one ratio of angel and soul. This might symbolize that the human souls that are pulled from Earth’s gravity and towards the tunnel become lighter in weight. The angels have their hands either on the human body carrying it upwards or near the body simply guiding it where to go. 

     ** Faces and hairs : All the characters have similar facial features because the physical aspect of the humans and angels are more idealized and not individualized. The style of the hair is also quite idealized.       *** Bodies : The figures are not meant to look like specific individual people. None of the human souls have organs to help differentiate whether they are male or female. This could be a form of symbolism which shows that there are no genders in Heaven. This could be implying that all human souls are no longer differentiated by sexual organs and everyone is the same.

 Light – The painting as a whole is very dimly lit which contrasts with the white brightness at the end of the tunnel. The extreme darkness directly around the tunnel indicates that the heavenly light has nothing to do with the light coming from below. The areas outside the tunnel are dark and gray. The light actually becomes darker as it moves upwards then when it reaches the tunnel there is a sudden eruption of light. This painting of the funnel has been known to look very similar to people who have had near-death experiences. During the fifteenth-century, the entrance to paradise was depicted as a funnel which appeared in many miniatures.

Relevent history :  

Bosch’s paintings reflect the religious themes that dominated art and society in the Netherlands during the sixteenth century, especially the Catholic religion. Almost everyone’s duty was to behave and act like a good Catholic so that they could ascend into heaven. The consequences of sin were made so awful to frighten the faithful obedience into people with the ultimate punishments of weakening in purgatory and being sent to Hell.

It is known that there was a high number of monks and nuns that lived in Bosch’shome city. It was even called “a pious city” because of its high quantity of confraternities and religious houses.

Art historical considerations :

Early Renaissance period.

The medium is wooden, an oak panel. Dating of the wood showed that the youngest growth ring was from 1473 and it has been deemed unlikely that the painting was started before 1486.

Although no signature or date has been found, careful study and analysis of the style and technique involved in the painting has been carried out and the work has been attributed to Hieronymus Bosch.

STEP 3 : ( ANALYSIS )

In this image, robed and winged angels appear to be escorting the naked souls of the blessed towards a segmented corridor or "tunnel of light". The angels and the blessed souls gaze upwards towards the divine light in the narrow tapering corridor.

They appear to wait their turn to ascend. One of the angels has bright red wings. At the end of the tunnel two figures are present and what appears to be a silhouette of another angelic being. The two figures appear to be waving or greeting the first soul who is being escorted into the tunnel by a single angel.

What is particularly interesting about this painting is that Bosch appears to have captured modern day ideas about near death experiences. It is not known whether Bosch himself had experienced anything like this, but clearly his image of ascending towards a bright tunnel of light to meet past family and friends, seems to match the experiences of near death, that survivors often describe.

During the sixteenth-century many people would attempt to stimulate themselves into spiritual awakening to get as close to God as possible. Thus, these might have been some of the visions people saw when attempting to jump into the unconscious depth and mystery of the spiritual visions.

Generally this work leaves a sense of mystery and kind of fear (or awe – a feeling of reverential respect mixed with fear or wonder) as we all, human being, have fear of the unknown which happens after the physical death. At the same time, the light at the end of the tunnel brings some optimism that perhaps the soul has salvation and its journey goes on somewhere in the afterlife.

[onyv]

Iconological Analysis

Kaye Blegvad, Good Lovers Lie, 2015

Visual Elements   

The specific design of Kaye Blegvad is clearly recognizable by its clean and minimalist styling, where with a few elements are actually said a lot.

This is one of her pieces, which is dedicated to Valentine's Day. It represents a kissing love couple but instead of  their faces they wear a masks. 

Or as Clancy Martin says in The New York Times : " VALENTINE’S DAY is not a celebration of truth telling. God forbid! Relationships last only if we don’t always say exactly what we’re thinking. We have to disguise our feelings, to feint, to smile sometimes when we want to shout. In short, we have to lie.

We all tell lies, and ...we lie particularly often when it comes to love, because we care more about love than we care about most things, and because love causes us more fear than most things do, and caring and fearing are two of the most common reasons for lying.” (Martin,C.,Good Lovers Lie, The New York Times, Feb.,7,2015, online)

The composition is well balanced and clear of any details. The focus falls on this two people who are merged in a hug and this is actually the dominant element.

The negative space around them once more emphasizes the two figures that are merged into one.

Three colours are used: white, black and pink and the use of each of them is symbolic.

There is a balance in the use of colours - none of them is dominant. The figures of the lovers are solved in the two monochrome shades: white / black. Though contrasting and antagonistic, these colours are clear and specific - everyone on their own. The pink is the relationship between the lovers and the common part between them and its choice is also not accidental: according to common beliefs this colour is a symbol of love. This colour is not used in a larger quantity than the other two but it seems to stand out and influence the observer by catching his eyes.

White is the masks and the choice of this colour also creates a certain association with the purity and innocence with which the western society usually associates this colour.

The consistency (surface, texture) here is rather hinted, and it is only intended to convey some idea of the volume of otherwise flat two-dimensional images.

In general, all the above elements:

symmetrically arranged figures in the composition that create a sense of harmony; 

choosing the three colours that interact very well combined with a clear concept, create a very pleasant final impression of the overall harmony and completeness of this illustration.

[onyv]

John Berger's 'Ways of Seeing'

1. Berger uses a Marxist ideology to make a critique of art, art historians and design such as advertising. Does any of this seem dated or in any way 'wrong' to you personally? If so, try to think why this might be.

 * Berger talks about exploitation of blacks, which has led to the accumulation of wealth of the white masters from the Western world, but from what can be seen from the oil paintings, and what we know from the historical facts, the blacks themselves in the role of service staff are in a much more advantageous position, than "beyond" civilization and progress.I do not dispute the fact of their exploatiation, which was sometimes too brutal, at least because I read Uncle Tom's Cabin, but at the same time one should not overlook the fact that white masters also gave them a lot - culture, education, religion (the black people were pagans before.) And, ultimately, what belongs to every single person - equal rights.

 * I also couldn't find the answer to Berger's question: Where does the value of oil paintings really come from? Of the objects they depict? Of the things that "advertise"? From the mastery of the artist? Or the fact that they were owned by remarkable owners? Or all of this together?

2. Much of what Berger has discussed in 'Ways of Seeing' is important to a feminist critique of art and advertising. Can you say why this might or might not be a valid argument today?

I fully agree with Berger's point of view that being naked means being yourself and being nude means being seen naked by others.

And from here on, the ways in which this understanding is interpreted in contemporary advertising. Of course, everything is strictly individual and according to how far your own limits go to taking the nude and showing it. Here are some options:

A)  you can be naked and comfortable alone with yourself ;

B)  you don't mind being naked and seen by others, yet you feel comfortable ;

C) when you are naked and alone, but you are not comfortable with your own company ;

D) when you are naked and viewed by others, but not it is not comfortable to you , even you feel humiliated ( there was such an opinion in the movie and it was expressed by one of the five women interviewed.)

Yes, for some it can be: shameful, unworthy, humiliating, others would feel equally good in both roles: both observing and observing.

So, in my opinion, it should always be based on what the client's personal preferences are, what he or she would identify with: whether they are feminists, anti-feminists, voyeurs, or models who enjoy watching them - the right is on their side, and we, as a designers, have to keep that in our mind. 

After all, let's not forget that one of the most famous designers of our time, Jessica Walsh, did not refuse to undress along with the undeniably the greatest ( Stefan Sagmeister) and openly stay behind the position she defends.  I do not know that she is a feminist. Or an exhibitionist. Or a moralist. None of this - just a human being with a her own cause. There are some.

3. Watch the way in which Berger deconstructs art works. Can you learn any useful skills from this?

Caravaggio, 1601, Supper at Emmaus, Oil on canvas, The National Gallery London

* Yes, there is really a lot to be learned, starting with changing the different perspective of watching a work of art, the light, the musical background that accompanies it (or silence), watching from afar and zooming in on the screen and seeing the little ones, accordingly hidden details, the layout around the painting itself (if it is in the form of reproduction) , text, other pictures surrounding... and  finishing  to double looks and interpretations of "Mr and Mrs Andrews".

*Personally, my favourite moment was the point of view of children not burdened with the care of adults and making a "deconstruction" of Caravaggio's painting "The Supper at Emmaus". Especially when they were arguing over how to determine the gender of one of the characters - a very valuable lesson!

4.Berger makes a strong case for linking art and advertising. Can you justify linking graphic design to this debate?

Berger claims that nothing has changed in advertising since the oil canvas era, to nowadays (the era of the colour prints.) And so it is, the supply and demand is similar, the difference is only in quality and in the time spent to create an oil "advertising" (because the oil pictures are actually such) and a modern design by using modern digital technologies. Of course, there are some differences. For example, as Berger mentions, contemporary advertising seems to be more focused, it represents the life we are striving for, but we haven't yet achieved, as well as the suggestion that a product is not just a product, it is an attitude… It was gone before, but at the moment it is exactly what it selling. Everything else is pretty much the same.

[onyv]

🗝 for life

[onyv]

ART NOUVEAU

Art Nouveau appears at the end of the 19th century and spreads widely across Europe and the United States. It draws inspiration from the Japanese, Oriental, Byzantine and Celtic arts as well as Impressionism.                                                      The peculiarities of the style are highlighted decoration and strong interest in the ornament and curve line. Stylised floral motifs and human images combined with asymmetric compositions are used. The emotional suggestions that are inherent in style are: refinement, elegancy, spirituality, variability, expressiveness, romance, love, tenderness, nostalgia, dreaminess.

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Origin of Art Nouveau. 

On the one hand, it is the English Arts and Crafts movement from the middle of the nineteenth century and headed by William Morris. The basis of this movement is Morris's idea of affirming the value of handmade handicrafts against the industrial products. His followers replace cheap mass production with quality handmade items. They stem from the beauty of natural forms, the tradition of old medieval styles and folklore.

On the other hand, the ideas of Art Nouveau are also based on the works of Augustus Pugin, who seeks reforming society through the plastic forms of Gothic, which he considers to be the bearer of Christian values.The artists and designers of the 1990s developed the ideas of Puigin and Morris and enriched them with new forms and materials. This also determines the aesthetic basis of the new style. The materials used for everyday use are very high quality.

It has been assumed that all forms of plastic visualisation are equally valuable (until this moment it is believed that such activities are under the artist's dignity.) 

The essence of Art Nouveau is that the art shape is particularly important, it is even more important than the content and even the most prosaic content can be represented in a highly artistic shape.

Another important aesthetic feature is the appearance of the female figure. Portraits of women are common in this style. The most common image is just a woman as a center of composition, in the way that the figure is an integral part of the ornament in the whole.

The art of posters is also developing in Paris.The emblem of this art becomes Alphonse Mucha. He designs theatrical posters and settings, but also made designs multiple packaging and patterns for mass consumption. Frequently used in them are stylised images of women whose long hair has been turned into complex decorative ornaments.

Like many of his peers Toulouse Lautrec follows the principles of Japanese engraving, which is based on the flat construction of the shapes, the exaggerated facial expressions and the strong theatrical compositions. The objects of his inspiration are dancers, actresses, singers, courtesans. He works a lot in the field of poster and advertising, raising this genre to the level of real art.

Gustav Klimt is the leading figure of the Vienna Secession. His works are very decorative and filled with erotism. Again, the woman is his main inspiration and is elevated to a cult.

In conclusion, Art Nouveau is one of the last attempts to create a common style in plastic arts, architecture, interior and furniture design, poster, book design, and more.

The aim of the architect, the artist, the designer is the creation of a synthetically complete work of art that enters the private life of man through the items that surrounds him. That's why this style is cosmopolitan.

As far as Art Nouveau artists and designers are concerned, it can be said that they develop and enrich the ideas of Pugin and Morris, and because of everything listed above we can define their work as a top-class art.

[voxsart]

Nighty Night.

Anthony Andrews, with Jeremy Irons, 1981.

[onyv]

APPLIED DESIGN PROJECT / PHASE III - DEVELOPMENT

Тази фаза се отнася до практическото развитие на вашия собствен проект, както и до постигането на основните заключения. Работата по проекта се отнася до интегрираното прилагане на знания и умения, свързани с областта на дизайна, изискващи теоретична рамка и методологична обосновка на практически проблеми, показващи уместността на процесите и инструментите, използвани по време на фазата на разработка на проекта.

В края на тази фаза трябва да доставите:

Глава 3 – Разработване на проект Глава 4 - Заключения (включително ограничения и препоръки за бъдещи проекти и за практици)

Не забравяйте ясно да подчертаете всички промени, които правите във вашия документ.

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HAPPY BIRTHDAY RINGO 🧡

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DESIGN INNOVATION - OUTCOME

USE OF Ai IN THE ILLUSTRATIONS OF ALICE IN WONDERLAND I

CONTENTS

1. INTRODUCTION

      1.1 OVERVIEW/SCOPE OF WORK 

Artificial intelligence.. It will change business, it will affect content creation, it will take over workplaces and social networks, starting from replacing physical work first, and gradually reaching the replacement of highly skilled professions such as programmers, teachers, lawyers, doctors, and all art professions (including designers!) For example, the new DALL·E 2 AI is a system that can create realistic images and art from natural language descriptions. There are some more aspects of the entry of AI into humans life in the near future:  There will be a new type of videos - without human participation, in which, by using your personal photos, the AI can fully reproduce the appearance and even the voice of the user. Thus, practically any photo can be made to speak, which will lead to a new kind of (robotic) influencers on YOUTUBE as the normal biological ones will simply disappear.  Of course, there will also be some negatives:  Some sites, such as This Person Does Not exist.com are a generators for creating people from Artificial Intelligence, and the special thing is that none of these people actually exist. Similarly, a human voice can be generated based on an existing one. In such a case, it will be really very difficult to verify who is saying what Even the identity of the speaker can be perfectly recreated from his photo. 

SOUNDRᐱW is an AI that creates a music. The users need just select the style of music and from there the AI generates hundreds of songs for them that they can combine, mix different beats, use to sound their YouTube videos, etc.

Chat GPT  is a robot (Ai) that users can talk to. It's a text system that listens them and learns from their questions. Something like Google, but instead of offering dozens of sites to read and explore, the info is arranged in a few sentences.                                                                                                                                                                     But its capabilities are much greater than that (in fact, its limitations are only the users ability to ask questions!) For example, it can be asked for health information, or to write some school homework, to create film scripts, or to offer a cooking recipe.. 

                                                                                                                                                                                                         And if we go even further…                                                         Those of us connected to Elon Musk's Neuralink will be able to input and receive information much faster because they won't be limited by our fingers. This means that compared to everyone else this will make us somewhat superhuman and we will be able to see the beginnings of two races: 

- the one that is the normal one that we know. The biological one.                                                                                      - and the one that merges with the machine.  

 

1. INTRODUCTION

      1.2 AIM, INTENT, METHODOLOGY

 AIM : 

The aim of this study is to offer an Ai-assisted layout (cover and spreads with illustrations) for the book “Alice in Wonderland" by Lewis Carroll.

METHODOLOGY :

OUR INTENT : 

We will apply what we learned from our research to our Ai-created book layout proposal.

2. RESEARCH & DISCOVERY

       2.1 CHAPTER I 

              2.1.1 Consumer culture / subculture  

MIDJOURNEY is an artificial intelligence generator                                                                                                              that turns language descriptions called "prompts"                                                                                                                     into images. With his help, everyone, without                                                                                                               mediation of artists or designers, can create unique                                                                                                                works of art in а minutes after entering text                                                                                                                      instructions. Works through DISCORD server.

This subculture arose in San Francisco, California,                                                                                                                 as a result of the need of young people (16-30+…)                                                                                                                to develop their artistic and creative digital ideas.                                                                                                                      It is globally positioned (GCCP) as it uses                                                                                                                  digitization and the entry of artificial intelligence into                                                                                                                                                                                                       our lives. It can follow the strategy: To achieve                                                                                                                              perfect realism more easily.

The scales for measuring consumer culture can be,                                                                                                            for example :

perception of quality (is the image have a very                                                                                                                                                     high quality?)

social prestige (does it represent the latest trends                                                                                                                                                                                           in digital art?) 

2. RESEARCH & DISCOVERY

       2.1 CHAPTER I 

              2.1.2 Consumer culture of Millennials 

Millennials have grown up in a time of great technological change and love technology (the internet and social media to connect with people, places.)

Motivation : creative work that has a positive impact on others.

Ideas - they believe in cooperation and sharing of all ideas and opinions without the priority of traditional hierarchy. They are good problem solvers and receptive to feedback. They are multifunctional and flexible and do not share the idea of a fixed work schedule (but they value their working time.)

Changes - they are very adaptable to changes (both technological and societal.)

Lifestyle - skillfully balance work and personal life. They value education and                                                              up-skilling.They practice healthy life style. They are not strongly attached to                                                            material things and real estate.

ALEXA is an example of a consumer product often used by Millennials in their daily lives.

ALEXA is a virtual assistant technology which replaces the expensive and difficult to carry devices from the 90s. It is small, compact and easy to carry even abroad. It is readily available and can be found at a relatively reasonable price anywhere. ALEXA is a reflection of Millennials' active lives and their affinity for technology but it's also evidence that they don't like to commit to buying things.

2. RESEARCH & DISCOVERY

       2.1 CHAPTER I 

              2.1.3 Key trends in the field of interest (market segment)

The illustrations are intended for an adult audience (both men and women) but due to the interpretive nature of the issues discussed, the focus falls on women (after all, Alice is a girl!)

The idea is to cover a wide market segment of women - from children - bordering on teenagers and socially active 'career' women to housewives.

2. RESEARCH & DISCOVERY

       2.1 CHAPTER I 

              2.1.4 Co-creation design

As an example of co-creation at the moment could                                                                                                                point the influencers' channels on youtube where the                                                                                                            followers give a feedback in the comments and                                                                                                                express their wishes for the next topic or guest on                                                                                                                 the channel - and the influencer should comply                                                                                                                           with that if wants to continue growing his channel.

As a more specific example in the field of                                                                                                                  development of Ai in life and art (and the possible                                                                                                        consequences to which this may lead) could be                                                                                                                      pointed the course 'The Future of Being Human' by

Anders Sandberg, a fellow at Oxford's Future of                                                                                                               Humanity Institute, where аs a part of the course,                                                                                                                 there are in-video quiz questions to consolidate                                                                                                            students learning and discussion boards to have                                                                                                                   their say.

During the course Sandberg explains the roots of                                                                                                           modern transhumanist thinking and the aims of                                                                                                 transhumanism, why we age and can we stop this                                                                                                            process, he predicted what humanity would look like                                                                                                                billions of years from now and does it make sense in                                                                                                                                      genetically engineered life where anything is possible.

2. RESEARCH & DISCOVERY

       2.2 CHAPTER II 

              2.2.1 Design problem

How can Alice survive in the 21st century? What challenges does she face in the era of artificial intelligence ?

The reimagining and adaptation of this character will be examined as a juxtaposition with some of the existing visual interpretations of Alice, as well as like a new modern proposal for its visual personalization nowaday.

Unlike the 19th century, when the original text was perceived as nothing more than " a healthy dose of fun and nonsense", in the 20th and 21st centuries, hidden beneath the witty puns and innocent banter, far darker trends such as violence, insanity and sexual menace began to emerge.

This understanding is also reflected in most of the modern interpretations of this world classic (films, music, graphic novels, video games) where the modern dangers facing the growing girl are presented. 

In the 21st century, Wonderland has become a dark and child-unfriendly environment, and in order to survive in it, Alice from a child must become an independent and strong woman (warrior), able to overcome all dangers and defend herself on all levels .

2. RESEARCH & DISCOVERY

       2.2 CHAPTER II 

              2.2.2 Ideation board 

REVERSE THINKING *

If the main question I need to answer with the illustrations is how to improve the experience, I will try to turn it around with the question: how to complicate this experience as much as possible?

SIX THINKING HATS ***

2. RESEARCH & DISCOVERY

       2.2 CHAPTER II 

               2.2.3 Presentation of the selected idea

BUILD THREE PERSONAS:

JO is a teenager who grew up in a troubled family: a mother who struggles with her alcohol addiction and a father who is constantly absent and absolutely indifferent when it comes to her upbringing.

Jo has a friend at school with whom she shares everything. The two girls often run away from class together to weed and drink Red Bull in the park. Also, music is a powerful factor that unites them. Together they go to concerts and live performances of various underground bands.

Despite that, Jo feels lonely and misunderstood most of the time. She is a frequent victim of verbal abuse from her classmates, who think she is arrogant and fake. She tries in every way to escape from this reality, which depresses and crushes her. Unfortunately, most of the time she have to deal with everything herself and that's why usually she feels confused and helpless.

EMMA is a manager in a large private company. She is an independent young woman who is successfully striving to build a career in her field. She is an active person and meets many people during her working day. After work, she likes to relax and have fun with friends. She has many friends and admirers, as she is quite attractive, but she is afraid of commitment and a serious relationship with any of them. Emma likes to travel abroad and do sports. She goes to the gym every day.

Her favourite are extreme sports, such as wall climbing and mountain climbing. She lives alone in a spacious studio in a quiet and isolated area of a modern city, but very often visits her parents, to whom she is very attached. Although she has had major disagreements with them in the past, they have managed to overcome them and now despite her busy schedules, daily calls with them are a necessary part of her everyday life.

Emma is doing pretty well with life, but she is not satisfied with what she has achieved and is constantly striving to get more out of it.

Liz is a 50-year-old mother of 3 daughters. She has a master's degree in design, but does not practice, as she takes care of her two younger daughters, students in high school. Her eldest daughter is married and lives separately.

Liz has a family business husband who is away most of the week, so she had to fend for herself. She doesn't have many friends and leads a secluded life devoted entirely to her daughters.

She has recently learned that her husband has multiple extramarital affairs, which he has been carrying on for years. She is disappointed, lonely and misunderstood. Always when she has free time, she reads her favourite Alice books from childhood and struggles to find answers for her own life in them.

SCENARIOS :  JO STORYBOARD

SCENARIOS :  EMMA STORYBOARD

SCENARIOS :  LIZ STORYBOARD

REQUIREMENTS

REQUIREMENTS

REQUIREMENTS

2. RESEARCH & DISCOVERY

       2.2 CHAPTER II 

               2.2.4 The importance of Storytelling in Design

JO / TARGET GROUP: Gen Z or Alpha Gen.

GOAL : To provoke discussion through an alternative to the mainstream position: Should there be limits to the use of Ai to generate images and why sometimes do we consider that the borders are crossed. 

STORY : Jo is a 15-year-old teenager who grew up with the Harry Potter, Lord of the Rings and Alice in Wonderland books and movies. Feeling lonely most of the time and misunderstood by family and classmates, she finds herself in the Midjourney multiverse, where she can create avatars of her favourite movie characters herself, with the help of Ai. Besides her, this platform is used by hundreds of thousands more creative fans (called story tellers or content creators) who produce an average of 500+ posts per day..

At first, Jo uncritically accepts each publication and each new series of images (characters). She is fascinated by the high quality and realism of the graphics. She uses every minute to enter the platform and discuss with like-minded people. 

Sometimes she staying there for hours, forgetting about time as she observes or creates images. It could be said that her addiction is complete until at some point when she begins to feel a slight doubt regarding the newly generated images and the results of them.

Jo is Gen Z and as such is completely unencumbered by racial, sexual, and gender discrimination. She tends to accept everyone equally, regardless of religion, ethnicity, nationality, sexual orientation. But this is where the doubts start.

.. or to be recognized as models for the most unusual haute couture photo shoot in Manhattan history.

And that wouldn't bother anyone. But when these original characters appear in dark-skinned...

...or non-binary avatars...

...real drama ensues, because some users 

do not want to agree with such an 

interpretation. According to them, history is 

displaced/rewritten/corrupted/corrupted 

from the original, and the creators of such 

interpretations use Mj as a front to impose 

their own theses, According to them, thus 

devaluing the true story.

Jo feels confused. She loves diversity and 

wants everyone to be able to have equal 

rights of expression, but she feels that she 

is losing ground under her feet - she herself 

could not imagine Harry as anything other 

(as a woman or dark-skinned , for example) 

than what she already knows.

In this particular case (and in general, with 

regard to all world-renowned bestsellers, 

broadcasts, etc.), she is inclined to admit 

that she would like to have a legally 

established copyright, according to which 

the originals should be preserved in their 

exact version everywhere. Even among the 

endless fields of Midjourney.

2. RESEARCH & DISCOVERY

       2.2 CHAPTER II 

               2.2.5 Environmental and sustainable characteristics options

For the preparation of the illustrations will be used:

Choice of low-impact materials                                                                                                                                              - Risograph, which is an absolutely ecological form of printing.                                                                                                 - Soy-based inks pushed through natural fiber stencils.                                                                                                                                    - Wet ink which dries only when absorbed into the paper’s surface thus not requiring much energy to fix toner like a laser printer.

Local sourcing (reduction of transport) - printing materials will be supplied by local manufacturers, without additional costs for shipping/delivery - on the one hand because of the economic bonuses, on the other - because of less environmental pollution through not using transport.

Recyclable design                                                                                                                                                                        - The cover and illustrations will be printed on 100% recycled or FSC Certified paper.                                                            - Within the work were recycled as much leftover paper which can be found, into other items. 

2. RESEARCH & DISCOVERY

       2.1 CHAPTER III 

              2.3.1 Product Development Plan

. RESEARCH & DISCOVERY

       2.1 CHAPTER III 

              2.3.2 Supply chain

2. RESEARCH & DISCOVERY

       2.1 CHAPTER III 

              2.3.3 Business strategy