Jeremy Smith Mastery Journal Full Sail University Media Design MFA

Optional Design Challenge 3.2

I greatly enjoyed this challenge due to the use of Adobe After Effects. It had been years since I used the software. Though I felt pressured to complete this assignment, I think that that pressure helped me to grow as a designer. The animation of my previous work was quite invigorating for my creative mind.

Mastery Journal 4.6

This is a reflection video of my take-aways from the course Defining Client Needs.

MDM530 Week 1

Mastery Journal 1.8

Branding for Attention

Branding for attention is a company’s attempt to appeal to the masses. This concept can also be referred to as brand awareness. Branding for attention uses strategy to catch the eye of potential customers. In this regard, a company is competing for occupancy in potential customers’ minds by becoming memorable. When businesses protract their brand, they are seeking potential client retention, and the brand must live up to its commitments to both customers and employees. Monotype and Lippincott worked closely with Southwest to create a new typeface for the company that tailored to its new identity and appealed to the heart of its customers. The key was to emphasize the symbols of Southwest Airlines’ internal culture, which focuses on humanity and a personal touch (Lippincott, 2022). Many studies have shown that employers who focus on employee engagement and values lead to more innovation and customer satisfaction. In comparison, Barrow and Mosley (2005, Chapter 7) explain how Sears Roebuck surveyed 800 of its stores and discovered that employee satisfaction accounted for eighty percent of customer satisfaction. A benefit inherent to this concept is community. A healthy employer community will bleed into customer satisfaction by demonstrating that the company “lives the brand”.

Brand for Human Connection

The field of design is a service-based industry; when professional designers create brands, those brands are made to service the consumer. The ideal brand creates a unique experience for the customer. In short, branding for human connection creates a sense of belonging for the consumer. This concept is made aware in Millman’s lecture, as she describes how brands become connectors, and use the human need to be part of a group, pack, or family to influence consumers. Similarly, Walter examples Harley- Davidson brand as a brand connector. Harley-Davidson has a devout following of bold, rule-breakers that see and express themselves in the brand loudly (Walter, 2020, Chapter 3). This “tribe” has made a loyal customer base for the company. The expectation of brand products does not make a person feel better about himself or herself, instead, the brand facilitates a sense of belonging that results in a person’s increased self-esteem. Brands help foster communities that help bring individuals to other like-minded individuals, whether it be locally or globally. One drawback of this concept is isolation. Humans form connections to fit in a group, but over-connection can result in alienation within a group.

Projection of Brand Personality

“Every interaction with a brand will either be positive or negative” (Adams, 2021), and to combat the negative interaction, brands attempt to convey their values and niches to be more human. Humanizing a brand involves taking on character traits customers value most in their relationships with other people. Some brands project personality by creating personas/characters and giving them anthropomorphic qualities. In the early twentieth century, the character of Betty Crocker was thought to be a real person because she could be heard on radio ads during a commercial break. This form of projection allowed consumers to project into and relate to the character (Millman, 2015). Not all brands use characters, and in some instances, brands use their values to create campaigns to convey their values and standards. In today’s society, brands are expected to stand up for social issues. A great example of a brand using its voice to take a stand is Patagonia’s 2011 campaign “Don’t Buy This Jacket”. The campaign urged customers to wear old jackets instead of purchasing new jackets on Black Friday. This conveyed Patagonia’s deep values of doing right by the planet (Weber, 2019, Chapter 6). Brands have to be willing to be genuine and transparent with their consumers and must be willing to shift their personalities to meet the needs of the consumer. The beneficial side of this concept is that brands with personality help consumers relate to the humane side of the brand, however, a drawback to this concept is that there is no universal solution to meet all demands of consumers.

Reference Page

Adams, S. (2021, December 02). Why bother? - Brand Design Foundations Video Tutorial. Retrieved from LinkedIn Learning: https://www.linkedin.com/learning/branding-for-designers/why-bother?autoplay=true&resume=false

Lippincott, M. &. (2022). Type with heart for Southwest Airlines. Retrieved from https://www.monotype.com/resources/case-studies/type-with-heart-for-southwest-airlines

Millman, D. (2015, June 22). Why We Brand? Retrieved from https://youtu.be/vQ0ht_9QxQs

Simon Barrow, R. M. (2005). The Business Case. The Employer Brand: Bringing the Best of Brand Management to People at Work. Wiley.

Walter, A. (2020). Personality. Designing for Emotion (2 ed.). A Book Apart. Retrieved from https://learning.oreilly.com/library/view/designing-for-emotion/9781098125608/05_DFE2e_draft-4-7.xhtml

Weber, L. (2019). Humanizing Your Brand. Authentic Marketing. Wiley. Retrieved from https://learning.oreilly.com/library/view/authentic-marketing/9781119513759/c06.xhtml#usec0006

Design Challenge Week 1

Required Challenge

MDM530 Week 2

Mastery Journal 2.8

Determining Audience Needs

A brand determines its audience needs by using strategies such as personas and surveys to understand what connects a consumer to a brand. This concept is apparent in the case study of Pepperidge Farms after it was acquired by Campbell’s Soup Company. Campbell’s acquisition led to “efficiencies” in the products of Pepperidge Farms that created a lackluster product and sales began to dwindle (Online, Case Study 2.5: Pepperidge Farms, 2022). Campbell sought the assistance of Young & Rubicam to return Pepperidge Farm products to their original glory. Y&R sought after consumers and researched their desires and behaviors, which led to the persona of Pepperidge Farms’ ideal customer. Similarly, in the interview with Brad Nix, Nix explains how part of the field research was watching consumers in actual grocery stores. This gave researchers insight into the actual behaviors of customers who chose Pepperidge Farms’ cookies as opposed to its competitors (FSO, 2.3 Research: Brand Action & Behaviors, 2022). This field research was part of the reignition process to connect consumers to the emotional-end benefit of Pepperidge Farms’ brand. Extensions to a brand will only make sense if the extension strengthens a brand and is not for temporary gain (Neumeier, 2006). The benefit of this concept is that research will help give a voice to an audience’s needs. Brands can use that voice to develop psychographic maps to create a persona of its ideal consumer.

Defining a Brand's Core

Today, brands with voices have become more prevalent. Gone are the days of super-advertising, the public wants to know why a brand matters. A brand’s core is its uniqueness and values. Brands can be both rational and emotional, and great brands can be compared to great people (Temporal, 2015). Pepperidge Farm built its reputation on quality (FSO, Case Study 2.5: Pepperidge Farms, 2022); however, its quality began to diminish after it was acquired by Campbell’s Soup. The Milano, Pepperidge Farms’ popular cookie, was reduced in quality to fit the profit margins of its parent company. Y&R refashioned the Milano by reinforcing an understanding of the brand and the need to return to quality. In comparison, the success of Starbucks can be viewed in a similar way. A passion for coffee is not required at Starbucks, moreover, employees and partners receive a strong introduction to the uniqueness and significance of coffee (Michelli, 2013). One difficulty inherent to this concept is narrowing down what a brand’s core is. Neumeier states that a quality brand should be able to answer three questions without difficulty:

Who is the brand?

What does the brand do?

Why does the brand matter?

The benefit of defining a brand’s core is that it aids brands to connect to their audience meaningfully.

Connecting to Audiences Meaningfully

The phrase “here today gone tomorrow” can be applied to superficial brands that only want to cash in on their products. But a charismatic brand connects to its audience on an emotional level by providing a genuine human experience to its customers. The Ralph Lauren brand was able to connect to its audience meaningfully by focusing on the desires of its consumers. The brand understood its customers wanted a piece of the luxurious life and it catered to their aspirations of owning opulence. In the Ralph Lauren study, the audience is the consumer; however, in the mini-documentary by Starbucks, the audience is the employee. The district manager of Oregon, Altamarino, documents her journey to Costa Rica to gain a hands-on experience in coffee farming. At the end of the documentary, Altamarino reflects on her experience and expresses the passion needed to create a single cup of coffee. She closes her reflection by sharing her pride in working for the Starbucks organization and how the experience will help her make a difference to people. Brands can benefit from connecting to consumers by becoming memorable and becoming an emotional staple in their lives. Connecting to the audience is a duty of a brand, but connecting to an audience in a meaningful way is a quality of a charismatic brand.

References

Altamirano, M. (2010, July 21). Experience Costa Rica Through the Eyes of a Starbucks Partner. Retrieved from https://youtu.be/HorGxYZwbok

Michelli, J. (2013, September). Leading the Starbucks Way: 5 Principles for Connecting with Your Customers, Your Products and Your People. Retrieved from https://learning.oreilly.com/library/view/leading-the-starbucks/9780071801256/ch04.html

Neumeier, M. (2006). The Brand Gap. New Riders. Retrieved from https://learning.oreilly.com/library/view/the-brand-gap/0321348109/ch01.html

Online, F. S. (2022). 2.3 Research: Brand Action & Behaviors. Full Sail University. Retrieved from https://online.fullsail.edu/class_sections/128043/modules/527280/activities/3091968

Online, F. S. (2022). Case Study 2.5: Pepperidge Farms. Full Sail University. Retrieved from https://online.fullsail.edu/class_sections/128043/modules/527280/activities/3091970

Online, F. S. (2022). Case Study: Ralph Lauren. Full Sail University. Retrieved from https://online.fullsail.edu/class_sections/128043/modules/527280/activities/3091970

Temporal, P. (2015, January). Branding for the Public Sector: Creating, Building and Managing Brands People Will Value. Wiley. Retrieved from https://learning.oreilly.com/library/view/branding-for-the/9781118756270/c04.xhtml#c4_1

Design Challenge Week 2

This week's challenge was to create a brand vision book for the Harvest Locavore Restaurant. The purpose of this assignment is to take the "vision" of the brand and create an extended conceptual presentation. This challenge required attention to detail as well as Indesign know-how. The brand book has been published and can be viewed here.

Week 2 Optional Challenge

The following images from the my version of the Harvest Locavore Restaurant brand vision book. The book is based off the optional challenge for MDM530 Week 1. This was a great project to complete and I learned a few tricks along the way. One thing I forgot to mention in the previous challenge was the color palette. I created the palette based on seed starting packets I had in my garage. The full book is here for viewing.

Mastery Journal: Week 1

Differentiation

The term differentiation can be interchanged with the term contrast. Contrast is achieved when opposite elements are arranged together. According to French (2018) “for editorial design, typeface combinations based on contrast are better equipped to clearly establish hierarchy.” In typography differentiation is used to engage the reader and differentiate headings, subheadings, and body copy.

Saltz believes that differentiation may be achieved by using the “Rule of Three”. This rule suggests all situations may be handled completely with the following: a good legible serif, a simple sans serif, and a display typeface. Saltz (2019) states “If the needs of the content can be served with the use of different members of a broad-based type family, it is almost always better to do so.” However, Saltz does not neglect the idea of more typefaces in content. Instead, she urges the designer to carefully consider if the content requires more expression before increasing the number of typefaces.

Both authors are thorough in their explanation of differentiation of type. With the availability of font families, it is quite possible to achieve hierarchy while using one typeface. Albeit professional designers tend to stray away from the cliché when designing content and may choose to employ additional type to express the idea or reach the goal of the given content. A key point to take away from both authors is the importance of professional designers to understand the basics of typography.

Font Families

A font family can be described as a set of a font that has a common design. Font families can incorporate styles such as italics, boldness, outlined and many more. As explained by Marshall and Meachem (2012) “such typefaces are intended to give the designer the opportunity to combine variants of a typeface that work well together.” Font families are designed to complement each other and allow a designer to differentiate sections of text without changing typefaces.

Similarly, Strizver encourages designers to use the appropriate font for the job by considering the use of super families. Super families are font families that have fonts that fall into multiple classifications. Type super families and systems usually have the same basic structure but with different finishing details, enabling them to work well together. (Strizver, 2010)

Figure 1. ITC Legacy Pro

Font families are great tools for delivering messages or content for professional designers. The world is covered in messaging and advertising that uses these families. In some cases, using more than one typeface for a design can become unnecessary, and as both sources suggest, font families can hold the solution for creating legible content.

Expressive Typography

In the article What is Expressive Typography?, Ein delves into the emotional spectrum connection of type. The author states all fonts are essentially expressive fonts in some way, as they all communicate in some way, shape, or form. (Ein, 2020) The duty of the designer is to choose the correct typeface to convey the emotional end goal of content or a design.

“[Type] is all about the quality—the quality of font, the quality of application, the beautiful balance of the page, and the well-considered hierarchy.” (Burgess & Seddon, 2012) The authors conversely relate typography to the fine arts; the two equate type to line quality of paintings or drawings. Yet, to produce a quality design, the designer must be familiar with the rules of typography and always be empathetic to the target audience.

Type not only says words but also communicates concepts too, with highly visual representation. Expressive typography, simply said, is the ability of type to communicate effectively. Ein stated that every font has a certain emotional quality, and Burgess suggest that the physical quality of a font dictates the emotions of its audience. The authors both understand the guiding principles of typography and the emotional connection that can be achieved through type. The authors encourage the reader to learn the principles of typography first before experimenting with type. Expressive typography combines the use of type with visual communication by using empathy, elements of art, and principles of design. The concept of expressive typography is a vital component of design and should be explored by all designers.

References

Burgess, P., & Seddon, T. (2012). Design: Type. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/design-type/9781592537983/chapter-04.html

Ein, D. (2020, December 11). What is Expressive Typography? Retrieved from https://design.tutsplus.com/articles/what-is-expressive-typography--cms-36080

French, N. (2018). InDesign Type: Professional Typography with Adobe InDesign. Chapter 14 (4 ed.). Adobe Press. Retrieved from https://learning.oreilly.com/library/view/indesign-type-professional/9780134891750/ch14.xhtml#ch14levlsec4

Marshall, L., & Meachem, L. (2012). How to use Type. Chapter 1. London: Laurence King Publishing Ltd. Retrieved from https://learning.oreilly.com/library/view/how-to-use/9781856698979/08_chapter-title-1.html#toc5

Saltz, I. (2019). Typography Essentials Revised and Updated. Chapter 2. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/typography-essentials-revised/9781631596483/xhtml/ch02.xhtml#lev45

Strizver, I. (2010). Type Rules!: The Designer's Guide to Professional Typography. Chapter 4 (3 ed.). Hoboken, NJ: John Wiley & Sons, Inc. Retrieved from https://learning.oreilly.com/library/view/type-rules-the/9780470542514/ch04.html#super_families_and_systems

Annotated Bibliography Week 1

Burgess, P., & Seddon, T. (2012). Design: Type. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/design-type/9781592537983/chapter-04.html

The main point achieved in this source is the importance of type choice within the field of design. The authors compare typography to fine art and breaks down the rules of typography. In the source material, the authors argue that the reader or designer must understand the basics of typography to use type successfully. The author Burgess is a successful creative director in the United Kingdom and has spent over twenty years in the design industry. Burgess’s experience is used to educate the reader on the importance of typography and its uses. Material from this source is used to support the concept of Expressive Type.

Ein, D. (2020, December 11). What is Expressive Typography? Retrieved from https://design.tutsplus.com/articles/what-is-expressive-typography--cms-36080

In the article Ein defines expressive type with reference images to substantiate her point. Ein’s claim is that expressive type is beneficial for the designer and should be a skill added to his or her designer tool belt. The article is posted on a learning platform for designers and is similar to Adobe’s tutorials, where enthusiasts can visit to learn more about design and design tools. Ein supplies an objective view on the topic of expressive type to educate the reader. She concludes the article by providing exercises and further reference articles to encourage the reader to learn more about typography. Information gained from the source are used to support the concept of Expressive Type.

French, N. (2018). InDesign Type: Professional Typography with Adobe InDesign. Chapter 14 (4 ed.). Adobe Press. Retrieved from https://learning.oreilly.com/library/view/indesign-type-professional/9780134891750/ch14.xhtml#ch14levlsec4

In the source material, French elaborates on the importance of contrast when using fonts in editorial work. French understands and illustrates the principle of contrast to as it relates to engagement and legibility. Font families, historical context, and typographic rules are addressed to aid the reader in developing copy using InDesign. The source writes in a second person to make the reader feel as though the author is directly talking to him or her. However, French presents an unbiased lesson on editorial design. Findings from this source are used to support the concept of Differentiation, yet it also relates to the concept of Font Families.

Marshall, L., & Meachem, L. (2012). How to use Type. Chapter 1. London: Laurence King Publishing Ltd. Retrieved from https://learning.oreilly.com/library/view/how-to-use/9781856698979/08_chapter-title-1.html#toc5

The purpose of this source is to guide the user in the use of type for print and screen. The introduction of the book covers the basics of typography and gives the reader the reasoning in when and where to use type. It also encourages to the reader to understand its target audience or message when using type. The authors created this book to educate designers or to offer a refresher for seasoned designers. Provided in the source material are pictorial figures to aid in the reader’s learning. The chapter presents an objective nonbiased view of typography basics and provides small activities for the future designer to strengthen his or her skills. The information gained from this source are used to support the concept of Font Families.

Saltz, I. (2019). Typography Essentials Revised and Updated. Chapter 2. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/typography-essentials-revised/9781631596483/xhtml/ch02.xhtml#lev45

The main point of this source is to explain the “Rule of Three” as it relates to typography. The “Rule of Three” suggest all situations may be handled quite thoroughly with good compatible choices of the following: a good legible serif, a simple sans serif, and a display typeface. However, the author does not shy away from the concept of mixing typefaces. The author is an art director, designer, author, photographer and Professor Emeritus of Digital Design at The City College of New York, specializing in typography and editorial design and uses her expertise to make the content relatable to the reader. The source is used to support the concept of Differentiation. Albeit the writings linger into the concept of Font Families and the concept of Expressive Type.

Strizver, I. (2010). Type Rules!: The Designer's Guide to Professional Typography. Chapter 4 (3 ed.). Hoboken, NJ: John Wiley & Sons, Inc. Retrieved from https://learning.oreilly.com/library/view/type-rules-the/9780470542514/ch04.html#super_families_and_systems

The main point of the source is to explain the importance of selecting the correct type for the occasion or subject. The author understands that all type is not created equally, and that selection of an inappropriate typeface can diminish a project. The author worked for International Typeface Corporation in New York City for twenty-five years as a designer before becoming a typographic director. Strizver currently teaches Gourmet Typography at School of Visual Arts in NYC, conducts workshops, and continues to write about her ability. The source material is used to support the concept of Type Families and the concept of Expressive Type.

MDM565 Week 2

Design Challenge: Color, Forms, and Images

For this week's challenge, students were asked to create composite images for Earth Day without typography. This was a real challenge; communicating Earth Day without type became difficult as my mind raced to find solutions. Fortunately, I remembered what I learned in the previous courses about tone and target audience. So, I created a different target audience for each composite image. The audiences for the composite images are elementary children, athletic surfers, and outdoorsmen/adventurers.

Mastery Journal: Internalized Concepts

Art vs. Design

The topic of art versus design has been debated for years and to untrained eye, art is synonymous to design. Though art and design both share similarities, in the end, art is based on personal feelings and choices. In the book Dare to Create!, Boudon also claims that one’s art is often a reflection of his or her life. Boudon instructs readers to look inward for inspiration and be child-like when making art by neglecting rules.

Design, on the other hand, uses the art elements and art principles in order to communicate a message or to create a purpose. Hembree (2006) defines graphic design as visual communication that combines visuals and language to complete an objective goal. Design is often neglected as being purpose driven as many tend not realize the effectiveness and everyday uses of design.

Many argue that the denotation of art resembles the denotation of design, which is not true. Art or fine art is subjective and is purely self-pleasuring. In contrast, Design utilizes art fundamentals to create purpose for an objective goal with the end user in mind. As echoed by the lecture, art is personal; design is purposeful.

Design Decisions

Again, design is an objective practice that combines language and art to convey a message or purpose. For any given design, the components of that design were chosen for a particular function. If there is no message, no idea, no narrative, or no useful experience to be had, it is not graphic design. (Samara, 2007) Every component of a design is a selection made by a designer to aid in effective messaging. Design is not what looks “cool”; it is always purpose-driven.

The lecture explains how design decisions drive communication, but one must first account for what it takes to decide. A decision is synonymous with judgement, and in order to make a judgement, one must have the ability to think. In the book Design Thinking, Motee understands the importance of the ability to think as a designer to form strategies that will help the designer to: help to prevent or prepare for surprises; positively influence and support innovation; and empower and engage.

As a professional designer, opinions and personal feelings are neglected in order to meet the object goal of a design. Designers are not commercial artist focused on subjective aesthetics; instead, designers are organizers that utilize design thinking to produce intention. Whether the design is consumer based, product based, or affect based, the duty of the professional designer to be objective by communicating quickly and coherently.

Types of Visual Hierarchy

Visual hierarchy can be described as the use of elements to grasp the attention of a viewer. Visual hierarchy can be achieved using images, type, or a combination of both. As far as type, the aim of typographic hierarchy is to establish the order of importance that elements are given on a page. (Krysinski, 2018) In order to establish visual hierarchy the designer must employ design decision.

Professional designers produce visual hierarchy in various ways or strategies. When creating visual hierarchy, the professional designer must use typographic refinement, as alignment, margins, and spacing play a key role in the effectiveness of a designed message. One designer might create hierarchy that uses size to grab attention, while another designer may utilize color and orientation. Either way, the design choice made should ensure that the message is appropriate, coherent, and legible.

Typographic design is the skill of arranging type and lettering elements in order to create a unified and balanced message. Krysinski advises designers to know the goal and tone of the message when creating visual hierarchy with type. While the lecture provides technical details on how to refine type that can be applied to typographical hierarchy. Upon review, neither source supplied information about the use of whitespace to add to visual hierarchy. Whitespace involves the art of doing more with less, that is, emphasizing importance without overwhelming the reader with information (The Ultimate Guide To Typographic Hierarchy, 2022). Typographic hierarchy should be used to simplify visual relationships in a design to achieve clarity, order, and purpose for the end user.

References

Boudon, M. (2019). Dare to Create: 35 Challenges to Boost Creative Practice. Chapter 1. (K. Reed, Ed.) Rocky Nook Inc. Retrieved from https://learning.oreilly.com/library/view/dare-to-create/9781681987378/Text/chapter01.xhtml

Hembree, R. (2006). The Complete Designer. Chapter 9. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/the-complete-graphic/9781592532599/chapter-09.html

Krysinski, M. J. (2018). The Art of Type and Typography. Chapter 7. Routledge. Retrieved from https://learning.oreilly.com/library/view/the-art-of/9781315301532/xhtml/13_Chapter07.xhtml

Motee, I. (2013). Design Thinking for Strategic Innovation. Chapter 4. Wiley. Retrieved from https://learning.oreilly.com/library/view/design-thinking-for/9781118748688/xhtml/Chapter04.html#sec14

Samara, T. (2007). Design Elements. Rockport Publishers, Inc. Retrieved from https://learning.oreilly.com/library/view/design-elements/9781592532612/xhtml/ch00_fm05.html

The Ultimate Guide To Typographic Hierarchy. (2022, May 28). Retrieved from Graphic Ideas: https://www.graphics-ideas.com/the-ultimate-guide-to-typographic-hierarchy/

Bibliography

Boudon, M. (2019). Dare to Create: 35 Challenges to Boost Creative Practice. Chapter 1. (K. Reed, Ed.) Rocky Nook Inc. Retrieved from https://learning.oreilly.com/library/view/dare-to-create/9781681987378/Text/chapter01.xhtml

Boudon’s purpose in writing this book is to the reader to discover and test his or her creative powers. In the initial chapter of this source, the author tells the reader that one’s journey to finding creativity may be found by simply observing the life that one lives. Boudon’s writings gives readers case studies and the author’s personal account of finding creativity to aid the reader in creating art. Boudin is an artist who specializes in watercolor painting. She currently has two books in her portfolio including the current source and a tutorial book on watercolor flowers. Boudon also offers additional tutorials via YouTube. This source supports the concept of Art vs. Design.

Hembree, R. (2006). The Complete Designer. Chapter 9. Rockport Publishers. Retrieved from https://learning.oreilly.com/library/view/the-complete-graphic/9781592532599/chapter-09.html

Hembree defines graphic design as visual communication, and the chapter reinforces his claim. The author describes the communication process in three overlapping parts: the sender, the encoder, and the receiver. The sender represents the client; the encoder represents; the receiver represents the target audience or consumer. Hembree is founder and creative director of Indicia Design, Inc., an award-winning graphic design firm in Kansas City. He is also a former graphic design professor at University of Missouri. This source presents an objective perspective of the duties and responsibilities of the professional graphic designer. Chapter nine of this source supports the concept of Art vs. Design.

Krysinski, M. J. (2018). The Art of Type and Typography. Chapter 7. Routledge. Retrieved from https://learning.oreilly.com/library/view/the-art-of/9781315301532/xhtml/13_Chapter07.xhtml

The main point of this source is to educate the reader about the art of typography in professional design. Krysinski also introduces the reader to typographic fundamentals. The Art of Type and Typography presents a realistic view of the process of creating typography for designers. The book tailors to the design industry as the author notes the use of Adobe InDesign. Practical applications of this book are suitable for novice designers and students as it is not detailed for intermediate and expert designers. Writings from the source support the concept of Types of Visual Hierarchy.

Motee, I. (2013). Design Thinking for Strategic Innovation. Chapter 4. Wiley. Retrieved from https://learning.oreilly.com/library/view/design-thinking-for/9781118748688/xhtml/Chapter04.html#sec14

Design Thinking for Strategic Innovation presents an outline for design thinking that will help improve the problems associated with business, marketing, and design. Chapter four of this book describes how design thinking can lead to business solutions. It also addresses introduces and educates the reader to the concept of strategic foresight. Strategic foresight is a deliberate and systematic process concerned with establishing well-informed future-oriented perspectives that help guide and inspire innovation, planning, and decision making. Motee is a leading expert in design thinking, and he is the CEO of Idea Couture, a global innovation firm with clients such as Amex, Burberry, and BMW. Findings from this source support the concept of Design Decisions.

Samara, T. (2007). Design Elements. Rockport Publishers, Inc. Retrieved from https://learning.oreilly.com/library/view/design-elements/9781592532612/xhtml/ch00_fm05.html

The main point of this source is to educate the reader on how to create “good” designs. Samara opens the book by defining graphic design and providing a list of rules for designers to follow to achieve design success. To be exact, Samara provides a list of twenty rules that defined and exemplified with pictorial examples for each rule. Design Elements caters to the beginning designer and the intermediate designer that seeks to improve his or her design skills. The writings from this source are objective and coherent, and the figures provided are accurate depictions of each rule. Findings from this source support the concept of Design Decisions and can support the concept of Types of Visual Hierarchy.

The Ultimate Guide To Typographic Hierarchy. (2022, May 28). Retrieved from Graphic Ideas: https://www.graphics-ideas.com/the-ultimate-guide-to-typographic-hierarchy/

The main point of this source is to educate the reader about the importance of typographic hierarchy and explain how hierarchy improves design. The blog post aims to teach the reader about creating hierarchy for print copy as it discusses and provides an illustration of display, heading, and body. Graphic-ideas.com is a blogsite created to give resources to graphic designers. It provides articles, tutorials, and updated graphic design news for enthusiasts. Information on this post is helpful for learning about typographic hierarchy on a surface level, but the author failed to review the example figures as a couple of images do not relate to the body of information provided. However, with a quick Google search, one can find the examples needed to follow along. Information found from this source are not the basis of research, instead, it supports the concept of Types of Hierarchy.

MDM565 Week 3

Design Challenges

For this week's challenge, students were asked to create banners to celebrate the Earth Day event. With this challenge, I chose to incorporate the visuals from the previous design challenge as it conveys friendliness with the child and chalk drawing of the recycle symbol. What I learned from this challenge is that alignment and hierarchy are crucial for design success.

Mastery Journal: Concepts Internalized

Combining text and images

The role of the designer is to communicate quickly and effectively. When creating designs, sometimes typography is not enough, and other support may be needed. Support can come from images, and images can from computer-generated graphics, photographs, or illustrations. As told by Cutrell (2014), “Text on an image can provide a more emotionally engaging and contextually rich experience.” The combination of text and images made by a designer are design decisions that should tell a narrative and be legible for the viewer.

Combining text and image is a skill needed by designers in order to deliver a message. As a professional designer, one should direct viewers’ attention by creating visual hierarchy when combining copy and imagery; the display headline or imagery should be an attention-getter. One strategy to use is a grid system that chunks or separates content for the viewer. Golombisky and Hagen insist that the grid is not a necessity; however, it provides a structure for placing content in a coherent way. By utilizing a grid system, content can become logical and creates flow for the viewer.

An important key to note when working with type and images is to fortify the legibility of the message. Knowledge and application of visual hierarchy will make or break a design. The grid system may be seen as a reliable structure for content, but grids are not applicable to all design situations. For example, Barbara Kruger’s artwork uses text and imagery, but instead of using the grid system, she creates visual hierarchy that incorporates contrast.

As a designer, one must not forget that the message must be delivered promptly and be decipherable for viewers. The designer must know how to create visual hierarchy; ultimately, creating a logical flow of narrative and readability.

The elements of visual design

The elements of visual design can be compared to the term ingredients. Just as a chef would use spices, herbs, and delicacies to create a dish, designers use elements such as line, shape, and color to create designs. Jirousek’s The Language of Design indicates that there are nine elements of visual design, strikingly, the author notes point being an element. Jirousek’s list of elements includes line, shape, form, texture, movement, color, pattern, space, and point. The author suggests a point can be a dot, mark, or smudge that signals the brain to make connections and spark the creation of visual compositions.

In comparison, Renderforest supplies a list of seven elements of design for a designer. The list provided by the author includes line, shape, form, color, texture, space, and typography. By listing typography as an element, Renderforest reinforces that communication is the duty of the designer.

The elements of visual design are not agreed upon by the fine art community or design industry. Jirousek claims that point is an element of visual design; however, if one was to magnify a mark or made on a canvas, it would be clear to the eye that the mark would either be a shape or line. Renderforest element of typography does signal the importance of communication, yet the team failed to realize that type is made by lines and shapes. Renderforest also did not account for icons that replace the use of words nor did it account for the use of emojis which can be used to convey emotions and situations.

The principles of design

If the elements of visual design are the ingredients to creating the design, then the principles of design are the recipe. The principles of design are considered to be rules that govern how elements are used and create order within a design. (Loew, 2021) The 13 Principles of Design & How to Apply Them list the twelve principles as balance, emphasis, repetition, movement, proportion, white space, contrast, hierarchy, rhythm, variety, pattern, and unity. The additional principle is not a principle per se; instead, the author lists Dieter Ram’s principles of good design as an additional principle for the viewing creator to consider when designing.

In comparison, Pedchenko's design principles list mirrors Loew’s list with few differences. However, seven principles are considered fundamental. These are unity, balance, hierarchy, contrast, emphasis, scale, and repetition/rhythm. (Pedchenko, 2021) The author asserts that rhythm and repetition can be interchanged as one design principle, while still listing pattern as a principle of its own. Whatever the case may be, the principles are listed to aid the designer in creating successful designs.

Just like the elements of visual design, the principles of design vary from different teams, authors, and studios. The purpose of these principles is to guide the designer or artist in the organization of the elements that he or she chooses to use. Pedchenko's list of lesser-discussed design principles is typography; color; grid; framing; shape; and Gestalt principles. Contrastingly, the Gestalt principles are listed as an element of visual design by Jirousek in The Language of Design. Each author provides proper denotations of each principle with accompanying examples. For example, each author explains rhythm as the use of flow, and flow is a description of movement. Is it wrong for the designer or reader to consider the principle of rhythm as an offset or description of the principle movement? Even though both sources are great resources, ultimately, it is the designer’s decision to create his or her own list of design principles.

References

Cutrell, J. (2014, July 8). Tips to Help You Properly Mix Text With Imagery. Retrieved from webdesign.tutsplus.com: https://webdesign.tutsplus.com/articles/tips-to-help-you-properly-mix-text-with-imagery--cms-21575

Golombisky, K., & Hagen, R. (2013). White Space is Not Your Enemy (2 ed.). Focal Press. Retrieved from https://learning.oreilly.com/library/view/white-space-is/9780240824147/14_Chapter06.html

Jirousek, C. (1995). TheLanguage of Design. Retrieved from http://char.txa.cornell.edu/

Loew, I. (2021, April 28). The 13 Principles of Design & How to Apply Them. Retrieved from www.paperform.co: https://paperform.co/blog/principles-of-design/

Pedchenko, K. (2021, December 8). 12 Principles Of Design That Make It Functional. Retrieved from thedesignest.net: https://thedesignest.net/principles-of-design/

Renderforest Staff. (2021, May 18). 7 Elements of Design: Everything You Should Know. Retrieved from www.renderforest.com: https://www.renderforest.com/blog/elements-of-design

MDM 565 Week 4

Mastery Journal: Internalized Concepts

Updated Design Challenges

Week 3 Updates

My original design for the week 3 design challenge required a little clean-up. In the updated design, the supporting graphics have been moved/removed to make the Margaret Mead quote more legible. The second banner displayed a hierarchy issue, soI removed the "Earth Day" title from the second panel and used "Come Celebrate With Us" as the heading. Emphasis is placed on the date and time of the event.

A classmate suggested that I move the Margaret Mead quote to the right banner since it was justified to the right. The rationale or design decision was made to support the alignment of the pole and quote.

Week 1 Updates

I was not satisfied with the design challenges, so I went back to the drawing board. I used the grid system to help me come up with the updated compositions.

MDM570 WEEK 1

MASTERY JOURNAL

Sonic Branding

Sonic branding is the practice of creating a unique recognizable sound for an audience. Sonic branding, also known as audio branding, simply put, is the sound or sounds of a brand.

Sonic branding is a powerful tool used by brands to retain a place in consumers’ minds. The Philips brand is a fitting example of creative audio branding done correctly. Philips is known for its production of healthcare electronics, and it used the lightbulb and human touch to create its unique brand sounds to align with its core message of innovation and human care (Baldowski, 2023). The sounds created make up the Philips Instrument which the brand uses to create its sonic identity and to create a consistent experience for consumers globally.

Philips Instrument

In comparison, Case and Day describe how cars are the most sound designed products known to man (2018). Every part of an automobile is designed to make a specific sound; different automobile brands design their vehicles to sound different from their competition. Muscle cars, like the Mustang, are designed to be loud to show the ferociousness of their engines. In contrast, electric vehicles use subtractive sound design for their quietness on startup and ride, like Tesla X.

Exhaust Design for Engine Sound

Sonic branding plays a key role in the way consumers choose products. Philips used its products and services to create an audible footprint that echoes its core message. Case and Day describe how sound is used to influence design decisions and consumer reactions. The main takeaway from the authors is that sonic branding is more recognizable compared to visuals and can create an emotional connection to a target audience.

Three Categories of Sound

Sound is defined as vibrations that travel through the air or another medium and are heard when they reach a person's or animal's ear. Sound is broken down into three categories which include speech, music, and sound effects. For film, these three categories of music can be dissected further into two types of sound—diegetic and non-diegetic.

Countless hours of research are conducted to create the sound of a brand because it must align with the brand’s core, strategy, and voice. Sound designers for Factory, an award-winning sound design facility, know the importance of music and sound when creating commercials for clients. As stated by Factory’s sound creators, music and narration have the power to dictate the story, emotion, and pace of a commercial (Mongeau, 2017). But exactly how does sound affect a brand? In the case of sonic branding, the selection of sounds plays a vital role in making a brand memorable to an audience.

For understanding, diegetic sound is defined as sounds that the viewer and character(s) can hear; while non-diegetic sound is defined as sound, like narrations, that can be heard by the viewer but are oblivious to the world of the character(s). Diegetic and non-diegetic sound play an important role in the plot of a story; the two can help create suspense or an emotional impact for the viewers (Nick, 2016). Jurrasic Park is a film that utilizes non-diegetic sound to build suspense. The sound effects used to create the presence of the tyrannosaurus can be heard by characters and viewers.

T-Rex Scene Jurassic Park

Sound plays a significant role in the human psyche. Sound can alert one to dangerous situations and it can evoke wonderful memories. The main point taken from both authors, Mongeau and Nick, is sound is a powerful force when paired with visuals. This concept can also be supported by the 2020 NHL playoff games. The 2020 NHL playoff games were held during the height of the Covid-19 pandemic and no spectators were allowed to attend any games. The crowd absence in broadcast is something that affects both the viewing experience at home, as well as the players on the field (Andersen, 2020). To combat the isolation of fans and players, the human voice was used as a sound effect to create a crowd ambiance, which means sound can be used to motivate and inspire.

NHL 2020 Playoffs

Audio Logo

An audio logo is the vibrational tagline of a brand. Audio logos normally accompany or complement a graphic logo and only last a few seconds. A good audio logo is instantly recognizable and provokes an emotional reaction in the listener (May, 2019). The term audio logo can also be called “mogo”, short for music logo, as it is a short tune a brand creates for messaging.

Though mogos are short and concise, the process of creating audio logos consists of research, trial, and error. An example of this trial and error can be heard in Apple’s startup and crash sound throughout the years.

Apple’s Startup and Crash Melodies

More brands are now integrating sonic branding into their branding kit because of its ability to catch listeners’ ears. Shell, the petrochemical company, has also added an audio logo to its brand strategy. To discover the brand’s audible trail, Shell recorded sounds at gas stations and oil rigs and was able to create a harmonious sound that complemented its brand (Olson, 2021).

Sound of Shell

The Sound of Shell is a five-note mnemonic that can also be played in variations while still being consistent with the brand.

Careful evaluation of each source can determine that each author stresses the importance of a brand’s sonic footprint to become memorable to consumers. Each source describes each brand’s development of its respected mogo, intending to get the reader to understand that a few notes are not an overnight creation. The sources provide examples of musically influenced audio logos but did not account for some of the famous audio logos that incorporate sound effects and the human voice. The end credits of the popular television show Living Single provide proof that mogos do not have to be musically influence demonstrated by Sister Lee Productions. Sister Lee Productions is an example of using the human voice as an audio logo. In the short clip, a woman can be seen swinging from a windmill yelling “Yoo-hoo” with accompanying giggles.

Sister Lee Productions Mogo

Similarly, Tollin-Robbins Productions' audio logo was sayings from popular nickelodeon shows that accompanied the visual logo.

Tollin-Robbins Productions Mogo

DESIGN CHALLENGE WEEK 1

This week’s Design Challenge is all about sonic branding — combining music with sound effects to help communicate the Earth Day event from the previous course. Sound, when used appropriately, can reinforce visual elements and can create lasting emotional connections to an event.

The image chosen for this design challenge shows the optimistic side of Earth Day by appealing to the youth. The track made for challenge incorporates elements of recycling such as trash cans and crumbling paper as well as ambience of a playground that include birds chirping and a buzzing bee. The sound of chalk is reinforced by the visual of the child creating an Earth Day with sidewalk chalk. The track is uptempo to convey a sense of excitement for the upcoming Earth Day event. The main image is a recycle symbol of Earth, and recycling is refurbishing trash into a useable product or a new product. Since the event is Earth Day and the imagery uses a recycle symbol, the design decision was to comprise a track that used recycled elements to create something new.

MDM570 WEEK 2

Design Challenge

This week students were tasked to create a text animation using Adobe After Effects. The animation is timed voice reading of a quote from Margaret Mead. The purpose of this challenge is to become familiar with the timeline, the layers, and some of the built-in animation presets in Adobe Audition.

Mastery Journal

Selective Attention

Selective attention can be described as unintentional blindness. This occurs when the brain focuses on object or task and misses the particular visuals that it deems insignificant. In short, selective attention can be described as “detail blindness”. Editors can be viewed as the unseen power of film and video as they control what message and emotions viewers see. The professional visual editor will use cues such as color, lines, and proximity to guide the viewers’ eyes to the vital information (Malamed, 2015). This concept can also be seen in the card game Three Card Monte, where the dealer or magician uses visual cues to offset the decision making of the player. Selective attention scientifically is referred to the mental ability to select relevant stimuli, behaviors, and thoughts in the midst of irrelevancies (Zhang & Lin, 2013). This ability can be dissected into two types of selective attentions-- bottom-up attention and top-down attention. Bottom-up attention is described as stimulus-driven attention. To exemplar bottom-up attention, look at this scene from the movie Nope. The host becomes oblivious to the crowd behind him as his attention and gaze looks upward to focus on the mysterious figure above. In contrast, Three Card Monte, demonstrates top-down attention, as the viewer is given information by the magician and uses his or her mental process to create a bias visual perception based on intention. Selective attention is one of the most important cognitive processes in a viewer’s decision-making process. Selective attention can be divided into two types: bottom-up and top-down attention. Bottom-up attention is when the user is only analyzing the information given to them, while top-down attention considers all the information available to make a decision. Each author understands the importance of perception and stimuli, as it can alter an experience or mood of a viewer.

Rhythm & Pacing

Rhythm is often confused with the term pacing. Rhythm for visual editing refers to timing and placements of edits throughout a story. Rhythm is the underlying structure of a story. It's the way that shots are arranged, the way they move from one scene to another, and it affects the audience's experience of the story. Rhythm is about timing, pacing, and intuition in editing (Pearlman, 2016). Timing frequently refers to duration or the length of time a shot is held. It is the aspect of rhythm being referred to when one says something feels long or short. Pacing and timing manipulates the audiences' sensations of fast and slow. For an editor, the word "pacing," actually refers to three things: rate of cutting; rate of movement or change within a shot; rate of overall change. Pearlman’s concept is exemplified in the case study of Old Spice’s commercial “The Man Your Man Could Smell Like”. In the commercial, the main actor recites his monologue during a single long take with accompanying random costume changes and changes of scenery. The prompt and orchestrated edits and exaggerated message infused the brand identity with humor, and quickly won over audiences (Baldowski, 2023). In short, each of the authors understand the importance of story and the components needed to create a visual story. Rhythm is the complete story established by edits, instinct, and transitions.

Pacing occurs when an editor lengthens or shortens content to suit the emotion or action needed for the plot. Often confused with rhythm, pacing, in short terms, is the timing of cuts. The pace of an edit is a major component of the flow and rhythm of a story. Pacing is an instinctive skill that cannot be measured; it is what allows viewers to breathe or digest information within a clip (Dulaimy, 2018). Dulaimy’s concept is apparent in the Robocop: Comparison between Theatrical Cut and Director's Cut. In the director’s cut, notice that the pace slightly changes with more violent cuts, and the use of time extension to provoke emotion in the viewer. To the untrained, pacing will be defined as “how fast” or “how slow”, which is not necessarily correct. Hockwrow (2015) declares pacing is an abstract concept that cannot be measured because it relies on the “gut feeling” of the storyteller, the editor. Through the use of timing and the use of various cuts the editor can convey the message of a story. Again, there are no quantities for pacing, there are principles that guide it that are similar to the principles of design. For example, pattern can also be used when editing a story. Pattern is a recurring editing style in a film that mirrors itself in key moments that require close viewer attention. This concept is often used by Quentin Tarantino. Rhythm and pacing are often confused, but they are not the same. Rhythm is the underlying structure of a story--the way shots are arranged, the way they move from one scene to another, and it affects the audience's experience of the story. Pacing can be found in the length of each shot, how often shots are interrupted by other shots, and even in how long it takes for things to happen in each scene. In short, both Dulamaiy and Hockrow acknowledge that an editor must be a storyteller that has insight to make design decisions that will support the story.

References

Baldowski, D. A. (2023). 2.5 Case Study. Retrieved from Full Sail Online: https://online.fullsail.edu/class_sections/140888/modules/557275/activities/3255042

Dulaimy, S. (2018, August 6). Film Editing — The Importance of Rhythm and Pace. Retrieved from Avid: https://www.avid.com/resource-center/film-editing-the-importance-of-rhythm-and-pace

Hockrow, R. (2015). Out of Order: Storytelling Techniques for Video and Cinema Editors. Peachpit Press. Retrieved from https://learning.oreilly.com/library/view/out-of-order/9780133579635/ch04.html#ch04lev1sec1

Malamed, C. (2015). Visual Design Soulutions: Principles and Creative Inspiration for Learning Professionals. John Wiley & Sons, Inc. Retrieved from https://learning.oreilly.com/library/view/visual-design-solutions/9781118864043/c12.xhtml#c012_level1_3

Pearlman, K. (2016). Cutting Rhythms (2 ed.). Focal Press. Retrieved from https://learning.oreilly.com/library/view/cutting-rhythms-2nd/9781317516422/xhtml/Ch03.xhtml

Zhang, L., & Lin, W. (2013). Selective Visual Attention: Computational Models and Application. John Wiley & Sons Singapore Pte. Ltd. Retrieved from https://learning.oreilly.com/library/view/selective-visual-attention/9781118060056/c01anchor-2.html#c01anchor-2

MDM570 WEEK 3

Design Challenge: Motion Graphic

For this week’s required Design Challenge, students were asked to revisit the Photoshop work that we did previously for Earth Day. By importing my Photoshop file into Adobe Premiere Pro and adding sound, motion, and text animation, I incorporated many of the effects and techniques learned through the previous Design Challenges to make an interesting, dynamic video.

Mastery Journal: Week 3

Motion Graphics

To define motion graphics, one must know and understand the definitions of animation and graphic design. Motion graphics live in the blurred middle of animation and graphic design and it is meant to use animation to deliver information. The goal of motion graphics is to present information using animated elements to achieve a certain communication purpose (Unknown, 2022). The purpose of graphic design is to communicate quickly and effectively. Similarly, motion graphics are designed to deliver information in a visual way that is easy for the viewer to understand. An example of this concept can be seen on a lock screen of an iPhone when a user inputs an incorrect passcode. Once the incorrect passcode has been entered, the concealing circles of the passcode begin to shake to signal something is not right. Motion graphics are often accompanied by music and a perfect example of this is NBC's transition from its radio logo to its current peacock logo. NBC's transition and rebrand are symbolic of the changing times and growing technology over the years (Baldowski, 2023). NBC had its beginnings in the early part of the 20th century with radio broadcasting; the brand was recognizable by its audio logo, the three chimes. As times changed and television started to gain popularity, NBC debuted its first peacock logo in 1956 and throughout the twentieth century, the brand changed its logo but ultimately returned to an updated peacock logo that featured NBC's iconic audio logo. After evaluating both sources, it is clear that both authors agree that motion graphics is an art form that uses animation and computer-generated imagery to create an image or video. A motion graphics designer creates, animates, composes, and directs these images to relay a message or to promote brands.

Difference between Animation and Motion Graphics

As stated previously, the terms and process animation and motion graphics often overlap. The denotative definition of animation is the process of creating motion using still images, while motion graphics are defined as graphics that are organized and animated for messaging purposes. Animation is meant to entertain first and inform later. Animation can be an entirely different way to tell stories that will create an emotional response in an audience. Because animations are visual narratives, Blazer urges the animator to use the "three-act storytelling structure" to build an engaging story. The three-act storytelling structure is a linear story with three basic steps or acts: 1. A character has a problem. 2. The character works towards a solution. 3. The character solves the problem, usually in a surprising way (Blazer, 2016). The possibilities of animation are limitless, and It allows one to use his or her imagination and creativity to tell countless stories, create different worlds, and break the laws of physics. Motion graphics, on the other hand, are animated visuals with the primary goal of informing. Motion graphics can be considered to be visual aids that make information and abstract ideas easier to understand (Ellis, 2019). When there is no need for a story, motion graphics should be used to spotlight the facts or important information. To provide a clear distinction between animation and motion graphics, one must understand the primary purpose of each practice. Animation is meant to entertain; motion graphics are designed to inform. An example of the combination of the two practices can be seen in the "Sunflower" music video for the Spider-man: Into the Spider-Verse animated film. The video is an animated narrative of the main character that uses motion graphics to show the lyrics of the song. Ellis and Blazer both agree that animation should be reserved for a visual narrative, yet Blazer claims that a motion graphic can adhere to the three-act storytelling structure as well. While the designer may not be working with characters that are aiming to solve problems, he or she will likely have a question that needs to be answered and the three-act structure will be of assistance (Blazer, 2016).

Language of Motion Graphics

Since the primary purpose of motion graphics is to communicate or inform it incorporates the language of graphic design. However, since motion graphics are a form of animation, it also incorporates some of the languages of animation and film. Krasner insists that to be competent in motion graphics one must understand the language of motion and become motion literate. He separates motion literacy into three components. The first component is primary motion or object motion which refers to the movement of elements over time and across space. Choreographing primary motion mandates an awareness of an object's spatial properties including positioning, size, spatial orientation, and direction of travel. The second component is secondary motion or camera motion, the perceived motion of the viewer that dictates how the content is framed over time. The last component is temporal consideration or time consideration. Temporal considerations play a considerable role in shaping primary and secondary motion (Krasner, 2013). In the article, The Language of Motion, the Creative Bloq team describes the practice of motion design while also providing insight into theories that help make creating motion graphics digestible for viewers. One example provided by the article, The Crisis of Credit Visualized, uses motion design to explain a complex economic into a short informative visual, that utilizes simple graphics, sound effects, and voice-over, a cinematic technique. One theory described in the article is Cognitive Load Theory, which is the idea that every learner can process only a limited amount of information over a given time. This theory gives purpose to the use of cinematic techniques such as cuts, transitions, and simple visuals for motion graphics. To create motion graphics, one must understand the language of motion. The language of motion can be broken down into three main categories; however, motion graphics are composed of three components: graphic design, animation, and cinematography. Motion graphics uses elements from each practice to communicate an idea or message; it is all about information or message and involvement with the viewer.

References

Baldowski, D. A. (2023). 3.5 Case Study. Retrieved from Full Sail Online: https://online.fullsail.edu/class_sections/140888/modules/557276/activities/3255050

Blazer, L. (2016). Animated Storytelling: Simple Steps for Creating Animation & Motion Graphics. Peachpit Press. Retrieved from https://learning.oreilly.com/library/view/animated-storytelling-simple/9780134133812/ch02.html#ch02lev1sec1

Creative Bloq Staff. (2014, January 06). Discover the language of motion design. Retrieved from Creative Bloq: https://www.creativebloq.com/graphic-design/discover-language-motion-design-11410269

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

Krasner, J. (2013). Motion Graphic Design: Applied History and Aesthetics (3 ed.). Focal Press. Retrieved from https://learning.oreilly.com/library/view/motion-graphic-design/9780240821139/015_9780240824703_chapter6.html#ch6.1

Unknown, S. (2022). What Is Motion Graphics and When to Use Them. Retrieved from CreatorKit: https://creatorkit.com/blog/what-is-motion-graphics

MDM570 WEEK 4

Updated Challenge: Week 3

Mastery Journal: Internalized Concepts

MDM615 Week 1: Brand Messaging

Name of product/service/business:

When choosing a name for sports team, there are a few particulars consider. For example, is the team based in a large city? Will the team play regionally or nationally? Geography will normally determine the name of a said team. There are several geographical factors that affect the location of sports teams, and in this instance these factors are population of the area and affluence of that population. (Burdett, 2017)

Most organized sports teams often choose to use the name of a metropolitan city within the state or may use the name of the state with an accompanied mascot. In the case of the Chicago Bulls, the city was a known metropolitan area known for meat packaging in the 1960s and the symbol, the bull, represents power and strength (Lee, 2015).

In hockey, an enforcer is a symbol for the working-class hero, an ice hero whose job is to respond aggressively - menacing and checking dirty or violent play by the opposition. According to the brand profile, the organization has chosen the name Las Vegas Enforcers, as enforcers are guardians of the ice and often seen as a player of virtue.

Market Category:

Njogu (2021) states that an organization that segments business based on demographics, psychographics, and geographic characteristics are consumer market organizations.

For example, the Dallas Cowboys are a consumer market organization. The city of Dallas is one of the largest metropolitan areas in the Dallas-Fort Worth metroplex, and though the team is named after Dallas, Texas, the actual stadium is located in Arlington, Texas, a mid-point for all cities in the metroplex. The franchise not only sells tickets to its sporting events, and it also provides fans novelty and merchandise to purchase.

The Las Vegas Enforcers organization aligns with the market category of consumer market.

Location:

Las Vegas is renowned for its casinos and tourist attractions. The self-claimed “Entertainment Capital of the World” is famous for its mega-casinos, hotels and associated activities and serves as the financial, commercial, and cultural center for the state of Nevada. Las Vegas contains prime opportunity for a consumer market.

Aerial photo of the Las Vegas strip.

The Las Vegas Enforcers organization is based in Las Vegas, Nevada. The city of Las Vegas is known for its novelty and stimulation. It is regarded as one of the top-three destinations in the United States as described by the brand profile.

Feature and Benefits:

Features are specific aspects of a service or product. The term benefits are the values of the aspects of product or service that gives the consumer a tangible or intangible gain. Horberry (2014) urges writers or creators to understand the benefit of a feature by using empathy—the ability to feel what the reader feels, to identify with them.

In comparison, Shewan (2022), urges copywriters to use a feature-benefit matrix to find multiple benefits of one feature, which will ultimately aid in creation of the call-to-action. Feature-benefit matrices help marketers ensure that messaging is consistent, relevant, and accessible to end-users.

Need:

As stated by Argo (2023), in order to understand the benefit, one must understand the need. According to Felton (2013) there are twelve needs that determine why consumers buy. This list, known as the “Shopping List of Needs” contains fifteen reasons why buyers are attracted to certain brands.

Toyota’s “Let’s Go Places” ad campaign is an example of the need for novelty.

As stated in the brand profile, the Las Vegas Enforcers, formerly Las Vegas Wranglers, had unsuccessful franchise history and needs stronger ties to the local communities, which is stated in the SWOT analysis of the organization. Because of the organization’s low ties to locals, the Las Vegas Enforcers has a need for affiliation, or the need to be closely associated with the Las Vegas communities.

Demographic:

Demographics can be defined as the quantifiable statistics of any given population. They are used to identify subsets of a population by using tangible or quantifiable characteristics. (Unknown, 2014)

As stated in the brand profile, the demographic of the Las Vegas Enforcers are males (55%) and females (45%), mostly between the ages of 25 and 45. Most fans are married, college graduates (65%), and homeowners (80%) with the averaging income of $65,000.

Psychographic:

Psychographics can be defined as a study of values, personality, lifestyle, opinions and interests of people of a certain community (Unknown, 2014).

Victor- Victor is the manager of a telecommunications company and works five days of any given week. He prides himself on his ability to keep the maintenance up on his home. Victor and his family enjoy sports and being around like-minded people. He is part of a few clubs in his community, one of which is a kickboxing club.

Vivian- Vivian is a traveling nurse and is a native of the Las Vegas area; she enjoys taking on traveling assignments in the hotter months. One of her favorite hobbies is hiking. Vivian is very active on social media, detailing places to go for her friends and followers. Vivian has just started a Facebook reading club.

Basic Competitive Review: (what do you think the differentiation is for 3 competitors?)

Las Vegas Golden Knights

NHL team based in Las Vegas, Nevada with a larger platform and has fans across the nation. Attending a hockey match requires more expenses.

UNLV Runnin’ Rebels

Collegiate basketball team with lifelong fans. Runs a five-month season. Games are broadcasted on a regional network.

Las Vegas Legends

Men’s soccer team and member of National Premier Soccer League (outdoor). Lead the 2020 NPSL Season Power Rankings and has competitive event pricing.

Differentiation for your product/ service/ business:

The Las Vegas Enforcers is a new organization that provides its players the opportunity to advance their game. The Las Vegas Enforcers are also committed to connecting to the local communities meaningfully.

Onlyness Statement

Las Vegas Enforcers is the only mid-level professional ice hockey team out of Las Vegas, Nevada that provides affiliation, belonging, and comradery through community outreach to lively families, community members and adventurous tourists.

References

Burdett, M. (2017, November 11). Geography of national sports leagues. Retrieved from Geography Case Studey: https://www.geographycasestudy.com/geography-of-national-sports-leagues/

Lee, A. (2015, August 7). How Sports Teams Got Their Names. Bleacher Report. Retrieved from https://bleacherreport.com/articles/2538917-how-sports-teams-got-their-names

Njogu, T. (2021, February 12). Difference Between Business Market and Consumer Market. Retrieved from http://www.differencebetween.net/business/difference-between-business-market-and-consumer-market/#:~:text=Definition,directly%20to%20the%20final%20consumers.

Shewan, D. (2022, April 6). Features vs. Benefits: Here’s the Difference & Why It Matters. Retrieved from https://www.wordstream.com/blog/ws/2017/02/21/features-vs-benefits

Unknown, J. (2014, July 19). Difference Between Demographics and Psychographics. Retrieved from https://www.differencebetween.com/difference-between-demographics-and-vs-psychographics/

MDM615 Week 2: Voice and Tone

Introduce the project. What is it? Who is it for? How will it be used?

This project is aimed to solve the voice-tone need of an ice hockey organization through the creation of a theme. The Las Vegas Enforcers is an organization is based in Las Vegas, Nevada, and is part of the e ECHL (formerly known as the East Coast Hockey League) as a mid-level professional ice hockey league. As stated in the brand profile, the Las Vegas Enforcers, formerly Las Vegas Wranglers, had unsuccessful franchise history and needs stronger ties to the local communities, which is stated in the SWOT analysis of the organization. Historically, the organization’s low attendance figures the Las Vegas Enforcers has a need for affiliation; yet, its target audience has a need for diversion, or the need to be amused or break the routine (Felton,2013).

Onlyness Statement (Transformed):

Las Vegas Enforcers is the only mid-level professional ice hockey team out of Las Vegas, Nevada that provides a platform to build belonging, excitement, and novelty to lively fans and adventurous tourists through events that promote a positive influence on the Las Vegas community.

Theme: Modern Comic Book Heroes

In order to create a theme for the team Las Vegas Enforcers, one must understand why the organization chose “enforcers” as its name. On an ice hockey team, an “enforcer” is an ice guardian whose valued and heroic job is to respond aggressively - menacing and checking dirty or violent play by the opposition. They Enforcers are seen as working-class superheroes—discreet types with an alter ego willing to do the sport’s most dangerous work to protect others. Las Vegas Enforcers is a brand with a history of hardship and has reinvented itself to operate in a post-Covid world, oddly enough, giving the brand a unique story.

A brand’s core theme should have momentum and overarching points that will be used (Busche, 2017); the key words that ignited the creation of the Las Vegas Enforcers’ personality were “guardian” and “working-class superheroes”. Comic book super teams such as the X-Men, Fantastic Four, the Justice League all came to mind during this process; yet, many comic book hero beginnings start at different “comic ages”. Since the 90s the rise of the complex character and anti-hero has become increasingly more popular. Some notable examples in film and television are the film Logan (Wolverine), the series Umbrella Academy, and the film Suicide Squad. Understanding trends over time can help build greater consumer comprehension and assist the brand experience to be current and successful (Joseph, 2010). This ultimately led to the theme of “Modern Comic Book Heroes.”

Brand Personality (is / isn't)

Bold/ Safe

Appealing/ Repulsive

Heroic/ Dastardly

Motivational/ Dreary

Persevering/ Cry babies

Modern/ Retro

Potential Taglines (Battle Cry)

1. We got ACTION!

2. Enforce LV!

3. We bring the BOOM!

4. You bring the noise; we enforce the ACTION!

In order to create the voice and tones of Las Vegas Enforcers, the is/isn’t chart was created to determine how the brand should communicate via different media platforms. The is/isn’t model aided in creating the brand voice by listing verbs that are consistent with the theme and research conducted of the organization, market, and target audience. As suggested by Joseph (2010), the brand voice cannot be determined by data alone, so the psychographics of Las Vegas Enforcers were also used to complete the is/isn’t list. The brand voice of the Las Vegas Enforcers is avenging, bold, and motivational. Brand voice allows the consumer to view a brand as a like-minded peer, trusted advisor, or source of inspiration (Gray, 2013), thus supporting consumer tribalism.

Positioning Statement (Origin Story):

In a city known for its vices, the Las Vegas Enforcers aim to change the narrative of what action is in Las Vegas, Nevada. The team is composed of a group of bold, gritty, and fearless men that face off against the dishonest teams of the ECHL. By embodying the winning spirit of its community, the Las Vegas Enforcers emerge as glacial heroes. Las Vegas Enforcers will turn any situation into an opportunity for victory and invite you to join the team by becoming a part of something larger than yourself.

Reference

Busche, L. (2017). Powering Content. Chapter 5. O'Reilly Media. Retrieved from https://learning.oreilly.com/library/view/powering-content/9781491963739/ch05.html#documenting_your_voice_and_tone_guidelines

Felton, G. (2013). Advertising Concept and Copy (3 ed.). W. W. Norton & Company. Retrieved from https://books.google.com/books/about/Advertising_Concept_and_Copy_3rd_Edition.html?id=WRouAAAAQBAJ

Gray, F. (2013, October 11). Hear, and be heard. Retrieved from https://issuu.com/interbrand/docs/hear_and_be_heard_by_fell_gray

Joseph, J. (2010). The Experience Effect Engage Your Customers with a Consistent and Memorable Brand Experience. Chapter 22. AMACO. Retrieved from https://learning.oreilly.com/library/view/the-experience-effect/9780814415542/chapter-22.html

MDM615 Week 3: Look and Feel.

VISION BOARD RATIONALE VIDEO

MDM620 WEEK 1: LOGO CONCEPTS

Logo Option #1

The purpose of the design is to create a visual identity of the Las Vegas Enforcers that emphasizes the name of the team. The design functions as a heading and wordmark for the Las Vegas Enforcers. The design communicates “boldness” through typographic hierarchy. The header font is bold to emphasize the team’s name; the subheading font contrasts the thickness of the header to show the location of the team by being placed in the form created by “Enforcers”. The design identifies the Las Vegas Enforcers by representing itself as a beveled comic book title for a comic book, like classic Godzilla comic book titles.

Logo Option # 2

The purpose of the design is to create a visual identity of the Las Vegas Enforcers that emphasizes the name of the team. The design’s purpose is to be a wordmark that creates visual movement. Action films commonly use text set on the diagonal to suggest the momentum and dynamism of the narrative (Blakemore, 2020). The design identifies the action of game of ice hockey and connects to the theme of comic book by conveying the movement of a comic book “explosion” or “smack”.

Logo Option #3

The purpose of design #3 is to be a badge that represents the Las Vegas Enforcers as a hockey team. The badge is created using two ice hockey sticks that encloses the name of the team. Design #3 is rectangular in shape. Rectangles are the most common shapes in graphic design projects, and are seen every day in street signs, shops signs or sheet of paper (Iakovlev, 2023). The resolution of this design is cliché; however, it is straight to the point of whom the Las Vegas Enforcers are. Design #3 indicates that the Las Vegas Enforcers are an ice hockey with the use of the ice hockey sticks. From the SWOT analysis, enforcers are seen as working-class heroes. Design #3 relates to the audience of Las Vegas Enforcers as it resembles the name badge of a blue-collar worker.

Logo Option #4

The purpose of design #4 is recreate the onomatopoeia “Boom” and complements the theme of comic book superheroes. Design #4 uses abstract shapes that have figurative meaning. The abstract shapes are used very common in logo design as they are effective in creating a unique look and feel (Iakovlev, 2023). The tagline of the Las Vegas Enforcers is “Bring the BOOM!” and design #4 replaces “BOOM” normally seen in an explosion shape with the team’s name. The name of the team is well-defined within the design by being placed inside the abstract shape of an explosion. Design #4 use of abstract shapes represent an explosion and the mountains of the Nevada.

Logo Option #5

The purpose of design #5 is personify the tagline “Bring the BOOM!”. The design is the representation of an aerial bomb of World War II, as comic book sales were at its peak during the Golden Age of Comics (Unknown, 2014). Design #5 communicates to the viewer that the Las Vegas Enforcers is a fierce and explosive team that is ready to strike. The fierceness is the painted menacing face on the bomb which is descending on its target (opponent). Design #5 differentiates the Enforcers in the ECHL as most team logos incorporate some form of equipment from the game of ice hockey in their logos.

Logo Option #6

(Iakovlev, 2023)The purpose of the design is to show the competitive aggressiveness of the Las Vegas Enforcers. Design #6 is inspired by the native fauna of Nevada, the desert big-horned sheep. Big-horn sheep are best known for their head-on combat against other males. Horn size symbolizes rank and when is used in battle, equates to a man hitting another man with a punch of twenty miles per hour (Katirci, 2023). The silhouette of the desert big-horn sheep gestures the movement of a jumping ram in mid-battle. The tagline, “Bring the BOOM!” pushes the narrative of the design by demonstrating a big-horn sheep about to ram an opponent.

Reference

Airey, D. (2014). Logo Design Love, Annotated and Expanded Edition, Second Edition. Peachpit Press.

Baldowski, A. (2023). Lecture 2.2. Retrieved from Full Sail Online: https://online.fullsail.edu/class_sections/165953/modules/578481/activities/3372149

Blakemore, A. (2020, AUGUST 11). More Than Words: The Art of Typography in Film Posters. Retrieved from LINKEDIN: https://www.linkedin.com/pulse/more-than-words-art-typography-film-posters-adam-blakemore

Iakovlev, Y. (2023). Shape Psychology in Graphic Design. Retrieved from ZEKAGRAPHIC: https://www.zekagraphic.com/shape-psychology-in-graphic-design/

Katirci, H. C. (2023). Bighorn Sheep. Retrieved from FARMOW: https://www.farmow.com/breed/bighorn-sheep

Unknown. (2014). The Golden Age Of Comics. Retrieved from PBS: https://www.pbs.org/opb/historydetectives/feature/the-golden-age-of-comics/

MDM620 WEEK 3: LOGO VECTORS

This project is a continuation of creating a brand identity for the Las Vegas Enforcers. The dilemma of the Las Vegas Enforcers is that it is a “new team on the block” that lacks identity and affiliation to its community. The aim of this project is to create a visual flag for the Las Vegas Enforcers that portrays the Enforcers as the heroes of “Sin City”.

Phase 1: Sketch Evaluation

Evaluation is a vital skill of a professional designer; it requires the designer to be honest and objective about the design he or she created. The goal of evaluation is to assess the effectiveness of a design’s message; the designer must address the needs and desires of the client first, which may at times mean making design decisions that do not align with their own (Hembree, 2008). The first phase of evaluation was to critique the initial six of logo concepts; logo concepts were completed in black and white to focus on shape and form of each design (Baldowski, 2023). Since each design was completed in single color, contrast was emphasized.

Concept 1: The message to be conveyed in this design is a “heroic” title found in comic books. The visual hierarchy places more weight and importance on the word “Enforcers” while still offering the location of the team. The stars are an abstract symbol of the shape of the famous “Welcome to Las Vegas” sign.

Concept 2: The focus of this concept was the shape of the type. To emphasize movement and action of an, text was warped to illustrate an explosion. However, the concept looked like floating text, so an outline container was added to create a badge.

Concept 3: This concept illustrates affiliates the Las Vegas Enforcers with ice-hockey. The ice-hockey sticks enclose Enforcers in a progressive rectangle created with white space. Geographic information is arranged in front of the upper hockey stick with an optional tagline in the bottom hockey stick. No changes were made to this concept.

Concept 4: The message centered around the concept is explosion. Similar to concept 2, emphasis is placed on “Enforcers” with accompanying geographical location. The typography sits between a multi-edge bubble. Multi-edged bubbles usually represent screaming or a message out loud (Hernández, 2022).

Concept 5: This concept illustrates that the Las Vegas Enforcers are explosive. Atop of the team’s name is an aerial bomb and background explosion. The bomb (mascot) was inspired by the hand painted bombs and bomber planes of World War II which took place during the

Golden Age of Comics and connects to the theme of comic book heroes.

Concept 6: This concept focuses on the action of warring, male big-horned sheep, native fauna of Nevada. This concept illustrates a jumping ram (verb); however, an additional big-horned sheep was needed to illustrate the noise created when two sheep collide. The hockey sticks were removed and replaced with a multi-edge bubble to convey action.

Phase 2: Creating and Evaluating Vectors

Each of the six concepts were vectorized in illustrator in black and white in order to focus on form and shape, further refined, and then colorized. Concepts such as the Golden Ratio, Of the six concepts only two were chosen after experimentation and refinements.

Concept 1: This concept placed emphasis on the “Enforcers” yet lacked action and excitement.

Concept 3: This concept contained proximity issues and the geographic information became lost at small scale.

Concept 4: After review, the design contained overlapping issues and did not convey the “boom” effect. It resembled more of a rip in a page. Additionally, the rectangular container did not match the abstract influence of the multi-edge bubbles.

Concept 6: Concept six proved to be a strong candidate for iconography, yet at a quick glance viewers confused the concept with the Red Bull brand.

Phase 3: Finalized Vectors

Lidwell (2017) states that an effective logo will create an emotional response in viewers and the chosen designs were based on stimuli response of basic shapes and typeface that align with the brand of the Las Vegas Enforcers. Each design contains a significant amount of angular shapes that signals dominance, authority, and action.

Concept 2: The typography in this concept had a stronger tie to the word action. The warped text offers greater movement than any other concept on the page. Initially the container shape around the type resembles the Chevrolet icon and Sta-Home Health logo, so the decision was made to swap container for the explosive bubble in concept six.

Concept 5: The rectangular wordmark of this concept was swapped for the action-based wordmark of concept two. The mascot contained slight errors in the paths, and further refinement was needed. The bomb vector was flat, missing visual form, so reflections and an outline were also added to the design.

The first phase of this project allowed the designer to focus on the shape and forms of the visual identity of the Las Vegas Enforcers. The evaluation of each design helped determined the effectiveness of each concept in relations to the theme, comic book superheroes. Rand (2023) stresses that a logo derives its meaning from the quality of the thing it symbolizes; the chosen concepts do not offer insight to what the Las Vegas Enforcers are instead it symbolizes the brand—action, boldness, and heroism.

Reference:

Baldowski, A. (2023, April). 3.2 Lecture. Full Sail Online. Retrieved from https://online.fullsail.edu/class_sections/165953/modules/578483/activities/3372161

Hembree, R. (2008, January). The complete graphic designer. O'Reilly Online Learning. Retrieved from https://learning.oreilly.com/library/view/the-complete-graphic/9781592532599/chapter-07.html

Hernández, I. P. (2022, July 17). Meaning of speech bubbles in comics. Ilka Perea Studio. Retrieved from https://ilkaperea.com/2019/08/15/meaning-of-speech-bubbles-in-comics/

Lidwell, W. (2017, August 29). The ARMM model - The science of logo design video tutorial: Linkedin learning, formerly Lynda.com. LinkedIn. Retrieved from https://www.linkedin.com/learning/the-science-of-logo-design-2/the-armm-model?autoplay=true&u=50813145

Rand, P. (2023, April). Logos, flags, and Escutcheons. Paul Rand. Retrieved from https://www.paulrand.design/writing/articles/1991-logos-flags-and-escutcheons.html

MDM620 WEEK 4: STYLE GUIDE

STYLEGUIDE PAGES

MDM650 Week 1: Media Choices and Planning

Multiplatform delivery is key marketing strategy to engage consumers by creating consistency and cohesion through brand voice, brand tone, and design. The Las Vegas Enforcers have chosen to complete six media assets to accomplish brand awareness. These assets are:

Stationery Package

Social Media Package

Logo Animation

Ticket Package

Team Uniform

30 second radio/streaming ad

The brainstorming or Ideation phase of the project initiated with the creation of a production schedule. This schedule functions as a plan and foundation-firming for the assets needed for the brand. To summarize Mootee (2013), planning is a design thinking. For the stationery design package, useful information was attained from an article from Canva (2023) that exemplifies various stationery packages along with helpful tips to assist in the messaging of the brand. Key concepts taken from the article are “keep it simple”, “enlarge your logo”, and “don’t neglect the reverse side.”

Social media platforms are a highly competitive place for a new brand. The best way to gain the attention of a scroller is to use great design. Great design will force followers to pay attention and listen to what a brand has to say (Levanier, 2020).

Problem Solving & Collaboration

Along with the production schedule, the focus of the week was creating the thumbnail sketches for the media assets. The inspiration and guidance for each design was printed and read earlier in the week. The goal was to create sketches that were consistent with previous brand visuals created for the Las Vegas Enforcers. There was little collaboration done within the week for thumbnail sketches. However, encouraging words from peers did aid in the completion of the coursework needed this week.

Acquiring Competencies

One of the acquired competencies gained from the coursework was the details one needs to understand when designing for static media for print and web. It's no secret that people are on devices more than ever. Whether it's to check the weather or to check on friends, people are connected online more than ever. Today, nearly two-thirds of cell phone owners use their phones to browse the web, and twenty percent use their phones to do most of their web browsing. Ultimately, designing for such smaller screen requires the designer to focus on the important information as too many details will become lost.

Reference

Johnny Levanier. (2020). The Complete Guide to Social Media Design. 99 Designs. Retrieved from https://99designs.com/blog/marketing-advertising/social-media-design/

Ridden, S. (2023). PRINT VS. WEB, STATIC VS. INTERACTIVE. Data + design. Retrieved from https://trinachi.github.io/data-design-builds/ch16.html

Unknown. (2023). 20 Striking Letterhead Examples. CANVA. Retrieved from https://www.canva.com/learn/striking-letterhead-design-20-case-studies-to-inspire-you/

MDM650 WEEK 2: MEDIA 1

ASSETS A

STATIONERY PACKAGE

LOGO ANIMATION

Rationale

Research

The research for each of the assets stemmed from articles and videos of professional companies and professional educators. Most of the information reviewed was prior knowledge, however discoveries were made to execute and complete each asset for the Las Vegas Enforcers. When creating the stationery package of the Enforcers, the goal was to create interesting assets that will be clear and coherent visually and the course MDM565 provided a much-needed refresher on creating typographic hierarchy. In a media asset, every part of a design is a choice (Argo, 2023) and the choices made for the Las Vegas Enforcers adhere to its brand tone and theme. The course material also carried over to the social media package, where more typographic refinement occurred. Since social media is often viewed in the hands of the viewer (Levanier, 2020), the designer must rethink aspects of a design to fit a smaller medium. Since design aspects are considerably smaller, the copy of social media should be contracted as well. For each social media post created the tone of the Las Vegas Enforcers is present due to the knowledge of the brand and the brand’s mission (Roger & Horberry, 2014). The logo animation of the Las Vegas Enforcers focuses on “Bringing the Boom!” to its audience through visuals and sonics. Moreover, the mascot of the Las Vegas Enforcers, the bomb, stems from the attributes and tagline of the brand. YouTube tutorials were a great aid in creating a dynamic background.

Solving Problems & Collaboration

Stationery

During the live lecture, one area of concern that arose in the letterhead was the red name heading located in the upper right corner. The initial design adhered to brand colors, textures, and theme. However, upon peer review a possible problem was discussed: What if the Las Vegas Enforcers operated on a limited budget for printing?

The red in the name holder was meant to add importance to the person writing the letter, but if the Enforcers printing department only used black toners, the vital effect would appear genuine as it should. A suggestion that was offered was to swap the red for the golden yellow of the brand. After the exchange, an additional design decision was made to add a red outline to the name holder, which would still give importance to the name of the writer.

Logo Animation

In the beginning of creating the logo animation, the composition of the After Effects project was oversized. The initial rendering of the project required twenty minutes due to the composition size being 3600px X 3600px. After the issue was notice, the duty of resizing and re-timing elements was next. The logo animation utilizes the lines of force (Hooks, 2019) to create the turbulent action of falling. The sound effects added to the composition are reminiscent of a cartoon fall from an “Looney Toons” cartoon along with the sounds of a blustery wind and explosion. Before the final production, a rendering was sent to a peer for an informal review and opinion. The peer responded that the animation pacing and timing conveyed the action of a bomb drop correctly, but the only problem was the sound effect of the explosion. The peer stressed that the explosion needed more presence and recommended that the tagline, “Bring the BOOM!” should be a motivating factor in the motion graphic.

Acquiring Competencies

The competencies acquired this week were gained in the use of Adobe After Effects. Skills learned from completing the motion graphic were pre-composing and using expressions. The use of expressions allowed for the creation of loops and wiggles that can be seen in the background sky of the motion graphic. Pre-composing also saved time to allow for the animation of the bomb, which also created a new skill for future animations. The bomb in the animation appears to fall, and it also contains wind resistance, which is a Newton’s third law of motion, for every action in nature there is an equal and opposite reaction.

References

Hooks, R. (2019). The illusion of movement in Graphic Design - 99designs. 99Designs. https://99designs.com/blog/tips/movement-in-graphic-design/

Levanier. Johnny (2020). The Complete Guide to Social Media Design. 99 Designs. Retrieved from https://99designs.com/blog/marketing-advertising/social-media-design/

Roger Horberry, G. L. (2014). Read Me. Chapter 5 & 7. Laurence King Publishing Ltd. Retrieved from https://learning.oreilly.com/library/view/read-me/9781780676807/13_chapter-title-7.html

MDM650 Week 3: Media Asset Production

Research

Ticket Package

Since this is a brand roll-out, the design decision was made to create an “Opening Night” ticket that would be memorable for both fans and investors. Research for the ticket package consisted of viewing examples of event tickets along with actual NHL tickets. From the asset list, the proportion of the tickets were 1.97” x 5.63”. The rectangle design was motivated by the Las Vegas Enforcers Twitter cover design. Some of the graphical element positioning was inspired by the Chicago Blackhawks (2023) “Opening Night” ticket for the 2011-2012 season. The ticket holder design was created after viewing graphic design portfolios on Behance. One artist created a ticket holder for the film “Dirty Dancing” that contains a die-cut of the main actors (Roos, 2019).

Uniform (Player)

Like the research done for the ticket package, an image search for hockey templates and NHL jerseys was conducted to differentiate the Las Vegas Enforcers from its competition. The organization possesses a unique theme, and that theme must convert to the uniform of the Enforcers. Most of the templates for the hockey jerseys were 2-dimensional illustrations with stripes as patterns. When viewing official NHL jerseys, the observation made was that most teams did use stripes and only used three colors at most for their uniforms.

Solving Problems

Ticket Package

The development of the ticket package began with the initial thumbnail sketches. The back of the ticket resembles the social media cover images for the Las Vegas Enforcers. The tagline was replaced with the phrase “Game Day” since it is a game ticket. The theme of comic book is echoed throughout the ticket with graphical elements of half-tone dots, caption bubbles, and jagged-edge bubbles that stress importance. One problem encountered when creating the ticket package arose with the creation of promotional insert that would be meaningful to the brand. While brainstorming about sporting events, the idea of creating a snack voucher came into play. Once the design was created the next step was to create verbiage that would align with the voice and tone of the Las Vegas Enforcers.

Uniform (Player)

The uniforms created in the initial thumbnail sketches offered some graphical influence of the comic book theme, but they were still too generic and bland. The sketches contained the mundane stripes that are normally seen on hockey jerseys, but the Las Vegas Enforcers are bold and avenging; the Enforcers require a uniform that reflects the brand’s core attributes. Two jerseys were created for the Las Vegas Enforcers; one for home games and one for road games. The design decision was made to replace the horizontal stripes, with jagged-shaped lines that convey energy. The shape of an explosion was added to both jerseys to contain the team’s name, player number and mascot. Following the rendering of the uniform, a peer review led to the use of the half-tone dots for separation and consistency in the home jersey.

Collaboration & Acquiring Competencies

For each one of the projects, a draft submission was reviewed by instructor and peers. What was gained from the reviews was the importance of “details, details, and details” and how one minor detail can be a distractor for a viewer. One detail missed and identified by a peer, was in the ticket package. Phil Molay identified the error of the placement of the home team’s name on the game day ticket. He noted that normally on sports programs and tickets, the home team normally resides under the visiting team. Research concluded that this was indeed a fact. Lisema Sinord also offered great assistance by providing feedback and helpful links to aid in the creation of the Las Vegas Enforcers assets created. The critique offered by Sinord expressed how small details were missed.

Completed Assets (B)

Reference

Admin. (2022, June 24). Best Event Ticket Examples. Examples. https://www.examples.com/design/event-ticket-examples.html

Chicago Blackhawks vs Dallas Stars Ticket Stub 10/7/11 - Mint!!! (n.d.). eBay. https://www.ebay.com/itm/392833494148

Image. (n.d.). Retrieved May 15, 2023, from https://shop.nhl.com/?query=seattle%20kraken%20jerseys&_ref=p-GALP:m-TYPEAHEAD:i-r-1c-0:po-1

Men’s Vegas Golden Knights Gear & Hockey Gifts, Men’s Knights Apparel, Guys’ Clothes | NHL Shop. (n.d.). Retrieved May 15, 2023, from https://shop.nhl.com/vegas-golden-knights/men/t-21992622+ga-78+z-943412-1305397702?ab={wt-static_graphic}{pt-tlp}{al-E1_Spot}{ct-Men}{Vegas_Golden_Knights}

Minnesota Wild 1/21/2012 NHL ticket stub vs Dallas Stars. (n.d.). eBay. Retrieved May 14, 2023, from https://www.ebay.com/itm/154658144610

Roos, L. (2019, November 25). Dirty Dancing Theatre Ticket Holder. Behance. https://www.behance.net/gallery/88604219/THEATRE-TICKET-HOLDER

MDM650 WEEK 4: BRAND ASSET COMPLETION

VIDEO RATIONALE

ALL COMPLETED ASSETS

MDM640 Week 1: Brand Playbook Development

Las Vegas Enforcers Vision Board

Las Vegas Enforcers Brand Playbook (Outline)

Front Cover

Table of Contents

Brand Story

Imagery

Color Palette

Logo & Logo Specifications

Media Assets, Uniforms, Swag, Jerseys

Week 1 Self-Evaluation

MDM640 Week 1: Research Component

Designing effective brand communications is crucial for the interaction between a brand and its target audience. The success of such communication can determine whether the audience develops trust and loyalty or disdain and disengagement. Designers play a significant role in finding visually compelling and coherent solutions for clients. However, the effectiveness of these solutions needs to be measured. This essay highlights the importance of measuring return on investment (ROI) in brand communications and how designers can use metrics to speak the language of business (Faljic, 2020).

Levi (2021) refers to ROI in brand communications as the quantifying impact of communication campaigns that generate profits, identify growth opportunities, and enhance the organizational environment. By measuring ROI, organizations can evaluate the impact of their design investments and make informed decisions. It enables a systematic evaluation of design work in achieving strategic objectives such as brand awareness, customer engagement, and sales.

There are two primary methods for collecting ROI data in brand communications. Designers can utilize quantitative methods like the "profit tree" to demonstrate potential profits across various categories. Additionally, qualitative methods like user testing provide valuable insights into user experiences and preferences, aiding in design refinement. By employing both qualitative and quantitative methods, organizations can enhance brand communications, effectively engage their target audience, and achieve their strategic objectives.

What is important to most businesses? Usually, revenue. Remember that businesses pay designers to help increase revenue (Lenz, 2023). Measuring ROI in designing brand communications is essential for evaluating design investments and making informed decisions. By using metrics and data-driven approaches, designers can align their work with the business goals of the organization.

Reference

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

Lenz, S. (2023). The ROI of Good Design. Retrieved from Brand United: https://www.brandunited.com/article/the-roi-of-good-design/

Unknown, L. (2021, June 25). Why Do You Need to Measure the ROI of Communication? Retrieved from Knewin: https://www.knewin.com/en/blog/why-do-you-need-to-measure-the-roi-of-communication/

MDM640 Week 2: Brand Playbook Development.

VISION BOARD

BRAND PLAYBOOK (DIGITAL PROGRESSION)

Week 2: Self-Evaluation Form

MDM640 Week 3: Brand Playbook Development.

VISION BOARD

LAS VEGAS ENFORCERS BRAND PLAYBOOK GUIDE (COMPLETED)

SELF-EVALUATION WEEK3

MDM640 Week 3: Research Component.

A/B testing is a method of comparing two versions of a design to see which one performs better; it is a valuable tool for improving user experience and making data-driven decisions. To conduct an A/B test, one first needs to define a clear objective for a design. Once the objective is defined, a designer or designers can then create two versions of a design that differ in one specific way. For example, an A/B test could assess different colors, layouts, or call-to-action buttons. Next, potential users must be recruited users and then collect data from those users. To conduct A/B tests effectively, use a statistically significant sample size, collect data from users using various methods, analyze the data carefully, and be patient (Demers, 2020). A/B tests can take time to run, so don't expect to see results overnight. Designers may collect qualitive data, by running a survey, conducting user interviews, or using a heatmap tool. Quantitative data may also be collected to improve a design. Quantitative data is all about raw numbers (Hutt, 2022). The goal of collecting quantitative data is to analyze input and to provide direct feedback on interactions and add numerical values to them. Remember, data collected will help one determine which version of one's design performs better. By following these guidelines and considering the insights gained from the test, designers can make data-informed decisions that lead to better outcomes. Conducting an A/B test increases conversion rates, validates decision making, and improves customer satisfaction (Hotjar, 2023). A/B testing is a valuable tool that improves design and user experience.

Reference

Demers, E. (2020, September 5). The art of “frankenstein-ing”: When and how to combine designs through rapid A/B testing. Medium. https://uxdesign.cc/the-art-of-frankenstein-ing-when-and-how-to-combine-designs-through-rapid-a-b-testing-7ac97cedad05

Hotjar. (2023, March 1). A comprehensive guide to A/B testing. A Comprehensive Guide to A/B Testing. https://www.hotjar.com/ab-testing/

Hutt, D. D. (2022, November 11). How to treat qualitative data & quantitative data for winning A/B tests?. A/B Testing Software. https://www.convert.com/blog/a-b-testing/how-to-use-data-in-ab-tests/

Framework for Measuring Design Effectiveness

A/B testing is a method of comparing two versions of a design to see which one performs better; it is a valuable tool for improving user experience and making data-driven decisions. To conduct an A/B test, one first needs to define a clear objective for a design. Once the objective is defined, a designer or designers can then create two versions of a design that differ in one specific way. A/B testing is one of the widely used methods to ensure that the most effective version of a marketing asset is shared with the target audience. These marketing assets could be, but not limited to, website design, logo design, brochure design, and landing page design (Unknown, 2022). For the Las Vegas Enforcers, A/B testing was used develop the logo design of the team. To test the memorable factor of the design, a group of participants were chosen to view potential versions of the Las Vegas Enforcers logo. Each participant was given a few seconds to review all designs, before they were snatched away from viewing. Lastly, the participants were given a few seconds to draw the most memorable designs they saw. Results from the participants encouraged the designer to create the current logo for the team. In comparison, the framework used to measure the effectiveness of the Café Direct case study can be attributed to the use of a “profit tree”. Designers were able to utilize quantitative methods found in the "profit tree" to demonstrate potential profits across various categories (Faljic, 2020). Additionally, qualitative methods like user testing provide valuable insights into user experiences and preferences, aiding in design refinement. By employing both qualitative and quantitative methods, Café Direct was able to enhance brand communications, effectively engage their target audience, and achieve their strategic objectives.

References

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

Unknown. (2022). Graphic Design Subscription Services on Demand: Graphics Zoo. Graphicszoo.com. https://www.graphicszoo.com/article/importance-of-a-b-testing-in-graphic-design

MDM640 Measuring Design Effectiveness Reflection.

Weekly self-evaluations are a valuable tool for designers. They force designers to reflect on their work, maintain a schedule, and be honest about their decisions. This can lead to more consistent, cohesive, and legible designs. In the case of the Las Vegas Enforcers Brand Playbook Guide, weekly self-evaluations were essential to the project's success. The self-evaluation form reminded the designer to stay consistent with the brand voice and tone, as well as to follow graphic design principles and technical applications. This resulted in a playbook that is both visually appealing and easy to use. In addition to improving the quality of work, weekly self-evaluations can also help designers to identify areas for improvement. By reflecting on their work, designers can see where they can make changes to improve their skills and efficiency. This can lead to better designs and a more productive workflow. Designers who conduct weekly self-evaluations may find that these evaluations are a valuable tool for improving their work and reaching their full potential.

MDM690 Week 1

Program Reflection Week 1

Week one was not as bad as I thought it would be. Most of the information needed had been internalized and made writing the research component less of disheartening. Big thanks to Dr. Rogalle for encouraging all students to organize all the annotated bibliographies; they were a great asset for this assignment. I am still not a fan of this much writing, but I do see the value in recording my thought processes and decisions. There has been a tremendous change in my communication since I embarked on this mastery journey. My confidence has spiked, the natural leader has been unearthed, and curiosity and investigation has become a never-ending hunger.

MDM690 Week 2

Program Reflection Week 2

Research and problem solving can be rewarding, but it's possible to get lost in them. This happens when we focus too much on the task at hand and lose sight of the bigger picture. We may neglect our personal lives, relationships, and responsibilities. To avoid this, set realistic goals, break down problems into smaller tasks, take breaks, and have a support system. If you find yourself getting lost, take a step back and assess the situation. Make changes as needed, such as adjusting goals, taking more breaks, or delegating work.

MDM690 Week 3

Program Reflection Week 3

There is a certain feeling that comes with repeating actions for a project, recycling old writings, and constantly feeling frustrated to achieve an "A" for a grade. It is a feeling of being stuck in a rut, of not being able to move forward, and of feeling like one is constantly going in circles. This feeling can be especially frustrating when one is working on a project that one is passionate about. One wants to do one's best, but one feels like one is not able to reach one's full potential. One may find oneself repeating the same actions over and over again or recycling old writings in order to meet the requirements of the project. This can be incredibly demoralizing, and it can make it difficult to stay motivated. If one is feeling stuck in this cycle, there are a few things that one can do. First, it is important to take a step back and assess the situation. What is one doing that is not working? What are one's goals for the project? Once one has a better understanding of the problem, one can start to make some changes. Finally, it is important to remember that the goal of the project is to learn and grow.

MDM690 Week 4

Program Reflection Week 4

Finding self-validation has been a profound and empowering experience, shaping me into a more self-assured and authentic individual. Through this journey, I've learned to appreciate my unique qualities and talents, free from the constant need for external validation. Embracing self-validation has taught me to trust my instincts, judgments, and decisions, guided by the inner voice that says, "I am that I am." This phrase reminds me to stand tall in my self-worth, celebrating my accomplishments and accepting my imperfections with love and kindness. As I continue to grow and evolve, I cherish the path of self-validation, nurturing a deeper connection with my true self and embracing life with newfound confidence.

MDM691 Week 1

Step 1: Research Dream Job

Dream Job: Brand Design Manager (PepsiCo)

As an Associate Brand Design Manager, you will report to the Sr. Director, MTN DEW & Flavors, partnering on the design and execution of projects that support Pepsico's Mountain Dew business in North America. Successful candidates will demonstrate superior ability to generate inspirational design solutions, driving from ideation to execution with quality and strategic excellence. In this role, you will be given the opportunity to build upon existing capabilities as well as broaden your functional expertise as you drive our brands through all consumer touchpoints. Examples of projects may include development of brand identity, packaging and portfolio systems, 360 brand campaigns, social media strategy, promotions, and immersive brand activations, with solutions that span the gamut from print, packaging, social/digital, licensing, environmental and new media.

Step 2: Cover Letter

Step 3: Personal Brand Statement

I empower design by fostering creativity for students, communities, and organizations seeking impactful and innovative design solutions to create meaningful human-centric experiences.

MDM691 Week 2

Practicing moral reasoning and ethics in media design is vital to maintain trust and responsibility (Snyder, 2011). Unethical practices can lead to false information, privacy breaches, perpetuation of harmful stereotypes, and legal consequences. The rise of fake news demonstrates how fabricated posts manipulate the media and the public, spreading misinformation (Lester, 2018). These practices can reinforce discrimination, violate privacy rights, and result in legal actions and reputational damage. Upholding integrity and social responsibility in media design builds trust, protects privacy, promotes inclusivity, and safeguards professional reputation (Snyder, 2011).

In addition to the societal impact, unethical practices in media design can have legal repercussions. An example illustrating this is the case involving Khloe Kardashian in April 2017 (Snyder, 2011). Kardashian faced legal action for copyright violation after posting a photo of herself on her Instagram account taken by a photographer from Xposure Photos, a U.K.-based photo agency. The photographer had licensed the photo to The Daily Mail but not Kardashian. Xposure Photos argued that Kardashian had no right to use the photo without paying for it, even though she was the photo's subject. They claimed that her use constituted infringement and sought damages of at least $25,000 (Lester, 2018). In response, Kardashian could argue that Xposure Photos was profiting from appropriating her likeness, asserting her right to use photos of herself on her Instagram account. This legal dispute serves as a reminder of the significance of adhering to copyright laws, intellectual property rights, and privacy regulations in media design. Violating these rights can result in legal action, financial penalties, and damage to the reputation of both individuals and media practitioners.

Unethical conduct in media design plays a role in disseminating misinformation and violates individuals' right to privacy (Snyder, 2011). Designers who misuse personal data breach confidentiality and expose users to potential risks such as identity theft and surveillance. Additionally, disregarding ethical considerations in design choices can perpetuate harmful stereotypes (Snyder, 2011). Media professionals distributing biased or discriminatory content may inadvertently reinforce social inequalities and contribute to prejudiced narratives. For instance, the Cambridge Analytica scandal is a notable example of unethical practices in media design. According to Confessore (2018), the revelations surrounding Cambridge Analytica and its misuse of Facebook data resulted in a significant uproar on both sides of the Atlantic. The obtained documents exposed the improper use of data by the data firm, which had obtained it from Facebook to construct voter profiles (Confessore, 2018). This revelation led to investigations into Cambridge Analytica and placed Facebook during its most significant crisis.

In conclusion, practicing moral reasoning and ethics in the media design profession is vital to uphold integrity, accountability, and social responsibility. By avoiding unethical practices, media designers can help foster a trustworthy environment, protect individuals' rights, promote inclusivity, and contribute positively to society's overall well-being.

Reference

Confessore, N. (2018, April 4). Cambridge Analytica and Facebook: The Scandal and the Fallout So Far. The New York Times. https://www.nytimes.com/2018/04/04/us/politics/cambridge-analytica-scandal-fallout.html ↗

Lester, P. M. (2018, January). Visual Ethics. O'Reilly Online Learning. https://learning.oreilly.com/library/view/visual-ethics/9781315455112/chapter06.xhtml#sec5

Snyder, W. (2011, September). Making a Case for Enhanced Advertising Ethics: How a New Way of Thinking About Advertising Ethics May Build Consumer Trust. https://www.journalofadvertisingresearch.com/content/51/3/477

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