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Research

To begin this project, we got to know our partner through a micro board activity, then completed research about the history of chess and the rules of the game.

Iterations

Form Iterations

The iteration process began with testing how sliceforms may be created so the pieces fit together.

 

 

 

 

 

 

 

 

Beginning to iterate my own forms, I created boxes that were the intended dimensions of each piece to provide boundaries for the sketches of the forms.

My partner, Nik, and I then worked together to decide on a specific color for each type of piece. We assigned the colors by matching the energies of the colors to what we believed to be the personalities of the pieces. We also divided our separate sets into warm versus cool colors; my set was to be made in the cool color scheme.

Next, I began iterating forms for each piece.

For the king, I intended to make it feel royal and like a prized-possession by creating many curves and a crown-like form on the top.

For the queen, I used sharp curves moving in all directions to represent the aggressive nature of the queen piece and the way in which the queen is able to move in all directions.

For the bishop, my iterations included diagonal curves and indents to represent the diagonal movement of the bishop pieces.

The form of the knight was the one I struggled with the most. I experimented with two pieces crossing over each other and eventually moved to idea of a more simple L-shape to represent the movement of the knights.

For the rook, I drew two curves at the top of the flat 2D form so that when two of the forms are put together into a sliceform, the top of the form will consist of four curves representing the vertical and horizontal movement of the rook pieces.

Since pawns are easily expendable and the smallest piece in traditional chess, I decided to make them a very simple form. I began with the design of a simple oval, but ended up adding a curve in the middle so the pieces fit better with the rest of my set.

Cutting Iterations

King

Viewing this sliceform after it was assembled, it is visible that the form has gaps at the bottom and showed me that the lines through the middle are too thin causing the paper to be manipulated instead of being able to slide together.

 

 

 

 

 

 

 

 

 

 

 

Queen

I created the first cut file for the queen with the inclusion of two extra forms to slide onto the curves of the main form. However, these did not end up working and this version of the queen revealed to me that the line in the middle was once again too thin and the sides near the end of the middle lines were too thin as well, causing the paper to warp and tear when the sliceform was assembled.

 

 

 

 

 

 

 

 

 

Rook

The first rook design I tested included slits and four small pieces to slide into them. These pieces ended up being too small and I didn’t think the form communicated the personality of the piece correctly, so I ultimately changed the design entirely.

 

 

 

 

 

 

 

 

 

 

 

Concept Statement

Elements and principles are the foundation of every design, but the concept behind the designs of
our chess pieces were inspired and developed by them. Our designs specifically activated a variety
of shapes and colors that best match the personalities and actions of traditional chess pieces. One
set of pieces is made in a warm color scheme and the other is made in a cool color scheme in order
to develop separate sides of the board that challenge one another. We assigned each piece’s color
on the basis of the energy they give off, and the personalities that we believe they represent. The
different shapes of the pieces resemble the ways in which the chess pieces move and we specifically
utilized vertical and horizontal lines, as well as wavy and curved lines to aid in the depiction of those
possible movements. We also aimed to convey the aggressiveness of some pieces, such as the
queen, using sharper and curvier lines. With the less complex designs, we aimed to convey the
minimalist nature, such as the pawn.

Production

The first step in the production process of creating my final sliceforms was to finalize the adobe illustrator cut files for each piece that would then be sent to the Cricut to cut out on card stock. The most significant change I made between my iterations and my final forms was making the cuts in the middle out of squares instead of just a line in order to create more space for the two forms to slide together without being manipulated.

To assemble each form I used tacky glue to adhere two pieces of card stock together, making them thicker and sturdier. Then, after sliding the two flat forms together to create a sliceform, I put the very edge of the bottom through the circular base with the cross in the middle. Lastly, to secure the base to the sliceform I glued a second solid circular base underneath.

Final Deliverables

King

The final form of the king is done in a purple card stock because purple represents royalty and is a different color than the rest of the pieces because it is the piece that is sought after to capture. The form is also made of soft curves to present it as a less aggressive piece and an inviting form that players would want to obtain.

Queen

The final form of the queen is done in a bright lime green, being the brightest piece on my side of the board. The curves that make up the form are also much sharper and project out in all directions to represent the aggressiveness of the queen and its ability to move in all directions on the board.

Bishop

The bishop is done in a light blue because blue is a common color and is in the center of the cool color spectrum and the bishop is a simple piece, being able to only move across the board diagonally. The top of the form also has two curves cut on a diagonal representing such movement.

Knight

The final form of the knight is done in a turquoise, green-blue color because it is a vibrant color that jumps out at the viewer, resembling the movement of the knight which includes “jumping over” other pieces. Although the turquoise color is vibrant, the lime green color of the queen remains the brightest out of all the pieces because the queen is still more aggressive than the knight. Also, the form of the knight is an L-shape with miniature L-shapes coming off the sides to emphasize the L-shape movement of the knight in chess in which the piece can move in the direction of what looks like a capital L.

Rook

The final form of the rook is done in a royal blue card stock to represent the prestigious and protective nature of the rook. The form also includes curves projecting straight out from each side of the piece to mirror the way in which it can move forward, backward, left, or right.

Pawn

The final form of the pawn is done in a dark navy card stock because it is not a very pretty or eye-catching color. This color matches the nature of the pawn because there are more pawns on the board than any other piece and they are the most expendable. These characteristics also influenced the form of the piece to be very simple and the least complex out of the entire set.

All Six Pieces

Full Board

PDF of Final

Link to Portfolio Project

Research

The majority of my research process consisted of texting back and forth with my mentor, Giulia, to get to know her, researching quotes for design inspiration, and learning about Giulia’s favorite styles of design.

During my research of design quotes, I chose to focus on the quote, “make it simple, but significant”, because I thought it provided a good description of my own design style. This quote served as a foundation for the rest of my ideas because I already knew I wanted the gift to be something both functional and sentimental/significant. I knew I wanted this quote to serve as my initial inspiration, but I also decided to ask my mentor what her favorite quote was to aid in further development.

Ultimately, I decided to choose,  “The best design is invisible”, (which has seemingly been quoted by Dieter Rams and Jared Spool in a couple variations) as my final quote for inspiration because it was a good combination of both my favorite quote and Giulia’s’. Both quotes explained that the best design is unnoticeable, yet still significant and therefore serves the customer or viewer in a certain way.

After continuing to talk to my mentor Giulia, I did research on her favorite design styles and her favorite designer in order to influence my future decisions.

I also did research on possible color palettes according to her favorite colors. Her favorite colors include green, beige, and brown because these colors make her “feel so happy/peaceful”. Since these are two feelings I thought were also important to have my gift invoke in her, I decided to use these colors as the main color scheme of the gift.

Exercises

Exercise 1: Best Gift

Exercise 2: Container

For this exercise, the object from my tool kit that I decided to create a container for was a bottle of tacky glue. Since tacky glue is non-toxic, I decided to cater my container towards children by using an eye-catching, colorful design in the form of a hexagonal prism so the shape was more interesting than a rectangular box.

After creating the template, I decided to make each face of the prism a different color of the rainbow to draw a child’s eye to the box. I also created a tab as the closure method so it would be simple for children to open.

 

Iterations

My first iteration of a concept for my gift design was a collapsable travel journal inspired by her love of traveling and plans to study abroad in the summer.

After communicating with Giulia, I learned that she hasn’t journaled about her experiences in a long time so I began to sketch some other possibilities. The first idea I looked into was sewing a passport journal with a personalized cover. I planned to sew the holder together using faux leather and put her name on the cover with vinyl using a heat transfer process.

After looking at materials at Joanns and considering the logistics of both learning to sew and putting it together within the time restrictions, I decided it wasn’t the most reasonable option. This led me to thinking about my third idea which was a personalized luggage tag.

Since “evoke inspiration” was second on my list of “hierarchy of importance” for the gift, I decided the luggage tag didn’t accomplish this as well as a different gift could. I decided to to shift back to my idea of making a travel journal because I believe it is both sentimental and functional. However, since Giulia hadn’t journaled about her travels in a while, I wanted to make sure the spreads in this journal specifically inspired her to begin journaling again like she used to, through the use of easy prompts to follow and the design fitting in with her personal aesthetic.

Front Cover Iterations

I designed multiple iterations for the front and back cover designs before choosing the final version. In all of the iterations, I used the font, Helvetica, to incorporate Giulia’s love for typography and tested multiple design compositions that reflected elements of Swiss International Design.

More Design Tests and Back Cover Iterations

The font Helvetica organized in a design that was inspired by the work of Massimo Vignelli, specifically a brand poster he designed for “Knoll International”.

Journal Page Iterations

After testing the first layout on the “best memories” page, I decided that the lines provided too much pressure on Giulia to fill out all of them and spend more time writing than needed. I wanted these prompts to inspire Giulia to begin journaling again, so changing to boxes with empty space allowed for more freedom within her responses. I also decided to change the font for the titles of these pages from a cursive font to the font, “underground”, which is also in the sans-serif family, in order to stay consistent with the text on the front cover and the overall style of the journal.

Then I created iterations of a weekly highlight page to go after the daily reflection prompts. I designed these to have my previous typography designs saying “Giulia” and “travel” in the bottom right corner. However, I only had two prompts I wanted to include on these pages so I decided to sketch two famous monuments in Italy, the Leaning Tower of Pisa and the Colosseum, to add to these pages and fill the space better.

Link to reference image for my Leaning Tower of Pisa sketch.

Link to reference image for my colosseum sketch.

Next, I added the vectored sketches to the weekly highlight spreads and also designed a blank “Notes and Sketches” page to go after each weekly highlight so she can fill the pages with anything inspiring she encounters during her travels and use these sketches as future design inspiration.

Container Form Iterations

My original idea was to make a rectangular box that the journal simply slid into, however, after speaking with Emily, I realized I needed to better connect the container to the ideas present in the gift. I decided to look back on previous concept iterations in my sketchbook and decided to add triangular flaps to the rectangular box I had previously considered to make the container resemble a luggage tag and connect directly to the theme of travel.

To begin constructing the container, I sketched test versions of a template on drawing paper.

Then I worked on putting together the template, connecting everything with tape to temporarily hold it together while I made final decisions on the form and template creation.

Container Design Iterations

Concept Statement

Production

Final Cover Decisions

 

 

 

 

 

 

 

 

 

 

Page Production

To prep the layouts for printing, I added circles marking the places I wanted to hole punch so the pages fit into the binding and a dotted-line outline to mark where to cut the border of the pages. Then, I organized the pages into pdfs so they were ready to print and put two of each page layout on one 8.5 by 11 art board to print more efficiently. I printed the cover pages on a glossy card stock to provide a thick protection on the outside and the inside pages on regular printer paper.

Next, I attempted to hole punch the edges, but the hole puncher I was originally using created circles that were too large, so I learned how to use an alternative hole punching tool and a hammer to individually make them the exact size I needed.

Container Production

After choosing the design I wanted on the outside of the container, I created a document of three templates that I planned to print at Fedex.

Although I had planned to print these templates at Fedex, the dimensions of the templates would only fit on a poster board option, but this option wouldn’t be done by the project deadline. Instead of printing the entire template, I decided to make the template out of Bristol paper instead and print each face of the design separately, then glue them on with tacky glue. This resulted in precision that did not meet my ideal standards, but was the best answer to the problem at hand and in order to complete the project by the deadline. I printed all of these files on glossy card stock to make the container more sturdy.

Final Deliverables

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Gift Giving Process

Final PDF Link

Link to Portfolio Project

Research

To begin thinking about the feelings that can be associated with different instruments or songs, we did an activity in class where we listened to 5 different songs and drew what we heard using symbols consisting of shapes and lines.

The next activity we did was a competition in a class miro board to get to know our partner. I had not known my partner before this project so this was helpful to get to know some of their interests.

Next, my partner and I began to collect samples of instrumental music and used sketches to analyze these selections. The sketches helped me create connections between what I hear and see in relation to the top 4 songs we chose from our samples.

After looking at the surface level details of our top 4 songs, we narrowed our choices down to 2 songs and we each made lists of vocabulary that we thought of while listening to the songs.

After looking through both of our sketches and vocabulary lists, we decided to use the song, Decay, by Blood Estate, for our project. To further analyze the song and begin thinking about ways we could represent it through paper mechanisms, my partner and I created a chart mind map.

For the last step in the research process, my partner and I each created a sample color palette and a list of ideas as a form of brainstorming the 2 separate parts of the song.

Exercises

The first exercise for this project was to follow a class demonstration of how to create a pull tab paper mechanism. This exercise got us thinking about how paper mechanisms could potentially work and how they could reveal or conceal certain images and ideas.

The second exercise was to create two paper mechanisms from the templates on the list provided to us on Carmen.

Iterations

When beginning to test paper mechanisms for the final product, I looked for templates that had a contracting aspect so that it could condense into a small object, but also flatten out out. This is because the part of the song that my half of the diptych was representing, has an echo of voice notes, so to translate those sounds into visual means, I needed something circular that creates circular motion as well as an element of contraction to demonstrate the transitions between many voices to one prominent voice. For the first mechanism, I created one that looked like a spiral and opened flat when the sides are pulled.

After failing to get the last mechanism to work properly, I decided to experiment with some other techniques like the waterfall mechanism and shapes lined up in a way that uses a domino effect.

My next idea was to place pieces of paper in a spiral and have them fold over onto each other creating a domino effect to emphasize the echo and atmospheric aspects of the song.

Concept Statement

Production

After multiple attempts at using templates from the sources provided on Carmen, I ultimately could not get the mechanisms to work as smoothly as I wanted them to, so I began to try some new ideas for my final design, mixing together different elements from other mechanisms.

I decided to test using fishing wire to keep the triangles connected to the circle so that they didn’t entirely disconnect each time they’re pulled out. The fishing wire also allowed the triangles to move completely outside of the circle, yet not detach.

Then, I decided to add layers of other shades of blue to each triangle piece to create an effect similar to an echo and have the colors each line up in a circle when the pieces are all touching in the center.

Final

Final PDF

Link to Portfolio Project

Research

To begin this project, my partner and I began brainstorming by creating a list of things we dislike about masks as well as a mind map about masks.

Then, we built off of those ideas by brainstorming ways masks relate to the current Covid-19 pandemic.

 

After deciding to focus our design on the topic of nature vs. man as related to the pandemic, we answered the questions of who, what, when, where, and how to further develop our idea.

Exercise

The exercise for this project was taking notes on a podcast about the history of masks to acquire some background knowledge and spark new ideas.

Iterations

10 Speed Sketches

Often when beginning to brainstorm for a new project, my brain works best when sketching with pen and paper so I first drew 10 mini sketches of different mask ideas in my sketchbook.

Then, I redrew these sketches on an image of myself in the app, sketchbook, on my iPad so that I could see how the possible forms would look on a human figure.

Paper Mask

The first physical iteration my partner and I worked on was a rough creation of a couple aspects of our concept using a thin paper material so that we could focus on concepts and brainstorming rather than craftsmanship.

Leaf and Flower Templates and Test Cuts

After deciding that I would create a mask revolving around the idea of nature as related to the pandemic and my partner would be creating a mask revolving around the idea of man during the pandemic, the first design I knew I would new to create were leaf forms that could be cut out of paper. I drew templates for three different shapes of leaves in adobe illustrator which I planned to have the Cricut cut and score so I could attach the individual leaves to my mask.

I also began to draw flower templates in illustrator and then transfer those files to the Cricut for them to be cut and scored in preparation for gluing together. For my first iteration of flowers I directly used a Cricut template as inspiration, but I soon figured out that I needed to make changes to the designs before the final iterations so that they were my own drawings.

Next, I did some test cuts to see if the way the templates were set up would work and what type of glue would work best. In the end I decided to use tacky glue and the format of the templates seemed to work well so all I had to change in the next iteration was the design and shape of the petals and center-pieces.

After changing aspects of the petals and center-pieces, I drew new flower templates that were eventually used in the final production.

The next step in my process was doing some test cuts with the leaf templates to see if any changes needed to be made in the design or size.

Base Structure Tests

After figuring out that the leaf shapes and sizes would work, I tested multiple ways of creating a base structure that the leaves could connect to by using green floral wire.

 

 

Putting It All Together

Before attaching the leaves to the wire base I constructed, I decided to create a third iteration in which I made a mask form around my eyes and fanned the leaves out of the top. In the end, I decided against using this method because it didn’t represent the concept of growth as well as I intended and it didn’t allow for any movement, creating a closed composition which ultimately wouldn’t communicate my portion of the narrative best.

 

Focusing back on the wire base structure I built, which fit almost more like a hat, I taped leaves to the base wire to see if I would like the composition. I also tested this method with the addition of the eye mask.

 

Ultimately, I decided the eye mask made the design too much of a closed composition, so I decided to use the wire base structure and just attach leaves and flowers to the wire pieces. Without anything covering the face, it allows the composition to move or “grow” outwards off my head. This emphasizes the flourishing growth that nature experienced during the pandemic. Also, the three wires meeting at the middle in the front allows for the leaves to be placed in a way that they fan outwards emphasizing the expansion and growth qualities.

 

Concept Statement

Research

The research behind this project consisted of learning about the value of sketching, creating multiple mind maps, and researching binding methods and techniques.

Mind Map activity

For this activity we worked as table groups in choosing a question from a list on the board and creating a min map in an attempt to reach some type of answer to the question. This activity showed me how useful mind mapping can when brainstorming about a topic and sorting out your thoughts.

Binding Methods

The first method I researched was kettle stitch binding. I decided against using this method because of its permanence. I know that different projects throughout the semester will require uses of different types of paper, even for brainstorming, and I hate skipping pages in a sketchbook, so I wanted a binding that would be flexible and allow for me to add and re-order pages as I use the sketchbook

To allow for more flexibility, I looked into a binder ring binding method. I found a version of binder rings that have three rings instead of one which would add more stability, however, I didn’t like how flimsy the book would be when using this method.

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Lastly, I continued researching to find a method that allows for growth, flexibility, and functionality and came across this plastic binding. This binding holds the pages together firmly like a spiral-bound notebook, yet opens like binder rings do allowing for both security and flexibility.

Exercises

Mini Sketchbook

This exercise started with a tutorial on Carmen of how to put together a mini sketchbook. Once we folded it together, we filled the pages with answers to different prompts we were given in class. This mini sketchbook got me thinking about ways I could format my final sketchbook and about ways I could incorporate both words and drawings on the pages.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Iterations

When first thinking about the final sketchbook design, I quickly sketched what I wanted mine to look like and started thinking about what size I wanted the pages to be.

 

 

 

 

 

 

 

 

 

 

Next, I took notes about the binding method I chose and wrote down some ideas for the contents that would go inside the sketchbook.

 

When thinking about my surprise element, which I would say was one of my larger challenges, I wanted to add it as I use my sketchbook. I like my sketchbooks to be plain so that I can add whatever I want to the pages when I am sketching and creating. I plan to use this sketchbook almost as a scrapbook and include hidden elements and additions throughout each project inside.

Color Palettes

When deciding on the design for the cover of my sketchbook, I narrowed down my color choices to wither pale blues because blue is my favorite color or a neutral color palette because I wanted to keep the aesthetic clean and simple. Ultimately, in the final design, I chose to use a neutral color palette in my design.

 

Final Adobe Designs

For the front and back covers I planned to etch designs into them that was both simple and meaningful. When sketching, the thing I like to draw the most are flowers so I sketched some flowers for the front cover and then added text in the middle with a font chosen from Adobe Fonts.

 

 

 

 

 

 

 

 

 

 

 

 

Production

Final Sketchbook

For the final sketchbook, I decided to use a plastic binding that’s function is a mix of spiral-bound and binder rings. I chose this binding method because the clear white color fit the neutral aesthetic of my book and the rings open allowing for flexibility with re-arranging and adding pages. For the pages on the inside I chose to use both plain white paper for any notes and sketching and toned gray paper for sketches dealing with color theory. For the front and back covers I decided on using a recycled piece of cardboard, which was thicker than the inside pages, but not to heavy that it would weigh down the sketchbook. Also, the color was perfect for my neutral theme, but I wasn’t able to get to the laser cutter to etch a design into the front as I had planned.  In the final product, I also glued a strip of ribbon to the inside of the back cover which functions as a bookmark because I wanted to be able to easily find whatever page I left off on. Overall, my sketchbook fulfills my priorities of having a simple, functional, and flexible sketchbook and I’m looking forward to continually adding to it throughout the semester.

 

 

 

 

 

 

 

 

Link to Portfolio Project

Research

To begin the project we refreshed our memory of the steps of the design process and related them to this specific project in order to set a plan for how we will work to create the final product.

Next, we began brainstorming different meanings of “deep space” by using a mind map.

Then we learned about the idea of concepts and started to think about the steps to creating our own concept that deals with deep space.

 

After brainstorming ideas about depth and concept creation, I did some research on emotional intelligence and knowledge because the depth of emotions and knowledge was the idea from my mind map that interested me the most.

Exercise

For this exercise I began by making a list of things that interest me or communicate something about myself. I then found a couple fonts on Adobe Fonts that I thought would fit certain images best and worked on using the Gestalt principles and negative space to conceal the images within the initial. I began with designs that used the initial M, but in my final product for the exercise used my middle initial, R, and the concept of volleyball.

Iterations

Practice With Layering

Concept Creation and Notes

After brainstorming many concepts and forms to represent my concept, I decided on using the shape of an anatomical heart because that is straightforward when thinking about emotions then made iterations to decide on what to include in each layer.

Iteration 1

 

Concept Statement

This design explores the relationship between the emotions someone portrays versus what they’re truly feeling. The composition is the shape of an anatomical heart and is a closed composition leading the viewer’s eyes down to the middle of the design where the deepest layer is. This causes the viewer to look through every layer and contemplate the correlation between each one. The layers are physically separated to show how different each one is, and therefore how true feelings are different than the ones people may show on the outside. Layering is also used to represent the idea that there are many layers to a person’s feelings and the overwhelming feelings are buried deep within the heart while the more positive feelings are those projected on the surface. Also, the element of line is used throughout the composition in which the deepest layer in the middle of the heart has jagged and thick lines and as each layer gets closer to the foreground, the lines get less jagged and the number of lines decrease. This juxtaposition of jagged lines on the bottom layer versus the wavy, loose lines on the top layer shows that the hard, negative feelings are buried deep within the heart and deep down everyone has overwhelming negative feelings, but only a portion of these emotions can be seen on the surface. Layering also allows each layer to build off of one another in which the linework in the middle of each layer overlaps one another making it feel more crowded and heavier in the center where the overwhelming feelings reside. A contrast between values is also used to represent the difference of feelings within one’s heart. The bottom layer is the darkest value because that is where the “darker” emotions are and the top layer is white because that is where the “lighter” and less complicated emotions can be seen.

Production

After multiple iterations, I decided to make the outer shape of each layer the same size, but with thicker edges so that there is room to attach the layers to one another.

Color Extension

For this extension of the project I chose a monochromatic color scheme of the color red because I thought it fit the theme of my concept the best. I then matched the values between the reds and grays in order to keep the values from my original composition the same.

PDF of Final Images

Link To Portfolio Project

Research

Abstractions and Image Analysis

Transfer of Abstraction Sketches to Adobe Illustrator

I created shapes in illustrator out of 5 of my original abstraction sketches to use in my final mandala.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Exercises

3×3 Square Composition

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

After looking back on my 3×3 and 9×9 compositions, I realized I just placed two separate abstractions into the same square instead of combining the two forms together to create something new. I chose two of my shapes in illustrator that looked like their shapes/curves would combine well and worked to integrate them into a single composition by layering.

 

 

 

 

 

 

 

Iterations

Grid Design

 

 

 

 

 

 

 

3 New Radial Grids (symmetrical/asymmetrical, circular, or new grid shape)

 

 

 

 

 

 

Testing Illustrator Tools

 

 

 

 

 

 

 

 

First Iteration of Mandala

 

 

 

 

 

 

 

 

 

Mandala Draft (Original Final Before Feedback)

 

 

 

 

 

 

 

 

 

Final Mandala Design

After receiving feedback on my mandala draft, I decided to focus on arranging my abstractions in a way that emphasizes the principle of movement. I organized the abstract elements in a way that creates movement throughout the mandala as a whole as well as between each element, creating a cohesive design.

Adding Value to Final Mandala Design

 

 

Color Schemes

 

Color Palette Tests In Mandala

These two color palettes were created based on color schemes we discussed in the PowerPoints during class. However, when adding the colors to my mandala pattern, I struggled to create a meaningful visual impact. This led me to choosing my final color schemes based on concepts related to my mandala, instead of ones I simply thought were visually pleasing.

Production

Final Color Schemes

 

 

 

 

 

 

 

 

Final Mandala

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Furthering My Exploration

I felt that my designs conveyed the principle of movement and the meanings behind the mandalas effectively. However, I felt that there were a few other changes I could make in order to further explore how the analogous color scheme can affect the visual impact of my mandala design. Instead of moving the viewer’s eyes around the circular mandala, I organized the colors to create movement from the center focal point to the elements on the outside edges of the design.

 

 

 

 

 

 

 

 

 

 

Additionally, when I did my original color palette tests in my mandala, I chose to use a blue analogous color scheme because blue is my favorite color. I still enjoyed the visual of this color palette, so I decided to explore how I could use it in my design to emphasize the same principle of movement.

 

PDF of Final

Link to Portfolio Project

Research

The first activity we did to practice drawing letters in an isometric grid was drawing letters based off of a theme that was chosen by a wheel. These were hand-drawn before we were introduced to the isometric tools on Illustrator.

Exercises

Exercise 1: Isometric Name Illustration

Selecting a font

When looking through fonts on Adobe Fonts, I chose ones that were rounded and reminded me of handwriting in order to reflect the creative and artistic nature of my personality. I am also a fairly optimistic and happy person so I wanted the font I chose to reflect those characteristics and not have sharp or jagged edges.

 

 

 

 

 

 

 

Initials

For my first attempt at using Illustrator to create my initials on an isometric grid, I chose a block letter font which was fairly easy and allowed me to practice using the different tools.

 

 

 

 

 

 

 

 

 

 

 

For the final version of this exercise, I ended up choosing the font “Dolce” because I love calligraphy and there are no harsh lines, both of which this font helps convey.

 

 

 

 

 

 

 

 

 

 

 

Full Name

I also wanted to practice navigating the tools on the desktop version of Illustrator so I decided to do another version of the exercise using my full name.

Iterations

Isometric Grid Practice

 

 

 

 

 

 

 

 

 

 

Production

Mashup Grid

NOUN	ADJECTIVE	MASHUP
whisper	quiet	whiset
bird	feathery	bithery
coffee	delicious	cofficious
Christmas	magical	Christical
winter	freezing	winzing
leaves	withered	leavered
fire	blazing	firazing
rose	fragrant	rogrant
sweatshirt	oversized	sweaterized
giraffe	towering	gowering
cake	sugary	cakary
lion	aggressive	liressive
coffee	bitter	coffitter
nose	runny	nunny
scream	loud	scroud

 

NOUN	VERB	MASHUP
kangaroo	jump	kangump
vacation	explore	vacaplore
dinner	cook	dinnok
car	drive	carive
smoothie	drink	smoothink
music	listen	musten
clothes	wear	clotear
plant	grow	plarow
penguin	slide	penglide
fish	swim	fisim
plane	fly	planly
student	learn	studearn
house	live	houve
store	shop	stoop
bed	nap	beap

Miro Speed Laps

These “laps”/activities came from my Miro Board which helped me brainstorm multiple ideas and possibilities for my final poster.

Lap 1: Top Mashup Selections

• Cofficious = Coffee + Delicious
• Christical = Christmas + Magical
• Kangump = Kangaroo + Jump

Lap 2: Words in Isometric

 

Lap 3: List of Possible Visuals to Describe the Word’s Definition

Cofficious:

• make one of the letters a cup of coffee
• make the letters drip down at the bottom
• have steam coming off of the top of the letters

Christical:

• put stars and snowflakes in the letters
• make sure the font is magical, curvy, whimsical
• put a Santa hat on the letters
• green accents

Kangump:

• furry letters
• make some of letters look like they’re jumping** — the g maybe – font that jumps out or feels bouncy and dynamic
• kangaroo ears on a couple letters
• a pouch

Lap 4 & 5: Practicing Visuals/Prototype

Mood Board

Final Iterations

The first step I took in creating my final poster composition was choosing a color palette and selecting a font that represents the word’s definition.

 

 

Dictionary Definition

Christical [Chris-ti-cal]

adjective

1: of, relating to, or characterized by magic during the holiday season.

2: something extremely enjoyable, whimsical, and exciting during the holiday season.

Final Deliverables

For my final poster composition, I chose to use red and green as my main colors because they are the colors associated with Christmas. I also used the gradient tool on the sides of the letters to create the effect of a light source coming from the top right corner. I then drew string lights wrapping around the letters and snow on the tops because those are two things I immediately picture when thinking about what makes the holiday season magical and enjoyable.

 

 

 

 

 

 

 

 

 

 

 

 

Link To PDF of Final

Link to Portfolio Project

Research

Activities

Table Group Slow Looking Observations and 2×10 Observations

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Map Room Activity – Thompson Library

Using the other table group’s slow-looking observations, my table group worked together in observing the map room in the Thompson Library and taking pictures of the colors, shapes, and lines listed in their observations.

 

 

 

 

 

Written Journey Map Activity

Working as a table group, we chose a destination, which was a study room in the Union, and created a written journey to this destination through written directions accompanied by photos. We also incorporated many of the colors, shapes, and lines from the slow-looking observation sheets, and those words are underlined in yellow.

Guided Drawing Instructions

Working as a table group, we wrote guided instructions on how to draw one of the Grubhub food robots. We took the approach of starting off with a grid and listing points to make and connect so that our description didn’t get overly wordy or confusing. In the end, the group we traded instructions with, was able to successfully complete our drawing.

Written Guided Instructions:

Materials:

• Pencil

• Pen

• Ruler

**The first 4 steps are making a grid to draw the object on.

1. Using a pencil, at the bottom of the page, draw a 12in horizontal line (we will call this the x-axis) and create tick marks 1in apart; label these marks 1-12

2. From the left edge of the x-axis, draw a vertical line perpendicular to the x-axis (we will call this the y-axis). Create tick marks the same way as in step 1.

3. Draw vertical lines from each tick mark along the x-axis.

4. Draw horizontal lines from each tick mark along the y-axis that intersect with the lines from step 3.

5. Switch to using a pen.

6. At the intersection point (4,3), make a point and label it A.

7. Make a point at (4,6) and label it B.

8. Connect points A and B in a straight line.

9. Make a point at (1,6) and label it C.

10. Make a point at (1,9) and label it D.

11. Connect points C and D.

12. Make a point at (10,6) and label it E.

13. Make a point at (10,9) and label it F.

14. Connect E and F

15. Make a point at (7,12) and label it G.

16. Connect point A to point C in a straight line.

17. Connect point A to point E.

18. Connect point F to point G.

19. Connect point G to point D.

20. Connect point D to point B.

21. Connect point B to point F.

22. On the line that connects points A and E, draw 3 circles of equal size, all 2in in diameter, next to each other.

23. Draw a half circle around point C outside of the shape previously made.

24. Curve all edges of the object.

25. Make a point at (9,9).

26. Draw a 3in vertical line up from point (9,9) to point (9,12).

27. Make a point at (11,11) and another point at (9,10).

28. Connect (9,10) to (11,11).

29. Connect (11,11) to (9,12).

 

 

 

Texturing Activity

 

 

 

 

 

 

 

 

 

Photos of Journey

When beginning to think about possible paths for my final journey and possible destinations, I took a couple photos of details I noticed while making slow-looking observations.

 

 

 

 

 

 

 

Exercises

Exercise 1 – Writing

Part 1

Written directions to my destination in which I focused on detailed descriptions.

1. Walk straight down the stairs in front of Hayes Hall. 
2. There is one path straight ahead and one at a sharp diagonal to the right — take the path to the right, stay to the right of the lamppost. 
3. Walk straight along this path until you reach the brick circle where all of the paths converge.
4. Walk straight into the center of the brick circle.
5. Looking ahead there will be a fork in the paths, take the path to the left. 
6. Continue to the end of the gray path.  
7. Take a right onto the sidewalk. 
8. Walk straight to the end of the sidewalk. 
9. Turn left. 
10. Cross straight across the parking lot. 
11. Turn right. 
12. Walk straight between the two short white poles. 
13. Turn left when you see a staircase with two trashcans on the sides of the opening. 
14. Go down the first set of 3 stairs. 
15. Walk approximately 3 steps. 
16. Go down the rest of the stairs. 
17. At the very bottom of the stairs turn right onto the path. 
18. Walk straight on the path until the pavement changes materials and there is a semi-circular opening in a wall of cement with a small fountain in front of it to your right. 
19. You have reached the destination.

Part 2

Written directions in which I focused on sensorial experiences.

1. Walk straight down the stairs in front of Hayes Hall. 
2. There is one gray path straight ahead and one at a sharp diagonal to the right. There is a lamppost between the two paths.
3. Staying to the right of the lamppost and the large tree with a bench underneath, take the path to the right. You will cross from cream cement squares to a gray speckled concrete path. 
4. Walk straight, passing another lamppost and 3 crossways of sidewalks until you reach a red brick circle at the end of the path. There will be a large tree to your left. 
5. Cross from the gray path onto the red brick circle in which the bricks are organized in a chevron pattern. 
6. Walk towards the center of that circle. 
7. Looking ahead there will be a fork in the paths. The path to the left is gray concrete and the path to the right continues in the red brick pattern. 
8. Take the path to the left crossing from red bricks to the gray speckled cement path.
9. Walk straight, pass a lamppost on you right and trees on both sides. 
10. Continue walking straight until the gray path ends and intersects with a cream cement sidewalk. 
11. Take a right onto the sidewalk. 
12. Walk straight along the sidewalk, passing cars parked along it on your left. 
13. Walk until the sidewalk ends. On the ground towards the left edge of the sidewalk, there is a red rectangle with bumpy circles on it. Turn left onto the red rectangle. 
14. Cross onto the black pavement. 
15. Walk straight across the black pavement (you will also walk across 3 yellow stripes in a yellow rectangle painted on the pavement).
16. Turn right and walk straight between two short white poles that have a red line painted around the top.
17. Walk straight a couple steps until you reach an opening with a trash can on each side on your left. Turn left. 
18. Walk down the first set of stairs. 
19. Walk 3 steps across the gray pavement made of different sized rectangles. 
20. Continue walking down the rest of the stairs. 
21. At the end of the stairs there will be a gray path perpendicular to the bottom of the stairs. 
22. Take a right on the path. 
23. Walk straight until, to your right, you see a curved wall made of cream cement bricks and a semi-circle cut out in the middle. On the ground in front of the semi-circle cut out, there will be a small fountain. 
24. You have reached your destination. 

Exercise 2 – Photographs

Part 1

Photographs of items and views larger than a person, focusing towards the horizon-line and the sky.

 

 

PDF of Part 1

Part 2

Photographs of items smaller than a person, focusing towards the horizon-line and the earth.

 

 

PDF of Part 2

Concept Statement

I intended to lead my audience on a journey through the oval and to the small fountain near mirror lake. I intended for the readers of my map to be able to easily reach the destination through written directions, symbols, and images, as well as engage in a sensory experience with the nature along the path.

Production

Final Destination

After walking around campus and engaging in slow-looking observations, I chose a small fountain and curved arch near Mirror Lake as my final destination.

Map Check-in

Final Written Directions

In “Exercise 1 – Writing”, my written directions were 19-24 steps long and I knew for the final only 5-10 steps were needed. To shorten the number of steps, I combined some steps and took others out. I made these decisions by only keeping necessary information and making sure I kept steps relating to major interest points and direction changes.

Final written Directions:

1. Walk straight down the stairs of Hayes Hall and take the gray path that is at a sharp diagonal to the right.
2. Walk straight along this path until you reach a red-brick circle where all the paths converge and take the path diagonally to the left. 
3. Continue to the end of this path until you reach the sidewalk and turn right onto the sidewalk.
4. Walk to the end of the sidewalk, passing parked cars on your left and walking until you see a red bumpy rectangle at your feet, then turn left and cross straight across the parking lot. 
5. Turn right and walk between the two short white poles that have a red stripe across the top. 
6. Walk until you see the opening of a staircase with two trash cans on the sides of the opening. Turn left. 
7. Go down all of the stairs and at the very bottom of the stairs, turn right onto the path. 
8. Walk straight on the path until the pavement changes materials and to your right, there is a semi-circular opening in a wall of cement bricks with a small fountain in front of it. 
9. You have reached your destination.

In-progress Production

 

 

 

 

Final Map – A Trip To Mirror Lake

My final map includes elements of symbols and images to direct the viewer to the final destination. I chose to include zoomed in images of specific locations which were also points of interest. I also included a leaf I found along the path to incorporate the sense of touch, and I intend for the viewer to also engage in similar sensorial experiences throughout their journey.

 

 

 

 

PDF of Final

Link to Portfolio Project

Research

Exercises

The Perfect 3″ Cube

 

 

 

 

 

 

 

Trapezoidal Prism

 

 

 

 

 

 

 

Drawings

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Iterations

Shape studies done in Assignment 2 as an origin design for a 3D form

 

 

 

 

 

 

 

 

Exploration of 2 Additional 3D iterations of my chosen design plan

3D Iteration One:

 

 

3D Iteration Two:

All 3 Iterations:

Production

Constructing a Final 3D Form

First attempt at using additive processes to build extrusions and create a final 3D form

Using intuitive and additive processes to come up with a more dynamic form.

 

Second attempt at using additive process to build extrusions and create a final 3D form

I was creating a form that translates from my original shape into a smaller triangle in order to emphasize the triangle shape within the original form. There ended up being too many layers and too much tape t0 be able to see how this would transfer to a template, so I decided to simplify for my final 3D form.

 

 

 

 

First attempt at final 3D form

My final idea was to stack 3 separate 3D forms of the same shape on top of one another with each form getting smaller. I came up with this idea through the intention of using rhythm as the primary principle. To utilize the principle of rhythm, as the forms got smaller so did their respective side heights (1.5in, .75in, .375in) creating a shrinking or “staircase-like” feeling.

 

 

 

 

Below is my first attempt at putting together the final form. The lines turned out crooked which showed me that I would need to use more precision and 90 degree angles in my next attempt at making the final form.

 

 

Final 3D Form

Templates:

 

 

 

 

 

 

Original Final 3D Form:

 

 

 

 

Furthering The Study

Option 4-Surfaces and Illusion

I chose “Option 4-Surfaces and Illusion” because it was the best option for me to continue utilizing rhythm as the dominant principle. I did this by creating straight lines that follow the pattern of the shapes. From the sides you can see the rhythm of both vertical and horizontal lines moving along the “staircase-like sides”, but from the front/top face, an illusion is created in which it looks like there are only horizontal lines and the object appears flat/lacking dimension.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reflection

Over the course of the assignment, I found it very interesting to see my 2D shapes translate into 3D forms and connect relationships between the two compositions. I enjoyed the process of finding a shape from assignment 2 that would work well as a 3 dimensional form and problem solving in order to create its template. However, I did struggle when it came to discovering possible solutions for my final 3D form by using intuitive and additive processes. This part of the process did frustrate me at first because I could not seem to intuitively build anything I was confident in. When I landed on my final 3D form, it came from an idea first then a translation of it on paper. Although I ultimately used a more idea-based approach, the intuitive iterations did help spark those ideas. In the future I will continue to work on designing intuitively because working without an exact plan is something I’ve always struggled with.

Click here to see a PDF of my final 3D composition images.

Click here to see a PDF of my final templates with labels and notes.

Link to Portfolio Project