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Within this explorative assignment, we have redesigned the game pieces in chess to a feminist theme and narrative. The intuition to work with this idea came from the gender equality struggle that is present in today’s society. We wanted to bring awareness to these issues in a way that is playful and educational rather than confrontational and aggressive. Working collaboratively with a partner allowed us to imply deeper concept-building strategies through design elements and principles. Understanding the rules, mechanics, and goals of the game was our first priority before moving forward into the creation stage. This process came with struggles as neither of us has ever played the game of chess before. We were able to discover how the feminist theme is symbolic of the game of chess as it is a social revolution that fights for gender equality. Having intentional characters for each of the chess pieces also became extremely important to us to convey the importance of female leaders and role models in the world. Highlighting their accomplishments through hierarchy aided our design as each piece in the game has a different scale based on its power within the game. Using this design principle allowed us to differentiate between women by focusing on shape and form. The biggest challenge in this was creating recognizable individuals that focus on form, rather than words. We were able to overcome these difficulties by using tools like Adobe Illustrator and the laser cutter to construct well-crafted slit forms with planar materials. This design problem allowed the opportunity to focus on new narrative devices like silhouettes and iconography. The most prominent design strategy in accomplishing exactly this became using emphasis and contrast to construct a harmonious composition. Ultimately, structuring a new story drawn from the classic game of chess provided us a way to bring awareness to a topic that means a great deal to both of us.

As previously mentioned, the first step in this assignment is understanding the rules, mechanics, and goals of chess. Being someone who has never played the game before, it was very difficult to learn the ins and out at a fast pace. After researching the history, I was able to understand how symbolic each piece is as it is meant to show a battlefield. Learning how each of the pieces’ moves also plays a big role in the storytelling aspect, which we planned to use in our final composition. Once we began collaborating on the first ideas, we narrowed it down to themes of ocean life, feminism, and the college experience. For each of these ideas, we were able to come up with characters that would align with each of the pieces in chess but ended up falling in love with the feminist approach. This concept not only allowed us to create a meaningful story but also was something we were both interested in. Feminism can be considered a social revolution so we thought this symbolic war would be a perfect topic to cover through chess. To build on this idea, we came up with a list of all the feminist icons we could think of, in addition to researching other prominent role models. This ultimately consisted of Betty Friedan, Audre Lorde, Beyonce, and more. We then divided this list into different time periods because each section added different elements to the feminist concept and approach. Doing so aided in the decision to show a hierarchy based on each individual’s accomplishments or how well-known they are. This piece and size difference directly relates to the design principles of scale and emphasis. We were also very intrigued by the move of castling in chess which is when the rook and king trade places for defensive purposes. We believe this would be an accurate depiction of how the rook (current wave feminists) are taking over for the king (people in the first wave of feminism) by still protecting their ideas and beliefs yet adding onto their thoughts. This heavily influenced our decision of who each piece was to represent. The next challenging aspect that came into play was the creation of each of these people. We wanted to use slit joints in order to show multiple perspectives of the person because it would add to the recognizability. Practicing this provided opportunities to make changes because cutting materials on the laser cutter. I cut out a side profile silhouette and a front profile silhouette before making slits in each to fit together (shown below). These weren’t exactly recognizable so we researched more into silhouette structures and symbols to help represent our chosen people. This allowed us to experiment more with form and shape. I also created a female gender sign slit joint because we thought iconography would be a helpful way to show our theme. This was challenging because I had to bend the chipboard in order to cut out the middle circle, therefore the piece would not stand up by itself (shown below). However, this could be easily solved by using the laser cutter. We also loved the idea of each character having name tags to help share our themes with viewers, but this also came as a difficulty because the focus became more on words and not form. Brainstorming on these issues propelled us in the iteration and production stage.

Moving forward with the feminist theme allowed us to make final decisions on materials. We enjoyed working with chipboard in the iteration phase so wanted to continue with this in the final composition. For structure and aesthetic purposes, we knew each piece would need to be placed onto some sort of base. We wanted these to be circular and be able to confidently hold the chipboard in place. After looking into different materials like wood and acrylic, we decided to use small 1in circle mirrors. This not only added contrast to our design but also gave the pieces a sturdy base. We initially thought we would be able to score an “x” into each of the mirrors, but this idea failed (seen below). It was extremely difficult to cut a deep enough groove into each so we had to switch directions. I then tested out different types of glue on the mirrors. This included rubber cement, tacky glue, and super glue (seen below). Making small-scale slit joints out of chipboard to glue onto the mirrors allowed us to get an idea of what the final would look like. I was worried that the glue would leave too much residue on the mirrors, making them look messy and unfinished. However, this wasn’t the case. Ultimately we ended up using the super glue because it held together the longest out of the tested glues. The next stage of production was creating and cutting out the slit joints with the laser. Creating the gender signs for our pawn pieces allowed us to explore scale within our design. Cutting out each of the shapes provided difficulties as the vent in the laser cutter blew around our small pieces. Luckily we were able to save the majority of them and piece them together correctly (seen below). This process was tedious because of how fragile each piece is. That being said, it only adds to our concept of how fragile the social revolution of feminism is.

I then created various silhouettes based on the age of each of our feminist role models to encourage viewer recognition. This breakdown allowed me to determine how many of each silhouettes I would need for each piece. Here, we decided which piece would be which feminist. The queens are Ruth Bader Ginsburg and Betty Friedan. The kings are Susan B Anthony and Elizabeth Stanton for their notable contributions toward women’s labor rights and suffrage. The bishops are Bell Hooks, Audre Lorde, Tarana Burke, and Roxane Gay for their efforts in intersectionality and defining feminism. The knights are Beyonce, Lizzo, Megan Markle, and Serena Williams for their current-day use of the media in feminism. The rooks are Emma Watson, Ariana Grande, Mindy Kaling, and Zendaya for their consistent support towards dismantling the patriarchy and status quo for women. This hierarchy is extremely impactful toward our concept as these women stand up for others in the fight for equality. The newer generations and waves of feminists add their own thoughts while simultaneously protecting the ideas of those who came before them. This is similar to the game of chess as every single piece is doing whatever it can to protect the king and queen. Cutting each of these pieces out with the laser became easier than the gender signs since the scale was larger (seen below). But we still struggled to find the perfect size, so we recut the chipboard several times. Before placing each of the slit joints together, we decided to paint each of the pieces with spray paint (seen below). This created more contrast in our design and would allow for each of their names to be more visible. It also differentiated between each player’s pieces. Player one would have all pink pieces while player two would have all black pieces. This process took longer than expected because of how many layers we painted in order to ensure complete coverage. Once they all dried we wrote each of the women’s names onto the pieces using gold and silver markers. After this, we glued everything to the mirror bases and placed them into their correct spots on the acrylic chessboard (shown below). This ultimately resulted in our final composition which ties the classic game of chess with feminism.

Throughout this assignment, I was able to create a concept that was not only meaningful to me but also applies to the game of chess. We were able to accomplish this by creating recognizable silhouettes that provided viewers with the capability to recognize our concept. During this process, we overcome scale issues with the laser by having multiple iterations. To improve upon this composition, I would love to create graphic images that would lay underneath the translucent chessboard. Ideally, this would use iconography and verbatim to express who each individual is and what they accomplished. However, not doing this allowed me to learn how important recognizable silhouettes are.

Within this assignment, I aim to create a personalized gift that explores the design elements of form and space. Doing so will allow me to build a design experience through both the interior and exterior attributes of the gift and container. To accomplish this, I intend to use professional materials and construction techniques. By learning about my chosen mentor, I will craft an individualized form that can be used in her daily life. That being said, my most prominent goal is to be able to create something that will be applicable in her life as a cook, sister, designer, and more.

To begin the ideation stage we started with defining what exactly a gift is and the best gift you have ever received. Illustrating this in words and images allowed me to narrow down my ideas of what a good gift is. Some of my least favorite gifts included tacky jewelry and clothes. These gifts were not personalized and did not last the test of time. However, some of my favorite gifts were a puppy, a laptop, and a vacation trip. Each of these had the emotion of love attached while being experiential and thoughtful. These are qualities that I eventually wanted to incorporate into my final composition for my mentor. We then constructed a container that arose anticipation while partially or fully enclosing a random object. When tasked to pick a random object, I wanted something that had both curved and straight lines in order to challenge myself with planar materials. I ended up choosing a spray paint can because I was intrigued by the shape and sound it makes. Doing so allowed me to explore different types of paper folding as well as the type of container I wanted. I debated between creating a cylinder container with a handle or a rectangular prism container with a lid but both of these ideas seemed too simple. Instead, I decide to merge the two ideas and created a base with a square and a lid with a circle. This morphing of shapes created a container that viewers would be unable to tell what was inside. To begin building this shape I used a compass to measure out the radius of the bottom of the spray can. Once this was complete, I used the height of the can to create a larger circle which would become the sides of the container. I then cut this out and began folding each of the sides in order to achieve the square bottom I desired. To create the lid, I repeated the process of drawing a circle that was the same size as the top of the spray paint can and then created a large circle around it. I then cut small slits for the shape to become circular and then glued a small handle onto the top. That being said, the element that arose anticipation in this creation was the shape of the container and the sound it makes when shaken. Because the spray paint can makes a loud rattling noise, I decided to use this as inspiration for the colors on the exterior surface. The sound reminded me of maracas so I found common colors of the countries where this instrument was common. I then created a design out of the red, green, and yellow colors that would resemble a musical instrument. This ultimately sparked many ideas for my container of the gifting design.

Upon interviewing my mentor, Kayla Goins, I was able to come up with several ideas based on her interests. One of the biggest questions I had for her was whether she would rather have something pretty to look at or functional. This gave me a huge insight into design within her life as the answer was aesthetically pleasing. In addition to this, she has a love for cooking. This is something that we have in common so I was especially drawn to this idea. During the interview, I also found out small details about her life (seen below). She is very organized and her favorite music genre is RnB. She played basketball, volleyball, and track in high school and is a coffee and tea kind of girl. She doesn’t like surprises or compliments but enjoys living alone. Her favorite food is salmon and she would rather adopt than have biological children. She has a big family and is obsessed with the show, The Flash. Her favorite quote is “Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing, but rejoices with the truth.” (Corinthians 13:4). This quote spoke to me because of all the truth behind it. That being said, I wanted it to play a large role in the creation of this gift.

All of this information had me bouncing from one idea to the next, but I truly wanted to create something that would be functional in her daily life. Combining this element with aesthetics is a priority for me because I think all gifts should hold deep meaning while being useful for the recipient. Many of these ideas centered around the kitchen because of her love for cooking. I contemplated a decorated mug, oven fit, flower case, and spice jar set. I loved the idea of the spice jars because it truly represents how cooking can be a love language, particularly an act of service. In this situation, the jar would be the container while the gift would be inside. Love is the gift that spice is able to give to others which directly relates to Kayla’s favorite quote. When researching materials for this idea, I struggled to find high-quality jars this didn’t break the budget. I also wanted to personalize each jar by adding branded labels on each using the laser cutter. However, this also broke the material maximum number so I had to switch directions. Similarly, I thought about creating coffee and tea jars for her apartment since she enjoys both. These would be larger-scale jars that would be filled with coffee grounds, tea bags, and hot chocolate powder. The concept would be similar to the spice jars as the container would be the jar itself and the gift would be inside. But, I also ran into material cost issues so I had to change ideas once again. Following her love for cooking, I wanted to create a cookbook where she could store all of her favorite recipes. I found an Instagram page that she created called “Kayla’s College Eats” where she shares various recipes made during her college years. Using this as inspiration, I created a cookbook cover that was personalized by using her Instagram page’s username and favorite colors. The materials I found included a purple leather notebook ($7.99) and mini hot glue sticks ($6.59). I planned on using the hot glue sticks to secure a paper-made pocket on the inside of the cookbook. To construct this I folded paper accordion style then folded it in half to create an enclosed area. I then used the hot glue gun to glue all of the edges together. I repeated this process with drawing paper and adhered it to the inside cover of the cookbook (shown below). This gives Kayla a spot to place other family recipes, food inspiration pictures, and other scraps. This ultimately complies with the three-material maximum as well as the $15 budget.

Throughout this assignment, I was able to overcome challenges that I did not expect. Having issues with the laser cutter was the most prominent among these. However, I was able to figure it out through communication. Looking back, I would change the power of the laser cutter when etching the front. It is a deeper cut than I was expecting which resulted in the burning of leather that should not have been. Understanding the laser has been my biggest accomplishment throughout this year and this project. Finally being able to successfully use the laser by myself is something I didn’t think would happen this year. But, I was able to do so and am proud of the designs I was able to create using it. Within this process, I was able to learn that many tasks took longer than I originally expected. This required my time management to become more efficient and spend out-of-class time wisely. That being said, if I could improve upon this composition I would love to incorporate removable pages. This would allow for recipes to be torn out cleanly and given to others. However, I am proud of the cookbook I was able to create because of how personalized it is.

To experiment with form and performance, I will be working with a partner to create a body modification design. This interactive, three-dimensional piece will not only communicate the thematic scenario of a circus but also messages on gender stereotypes. Constructed augmentation will play a large role in this as we aim to use inclusive and accepting materials. Circus performers, women specifically, should not be limited by their clothing so our goal is to create a supportive yet comfortable body augmentation. My goal is to focus on body activation in regard to how items used to be used in the past versus how they are used today and even how they will be used in the future. Craft is also extremely important in this as the relationship between surfaces and skin is highly sensitive. Ultimately, creating a body modification focused on the circus theme will require the use of many design elements and principles.

To begin the ideation stage of this assignment, I researched the history and function of carnivals across the globe. Upon finding pictures (shown below) I was able to explore details on who, what, why, when, and where. While carnivals began for Christians who were going through lent, this has drastically changed in today’s world. It was also a primitive festival that included parades and other public street entertainment options. Carnivals often combined elements of the circus with modern-day amusements like rides, food, and animal acts. The largest of these carnivals occur in Brazil, Trinidad, Germany, Italy, Belgium, and Spain. After finding this information I was able to answer the same categories in a design scenario that focuses on today’s carnivals. These typically occur in suburbs with kids and families. They often happen during the summer and include games, activities, food, and entertainment. We then transitioned into creating physical models of possible options. Rolling dice decided our requirements of using the arm, having a body performer theme, and incorporating migration elements. After brainstorming we knew we wanted to take the migration theme literally and either add birds or feathers to the life-size drawing. With this, Andrea and I ended up creating an arm sleeve of feathers that used movement to show migration (shown below). The body performance aspect was also shown through a dramatic addition of feathers below the arm sleeve. This creation provided us with a starting point for our final composition.

 

Andrea and I chose the torso as our body part of choice because it is something that many female performers have to deal with in the circus. Corsets have been forced upon women for many years in order to fit into ideal beauty standards. However, we wanted to create a design that focused on inclusion and comfortability. This began with creating different paper models with tape and pipe cleaners. We first constructed two cone-shaped cylinders that would stack on one another (shown below). We realized this would be difficult to measure and build out of fabric so we found a different way. Using a net-like structure, similar to Assignment 4 (2D to 3D), we drew out the shape. After cutting this out we taped pipe cleaners on the inside to represent the wire within a corset (shown below). Once we were able to visualize the size and shape, we transitioned to the small details. We wanted the color palette to be symbolic of the carnival. These colors are typically a broad range of deep intensities. Because of this, we chose a burgundy red since it reminded us of the large tents that hold games and food at carnivals. However, we also wanted to pull in colors of typical corsets that are worn under clothes. This includes tans, blacks, and whites. Instead of deterring focus away from the red, we decided to incorporate black as a secondary color. Incorporating floral lace and black ribbon into the corset provided an aspect that viewers could feel as well. Our design also defies the stereotypical corset design as it is created with a spandex, elastic material. So, feeling this material is an important part of the design experience since it impacts a performer’s every movement.

After choosing and buying these materials, we were able to begin building. In order to make the corset a realistic size, we both measured ourselves and found the average length between the two numbers. We folded the fabric in half and drew the shape to have a symmetrical corset. After cutting the shape out (seen below) we were able to secure the wire. Since the wire was thinner than we initially thought, we had to fold it over itself multiple times before taping it in place (seen below). We then covered each piece of wire with additional red fabric to provide more support and sturdiness (seen below). Beforehand we tested small strips with tacky glue and rubber cement (seen below). This allowed to us determine which materials would work best together. We ended up using tacky glue and a fabric glue stick for this since multiple layers were being added to the inside. After this, we stapled the pleated lace onto the bottom of the corset (seen below). This feminine touch was ascetically pleasing and allowed for the performer aspect to shine. The movement of the lace also played a large role in our extra sense of touch because it is a material that viewers would be drawn to feel. Once this was all completed and dry we were able to lace the ribbon through slits in the back (seen below). This was a tedious process because of how thick our ribbon was and how small the slits were. However, doing so would allow for all body shapes and sizes to wear the corset. This accomplished our goal of inclusion and also impacted the performance ascetic. Ultimately, our design rejects the past construction of corsets and provides a new way for them to be made.

This assignment has allowed me to explore areas of design that I didn’t even think I was interested in. Fashion is something that I have never been able to dive into but my recent studies in Women’s Gender and Sexuality have prompted the ideas behind our corset. Creating a body modification based on past gender stereotypes provided a way for our design to hold a deeper meaning and become useful to a larger audience. That being said, our biggest achievement was creating an inclusive design. However, we learned that this process is difficult due to material usage and adhesive strategies. Finding glue that would last for an extended amount of time and not leave any residue on the material was solved through fabric glue sticks. Overcoming these challenges gave us opportunities to problem solve on the spot which only benefitted our outcome. Specifically, I was able to learn about wire gauges and how to effectively use thin wire within clothing materials. To improve on this, we could have sewn the wire into the fabric in order for it to lay flatter. Removing the wrinkles on the outside of the composition would make it more aesthetically pleasing for users. Nevertheless, I am proud of the composition and design experience that Andrea and I created.

Within this assignment, we will create a concise stop-motion animation to emphasize the formal principle of movement informed by a musical selection. Intentionality will play a strong role in the process as the viewer will not be able to hear the chosen songs. To successfully express these feelings and emotions, we will be utilizing design elements and principles. Storytelling and the use of color will also play a large role in this as we aim to construct a harmonious composition. Ultimately, designing interactive images will require a series of modeling and prototyping that will be done digitally and by hand. In addition to all of this, working with a partner to complete this will allow for our strengths and weaknesses to support one another. My most prominent goal in this assignment is to combine each of our ideas into one flawless design. Being able to work as one unit is important not only for the design’s success but for our own experience as well.

Understanding music was the first part of this assignment since all inspiration is coming from instrumental songs. Analyzing different beats, instruments, and pauses was key in visualizing the song. In exercise one, I was able to pick one of my favorite songs and pull it apart. “Soundtrack 2 My Life” by Kid Cudi is simple in instruments but complex in regard to repetition. I broke a 13-second clip of the song down into the bass, beat, and drums. To represent each of these, I chose a different shape and placed them based on the rhythm and pitch (seen below). Doing this gave me an idea of how I would be able to use music to inspire a stop-motion animation. Getting to know our partner was the next step in approaching this assignment. This was not only necessary for the project’s success but also allowed us to get to know other design students. Combining our strengths and weaknesses would be a crucial part of making the dynamic pages the best we could. After conversing we were able to collect a range of music samples. We found instrumental versions of our favorite songs and listed our thoughts about them in a chart (seen below). Doing so allowed both of us to see each other’s musical tastes and decide on which route to go. Visual language and music organization principles played a large role in this as we were on the search. We analyzed our top three music selections with a focus on beats, instruments, and vibes. After this, we attempted to layer songs over one another in order to find similarities and differences. We found that “Too Good” by Drake and “Quietly Yours” by Birdy worked well together so we created a venn diagram to compare and contrast. “Too Good” has a consistent beat and high intensity that focuses on the drums. “Quietly Yours” transitions from light to heavy with a soft introduction while having a piano focus. These differences can harmonize together in order to display their similarities. Once we made the decision to use these songs, we were able to brain-dump how we wanted the final composition to appear (seen below). Doing so allowed us to put many ideas onto paper and contemplate which elements we needed to prioritize. Visiting the library also helped in making these decisions since we were able to see how we could implement physical change into the stop-motion animation. The movements and transitions of paper inspired us to create a transition of 2D to 3D shapes within our final composition. While we knew this would be a challenge, it would ultimately add contrast to the final composition. We then transitioned into the iteration phase as we began making critical design decisions.

 

 

To decide on design elements and principles that we wanted to highlight, Katrina and I created a venn diagram to compare and contrast the songs. This included scale, movement, and the use of color. We were both drawn to the idea of stop motion because it allows for advanced-looking movement while using digital techniques. We then created small-scale videos (video and IMG_7121) using scrap pieces of paper to visualize different movements. This inspired our final stop-motion animation and allowed us to make decisions on color, scale, and shape. We choose our color scheme based on a color wheel (shown below). However, blues and purples were our first idea because of the moody and dark connotations they have. But, after researching more about color theory the idea of mixing and morphing became more interesting. Combining reds and blues to make purples in the center of our composition reflects how harmonious the songs can be together. We decided the happy message but the sad feel should be represented in a blue triangle. Blue is often associated with feelings of sadness and depression while a triangle is more passive compared to a square. This passiveness represents the piano focus intensity of the song “Quietly Yours”. Contrary to this, we decided to represent “Too Good” with a red square because of its sad lyrics but uplifting instruments. Red is often associated with the emotion of love which is reflected in the lyrics of the song. However, the square is a more intense shape like the drum beat of “Too Good”. The square and triangle transition in circles within our stop motion video. These circles not only show the similarities between songs but also convey the movement of the lyrics. Hearing “Quietly Yours” and “Too Good” next to each other would not initially spark similarity but the more you listen the more you find. The transformation into circles also represents this realization in viewers’ minds. Using these geometric shapes provided harmonious consistency within our composition and aided the storytelling. After making these decisions, we used the Cricut to cut out all of our shapes. This process was difficult because our paper would not stick to the mat which caused cutting errors in some of the shapes. Once we were able to successfully cut each out, we began constructing 3D shapes which can be seen below. This element would add contrast and emphasis to the stop-motion animation. Implementing these in the design created some complications since the 2D shapes were various sizes. However, we were able to compromise and make small changes. We then took 219 pictures of every small movement that was made. This allowed us to change the speed of each moving shape and control how large each move was. After these pictures were taken we transferred them into an app called InShot and changed the length to fit the rubric requirements. We then uploaded this to YouTube so that we could have a shareable link (https://www.youtube.com/watch?v=26dFoppmMHE).

Throughout this assignment, I have been able to explore stop-motion animation techniques. Since this was something I had never done before, it came with many challenges. Not knowing how many pictures to take and how large of movements to make were two of the biggest unknowns. These challenges became learning opportunities as we were able to overcome them. That being said, knowing how to change the speed of the shapes in the stop motion was the most prominent lesson learned. Understanding that large movements create a faster speed and small movements create a slow speed was extremely valuable in creating a composition inspired by music. This music also played a large role in the achievements Katrina and I were able to accomplish. I think our design is very thought through and it shows during our animation. We were able to achieve a level of intentionality that leaves viewers with clarity. However, if we could improve upon the composition I would love to be able to incorporate more shapes at a smaller scale. Increasing the number of shapes used in the stop motion would have added to its complexity and created more emphasis on the movements. But, I am proud of the harmonious design that we were able to create using 3D shapes and color theory.

To begin the brainstorming process, I made a list of potential themes that could be used within my initials. However, I was limited in that aspect since my initials are GVG. The list included ideas such as nature, coffee, volleyball, powerlifting, and more. To differentiate myself from my peers I chose something that I assumed others do not partake in, which was lifting. Once this decision was made, I explored the creation of different gym equipment within Adobe Illustrator. This involved a treadmill and various free weights like kettlebells and dumbbells. While experimenting with an uppercase G, I struggled to keep the original form of the letter so I quickly shifted to lowercase in order to utilize the negative space. I also played with different fonts as I found that they made a large impact on the vibe of the design. Choosing a typewriter g allowed for interesting negative space to be utilized but it also felt too feminine. Since lifting isn’t necessarily associated with that, I chose to switch the font to a more block-like letter. I ended up deciding between the examples in the screenshot below since they were easy to understand yet interesting to look at. When testing on scrap paper using the laser cutter I liked the look of the 45 lb. plates more than the kettlebell because the details caught my eye and the laser could handle the thinner lines. Once this was complete, I used rubber cement to put attach the black cardstock to white bristol paper (seen below). This process and the decisions involved allowed the brainstorming stage to flourish.

Brainstorming different ideas that would work well with the layers concept was a challenge for me. I only found a couple that I really liked since I wanted to expand upon depth in an object that already contained it. I was able to create small thumbnails for each of these ideas (shown below). These themes included nature (ocean, forest, sunset, etc), beauty/jewelry, and family (gatherings). Once I was able to visualize each of these I dove deep into three of them. The forest, ocean, and jewelry themes sparked my interest the most so I researched ideas within them. The work of Iris Van Herpen brought curiosity to how I could incorporate animation into the layers. However, the depth of the ocean and all the living organisms involved also intrigued me. Ultimately, I chose to work with a forest and the animals involved in my final composition. Doing so would aid in the process of revealing emotion while simultaneously implementing the principles of movement and emphasis. Moving forward, I began drawing different structures to include in the final composition. This included trees, cabins, wolves, deer, rabbits, snakes, birds, and flowers. All of these organisms belong in a forest ecosystem but I didn’t necessarily want to incorporate all of them because it wouldn’t allow for enough emphasis on my surprise element. Building a vision board on Adobe Illustrator came next as I pieced together different layers of the forest. I wanted to simulate the viewer walking through a forest, so the trees toward the front are much larger while the ones in the back are smaller and in the distance. This evoked the mysterious and dark emotion that I desired. Once I placed each drawing into the spot I wanted, I split the vision board into layers. I could then see each layer clearly and was able to order each in a way that they would be placed in the horizontal display. Using different shades of grey allowed me to separate layers on artboards that were the size of the opaque apparatus which would allow for easy transfer to the laser cutter. While the wood apparatus would have followed the forest theme, I wanted to be able to leave gaps between the layers in the final composition. Adding space in between each would allow more depth to show. On a different note, implementing my surprise element of stars was the most difficult part because I had to find space through each of the layers for light to shine through. In order to hide the stars when light was not shining, I added tracing paper in front of the layer. After finalizing the files in Illustrator, I perfected how I wanted each layer to look and was ready to use the laser cutter. Once all six layers were cut I was able to make small placement changes and decide on the direction the light should shine through the composition. This resulted in my final outcome which can be seen below.

Within this assignment, I was able to create a structure focused on depth that conveyed an obscure yet welcoming natural environment. Creating floating objects was my biggest challenge and accomplishment in this composition. Being able to produce objects that weren’t connected to the surrounding border like the rest of my layers was something I was able to solve using a connective material like glue. Problem-solving through difficulties allowed my layers to come to life and taught me that your best idea isn’t always your first idea. However, to improve upon this composition I would love to add sound. The rustling of leaves, the whistling of the wind, and the chattering of animals would advance the emotions conveyed. Looking back, I also regret how much time I spent on exercise one because it took away from possible iteration time. Nevertheless, I was able to learn that small tweaks can make a large difference in the design process and outcome.

Within this assignment, I intend to create a durable and usable repository for design processes and ideas. Doing so will allow my visual strategies, methods, and styles to expand and develop further. My goal within this composition is to learn different binding techniques that will allow for my sketchbook problems to be solved. Designing an on-brand experience is also a priority for me since it will be usable throughout my education and career.

To begin the ideation stage of this assignment, I started with reading and listening to multiple sources. From there, I was able to gain an understanding of sketchnoting, doodling, learning visually (aka stare master), and how a sketchbook can change your life. This also included key points like the actual definition of doodling and how sketching can provide clarity in design situations. This information gave me a starting point in the composition. From here, I created a wishlist for my dream sketchbook. The use of twine, etched nature patterns, rounded corners, paper cache, and various paper types were added to the list. These elements were important to me in order to create a brand that resembled things I found joy in. This also resembled the process of mind mapping in class. Being able to expand on my thoughts and visually represent them was a form of organization that reduced my anxiety about this project. I then found materials online and through recycling in order to create several prototypes and iterations. In class, we were able to brainstorm with classmates and encourage each other to explore further. Finding multiple video examples of binding techniques, pattern examples, and more allowed ideas to thrive. Using different paper folding and cutting strategies displayed the various ways sketchbooks could be constructed. Some were extremely simple while others used very intricate steps. The number of pages included played a large role in possible binding techniques because of the bulkiness. I was also able to round the corners on iteration 3 (shown below) to imitate how I could use the laser cutter in my final composition. Once each of these was constructed, I was able to implement mind-mapping techniques into the illustrations. This not only allowed me to find purpose in my sketching but also display topics I care about. Ultimately, the creation of a mini sketchbooks allowed me to visualize how I desired my final product to appear.

For my prototypes, I had to prioritize and think about different decisions including size, binding, and locks. I wanted the book to lay flat but at the same time, I found more importance in the pages being interchangeable for when they were all used. This led to experimentation with the binding where I played with the idea that a whole does not have to be pierced through each paper in the sketchbook. Creating a binding with twine allowed me to do so since I could untie the knot whenever needed. I also played with different kinds of clasps in order to achieve the design I wanted. Since the twine is not elastic, it served more of an aesthetic purpose instead of a functional one. In my final composition, my goal is to etch the quote “grow through what you go through” on the front cover. Not only does this quote speak directly to me but can also be a message for others to observe when they see the scrapbook. I decided to write this quote and draw greenery on the front of the prototypes to emulate how I wanted the final to look. During this stage, I used faux greenery and glued it to the cover of my sketchbook. This 3D element was pretty to look at but made the sketchbook unable to lay flat so I wasn’t sure I wanted to use it in my final. In order to keep this 3D part, I wanted my surprise element to stand out yet be practical. I practiced making pockets on the back of my sketchbook but didn’t love how it wouldn’t be able to lay flat. Instead, I opted to using dry erase stickers. This not only was a realistic addition that I know I would use but also allowed the sketchbook to lay flat. I was also interested in the idea of using fabric to sort of paper mache the back cover in order to provide sturdiness. I used scrap pieces to glue them on but wasn’t completely satisfied because they didn’t fit the aesthetic I wanted. After creating an Illustrator file, I was ready to use the laser cutter to etch my design. However, I found challenges in this with adjusting the power to not cut completely through the chipboard (seen below). Once I was able to perfect this level, I scored the chipboard to create a cleaner fold and added a strip of fabric on the inside of the book to add support to the binding. I then cut each of my media types (drawing paper, graph paper, tracing paper, and black cardstock) to fit the size of my sketchbook perfectly. After doing so, I was able to bind my book using twine similar to the method of prototype one which allowed for an easy change of paper in the book. Next, I created a sort of lock using twine and hot glue on the chipboard. This was difficult to make aesthetically pleasing because loose ends create knots that weren’t tight enough. Making the loop the correct length was also challenging and took multiple tries. But eventually, it all came together to create my final sketchbook (shown below).

I found the process of making a sketchbook to be extremely stimulating because of all the trial and error. I was able to create an on-brand experience through the use of materials like chipboard and twine. Doing so taught me that your first idea is only your most complete idea. The exploration of different binding techniques along with stylistic approaches proved that the iteration stage is the most important part of the assignment process. During this part, challenges arose. I struggled with not only finding laser cutter time but also with the power levels I was using on the chipboard. This directly relates to my achievements in this composition. While being able to cleanly produce a design with a level of high craft is always a work in progress, I believe I was able to do so in my sketchbook. However, to improve upon this composition I would love the opportunity to add more variety in the media type. This would allow for multiple different types of paper to be used within various circumstances. Nevertheless, I am proud of the unique sketchbook I was able to create.

In this visual composition, I will manipulate 2D and 3D forms in order to create letter forms, objects, and images. Using Adobe Illustrator will allow me to explore the effects of texts and imagery on viewers. Combining the elements and principles of design within my final composition will also enhance the typography of my created mash-up word. By the end of this project, my goal is to become comfortable using different and new elements of Illustrator. To challenge myself, I want the final composition to be digital as opposed to by hand like in previous projects.

To begin the ideation phase, I began listening to the Mashups, Remixes, and Frankenfication podcasts. During this, I was able to grasp the complexities and differences between each of the topics. This added to my previous knowledge that stems from the music world and furthered my understanding of how design can be found everywhere. After doing so, I transitioned to exercise one as we were tasked to create isometric letters that spelled our names. Using various texts and then transferring them to isometric grid paper was a challenge for me because I found my proportions to be off. The angled lines provided difficulties within my process until I was able to realize that each letter can be broken down into mathematical units. Switching to a digital application through Illustrator afterward allowed my thoughts to come together. Experimenting with different tools in the program allowed my fonts, patterns, curves, and layers to become more dynamic. After experimenting with Illustrator, I was able to focus my attention on creating mash-up words. In exercise 2, I created a list of 30 different words, composed of nouns and adjectives. I explored various routes by including a wide variety of objects. Some of these were money, a puppy, a house, a vehicle, and Netflix. I also attempted to use a variety of adjectives that included expensive, crowded, modern, thrilling, and clumsy. Combining nouns, verbs, and adjectives to create new, creative descriptions was an exciting yet challenging process. Doing so, taught me the importance of iterations because it gave me various options to choose from. I tried creating words from feelings and emotions versus creating words and then putting a definition to them. This worked well for me due to the sense of purpose behind the word. For my final three options, dirney (dirty money), sweatesque (grotesque sweater), and coffancy (fancy coffee) I created dictionary format definitions. Doing so sparked ideas for possible imagery within my final composition. These strategies were expanded upon within the iteration and production phase of this assignment.

Choosing a word to use was a challenge for me because I was able to come up with creative ways to display each of my final three. For dirney, I envisioned creating large letters with imagery inside that would include politicians, drugs, jail cells, and gambling. For coffancy, I pictured a design that focused on verticality and imagery of various coffee toppings. Both of these options, and more, can be seen below in the thumbnail picture. Ultimately, I chose sweatesque because it would allow me to combine typography and imagery to create a holiday-themed composition that would be lighthearted and easy to understand. To begin this process, I expanded upon my original thoughts in the thumbnails. I wanted my main piece of imagery to be an ugly sweater, which meant I also had to create multiple different patterns to be placed on it. This process was tedious since I wanted a variety of textures and shapes within each pattern row. Doing so would allow viewers to automatically recognize what the drawing is, which would make comprehension of the word sweatesque automatic. This challenge was frustrating because I had difficulty transferring my drawings into Adobe Illustrator and using the clipping mask tool. I began by brainstorming different images that would be on an ugly Christmas sweater. This included snowmen, trees, ornaments, bells, stars, snowflakes, candy canes, and more. Using Adobe Illustrator shapes and arrangement tools, I drew each of these objects and picked my favorites. I then manipulated these creations using pattern swatches and the grid tool to fill the space of my sweater. In order to keep the appearance of each of these images realistic, I included any and all colors that would be on the object naturally. Doing so broke a requirement in the assignment brief and rubric, however, I feel as though it was necessary in order to convey my holiday theme. Once I was able to accomplish this I transitioned to formatting the text. Using the extrude and bevel tool, along with the expand appearance tool, allowed my text to become three-dimensional and dynamic. Originally I wanted the word grotesque to become one of the patterns within the sweater, but doing this would not create enough contrast in the final design. So, I shifted directions to find a way to present my ideas with the extrude and bevel tool. Placing the word on the collar of the shirt provided my design with a sense of hierarchy that was comprehensible yet complex. After doing so, I made small changes in placement, order, and color to perfect my final composition which can be seen below.

Within this assignment, I was able to explore Adobe Illustrator tools to create a dynamic design. The inspiration for this was an ugly Christmas sweater, which was one of my biggest personal achievements. Creating a recognizable object was a goal of mine that I feel was accomplished due to the different shapes, tools, and patterns utilized in Illustrator. I learned that this is never a smooth process; it comes with a lot of trial and error. Many of my challenges arose in this process because working in the program is still a learning curve. I wasn’t always able to create something exactly how I envisioned it in my head, but learning to roll with the punches and look at things in a positive light truly impacted my final outcome. Creating numerous objects over and over again until one finally looked perfect was a time and energy-consuming process. However, I am proud of the imagery I created and would spend the same time and energy doing it all over again. To improve upon this design, I would love to include a textured background versus using the deep red color. Incorporating a fuzzy or scratchy look into the base color of the sweater would allow the design to look more realistic. But, the color red I used provides more emphasis on the principles of design included, which were contrast, balance, and harmony.

To create a thematic card design focused on patterns, I will use abstractions found in nature. The process of observation, slow looking, examination, and iteration will allow me to compose both analog and digital compositions. I am aiming to create a dynamic design that will sell at the Winter Market event. I am also striving to become more comfortable working in Adobe Illustrator, as I continue to learn different tools and techniques within the program. Focusing on these goals will provide support and encouragement during the ideation and iteration phases of this assignment.

At the beginning of this assignment, we were tasked to take at least ten images of natural forms. I took this literally and found twenty-five objects outdoors to capture. These pictures were then used to use hand drawing techniques and digital applications that focused on principle analysis, direction, components, and value. I completed the chart (shown below) using ten of my favorite or most interesting images from the previously taken ones. After doing so, I was able to realize the importance of contours in the drawings because it allows viewers to understand what the image is supposed to be. However, this assignment focuses on pattern and texture so it was interesting to see how these mixed. Within the exercise phase of this assignment, we used multiple nature pictures to form abstractions onto an eight-by-eight-inch square. Once this was completed, we divided and cut the square into four equal sections. We flipped the right squares to the left and then the top to the bottom in order to create an ongoing pattern. This strategy allowed for a dynamic and continuous pattern out of my chosen leaf to be created (shown below). We mimicked this process in Adobe Illustrator by creating an artboard and adding various-sized circles randomly over the page. The same steps were followed as we flipped the sides and then the top and bottom. Again, a pattern was created that was eventually used to create a swatch, which could be used easily on other artboards and shapes. This process was challenging even though the tools were similar to those with which we worked in the past. The technicality of each step and the importance of attention to detail were things that caused some minor issues within my practice composition. However, I was able to create an ongoing pattern using these steps that could also be used within my final composition. We transitioned to tessellations by hand, which was a concept that I felt comfortable with because it was very analytical. To create a more dynamic tessellation, we then worked in Illustrator to create curves and patterns that would be cut out with a Cricut. This process was more enjoyable for me because we were allowed to be more creative with our shapes. This creativity inspired my design process within the iteration and production stages of this assignment.

Using my previously made nature abstractions chart, I experimented with derived patterns and card templates as well in order to give myself enough options to choose from. These included different card sizes, shapes, and inserts. To convey the complexity of a card, I explored the various ways a card could be folded, bent, cut, and opened. This process was extremely valuable to me because it proved that a card can be so much more than a card. I then transitioned into uniquely crafted cards that displayed patterns that could be found in nature. When creating prototypes for my final composition, I struggled to find a pattern in nature that I wanted to recreate. None of my initial abstractions sparked any great ideas, which led me to explore elsewhere. When looking through my camera roll in the search for nature pictures, I stumbled upon water pictures from vacation. My trip to Norris Lake this summer was filled with boating, tubing, and skiing which ended up being my inspiration for my final card since I was able to pull nature abstractions from them. I found my favorite patterns to be tessellations of these waves because they held a deeper meaning and happy memories for me. I wanted to include this theme within my final composition, so I added my knowledge of color theory to advance my work. Understanding that color is a stimulant and that it plays an important role in the functionality of a design was a priority for me. Through lectures and outsourced videos, I was able to recognize how visual weight, contrast, dimensions, and schemes affect the outcome of color combinations. With that being said, I had the idea to include one color, blue, with multiple hues in order to relate it to my water theme. When creating possible final cards in illustrator, I struggled to settle for a single one because I thought my designs were too simplistic. However, this thought was quickly contradicted when I was able to discuss the topic with Deb and other peers. This confidence boost propelled further experimentation in Adobe Illustrator as I explored different ways to place the waves on the card. This included gradient patterns and a large focus on negative space, with can be seen below. Ultimately, I decided on a pattern that is both open and closed but also combines negative space for viewers to pick out the wave pattern within the tessellation. Once deciding on this, I created a greyscale version and a color version as one of the advancements. Doing so only adds to my theme of water, which continues through my envelope as well. To create a dynamic and unique envelope design I continued the wave pattern onto each side of the final composition. Making the card a square, allowed me to place equal size waves (that were to scale with the waves in the design) on each side. I created a prototype using the Cricut machine (shown below) where I practiced gluing three of the sides together to create a pocket for the card. I ran into a difficulty here because my card would not fit inside the envelope since I had to downsize it to fit on the Cricut. However, I liked the size of the card, so I decided to use Fed Ex to print both my cards and envelopes. This was a nerve-wracking process for me since it was the first time I had done it and I would half to cut the envelopes out by hand. Unfortunately, I faced difficulties in this process because of stock issues which delayed my process. Fed Ex also changed the dimensions of my designed pattern which caused large problems when creating my envelope since the measurements were thrown completely off. This set back my predicted plans as I was pushing the time limit, but in the end, I am glad I used Fed Ex to print my pattern because of how sharp the colors came out. Eventually, I completed the process of cutting out all five cards and used an adhesive scrapbooking dot to ensure that the envelopes would securely close (shown below).

Reflection

Throughout this assignment, I was challenged to push my limits and break through my comfort zone. Doing so allowed me to expand my design skills and create a composition that holds meaning while being structurally correct as well. This accomplishment is one I am most proud of because I had difficulties with measurement throughout the project. Looking back, I wish I would’ve expanded my nature studies off campus so that I could have found more ideas for possible card designs. However, I am happy that I took the chance of looking through my camera roll to find the pictures from Norris Lake this summer. I also learned how important it was to create multiple iterations of my nature pattern abstractions because it allowed me to choose which I was drawn to the most. Giving myself options has proved to never be a waste of time since it provides me with new ideas, like the negative space within my Illustrator prototypes. If I were to improve upon this project, I would consider changing the dimensions of the card and envelope in order to conform to standard delivery measurements. However, the square is one of my favorite parts of this design because it provides a strong contrast against the curve of the wave. This allowed my final composition to involve the principles of design including rhythm/movement, contrast, and emphasis. Doing so resulted in a design that holds a strong theme and is constructed well.