Concept Statement:

My design gift is a digital nautical-themed poster. This represents an ode to the Columbus Clippers baseball team (where my mentor does videography), and a collage combining his favorite memories and music. I wanted to help express his profound appreciation and admiration for the Columbus Clippers baseball team. As a tribute to my mentor’s passion for videography, this looks to fuse together his favorite memories and music, creatively arranged in a collage that captures the essence of adventure and excitement. The design is a textured pirate map aesthetic meant to be attainable through a unique message in a bottle. This QR code leads to a digital experience, complemented by a Spotify playlist that shows a setlist for the festival. This designed gift attempts to serve as a testament to the work and experience of my mentor and his profound love for his music and life.

“Design is not just about making things look good, it’s about creating experiences that are meaningful and memorable.” Don Norman

 

Research

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View portfolio listing for Gifting Design

Statement of Intent

Our design is titled “An Ode to Foundations”. It is a conceptual redesign of the classic chess pieces that aims to explore the potential use of this timeless game as a narrative device. We look to draw inspiration from the six aspects of our Foundations class projects including grid perspective, shape grammar, Notan, 2D to 3D, mapping of Ohio State, and a representation of Hayes Hall, to create a new set of pieces that emulate the behavior of each established piece. Our goal is to use the existing rules, mechanics, and goals of chess to structure a new narrative experience, while also exploring the past design elements and principles of each project that has made up our semesters in Hayes Hall. We wanted to focus on using elements and principles we have developed throughout the year to create literal pieces of movements that coordinate with each piece, enhancing the overall narrative and allowing the players to engage with the story on a deeper level. Through this project, we hope to showcase our journey throughout Ohio State and focus on using design elements, principles, and techniques to create a new narrative and experience for the pieces of chess.

Research

To begin understanding the purpose and cause of this assignment, we wanted to make sure that we understood chess completely before attempting to restructure the behavior of the pieces. For this, we began conducting bulk amounts of brainstormed information about the rules and history of the game. For this, we began scrubbing articles, web videos, and even ChatGPT to generate as much broad information as possible. We decided to create a shared document of full information for a collaborative space to store our findings. We began to find the following:

1. Chess is believed to have originated in northern India in the 6th century AD.
2. The modern version of chess, with its familiar rules and pieces, was developed in Europe during the 15th century.
3. There are six different types of chess pieces: the king, queen, rook, bishop, knight, and pawn.
4. The pieces move in specific ways: the king moves one square in any direction, the queen moves diagonally, horizontally, or vertically any number of squares, the rook moves horizontally or vertically any number of squares, the bishop moves diagonally any number of squares, the knight moves in an L-shape, and the pawn moves forward one or two squares on its first move, and then one square forward on subsequent moves.
5. The objective of the game is to put the opponent’s king in “checkmate”, which means that the king is under attack and cannot escape capture on the next move.
6. The world chess championship is the most prestigious title in the sport, and has been held since 1886.
7. The longest game of chess ever played lasted for 269 moves and ended in a draw.
8. There are many different variations of chess, including blitz chess, bullet chess, and Fischer random chess.
9. The word “checkmate” comes from the Persian phrase “Shah Mat”, which means “the king is helpless”.

 

Exercise #1 & ACCAD visit:

Following this compilation, we visit ACCAD to study ways that students interacting with games. This was a main focus on forms of User Experience. After this, with our generated set of notes we were tested by playing a game of chess along with a focused game of Jeopardy over the rules and history of chess. Once we completed these visits and practices, we conclude a few of the notable findings that we used to begin ideating the basis and structure of our alterations to each piece. Taking into account the behavior and structured hierarchy of each piece became a very important focus for us throughout our forms of ideation. We began to throw out a list of ideas to begin constructing various amounts of slice forms. This began to be a challenging part, as I found it really challenging to convert forms into separated planes of slices.

The easiest way to begin making progress was to simply do and make mistakes I created. Rather than drawing on paper or 3D modeling, I had to truly create with my hands. As we began to ideate lists:

Researching Ideas:

bolded = topic names
* = interest in pursing further

 

Picnic Theme *
Hiker

Ants

Watermelon

Ritz Cracker

Strawberry

Peanut Butter

 

Grand Canyon Theme *

Yosemite

Ol Faithful

Rocky Mountains

Niagra Falls

 

Food Fight Theme
McDonald’s vs Wendy’s

Coke vs Pepsi

Fries

Burgers

Milkshakes

 

Geographical Theme

Beach vs Mountains

Gnomes vs Plants

City vs Country

Astronomy vs Anatomy

Summer vs Winter

 

Classic Versus Theme

School of Rock vs Pokemon

Plants vs Zombies

Pirate Ships vs Each Other

Technology vs Traditional

Hot vs Cold

Magicians vs Scientist

Fantastic Mr. Fox vs Bogus, Bunce, and Beans *

 

Construction and Iterations

Testing:

As we began to narrow down our list of topics, we realized the importance of exploring and narrowing down the most attainable and effective options. To achieve this, we started creating forms through sketching and cross-section to create slice forms. By breaking down the larger concept into smaller, more manageable pieces, we were able to visualize and manipulate the design more easily. This allowed us to make changes and adjustments as needed, which was particularly helpful when working with complex or abstract ideas.

By taking a structured and iterative approach, we were able to refine our ideas and develop more effective solutions. This process was crucial to achieving our desired outcome and helped us to identify areas where we needed to focus our attention and resources. Overall, the process of narrowing down topics and creating slice forms is an important part of any creative or problem solving process. It requires a combination of critical thinking, creativity, and attention to detail to develop successful solutions.

 

Constructing Ideated Forms

1.

Constructing a vehicle

 

2.

Constructing a building (what would become Hayes)

 

3.

Creating a larger sphere

We also began to focus on finding roles for the themes we found most interesting in. This took research and meaningful thinking to assign each piece intuitively to our hypothetical players. Following the conclusion of that introductory slice form investigation, we began to look at structuring the characters and assigning them to pieces. For this, we began to ideate with the Fantastic Mr. Fox vs Bogus, Bunce, and Beans. Below is a diagram I began to layout to focus on a story:

With further consideration and storytelling of these pieces and rolls, we began to realize we were simply creating a themed chess set rather than focusing more on creating our hierarchy and roles assigned to each piece. This caused us to go back to ideating. As we continued to process through each of these exercises and iterations of research, we wanted to really focus on creating effective structure and sturdy bases along with how each piece took up its square upon the board. We became intrigued in focus on creating notable forms to give an impactful role for each piece depending upon if in the middle of any game, you could assume which each piece was. This gave the focus on hierarchy and scale to create fulfilling pieces.  We also wanted to visualize the pieces lined up in their neutral location. For this, we needed to define an idea.

Focusing our ideas in Construction:

We really enjoyed the previous construction in the #2 slice form construction. This building has a very prominent board setting a commanded the board. We also realized this could be representative of Hayes Hall itself. Focusing on this, we began to finalize our ideations and draft each into a cohesive concept. We began to reflect on the forms and projects we had completed during our time in design foundations. From this, we began to narrow each down into shape grammar, grid perspective, Notan, 2D to 3D, mapping of Ohio State, and a representation of Hayes Hall, to create a new set of pieces that emulate the behavior of each established piece. This required a focus on the past projects we had previously completed and a determination of the behavior of each. Creating a drafted map for each of these became our next goal as we focused on conceptualizing these pieces:

Once we had finalized the ideas for each piece, we moved on to the next phase of our project, which was to create digital files and iterations using Adobe Illustrator. This stage of the process allowed us to explore various materials and experiment with different design concepts. While we were open to using a variety of materials, we found paper to be particularly flexible and easy to work with, especially when it came to laser cutting availability.  To bring our ideas to life, we began by creating simplistic slice forms for each of the projects. This involved carefully crafting the designs using Adobe Illustrator and ensuring that each element was precisely measured and aligned. Once we had completed the designs, we moved on to the next stage of the process, which was to prepare the files for cutting on the Cricut machine. Using the drafted files as a guide, we carefully set up the Cricut machine and prepared the paper for cutting. Our files are depicted below:

 

Focused file for the rook

 

Focused file for the pawn

Focused file for the Queen & Bishops

 

Cutting with the Cricut was not free of issues. We had many late nights focusing on crafting high-quality pieces. Photographed below is a common issue and limitation we had to evaluate with detailed files and a focus of the 0.0181 thickness of our paper:

 

Finalizing our pieces

By calculating the thickness of the paper and the length and width of the squares we finalized scaling and began to construct the final piece. After conducting a thorough examination of our project ideas, we proceeded to finalize each piece with a focus on sturdiness and detail. We recognized the significance of a side-by-side comparison in terms of discovering inspiration for the movement, hierarchy, and scale of our work. As a result, we reflected on several key factors including shape grammar, grid perspective, Notan, 2D to 3D, mapping of Ohio State, and a representation of Hayes Hall. By carefully considering these elements, we were able to refine our ideas and ensure that each piece of the project met the goal behaviors of each piece within the concept:

 

Pawn Design

 

Rook Design

 

Knight Design

 

Bishop Design

 

Queen Design

 

King Design

 

Reflection

As I look back on our design project, I would definitely say I am am happy and think this set is truly an a accomplishment. It was a rewarding experience working alongside my classmate and coming up with a joint concept that we were truly passionate about. From the beginning, we struggled finding a true idea we thought was impactful and original. Overall it was very interesting exploring the potential of chess as a narrative device to summate our time with Design Foundations. As we drew inspiration from the six aspects of our selected class projects and used these elements to create a new set of pieces that truly emulated the behavior of each established piece. As we worked on this project, I was continually impressed by the level of effort and dedication it truly took challenge myself to move out of my comfort zone and pushing through setbacks. We both pushed ourselves to think creatively and critically, exploring the limits of what was possible.

Looking back on it now, I am incredibly proud of what we were able to accomplish. I feel we were able to use our design skills and techniques to create a new narrative and experience for the pieces of chess, showcasing our growth and learning as designers. Overall, this project was an successful concept and process, and I’m very satisfied with the united achievement.

 

Final Images (Dark Pieces By: Phillip Biondo / Light Pieces By: Sydney Greenwell)

Pawn

Rook

Knight

 

Bishop

 

Queen

 

King

 

Full board with each sides full

 

White side pieces

 

Black side pieces

 

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Statement of Intent

Overview

In this design I aim to create a stop-motion video that takes the viewer on an otherworldly journey through space, conveying the sensation of breaking free from the limitations of daily life through music. Using paper mechanics and stop-motion techniques, I will create a visual experience that captures the excitement and exhilaration of embarking on a transformative adventure. Inspired by the beat switch in the music and the instrumental version of Frank Ocean’s song “Nights” from 3:35 to 3:45, the video’s protagonist will venture through space towards a portal that will serve as the gateway to the climactic experience.

To achieve this vision, I will employ various concept-building strategies, experimenting with different models and prototypes to refine the design. I will prioritize material sensitivity and functionality, thoughtfully constructing the interactive image to ensure an engaging and seamless experience for the viewer. Ultimately, my goal is to create a dynamic and captivating stop-motion video that captures the essence of the ethereal and transports the viewer to a world beyond our own. This musical interlude serves as a pivotal moment in the narrative, marking the character’s departure from the earthly realm (along with the inversion from white to black paper) and then the journey is concluded after falling through the portal back to earth.

Ideation

Exercise #1

Section 3:35 to 3:45

Alongside this selection of music, you can see the displayed drop after repeating pinging at a high pitch. This drop and reverbed record scratched is shown as a gradient blend. With is a smooth sound, thus given the oval and softer shading of blending. Linearly progressing we can see the introduction of high hat-sharpened triangles with bright red colors. Below this, there is a lime green piano note that stacks upon itself in a sub-bass form. With two beeps (represented by the yellow dots) we see this portion of the song loop as the reverbed record scratch is reintroduced.

Credit: Frank Ocean

By incorporating these design principles, I was able to start communicating the musical components visually. During the exercise, I reviewed music videos that follow a similar visual process to gain insights into enhancing the visual representation of music. I selected the song Nights by Frank Ocean to create a visualization using chosen shapes and design principles that represent different aspects of the music, such as rhythm, melody, and harmony. I carefully chose the color scheme and placement of the shapes to convey the mood and emotion of the music. Overall, this exercise provided me with an opportunity to explore the relationship between music and visual design. It demonstrated the potential for a deeper understanding of music through visual means, and I found it to be a creative and enjoyable process. I believe that the significance of this exercise lies in discovering new possibilities for visualizing music, and I effectively conveyed that in my work.

After completing the exercise using the song Nights, I feel more attuned to the ways in which music and visual art can intersect and inform each other. Through the process of selecting instrumental music samples and analyzing their correlations with visual language, I gained a deeper appreciation for the nuances of music composition and the ways in which it can evoke various emotions and moods.

Iteration and Production

As a team, we focused on several elements, including form/shape, line, color, and texture/pattern. We brainstormed several concepts and created mind maps for each, allowing us to explore various considerations, tangent ideas, and sensations/feelings that came to mind. By doing so, we were able to build a vocabulary based on our analysis, converting what we heard and felt into what we saw and felt. From collecting, a list of songs, emotions, and movements we felt were accurate, we began to hone in on the ideas and feelings we wanted to convey that overlapped within our diptych:

As we finalized what our dedicated pieces would be, we decided that we wanted to create two different songs with a feeling of euphoria. These are similar feelings with a contrasted nuance. We began to conclude there were two pieces of euphoric feelings we wanted to highlight. The senses of triumphant euphoria (focused on by my partner) and the senses of freedom and breaking free euphoria (focused on by myself).

Overall, we each try to create abstractions of what the music felt within the notes, sounds, and sounds being played. From this, we attempted to find somewhat fathomable moments unlocked with someone unattainable. As these conclusions began to be examined, we saw the power of elevation and levitation to be the most effective form of something that is tangible yet unattainable. This juxtaposition between the two started to become highlighted by a sense of control and the type of adjectives that would be with each top of “elevated flight”. The song of triumphant euphoria began to have a clear sense of prideful control such as a superhero’s flight, taking off with action and decisive control and ambition. This sense of agency was not present within the free form of euphoria. This freedom was more pressed within the sensor submission. The listener becomes free of the burden of control, they become willingly powerless and allow a greater being to take over. This resembles more of an underwater or galactic floating voyage. This pattern and motion are predicated by a being stronger and much larger than the being itself. The listener simply becomes an instrument and vessel for the powerful rhythm and sounds within the music as a larger work.

As the abstractions became clear, the process and imagery used within also began to present itself. Both my partner and I looked for ways to use paper mechanics and stop motion to create this comparison of euphoric sensations. Settling on the idea of silhouette and form within environments akin to the music and senses produced. As my partner highlighted more of a control take-off of prideful resilience, I focused on the idea of a powerless flow state. This pushed me to focus on a sense of orbit and the powerless individual in the grand scheme of the universe. Similar to stars, space debris, and black holes: some music encapsulates this journey where the listener lacks all control. This shift and movement were crucially when demonstrated within the movement of the silhouette.

From this, it was now time to start the process of taking photos and splicing them together to begin. This consisted of taking plenty of photos to create a fluid motion of the silhouette and the interaction between the body and the space bits. This was done through multiple attempts of moving singular pieces at a time. Many difficulties arose simply by a gust of wind when a classmate would walk by. This consistency and continuity of stop motion was a serious challenge. The photos quickly stacked up and only summated in mere seconds which was also an underestimated experience. Below is a screenshot some of the many photos within file explorer:

             

More visible images of each of the frames

In order to ensure a consistent visual experience for the viewer, I utilized DaVinci Resolve software and advanced stabilization techniques to meticulously crop and scale all of the photographs. This was done with great care and attention to detail, so that each image would perfectly complement the music and contribute to a seamless, immersive experience. By taking these extra steps to ensure that each photo was optimized for the visual medium, I was able to create a polished and professional final product that truly captured the essence of the music in a visually compelling way:

All photos and audio synced with DaVinci Resolve

GIF of final stop motion

I chose a specific portion of the song Nights by Frank Ocean that featured a noticeable record scratch noise, and decided to use this as a pivotal moment in my visual representation. To emphasize this shift in the music, I made the bold decision to invert the color of each element within the stop motion. By doing so, I was able to create a striking contrast that clearly demonstrated the sudden shift in both the frame and the music. I also incorporated a figure floating above a portal, which symbolized the cause of this shift before dramatically plummeting back down to earth. Through the combination of these carefully selected elements, I was able to create a cohesive and powerful visual representation that perfectly captured the motion and feeling of the music. The final result was a truly immersive experience that left a lasting impression on the viewer:

unattached to my partner’s work

attached to my partner’s work

Reflection

Throughout the process of creating this stop-motion video, my partner and I aimed to abstract the sensations we felt within the notes, sounds, and sounds being played. We searched for fathomable moments within something unattainable, striving to create a visual experience that captured the essence of the music. Creating the stop-motion video that captured the sensation of breaking free from the limitations of daily life through music was a fun and rewarding process for me and my partner. We wanted to take the viewer on an otherworldly journey through space, and using paper mechanics and stop-motion techniques, we created a dynamic and captivating visual experience.

We experimented with various concept-building strategies, and prioritized material sensitivity and functionality to ensure an engaging and seamless experience for the viewer. Collaboration and teamwork were crucial to our success, and we each brought our own unique strengths and perspectives to the project. As we examined our conclusions, we realized that the power of elevation and levitation was the most effective way to convey something that was tangible yet unattainable. This juxtaposition between the two became highlighted by a sense of control and agency that was present within the song’s triumphant euphoria. It was as if the listener was taking off with action and decisive control, like a superhero’s flight and space voyage.

Although the creative process wasn’t always straightforward, we remained patient and trust in our vision. In the end, we were able to create a stop-motion video that captured the essence of the ethereal and transported the viewer to a world beyond our own. The music served as a pivotal moment in the narrative, marking the character’s departure from the earthly realm and the journey’s conclusion after falling through the portal back to Earth.

Overall, it was very rewarding creating these videos, and we’re very happy with how it turned out. We learned a lot about patience, teamwork, and the creative process, and we’re excited to apply these lessons to our future projects.

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View portfolio listing for Dynamic Page

Statement of Intent

In this project, we looked to create a carnival experience that conveys conceptual life scenarios through techniques and application of form, material, action, and meaning. This scenario must specifically impact the form of the human body in the form of augmentation. This complemented with performative qualities will bring together a cohesive idea and concept meant to be conveyed.

Our concept takes place in a hypothetical dystopia. The world has continuously undergone war and natural disasters as we see humanity begin to decline. Society and economic structures are unstable. Amidst this, we see the introduction of a new VR (Virtual Reality) product: POV. This modified goggle-like structure blinds the user with images and experiences of what used to be or what can be — but never what is. With the implementation of a neuro-linked brain chip, the user’s reality is altered. To aid in this concept, a commercial pitch for the VR carnival experience is presented. Below is this fleshed-out concept statement.

Concept Statement:

Introducing a unique pair of glasses. This emulates cosmetic modifications preferred by the user. The given module contains attached butterfly wings and panoramic images of carnival etching the outside and inside. A demonstration video showcases one of the presenters experiencing the product while highlighting the various experiences participants can enjoy. As the video plays, the other presenters create manual 4D effects to “enhance” the experience. This is when the user is meant to see the facade of the “life-altering” technology. It is simply not all that it claims to be. This technology’s message is to address the fact that it may seem like a solution, but it’s only distracting people from the real world and the problems humanity is facing.

Demo Footage [External Link]

sources: cited at the bottom of this post

Following the demo, a video advertisement for this POV virtual reality headset is shown, introducing our brand and mission statement. The video showcases how a user can begin to escape reality with experiences and distractions from reality. The viewers begin to see the final deterioration of this product as the video soundtrack shifts to an eerie piece and glitched footage reveals the truth.

Commercial Footage [External Link]

sources: cited at the bottom of this post

This product and conceptual scenario looks to attack the idea of hiding from our problems in technology and encourages facing them instead. We must deal with the truth head-on — in real life.

Ideation

Research

As we began to find inspiration and use for the history of carnivals, we began to focus on forms of performative inspiration and sourcing in the deep-rooted history.

A Carnival Overview:

A carnival is a public festival that is held in the weeks leading up to Lent, typically in February or March. It is characterized by colorful costumes, parades, and a variety of games, rides, and food stalls. Carnivals are usually held in urban areas and often have a lively, upbeat atmosphere.

Carnivals are public festivals that are typically held in the weeks leading up to Lent, which is a period of fasting and religious observance in many Christian cultures. They are characterized by colorful costumes, parades, and a variety of games, rides, and food stalls. Carnivals are usually held in urban areas and often have a lively, upbeat atmosphere.

Carnivals typically have several different components, including:

• Parades: Carnivals are often known for their elaborate parades, which feature colorful costumes, music, and floats.
• Rides and games: Just like fairs, carnivals often have a variety of amusement park-style rides and games for people of all ages.
• Food: Food is an important part of many carnivals, and visitors can find a wide variety of traditional and regional foods, including sweet and savory treats.
• Music and dance: Carnivals often feature live music and dance performances, providing an opportunity for visitors to enjoy the local culture and traditions.
• Costumes: Many carnivals are known for the elaborate costumes worn by participants and visitors. The costumes are often traditional and reflect the local culture and history.

Carnivals have a long history and are an important part of many cultures, providing a time for people to come together, celebrate, and have fun. They are often an important part of the cultural calendar, marking the end of winter and the start of spring. Carnivals are a source of pride for local communities and a time for visitors to experience the best of the local culture and traditions.

Collected Sourced Examples:

Rio Carnival: https://www.rio-carnival.net/
Venice Carnival: https://www.venice-carnival-italy.com/
Notting Hill Carnival (London): https://www.thecarnivalcompany.com/notting-hill-carnival/
Mardi Gras (New Orleans): https://www.mardigrasneworleans.com/
Trinidad and Tobago Carnival: https://www.tntisland.com/carnival.html
Quebec Winter Carnival: https://www.carnaval.qc.ca/en/
Cologne Carnival (Germany): https://www.cologne.de/events/cologne-carnival
Binche Carnival (Belgium): https://www.belgium.be/en/events/binche-carnival
Nice Carnival (France): https://en.nicetourisme.com/nice-carnival
Carnevale di Viareggio (Italy): https://www.viareggio.ilcarnevale.com/en/

Iteration and Production

Exercises:

As an exercise, my group and I were tasked with expediting the process as a whole. From a random dice generator, we were given the topic/examples of an ear augmentation, the game of ring toss, and a sense of being lost. Below are the results:

With these ideas of a post-apocalyptic dystopia in mind, we begin to iterate amongst each other ways to convey this concept. By using concept maps and AI iterations through ChatGPT and Dall-E |2 we create a cohesive list of ideas we thought highlighted this effectively:

   

Dall-E       &      ChatGPT

Iteration(s):

“The Alien Encounter” In the future, space travel and extraterrestrial life are common knowledge. Your interactive body augmentation will take the form of an alien transformation booth, where visitors can receive a temporary alien-inspired headpiece and face paint. The booth will be decorated with a futuristic theme, complete with holographic projections and alien artifacts. Visitors can take photos with a green screen background, featuring themselves as an alien in space.

“The Virtual Reality Experience” In the future, virtual reality technology has advanced to a point where people can fully immerse themselves in any world. Your interactive body augmentation will take the form of a virtual reality booth, where visitors can receive a temporary headset and haptic suit. The booth will be decorated with a futuristic theme, complete with neon lights and digital displays, and visitors can choose from various virtual reality experiences, such as flying through a city or exploring a fantasy realm.

“The Fortune Teller’s Curse” In the past, fortune-telling and mysticism were popular attractions at carnivals. Your interactive body augmentation will take the form of a cursed transformation booth, where visitors can receive a temporary tattoo and special effects makeup to appear cursed or possessed. The booth will be decorated with a spooky theme, complete with tarot cards and crystal balls, and visitors can receive a brief tarot card reading to enhance the experience.

“The Cyborg Enhancement” In the future, technology has advanced to a point where people can enhance their bodies with cybernetic implants. Your interactive body augmentation will take the form of a “cyborg enhancement” booth, where visitors can receive a temporary cybernetic arm or leg attachment. The booth will be decorated with a cyberpunk theme, complete with neon lights and robotic props, and visitors can take photos in a futuristic backdrop.

“The Circus Animal Trainer” In the past, circus animal acts were a popular attraction, despite concerns about animal welfare. Your interactive body augmentation will take the form of an animal trainer transformation booth, where visitors can receive a temporary circus-themed costume and accessories, such as a whip or a chair. The booth will be decorated with a circus tent theme, complete with circus posters and props, and visitors can take photos with a trained circus animal prop, such as a lion or an elephant. The experience will raise awareness about animal rights and the ethics of using animals in entertainment.

We selected a combination of the VR Experience and the Cyborg Enhancement.

Construction

Our goal was to showcase the introduction of a new VR product called POV, which used a modified goggle-like structure to immerse users in a virtual world, either of what used to be or what could be, never of what currently is. By implementing a neuro-linked brain chip, the user’s reality would become altered, creating an alluring escape from the harsh reality of their world.

To achieve our desired narrative, we utilized a range of footage depicting the societal unrest and world decline we wanted to convey. However, it was crucial to ensure that the clips blended seamlessly to tell a coherent story. I used the timeline feature in DaVinci Resolve to help arrange the clips in a logical sequence that kept the flow of the narrative. Throughout the editing process, the clips took on new meanings as they were combined. It was clear that the power of video storytelling is its ability to create empathy and convey complex ideas. It was challenging to ensure that each clip contributed to the overarching narrative, but this ultimately led to a more immersive story. Here is how I did it:

Steps:

1. Pre-production: I conceptualized the commercial and determined the specific elements that I would incorporate, including the theme, setting, and tone. I also decided on the necessary equipment, such as cameras, lighting, and sound recording devices.
2. Scripting: Once the concept was finalized, I wrote a script that outlined the story and dialogue for the video. I considered the glitching between utopia and dystopia and how it would be executed. I also decided on the duration of the commercial.
3. Shooting: I filmed the necessary footage, including both utopian and dystopian scenes. This involved multiple locations, actors, and props. I ensured that the lighting and sound were consistent across all scenes and that the footage was of high quality.
4. Editing: I imported the footage into editing software and began piecing together the scenes to form a cohesive story. This process included cutting, trimming, and rearranging the footage to match the script. I also experimented with glitch effects and transitions to achieve the desired utopian/dystopian effect.
5. Sound design: The sound design of the video was crucial in setting the mood and tone. I added sound effects, music, and dialogue to complement the visuals and create the desired effect of utopia and dystopia.
6. Color correction: I adjusted the color and tone of the footage to create a consistent look and feel. This involved color grading, contrast adjustments, and saturation changes.
7. By following this process, I created a commercial that glitched between utopia and dystopia, delivering a compelling and thought-provoking message.

   

     

The product is also visible in parts of this commercial (0:23 – 0:27).

My colleague Vivian focused on the Illustrator files for the overall design of the physical product. From this, we focused on laser engraving and heated altering of the acrylic to the goggles began to come to fruition. Her inspiration is depicted below:

For more detail into this process: Vivian’sPost

Now we were ready to combine the visual media with the 3D product. For the general experience of the user, we wanted to demonstrate to outside viewers the falsehood of the product. With this demonstration of performance, the VR experience is only impactful to the user interacting with it directly. The other viewers that see the product from an outside perspective can see the falsehood beyond what is truly going on. For this, we created shifty products for the food, rides, and games encountered within the virtual carnival reality:

The props and creation of the immersive experience were created by my team member Olivia. She created the of the products such as cotton candy:

For more detail into this process: Olivia’s Post

Reflection & Conclusion

Working with others on this project has been a delightful experience. It was refreshing to collaborate with people with different perspectives and expertise and to witness how each one of us brought unique strengths to the table. The energy and enthusiasm we all had toward the project were contagious, and it made the entire process fun and engaging. One of the benefits of working with others was the synergy of brainstorming ideas together. We could leverage each other’s ideas and build upon them, creating a final product that exceeded what any one of us could have accomplished on our own. The different viewpoints also helped us to avoid groupthink and to consider a wider range of possibilities.

The successful creation of this concept required a combination of artistic vision, technical expertise, and an understanding of the human experience. To achieve this, the project team had to work together to create a cohesive and impactful experience for the participants. One of the most critical elements of this project was the use of “augmented reality” to alter the user’s perception of reality and convert a sense of blindness.

The form and material of the constructed augmentation were also essential elements of the experience. The team carefully selected materials that were durable, lightweight, and comfortable to wear while still conveying the intended message. Performative qualities were another critical aspect of this experience. The team needed to understand how to use movement, sound, and other sensory inputs to create a fully immersive and engaging experience for the participant. This was done very effectively through the use of the commercial pitch and demonstration.

Overall, the successful creation of this concept and product required a highly skilled and collaborative team with a deep understanding of art, technology, and human experience which I believe we achieved. By carefully considering all of these elements, the team was able to create a carnival experience that conveyed powerful conceptual life scenarios and leaves a lasting impact on the participant and viewers.

Final Images

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Sources:

Below are the cited sources for each category of the created videos. All credit to the original creators.

Soundtrack:
https://youtu.be/zT-Qvg16Ho0
https://youtu.be/-lJBTCSL5Fg

Footage:
https://youtu.be/nGnX6GkrOgk
https://youtu.be/WoiCm1oejfs
https://youtu.be/hEdzv7D4CbQ
https://youtu.be/fSfKlCmYcLc
https://youtu.be/YJg02ivYzSs
https://youtube.com/shorts/for7JGwtofU?feature=share
https://youtu.be/293amihqfZo

Natural Disaster:
https://youtu.be/0Hod5VZq6TY
https://youtu.be/d6uJy9WgM4U

Ai Voice Over:
https://beta.elevenlabs.io/

Panoramic Carnival Images Sources (Vivian):

http://bigeyeinthesky.com/NewPan/MNStateFair/StateFair2006-1.html

Team’s Post:
For more detail into her process: Olivia’s Post
For more detail into this process: Vivian’sPost

View portfolio listing for Body Augmentation

Statement of Intent

Overview

I will be exploring how ideas are communicated and supported using a variety of visual and non-visual strategies, methods, and styles. This sketchbook is essentially a book for drawing or literary sketches, providing a space to work out and hold my ideas. I will be constructing my own for use throughout this project and I will look to use it as a visualizing tool that tells the stories behind the ideas I create for class and during creative explorations.

Requirements:

• Size: Minimum- 5” x 7”, Maximum- 9” x 12” • Minimum page (leaf) count: 30 • Your sketchbook must be bound (recommended method: spiral bound or Coptic) • Your sketchbook cover design: Must utilize laser cutter process. • Your sketchbook must include your name, course, and year. • Materials for your sketchbook can vary but… we highly encourage you to recycle  found and collected materials.

Statement:

The purpose of this journal is to craft a straightforward yet functional sketchbook that showcases my individuality. I believe that “When you identify with something you are not, it always leads to suffering and unhappiness” a sentiment that resonates with me, as I often fall into the trap of comparing myself to others. This journal serves as a gentle reminder to embrace my unique qualities and be proud of who I am. The reflective mirror and collage of words that describe my self-perception highlight my personality and allow the journal to grow and change with me as I continue on my creative journey.

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Ideation

Process Ideation

To begin thinking about the production and purpose of drawing, I began to listen and read each of the attached articles and videos below.

Read and Note: 

The Pleasure in Drawing, Jean-Luc Nancy.
Sketching as Design Thinking, Hoffman. 

Listen to:
https://www.ted.com/talks/sunni_brown_doodlers_unite?language=en 

further listening: 

• https://player.fm/series/art-for-all/ep-34-stare-master 
• https://player.fm/series/art-for-all/ep-31-living-well-through-bad-drawings 
• https://player.fm/series/art-for-all/ep-32-how-a-sketchbook-can-change-your-life 

Exercise #1

Mini Sketchbook:

The production of the mini prototyped sketchbook was a multi-step process aimed at ensuring its functionality and accessibility. I wanted to explore the materials necessary for my main sketchbook’s creation, including high-quality paper sheets, binding materials, and a cover design. The goal of this mini sketchbook was to provide a flexible platform for ideation, allowing for quick and unrestricted note-taking and sketching. The creation of a functional prototype provided an opportunity to test and refine the process for a large complete sketchbook. I really enjoyed the idea of durable would that would give a nice structure to my main design. I wanted the texture and structure to coincide and result in a practical and sustainable design.

     

Mindmapping:

From this ideation, we split into groups and began to learn how to use mind mapping as a form of brainstorming and ideation. We used a mindmap in a group learning session to help explain and come up with ideas. We started by putting a central concept or idea in the center of the mindmap and then brainstormed related ideas which we added as branches branching out from the central idea. As we discussed, we each added our thoughts and insights to the mindmap. Throughout the session, we used the mindmap as a reference and it grew and evolved as our understanding of the topic deepened.

   

By the end of the session, the mindmap had become a comprehensive resource for us and captured all of our key insights and ideas. The mindmap provided a shared understanding that was easily communicated to others and was used as a starting point for further exploration and development. Using a mindmap in the group session was an effective way to encourage creative and critical thinking and promote collaboration and communication among us.

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Iteration and Production

The process of creating my sketchbook involved several steps. I started by collecting the necessary materials such as scrap drawing paper, front and back cover materials, and stitching materials. The sketchbook was then constructed by referring to multiple tutorials and demonstrations experimenting with the binding I had approached on my previous mini sketchbook. As previously stated, I wanted to express myself through an abstract image/icon. From this, I began experimenting with ways to represent myself.

I began to look through photos of my silhouette that I felt represented what was special to me. I then came across the picture below:

This photo was taken on a trip I took my senior year of high school with the friends I had made in 8th grade. This was our final trip before we all went our own separate ways and began to become true adults. This picture was a unique example of myself looking into the future (the horizon), unaware of what was to come next. I had no idea I would switch from a major in Computer Science to a fulfilling major in Design. This was the example I wanted to use to represent myself.  I began to create this as my cover using Illustrator. I looked to use an etching technique with my newly acquired skills with the laser cutter.

From this, I had the basis of my cover. I wanted to find a way to give a less abstract and tangible meaning to someone who came across this cover. I began to search for quotes that I felt represented me in the past but also were still applicable to me today. I found one quote from one of my favorite musician’s albums:

Eckhart Tolle, a therapist within the ablum says “When you identify with something you are not, it always leads to suffering and unhappiness.”

This was a freeing statement that made me reevaluate why I do the things I do. I often find myself looking towards others for the actions that I should take. I don’t think it’s inherently a bad thing to take others as examples of what to do and what not to do. However, once I began to lose my sense of agency, I realized I needed to follow the life that made the most sense for me. With an idea of motion in mind I created my cover. I also decided I wanted to have my family members generate a list of random words they felt describe me. With this list, I began to create a spiralized melting graphic from the back inside cover. Below are drafts of the cover and graphics:

With these renders I began test cuts, playing with materials, laser speeds, and strengths:

While practicing binding techniques, I realized I wanted to use rings to be able to quickly add, subtract, or rearrange my pages. With a multitude of sizes, I also wanted to have a way to increase or decrease the size of these rings. So, I began to experiment with ring sizes and ways to attach these rings for easy adjustments.

The addition of the warped mirror was to help “reflect” and not take things too seriously. This also worked as a surprise element which made an unexpected theme.

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Reflection

Statement of Intent

For this assignment, I will construct a composition that visually illustrates my idea of deep space. I will use paper layering techniques to emphasize and exaggerate a sense of depth and space. In addition, I will introduce the element of light in my composition to test how it can be used to activate materials and ideas. Within an element of surprise, I will develop a hidden feature that will be revealed when light is introduced to my composition. This is meant to tell a story within a represented deep space.

Requirements:

• Primary material: White cardstock or Bristol. You may use only one additional
  material to assist you in forming your composition (i.e. glue or other connective
  material).
• Primary compositional considerations: Flat 2D layered paper composition
  activated by light, layers, shape, volume, light, scale/proportion, balance, visual
  movement.
• Layer requirements: You will use a minimum of 5 layers, and a maximum of 10 layers.
• Size requirement (paper layers): 7”x9”. Your layers must fit the provided frames.
  Paper layers will fit in the provided frames.

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Ideation

Exercise #1

For this exercise, I practiced the use and development of vectors within both explored positive and negative shapes. With this, I was introduced to the process of laser cutting technologies. I looked to use my own initials along with a chosen font that allowed me to use negative space to “hide” an image that communicated something about myself. I designed this form by using these letter vectors. To complete this project effectively, I needed to create both a vector image for cutting and a contrasting color or value-filled image. The end resulted in what was essentially a “puzzle piece design” revealing an effective piece of my personality and life.

Below are the drafted and prototyped ideas to depict effective imagery to represent me:

Throughout this ideation, I began to feel very drawn to the impactful symbol of running shoes. Running is a powerful tool that was introduced to me in my early years of high school. Running has given me the ability to set and achieve goals I never knew I was capable of. This emulation of life has made running an integral part of my life. I came to the conclusion the leg form shown above was not prioritizing the form of the letter B. Thus, I was down to the two depictions below:

From this, I continued to reflect upon these drafts. Following concluding conversations about my final results with my peers and professor, it became clear the font selection with defined, sharper edges was most effective as a true form of letter B. This was then cut on an experimental material through a laser cutting process. This is photographed below:

Exercise #2

To begin the process, I positioned an object, in this case, a water bottle, in front of a light source, which was an iPhone flashlight. This cast a somewhat clear and well-defined shadow onto a flat surface. I then carefully positioned a sheet of paper to capture the shadow of the object, adjusting the angle and distance to achieve the desired size and shape for my composition.

Using the casted shadow as my reference, I proceeded to sketch the outlines of the shadow onto the paper. With careful attention paid to the contours, angles, and negative spaces of the shadow, I worked diligently to capture these elements as accurately as possible in my sketch.

After establishing the basic outlines of the shadow, I began to fill in the details and textures of the composition. Throughout this process, I consistently referred back to the casted shadow, making adjustments and corrections as needed to ensure that my composition was a faithful reflection of the shape and form of the shadow.

The end result was a completed composition of a man waterskiing, which I was able to create entirely through the use of a casted shadow. By using this technique, I was able to showcase a projected image within the casted shadow, in a unique and creative way.

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Iteration and Production

Initially, I was inspired by the complexity of deep thought and the abstract overwhelming void of our minds. This is a literal small space that is locked within our skulls, but it can seem endless at times of overwhelming and challenging. I looked for ways to demonstrate this by using layering and visual design principles. From this, I concluded the human brain needed to be represented. However, I did not want this emphasized shape to remove from the meaning and focus of the composition. I wanted to use figures to demonstrate feelings throughout the struggle of our experience as humans. I also wanted to represent enlightenment and clarity. Below is an early depiction of these developments:

 

From this, it felt as if it was not effective in the message it was attempting to communicate. The sense of enlightenment also remained too literal. This took away from the abstract nuance I wanted to examine within this composition. I began to look for ways to further iterate. I felt as things began to overcomplicate with many forms of the human figure, it took away from the main idea of challenge and perseverance. I came to the conclusion that Sisyphus’s silhouette was the most effective in this expression. Rather than using figures to demonstrate multiple obstacles and feelings within the brain, I looked to focus on the depth and stacked obstruction on the mountains. I began to redesign these to layer the composition and emphasis the hierarchy and focal point of the figure pushing the rock:

To finalize this idea, I began to generate possibilities for a sense of clarity, enlightenment, and perseverance over these challenges. The story of Sisyphus is often told with the conclusion of his demise. The rock rolls down the hill, dooming him to continue this process. I wanted to illustrate an ending of hope and faith with the introduction of light. An image of Sisyphus holding the bolder above his head encapsulated this conquering of the mind and challenge. This helped me unite the ideas of the mountains within the brain. However, I also wanted to contrast the cold confusion of these challenges, with the warmth and hope of clarity — similar to a warm sunrise or a calming setting sun. This was a challenge to demonstrate with the constraint of white paper. The implementation of light made this possible. I began to layer a set of xeroxed paper to create one cohesive layer of gradient backdrop. Below are these united layers for my finalized composition:

I wanted to present my concept statement to allow the interpretation of my work to the viewer. Below is the concluded concept statement to illustrate the message and purpose of my final composition.

Concept Statement:

The purpose of this composition is to convey the idea that daily struggles are a natural part of life, and our thoughts, emotions, and perspective play a crucial role in how we approach them. The image of a human brain encapsulating the mountain range aims to demonstrate a connection between our thoughts and these struggles. This is where we process and interpret our experiences, and through these deep thoughts, we can summon the strength to overcome hardships. This was inspired by an alternative perspective of the myth of Sisyphus.

By using a layered paper technique, both depth, and complexity are meant to be introduced into the piece. The exaggerated depth and space are intended to create a visually compelling representation of those struggles we face. With these, the mountain range is intended to serve as a metaphor for those vast challenges and the determination required to overcome them.

The brain serves as the encapsulated figure of the piece to emphasize the importance of balance between our struggles and the depth of our inner minds. With this focus on the confined space of the brain, there is a juxtaposition with the immense mountainous struggles we face. With the introduction of light, an element of surprise is brought about as hidden features are revealed. When the light is introduced, we see the figure atop the tallest mountain holding the boulder above their head, with the horizon glowing behind them as the layered horizon is revealed. This unexpected element is meant to symbolize a sense of hope and endurance, highlighting the beauty that arises from persistence and perseverance.

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Reflection

In conclusion, the process of creating this composition was a journey of discovery and iteration. The initial inspiration of the complexity of deep thought and the overwhelming void of our minds led to the representation of the human brain and the struggles we face as humans. The evolution of the design from multiple human figures to the silhouette of Sisyphus pushing the boulder on a mountain range helped to emphasize the focus on challenge and perseverance. The introduction of light and the use of layered paper created a visually compelling representation of the warmth and hope of clarity in contrast to the cold confusion of challenges. I feel this final composition successfully communicates the idea that daily struggles are a natural part of life, and our thoughts, emotions, and perspective play a crucial role in how we approach them.

 

View portfolio listing for Layers

Statement of Intent

Throughout this project, I look to strengthen my skills in identifying and creating a various range of learned elements and principles associated with visual composition. I hope to illustrate ideas inspired by combining imagery, text, and forms of text. I want to examine typography and the quality that creates a strong composition. Within this, I look to examine the impact of an organization through strategies such as an underlying grid structure. I hope to develop and describe ideas through iteration and demonstrate intentional crafting techniques in both analog and digital drawing applications. Overall, I want to make an original word mash-up that creativity and effectively gives you a sense of what the word means demonstrated in isometric form. I also want this to be enjoyable to the eyes and to create an enjoyable experience for the user.

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Ideation

Exercise #1

Our goal was to select a font that we felt represents some aspect or quality of your personality. We then were supposed to write our name or initials using this font. After this, we transferred this text to an isometric grid and began to create an extruded 3D isometric illustration of our name/initials. I tested these methods of drawing by using different tools in Illustrator. Then, I used layers to upload an isometric grid. From here, I experimented with line weight, value, color, and fill variations.

I chose a bold font that I felt was attention-grabbing and strong. I enjoy standing out and feeling confident. I felt a simplistic bold arial font provided this. I also enjoyed how well this font extruded in an isometric plane. By choosing the colors of blue, grey, and black I feel these color choices reflected my personality.

 

These colors are demonstrated below:

Light blue is a peaceful, calming color. According to color psychology, blue is associated with trustworthiness and reliability. Blue is also said to promote feelings of tranquility; light blue’s gentle appearance means it is particularly likely to make that impression. – Canva.com

 

Red is associated with fire, violence, and warfare. It’s also associated with love and passion. In history, it’s been associated with both the Devil and Cupid. Red can actually have a physical effect on people, raising blood pressure and respiration rates. – SmashingMaganize.com

 

Black’s color meaning is symbolic of mystery, power, elegance, and sophistication. In contrast, the color meaning can also evoke emotions such as sadness and anger. Many fashion retailers have used black in their logos. Black is also a popular color for text as it’s an easy color to read – Oberlo.com

Overall, I feel I am a calm person who looks to remain reliable and trustworthy. This is intertwined with passion and hope to keep those around me guessing. This concluded my first experimental process in Adobe’s isometric tools.

Mash-Up Ideation

To begin, I looked to start combing words that I found to be fun and creative. In general, I needed to base at least one of the words on a tangible noun. This would assist with creating a strong image in relation to the word. I quickly began to iterate through a large list of words to combine.

 

 

This was a rough list of imaging the possibilities of what word I want to commit to. Having all ideas out within a list helped develop the imagery that would accompany them. These were the 3 ideated pieces I pulled from the large produced list and would take further to my iterative process. My top ideated ideas are depicted below:

 

Parachuter + Fruit = Parafruiter

Boxer + Kangaroo = Boxaroo

Confused + Scared = Confared

 

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Iteration and Production

With each, I looked to create a pleasing image in an isometric grid. I enjoyed each and wanted to further produce and iterate throughout each to see which had the most potential for both creativity and effectiveness.

Parafruiter

I had an image of a strawberry and other various fruits parachuting from the sky. This was a challenge to create in isometric and I feel it lacked clarity. I enjoyed the fun imagery and the cartoonish nature but wanted to keep searching. Below are some of the prototyped images I produced:

 

Confared

I had an image of the character from Scream in a classroom with a confused face raising his hand and asking a question. Students would be in fear of this horror character in order to convey both emotions of confusion and being scared. I also enjoyed this imagery but felt since the images were set upon two different subjects they did not combine each emotion well. Below are some of the prototyped images I produced:

 

 

Although I did not follow through with each of these ideas, I wanted to document them to help show the skills I learn through ideation. Each of these gave me familiarity with Adobe Illustrator and isometric ideation.

Boxaroo

I began to ideate my final idea and imagined boxing kangaroo. I began testing how to manipulate my text by using the isometric format and extruding at various angles. By further experimenting with Illustrator tools, I began to work on bringing my idea to life. I also started testing the organization of my poster’s contents. I prioritized the readability of both the word and the definition. By testing Scale, harmony, and emphasis and I looked to intentionally compose the final image: balancing readability and creativity.

 

BOXER + KANGAROO = BOXAROO

Throughout iteration and a focus on composition, the developments were used to make a creative and effective representation of the “BOXAROO”. The focus was demonstrated on the kangaroo with intentional spotlighting and a blurring of the crowd. Overall each piece assists in the greater image creation. Text is also examined to help showcase the hierarchy and importance of each to the word as a whole.

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Reflection

I feel overall I am very satisfied with the final result of this composition. It is fun, creative, and effective. I also feel if the wording was removed, the imagery would represent the word correctly and vice versus if you took away the imagery. I really enjoyed the challenge of digital creation and transitioning thoughts and analog ideation to a final artboard. I feel I strengthened my skills in identifying and creating a various range of learned elements and principles associated with visual composition. I also think I successfully illustrated these ideas using a combination of imagery, text, and forms of text.

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View portfolio listing for Mashup

Statement of Intent

In this project, I plan to create an abstraction from a form found within nature. My goal is to interpret and organize this found pattern with an underlying grid structure to help develop and describe ideas through iteration. Following the creation of this, I will then implement this onto a general multipurpose card. I look to convey a simplistic design with a functional craft of card. I plan to explore the development of dynamic shapes through the analysis of forms in nature. These studies will be organized using various patterning strategies, principles, and techniques. These compositions will be applied to a range of elements and principles associated with pattern development to visual compositions.

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Ideation

Natural Pattern Analysis

To begin the analysis of nature and the patterns within it, I began to pick 10 shapes and forms I found in my everyday walks around campus. After photographing these, I began to evaluate the shape and pattern to help create effective variations of abstractions. Depicted below are 50 abstractions made from my 10 natural forms.

Spanning from pinecones to leaves and the trees they are attached to, I begin to notice forms that were complex and simple. Overall exploring the development of dynamic shapes through analyzing forms in nature was effective in this grid. From this, I look for ways to effectively depict the similarities between each of my many abstractions. In each of these rows, different qualities of each image are examined.  Shape and line are the different focal points stemming from full abstraction in the top row to more realistic examined in the bottom row.

 

Pattern Tutorials

From my grid pattern of abstractions, I looked to create a patchwork design to unify many different objects into one stylistic conglomeration. By cutting a paper of a perfect square and creating a design of similar abstractions in the center, I began to create a full seamless pattern. By adding similar shapes around the outer borders and splitting this square into separate quadrants — followed by shuffling each the seamless pattern was complete.

Following this completion, I began to ideate what I wanted from this patterning by quickly brainstorming the natural from what I looked to abstract. Along with this, I looked for a principle to influence what grid pattern I would choose to orient and format. Below is a list of these:

Following these practices and experiments, we began a class exercise to attempt team pattern creation.

Tessellation

After separating into groups of 4, we were instructed to create a seamless that would interlock in a full quilted pattern. With a limited amount of time, we quickly began to brainstorm and iterate. We all decided we enjoyed the idea of thunder over a mountain range. From this, we decided to depict a mountainous cabin home caught in a thunderstorm.

From this, we begin to learn the importance of recognizable forms when abstracting to help convey the quality and message we intend. After this, we joined new groups and searched for a way to create a common grid-type pattern. We decided to focus on a digital spiral pattern (imaged below):

This exercise helped convey the technique of laying out a pattern on a grid-like format to convey the principle and form you wished to communicate. Spiraling brought about the idea of factual patterning and movement/scale I wanted. I then adapted this with my abstraction:

With further Illustrator practice, we also began to focus on autonomous seamless patterning which helped quickly produced repeated shapes.

 

Learning the Cricut

Once completing hand-crafted cuts and patterning and began to learn digital, we focused on the operation of the Cricut. By creating digital formats, we could then translate this to the Cricut software and precisely cut anything onto paper. This came with a bit of a learning curve as human error had a heavy impact on the quality and the number of required cuts.

A difficulty that was quickly a discovery of mine, was the struggle for small scaled details. It was easy to get carried away with excitement and creativity, however, with finite detail, you would be met with frayed paper and damaged design. This called for a hybrid blend of hand-cut processes with a Cricut blueprint. This began to become my main course of action that I will highlight in the production section of this post.

 

Color Theory

Following the color theory module, I began to try and decide what I wanted to convey to the quality of my image and card. Once understanding the natural form I was abstracting, I discovered the following about the color brown.

Some of the key characteristics associated with brown in color psychology include: A sense of strength and reliability. Brown is often seen as solid, much like the earth, and it’s a color often associated with resilience, dependability, security, and safety. Feelings of loneliness, sadness, and isolation.

By taking each of these qualities into account, I wanted to create a sense of natural earth and dependence. However, while ideating further, I began to enjoy the idea of exploring the spectrum of color and the absence of color. I decided I would aim for 2 cards with the same design, but with two entirely different emotions evicted. I set my interest in the emotion of both daytime and nighttime. Something to examine was the same principle of movement and scale valued in each. From this, I moved into the Iteration and Production phase.

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Iteration and Production

Following the iteration in my earlier grid exploration, I decided to prioritize scale and movement. The idea of a stationary 2D card conveying a sense of depth and movement was something I wanted to strive for. I also decided to hone in on the abstraction of a pinecone and its cellular nature.

 

Sketching and Exploration

I began sketching this in a spiral format and looked to simplify the pinecone cell down to an effective shape. This took many different approaches and attempts to create my abstraction. Below begins to show the digital sketching I used to create a spiraling abstraction that demonstrated movement and depth.

This hyper-close image of a pinecone gave influenced a spiraling movement of cells (compared to a fractal grid):

 

Although I enjoyed this depiction of the pinecone cell, I felt the jagged nature was had to craft even with the Cricut. I also wanted to explore various grid patterns to lay out this abstraction in a form that conveyed movement. From here this needed simplified. I was influenced by the simple wave-like shape on the inside of the cell which lead to the layout of growing waves. Below shows the adaptations of this imagery:

 

I enjoyed the idea of various scaling and contrast.

Before I began to craft this I needed to create an ideal layout of both envelope and card shape. From this, I began ideating many forms:

From this, I felt the most effective creation would be the square card and envelope. This was practical and gave much focus to the front design. I also created this envelope net on my own which was a fun challenge:

 

Crafting Process

Now that I had my final design complete it was time to begin crafting. However, this was the first of many problems with the Cricut that I needed to find a way to overcome. Due to one of my card variations having alternative cuts, I realized small detailing was going to remain a significant challenge.

The small detailing was not possible for the Cricut to cut as I noticed it began to rip off the paper when inserted. Through many different trials, I realized I could no longer keep wasting materials and needed an alternative plan. I focused on using the strengths of the Cricut: drawing. Since I still needed a variation of hollowed shapes, I decided it best to cut it by hand. I then needed to assemble my layered cards. The texture was something I wanted to incorporate as well, which resulted in the use of acrylic paint on my “nighttime” variation of the card. Below shows this process unfold:

            

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Reflection

I chose this idea because I enjoyed the minimalist nature of the shape and still conveyed the principle and feeling I intended. The color and textured paint were intentional to give a diverse feel to my variation between each card. Learning new technology also came as a challenge since the interface and quirks of the Cricut were brand new to me. I prioritized movement and scale within my pattern. I wanted the main focus to be on my card and the central design. To emphasize this, I went with a minimalist envelope and card design to give a functional focal point for my card.

I believe my learning path on the Cricut was a strength of mine as it helped me get more precise results in less time. I feel the simplicity of my design gives it a realistic quality of use without taking away from its purpose. Lastly, I feel my design gives an original adaptation of a traditional card without becoming too much. This project really challenged me and push me out of my comfort zones!

I also experimented with different materials and techniques as depicted below:

       

I feel I could have minimized my mistakes to help save materials and time as a whole. I also could have perfected my craft further given more time and materials which is a common struggle of mine. I also think consistency between my iterations could improve.

In conclusion, I challenged myself greatly in my craft and vision. I was pushed to problem-solve due to a lack of materials and limitations. I am proud of my additions with the Cricut and the addition of acrylic paint. With this variation of materials and approach, I am proud of my final product and look forward to getting better on my next design projects.

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View portfolio listing for Pattern

Statement of Intent

This is a depiction of the beauty in history. My goal was to create a map that is both poetic and pragmatic. I wanted to communicate an effective way to move from one location to another in an artistic way. Based on my selection of Orton Hall, one of the oldest buildings at Ohio State, I was drawn to a retro-styled map. When crossing the oval on the paths that those before me created and passing through the building generations of students have interacted with, I wanted to demonstrate the voices of the past, guiding me through and leaving behind fragments of their past for my examination. By examining the life of those before you, I believe can find hidden beauty that is often overlooked. This Windows XP mapping was inspired by the older computers around this campus. These devices log and keep the data and path of all users that have come across them. I find this sense of voice and past to be an interesting depiction of feeling.

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Ideation

Map Research

After examining some of the older maps within the map library, I quickly realized I was drawn to a retro-grayscale. I was a fan of the way the tones contrasted and simply conveyed a message solely through black-and-white values. I was also inspired by having a legend to help clearly demonstrate the usage of symbols within my map. A chronological depiction also became something I wanted to experiment with to give more of a timeline feel since I was observing the passing of time and the call to focus on others’ past.

                

Following this examination of what different forms my map could take and the barriers it could break, we began an exercise to describe directions from point A to point B. To begin I selected my location, which was a desk on the upper floor of Orton Hall that I had found with a friend. This desk has a drawer that contains notes left from generations of students who came before. These anonymously left advice on what they had learned by going to Ohio State and left helpful words to encourage anyone who had the privilege of finding it.

Exercise 1

From here my classmates closely examined objects of our choice and attempted to convert them simply through words. An example of this was:

This is a rectangular object that is yellow and porous. When wet it is squishy. When it is dry it is hard. One side of this item is rough. These cylindrical holes seem to be placed somewhat randomly with no given pattern. It is very light but changes in weight when absorbing water. It can be held in one hand. This has 6 sides.

The object was a sponge. A pretty exciting pick by me!

Following this exercise, we wrote out instructions for our mapped journey. The goal was to give clear directions without paired imagery. Below are my listed directions meant to get my partner from start to end.

To the desk

Walk out of the front doors of Hayes

Go straight out between the bench and the light pole

See the faded white X

Horizontal crack all the way across

Enter the circle of bricks

Take a slight right towards the bell tower

Follow this path past the aligned poles

Keep going underneath the arching trees

See the bench to your left

Look up at that same bell tower

Enter through the construction

Lift the heavy door

Pass under the dinosaur

Look to your left at the library

Go through the door and past security

Find the narrow staircase to the left after walking in

Go up

Take a right and stay to the left of the balcony

Pass 7 bookcases until you find 280 A/E

Go down the ramp

Take a right and pass 5 more bookcases

Stop

Look to your left and pull out the chair

Sit down

Read

Luckily, my classmate successfully found my location. I wanted to find a better way to convert the poetic quality of the presence of past voices on this journey.

Exercise 2

After writing out these given directions, we were assigned the task of laying out images of our journey in an interesting way. Going along with a timeline theme and a demonstration of past voices, I settled on a digital layout similar to Microsoft Windows.

 

Below are captured images of my journey:

                                   

When laying out these images, I realized I also needed a way to communicate the difference between direction inside and out. From this, I decided to begin experimenting by creating a floor plan for the building. These directions were more important than a focus outside due to the easy view of the tower of Orton. I then created this digital layout and continue to refine it over about a week of drafting.

By solidifying this draft, I began to iterate and finalize my design ideas and process.

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Iteration and Production

As I showed this draft to my classmates, they demonstrated confusion about where to begin and what the purpose of this layout was. To solve this I wanted to have a form of written instruction and guidance without breaking my thematic flow. Thus the inclusion of my favorite digital helper.

” Clippy “

By adding this narration and labeling some of the thematic drawings by “past users” I feel the pragmatic quality of this map began to lay itself out. From this, it was a continuous process of adding detail and finalizing the floor plan through planned windows and layered computer tabs.

By adding a layer of micron pen to the final drafting I feel the bolded window lines gave a further contrast to the “sketched” imagery describing where to go. I feel overall this conveyed the journey very clearly and effectively demonstrated my objective theme of retro computer interface.

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Reflection

Overall, I really enjoyed this project and feel I really pushed my limits to create something that I think achieved the goals I set out to do. This created a practical map that helped push the limits of what I felt a map could look like. The directional qualities mixed with the reminiscent feel of the sketched imagery “left by those before you”. I also am satisfied with my decision to not use color simply because I feel it would pull focus from the main points of the map I wanted to emphasize. I would like to focus on having more font-like handwriting for the text that is meant to give off the illusion of a digital windows interface. I also feel I could have planned a better layout for the “Search History” title, although I do like that you have to search for that detail in itself along with the final destination! The level of originality and demonstration of mapped directions is something I am very pleased with. In conjunction with completing this, I also gave the map to a friend who had never seen any parts of this walk beforehand and he successfully found his way to the end.

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View portfolio listing for Mapping

Statement of Intent

Throughout this project, the main focus was to construct ideas with intentional craft in material exploration. I challenged myself heavily to have an eye for craft and a disciplined process. In A4, I intended to observe and interpret 2D composition and then transition each into a 3D composition defining connections between 2D shapes and 3D forms. Examing faces and the volume of these forms was the main intention through craft.

By applying these goals to the crafting of my form net, I also look to practice essential orthographic drawing techniques and their application related to perspective drawing. By evaluating each form as a greater whole and from various perspectives, my goals began to ideate. I continued expressing these ideas through newly learned vocabulary through class discussions, and critiques.

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Ideation

The Perfect Cube

The goal of this exercise was to begin focusing on craft and 2D to 3D translations. Given the measurements of a cube’s net form, I began to construct this on bristol paper. By cutting this full net out, I prepared score lines for construction. By using a crafting knife with varying pressures I began to gain a sense of what demonstrates good craft. Upon removing the scored net from its excess paper I began to apply tacky glue for the construction of my first cube. Below are depictions of my net and my first two cube forms.

           

As seen in the pictures above, my craft needed much more practice and dedicated attention. To attempt to make better use of time and materials I began to heavily focus on high-quality cutting and scoring. I also created a new net with more precise measurements. By taking my time with each of the other shapes I began to see much higher-quality products. My third and fourth cubes are depicted below:

           

 

Orthographic Form Net

Following the construction of a sufficient cube, I began to research what net I was interested in creating. I found the diamond to be an interesting creation and looked for altered forms of this. From this, I selected the octahedron and looked for a created net to base mine off of. Below is the depicted net creation that I created and constructed to produce my first octahedron.

 

 

Following this practiced craft, I began to look into a created form with smooth/flushed edges and accurate proportions. Repetition and focus were two very important factors. A frustrating obstacle was the magnification of small mistakes and their lack of existence until the composition was complete. Small miscuts are mismeasurements resulting in a heavily imperfect final form. Depicted below are some of my high-quality forms which aided in the envisionment of the final form:

     

As I solidified this form as the composition that I wanted to do, I began to mess with modularity and surface illusion. I felt a staircase-like illusion that gave a sense of depth and curiosity to the face of this shape. I also was inspired by the inside of a jagged geode that created greater forms when my perspective changed. As I examined these options I felt that craft and form were more examined through modularity rather than pure surface illusion. This caused me to select modularity and harmony as my technique and principles.

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Iteration and Production

From crafting a high-quality form, I chose the objective quality of modularity and began to replicate the form. From this, I began to examine a way to create a large form by joining each of the individual pieces. Shown below is the idea I formed to depict a larger shape within a collection of forms. By connecting these, a pentagon shape is formed by the joined surfaces.

From this point, I begin to focus on the craft of joining each of these into a greater form. By using glue I connected each of these to finalize this larger form. I found craft to be a struggle as I was faced with an excessive amount of complex angles of connection. I attempted to better this by smoothing the edges with carefully applied glue, however, I was left with a smooth gloss that I believe took away from the product as a whole.

       

I began to sand and peel away the excess pieces to bring attention back to the piece, however, the craft was not to my satisfaction. I cut pieces to match the measurements of the faces that were roughened and distracting, although, when these were applied I was met with a distracting seam of the connection due to the thickness of the bristol.

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Reflection

I chose an octahedron to create my composition. This was a simple shape that I find to be so interesting. This was repeated to shape created so many intriguing forms that I enjoyed isolated in an evaluation of modularity. By constructing 5 pieces in a modular format, I found such a beautiful form of balance and harmony. This symmetrical balance created such a great depiction of a pentagon within the center of all connections. This creation of harmony brings a strong unification of the separated forms and each of their vertices.

In finality, I was proud of my form and the betterment of my craft throughout A4. I feel I really grew in terms of patience and skill. Having a close eye on detail and setting aside a large amount of time to make sure each action was of the highest process allowed me to achieve my goals. Seeing this growth inspires me to keep a tenacious attitude toward bettering my craft and future projects.

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View portfolio listing for 2D to 3D Translation