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As I look back on the past twelve months, I’m amazed at how much I’ve learned and grown as a designer. I started the Media Design MFA program at one of the lowest points of my life. Fire had destroyed my home and studio, and I was struggling to find consistent work. I was nervous about the cost of a Master’s degree, but my career needed a boost.

The past year has been busy, but my new degree was definitely worth the time, effort, and money. I’ve not only gained new skills; I’ve regained my confidence. This page is a look back at how each course in the MFA program contributed to my development as a media designer.

Month 1 – Mastery: Personal Development and Leadership

July 2019

Writing my first APA formatted research paper was an important personal achievement. Academic writing is different from editorial and creative writing, but my experience in those styles made the transition smoother than expected. The Mastery Journey Timeline presentation guided the rest of the program, and the writing techniques learned in this course contributed to my development as a student and media designer. These new skills made my thesis project stronger and more effective.

Month 2 – Defining Client Needs

August 2019

The city logos project not only improved my logo design skills, it showed new ways to research and brainstorm ideas. All too often, I would jump directly into Photoshop or Illustrator to start creating a design. Now every concept is researched and goes through many concept sketches before the most effective designs are developed further. All of the projects used in my thesis presentation utilized the concepts and techniques learned in this class.

Month 3 – Brand Development

September 2019

The city logos project was further developed this month with font and color selections. Before, my typography and color choices were often driven by what I thought looked good. During this class I learned how to utilize psychological responses to colors and fonts in order to make design choices that will best serve the purpose of the design rather than personal tastes. I also learned the importance of vision boards in communicating a brand’s characteristics. The brand development concepts and techniques learned in this class helped strengthen my thesis presentation.

Month 4 – Effective Copywriting

October 2019

Even though this class was primarily about copywriting, I also learned more than expected about design. Target audience profiles are useful for any design project, especially advertisements and branding. Creating a series of ads for the nonprofit Performing Animals Welfare Society also demonstrated how to establish voice and tone while writing copy that appeals to a user’s hierarchy of needs. I utilized these techniques extensively in subsequent projects, including the Boxpark Sushi branding project and final thesis presentation.

Month 5 – Design Research

November 2019

The neighborhood branding project demonstrated the importance of research in discovering brand equity and finding points of differentiation from the competition. I learned a great deal about the history of downtown Chico and ways to improve the public perception of local neighborhoods. However, I was disappointed that after all that research, we didn’t do any designing for the neighborhood branding project. Design research is an integral part of my workflow now, informing my thesis presentation and all future design projects.

Month 6 – Organizational Structures

December 2019

December was a busy month, both academically and personally. Fortunately, projects in Adobe After Effects and Premiere Pro were made easier by my prior experience with video editing and motion graphics. Three infographics projects expanded my Adobe Illustrator skills, and creating an annotated bibliography was especially helpful in the development of my thesis.

Month 7 – Design Strategies and Motivation

January 2020

The next four months were dedicated to developing the fictional Boxpark Sushi brand. At first, I felt limited by the client choice, but it proved useful when comparing my work to classmates who were designing for the same brand. Even though we conducted similar market research, each of us found a unique way to differentiate our take on the Boxpark Sushi brand. My approach was the creation of the Sushi Sensei, a friendly mascot designed to make sushi more accessible to the general public. The rationale behind the Sushi Sensei was a major part of my thesis presentation.

Month 8 – Design Integration

February 2020

My brand identity development skills grew further with the creation of the Boxpark Sushi voice & tone, a static vision board, and a dynamic vision board. We also developed a media delivery plan to strategize the best media outlets and assets to reach the brand’s target audience. Finally, we integrated all the previous research and strategies into a design brief for the brand identity. The fully developed brand identity for Boxpark Sushi was explained in my thesis presentation and guided the next steps of designing for the brand.

Month 9 – Multi-Platform Delivery

March 2020

Many conceptual and technical skills were gained while designing the Boxpark Sushi logo, media assets, and brand guide. However, the spreading Covid-19 pandemic lead to a great deal of stress in my personal life. Once I adjusted to the distractions of being locked down at home with my family, schoolwork became a little easier. The Boxpark Sushi logo was the foundation of my thesis presentation and is one of the highlights of my design portfolio.

Month 10 – Measuring Design Effectiveness

April 2020

The Boxpark Sushi design evaluation survey provided new perspectives on my design solution. The most enlightening responses revealed that the Sushi Sensei mascot could be considered culturally insensitive. I will continue to seek input from others to help me avoid unconscious bias and make my designs more accessible to everyone. Evaluating the effectiveness and value of my designs helped me choose which projects were included in the thesis presentation.

Month 11 – Thesis: Presentation of Design Solution

May 2020

After months of research papers, I was worried that my thesis presentation would be the longest paper yet. I was pleasantly surprised that the majority of the work was already done. All that was needed was a succinct summary of the learning outcomes I had acquired in the previous months, organized as a simple website. In addition, I learned new persuasive writing and layout concepts that can be applied to future professional projects.

Month 12 – Professional Practice

June 2020

Just when I thought there’d be no more writing, we wrapped things up with an essay paper on media ethics. The last design project for the Media Design MFA program was an experience map to illustrate our journey through the program. The design represents the end of a long but rewarding journey, watching the sun rise on the next stage of my life.

The eleventh month of Full Sail University’s Media Design MFA program was focused on presenting our thesis as a website. First, abstracts were written for each of the four learning outcomes. Then four possible layouts were designed. Peer critiques helped define the best layout, which was then used as a template for a WIX website.

Joshua Siegel MFA Thesis Presentation

Class Takeaways

Below are three of the main takeaways from this course and why they are important to me as a media designer.

Designing Layouts

Page layouts should communicate a design’s message and be easily understood by the reader. Hampton-Smith (2018) suggests using a grid system to connect a page’s elements and provide a clear structure for readers. Jura and Graver note that “a controlling grid system can order and systematize the page layout process by providing consistency and regularity, even when organically constructed” (Jura & Graver, 2012, p.54).

Scale, color, and contrast are also used to establish hierarchy in a layout. Jura and Graver note, “Hierarchy is one method of moving readers through content in a dynamic, systematic way” (Jura & Graver, 2012, p.68). These principles guided the design of the four thesis presentation pages and will continue to inform future designs.

Layouts of Web Presentation

I designed the layouts in a vertical format because they are viewed online. Kapoor (2019) notes that web users are accustomed to scrolling vertically for more information on websites and social media feeds. Still, it’s important to put the most eye-catching and informative elements at the top of the page.

In web design, “above the fold” refers to content that appears to the viewer without having to scroll down. Pigott (2019) notes that a majority of website visitors won’t scroll down if their attention and interest aren’t immediately hooked. The title and hero image for each page are placed in a colored header that is coded to the learning outcome. The color continues as a sidebar, leading the viewer’s eye down the page.

I will continue to use visual hierarchy for blog posts and other web-based designs.

Visual Storytelling

Storytelling is an important tool for designers. Huber says, “Being able to understand your client, garner their attention, and leave them with a message that is clear, purposeful, and inspiring has never been more critical” (Huber, 2017, preface). Strong knowledge of storytelling concepts and processes helps develop more effective design solutions.

Visual storytelling elevates a design into a powerful form of communication. According to Sykes et al, visual storytelling “combines storytelling techniques with visual design to communicate a message that has been fine-tuned for your specific audience” (Sykes et al, 2012). I utilized visual storytelling in the development of my online design portfolio. Instead of simply displaying images, I explained the project in the same voice and tone as the ads. This demonstrates my communication skills, increasing my value to prospective employers.

References:

Hampton-Smith, S. (2018, September 26). How to create balanced page layouts. Creative Bloq. https://www.creativebloq.com/netmag/create-balanced-page-layouts-7-pro-tips-121310009

Huber, A. (2017). Telling the Design Story. Focal Press. Routledge.

Jura, B. & Graver, A. (2012). Best Practices for Graphic Designers, Grids and Page Layouts. Rockport Publishers.

Kapoor, M. (2019, February 8). The dilemma of horizontal and vertical scroll in UX design! Medium. https://blog.prototypr.io/the-dilemma-of-horizontal-and-vertical-scroll-in-ux-design-6b3158bad461

Pigott, T. (2019, June 3). What does above the fold mean? And why is it important? Lone Fir Creative. https://www.lonefircreative.com/blog/what-does-above-the-fold-mean

Sykes, M., Malik, N., & West, M. D. (2012). Stories that Move Mountains: Storytelling and Visual Design for Persuasive Presentations. John Wiley & Sons.

Planning a Design Portfolio

A designer’s portfolio is often used to determine if they are right for a particular job or position. Therefore, the portfolio must demonstrate the designer’s organizational skills as well as their artistic and technical abilities. Myers (2013) suggests making it easy for prospective employer to examine your work. A strong portfolio isn’t just a collection of images. It should tell a story. On the 99designs blog, Meg Reid says that a portfolio “should provide a narrative arc with a beginning, middle and end, with your strongest work serving as bookends at the start and conclusion” (Reid, 2018). A well designed portfolio demonstrates the designer’s communication skills, making them more attractive to employers.

Layout and Design Evaluation

A design portfolio should showcase an artist’s best work. But how does one evaluate pieces to include? Myers (2013) recommends using the guide below to evaluate layouts and designs.

Testing a Story’s Focus

Crafting a visual story is not easy. A well-told story may seem effortless to an audience, but it requires carefully eliminating anything that might confuse the audience or lead to a wrong decision. Sykes et al. (2012) identify six tests to ensure a story’s focus.

1. Validity of Data: Check the validity and credibility of data and sources.
2. Integration of Evidence: Be clear on the relationships and integration of data.
3. Clear Causality: Be sure to have a clearly defined causal relationship from each part of the story to the next.
4. Path to Decision: Check that the visual story leads to a clearly defined decision or request for the audience to act.
5. Alignment of Goals: Look for compromises or messages for specific audience members that may lead to different outcomes.
6. Unintended Consequences: Consider the potential unintended consequences of the change or decision you are proposing.

References:

Myers, D. (2013). The Graphic Designer’s Guide to Portfolio Design, 3rd Edition. John Wiley & Sons.

Reid, M. (2018). How to build an amazing graphic design portfolio. 99designs. https://99designs.com/blog/freelancing/how-to-build-graphic-design-portfolio/

Sykes, M., Malik, N., & West, M. D. (2012). Stories that Move Mountains: Storytelling and Visual Design for Persuasive Presentations. John Wiley & Sons.

Gestalt in Design

Gestalt occurs when something is perceived as more than the sum of its individual parts. Regarding visual design, Sykes, Malik, and West say, “Gestalt is how all the relevant pieces of the content come together to equal or create something much more than the simple sum of the parts… your intended message” (Sykes et al, 2012). Crafting an effective overall message requires visual and tonal consistency. Every element of the design should be necessary and follow a coding system that solidifies the message.

Hampton-Smith (2018) summarizes six principles of Gestalt in design:

1. Similarity: Similar objects appear to be part of a group or pattern.
2. Continuation: The eye is drawn along paths even if the path is broken up.
3. Closure: The human eye tends to fill in missing information.
4. Proximity (aka Grouping): Similar objects tend to be perceived as a single whole even if they are separate.
5. Figure / Ground: The eye tends to separate objects from their surrounding background.
6. Symmetry and Order: Compositions that are balance and ordered let the viewer focus on the message rather than trying to figure it out.

Used thoughtfully, these principles can make designs more coherent and communicative.

Color in Layouts

The human eye is attracted to color, which stimulates visual interest and is aesthetically pleasing (Kolenda, 2016). Color can also add structure to a layout design. “Color defines space as well as helps to organize elements within a space” (Tondreau, 2019). Color was used in the four thesis page layouts to organize the example images and categorize each of the four DLOs. The four colors (green, orange, blue, and purple) were determined by the home page graphics, associating each color with a DLO. The color background for the page title and header image establishes a visual connection between the color and topic, while the sidebar ties the supporting images and provides a visual reminder of the topic.

Inclusive Language in Writing

As society evolves to be more accepting of diverse groups of people, the way we speak and write must also evolve. Inclusive language is free from words, phrases or tones that reflect prejudiced, stereotyped or discriminatory views of particular people or groups” (Graduate Writing Center, n.d.). This is reflected in the seventh edition of the APA style manual. As noted by Streefkerk (2020), language has become more inclusive and bias-free since the sixth edition was published in 2009. Guidelines provided by APA help authors reduce bias and avoid labeling individuals. For example:

The singular “they” or “their” is endorsed as a gender-neutral pronoun.
Example: “An artist depends on their tools.” NOT “An artist depends on his tools.”

Descriptive phrases are used instead of adjectives as nouns to label people.
Example: “People who are homeless need help.” NOT “The homeless need help.”

References:

Graduate Writing Center. (n.d.). Inclusive Language. Seattle University. https://www.seattleu.edu/education/graduate-writing-center/style–language/inclusive-language/

Hampton-Smith, S. (2018, December 11). The designer’s guide to Gestalt Theory. Creative Bloq. https://www.creativebloq.com/graphic-design/gestalt-theory-10134960

Kolenda, N. (2016). The psychology of color. Nick Kolenda Psychology & Marketing. https://www.nickkolenda.com/color-psychology/

Sykes, M., Malik, N., & West, M. D. (2012). Stories that Move Mountains: Storytelling and Visual Design for Persuasive Presentations. John Wiley & Sons.

Streefkerk, R. (2020, May 8). APA Manual 7th edition: The most notable changes. Scribbr. https://www.scribbr.com/apa-style/apa-seventh-edition-changes/

Tondreau, B. (2019). Layout Essentials Revised and Updated. Rockport Publishers.

APA 7^th Edition Updates

In late 2019, the seventh edition of the APA style manual was updated to reflect changes in the way researchers and students use information. As noted by Streefkerk (2020), online materials are now more commonly cited, and language has become more inclusive and bias-free since the sixth edition was published in 2009. Below are a few ways citations and references have changed:

1. A website name is now included in references unless it’s the same as the author.
2. Web page titles are now italicized in references.
3. URLs are no longer preceded by “Retrieved from,” unless a retrieval date is needed.
4. If works with three or more authors are cited, in-text citations only include the first author’s name and “et al.”.

Using Grid Systems for Layouts

Page layouts should communicate a design’s message and be easily understood by the reader. Hampton-Smith (2018) suggests using a grid system to connect a page’s elements and provide a clear structure for readers. Jura and Graver note that “a controlling grid system can order and systematize the page layout process by providing consistency and regularity, even when organically constructed” (Jura & Graver, 2012, p.54).

Jura and Graver also point out that “a grid with many divisions will offer greater flexibility but will offer less support and structure” (Jura & Graver, 2012, p.64). For example, a twelve-column layout is extremely versatile because columns can be merged to make two columns of six, three columns of four, and so on.

Grabbing Attention Above the Fold

In the digital age, the term “above the fold” no longer applies exclusively to the catchy headlines and photos displayed on the top half of a newspaper. In web design, “above the fold” refers to content that appears to the viewer without having to scroll down. Pigott (2019) notes that a majority of website visitors won’t scroll down if their attention and interest aren’t immediately hooked. Where the “fold” occurs on a responsive web page depends on the device on which it is being viewed, but designers should always strive to put the most eye-catching and informative elements at the top of the page.

1. Hero Images should give a positive, informative view of the content. Stock photos are overused and not always relevant.
2. Header Copy should be a clear and concise introduction of the content.
3. Avoid unnecessary navigation or links that encourage readers to click away.

References:

Hampton-Smith, S. (2018, September 26). How to create balanced page layouts. Creative Bloq. https://www.creativebloq.com/netmag/create-balanced-page-layouts-7-pro-tips-121310009

Jura, B. & Graver, A. (2012). Best Practices for Graphic Designers, Grids and Page Layouts. Rockport Publishers.

Pigott, T. (2019, June 3). What does above the fold mean? And why is it important? Lone Fir Creative. https://www.lonefircreative.com/blog/what-does-above-the-fold-mean

Streefkerk, R. (2020, May 8). APA Manual 7th edition: The most notable changes. Scribbr. https://www.scribbr.com/apa-style/apa-seventh-edition-changes/

In the eleventh month of the Media Design MFA program, we are developing and presenting our final thesis project. The first live session covered the best ways to prepare for this presentation.

CAST and the Visual Story Map

There is a science to how presentations can more effectively connect with an audience in order to CONVINCE, EDUCATE, or REPORT. In the book Stories that Move Mountains: Storytelling and Visual Design for Persuasive Presentations, Martin Sykes, A. Nicklas Malik, and Mark D. West present a Visual Story Map developed to illustrate the process for creating a visual story (Sykes, Malik, & West, 2012). The process is called CAST because the diagram is divided into four sections: Content, Audience, Story, and Tell. Stories that Move Mountains details each step of CAST to help designers present a clearer, more effective story.

Intentional Design

Sykes, Malik, and West (2012) also discuss how a presentation’s design should directly and intentionally contribute to the understanding of the story. They break the design process into five steps:

1. Format: Whether it’s a poster, a web page, or a Powerpoint presentation, the format should fit your delivery plan.
2. Ideation: Create many ideas and compare them side by side to find the most effective.
3. Composition: Decide which content to include. If it doesn’t contribute to the story, leave it out.
4. Content Coding: Colors, typography, and other design choices all convey meaning. Make sure that meaning supports your message.
5. Writing: Language, like visual elements, conveys meaning. How something is said (or written) is just as important as what is being said.

Innovative Thinking

It’s said that everything is a remix, but innovation can be proven through comparison to similar, competing solutions in the same market. Innovative thinking in design is demonstrated by doing something in an unexpected or different way. Innovation does not have to be revolutionary so long as it demonstrates an improvement on existing solutions. It could be a novel idea or a new use of media.

Differentiation is essential in competitive markets. “To stay competitive, much less lead the market, organizations must foster innovative thinking in the workplace and individuals must remain open to new ideas, processes, and opportunities” (Parashar, n.d.). For these reasons, innovative thinking is more important than ever for today’s media designers in order to develop solutions that rise above competitors.

References:

Parashar, A. (N.D.). Innovative Thinking. http://dinghappens.com/innovation/innovative-thinking/

Sykes, M., Malik, N., & West, M. D. (2012). Stories that Move Mountains: Storytelling and Visual Design for Persuasive Presentations. John Wiley & Sons.

Why Chart Legends Should Be Avoided

Legends are frequently used in data visualization to tell viewers which colors or other graphic elements represent which data series in a chart. Unfortunately, chart legends can actually make data more difficult to understand. Krum notes that “chart legends make readers work twice as hard to understand a particular chart because they have to look back and forth between the chart and the color key multiple times to understand the different sets of data represented in the chart” (Krum, 2013). The same information can be more effectively presented by labelling data sets directly on the chart. Nediger states “By placing labels as close as possible to their respective data points, you can reduce the work required of your reader to interpret your chart” (Nediger, 2018). Replacing the text in legends with a graphic icon also reduces reading and makes the chart easier to understand.

Optimal Sizes for Infographics

The majority of infographics are designed with a vertical layout because viewers have become accustomed with scrolling up and down rather than side to side. But what is the optimal size? Krum states “As a general rule of thumb, the original full-size version of an infographic is published online at an image size that is 800 pixels wide and as long as necessary to tell the story” (Krum, 2013). This size fits the window width of most web browsers. McCready (2017) agrees on the 800 pixels width, adding that text should still be legible even at smaller resolutions. An infographic that uses vector graphics and strong visual hierarchy will look good at any size, from posters to social media posts.

Motion in Infographics

Infographics elevate data visualization by telling a story with the information in a way that is visually appealing to the viewer. Motion can elevate the story further. Travers states “By enhancing your image with motion, it will naturally draw the attention of the human eye” (Travers, 2020). Once the animation has attracted the audience, it should keep them engaged with informative content. Crooks, et al. (2012) add that motion infographics can also use music, voiceovers, and imagery that communicate the intended message and connect with viewers on an emotional level that is difficult to achieve with a static image.

References:

Crooks, R., Ritchie, J., & Lankow, J. (2012). Infographics: The Power of Visual Storytelling. John Wiley & Sons.

Krum, R. (2013). Cool Infographics: Effective Communication with Data Visualization and Design. John Wiley & Sons.

McCready, R. (2017, June 20). How to Pick the Right Infographic Size For Your Blog Post. https://venngage.com/blog/infographic-size/

Nediger, M. (2018, May 14). 10 Do’s and Don’ts of Infographic & Chart Design. https://venngage.com/blog/chart-design/

Travers, D. (2020, January 29). 25 Best Animated Infographic Examples Online. https://www.spielcreative.com/blog/animated-infographics/