Tag: education

If color is the strongest and most proprietary part of a visual system, how can you use it to differentiate the brand identity for the city represented by your logo from the brand identities of other cities?

Sean Adams recommends doing a color study of the competition. Find the primary colors that dominate the field, then go the opposite direction to differentiate your brand from competitors (Adams, 2015).

I researched the brand identities of Japan and other Asian countries. Red was the primary color used most often. I saved four swatches of red sampled from the logos and brought that image into Adobe Color.

The color wheel helped me find a hue of green that is opposite the competition’s red color. I then used that green as a starting point for my city logo color studies.

I collected mood photos for each of the three brand identities. For Geography, I used Adobe Color to sample colors from a photo of Arashiyama bamboo forest in Kyoto. The colors in this photo are natural and adventurous according to Steve Douglas, fitting the values and characteristics of the brand (Douglas, n.d.).

Harajuku fashion is a fun, creative representation of modern Japan that originated in Tokyo but is popular in Kyoto, so I sampled some of the most common colors to match the Modern Culture brand definition. After experimentation with different unique colors, a magenta pink best captured the friendly, creative spirit of Kyoto without being overtly feminine (Cross, n.d.).

I repeated the process for the Traditions brand identity, seeking colors that represent the spiritual sophistication of historic Kyoto. Again, I consciously avoided bright red to differentiate the brand. Although the color purple has be overused to represent royalty, it is still effective for expressing elegance and harmony (Douglas, n.d.).

After picking a main color for each of the three brand identities, I made variations to compare with the colors of popular logos. This helped me find unique colors that weren’t immediately identified with another brand.

After finding the best variation of each main color, I used Adobe Color to create secondary palettes using the analogous, complementary, split-complementary, and triadic color harmony rules. I labeled the main colors with the hex code, Pantone number, CMYK, and RBG values.

Using those color tests, I selected a secondary palette for each brand identity based on the values and characteristics of each brand. Then I started color tests with the previously designed logos.

Color Choice Rationale

Geography:
Steve Douglas describes green as a serene and peaceful color that represents health and growth to many people (Douglas, n.d.). The green is complemented by a dark magenta and earth tones that are adventurous yet simple and comforting (Cross, n.d). The top right logo is currently the strongest, but much more exploration is needed.

Modern Culture:
The color choices for this palette are fun and modern without being too feminine or using overly bright colors that may be difficult to read or reproduce (Adams, 2015). After exploration in both horizontal and vertical layouts, the color combinations still don’t feel natural. I will have to reconsider the two green colors in further development. Although visually complementary to the pink, green is a peaceful, serene color (Douglas, n.d). That does not fit with the youthful energy of this brand identity.

Traditions:
The purple, its darker shade, and dark blue express the elegant history (Douglas, n.d), but the complementary greens are more appropriate to a nature inspired design (Cross, n.d.). In my efforts to find distinction from competitors, I’ve avoided bright red. However, a deep shade of red may be appropriate as a secondary color in this palette.

Color Logo Revisions

This week I received peer feedback from Krystal Awai, Jorge Cainas, and Misty Francis. All three gave excellent suggestions on how the city logo designs and color choices could be improved.

Kyoto geography

Cainas suggested adding a small detail to the geography logo to make the bamboo icon more recognizable. After trying variations on the bamboo stalk, I found that adding a single leaf was effective way to make the design more distinctive while keeping it simple. The leaf also makes the boxy shaped logo more natural and freer from constraints, keeping with the brand definition.

Geography Brand Definition

Key Value 1: reverence for nature
Key Value 2: independence
Key Characteristic 1: adventurous
Key Characteristic 2: natural
Its Differentiation: historic temples surrounded by natural beauty
Experience / Emotional connection: collecting shared memories and photos

For the colors, I kept only the primary green and two strongest earth tones.

Primary Color:
Dark Green
PMS     P 153-15 C                   RGB     57 106 54
HEX     396A36                        CMYK  64 0 90 54

Secondary Colors:
Golden Brown
PMS     P 25-13 C                     RGB     182 128 72
HEX     B68048                        CMYK   0 42 74 26

Dark Magenta
PMS     7643 C                         RGB     103 46 69
HEX      672E45                        CMYK   0 84 2 70

---

Kyoto modern culture

The modern culture logo and color palette both needed improvements based on feedback from Cainas and Francis. Multiple colors led to color pollution, so I simplified the palette to two colors.  Milano Kate Valihura notes that ninety-five percent of brands use no more than two colors in their logos (Valihura, 2018).

When rearranging the logo, I used the wedges and circle segment that form the negative space K as accents to the wordmark. Cainas found the logo more engaging with the newly formed face.

Modern Culture Brand Definition

Key Value 1: creativity
Key Value 2: individuality
Key Characteristic 1: fun
Key Characteristic 2: friendly
Its Differentiation: modern but historic
Experience / Emotional connection: fun with friends

The bright pink sampled from modern Japanese fashion is a strong fit for the brand, but I chose a slightly different shade that had an exact Pantone match. The dark purple secondary color is more gender-neutral than pink and provides strong contrast.

Primary Color:
Bright Pink
PMS     2039 C             RGB     230 56 136
HEX     E63888            CMYK   0 83 3 0

Secondary Color:
Dark Burgundy
PMS     2357 CP           RGB     101 22 65
HEX     651641            CMYK   23 100 0 58

---

Kyoto Traditions

The traditions brand palette needed more development, so I looked to the traditional Japanese color chart for inspiration. Based on suggestions by Awai, I sampled a dark red from a photo of Romon gate in Kyoto. I then followed Sean Adams’s advice and compared that red to competitor logos, making it slightly more crimson to differentiate (Adams, 2015).

Traditions Brand Definition

Key Value 1: respect
Key Value 2: harmony
Key Characteristic 1: spiritual
Key Characteristic 2: sophisticated
Its Differentiation: spiritual heart of Japan
Experience / Emotional connection: a spiritual connection to Japanese history

In traditional Japan, purple represented virtue and spirituality (Tofugu, 2013). Western society also associates purple with spirituality, royalty, and luxury (Valhura, 2018). A soft light purple fit the traditions brand, and a much darker violet added depth.

I also included the unique crimson red that evokes Kyoto’s historic shrine gates. In Japanese society, red is a symbol of power with strong connections to religion (Tofugu, 2013).  

Unique Colors:

Light Purple
PMS     7677 CP           RGB 114 86 155
HEX     72569B           CMYK 68 78 0 0

Dark Violet
PMS     P 98-8 C           RGB 63 31 77
HEX     3F1F4D            CMYK 84 100 0 50

Crimson
PMS     P 49-8 C           RGB 174 36 36
HEX     AE2424            CMYK 0 99 91 22

---

With my logo designs now (mostly) complete, I will develop Brand Vision Boards for each of the Kyoto logos.

References:

Adams, S. (2015, March 27). Branding for Designers. Retrieved from https://www.lynda.com/Design-Color-tutorials/Foundations-Branding-Designers/363131-2.html

Cross, R. (n.d.). Color meaning and symbolism: How to use the power of color in your branding. Canva. Retrieved from https://www.canva.com/learn/color-meanings-symbolism/

Douglas, S. (n.d.). Psychology Of Color In Logo Design. TLC Blog. Retrieved from https://thelogocompany.net/blog/infographics/psychology-color-logo-design/

Shutterstock. (n.d.). Bamboo Forest in Kyoto, Japan. Retrieved from https://www.shutterstock.com/image-photo/bamboo-forest-kyoto-japan-763721149

Tofugu.com. (2013, September 12). The Traditional Colors of Japan. Retrieved from https://www.tofugu.com/japan/color-in-japan/

Valihura, M. (2018, July 24). A Cheat Sheet for Choosing the Best Logo Colors That Will Grab Your Audience’s Eye. Retrieved from https://foundr.com/best-logo-colors/

The logo design process that we started last month continued with the creation of vector graphics. At the end of the last stage we selected the three strongest designs guided by peer critique and self-critique based on David Airey’s seven elements of iconic design (Airey, 2014).

I designed the following logos to represent the city of Kyoto, Japan.

Kyoto Geography

The rounded column and triangles represent the bamboo forests and gently sloped mountains around Kyoto. A letter K is formed by the negative space. The concept sketch and first vector graphic were not distinctive enough, so I added lines to represent a joint in the bamboo stalk. I also followed Von Glitchka’s advice from Logo Design: Illustrating Logo Marks and adjusted spacing for visual continuity (Glitchka, 2016).

Kyoto Modern Culture

This design captures the energy and style of today’s people in Kyoto. The negative space letter K is inspired by manga comics while evoking the narrow streets of Kyoto’s historic Gion district. After creating a vector graphic based on the sketch, I added gentle curves to the sharp edges. These subtle rounds are another of Glitchka’s recommendations for making a design stand out (Glitchka, 2016).

Kyoto Traditions

The fan design is a simplified icon based on the folding fans carried by Kyoto’s geisha. The alternating dark and light panels evoke Japan’s historic flag, but I must be careful to choose a color other than red for the primary palette to avoid offense (Taylor, 2015).

After creating a vector graphic based on the sketch, I realized the design was still not simple enough to be effective at small sizes. The removal of just a few elements made the design stronger according to Airey’s elements of iconic design (Airey, 2014).

Font Selection

The next step was to choose fonts with the most potential to be effective wordmarks. In Adobe Illustrator, I created a file with six artboards. On each artboard, I placed type and used Adobe Fonts to find at least 32 wordmarks for each of the three logos. This follows the example set by Sean Adams in Branding for Designers (Adams, 2015).

I looked for typefaces that met the following qualities:

• Geography: steady, solid, regular edges
• Modern Culture: energy, fun, rounded shapes
• Traditions: elegant, respect, calligraphic

After printing and cutting out the logos and wordmarks, I compared each of them by hand to find complementary shapes and angles. Following Janie Kliever’s advice, I made choices based on what was appropriate for the design concept, not my personal tastes (Kliever, N.D.).

I eventually settled on two font choices to pair with each logo icon in Adobe Illustrator.

With multiple variations to choose from, I selected the strongest option for each of the three logos.

References:

Adams, S. (2015, March 27) Branding for Designers. Retrieved from https://www.lynda.com/Design-Color-tutorials/Foundations-Branding-Designers/363131-2.html

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Retrieved from https://ce.safaribooksonline.com/book/branding/9780133812589

Glitschka, V. (2016, August 10) Logo Design: Illustrating Logo Marks. Retrieved from https://www.lynda.com/Illustrator-tutorials/Foundations-Logo-Design-Illustrating-Logo-Marks/475455-2.html

Kliever, J. (n.d.). How designers choose fonts. Retrieved from https://www.canva.com/learn/font-design/

Taylor, A. (2015, June 27). Japan has a flag problem, too. The Washington Post. Retrieved from https://www.washingtonpost.com/news/worldviews/wp/2015/06/27/japan-has-a-flag-problem-too/

Mastery Journal
In the Week 4 Live Session video for Defining Client Needs, Ryan McClung explained why a Mastery Journal is an important part of the learning journey. We are presented with so much information through research and class assignments that it is important to keep that information filed somewhere for future reference. The Mastery Journal is a permanent repository of data, insights, strategies and reflections gathered during the Media Design MFA program. (McClung, 2019)

This personal catalog of resources will not only come in handy for future professional work, it is an essential part of preparing for the Media Design Mastery Thesis in Month 11 of the MFA program. McClung notes that design is not a linear process. Design is a cyclical journey that goes back to the research phase again and again. (McClung, 2019) This description of the cyclical design process is supported by Jennifer Visocky O’Grady and Ken O’Grady in A Designer’s Research Manual. (O’Grady & O’Grady, 2009)

Effective Critique
O’Grady and Ken O’Grady also state that the design process should have an assessment phase to help the designer make better informed decisions about the work. (O’Grady & O’Grady, 2009). We are using peer critiques as a means of assessment for the Logo Design Workshop city logo sketches. In the Week 4 Live Session, McClung offers advice for giving better, more productive critiques. He notes that critique is a life skill that requires balance, truthfulness, and effective communication. (McClung, 2019)

Kate Lawless and Shannon Crabill suggest the “Love Sandwich” approach, where negative but constructive criticism is sandwiched between what is good about the work. (O’Grady & O’Grady, 2009) I have applied this approach in my own classroom, and I encourage my students to consider the sandwich when giving peer critiques. Honesty is also important to helping peers grow as designers. Negative critique, presented in a positive way, helps determine the most effective solutions. McClung notes that flattery provides a temporary ego boost but is otherwise a waste of time. (McClung, 2019)

Logo Prototypes
While developing the city logo prototypes, I have tried to adhere to David Airey’s seven elements of iconic design but found it difficult to resist my tendency to over-illustrate. In the future, I will continually remind myself to follow Airey’s advice and “Keep it simple.” (Airey, 2014).

Critiquing my peers’ sketches helped remind me of the weaknesses in my own work. McClung also offers several questions to consider when critiquing prototypes. Why are you doing it? Is it well researched? Is it cohesive with the brand? (McClung, 2019) Questions like theses should be considered when critiquing your own work as well as your peer’s.

Overall, the information I learned this week will very useful for my media design career. It will also improve my teaching, specifically my student critiques. I look forward to the next step of the mastery journey.

References:

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Retrieved from https://ce.safaribooksonline.com/book/branding/9780133812589

Lawless, K., & Crabill, S. (2015, March 27). How to Give and Receive a Good Design Critique. Retrieved from https://baltimore.aiga.org/how-to-give-and-receive-a-good-design-critique/

McClung, R. (2019, August 27). Week 4 Live Session. Retrieved August 27, 2019, from https://online.fullsail.edu/class_sections/46722/modules/173179/activities/1087782

OGrady, J. V., & OGrady, K. V. (2009, February 1). A designer’s research manual: succeed in design by knowing your clients and what they really need. Gloucester, MA: Rockport Publishers. Retrieved from http://ce.safaribooksonline.com/book/graphic-design/9781592535576/chapter-2-practicing-research-driven-design/68

Task 2

For Part 2 of the Logo Design Workshop, we gave and received peer critique of our rough concept sketches. Jose Caceres and Krystle Awai offered valuable feedback that informed my choices of the strongest nine concepts to take to the next stage. Each reminded me to follow David Airey’s seven elements of iconic design and pointed out the designs they felt were most successful. (Airey, 2014)

Kyoto Geography inspired designs

Bamboo leaf Y concept

1. Concept sketch: Three bamboo leaves replace the letter Y.
   Caceres noted that this design was successful because the simple, symmetrical shapes are easy to commit to memory as well as providing information about Kyoto’s natural features.
2. Sketch revision 1: I kept the style of the original sketch but adjusted the scale of the leaves in relation to the letters.
3. Sketch revision 2: Instead of three bamboo leaves, I used two leaves atop a bamboo stalk to replace the letter Y.  My lettering was cleaner on this revision, but the hand-drawn type seems cramped and hard to read at a distance.
4. Sketch revision 3: Using a ruler and oval templates, I drew sharper modern type to contrast with the soft organic leaves. This is the strongest revision so far because it is recognizable at any size.
5. Bamboo leaf Y concepts: I drew and cut out a single leaf that I used as a guide to create a more symmetrical leaf Y. The perfect symmetry of the first design was too similar to an upside-down Mitsubishi logo, so I adjusted the angles on the second design to make it more distinct as a letter Y.
6. Sketch composite: After scanning the sketch revisions, I combined the lettering of revision 3 with the second Y concept sketch. This composite is a distinctive, modern design but it lacks the organic quality of the original concept sketch.

K in square concept

1. Concept sketch: Three triangles and column form a K in the negative space.
   Both Awai and Caceres found this to be an effective concept because of the simplicity of the shapes. Awai also noted that the negative space evokes Kyoto’s scenic walkways as well as the letter K. The triangles represent the mountains around Kyoto.
2. Sketch revision 1: I redrew the original concept with straight lines and refined angles., keeping the rounded edges to soften the design. I filled in the dark areas after scanning for consistency.
3. Sketch revision 2: This revision uses symmetrical shapes and less negative space for a compressed design. The first two revisions both represent a recognizable pattern that can be used with a Kyoto wordmark, as an icon, or as a repeating motif in a variety of ways.
4. Sketch revision 3: There are many recognizable logos featuring the letter K, such as K-Mart, Circle K, and Special K cereal. To find distinction as well as incorporate tradition, I rounded the shapes in the design to make the negative space K resemble the meandering paths in Kyoto’s Zen gardens.
5. Sketch revision 4: The fourth revision returned to straight lined rectangles but kept the energy and historical tradition of the previous design.

Temple circle concept

1. Concept sketch: A circle holds a view of a river, mountains, and a Kyoto temple.
   Awai felt that this sketch incorporated tradition with the natural beauty of Kyoto in a relevant way.
2. Sketch revision 1: I illustrated the design, trying to simplify the details. The temple breaks free of the circle, helping the balance.
3. Sketch revision 2: The first revision was too detailed to work at a small scale, so I made the temple into a silhouette. The curve of the river looks more natural, but this design can be simplified even more.
4. Sketch revision 3: The thicker line weight and modified temple make this design less illustrative and more iconic while retaining its historic relevance.

Kyoto Modern Culture inspired designs

K in circle concept

1. Concept sketch: A negative space K is made by shapes that form a circle evocative of the rising sun.
   Caceres stated that this design was successful because of its simplicity. Like the “K in square” concept, it aims for distinction and is easy to commit to memory.
2. Sketch revision 1: I tried to closely recreate the original concept with cleaner lines. Again, I filled in the dark areas after scanning for consistency.
3. Sketch revision 2: My unfortunate fondness for symmetry influenced this revision. Although the design feels more balanced, it actually becomes less distinctive than the original concept.
4. Sketch revision 3: This design sheds the balanced symmetry and becomes more energetic. It remains distinctive and incorporates tradition by making the negative space resemble rays of the rising sun.

YO! Manga type concept

1. Concept sketch: Kyoto spelled out with manga-style comic type, emphasizing the letters Y and O.
   Awai said this design captures the young, vibrant energy of Kyoto.
2. Sketch revision 1: The first revision uses soft, rounded type to match the concept sketch. I kept the large size of the Y, O, and exclamation mark but also increased the size of the other letters.
3. Sketch revision 2: By straightening the lines, the design became much cleaner and distinctive. The type closely mimics comic type without using a particular typeface.
4. Sketch revision 3: After scanning, I filled in the design too see how it would look. This concept has youthful energy but might not appeal to older visitors.

Manga smile concept

1. Concept sketch: The two letter O’s in Kyoto form the eyes of manga-inspired smiling face.
   This is the only design that I selected without input from peers. I chose it because it is simple and distinctive.
2. Sketch revision 1: The first revision is simply a cleaner, more refined version of the original sketch. The type is reminiscent of Japanese calligraphy, but simple enough to be read at any size.
3. Sketch revision 2: I tried a different style of eyes and thinner smile to make it distinctive from the smile shape in the Amazon.com logo. This version feels more child-like and less appropriate than Revision 1.

Kyoto Traditions inspired designs

Fan concept

1. Concept sketch: A folding fan replaces the spine of the letter K in Kyoto.
   Both Awai and Caceres appreciated the simplicity of this logo.
2. Fan icon concepts: The folding fan in the concept sketch is very rough, so I first worked on developing a simplified icon that could be paired with a typeface chosen later.
3. Sketch revision 1: The first version uses six dark sections with white dividers. Again, I filled in dark areas after scanning.
4. Sketch revision 2: The second revision uses seven alternating dark and white panels. This simplified fan will be an effective icon once I thicken the line weights.

Boxed text concept

1. Concept sketch: Letters spelling Kyoto are arranged in boxes.
   Caceres said this was one of the strongest designs because it is simple, different, and traditional.
2. Sketch revision 1: The first revision in a cleaner version of the original sketch. I left out the diagonal line that runs through the O’s because it was reminiscent of “no smoking” signs and other negative images.
3. Sketch revision 2: I removed the bounding boxes from the letters and added center circles to the O’s. This design is not as effective because it is less distinctive and does not feel as relevant to Kyoto’s traditions.

Lanterns concept

1. Concept sketch: Hanging paper lanterns spell out Kyoto. Awai appreciated the tradition and symbolic meaning of the lanterns in Japanese culture.
2. Sketch revision 1: I tightened the spacing of the lanterns and tried to make the type clearer than in the concept sketch.
3. Lantern icon concepts: My next step was to draw simplified icons to represent the paper lanterns. The first illustration was too busy, but the second was simple enough to use in the design.
4. Sketch revision 2: I replaced the empty circles of the first design with the lantern icons and made the overlying text dark.
5. Sketch revision 3: For the final revision, I curved the line that the lanterns hang from and made the letters white over dark. While not as simple as many of the other designs, this logo captures the history and culture of Kyoto.

The feedback from Jose Caceres and Krystle Awai helped improve my work by reminding me to follow David Airey’s seven elements of iconic design. Their recommendations helped remove my personal preferences and allowed me to focus on why a particular design was effective. The most common note was that many of the concept sketches were too illustrative, so I payed extra attention to keeping designs simple.

I did not move forward with one of Awai’s preferred designs because it felt too similar to another of the top choices. Otherwise, I tried to implement all the feedback from both peer critiques. Both were constructive and well thought out, following the advice from Lawless and Crabill in How to Give and Receive a Good Design Critique. (Lawless & Crabill, 2015).

Top 3 Designs

Geography: Although I tried several revisions, the “K in square” design closest to the original concept sketch is the strongest. It meets most of the seven criteria, and it can become more distinctive with minor revisions and when paired with text.

Modern Culture: Inspired by Japan’s rising sun flag, the “K in circle” design is very similar to the first due to its use of negative space. The third sketch revision is strongest because it shares the positive qualities of the “K in square” design but is more distinctive and culturally relevant.

Tradition: The original concept sketch was a very quick doodle inspired by Geisha. It was one of my least favorite designs personally, but the peer critique helped me see past the roughness of the drawing and understand why it worked as an appropriate design. The simplified fan icon focuses on one thing associated with Kyoto, is easy to commit to memory, and incorporates tradition.

References:

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Retrieved from https://ce.safaribooksonline.com/book/branding/9780133812589

Lawless, K., & Crabill, S. (2015, March 27). How to Give and Receive a Good Design Critique. Retrieved from https://baltimore.aiga.org/how-to-give-and-receive-a-good-design-critique/

3 Takeaways

Simplicity
In the Week 3 Live Session video for Defining Client Needs, Ryan McClung discusses logo development and what makes a great logo. He emphasizes that simple logos are more memorable and effective. (McClung, 2019). David Airy supports the “keep it simple” concept with his seven elements of iconic design. (Airy, 2014)

Distinction
McClung notes that the logo is not about you, the designer. It is also not about the client’s personal tastes. Both the designer and client should understand that the logo is being designed for the brand’s target audience. Distinction from competitors should be a main element of the logo design. Innovation requires avoiding clichés and imitation. (McClung, 2019)

Use of Logo
A logo can be used on anything from a pen to the side of a building, so it should be legible at any size. Good typography and simplicity of design are important. An icon and wordmark pairing can be used in a variety of layouts at different sizes. A designer should also consider all color modes that may be used in future reproduction. Choosing an incompatible color can lead to higher reproduction costs and inconsistencies in how the brand is presented. (McClung, 2019)

References:

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Retrieved from https://ce.safaribooksonline.com/book/branding/9780133812589

McClung, R. (2019, August 20). Week 3 Live Session. Retrieved August 22, 2019, from https://online.fullsail.edu/class_sections/46722/modules/173179/activities/1087781

In the second week of Defining Client Needs, we were assigned three cities:

• Reykjavík, Iceland
• Marrakesh, Morocco
• Kyoto, Japan

We learned how to use Mind Mapping to generate and connect ideas that could be used to create logos for each city. I created nine mind maps to cover each city’s geography, modern culture, and traditions.

Reykjavík

Marrakesh

Kyoto

In what ways did you connect and synthesize the research?

The Lonely Planet websites for each city were a good starting point, and other travel websites provided branches of research. I also looked at satellite maps and used image searches to find colors and motifs for each city. Using my collected notes, I created lists of keywords that I organized into the three categories for each city.

How did you employ multiple approaches to problem-solving through your research?

In addition to internet research, I also interviewed my mother, who has recently visited both Iceland and Morocco. Her impressions of Reykjavík and Marrakesh as a tourist helped inform my ideas of which attractions the cities would want to promote. Having no personal connection to Kyoto, I searched for online testimonials from recent visitors.

In what ways did you find unique, or innovative, ideas to work with by comparison to existing logos found through research that represent other cities?

I found that city logos often use basic elements like a mountain that can be very generic unless you focus on specific details. If you are going to use a mosque to represent Marrakesh or a shrine to represent Kyoto, what makes that mosque or shrine distinct from others in the region? A city logo should be an instantly recognizable image that represents the city identity.

What research competencies did you display through this work?

This week I focused on in-depth research to answer specific questions about each of the three cities. This research generated keywords that I organized by city and categories. I visually mind mapped each category for the cities, finding connections and brainstorming new words to fit the concepts.

What’s Next?

Our next step is to choose one of the cities and start sketching rough designs based on ideas discovered through the word maps.

Stay tuned for more…

In the Week 2 Live Session video for Defining Client Needs, Ryan McClung discusses the role of the Media Designer, their relationship with clients and stakeholders, and the importance of research in the design process. He states that the Media Designer is responsible for planning and developing information material that effectively communicates a message across the many types of media available today. (McClung, 2019)

The Media Designer must make their ideas palatable and comprehensible to not only the client, but to all external and internal stakeholders. It is important to understand the needs, problems, and objectives of each of these stakeholders. This can be achieved by researching the client, their competitors, and the issues that need to be solved.

Thorough research provides insight, direction, and value. It assures the client that the designer’s services are worth the investment and helps identify unacknowledged issues. Research provides validation of the designer’s ideas and helps sell those ideas. McClung states that 80% of design is selling your ideas and your worth as a designer. (McClung, 2019)

Mind Mapping is one important research tool that helps the designer generate and connect ideas. Mind maps help the designer narrow options and find strong directions to pursue. McClung notes that having infinite options gives zero solutions (McClung, 2019), so it is important to define and focus on solutions that will best address the issue that needs to be solved. David Airey notes that Mind Mapping is an important step before concept sketching and further development of the design solution. (Airey, 2014)

References:

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Retrieved from https://ce.safaribooksonline.com/book/branding/9780133812589

McClung, R. (2019). Week 2 Live Session. Retrieved August 13, 2019, from https://online.fullsail.edu/class_sections/46722/modules/173179/activities/1087780

Summary

In the Week 1 Live Meeting video for Defining Client Needs, professor Ryan McClung states that the Media Design MFA program is a lot like the Media Design industry. (McClung, 2019) Both are about solving problems and finding solutions. This requires strong research, critical thinking, time management, and communication skills. My research skills need improvement, but every assignment is practice.

The Design industry and this MFA program also both require critique of your work, by professionals and peers. (McClung, 2019) I look forward to this opportunity to improve my designs, as I have often operated in a bubble without much feedback from anyone but my client or boss. In the video What is Graphic Design, Sean Adams says that graphic design is about ideas. (Adams, 2017) Sharing ideas with peers can transform those ideas into design solutions.

In regard to Academic Writing, McClung states that opinions don’t matter. (McClung, 2019) I’m used to writing magazine articles, blogs, and lectures that are often based on personal experience and opinions. It’s an adjustment, but I appreciate how research-based writing forces me to dig deeper and find real knowledge to support my ideas.

Action Plan

By the end of the Media Design MFA program, I should show improvement in my research and writing skills in addition to wider knowledge of the methodologies of design. I will apply these skills to find more design clients and create better lessons for my students.

Juggling school, work, and family requires efficient time management. I’ve created the following weekly study schedule to keep me on track.

Monday

• Read/watch materials for weekly assignments, prepare notes – 4 hours.
• Read design or motion graphics book on Safari Books – 2 hours.

Tuesday

• Write and submit discussion, research weekly assignment – 4 hours.
• Watch design or motion graphics courses on Lynda.com – 2 hours.

Wednesday

• Reply to discussion, work on weekly assignment – 4 hours.
• Read design blogs on Feedly and browse Behance for inspiration – 2 hours.

Thursday

• Work on weekly assignment – 4 hours.
• Watch design or motion graphics courses on Lynda.com – 2 hours.

Friday

• Try to finish weekly assignment – 4 hours.
• Read design or motion graphics book on Safari Books – 2 hours.

Saturday

• Edit and submit weekly assignment, write and submit blog. – 4 hours.
• Watch design or motion graphics courses on Lynda.com – 2 hours.

I have reserved Sunday for family time, rest, and reflection. Even then, I try to keep a sketchbook handy. Every night before bed I spend a few minutes sketching out random ideas. This “twilight time” between consciousness and sleep is when some of my best concepts emerge in a raw form. All my old sketchbooks were destroyed in the 2018 fire, but my sketching habit is still a vital part of the design process as described by Sean Adams. (Adams, 2017)

References:

Adams, S. (2017, May 31). What is graphic design? Retrieved August 9, 2019, from https://www.lynda.com/Graphic-Design-tutorials/What-graphic-design/614734/625796-4.html?org=fullsail.edu

McClung, R. (2019, August 6). Week 1 Live Session. Retrieved August 9, 2019, from https://online.fullsail.edu/class_sections/46722/modules/173179/activities/1087779