#amithereyet

During my four weeks of Presentation of Design Solution I was tasked with making an online presentation of my thesis to showcase to a panel of industry professionals. I presented various projects completed in the program to explain how my research explorations and applications of principles, concepts, and frameworks contributed to the process used to implement research-driven design.

Three Main Takeaways:

Wasserman (2016), advises “go with your gut within the guidelines and techniques that you learn for your design work” (Rule of Thirds para. 4)

Malik, Sykes, & West (2012), believes “When the audience finds a story with polish and content, the response is noticeably stronger” (p.193).

Malik, Sykes, & West (2012), argue, “The great presenter considers the audience's needs first and adjusts the standard content to fit” (p.13).

The first takeaway is a concise and critical reminder that the guidelines given and techniques gained provide a framework for which to apply acquired competencies. However, as a media designer sometimes the client demands hot pink and lime green for their website, when research and an understanding of the client’s brand dictates otherwise. As a Media Designer, real-world design problems are solved with appropriate demographic research, a comprehensive understanding or color theory, etc Yet it takes guts to present working solutions that aren’t what the client initially had in mind, and it takes an intuitive understanding of design to know to go in a different direction.

The second takeaway is critical in that, as a Media Designer so often folks latch onto catchy trends that look highly stylized, and in some instances, polished. However, these trends lack depth, meaning, and critical intent to solve a design problem. As a Media Designer, knowing the difference in typeface associations for example, prevents me from cranking out generic looking websites that all use Raleway as the display headers. Understanding, the processes and research required to develop a brand allows for end results that are not only polished, but allows a brand to further effectively communicate to a demographic in a way that is meaningful to them, and that will gain responses.

The third takeaway digs deeper into the second takeaway by outlining specifically what Media Designers should do, design and write with the audience in mind. A campaign for a non-profit for instance, by developing target personas for individuals aged 30-40, a clear understanding of who the target demographic is, what they do for a living, and what matters to them allows for more effective communications that speak directly to them. Content and copy go hand in hand. The greater presenter, and the effective Media Designer showcases final works that place the intended target demographic at the forefront of both content and copy.

Week 1: Thesis Abstracts:

In week one I was tasked with writing abstracts for each of the four DLO pages of my presentation.

Connecting, Synthesizing, Transforming:

In conducting research on the various communities in Missoula, Montana, the demographics of the citizens that reside there, as well as their perceptions of the communities and districts within; the Myrtle St. area presented the biggest unmet need. Through demographic research and conducted interviews the design problem the community faced began to divulge as deeper exploration uncovered the benefits of outdoor activity and the increasing rates of suicide in Montana. The design problem of “What’s here for me?” presented the challenge to promote the area’s access to the river trail, the opportunity for wellness through outdoor exercise and activity, as well as the scenic views of the area as something valuable to the demographic. A client-ready persuasive pitch was developed to inform them of the community’s problem and the area’s need for an identity campaign.

After convincing the client of the need for the campaign a consistent brand experience for the target audience was developed. Through conducted research on design thinking, articulating design solutions, and establishing voice and tone, media was transformed to persuade the client that the brand is the right solution for the Myrtle St. community. Further development of design elements ensued with considerations of how arrows convey movement, guide direction, and can be associated with cycling and the bike paths of the area. Airey (2015), states “Begin by focusing on a design that is recognizable—so recognizable, in fact, that just its shape or outline gives it away” (p.33).

After finalizing the brand voice and tone through the creation of a brand guide, and various roll-out assets, a questionnaire was developed to gain insights into the participant’s thoughts, and feelings based on the efficacy of the project thus far. While the majority of feedback was positive and demonstrates the overall success of the project, further refinements and adjustments can be made. Best (2006), believes “Measuring performance using criteria agreed in the early stages can influence how successful others think the project has been, as the `hard’ data will substantiate what has been achieved” (p. 170).

Solving Problems:

According to the CDC, suicide rates rose to a 38% increase from 1999 to 2016 in Montana. While poor infrastructure and the stagnant job market are bigger overarching problems for Missoula as a whole to tackle, the wellness and well-being of its citizens is a community challenge. In order to determine which community held the direst unmet need, the city of Missoula was explored via Google maps to achieve a bird’s eye view and to examine the various districts within the city limits. Through photo documentation, demographic research, and conducted interviews, it was determined that Malfunction Junction as a whole was too broad. The Hip Strip is already an established brand, and some neighborhoods were too general and too something for everyone. In Design Problem Statements – What They Are and How to Frame Them, Devos (n.d.), concurs “For designers and creative problem solving, a problem is an unmet need that, if met, can satisfy the user’s purpose” (What Is section para. 5).

After divulging the design problem of the Myrtle St. area, further demographic research was conducted using a SWOT Analysis and an Empathy Map. The brand’s voice and tone were developed according to Ericka Heald’s article, 5 Steps to Find Your Brand Voice. With the brand voice & tone established, the visual elements of the brand were developed. The pros and cons of various media in terms of cost, effectiveness, and environmental impact were weighed. After developing the roll-out assets and Myrtle St.’s style guide, the need to examine the demographic’s reaction to the brand and glean insights on their thoughts and opinions still remained. A questionnaire was created to gain insights into the demographic’s reaction to the brand thus far, and to provide the client with confirmation to the brand’s efficacy. It was determined that while the brand is predominately successful, further refinements and adjustments can be made to include older audiences and to create more dynamic media that would inform the demographic of the community and all that it offers.

Innovative Thinking:

It begins with a design problem, an unmet need for a given target market. In order to understand how a brand, product, or service does or does not currently fulfill those needs demographic research utilizing American Fact Finder and in-person interviews of the target demographic to explore their hobbies, interests, and more should be conducted. By placing the collected information into a SWOT analysis and Empathy Map, distinct target audience profiles can be developed to paint a clearer picture of who they are, what they need and what matters to them. Bateman (2018), believes “People don’t just buy what you do, they buy why you do it" (How to Create the Perfect Elevator Pitch).

To determine the true design problem a brand, product, or service faces; the four W’s of: Who is affected? What is the problem? Where does it happen? Why does it matter? as outlined by Devos (n.d.) should be asked to develop a full understanding of the client’s design problem. From there, a new perspective regarding the branding and marketing direction of a client’s product or service paves the way to develop working solutions that meet both the client and target demographic’s needs.

The forefront of innovative design is content, and media created with the audience in mind. The implementation of out-of-the-box thinking synthesizes bold, and original departures from everyday standards and improves upon existing design solutions. The use of arrows in the Myrtle St. community identity takes advantage of the strong directional and graphic nature of the brand. In implementing the arrows not only as a critical design element, but also as a guide in community way-finding signage, the arrows allow the brand’s roll-out assets to transcend the static nature of those elements and to guide both new and current community members to the brand.

Acquiring Competencies:

Over the course of the last ten months I developed the research tools, skills, and methodologies necessary to stay on the cutting edge of the graphic design industry. I conducted a case study and implemented mind maps as a graphic organizer to O’Grady (2009), “correlate research with new ideas” (p. 82). This allowed me to build a foundation for ideation of logo development. I researched and explored the purpose of a logo, how to sustain a successful brand over time, and how to develop a brand toolbox. I developed target audience personas and learned to write with them in mind. I wrote headlines that inspire, and taglines that tantalize. I evaluated design options, investigated methods for text handling and layout, and translated the concepts into effective visual communications. I created dynamic media by first planning for motion through story boarding, and then communicated the voice and tone of my brand through motion. I created a range of imagery to promote my concepts and ideas through photo and video and gained critical skills through the exploration of various design options and strategies. I delved deeper into defining and articulating design solutions, further honed an understanding of brand voice & vision, and further conveyed my brand’s characteristics through dynamic media. I planned media assets that best communicate my brand to the target audience and developed various types of media for a variety of platforms to create a unified multi-media community identity campaign. I then examined metrics and marketing strategies as well as how they are implemented in the industry as I learned to refine my presentation skills.

Upon completion of this program I will be able to deliver professional quality deliverables and unified multi-media campaigns to my clients. Through critical thinking, problem-solving, research and application I strive to create innovative work that instills wonder and inspires others. Adams (2017), claims “That is where graphic design takes hold, smart ideas that communicate a clear message and do it with skill and craft” (What is Graphic Design?).

Week 2: Thumbnail Sketches:

In week two I was tasked with revising my thesis abstracts and exploring web page layouts. I received feedback from a peer that was positive and confident that each abstract was heading in the right direction for each of my arguments for mastery. The feedback received from Professor McClung proved to be enlightening and allowed me to realize that only my abstract for Acquiring Competencies was “on track”. For Innovative Thinking I had failed to make any claim to innovation what so ever. For Connecting, Synthesizing, and Transforming I had one heck of a long ways to go in delving into the finite details and small things. And for Solving Problems? I needed to start with the problem statement and define it and focus specifically on Myrtle St.

I’m not gonna lie, this is where the occasional emotional breakdown began as the full scope of what was needed and expected in a matter of weeks truly hit home with me. As I attempted to explore various layout grids and showcase images that I would apply to the pages of my presentation I realized that since I did not have a clear view of what my arguments were I could not just plaster images at random. The road block of not having written my arguments concrete prevented me from visualizing the end presentation, let alone selecting images.

2 Column Grid: Thumbnail Sketch:

After exploring Wasserman’s (2016), article A Comprehensive Introduction to Grids in Web Design, I began to sketch for consideration of 2, 3, 4, and combination grid layouts.

Week 3: First Drafts:

In week three I don’t remember the last time I consecutively slept less. I could not get work off since there’s a staffing shortage, and so I just had to shut up and get things done. My issues as an aside, I met the first draft deadline for all sections except for Connecting, Synthesizing, Transforming. Since I knew that section would be the most involved and detailed, I left it for last. Unfortunately, I did not receive any peer review or feedback this week and I believe it was my decision to place the following on the Connecting, etc page rather than explain and articulate that other sections had been worked on:

Since the Connecting section is the first section to examine, the possibility exists that my peers didn’t realize that I had worked on other sections since I failed to elaborate or articulate that I had. After all, if the first thing they click on isn’t done why would they waste their valuable time?

Week 4: Final Drafts & Portfolio Practice:

In week four, my caffeine addiction ramped up as the final draft deadline crept closer and closer. After refining, and revising each section, I realized that ultimately my Connecting section and Acquiring Competencies sections mirror each other in that for both sections I explored the finite details of the principles, concepts, and frameworks researched and applied. However, I tackled both sections differently. As appropriate, I dove into the research for the Connecting section and examined the hard and soft skills gained throughout the program in Acquiring Competencies.

For portfolio practice I was tasked with choosing a MDMFA project to breakdown and articulate on my portfolio site. Since the Myrtle St. community identity project is the most involved and the most complete, and research I chose to tackle that since I have been wanting to put it on my portfolio site for some time anyways.

I breakdown the project and the research applied from identifying a design problem to measuring design effectiveness.

Reference:

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

Airey, D. (2015). Logo Design Love: A guide to creating iconic brand identities, second edition. United States: New Riders.

Bateman, A. (2018, July 20). How to create the perfect elevator pitch. Retrieved August 30, 2019, from: https://www.lynda.com/Business-Skills-tutorials/Company-approach-versus-personal-approach/728380/763728-4.html?org=fullsail.edu

Best, K. (2006, October 31) Design management. Available at: https://ce.safaribooksonline.com/book/design/9782940439782

Birch, N. (n.d.) Ripped in half: websites with 2-column layouts Available at: https://designmodo.com/two-column-websites/

Cao, J. (2015, September 2) Storytelling web design: some key techniques with great live examples. Available at: https://thenextweb.com/dd/2015/09/02/how-to-design-a-foolproof-website-with-storytelling/

Centers for Disease Control and Prevention. (2018, June 7) Suicide rising across the US: More than a mental health concern. Retrieved from Vital Signs available at: https://www.cdc.gov/vitalsigns/suicide/infographic.html#graphic1

Cox, P. (2012, October 15) The unwritten rules of a great design critique. Available at: https://tympanus.net/codrops/2012/10/15/the-unwritten-rules-of-a-great-design-critique/

Devos, J. (n.d.) Design Problem Statements – What They Are and How to Frame Them. Retrieved from Toptal available at: https://www.toptal.com/designers/product-design/design-problem-statement

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

Malik. N. A, & Sykes. M, West M.D. (2012, December 17). Stories that move mountains: storytelling and visual design for persuasive presentations. Retrieved from: https://ce.safaribooksonline.com/book/communications/presentations/9781118423

O’Grady,  V. J. & O’Grady, K. (2009). A designer’s research manual: succeed in design by knowing your clients and what they really need. Beverly, MA. Rockport Publishers, Inc. 

When can I stop thinking about you? It is clear that there’s nothing between us that will bond us together. 

Not sure how I can stop thinking about you. We don’t talk or text anymore. Our common friends have all moved away and the only connection we have now is through instagram. I have already unfollowed you on instagram so your name doesn’t show up on my feeds whenever you like something or post anything. I actually don’t think you even noticed that i had unfollow you. It has been more than a year since we last spoke,  I messaged you recently through instagram but you have not replied at all. I thought we are still friends, the kind that barely talks. 

I know looking at Instagram stories doesn’t really mean much but you always look at my stories within minutes after i posted them. Not sure if you are interested with my life or this just means you have nothing to do in your life and you have to waste it on Instagram.  To be honest, I am a little bit hurt that you didn’t repsond to my message, because i do want us to talk again and of course as friends.