Design Management by Andrea Van Soest

MINISTRY

DESIGN MANAGEMENT ANDREA

MINISTRY

VAN

SOEST

LEADERSHIP

CURRICULUM

Welcome to Design Management!

I am so excited to explore the topic of design with you. Throughout this class, we will learn why God cares about design, and the impact that design has had throughout history. We will learn how design affects us psychologically and emotionally. We will explore the rules of design and how to use them effectively. Lastly, we will look at how to express our story through the use of design and its implementation. You may or may not feel that you are naturally creative – and that is okay! We are all intentionally unique as a part of God’s design. My hope throughout this class is that each of you will feel a deeper sense of connection to our Creator because of His care and concern for the design in our lives and the environment that He created for us to enjoy.

Andrea

DESIGN MANAGEMENT Chapter 1: THE BIBLICAL AND HISTORICAL IMPORTANCE OF DESIGN �������������������� 5 Chapter 2: ENVIRONMENTAL DESIGN ������������������������������������������������������������������������������ 17 Chapter 3: PSYCHOLOGY OF DESIGN ���������������������������������������������������������������������������������� 27 Chapter 4: THE FOUNDATION OF GOOD DESIGN �����������������������������������������������������������35 Chapter 5: DEFINING YOUR BRAND (SO THAT YOU CAN DESIGN IT) ����������������������� 43 Chapter 6: GRAPHIC DESIGN ����������������������������������������������������������������������������������������������� 51 Chapter 7: STORYTELLING THROUGH DESIGN ��������������������������������������������������������������59 Chapter 8: THE PROCESS OF DESIGN ��������������������������������������������������������������������������������65 Notes ����������������������������������������������������������������������������������������������������������������������������������������� 73

1

THE BIBLICAL AND HISTORICAL IMPORTANCE OF DESIGN

“Then God looked over all He had made, and He saw that it was very good!”

GENESIS 1:31

DESIGN MANAGEMENT by Andrea Van Soest

THE BIBLICAL AND HISTORICAL IMPORTANCE OF DESIGN CREATIVITY God is creative! We serve a God who values creativity. He created creativity! God tells us how important creativity and environment are to Him in the first few verses of the Bible:

1. Genesis 1:1 (NLT) – “In the beginning God created the heavens and the earth.” a. The author of Genesis goes on to describe in detail exactly how He created what would become our dwelling space on earth, and some of His thought process.

i. He wanted it to be an environment where the people He created could thrive and find inspiration.

ii. He wanted it to be beautiful! iii. He designed a place for us to dwell that is unmatched by anything we could imagine or duplicate.

2. God cares about our surroundings. a. He knows that our surroundings affect us in a multitude of ways. i. As we begin to explore some of the elements and principles of design, you will

realize that there is no pattern or shape that God has not already created in nature.

ii. There is no color that He did not already use somewhere in the universe. iii. He is the inventor of contrast, texture, and variety — God loves a creative environment!

3. Genesis 1:31 (NLT) – “God saw all that He had made, and it was very good… Thus, the heavens and the earth were completed in all their vast array.” a. And on the seventh day, God rested. b. God rested with creation, and creation is meant to find rest with God in the amazing environment that He has created.

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CHAPTER 1 — The biblical and historical importance of design

DESIGN, ARCHITECTURE, AND ENVIRONMENT In Exodus 25, God called Moses to meet Him at the top of a mountain. In his forty days alone with God on Mount Sinai, Moses was given a glimpse into Heaven as God gave him very specific instructions for the creation of a tabernacle. Yahweh wanted to dwell among His people, and this would require a holy and sacred place. Only the presence of God that would truly make this place holy, nevertheless, God cared about the environment where His people would meet with and rest with Him. 1. Moses was instructed to have the people bring their best in the form of gold and silver (or whatever their hearts felt led to give) as a tithe that would help construct the tabernacle. a. At the time, people of other religions believed that their gods wanted them to build large statues in their images. b. Our God told Moses to create a place where He could dwell with His people. i. He did not want them to create an idol of His image; instead, He wanted to live among them so that His image could be impressed upon them and reflected through them. ii. This continued to be true 500 years later when David’s son, King Solomon, constructed the temple in Jerusalem, and it stands true today. c. God cares about the environment where He meets us. i. While I’m certain these beautifully-created structures, with their specific details and patterns, hold an important aspect of reverence to God, I believe He cares about the environment of these sacred meeting spaces more for our benefit than for His.

“It’s simple: Moses was given a glimpse of heaven when he was on Mount Sinai, and the tabernacle was an earthly reflection of what he’d seen. The tabernacle and the temple were built according to a particular pattern, and this pattern was important because it gave the worshippers a glimpse of the heavenly reality. To enter into the tabernacle or Solomon’s temple was to step across the threshold to an in-between world — a sacred space that was a doorway to heaven itself.”

—Father Dwight LONGENECKER

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DESIGN MANAGEMENT by Andrea Van Soest

HISTORY OF CHURCH ARCHITECTURE Architectural design can tell us a great deal about historical time-periods. It serves as a reflection of a particular period’s story, and it is a visual and structural version of an historical narrative. All of the details hold meaning and significance. They tell about what was taking place during that time in a tactile way. We can gain insight into the needs and beliefs of the people of that time based on how their structures were built. This is something that often gets overlooked, but that I believe is extremely important and useful.

Examining the structural and environmental version of an architectural story can tell us a great deal about that time in history. If you layer this over every other method of examining the Bible and history, it adds richness, depth, and wholeness to our understanding of what was taking place during that time. We can think of this as another level of nuance, giving us fresh eyes for seeing and experiencing the way God moves and the way He desires for us to encounter Him through the design of our environment. Let’s explore this process from the beginning.

1. The tabernacle a. This was the first dedicated environment where God’s people could encounter Him in worship. b. Specifically and entirely designed by God Himself. c. Exodus 25:8-9: “Have them make a sanctuary for me, and I will dwell among them. Make this tabernacle and all its furnishings exactly like the pattern I will show you.” d. At this time, worship was about making sacrifices to God and experiencing His presence.

NOTES

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CHAPTER 1 — The biblical and historical importance of design

2. The temple a. David wanted to build a permanent dwelling place for God in the form of a temple. b. When King David was settled in his palace and the Lord had given him rest from all the surrounding enemies, the king summoned Nathan the prophet. i. 2 Samuel 7:2 – “Look,” David said, “I am living in a beautiful cedar palace, but the Ark of God is out there in a tent!” ii. Nathan prophesied that a descendant of David would build a house for God, but it would not be David since he was a warrior and had too much blood on his hands. iii. However, He would raise up David’s son, Solomon, who would be a man of peace and who would have the protection of the Lord upon him. God would allow Solomon to build the Temple. c. 2 Samuel 7:12-13: “When your days are complete and you lie down with your fathers, I will raise up your descendant after you, who will come forth from you, and I will establish his kingdom. He shall build a house for My name, and I will establish the throne of his kingdom forever.”

NOTES

3. The synagogue a. At some point prior to the birth of Christ, the Jewish people established the synagogue – this word means assembly or to assemble. b. The synagogue was not a place for worship through sacrifice; it was a place for prayer and studying God’s word together. c. This is where we begin to see a transition: places of worship becoming fellowshipfocused. ~9~

DESIGN MANAGEMENT by Andrea Van Soest

NOTES

4. The church a. Churches became known as gathering places for Christian worship. i. Also referred to as an assembly or the body of Christ. b. After Jesus came as the ultimate atoning sacrifice, there was no longer a need for worship to include sacrifice c. The tabernacle and the temple served an important purpose, but God now dwells in us through His Holy Spirit i. Today, worship has evolved into a service that includes singing and sermons. d. 1 Peter 2:4-5: “As you come to Him, a living stone rejected by men but in the sight of God chosen and precious, you yourselves like living stones are being built up as a spiritual house, to be a holy priesthood, to offer spiritual sacrifices acceptable to God through Jesus Christ.�

NOTES

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CHAPTER 1 — The biblical and historical importance of design

HISTORY OF CHURCH BUILDINGS THE HOUSE CHURCH

THE BASILICA

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DESIGN MANAGEMENT by Andrea Van Soest

ROMANESQUE AND GOTHIC

THE RENAISSANCE

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CHAPTER 1 — The biblical and historical importance of design

BAROQUE

EARLY AMERICAN

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DESIGN MANAGEMENT by Andrea Van Soest

MODERNISM

POST-MODERNISM

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CHAPTER 1 — The biblical and historical importance of design

TODAY Where are we headed next?

HOMEWORK: Read Exodus 25-30. Why do you think God’s design instructions for the tabernacle were so specific?

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DESIGN MANAGEMENT by Andrea Van Soest

What is your favorite design detail about the tabernacle and why?

How do you think the church environment impacts the worship experience?

Do you think we could potentially be at the start of a new era of design? Why or why not?

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2

ENVIRONMENTAL DESIGN

“We shape our buildings and afterwards our buildings shape us.”

Winston CHURCHILL

DESIGN MANAGEMENT by Andrea Van Soest

THE IMPACT OF ENVIRONMENT In the last chapter, we determined that God cares about the design of our environment because He knows how it impacts us. He knows exactly how He created our minds and that we are deeply affected by our environments.

God created our brains in an incredibly unique way. They are always changing — the science of brain plasticity tells us that our brains are malleable. As we learn new things, have new experiences, and practice new habits, our brain structure changes. Neuroplasticity is taking place. Our environment can change the way that we process information as well. Certain environments can stimulate the brain to create new neural pathways or to reorganize existing ones.

From the beginning of time, most artists, designers, and architects seemed to have an instinctive sense that environments are impactful. They could innately feel the effects that different environments have on mood and emotions. When the original basilicas were created, designers understood that walking into a church through the small, dark, enclosed narthex and then into the sanctuary – where the ceiling rises to heaven and the light pours in from above – would be an awe-inspiring experience. Architects and builders intuitively created iconic structures and spaces of worship that impacted and inspired generation after generation.

It wasn’t until the 1950’s that researchers began to look for scientific evidence to support this intuitive capacity. The inventor of the polio vaccine, Jonas Salk, had a meaningful experience in one particular space that led him to suggest that neuroscience research could possibly benefit architecture. When he felt stuck in his effort to find a cure for polio, he took a sabbatical to get refreshed and visited the Abbey at Assisi in Italy. The architecture and design of the abbey so invigorated his imagination that he credited this spiritual experience as his inspiration for completing his vaccine. He then began to push for further study into the ways that environments impact our brains.1 While this research would still be considered in its infancy even today, it suggests that the impact of design on our minds is substantial. This means that science verifies the value of good design! Researchers are now attempting to prove something that we designers instinctively know: the aesthetics of a space can consciously and subconsciously affect our decisions, our emotional responses, and the way we feel about ourselves.

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CHAPTER 2 — Environmental design

1. Our bodies are uniquely designed to deal with stressful situations. a. When faced with a situation that feels threatening, our bodies have a physiological response. i. Our sympathetic nervous system kicks in. ii. Stress hormones – adrenaline and norepinephrine – are released into our bloodstream, causing an increase in our heart rate, breathing, and blood pressure. iii. This prepares us to either stay and fight, or run to safety. We call this “fight or flight,” and it refers to the way our ancestors dealt with life-threatening situations.

2. While we no longer experience the same kind of life-threatening situations that our ancestors did, our bodies still respond to modern-day stress in the same way. a. When our ancestors faced a threat, such as a predator, they would either run or fight. After that, the stress was over and their bodies could go back to a resting state. b. In today’s world, we often live in a perpetual state of stress. i. Finances, traffic, illness, relationship issues, political concerns… the list goes on and on. ii. Remaining in this fight-or-flight mode for an extended time affects our physical and mental health, leading to depression, anxiety, insomnia, and a host of health problems. iii. Scientific evidence proves that this is also damaging to our DNA. 3. Our environment can either help to calm our chronic stress or it can increase that stress. a. When we see something that is aesthetically beautiful, our brains release endorphins that cause us to feel good. b. Pattern and rhythm in design have always represented consistency and organization — they are aesthetically pleasing. They give us a sense of security and decrease the chaos in our minds. i. Many people don’t consciously realize the way that pattern affects them, but their nervous systems do. This seems to be exactly what God intended. ~19~

DESIGN MANAGEMENT by Andrea Van Soest

ii. He knew that we needed aesthetically pleasing surroundings. He knew they would make us feel secure, at peace, and happy. We see the best examples of pattern and rhythm in the natural world that God created.

It is so important that we seek to create a worship space, as well as an office space, that is a refuge from the stress of life — a place that calms the chaos of the mind and allows for focused interaction with the Holy Spirit. That doesn’t mean it needs to be boring or dull; it simply means it should be well thought-out. A well-designed space gives our minds the sense of peace that they crave.

Environmental design goes beyond the structure and the furnishings. There are many ways you can intentionally create guest experiences that make people feel welcomed and wanted, which is also known as hospitality. Making people feel welcome through acts of hospitality can play a large role in what environmental tone you set.

Every space evokes a feeling and a physical response, either consciously or subconsciously.

Hospitals and senior facilities are starting to see the impact of design on the health and healing of their patients. Offices are discovering improved happiness and productivity of their employees because of strategic design.

As the church, we have the opportunity to affect the way people feel in our spaces. By creating spaces that feel organized, thoughtful, balanced, rhythmic, and incorporate elements of nature and the appropriate use of color, we can help to decrease the unhealthy stress response in the world around us. And more importantly, we can actually draw people into the act of worship.

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CHAPTER 2 — Environmental design

HOMEWORK: This week, you will visit three different locations (a restaurant, an office space, a church) and record your emotional and physical response in each environment. Sit in each space and allow yourself to feel what the environment evokes. Are you comfortable, agitated, calm, energized?

Do you feel good being there? Record the colors that are used as well as the materials. Try to determine what it is about the environment that causes your reactions.

RESTAURANT: How does this space make you feel?

What colors are used and do you think they’ve been chosen for a reason?

Is this a place you’d want to spend an extended period of time? Why or why not?

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DESIGN MANAGEMENT by Andrea Van Soest

OFFICE SPACE: How does this space make you feel?

What colors are used and do think they’ve been chosen for a reason?

Is this a place you’d want to spend an extended period of time? Why or why not?

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CHAPTER 2 — Environmental design

CHURCH: How does this space make you feel?

What colors are used and do think they’ve been chosen for a reason?

Is this a place you’d want to spend an extended period of time? Why or why not?

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DESIGN MANAGEMENT by Andrea Van Soest

NOTES:

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CHAPTER 2 — Environmental design

NOTES:

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3

PSYCHOLOGY OF DESIGN

“Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge.

Aesthetics and economics, technology and psychology are intrinsically related to the process.�

Paul R AND

DESIGN MANAGEMENT by Andrea Van Soest

PSYCHOLOGY OF DESIGN 1. Psychology is defined as the science of mind and behavior. a. Science has proven that we respond differently to various design elements. b. Colors, shapes, and patterns can: i. affect how we feel in an environment ii. determine our response to logos and graphics iii. create subconscious thoughts and feelings c. Environments and graphics are created using shapes, colors, patterns, and textures that communicate a message. It’s important to use them intentionally so that you send the appropriate message.

This week, we will explore some of the design elements that can affect us psychologically by altering our mood and emotions.

PSYCHOLOGY OF COLOR2 Color can have a profound impact on our mood and emotions. It can be calming, stimulating, symbolic, cultural, expressive, depressive, energizing, and even agitating. Color is powerful!

While personal experiences and cultural differences can play a role in how color is perceived, most people have the same feelings with exposure to each color.

1. Red a. Physical reaction: stimulates brain wave activity, increases heart rate, increases blood pressure, inspires action and confidence, stimulates appetite b. Association: fire, strength, power, love, energy, heat c. Mood: anger, excitement, intensity 2. Pink a. Physical reaction: appetite suppressant, relaxes muscles, soothing b. Association: feminine, childish, sweetness, friendship, harmony c. Mood: kindness, compassion, creativity, joyful 3. Orange a. Physical reaction: energizing, stimulates appetite, increases contentment ~28~

CHAPTER 3 — Psychology of design

b. Association: freedom, tolerance, cheerfulness, caution, warmth, wellness c. Mood: impulsivity, fear, confidence, socialization, happiness 4. Yellow a. Physical reaction: energizes, relieves depression, improves memory, stimulates appetite, boosts communication, can be distracting.

b. Association: warmth, joy, friendship, socialization, caution c. Mood: friendliness, optimism, happiness 5. Green a. Physical reaction: soothing, mentally and physically relaxing, relieves depression and anxiety, enhances vision and endurance

b. Association: nature, money, life, growth, renewal, freshness, safety, hope c. Mood: calm, happy, lucky, patient 6. Blue a. Physical reaction: calming, lowers blood pressure, decreases respiration b. Association: peace, softness, serenity, water, cool, trust, loyalty, wisdom, faith c. Mood: productive, calm, relaxed, cold, melancholy 7. Violet a. Physical reaction: suppresses appetite, inspires a sense of peace, helps alleviate migraines, uplifts, encourages creativity

b. Association: luxury, fun, loyalty, magic, repentance, idealism, pride c. Mood: happiness, playful, productive 8. Black a. Physical reaction: inspires self-confidence, aggression b. Association: power, fear, mystery, strength, sophistication, authority, death c. Mood: mourning, sadness, gloom ~29~

DESIGN MANAGEMENT by Andrea Van Soest

9. White a. Physical reaction: mental clarity, mental renewal, purification of thoughts b. Association: faith, purity, cleanliness, goodness, possibility c. Mood: simplicity, sincerity PSYCHOLOGY OF SHAPES3 It’s hard to believe that architectural shapes, structures, and patterns in a logo can affect our mood or choices, but science suggests that they do. Shapes are often described as “visual grammar”.

They can be a powerful tool to foster a desired result when used appropriately. There is an endless number of shapes and shape combinations that each have a unique story to tell.

The three main types of shapes: 1. Geometric: the basic shapes you grew up learning about in preschool. a. Squares b. Circles c. Triangles 2. Organic: the shapes that are created in nature. a. Trees b. Flowers c. Clouds d. Birds 3. Abstract: the shapes of objects that are recognizable but not real. a. Symbols and icons b. Can be a simplified version of something organic c. Typically a representation of something, such as a stick figure to represent a person SHAPES 1. Circle: a. Because a circle has no beginning and no end, it represents movement. ~30~

CHAPTER 3 — Psychology of design

b. It also represents wholeness or completeness. c. We often associate it with the circle of life. d. Circles tend to be calming because they are smooth with no sharp edges. e. They are associated with love, power, energy, unity, and harmony.

2. Square: a. Squares and rectangles represent balance and order. b. Their four right angles provide symmetry, which gives a feeling of security. c. They are often associated with trust, honesty, conformity, solidarity, and equality.

3. Triangles: a. Triangles can have one of two very different meanings: i. A triangle pointing up is grounded by its base, similar to a mountain. Just as a mountain seems stable and powerful, so does a triangle pointing up. ii. A triangle pointing any other direction creates feelings of tension and nervousness because it appears as though the base is unstable. b. Triangles have long since been a symbol for directions and suggest movement in any direction.

4. Cross: a. We almost always associate a cross with Christianity at first glance. b. Crosses are also associated with balance, health, transition, and hope.

5. Spirals: a. Spirals represent creativity. b. They are also a representation of many things in nature, like seashells, snails, flowers, galaxies, succulents, and fingerprints. c. They also represent growth, life, and transformation.

6. Curves: a. Curves convey movement, rhythm, happiness, pleasure, and generosity. b. Tend to be free-flowing, soft, and peaceful. ~31~

DESIGN MANAGEMENT by Andrea Van Soest

LINES Lines have a language all their own. Different types of lines evoke different moods or feelings.

1. Horizontal lines a. These lines feel grounded since they are parallel with the earth. b. Horizontal lines can also make things seem wider than they are. c. They give a feeling of harmony, tranquility, and security.

2. Vertical lines a. A vertical line draws the eye and mind upward and can make ceilings feel higher. b. For centuries, churches have used vertical lines to bring the viewer’s awareness upward. c. They convey strength, stability, and security. d. The overuse of vertical lines can feel confining and uneasy.

3. Diagonal lines a. Diagonal lines capture our attention for longer than a straight line. b. Diagonal lines represent dynamic energy and action and they direct our eyes. c. Diagonals should be used sparingly because too many can be overstimulating.

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CHAPTER 3 — Psychology of design

HOMEWORK: Your assignment this week is to create a personal logo that represents you.

Select colors and shapes that are meaningful to who you are and what you want to represent to the world. Then write a description of your logo and the message it is intending to convey.

Describe why you chose every element and what it means to you.

LOGO:

LOGO DESCRIPTION AND MEANING:

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DESIGN MANAGEMENT by Andrea Van Soest

NOTES:

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4

THE FOUNDATION OF GOOD DESIGN

“The whole is more than the sum of its parts.”

Aristotle

DESIGN MANAGEMENT by Andrea Van Soest

ELEMENTS AND PRINCIPLES OF DESIGN Designs that have a profound impact begin with the foundational elements and principles that can be considered the “rules of design”. While most people view design as a strictly creative process, there is a degree of science to it as well. Not everyone is born with an innate sense for design. For many people, design comes naturally, but for most it does not. Understanding the elements and principles of design can help everyone to feel more confident when beginning a design project of any type.

As with all forms of art, occasionally breaking the rules can result in something amazing.

However, when a designer or architect breaks the rules of design with great results, they are usually compensating in some other way that is extremely thought-out. Their act of breaking the rules demonstrates how well they are connected to them. To break the rules, you first need to know and understand them very well.

Elements: The components that make up the design.

Principles: How the elements are used.

The principles of design are based on psychological studies that illuminate how our eyes and minds work together to identify and organize the visual information we receive. These principles are based largely on the Gestalt theory - also known as “the law of simplicity” - which is a study of perception.

1. Gestalt theory a. The human brain wants to reduce complex images into simple shapes. b. Our eyes want things that are in close proximity to be in a relationship. c. The mind is constantly seeking order. d. Designers can use the way that people naturally organize visual information in their minds to help create spaces that feel aesthetically pleasing. e. These “rules” can also be applied to graphic design.

ELEMENTS OF DESIGN 1. Space: arguably the most important element you are working with in design. a. Two-dimensional space is the length and width of the floor. b. Three-dimensional space is the occupiable area. It is the length, width, and height of a space.

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CHAPTER 4 — The foundation of good design

i. A space that contains furniture and art would be considered “positive space”. ii. An empty space is called “negative space”. iii. The goal is to create harmony between the positive and negative space so that the area feels balanced but not cluttered.

2. Lines guide our eyes through and bring shape to the space. a. Lines help to create harmony, unity, and contrast. i. Vertical lines are typically seen in windows and doorways, and create a feeling of freedom and strength. ii. Horizontal lines can be seen in tables, chairs, and counter surfaces — these lines give a feeling of safety, stability, and formality. iii. Dynamic lines are diagonal, zigzagged, or curved, and can be seen on a stair rail, for example. They bring a feeling of energy and movement and are stimulating to the eye. iv. Too many dynamic lines can become distracting. You want to create a balance in the space with your use of lines.

3. Forms: the shapes or outlines of three-dimensional objects. a. Geometric forms are considered to be man-made and tend to have hard lines and square edges. b. Natural forms are more organic and look to have been created by nature. c. Using objects that are a similar shape creates harmony and balance. d. Using too many objects of varying shapes creates a confusing atmosphere.

4. Light: Natural and man-made light are both vital elements in any space. Without light, the other elements cannot be seen. Natural light is generally preferred, but when there is not enough, man-made lights can make up the difference. a. Man-made lighting i. Task lighting is for a defined purpose, such as a desk lamp. ii. Accent lighting is used to emphasize a specific object. iii. Mood lighting is for creating a certain ambiance or atmosphere.

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DESIGN MANAGEMENT by Andrea Van Soest

b. Lighting affects all of the other elements i. It can make a space feel larger or smaller, warmer or colder. ii. It can alter the appearance of color. iii. It affects the way we perceive texture, and it can alter the shape of certain objects. iv. Light creates shadow, which can sometimes become a design element all its own. c. Light also affects us psychologically and physiologically i. Too much or too little can be bad for your eye health and your psyche. Because of this, light plays a large role in the functionality and feel of a space.

5. Color: We’ve already established how powerful color is. It can set a mood, evoke memories, create an emotional response, and make rooms or objects look smaller or larger than they are. Color is a science all its own.

6. Texture refers to the finish of the surface of an object. a. It can add depth, character, and contrast to a space. b. Having a mix of varying textures in a room creates interest and balance.

7. Pattern is created with a repetitive design of any shape. a. It adds variety and movement to a space. b. Using pattern strategically can help to tell a story. c. It also helps to define the style that is taking place in that room. i. Traditional patterns and modern patterns can be easily identified by viewers. d. Pattern can be used on any surface.

PRINCIPLES OF DESIGN 1. Contrast: the arrangement of opposite elements, such as light versus dark, rough versus smooth, small versus large. a. Creating contrast adds visual interest.

2. Emphasis: creating an area that is meant to stand out. a. Typically it is a focal point or an area meant to draw the eye’s attention. ~38~

CHAPTER 4 — The foundation of good design

3. Balance: the ordered distribution of elements of equal visual weight to achieve a visual equilibrium. a. Symmetrical balance has two equal sides. b. Asymmetrical means the two sides are not the same or equal. c. Radial balance is a circular form of symmetry.

4. Scale and Proportion: refers to the relationship of the different elements in the space and the way that they harmonize with one another. a. This is one of the most challenging principles to master, but also one of the most important. b. Designers want to ensure that the size and shape of each object looks as though it belongs with the other objects in the space.

5. Unity: good design creates harmony between all of the elements. a. All of the elements should complement each other and create smooth transitions.

6. Rhythm: creates a sense of movement in a space. a. Allows the eye to move easily around the room. b. This can be achieved by repeating or alternating various elements throughout the space.

7. Details: elements that make a design feel special. While often overlooked, details are what make a space seem complete. a. These are the small finishing touches. If you’ve ever been in a room where it just feels as though something is missing, it is probably lacking details. They are so important!

These elements and principles are the building blocks for good design. Creating balance and harmony in a space requires attention to each one.

“The alternative to good design is always bad design. There is no such thing as no design.”

Adam JUDGE

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DESIGN MANAGEMENT by Andrea Van Soest

List the elements of design and give an example from God’s creation that represents that element and why: 1.

2.

3.

4.

5.

6.

7.

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CHAPTER 4 — The foundation of good design

List the principles of design and give an example from God’s creation that represents that principle and why: 1.

2.

3.

4.

5.

6.

7.

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DESIGN MANAGEMENT by Andrea Van Soest

NOTES:

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5

DEFINING YOUR BRAND (SO THAT YOU CAN DESIGN IT)

“Design is the silent ambassador of your brand.”

Paul R AND

DESIGN MANAGEMENT by Andrea Van Soest

BRAND DESIGN Brand: the way your community sees you.

Identity: your distinguishing character or personality.

1. Many companies believe that they have chosen their brand for themselves. The truth is, your brand is what other people perceive your identity to be. a. Your identity is the collection of characteristics that determine who you are. b. Making sure that the two are in alignment is the never-ending goal. i. Your brand will be the reflection of your identity, and if your identity is clearly defined and lived out, your brand will reflect that. c. Before you can convey your identity in any form, you have to determine exactly what you want it to be. i. Your brand-identity goes far beyond your logo and your website. ii. It needs to be the thread that ties all things together. This includes your interior and architectural design as well as your graphics and logos. iii. When you have consistency with your brand identity in everything you do or create, it builds trust with your audience. iv. While every church is ultimately telling the same story, each church has its own unique culture and calling.

The control that you have over your brand lies in your ability to live up to the identity that you want to have. Before you can begin to communicate your identity, you need to define it. If your identity is the reflection of your character, and your character is a reflection of your core values, then defining your core values and your mission statement is the starting point. You need to know who you are and where you’re headed. Defining your core values and your mission statement provides you with a roadmap for creating your brand story.

“If the culture is not by design, the culture is by default.”

—Scott MILLIGAN, Disney Institute

Once you have established what you want your identity to be, then you can begin to create a design plan that will support and strengthen that identity. When you are strongly connected with your identity, then you will know exactly what kind of experience you want to create. You ~44~

CHAPTER 5 — Defining your brand (so that you can design it)

will know how you want to make people feel or the response that you want them to have, and then you are ready to begin creating a design plan that will support your identity.

You can use your mission statement and core values to help you select a color palette that supports your identity and helps foster the feelings that you are trying to shape. You might find that you are drawn to specific elements because they hold some significance based on your goals. Once these are defined, you will have a better idea of what kinds of graphics, shapes, and patterns can help to visually convey who you are. You will be equipped to begin discovering how to reflect your brand in everything you design.

CREATING YOUR ROAD MAP TO DEFINE YOUR BRAND MISSION STATEMENT 1. A mission statement is a brief description of an organization’s purpose. a. It answers the question, “Why does our ministry/company exist?” b. It explains the company’s purpose, both inside and outside the organization. c. This is something that should be constructed among the leadership team in any organization so that everyone takes ownership over it. d. You want everyone working toward the same goal.

These are a few of the questions you can be thinking through as you begin soul-searching to create your mission statement.

1. What is your purpose?

2. What is your calling?

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DESIGN MANAGEMENT by Andrea Van Soest

3. How will you impact your audience?

4. How do you plan to affect your community?

5. How will you influence the world?

6. What are your goals?

7. How will you achieve them?

Now use your answers to create a mission statement that describes who you are, what you do, and why you do it. ~46~

CHAPTER 5 — Defining your brand (so that you can design it)

MY MISSION STATEMENT:

NOTES:

CORE VALUES4 1. Core values communicate what you stand for. a. They influence the overall behavior of your entire ministry or company and are the fundamental beliefs of the organization. b. They create the foundation for the way you choose to operate and are meant to be the guiding principles by which you make all decisions. c. Most companies choose three to five core values that they want to embody. On the following page is a list of values to get you started. Start by circling the top ten values that are most important to you. Feel free to add in your own.

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DESIGN MANAGEMENT by Andrea Van Soest

Acceptance

Friendship

Productivity

Adventure

Goals

Reflection

Achievement Affection Altruism

Appreciation Authenticity Authority Balance

Belonging Caring

Celebration Challenge

Collaboration Commitment Community

Communication Compassion Connection

Contribution Cooperation Creativity

Democracy

Effectiveness Efficiency Equality

Excellence

Excitement Expertise Fame

Fairness Faith

Family

Flexibility Focus

Forgiveness Freedom

Fun

Recognition

Gratitude

Respect

Growth

Responsibility

Happiness

Results

Health

Helping Others

High Expectations Honesty Hope

Risk Taking

Self-Expression Self-Respect Service

Sharing

Humility

Solitude

Humor

Spirituality

Imagination

Independence Influence Initiative

Success

Support

Team Work

Togetherness

Integrity

Tradition

Intuition

Travel

Joy

Trust

Justice

Truth

Kindness

Unity

Knowledge

Variety

Leadership

Zest

Loyalty

Making a Difference Meaningful Work Mindfulness Nature

Nurturing Order

Passion Peace

Personal Growth Perseverance

Positive Attitude Pride

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Add your own

CHAPTER 5 — Defining your brand (so that you can design it)

Now narrow down your list to your top 3–5 values.

What are your defining core values?

1.

4.

2.

5.

3.

Now that you have written your mission statement and chosen your core values, you should have a clear definition of who you are, what you stand for, and where you are headed. You are ready to begin the creative process of telling your story in your brand and throughout your space.

Based on what you learned in the last chapter about the psychology of color, what colors do you feel best represent your newly defined identity and why?

NOTES:

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6

GRAPHIC DESIGN

“There are three responses to a piece of design – Yes, no, and WOW! Wow is the one to aim for.”

—Milton GLASER

DESIGN MANAGEMENT by Andrea Van Soest

GRAPHIC DESIGN Graphic design began in a cave somewhere, many thousands of years ago. The earliest humans passed down stories through pictures before we had written language. A clear, powerful image ensured effective transmission of the story.

Graphic design is an essential component to success in more aspects of our lives than you may realize. For the same reasons that interior design creates an impactful environmental experience, graphic design can enhance the user experience in a multitude of areas. A well-designed student project will likely get a better grade. A well-designed presentation will command greater respect from colleagues. A well-designed piece of marketing material will have a greater chance of converting. A well-designed newsletter is more likely to be read. A well-designed website will inspire better conversions. A well-designed sermon will stir hearts and minds toward hearing from God. Whether you are starting a business, a church, a non-profit, a school, or a blog, your use of graphic design will be one of your most important communication tools.

Visual communication is powerful. Studies show that people remember 10% of what they hear, 20% of what they read, and 80% of what they see and do. According to psychologists, 93% of communication is non-verbal. Our brain can process an image 60,000 times faster than text. A picture truly is worth a thousand words. If you can capture their imagination, you can capture their attention.

Your graphics are likely to be the first impression that you make on the world, either through your logo, website, social media, or a flyer. Graphics that jump off the page will speak volumes before any words are read. What do you want them to say? By now, you have developed a basic structure for your brand identity. This will be very helpful in creating effective graphic designs.

Design of any kind always starts with solving a problem. Graphic designers are creative communicators looking to turn something complex into something easily and quickly digested.

The challenge is generally how to visually communicate the message most effectively. When you have clearly identified the message you want to send, then you can begin brainstorming creative ways to translate that message into graphics.

According to the Digital Branding Institute, these are the ten essential rules you should always follow to create effective graphic designs5 1. Consistency a. Graphic design is usually the first impression you make with your audience. Being consistent throughout your design creates trust and credibility. The most important way to remain consistent is through your use of colors and fonts. Select a color palette of two to three colors that best represents your brand using the psychology of color, and then stick to those colors throughout your graphics and branding. You ~52~

CHAPTER 6 — Graphic design

also want to remain consistent with the fonts you select. Font is very recognizable and you want your designs to be distinct and not easily confused with others.

2. Legibility a. If your font is not easily legible, you will lose your audience immediately. Don’t make them work too hard to understand your message. Also, be aware of your demographic - an older audience will need a larger font. Visibility is very important.

3. Avoid color discord a. Be sure to select colors that complement each other. These are the colors opposite each other on the color wheel. This will make for greater contrast, which allows your design to stand out. Additionally, a general rule is to stick with either warm colors or cool colors.

4. Always scale your graphics and text proportionately a. Make sure the size of the graphic or image you use fits the space proportionally; never stretch the image to make it fit.

5. Stay away from Raster-based images a. Raster-based images can pixelate, which looks very unprofessional and will reflect negatively on your brand. Instead, select Vector-based images, which will appear crisp and not blurry.

6. Maintain alignment a. Neat alignment makes the design appear clean and organized. It is much easier for the viewer to interpret because it helps to create the simplicity and order that our brains crave. Ensure sure that the alignment does not appear random.

7. Only choose three fonts a. Using too many fonts ends up looking messy. Select fonts that are appropriate for your brand, and remember that less is more.

8. Establish a visual hierarchy a. Visual hierarchy is the use of size or color to emphasize one item’s importance over another. Creating this hierarchy guides the viewer’s eyes and attention in the order you want them to go. Again, this is about creating clarity and simplicity for your audience. It is just like the saying, “If everything is important, then nothing is important.” If the most important items stand out from the rest, your design will be more effective. ~53~

DESIGN MANAGEMENT by Andrea Van Soest

9. Watch your grammar, spelling, and punctuation a. Nothing ruins a design faster than spelling or grammatical errors. Often, your audience will not be able to look past an error. Make sure you proofread.

10. Embrace the white space a. White space is good! It creates balance and gives the eye room to rest and take in the important things. Don’t feel like you need to fill all the space with graphics and text. There is power in the white space.

GUEST SPEAKER NOTES:

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NOTES:

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DESIGN MANAGEMENT by Andrea Van Soest

HOMEWORK: Find three pieces of graphic design (a logo, a newsletter, an advertisement, a website) that have executed these ten rules of graphic design with excellence. Define and describe what they have done. Describe how and why you think they are successful and impactful.

GRAPHIC DESIGN #1

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GRAPHIC DESIGN #2

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DESIGN MANAGEMENT by Andrea Van Soest

GRAPHIC DESIGN #3

~58~

7

STORYTELLING THROUGH DESIGN

“Great stories happen to those who can tell them.”

—Ira GLASS

DESIGN MANAGEMENT by Andrea Van Soest

STORYTELLING THROUGH DESIGN The design of our physical space provides a great opportunity for you to visually communicate who you are and what you stand for. In week two, we learned that our brains are constantly changing as we learn new things. This means that society is constantly changing as well. Which also means that design trends will always change and evolve. Because of this, there is not an exact formula for creating an inspiring and impactful place of worship. What is meaningful this year might be different from what is meaningful twenty years from now. What remains timelessly impactful, however, is a space that visually communicates who you are. If you communicate your identity throughout your space by telling the visual version of your story, of who you are, and what you want to be known for, it will have a significant impact. Good storytelling creates a dynamic connection.

Anything and everything can be communicated more effectively with a story. Jesus showed us this example first with His use of parables.

1. Parable: a simple story used to illustrate a moral or spiritual lesson, as told by Jesus in the Gospels. a. An illustration is typically thought of as a picture. Jesus didn’t want us to just hear what he was saying, he wanted us to envision it as a picture in our minds. He knew exactly how our minds work, and he knew exactly how to communicate with us in the most effective way. It is scientifically proven that hearing a good story engages many more areas of the brain than simply being told information. b. Story is powerful and simple stories are the most effective. Our brains are always seeking clarity, and they have a way of tuning out the noise of big fancy words and over-packed sentences. When we tell a good, simple story, it becomes memorable and meaningful. Story can stir emotion, which creates a deep connection between the story or the storyteller and the audience. That connection is what makes a parable so powerful!

I believe that we can communicate and connect in the same way through the environments that we design. If our space tells our story, it will feel meaningful and memorable. When people enter our space, we want them to feel a sense of connection immediately.

According to StoryBrand, a good story needs six things6: 1. A character 2. A problem 3. A guide

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4. A plan 5. A call to action 6. A final result: success or failure Every good story has a main character with a problem. The character meets a guide who shows them a plan to help. This plan calls them to action. The character either acts on the plan and

is successful or they do not and they fail. Very simple and yet very effective — and every major motion picture follows this recipe.

We can use this same formula to tell our story through our design. As an example, let’s look at Centerpoint Church through the lens of the StoryBrand map:

1. At Centerpoint, the mission statement is: “Loving and leading people to a life-changing connection with Christ.” a. Character: the community is the character. b. Problem: everyone in the community is facing various problems in life (loneliness, fear, divorce, sadness, etc.).

c. Guide: Centerpoint (with God) is the guide. From the moment a community member pulls into the parking lot, they will see various places all over campus

that are designed to facilitate connection: the welcome area, the coffee station, the

outdoor seating areas, the playground, the basketball hoop, the photo opportunities, and the lawn games. They will see an excellent use of the elements and principles of

design through the mix of textures and materials that are interesting and stimulating to the eye, yet simple and not overwhelming. They will see large graphic prints of

smiling faces on the exterior wall that subconsciously makes you feel that happiness resides here.

d. Plan: the design helps to communicate the plan, which is this: “Keep coming back!

Because here at Centerpoint, we are about loving and leading people to a lifechanging connection with Christ that will help you with all of your problems.”

e. Call to action: ultimately, the call to action is for visitors to keep coming back to connect with Christ and with others. The design of the environment helps to create an experience that makes people want to come back and continue to connect.

f. Final result: a thriving church, healing, growth, deep and powerful connections. ~61~

DESIGN MANAGEMENT by Andrea Van Soest

GUEST SPEAKER: John Parker—Visioneering Studios NOTES:

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CHAPTER 7 — Storytelling through design

NOTES:

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DESIGN MANAGEMENT by Andrea Van Soest

HOMEWORK: As you go about your week, take a mental note of the stores, restaurants, and businesses that you enter. Are they telling their story through their design?

Find an example of a location that is doing an excellent job of this and explain how and why.

An example of good storytelling in a space:

Next, find an example of a location that is not telling their story through their design. What could they do to improve?

An example of a space that lacks storytelling:

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8

THE PROCESS OF DESIGN

“You can use an eraser on the drafting table, or a sledgehammer on the construction site.”

Frank LLOYD WRIGHT

DESIGN MANAGEMENT by Andrea Van Soest

GENESIS “In the beginning God created the heavens and the earth. 2 Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters.

3

And God said, “Let there be light,” and there was light.4 God saw that the light was good, and he separated the light from the darkness.5 God called the light “day,” and the darkness He called “night.” And there was evening, and there was morning—the first day.

6

And God said, “Let there be a vault between the waters to separate water from water.” 7 So God made the vault and separated the water under the vault from the water above it. And it was so.8 God called the vault “sky.” And there was evening, and there was morning—the second day.

9

And God said, “Let the water under the sky be gathered to one place, and let dry ground appear.” And it was so.10 God called the dry ground “land,” and the gathered waters he called “seas.” And God saw that it was good.

11

Then God said, “Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.” And it was so.12 The land produced vegetation: plants bearing seed according to their kinds and trees bearing fruit with seed in it according to their kinds. And God saw that it was good.13 And there was evening, and there was morning—the third day.

14

And God said, “Let there be lights in the vault of the sky to separate the day from the night, and let them serve as signs to mark sacred times, and days and years,15 and let them be lights in the vault of the sky to give light on the earth.” And it was so.16 God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars.17 God set them in the vault of the sky to give light on the earth,18 to govern the day and the night, and to separate light from darkness. And God saw that it was good.

19 And there was evening, and there was morning—the fourth day.

20

And God said, “Let the water teem with living creatures, and let birds fly above the earth across the vault of the sky.” 21 So God created the great creatures of the sea and every living thing with which the water teems and that moves about in it, according to their kinds, and every winged bird according to its kind. And God saw that it was good. 22 God blessed them and said, “Be fruitful and increase in number and fill the water in the seas, and let the birds increase on the earth.” 23 And there was evening, and there was morning—the fifth day.

24

And God said, “Let the land produce living creatures according to their kinds: the livestock, the creatures that move along the ground, and the wild animals, each according to its kind.” And it was so.25 God made the wild animals according to their kinds, the livestock ~66~

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according to their kinds, and all the creatures that move along the ground according to their kinds. And God saw that it was good.

26

Then God said, “Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground.”

So God created mankind in his own image, in the image of God he created them; male and female he created them.28 God blessed them and said to them, “Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky and over every living creature that moves on the ground.” 29 Then God said, “I give you every seedbearing plant on the face of the whole earth and every tree that has fruit with seed in it. They will be yours for food.30 And to all the beasts of the earth and all the birds in the sky and all the creatures that move along the ground—everything that has the breath of life in it—I give every green plant for food.” And it was so.31 God saw all that he had made, and it was very good. And there was evening, and there was morning—the sixth day.“ 27

PLANNING A DESIGN God, the Creator of creativity, made everything with a purpose and a process. Nothing was done haphazardly. I have often wondered how long He thought about creation before He spoke it into existence – was it a matter of minutes? Years? Decades? We know and believe He is capable of anything, but the majesty and mystery of this world and of humankind suggest planning and intention. Everything has an order and a formula. In many cases, only God knows what that order or formula is – but both show us the great care and concern that He has put into everything He has designed.

All good design starts with a good plan. The preparation leading up to any design project is essential to a successful outcome, and it’s during this phase that you should work out all the kinks. Design is much more technical than most people realize, and while there is an artistic and creative component, there is also a formulaic process. Following a process in design is essential to ensure a good outcome. Having a clearly defined process allows you to first determine the design, and then create a plan to execute it.

While most designers typically adopt a unique process for the way that they work, there is a basic structure to the design process. It’s important to work through the proper steps to ensure that you know the goal you are working toward and that you have a plan to achieve that goal. You want to make sure that no details are missed and that everything goes as smoothly as possible for the best result. I’m going to use the process of a design renovation as an example, but this basic design process can be used for anything you want to design, from graphics to products.

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DESIGN MANAGEMENT by Andrea Van Soest

PROGRAMMING This is the first step of the design process and is all about research. It is considered the brainstorming or exploration phase. You might be meeting with a designer or an architect so they can become familiar with the project and your goals. They will need to ask a lot of questions to understand how you want to use this space. The objective is to create an aesthetically pleasing space that functions extremely well and meets your needs. Here are some things that will happen during this phase: • Meet with the designer/architect to discuss the project in detail • Establish the goals and objectives • Determine the scope of work • Discuss your core values and mission statement so they can understand who you are • Discuss style preferences and create a shared platform for inspiration images • Site visit to measure, photograph, and document the existing space • Establish the estimated budget and timeframe • Determine building codes, covenants, zoning restrictions or requirements, licensing requirements, and other legal obligations that will affect the project CONCEPT DESIGN/SCHEMATIC DESIGN During this step, the design begins to take shape. Your designer or architect (or you) will take all the information that they have learned about your needs and style preferences in step one and begin putting together renderings, mood boards, color palettes, space plans, and materials to create the vision for the design. An initial concept or two will likely be presented to get the ball rolling. There may be some back and forth as you zero in on what you are looking for. In this step you can expect: • Mood boards

• Materials

• Renderings

• Floor plan/space plan initial concepts

DESIGN DEVELOPMENT This stage involves fine-tuning the design concept. During this step, you will approve all of the floor plans and space plans. You will also make final material selections and any furniture or fixtures selections that need to be ordered. A final budget will be completed for your approval. ~68~

CHAPTER 8 — The process of design

• Final material selections approved • Furniture plans • Space plan and floor plans approved • Elevations created • Reflected ceiling plans (lighting) created • Budget approval CONSTRUCTION DOCUMENTATION Once you have agreed to the entire design plan and made the final material selections, your designer or architect will create all of the necessary construction drawings for the contractor to use during the renovation. These drawings will be extremely detailed, noting everything from the placement of light fixtures to the placement of furniture and everything in between. It will provide the tradespeople with the information they need to execute the design flawlessly and used to secure a building permit, if necessary.

• Generate final construction drawings • Create material and finish schedules • Begin getting contractor bids (at least three), if you don’t already have one lined up • Submit plans for permit application, if necessary CONSTRUCTION AND INSTALLATION This is the stage where the design comes to life. You will have selected your contractor, permits will have been applied for (and hopefully approved), and construction can begin. All of the materials will be ordered, including any furniture and fixtures. This entire process can vary in length depending on the scope of the project. Your designer or project manager will make regular site visits to ensure that the design plans are being executed correctly. Once the construction has been completed and the permits are signed off, the furniture and accessories will be installed.

• Demolition • Construction • Installation of design materials, such as furnishings, art, and accessories

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DESIGN MANAGEMENT by Andrea Van Soest

The process outlined above can be used for anything that you want to design, from a chair to a logo. For these other types of design, the process can be modified in the following ways: 1. Define the goal and do your research. a. Research is essential: It helps you to identify what your design needs to include to be successful. i. If you’re designing a room, determine how the space should function. ii. If you’re designing a product, research what the competition is doing to find ways you can stand out or do better. iii. If you are creating a logo, research colors, shapes, and ideas that will allow your logo to communicate effectively. iv. Research is necessary for any good design.

2. Create a design concept with the inspiration pictures or sketches of ideas you are considering. a. Gather as many ideas as possible that will help you create a plan for your design. b. You do not want to copy anyone else’s design but rather find things that inspire you.

3. Begin to outline a plan that includes the exact steps necessary to accomplish your design. a. This will be the formula for whatever you have designed. b. Make sure to do an edit. Is there anything you can change to make it better?

4. Execute your design plan!

5. Lastly, step back and enjoy the thing you created. a. Can you even imagine how God must have felt after creating the world and everything in it? I can’t wait to ask about His process one day!

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CHAPTER 8 — The process of design

GUEST INTERVIEW: Kristen Bufton—Lead Designer for Magnolia Home NOTES:

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DESIGN MANAGEMENT by Andrea Van Soest

HOMEWORK: What is something you have considered designing?

What kind of research would you need to do before designing that thing?

Where can you find inspiration that will help you to create a design concept?

What steps do you think might be important in your design plan?

Now that you have outlined the above details, you are ready to start designing!

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NOTES:

NOTES:

NOTES:

ENDNOTES 1. Ricci, Natali, “The Psychological Impact of Architectural Design” (2018). CMC Senior Theses. 1767. http://scholarship.claremont.edu/cmc_theses/1767 2. Holtzschue, Linda. “Understanding Color : An Introduction for Designers.” Wiley., 2011.

3. Velarde, Orana. “The Meaning of Shapes and How to Use Them Creatively in Your Designs.”

Visual Learning Center by Visme. visme.co/blog/geometric-meanings/ 4. “Big list of Core Value Words” Content Sparks, 16 Aug. 2018, contentsparks.com/16896/freedownload-big-list-of-core-value-words/ 5. Delane, Juntae. “10 Graphic Design Rules You Should Never Break.” https://digitalbrandinginstitute.com/graphic-design-rules/ 6. Miller, Donald, “Building a Storybrand: Clarify Your Message So Customers Will Listen”, HarperCollins Leadership, 2017

DESIGN MANAGEMENT The objective of this 8-week course is to teach you about the significance and process of design.

We will look at the history of church architecture as well as its biblical contexts. We will examine the effects that design has on the consumer from a psychological perspective as well as the effects of our environment. We will learn about the rules of good design. We will examine the power

of graphics. Lastly, we will begin to learn how to creatively and strategically communicate your story throughout your environment through the process of design.

KEY OUTCOMES  To discover what the Bible has to say about design and the ways that God has demonstrated His own creativity

 To learn about the importance of clear, intentional branding and design communication

 To learn about the historical significance of church architecture

 To learn about the power of graphic design and its ability to visually communicate your message quickly and effectively

 To develop an understanding of the psychology of design  To understand the impact of your physical environment  To develop an understanding of the rules of design and how to use them wisely and effectively in your own process

 To discover the art of telling your story throughout your environment as a powerful means of communication  To develop a process for designing the ideas God has put into your imagination

ANDREA VAN SOEST Andrea van Soest is an interior designer based in Murrieta, California. She studied interior design at UCLA and UC Riverside and has a Bachelor's degree in Industrial Organization Psychology from Point Loma Nazarene University.

Along with her husband, she has been flipping houses for the last decade, which has led to her designing hundreds of homes. She is also the course facilitator for Design Management at Centerpoint School of Ministry.

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