Senior Thesis: Content & Form by Kelsea Dill

CONTENT

& FORM by Kelsea Dill

To the faculty of Northwest College of Art & Design

The members of the committee appointed to examine the thesis of Kelsea Dill find it satisfactory and recommend that it be accepted.

Julius Finley, Thesis Supervisor

Jenae Reese, Thesis Supervisor

For my parents, who have worked so hard to give me an education and have supported me in everything I do.

And for my friends, who have helped me to find who I am and have taught me to play as hard as I work.

ABSTRACT In a world constantly overwhelmed with distractions and over-information, modern visual communication can be the answer. I am a graphic designer and illustrator aspiring to create work that combines contemporary, minimalist design and functional purpose for the modern world. As I approach the end of my college career, I am becoming more aware of myself, my work, my influences, and my dreams.This thesis documents the details and driving factors behind these revelations and, in return, defines my mission as a contemporary graphic designer.

INDEX FIGURES / 12 BIOGRAPHICAL STATEMENT / 14 HISTORICAL RESEARCH / 20 DESIGNER EXPLICATION / 42 FUTURE GOALS / 62 WORKS CITED / 68

FIGURES 2.1

MAGAZINE COVER, QUALITAT 1-2 / 21

2.2

“ELEMENTARE TYPOGRAPHIE” / 23

2.3

RURAL ELECTRIFICATION ADMINISTRATION / 24

2.4

A BETTER HOME / 24

2.5

LIGHT / 24

2.6

RUNNING WATER / 24

2.7

INTERNATIONAL PAPER COMPANY IDENTITY / 26

2.8

INTERNATIONAL BUSINESS MACHINES (IBM) LOGO / 28

2.9

INTERNATIONAL BUSINESS MACHINES (IBM) LOGO, 13 BAR VARIATION / 28

2.10 INTERNATIONAL BUSINESS MACHINES (IBM) LOGO, 8 BAR VARIATION / 28 2.11

RIBBONS PACKAGES / 29

2.12

EYE-BEE-M (IBM) / 29

2.13

NEXT COMPUTERS LOGO / 30

2.14 NEXT COMPUTERS COLLATERAL / 31 2.15

IPHONE FREEBIE / 36

2.16

MAKESHIFT SOCIETY IDENTITY / 38-39

3.1

WESTINGHOUSE PACKAGING / 43

3.2

GREENLITE LOGO VARIATIONS / 44

3.3

GREENLITE PACKAGING / 45

3.4

GREENLITE WEBSITE / 45

3.5

SIP N DIP FOOD TRUCK LOGO / 48

3.6

SIP N DIP TRUCK WRAP / 49

3.7

SIP N DIP MOBILE APP / 50

3.8

SIP N DIP MENU / 51

3.9

FIRST AID KIT / 54

3.10 FIRST AID ICONS / 55 3.11

FLAT OS X ICONS / 56

3.12

SAFARI ICON / 58

3.13

FLAT SAFARI ICON / 58

4.1

365 DAYS OF TYPE: DAY 121 / 63

BIOGRAPHICAL STATEMENT

Being a designer just makes sense to me. I’m not going to tell you something cliche about how I used to draw as a child because I don’t think that’s why I ultimately became a designer. In all honesty, a few years ago I couldn’t even tell you why I decided to pursue graphic design. But as I’ve been nearing the end of college and zeroing in on my style as a designer, a lot of the odds and ends of my childhood have suddenly made sense and confirmed my decision to pursue this career.

I’m an only child. The thing about being an only child

is you don’t spend much time with other kids; you’re either surrounded by adults or you’re spending time alone. Instead of playing tag or riding bikes with other kids, I spent a lot of my time organizing my belongings or on the computer. I collected (almost to the point of hoarding) paper products – business cards, stationary, clothing tags, greeting cards, and stickers – I saved all of it but could never explain why. In fact, I often begged my parents to take me to the office supply store. On Christmas morning, when other kids would be savagely ripping open their gifts, I carefully removed the wrapping, taking special care to not rip the paper or ribbon because I admired the effort and aesthetics of the packaging. While accompanying my mother to the grocery store, I surely drove her crazy by insisting on buying the products with the best packages and labels and getting lost due to getting

“A DESIGNER IS A PLANNER WITH AN AESTHETIC SENSE.” — Bruno Munari

BIOGRAPHICAL STATEMENT

distracted by label designs in the liquor aisle. My father used

general foodie-ness, I love food that not only tastes amazing,

to jokingly tell me I was stolen from another family and al-

but looks beautiful too. My interest in technology seems an

though that is certainly not true, we have always been baffled

obvious trait for a designer, both appreciating gadgets and

by the origins of my interests. To my knowledge, none of my

the internet as both a tool and a platform for design itself;

family members are creative or particularly interested in the

I love the design that goes into interfaces, operating sys-

arts. Growing up in a digital era, it seems more likely that my

tems, websites, apps, and even the gadgets themselves.

interests and influences have come from exposure to media.

One of the greatest things about being a Millennial is

On the downside of being a millennial, being sur-

rounded by technology and media produces a lot of noise, or

that we’re the first generation to have grown up with a com-

information. Some are able to tune this noise out, but I sup-

puter in the home. Perhaps constant exposure to the internet

pose I was never really one of them. I was always a bit day-

is what influenced my interests. In fact, most of my interests

dreamy and distracted, yet easily stressed. A large clothing

are actually related to design in some way or another. Most

store with many items would overwhelm me, there would be

graphic designers enjoy architecture and furniture design for

too much to see and I would struggle to keep my attention

obvious reasons, and I’m no exception to this characteristic.

span on one thing for too long. Being in a place crowded with

I’ve always been interested in fashion and beauty and, when

people would stress me out, I couldn’t focus on a conversation

it comes down to it, creating a look in order to portray your

without mixing in information from the overheard conversa-

personality and personal style is quite literally visual commu-

tions around me. A cluttered room would give me anxiety.

nication. Having always been a reader — even though enjoy-

But it wasn’t until I was 17 that I was diagnosed with attention

ing a story is not necessarily design related — I admit that I’ve

deficit disorder. You could say that I’m naturally distracted.

always chosen books by their cover; wandering around in the bookstore, an appealing novel cover will almost certainly

When I first started attending public school, I seemed

convince me to be interested in reading the book itself, and

to do well. In kindergarten, I was the first to learn to read on

as a child, I often thought about designing book covers when

my own, and by the second grade, I was reading at a college

I grew up. Even with my interests in cooking, baking, and

level. Because of my obvious knack for learning quickly, I

BIOGRAPHICAL STATEMENT

was placed in the gifted program. The teacher that I had for

much of my time in the program informed my parents that

school but I was certain that I wanted to move to a larger

I had unusual results on my entry testing: I scored highly in

city to do so. I toured schools in Seattle and Portland, but

both critical and creative thinking, whereas most students

never really fell in love with any. My mother had seen an

only excelled in one or the other. The gifted program was

advertisement for (at the time) Northwest College of Art in

a great experience; the teacher was incredible and used

the newspaper, and convinced me to attend the open house.

creative, hands-on methods for teaching which has always

I was hesitant at first, scoffing at the idea of living at home

worked well for me. In fact, most of elementary school uses

and attending a college in the county I grew up in, but at

a similar method, so I appeared to be a natural learner and

the end of the tour, I instantly knew it was where I wanted

I managed to be a star student through most of this time.

to be. After attending an overpopulated high school, the

During high school, I knew I wanted to attend an art

small class size and campus was the change I felt I needed

However, when I got to junior high, I began to

in my approach to education. I appreciated the required

struggle with traditional education all the way through high

double-major and the accelerated program and I felt like

school. Working out of textbooks, writing papers, and do-

it was the right challenge for me. Because of all of this, I

ing worksheets was the opposite of my learning style, and it

took a leap of faith and only applied to NCAD and nowhere

wasnâ&#x20AC;&#x2122;t long before I was clearly falling behind. My ADD kept

else. I truly believe it was the best decision I could have

me from being able to learn in this way, and soon I wasnâ&#x20AC;&#x2122;t

made; the school has been a perfect fit for me and now,

even interested in attending school at all. Aside from this,

almost three years later, I feel more prepared for the post-

I also attended one of the most populated high schools in

college world than I feel I would have been elsewhere.

the state; with 2,500 students across only three grades, most teachers were unable to attend to each student and

many were overlooked, including me. Once I was diag-

lege, Iâ&#x20AC;&#x2122;ve put a lot of effort into reducing the amount of

nosed and began treatment, I began to attend community

noise and distractions in my daily life. This has effected my

college through the Running Start program, and was able

personal approach to design. I place a significant amount

to pull it together in my last year enough to graduate.

of importance on communicating only the information

Since figuring out my disorder and beginning col-

BIOGRAPHICAL STATEMENT

that is absolutely necessary for the message and portraying it in the most effective, yet least overwhelming manner. This is why I have found myself drawn to minimalism.

Minimalism, in its purest sense, is a lifestyle. Ac-

cording to blogger Colin Wright, “what Minimalism is really all about is reassessment of your priorities so that you can strip away the excess stuff — the possessions and ideas and relationships and activities — that don’t bring value to your life.” This often means having few belongings, living in smaller, cleaner, more convenient spaces, simplifying schedules and routines, and the like. To be clear, living minimally does not mean to live with the least, but rather to live only with that you need, to live without excess. Minimalism streamlines daily life, resulting in clarity and, ultimately, happiness. To me, minimalism is functionality, making the conscious decision to focus on necessities before anything else. This philosophy and lifestyle easily translates to my approach to design. The “form follows function” principle is practically my mantra. Associated with 20th century modernism, the principle speaks for itself; without serving a functional purpose, design means nothing. This is why the modernist movement has the most significant influence on my approach to design.

min·i·mal·ism n. Use of the fewest and barest essentials or elements, as in the arts, literature, or design.

HISTORICAL RESEARCH

When you have an idea, how do you communicate it? Do you use words or images? The main forms of communication are verbal and visual. Verbal communication works for casual interactions or quick production, but visual communication is the most effective way to get a point across to a broad audience, whether alone or combined with verbal methods. AIGA defines graphic design as “a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience” (“What Is Graphic Design?”).

We are surrounded by graphic design in our day-to-

day lives; packaging, stationery, books, magazines, signs, advertisements, menus, websites, and apps all communicate a message or provide a service through visual communication and interaction. According to Jorge Frascara, a professor of visual communication at the University of Alberta, “Graphic Design is the activity that organizes visual communication in society. It is concerned with the efficiency of communication, the technology used for its implementation, and the social impact it effects, in other words, with social responsibility” (20). Frascara describes this social responsibility as “the impact that all visual communication has in the community and the way in which its content influences people, the impact that all visual communication has in the visual environment, and the need to ensure that communications related to the safety of the community are properly implemented” (22). Graphic design is a tool, and the designer is a problem solver.

“PROVIDING MEANING TO A MASS OF UNRELATED NEEDS, IDEAS, WORDS AND PICTURES — IT IS THE DESIGNER’S JOB TO SELECT AND FIT THIS MATERIAL TOGETHER AND MAKE IT INTERESTING.” — Paul Rand

HISTORICAL RESEARCH

One of the most influential movements in European Mod-

ernism was the Bauhaus. In a distraught post-war Germany,

Moholy-Nagy was always interested in art. He was attend-

the Bauhaus School opened in 1919. At this time, Germany

ing school for writing when the first World War erupted, and

struggled economically, politically, and culturally. In fact,

he left to join the army as an officer. He would often draw

much of Europe was struggling after the war, and thus a new

during long hours in artillery observation posts. Like many

social order and world view was needed. The artists of the

who fought, Moholy-Nagy was deeply effected by the war,

Bauhaus aimed to solve the problems of visual design cre-

and like others, was consumed by a sense of social ideal-

ated by industrialism, hoping that the designer could “‘breathe

ism. So around 1918, Moholy-Nagy began to pursue a career

a soul into the dead product of the machine’” (Meggs, 327).

in art. He originally struggled to understand abstract art

Borrowing the ideas from the other modernist movements,

and he leaned more toward expressionism. However, after

the Bauhaus combined design and machine to address

studying color and composition at length, he soon devel-

problems of functionality. The school acknowledged that,

oped an understanding and pursued more abstract forms

Although he initially wanted to be a writer, László

in order to succeed in the modern world, designers needed to embrace modern technologies. The principle of “form

Once at the Bauhaus school, Moholy-Nagy began to apply

follows function” is associated with the Bauhaus school.

his skills in composition and form to the pursuit of design. He designed book jackets, posters, advertisements, and other

The Bauhaus school did not only focus on graphic

imagery. He described typography as a “tool of communi-

design but was also renowned in modern furniture, archi-

cation” (Meggs, 328). Moholy-Nagy advocated the modern

tecture, and product design. However, all students were

approach to graphic design known as die neue typographie,

expected to develop a basic understanding of design

characterized by sans serif letterforms, primary colors, and

principles — such as form, color, and space — as well as

photographs as illustrations as demonstrated in Figure 2.1.

physical materials to release their creative abilities. These were all taught in the school’s preliminary course by Johannes Itten, but was eventually taken over by Hungarian constructivist László Moholy-Nagy (1895-1946).

HISTORICAL RESEARCH

FIG. 2.1. Moholy-Nagy, L谩szl贸. Magazine Cover, Qualitat 1-2. 1931. Berlin. Moholy-Nagy Foundation. Moholy-Nagy Foundation, Inc. Web. 12 June 2014.

HISTORICAL RESEARCH

Due to the rise of Fascism in the late 1930s, many Europe-

style of typography, highlighting the essentials such as sans

ans, including notable designers, immigrated to America

serif typefaces and simplified layouts. Modernism was not a

and brought their design language with them. “When the

concept that was easily understood in the mainstream, but

Nazis closed the Bauhaus in 1933, faculty, students, and

Tshichold’s writings served as a more approachable explana-

alumni dispersed throughout the world and made modern

tion to printers, typesetters, and designers. By 1929, new Eu-

design a truly international movement” (Meggs 357). Moholy-

ropean typefaces, such as Futura and Kabel, became available

Nagy came to Chicago in 1937 and started the New Bau-

in America. These typefaces and simplified layouts were first

haus, which would later be known as the Chicago School

used by book designers who acknowledged their functional-

of Design, a part of the new Illinois Institute of Technology

ity, thus beginning the transition toward American Modernism.

university system today. The influx of these new European ideas lead to many new schools of design that truly kick-

Before the introduction of modern design in America, visual

started the development of American graphic design.

communication was illustration and word-heavy. When the 1913 Armory Show — an international exhibition of mod-

One of the European writings that caused an uproar in the pre-

ern art — came to America, it was not well received. In fact,

modernism design community in America was Jan Tshichold’s

European modernism did not become influential in America

“Elementare Typographie” insert (Figure 2.2). Influenced by

until the 1930s. By then, European influence was inevitable

the new Bauhaus typography, Tshichold (1902-74) developed

with the increase in exposure to European publications as

“Elementare Typographie” as a sort of guide to this new

well as an increase in European immigration to the states.

HISTORICAL RESEARCH

FIG. 2.2. Tschichold, Jan, and Natan Altman, eds. “Elementare Typographie.” Typographische Mitteilungen (1925): n. pag. Rpt. in Mainz: H. Schmidt, 1986. University of Iowa Libraries. Web. 12 June 2014.

FIG. 2.3. Beall, Lester. Rural Electrification

FIG. 2.4. Beall, Lester. A Better Home.

Administration. 1937. Silkscreen. MoMA |

1937. Silkscreen. MoMA | The Collection.

The Collection. The Museum of Modern

The Museum of Modern Art. Web. 13 June

Art. Web. 13 June 2014.

2014.

FIG. 2.5. Beall, Lester. Light. 1937. Silk-

FIG. 2.6. Beall, Lester. Running Water.

screen. MoMA | The Collection. The Mu-

1937. Silkscreen. MoMA | The Collection.

seum of Modern Art. Web. 13 June 2014.

The Museum of Modern Art. Web. 13 June 2014.

HISTORICAL RESEARCH

Lester Beall (1903-69) was one of the first American graphic

was obvious in his use of montaged photography, comparable

designers to incorporate European modernist ideas into his

to the Soviet Constructivist posters of the 1920s. (Aynsley 113).

work (Aynsley, 112). Despite taking classes at Chicago’s Art Institute and earning an Art History degree from the University

“During the last two decades of his career, he created

of Chicago in 1926, Beall was primarily self-taught in graphic

pioneering corporate-identity programs for many companies,

design. “Beall maintained, throughout his life, a core of sourc-

including Martin Marietta, Connecticut General Life Insur-

es which stimulated his perception, creativity and methods of

ance, and International Paper Company” (Meggs 421). Beall’s

making art and design.” (“Lester Beall, 1992 AIGA Medalist.”)

transition to corporate design came as a response to client

He believed that it is necessary for designers to be interested

and social changes in the post-war era. “At the time this was a

in other artistic forms of expression as well, such as music,

relatively new application of graphic design and for most of his

theater, or fine art, and he collected many books, publications,

clients it involved no more than creating an apparently simple

and periodicals on all of these creative fields. Furthermore,

and coherent visual identity through trademark, choice of

Beall was well read in European art and design movements in-

typography and color. Beall saw creating a corporate identity

cluding European Modernism, Bauhaus, Constructivism, Dada,

as an extension of packaging design, and in his systematic ap-

Tschichold’s new typography, and more. After moving to New

proach to the task he continued to refine the visual language

York in 1935, Beall became involved in the advertising and art

of modernism that emerged in the 1920s” (Aynsley 113). Essen-

direction scene. Soon, he started working on a series of post-

tially a pioneer of corporate identity design, “he also contrib-

ers for the America’s Rural Electrification Administration (Fig-

uted to the development of the corporate-identity manual, a

ures 2.3-6), a part of President Roosevelt’s New Deal to bring

firm’s book of guidelines and standards for implementing its

electricity to rural parts of the country. These posters are some

program. Beall’s manuals specifically prescribed the permis-

of the most successful works of his career. European influence

sible uses and forbidden uses of the trademark” (Meggs 421).

HISTORICAL RESEARCH

FIG. 2.7. Beall, Lester. International Paper Company Identity. 1960. Index Grafik. Index Grafik, 26 May 2014. Web. 12 June 2014.

HISTORICAL RESEARCH

Lester Beall’s most notable corporate work is his design for

the International Paper Company (Figure 2.7) in 1960. The

be defined by “silk-screen printing’s characteristic flat color,

design was distinguishably different from logos of this time;

combined with influences from the Bauhaus, pictorial mod-

according to Meggs, “The International Paper Company trade-

ernism, and constructivism” (Meggs 357). Borrowing from

mark was initially controversial: the letters I and P are distorted

European designers while adding new forms and concepts,

to make a tree symbol, and critics questioned whether letter-

the 1940s were spent building upon American modernism.

forms should be altered to this extreme” (421). Beall designed

As explained by Meggs, “European design was often theo-

the logo with the intention of communicating effectively both

retical and highly structured; American design was prag-

standing alone and in a pattern, readily available to be ap-

matic, intuitive, and less formal in its approach to organizing

plied across a variety of platforms. The International Paper

space” (390). The American approach to design was molded

Company continues to use this design to this day, proving the

by the egalitarian and capitalistic society with an ethni-

everlasting modernism of his work. The AIGA profile on Beall

cally diverse population. From this time on, “New York City

says “his identity program for International Paper Company

served as a cultural incubator in the middle of the twentieth

from 1960 was his most extensive identity program and is

century” (390). This era gave rise to the New York School,

noteworthy for the graphics standards manual, one of the first

more commonly known as mid-century modern design.

to be so fully articulated” (“Lester Beall, 1992 AIGA Medalist”).

By the late 1930s, American modernist design could

HISTORICAL RESEARCH

One of the pioneers of the New York School, Paul

Rand (1914-96) “initiated the American approach to modern design” and “epitomized the optimism of good design and believed that the world could be improved by what he called ‘the designer’s art’” (Meggs 390; Aynsley 106). He studied at the Pratt Institute, Parsons School of Design, and Art Students League before being appointed art director at Esquire at just

FIG. 2.8. Rand, Paul. International Business Machines (IBM) Logo. 1956. Paul Rand, American Modernist. Daniel Lewandowski. Web. 13 Feb. 2014.

23 years old. Meggs credits Rand’s success at a young age to “his ability to manipulate visual form (shape, color, space, line, value) and skillful analysis of communications content, reducing it to a symbolic essence without making it sterile or dull” (390). By the mid-1950s, Rand became more involved in designing corporate identities. His most notable corporate clients include IBM, ABC, Westinghouse, NeXT, UPS, and Enron.

FIG. 2.9. Rand, Paul. International Business Machines (IBM) Logo, 13-bar Variation. 1967. Paul Rand, American Modernist. Daniel Lewandowski.

Rand’s iconic 1950s IBM logo (Figures 2.8-10) used a slab-

Web. 13 Feb. 2014.

serif typeface called City Medium that gave the logo a sort of geometric, alphabetic distinction. The logo was redesigned in the 1970s, introducing stripes over the letterforms to “serve primarily as an attention getting device... [taking] commonplace letters out of the realm of the ordinary” (A Designer’s Art 42). The stripes were originally taken from the horizontal lines used to prevent counterfeiting of legal documents, but

FIG. 2.10. Rand, Paul. International Business Machines (IBM) Logo, 8-bar

eventually they came to be symbolic of computers, suggest-

Variation. 1972. Paul Rand, American Modernist. Daniel Lewandowski.

ing speed and efficiency (Aynsley 107; A Designer’s Art 42).

Web. 13 Feb. 2014.

HISTORICAL RESEARCH

FIG. 2.11. Rand, Paul. Ribbons Packages. 1961. Paul Rand, Ameri-

FIG. 2.12. Rand, Paul. Eye-Bee-M (IBM). 1981. Paul Rand, Ameri-

can Modernist. Daniel Lewandowski. Web. 13 Feb. 2014.

can Modernist. Daniel Lewandowski. Web. 12 June 2014.

HISTORICAL RESEARCH

FIG. 2.13. Rand, Paul. NeXT Computers Logo. 1986. Paul Rand, American Modernist. Daniel Lewandowski. Web. 13 Feb. 2014.

HISTORICAL RESEARCH

FIG. 2.14. Rand, Paul. NeXT Computers Collateral. 1986. Paul Rand, American Modernist. Daniel Lewandowski. Web. 13 Feb. 2014.

HISTORICAL RESEARCH

The corporate design for the NeXT Company’s logo

bad, and that a good designer knows how to use symbols ap-

(Figures 2.13-14) references 1960s Pop Art and shows Rand’s

propriately and contribute to the effectiveness of the meaning

constant inspiration from the fine art world. According to

symbol. This philosophy was shared by many of Rand’s con-

Aynsley, “the logo for the new educational computer company

temporaries and defines much of American modernist design.

NeXT resembled a child’s building block while also making reference to the ‘black box’ of computer technology” (108).

Another major philosophy of Rand’s that many

The logo was designed to identify and have versatility (as

modernists shared was the importance of the relationship

logos often do), as one can see from the large reproduction

between form and function. Rand wrote, “visual commu-

of the logo next to the logo as distributed on print collateral.

nications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen

Rand often wrote about and published his philoso-

as the embodiment of form and function: the integration of

phies on design and art. “Rand understood the value of the

the beautiful and useful” (A Designer’s Art 3). The execu-

ordinary, universally understood signs and symbols as tools

tion of an idea is the result of a designer’s use of copy,

for translating ideas into visual communications” says Megg,

art, and typography for advertisements, books, station-

a skill that he used throughout his career that allowed him

ary, packaging, signs, or any other platform to success-

to keep his designs simple while maintaining effectiveness.

fully convey a message. A pretty design with seemingly no

Rand himself stated that “the symbol is thus the common

purpose does not sell. The pioneering modern architect

language between artist and spectator” (A Designer’s Art 7).

Ludwig Mies van der Rohe once said, “Form is not the goal

He believed that symbols could give meaning, both good and

but the result of our work” (qtd. Thoughts on Design 3).

HISTORICAL RESEARCH

From the 1960s on, European modernism still had

much influence on its American contemporary, with inspirations coming from the Swiss design movement and the International Typographic Style. With the ever-growing industry in America, visual identities became a much stronger focus for modern graphic designers. Corporate identities grew to be more systematic, building clear, concise guides for use of the visual identity, covering logo sizes, spot colors, typefaces, and the like. Ralph Eckerstrom defined the requirements of a corporate indentity in saying, “As a function of management, design must be an integrated part of overall company operation and directly related to the company’s business and sales activities. It must have continuity as a creative force. It must reflect total corporate character. Unless it meets these requirements, the company image it seeks to create will never coalesce into a unified whole, but will remain a mosaic of unrelated fragments” (qtd. Meggs 425).

“SIMPLICITY IS NOT THE GOAL. IT IS THE BY-PRODUCT OF A GOOD IDEA AND MODEST EXPECTATIONS.” — Paul Rand

HISTORICAL RESEARCH

Although the designers of present day still have much

Smithsonian National Design Award recipient Steven Heller,

of the same philosophies as their predecessors, the context

“graphic designers have always thought about their audi-

and platforms for design have significantly changed. As

ence, but now ‘user experience’ is their mantra.” Because

with any creative movement, trends, styles, and philosophies

today’s design is focused on the organization of information

come, go, and come back again. After many decades of the

rather than narrative, it is the designer’s responsibility to

Post-modernist rebuttal against Modernism, the modernist

make technology (along with print) functional and approach-

way of thinking is relevant once again. The original modern-

able. This means the designer takes into consideration

ists have a lot in common with the design world of today: both

how the viewer will use the design, how their eye will move

have stemmed from technological advances. In a develop-

through it, and what they’re using it for. Then, the designer

ing environment and culture, Modernism arose as a way to

will provide and organize only the information that is ab-

communicate in this newly constructed world. Similarly, the

solutely essential to communication and functionality.

design world of today is very much the result of the relatively new digital world that we all live in. Just 20 years ago, cell

Multi-platform designers certainly draw upon the

phones were just beginning to be more commonplace, and

philosophies and styles of Modernism, particularly the Bau-

now it is unheard of to meet someone without a smartphone,

haus school and, its predecessor, the Swiss style. Many of

laptop, or tablet. With gadgets like these fully integrated into

the common stylistic design elements used today — such

daily life, are very much living in a digital world. Because of

as the use of grids, sans-serif typefaces, clean hierarchy of

this, visual design has grown, adapted, and thrived; there are

content and layout, geometric shapes, bright colors, and

more platforms for visual communication than ever before.

clean lines — are influenced by the various movements that made up Modernism. This influence is evident in today’s flat

Designers no longer design exclusively for print,

design trend. It is easy to dismiss flat design as just another

or rather, they shouldn’t. With all of the digital platforms

trend, but it’s more than just for looks. With growing popu-

used on a daily basis, most designers are now multidisci-

larity within the past few years, flat design is quickly domi-

plinary as it is absolutely necessary to have the capacity to

nating the design world, especially in interactive design.

make design function on multiple platforms. According to

HISTORICAL RESEARCH

“DESIGN, IN ITS BROADEST SENSE, IS THE ENABLER OF THE DIGITAL ERA — IT’S A PROCESS THAT CREATES ORDER OUT OF CHAOS, THAT RENDERS TECHNOLOGY USABLE TO BUSINESS. DESIGN MEANS BEING GOOD, NOT JUST LOOKING GOOD.” —Clement Mok

HISTORICAL RESEARCH

Flat design means “removing stylistic characters

such as drop shadows, gradients, textures, and any other type of design that is meant to make the element feel threedimensional” (Turner). A UX Magazine article describes flat design as “the more sophisticated and versatile cousin of minimalism” (Clum). The opposite of flat design is skeuomorphism, in which ornamental design cues are used to create a design that is a derivative of a real life object. The ground between these two fields of design is rich design, which is similar to flat design, but utilizes gradients, drop shadows, textures, and other ornamentation without being too realistic.

Flat design has seen great success due to it’s func-

tion on devices (Figure 2.15). It embraces the limits of the screen and streamlines designs, making websites, apps, and interfaces faster and more functional; flat design is made for two-dimensional, on-screen experiences, rather than trying to mimic a physical one (Clum). As practiced in Modernist design, elements are reduced to their simplest forms so as to remove any distractions. Because of the sheer simplicity of flat design, these elements translate well on any viewing device, whether through mobile, desktop, or even print. With the introduction of responsive design, more detailed visual elements simply

FIG. 2.15. Tovrljan, Jure. iPhone Freebie. Digital image. Dribbble. Dribbble LLC,

do not translate as well at smaller sizes, thus meaning design

16 Mar. 2013. Web. 10 July 2014.

must be simplified in order to function on multiple platforms.

HISTORICAL RESEARCH

With the growing use of multiple devices, clear and

consistent identity systems are more important than ever. With companies reaching out to customers on all platforms, their visual identity must be strong enough to register with the viewer whether seen in print or on a screen. Elements used in print design must also be used in interactive design and vice versa.

A good example of a flexible, cohesive brand is Hard-

hat Design’s identity for Makeshift Society (Figure 2.16). The color palette, typography, and graphic shapes and illustrations are used in both the print and interactive designs. The sans serif typefaces, bright reds and blues, grid layout, and flat elements are reminiscent of Modernist identity systems. All the web elements resize smoothly for viewing on any device. A simple grid system is used in both the editorial layout and the website layout to keep information clearly organized and within the style of the brand. The cohesiveness in the design of this identity is a perfect example of contemporary identity design smoothly translating from print to screen.

Although there are many successful, multidisciplinary

designs and identity systems, there are significantly more that are unsuccessful: cluttered with over information, unnecessary decoration, and confusing, disjointed elements. Using my knowledge and ideas about functional, modern design, I hope to clean up some of the bad design in the world.

“EVERYTHING IS DESIGNED. FEW THINGS ARE DESIGNED WELL.” — Brian Reed

HISTORICAL RESEARCH

FIG. 2.16. Hardhat Design. Makeshift Society Identity. Digital image. Hardhat Design. Hardhat Design, 13 Apr. 2014. Web. 10 July 2014.

DESIGNER EXPLICATION

I am a graphic designer and illustrator aspiring to create work that combines contemporary, minimalist design and functional purpose for the modern world. Staying true to the philosophy of “form follows function,” I design for the types of products and companies we are surrounded by in our day-to-day lives. Determining the end result of a design — the intended use of a product, a company’s service or mission, projected audience — and then creating a concept from there is the definition of “form follows function,” and is exceedingly crucial in the informationally overloaded environment most of the modern world lives in today. Most commercial design is overwhelmed with what I refer to as “clutter”: unnecessary decoration, excessive information, and over-done design. I believe design that is free of this “clutter” and stripped down to the necessities (important information about the product or company) is the most marketable and effective approach. According to MerriamWebster.com, minimalism can be described as “a style or technique (as in music, literature, or design) that is characterized by extreme spareness and simplicity” (“Minimalism”). Focusing on this philosophy while taking inspiration from American Modernists, I have worked on building my body of work around designs that have a place in the real world, function on multiple platforms, and appeal to a broad range of audiences.

“CONTENT PRECEDES DESIGN. DESIGN IN THE ABSENCE OF CONTENT IS NOT DESIGN, IT’S DECORATION.” — Jeffrey Zeldman

DESIGNER EXPLICATION

In order to create functional work, I have developed

My first realistic experience with designing for

a design process that has yet to fail me. My design process

commercial use was for a school project in which I was

begins with market research and exploring concepts through

required to choose an off-brand, household product and

brainstorming and thumbnails. Research is so incredibly

redesign the corporate identity. While browsing the dol-

important to design and I often find that much of my time is

lar store for a product to base my project on, I found myself

spent in this stage. In fact, regardless of whether I am working

in the Home Improvement section looking at lightbulbs. I

on a project or not, I am always researching, looking at what

immediately recalled Paul Randâ&#x20AC;&#x2122;s work for Westinghouse

other designers are doing, collecting inspiration, and creat-

(Figure 3.1), so I decided to focus on Greenlite, a lighting

ing mood-boards for future use. When working on a specific

company, to create a rebranding concept (Figures 3.2-4).

project or client, I spend a good amount of time learning about the subject, company, or field so I can better understand the context in which my final design will exist. In the brainstorming phase, I write lists and create pages full of quick thumbnails and sketches. I have found that the success of my design work relies on concept development in the sketching stages; having a fully developed concept before ever turning to the computer causes me to be more prepared and ultimately reduces the amount of problem solving I have to do later on. After exploring every idea I can, I continue onto sketching more detailed comps, planning an efficient and consistent grid

Iâ&#x20AC;&#x2122;ve often found most lightbulb packaging to be under-

stimulating and generic, always overwhelmed with confusing information, resulting in text-heavy, cluttered, and overall inaccessible packaging. Along with the same color schemes and predictable typeface styles of all the competing brands, this information overload can make facing a wall of lightbulbs discouraging and unapproachable. With this in mind, I found opportunity in taking generally mundane packaging and cleaning up the informational clutter, turning it into something more approachable and appealing for the average person.

system if needed, creating potential color palettes, exploring

typeface options if needed, and determining any repeating

Westinghouse because they are not cluttered with informa-

graphic elements. After receiving feedback, I will then fin-

tion; the design simply showcases the wattage, the model

ish my designs digitally, prepare the files for use, and some-

of lightbulb, and the company logo, which is essentially all

times create appealing mockups to show the design in use.

the average customer looks for when shopping for light-

I admire Randâ&#x20AC;&#x2122;s lightbulb packaging designs for

DESIGNER EXPLICATION

bulbs. I am drawn to this specific package for beauty tone pink bulbs because Rand breaks the stereotype of lighting company color schemes; instead of white with dark blues, yellows, or dark greens, he uses a simple, pastel palette of pink and purple with white and dark purple accents. I also found his use of a simple, icon-like lightbulb graphic on the packaging to be a quick, effective way to communicate to the customer exactly what they could expect to find inside. These three techniques were my biggest inspiration in working on my own approach to lightbulb packaging.

The information that must be required on lightbulb

packaging is certainly much more specific today than it was when Rand designed for Westinghouse in the early 1960s, so I did my research, as I often do, and determined how I could simplify the amount of information to make it more straightforward for customers to understand as well as to make the package itself more appealing. Another significant change from the era of Randâ&#x20AC;&#x2122;s design is the use of multimedia; I needed to include the company website and online advertisements in the concept. My research helped with this too, as I aimed to make the multimedia elements more approachable in both usability and content. After determining the intended function and projected audience, I felt I had a thorough understanding of what I needed to design.

FIG. 3.1. Rand, Paul. Westinghouse Packaging. 1961. Paul Rand, American Modernist. Daniel Lewandowski. Web. 26 June 2014.

DESIGNER EXPLICATION

FIG. 3.2. Dill, Kelsea. Greenlite Logo Variations. December 2013. Digital.

DESIGNER EXPLICATION

FIG. 3.3. Dill, Kelsea. Greenlite Packaging. December 2013. Digital.

FIG. 3.4. Dill, Kelsea. Greenlite Website. December 2013. Digital.

DESIGNER EXPLICATION

Beginning with the redesign of the logo itself, I aimed

between Rand’s unexpected colors and the common col-

to create something that is simple to read and effortlessly

ors of normal packaging. I chose blue and green, which are

communicates the brand itself. The original logo was already

common amongst existing lightbulb packaging, but modern-

clean and simple, but didn’t convey the specialty of the brand

ized it with a soft, pastel blue paired with a bright chartreuse

quickly enough. I started with showing the company’s name

green, using white and a dark slate grey for accents. The

in a lowercase, condensed and rounded sans serif before

repeated lightbulb symbol is an abstracted interpretation of

italicizing “lite” to create subtle contrast between the two parts

the A-type compact energy-efficient fluorescent bulbs that

of the compounded company name. The typeface, “Bariol”

have become increasingly more common in recent years.

by atipo, is readable at a range of sizes and, as described by

These bulbs have the spiral design enclosed within the

the creators, is “nice and familiar without being too sweet;”

traditional A-type bulb shape. To show this, I placed a flat-

it is friendly, yet modern and sophisticated. However, the

tened interpretation of the spiral shape (parallel diagonal

company name alone was not enough to convey Greenlite’s

shapes) on top of a traditional lightbulb shape, and used this

products to the average customer, so without straying too

as a repeating element throughout the identity. This graphic

far from the original company logo, a symbol element was

was versatile enough to function as a cutout on the packag-

added to the logo. Using a juxtaposed placement of the

ing as well as a clean, minimal graphic for use on the web.

letters G and L, I created an abstracted lightbulb icon and placed it inside a solid circle to be placed at the beginning

As stated earlier, I aimed to reduce the amount of

of the logo. The resulting logo portrayed a clear message

unnecessary information on the packaging and simplify

and was capable of being reproduced with an array of color

the important, yet confusing pieces. Keeping only what

schemes as well as be used on a variety of different platforms.

was absolutely necessary, I used information hierarchy to organize and quickly communicate the information a cus-

The decision to use a pastel-based color scheme

tomer would need to buy the product. This approach was

and bold lightbulb symbol throughout the concept were

then used on the website — making navigation through

clearly the result of my inspiration from Rand’s Westinghouse

materials as effortless as possible — and then again in the

work. In selecting a color scheme, I found a middle ground

web ad, making the selling point of the product clear.

DESIGNER EXPLICATION

“GOOD GRAPHIC DESIGN SOLUTIONS TO COMMUNICATION PROBLEMS CAN IMPROVE THE FLOW OF INFORMATION IN SOCIETY AND, THEREFORE, SUBSTANTIALLY AND POSITIVELY AFFECT EDUCATION, SOCIAL WELL-BEING AND THE DAILY ENJOYMENT OF LIFE.” — Jorge Frascara

DESIGNER EXPLICATION

FIG. 3.5. Dill, Kelsea. Sip n Dip Food Truck Logo. November 2013. Digital.

DESIGNER EXPLICATION

FIG. 3.6. Dill, Kelsea. Sip n Dip Truck Wrap. November 2013. Digital.

DESIGNER EXPLICATION

FIG. 3.7. Dill, Kelsea. Sip n Dip Mobile App. November 2013. Digital.

DESIGNER EXPLICATION

FIG. 3.8. Dill, Kelsea. Sip n Dip Menu. November 2013. Digital.

DESIGNER EXPLICATION

Another opportunity I had to explore the function of

dripping piece of bread. Prominently displayed on the street-

identity design was during a project in which I was required to

facing side of the truck, any passerby would understand

design a brand identity for a food truck (Figures 3.5-8) spe-

what to expect from the food truck almost immediately.

cializing in soup and sandwiches. Most food trucks are often over-designed and, again, cluttered. It is easy to forget the

The design on the food truck itself remains simple.

intended function of a food truck design: to be quickly noticed

Social networking icons and a QR code to access the com-

by passersby. Whether in a passing car or walking across the

panyâ&#x20AC;&#x2122;s website make it quick and easy for fans to connect with

street, potential customers should be able to see the food

and follow current locations for the food truck. Sticking with

truck and quickly understand what to expect from it. Again,

restraint, I refrained from adding any more graphic elements

visibility and function became the main focus of the design.

than were needed, relying on the loudness and subtle humor of the logo to give the food truck the fun vibe it needed.

I decided that the quickest, most effective way to

portray my food truckâ&#x20AC;&#x2122;s specialty was through the use of a

Second to the design of the truck itself, the mobile

bold logo that illustrated it in the most literal way possible. The

site is one of the most important elements of the identity

idea behind my imaginary food truck was that they special-

system. Food trucks often appeal to younger audiences,

ized in pairing artisan soups with their respective sandwiches,

a trait of which is active involvement with technology and

which were cut to the perfect size to be dipped into the

social networking. A mobile site would likely be used more

soups. It seemed appropriate to create a logo portraying a

often than a desktop site, considering the average cus-

DESIGNER EXPLICATION

tomer will be out-and-about when deciding to do business

information. Thinking about the circumstances under which

with the food truck. With a hectic environment on most

a first aid kit may be used, I decided that a lot of the informa-

city sidewalks, the mobile site should be as easy to navi-

tion needed to be thrown out completely; in the midst of a

gate as possible and completely free of any added distrac-

medical emergency, most would struggle to find the informa-

tion. Reducing site content down to menu, and contact

tion they needed immediately with the existing packaging.

information (location, phone, and social networking) kept the mobile site uncomplicated and completely accessible,

During my brainstorming stage, I had made lists

again, staying true to the intended use of the design.

of the information I thought was essential to each product and realized that a system of icons could solve many of the

For many of my self-driven projects, I choose to redesign

problems and assist in communicating and locating the es-

everyday products that are often boring or overlooked and

sential information. I immediately began to create icons to be

make them both more appealing and easier to use. For this

used on the packaging and within the first aid guide. When

project (Figures 3.9-10), I chose to focus on the packaging

placed on the packaging, the icons made it easy to find

design of a typical first aid kit. To begin, I actually went to the

the product in need. In the first aid guide, the icons made it

drugstore and bought a small first aid kit. I took a close look at

easy to quickly and efficiently find the procedure in need.

the packaging of each product inside as well as the box itself,

To me, the icon approach just felt like the best solution to

and noted what did and didnâ&#x20AC;&#x2122;t work throughout. The packag-

the the design problem at hand. By the end of this project,

ing was not cohesive and, of course, it was cluttered with

I was nearly obsessed with icons as a design solution.

DESIGNER EXPLICATION

FIG. 3.9. Dill, Kelsea. First Aid Kit. March 2014. Digital.

DESIGNER EXPLICATION

FIG. 3.10. Dill, Kelsea. First Aid Icons. March 2014. Digital.

DESIGNER EXPLICATION

FIG. 3.11. Dill, Kelsea. Flat OS X Icons. June 2014. Digital.

DESIGNER EXPLICATION

Still hooked on icons a couple months after my first

aid kit redesign, I had given myself another self-driven, icon-

ating my own content to share in these communities, so this OS X icon theme was my way of beginning to do so.

based project and decided to redesign dock icons for OS X (Figure 3.11). I had already been interested in theming my

My biggest problem with the existing icons in the

Apple devices from the year before when I had spent my

dock is that they donâ&#x20AC;&#x2122;t really work together as a system.

entire spring break jailbreaking and theming an old iPhone.

The dock exists as a navigation tool and is attached to the

My Macbook is also themed and I had been using a custom

bottom or side edges of the screen and can even be set

icon pack from another designer for a while before I had even

to hide until the user hovers over it. This tells me that al-

thought to design my own. I was drawn to theming my devices

though it is a tool that useful and heavily used, it should

because of the icons; the inconsistency in both style and color

not be distracting in any way; it should be seen, not heard.

palettes in the default app and system icons always drove me

Many of the default icons are very detailed and use a wide

crazy, so when I found that there was a way I could custom-

variety of colors, but many apps from outside developers

ize these, I of course spent way too much time doing so.

use extremely different style choices for the icons for their product, resulting in a cluttered and distracting dock.

After finding many online communities where other

themers would interact and share resources, I soon dis-

My solution to the problem was found in flat design

covered that many designers would create and share con-

which, although it is currently very trendy, has an undeniable

tent that they had created in their spare time. Designers in

purpose when used in the appropriate context. Interactive

these communities create more than just icon sets, they

and digital platforms are one of the appropriate applications

design lock screens, music player skins, keyboard skins,

for flat design for exactly the reason I chose to use it for my

status bars, system fonts, notification styles, widgets, and

icons: it is non-distracting and consistent enough to work as

more. Since then, I have been interested in eventually cre-

a system. However, it is completely possible for flat design

DESIGNER EXPLICATION

FIG. 3.12. Safari Icon. Digital image. Surrey Mac User Group. SurreyMUG, 7 Aug. 2012. Web. 26 June 2014.

FIG. 3.13. Dill, Kelsea. Flat Safari Icon. June 2014. Digital.

DESIGNER EXPLICATION

to go overboard and many designers get very showy with

compass shape, the blue inner circle, and the red and white

how extreme they can go within the parameters of the flat

needles. These three elements combined are enough for the

style by making their designs either too minimal or overly

icon to be identified as a compass which clearly represents

detailed, and although these can result in something that

the Safari browser icon to the user. Simplifying and reduc-

is really appealing to other designers they really wouldnâ&#x20AC;&#x2122;t

ing the elements in the icons allows the dock to function as

serve much of a purpose in the real world. To make my icon

intended, staying true to my overall approach to design.

set use flat design effectively, I focused on creating a sort of formula for how each shape was created and how propor-

tions were balanced and I also created a more restrained

on approachability and usability. A design is not successful

color palette using only tints and shades of the same six

if it is pretentious, and only capable of being understood by

colors. I also only kept the graphic elements that were es-

fellow designers; good design absolutely must serve a func-

sential for the user to identify each app or system function.

tion to an audience other than oneself. Minimalism, iconog-

For example, the default Safari browser icon (Figure 3.12) is

raphy, legibility, and overall restraint are all essential to my

highly detailed, using gradients to create shadows and high-

design process. Design can both conceal and reveal truth; it

lights, and depict shiny surfaces, all elements of realism that

is my belief that it is the designerâ&#x20AC;&#x2122;s responsibility to be truth-

are distracting for a simple dock icon. To solve this, I reduced

ful while successfully selling an idea or solving a problem.

the icon to its simplest forms (Figure 3.13), keeping the outer

Throughout my body of work, there is a clear focus

FUTURE GOALS

I’ve already talked about my personal design philosophies at length, but I haven’t addressed how I plan to fulfill and practice them. As I now get closer to the end of my college career, I feel confident that I know where I’m going and what I want. Five year plans are a strange concept to me; it is impossible to fully plan out each step I will take, so I try not to dwell on it. However, I do have a series of long-term goals and aspirations — perhaps a 10 year plan — as well as a somewhat loose outline of how I expect to pursue them.

I’m a self-proclaimed design geek with a passion

for brand identities, packaging, typography, and interactive design. A firm believer in the “form follows function” philosophy, I consider research the most essential part of my design process, always focusing on developing a true understanding of the market, audience, and content be-

“HE WHO RISKS AND FAILS CAN BE FORGIVEN. HE WHO NEVER RISKS AND NEVER FAILS IS A FAILURE IN HIS WHOLE BEING.”

fore going on to clearly communicate a concept that is both approachable and exciting. As a newcomer, I think I can provide a fresh and contemporary point-of-view along with an enthusiastic willingness to learn and adapt.

There is no question about what my dream job would

be; I ultimately see myself working at a mid-size to large design firm as a Creative Director. Creative directors are the

— Paul Tillich

FUTURE GOALS

creative head at a design firm or within a design department

and usually have the final creative authority. This is a posi-

pursuing this position. Right now, I am currently working as

tion that is often achieved through advancement within a

an intern at Pike Street Press, a small letterpress and de-

firm, although after many years of experience, a designer may

sign studio located in Seattle. So far, I’ve been given the

qualify for the job at any firm. According to AIGA, creative

responsibility of working on marketing strategies for the

directors are “responsible for communicating strategic goals

shop; I use social media to generate interest in the business

into actionable design solutions, establishing the concep-

and increase search engine optimization, attend industry

tual and stylistic direction for design staff and orchestrating

events to network, work on improving the shop’s website

their work, as well as the work of production professionals,”

and blog, and seek out events that Pike Street Press could

and they control the overall strategy. In order to be success-

participate in as a sponsor or vendor. I am working on rede-

ful in this position, Creative Directors clearly need skills in

signing the shop’s website and refining the existing identity

leadership, design, creativity, organization, planning, problem

to increase interest from both customers and members of

solving, and public speaking. Knowledge of the industry and

the design industry. Pike Street Press is such a cool shop in

design trends are also very important to being successful.

an incredible location, and I hope to draw more attention to

For now, I have a few steps in mind to work toward

this through their online and social media presence, as well

I believe I would find satisfaction in this position be-

as the shop’s increased participation in industry events.

cause I would be leading and working among other creatives, which I find exciting. I work well with others and I typically

have very clear creative concepts that I would enjoy seeing

ship at a larger firm in Seattle, such as Civilization, Meth-

through. I often feel like my mind is on design all the time

odologie, Tether, or Creature while continuing to work

and it really fuels most of what I do, even outside of school.

part-time at Pike Street Press. Using an internship to re-

A position with as much creative control as this would give

ally get my foot in the door of design firms seems like

me the high level of design work that I crave. This position

the best route to pursue, rather than blindly trying for

is the perfect balance of leadership and creative work.

entry-level design positions with little experience.

After graduating, I hope to pursue a paid intern-

FUTURE GOALS

FIG. 4.1. Dill, Kelsea. 365 Days of Type: Day 121. April 2014. Digital.

FUTURE GOALS

During these next few years, I will continue to build

One of the great things about the design world is that net-

my portfolio with professional and personal work. I will also

working is as easy as meeting people that you have things

network as much as possible during this time, attending in-

in common with and making friends, perhaps even making

dustry events, lectures, conventions, and even just going out

things together; networking is actually fun as a designer!

more often in general, always putting an effort into meeting new people and making connections. I also plan to continue

to find community design projects to participate in, such as

a general design position at a firm I enjoy working at. From

the 365 Days of Type project, which I recently volunteered

here, I can begin the process of working my way up in posi-

to create a design for (Figure 4.1). Submissions were posted

tions. There really is no specific plan or way to do so, you

on the We Are Not Special blog and across a variety of plat-

simply have to keep doing what youâ&#x20AC;&#x2122;ve always done: build-

forms; it was a fun way to get my name and work out there.

ing your portfolio and making and maintaining connections.

Similarly, I hope to keep creating content for theming devices, like I did with my dock icon set, and actively share and perhaps even sell them within the online theming communities. I believe this would be a fun and effective way to network with other interactive designers in these online communities and attract more attention to my other design work in general.

After the first few years starting out, I hope to have

Iâ&#x20AC;&#x2122;m sure I will experience a wide variety of design

positions before achieving my dream job and, in fact, I enjoy the uncertainty of this. I want to try a little bit of everything; after all, that is how you discover your strengths. I would like working for a small agency, an interactive design stu-

FUTURE GOALS

dio, and maybe even revisiting fine art and illustration and show in galleries. I also hope to someday have enough experience and insight on the industry to speak at industry events, as many of my design heroes do. I have even considered the idea of one day starting my own design agency, but these are the things I try not to plot out too much.

Everywhere I go, I notice the design of everything

around me. Sometimes I notice the designs I admire and what makes them successful. Other times I notice designs that I think I could have done better, and take note of why I thought they were unsuccessful. I recognize typefaces on everyday objects, often without thinking twice. My subconscious is always in design-mode; I believe this is what it means to be passionate about something. Because of this, I am confident in the career path that I have chosen and I am incredibly excited to pursue it.

“WHEN IN DOUBT, MAKE A FOOL OF YOURSELF. THERE IS A MICROSCOPICALLY THIN LINE BETWEEN BEING BRILLIANTLY CREATIVE AND ACTING LIKE THE MOST GIGANTIC IDIOT ON EARTH. SO WHAT THE HELL, LEAP.” — Cynthia Heimel

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