Reading - Principle 6 (Charge It Up)

Principle 6 - Charge It Up

  1. Art Evokes Emotion
    1. Pleasant or unpleasant pictures have pronounced brain activity
    2. Neutral pictures have no additional brain activity
    3. Emotion is powerful, usually short-lived experience as reaction to specific stimulus
      1. Other components are:
        1. Mood
        2. Physical
          1. Pounding heart
          2. Tightened muscles
          3. Sweaty Palms
          4. Light-headed
    4. Emotional graphics influence how a message is perceived and interpreted
      1. Aiming at emotions is a designer's best chance for interest if the viewer is:
        1. Distracted
        2. Busy
        3. Plain cynical
      2. Promoting attitude change is another reason for emotional appeals
        1. Social issue promotions
        2. Public service announcements
        3. Political campaigns
    5. "Advertisements that arouse positive emotions result in more positive feelings toward the product and greater intent to comply with the message."
  2. Emotion and the Information Processing System
    1. Emotion and cognition are distinct but inseparable
    2. Emotion affects mental processes
      1. Attention
      2. Perception
      3. Memory
    3. Emotions also affect how information is processed and encoded into long-term memory
      1. Unpleasant memories fade quicker than pleasant ones
      2. Pleasant experiences process more effectively and accurately
    4. Emotional graphics create arousal
      1. Arousal is cognitive and biological
      2. Monotony and boredom are generally thought of as unpleasant
  3. Applying the Principle
    1. Some effective ways to charge a graphic are:
      1. Convey emotional salience
        1. Take viewers beyond literal interpretation
      2. Provide thematic narrative
        1. Allow designers to create underlying emotional track
      3. Make use of visual metaphors
        1. Resonate w/the non-verbal quality of emotion
      4. Incorporate novelty and humor
        1. Startle audience w/innovative and unexpected approach
  4. Emotional Salience
    1. Visual ways to express emotional states are limitless
    2. Emotional salience stands out against neutral graphics
    3. Emotional salience compels viewer to pay attention and engage w/the picture
    4. Designing for emotion:
      1. Color has most emotional potential
        1. Feeling blue
        2. Green with envy
        3. Red with anger
      2. Reactions may be influenced by:
        1. Personal experience
        2. Individual taste
        3. Cultural Context
        4. Gender
      3. Cool colors have sedated feelings
        1. Green and blue
      4. Warm colors have more energetic feelings
        1. Red and yellow
      5. More saturated are more intense emotion
      6. Soft, pale, or neutral colors are less intense emotion
      7. To create tension:
        1. Use ambiguity
          1. Shapes and forms that are indistinct, obstructed and difficult to recognize
        2. Exaggeration
          1. Forms, colors, and textures obviously overstated
        3. Distortion
          1. Prevents cognitive closure
      8. Powerful imagery increases salience
        1. Facial expressions/emotions are stronger
      9. Symbolism plays critical role
  5. Narratives
    1. Stories are used to organize experiences
      1. Reading or watching stories
    2. Clever plots are interesting but emotional impact is stronger
      1. Books
      2. Films
      3. Theater
      4. Television
    3. Emotional drama is stronger than poor acting/plots
    4. Captivates audience, whether true or fictitious
    5. Create absorbing visual narrative
      1. Sequence of events and actions tied together w/emotional continuity
    6. Viewers fill in gaps if pictures are placed in temporal order
  6. Visual Metaphors
    1. Metaphors are how we understand things for which we have no specific knowledge
    2. When emotions are ambiguous/ethereal, metaphors make them more tangible
    3. Ways to bring metaphors to life:
      1. Combine qualities of two images
      2. Juxtapose two images in same graphic
    4. Synthesizes two objects/concepts to create new connection/deeper meaning
  7. Novelty and Humor
    1. Graphics with unusual twists invokes emotions
      1. Surprise
      2. Astonishment
      3. Shock
    2. Unfamiliar territory arouses curiosity and attention
    3. Novelty sustains attention because it doesn't match activated schemas in long-term memory
    4. Novelty arises from:
      1. Unusual juxtaposition
      2. Seeing objects in unconventional perspectives
    5. Moderate incongruities generate most favorable reactions
    6. Extreme incongruities generate confusion
    7. Humor is more interesting
      1. Deviating from normal expectations
      2. Incongruity that can be resolved
      3. Contrasts between everyday and unanticipated
      4. Surprise
      5. Inconsistancy
    8. Generally not a good idea to create light-hearted treatment of serious topic
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Reading - Principle 5 (Clarify Complexity)

Principle 5 - Clarify Complexity

  1. Complexity is a paradox
    1. Capture viewer's attention/Stimulate their interest
    2. Curiosity aroused to certain point
  2. Complexity is depicted by
    1. Infographics
    2. Animated Segments
    3. Exhibits
    4. Instructional Graphics
    5. Procedural/Assembly Instructions
    6. Article Accompaniments
  3. Objective Complexity
    1. Properties inherent in:
      1. System
      2. Information
      3. Task
  4. Subjective Complexity
    1. Based on individual perception
    2. Relates to a persons:
      1. Skills
      2. Knowledge
      3. Ability
  5. Explaining Complex Concepts
    1. Often results in visually complex
      1. Information rich
      2. Increased deficit
        1. Patterns
        2. Shapes
        3. Text
        4. Color
        5. Density
        6. Diversity of elements
    2. Takes longer to search
    3. Most effective when designers clarify rather than simplify
  6. Cognitive & Complexity
    1. Rely on previous knowledge
      1. Perform cognitive tasks
      2. Assimilate new info
    2. "Explanations help dissolve cognitive dissonance"
    3. More info equals more cognitive load
    4. Gradually build schemas into larger entities in working memory to have more
      available simultaneously
    5. Building accurate mental models
      1. Coherency
        1. Consistant logic makes explanation meaningful
        2. Cause & effect
        3. Designers aid coherency by
          1. Unifying graphics visually and logically
          2. Cleaning up order of information
          3. Limiting extraneous information
  7. Context
    1. Framework within new information
    2. What to expect/not expect
    3. Guides viewers attention
  8. Applying the principle
    1. Clearly convey meaning w/o overwhelming
    2. Visual approaches
      1. Segment into smaller units
      2. Expose parts/components normally hidden
      3. Reveal structure of information (inherent)
  9. Segments & Sequences
    1. Organize information into beginning, middle, and an end
      1. Thoughtful restraint
      2. Controlled logic
    2. All at once, less comprehension
    3. Segmentation is a natural cognitive strategy used to decompose
    4. Ensure viewer gets holistic view while viewing segments
      1. Depict big picture view
      2. Introduce overriding concept at start
      3. Provide visual continuity
      4. Slowly build previous segment
      5. Direct viewer's eyes
    5. Sequencing is chronological order
      1. Procedure
      2. Set of steps
      3. Cause & effect
      4. Principles build on each other
      5. Top to bottom or left to right
  10. Specialized views
    1. Reveal what is physically hidden
      1. Cutaways
      2. Magnifications
      3. Other interior views
    2. When needing to apply knowledge, use increased realism
    3. Interior views
      1. Cutaways
      2. Cross sections
      3. Transparents views
    4. Exploded views
      1. Cannot be seen w/standard interior view
      2. Show how it fits together
      3. Flow-lines can indicate parts
    5. Magnification
      1. Level of detail, fine-tuned
      2. Pulled away from main illustration
      3. Use lines, arrows, or zoom effect to connect to main illustration
  11. Implied motion
    1. Important for
      1. Workings of a machine
      2. Product assembly
      3. Human movement
      4. Unseen forces
    2. Techniques
      1. Motion lines
        1. Streaking lines behind object
      2. Stroboscopic movement
        1. Progression of images
      3. Action arrows
        1. Often curved
      4. Motion blur
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Company Identity & Branding

Project Summary

Create and design brand, identity, product design, package design, retail environment, and all other items associated with brand. Company will also provide, if needed, list of local places to play each sport.

1.    Brand Summary

Retail location that sells and manufactures all types of discs (Ultimate, Golf, Freestyle, etc.), and equipment needed for each sport (uniforms, cleats, etc.)

Possible Brand names:
• Discs Unlimited
• Unlimited Discs
• Disc Happens
• Infinite Disc
• Ultimate Goods
• Wicked Disc

2.    Identity

Create and design brand name, its mark and logo.

3.    Product Design Summary

Products offered:
·      Discs
o   Ultimate
o   Golf
o   Freestyle/Recreational
·      Equipment
o   Cleats
o   Apparel
• Cap
• Beanie
• Jersey
• Polo
• Hoodie
• Jacket
• T-shirt
• Shorts
o   Bags
• Tournament Bag
• Quick Trip Bag

4.    Package Design

Design packaging for all products

5.    Retail Environment

Design retail presence and experience.


Purpose

            Create a local presence for professionals and non-professionals to purchase goods needed, as well as consult other professionals about best goods available for budget.

Sender

            All products, services, and design is sent by the company.

Message

            All disc sports are great for recreation, exercise, and classic fun with family and friends. Each sport is unique and exciting in its own way.

Audience

            All people interested in Disc sports, athletic or not, both professional and non-professional athletes.

Roughs


Tight Comp




Design Roughs
Final Logo


Disc Design

Disc Package Design



Classic Edition Design


Standard Edition Design

Neon Edition Design


Cleat Package Design

Practice Jersey Design

T-Shirt Design





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Activity Alphabet


Visual Research

Sketches/Pictographs

Sketches/Pictographs


Reduced Alphabet

3 Statements

Rough

Tight Rough

Comp

Final

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Visit to Natural History Museum of Utah

Graphics









Architecture




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Reading - Principle 2 (Direct the Eyes)


Chapter 2 Outline

  1. Directing the Eye serves 2 principal purposes
    1. Steer the viewer's attention along a path
      1. Intended ranking order
    2. Draw the viewer's attention to specific elements of importance 
  2. Common Tendencies and Biases in how we more our eye
    1. Initially starts in upper left
    2. Left to Right eye movements
    3. Top to Bottom eye movements
    4. Diagonal movements are less frequent
    5. After first several "fixations" generally understand the whole picture
      1. Begin to be influenced by 
        1. Picture's content
        2. Horizontal or Vertical orientation
        3. Internal Influences
  3. Signal location of specific information using visual cues:
    1. Do not carry primary message
    2. Orient, point out, or highlight crucial information
      1. Arrows
      2. Color
      3. Captions
  4. Make use of prominent features that are picked up in early process
    1. Compositional Techniques
    2. Signaling Techniques
  5. Attention and Eye Movement are not the same
    1. Attention can be in peripheral vision
    2. Directing the eye aligns the two
  6. Enhance Cognitive Processes
    1. Promote speedy perception by using:
      1. Predetermined locations
      2. Preconceived paths
    2. Improve processing
      1. Use heirarchy by directing eye from most powerful to least powerful
    3. Increase comprehension
      1. Visual cues allow for better comprehension
  7. Position
    1. Position of object in frame creates force/tension that affects experience
    2. Placement also has hierarchy
      1. Top to bottom
        1. Top half is more active, dynamic, and potent
      2. Left to right
  8. Emphasis
    1. Without emphasis, graphic is flat/lifeless
    2. With emphasis, graphic is energetic
    3. To create emphasis:
      1. Add Contrast
      2. Juxtaposition
  9. Movement
    1. Sweeps attention through space of graphic
    2. Determined by:
      1. Attraction due to visual weight
      2. Shapes along their axes
      3. Visual direction/action of the subject
  10. Eye Gaze
    1. Human faces, especially eyes. attract attention
    2. Eyes shift according to someone else's gaze
      1. Triggers joint attention
  11. Visual Cues
    1. Point viewers to important information by using:
      1. Arrows
        1. Direct attention, eyes, and cognition
      2. Colors
      3. Captions
  12. Color Hues
    1. Colors can act as a signal to direct eyes
    2. Helps search large quantity of info more rapidly
    3. Highlights key information
    4. Avoid using too many colors

Labels:

On Air

Project Brief and Outline

Thumbnails/Roughs

Critique By Matt: Seth, I love your top right concept of having the cigarette, the vehicle, and the grave. I think that is very clever, and I'm excited to see how it turns out. My suggestions would be to add the smoke from the cigarette, and the tailpipe from the truck to make it flow into the design of the gravesite and the tombstone. It's just an idea. I do like what you have right now and I think it's a very interesting concept. I would suggest dark grey, and maroon like colors. Just an idea. I'm excited to see what you do with it.

Response to Matt's Critique: I realized that focusing it just on death was a long shot. I decided I could do something that death was involved. My grandpa died from an asthma attack, so asthma is a strong concept in my life. So I decided to make asthma the primary subject of the piece.


Tight Rough


Tight Sketch

First Draft of New Design


Tight Comp

Final Design



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