Hi Readers,

Given that this is my very last post for 701, I have decided to take this opportunity to reflect on my experiences throughout this course. I’ll start by listing the new things I was introduced to:

• PRACTICALLY EVERYTHING!!

LOL! I must admit there were times when I felt like a fish out of water, like when it came to writing a Limited Literature Review for the very first time…BUT there is nothing that I was unable to grasp eventually. This course has truly been a complete learning experience for me, one that I will never forget and will utilize for the remainder of my graphic design career. I have learned more about research than I would have ever imagined existed in graphic design. This course has forced me to deeply examine everything that I do as a designer, and learn to incorporate more techniques into my process as I do it. Because of this, I feel that in just 8 short (VERY LONG) weeks, I have become a better researcher, writer, critic, DESIGNER and person. Thanks to my classmates, instructor and God for guiding me and getting me over the hurdles throughout this course.

Although there were a few difficulties, I must say that I have thoroughly enjoyed my experience in GRDS 701. As always, thanks for reading!

Reshonda,

Hi Readers,

This unit, I had the luxury of reviewing three phenomenal and very inspiring process books, by Jane Dorn, April Biss, and Jamie Turpin. Here is my analysis of each of them:

1. Jane Dorn, Creative Brief and Inquiry
   • I think Jane successfully communicates her ideation process and guides the reader through the creative process, with her process book, but not so much with the execution. I think the book successfully communicates her ideation process, through labels. However, it does not successful breakdown the process. If her target audience is someone who wants to become a graphic designer, I don’t think her first stage is well-executed. The collage makes it very illegible and difficult to understand the process, and if someone were to use this as a sort of guide, it would not work. Also, I don’t think the content works as well as the content provided in the pages of the process book itself. Although a very good concept, I think that some of the important parts of each phase were cut off do to the layout. To someone who does not know what graphic design is, this layout may make it difficult to understand.
   • What I do like about this process book is the amount of time spent in the actualization process and working through the measurements to get the design just right. I too am not a geometry wiz, so I can relate to this phase of her process quite well. I also really like the cleanness of the production and the unique layout concept she chose.
2. April Biss, Observe. Think. Make.
   • I think April successfully communicates her ideation process and guides the reader through the creative process, with both her process book and execution process. She provides a very detailed account all the way through both phases of this design project, and successfully engages her target audience with the entire concept.
   • One thing that I love about this ideation process is that she repeats certain steps several times, like the research and analysis stages. I often repeat the research phase in my ideation process. However, I do feel that I could do more analyzing.
3. Jamie Turpin, Experimental Panel Design
   • I think Jamie successfully communicates the ideation process and guides the reader through the creative process, with both the process book and execution process. Turpin provides a very detailed account all the way through both phases of this design project, and successfully engages the target audience with the entire concept.
   • I love how clean the execution of the process and the project itself is. I thoroughly appreciate the schematic stage. I feel that I could improve and devote more time to my sketches and thumbnails.

Overall, these were really great projects and they have truly inspired me to place more effort in my process books. As always, thanks for reading!

Shonda,

Hi readers,

In GRDS 701: Graphic Design Seminar:  Methodologies, we have been exploring different research methods and design processes. In GRDS 702:  Graphic Design Studio:  Methodological Practice, we discussed the topic of heuristic biases. Heuristic biases are when the brain creates pathways of thought from learned behaviors and patterns that we follow. Given that my brain has been forced to digest information from two courses, I have subconsciously merged a great deal of the information I have acquired from them. From all of the studies, research and information I have been introduced to, I have formed a conclusion:  My personality shows through my ideation process.

Throughout this quarter, I have been practicing another concept introduced in 702, ‘Orbiting the Hairball’. The idea of ‘orbiting the hairball’ is to step outside of existing ways of behavior and abandon your existing ways of behavior. What I have noticed this quarter, though, is that your heuristic biases shape everything about you, including the way you design. What I am accustomed to, what I have been previously introduced to, and the life I live all in some way inform how I choose to design. So orbiting my hairball is so much easier said than done. As stated in a previous blog post, my creative process changes pretty often, but the fundamental elements, for the most part, remain the same. Not only does my creative process cater to the particular design problem I am working to solve at the time, but it also caters to my personality…what makes me feel the most comfortable with executing the project. I find that the more comfort I find in working through my ideation process, the more successful the design solution is.

I recently drafted a limited literature review about stress in graphic design careers. The reason I chose that topic is because, ironically, I am a very stress-prone person…BUT I love graphic design, and contrary to the stress factor, I have a very jolly personality. You’re probably wondering, “Why is this girl rambling and how in the world does all of this relate?” Well, this quarter, I committed to warding off stress and being my natural bubbly self, even while trying to solve the most stressful design problems. So, my goal has been to find as much comfort and enjoyment in my ideation process as possible. That way my personality shines through my work and my love for graphic design isn’t contradicted when stress rears its ugly head.

I would encourage everyone, if they have not already to take a moment and reflect on how there personality is revealed in their ideation process. I know that for the most part, designers use the typical:

1. Research
2. Brainstorming
3. Thumbnails
4. Sketches
5. Refined comps
6. Execution.

However, I find it pretty rewarding to adjust the components of each step to fit my liking per design concept. It makes the process all the more enjoyable. Make sense?

As always, thanks for reading!

Reshonda,

Hi Readers,

My creative process is always in a transitioning state. I choose what process correlates best with the design problem. As it stands today, my creative process is:

according to american psychologist graham wallas’ four-step model for the creative process, The steps should be:  preparation, incubation, illumination and verification.

My process relates to Wallas’ in the following ways:

• preparation:  relates to my research stage, in which I gain a deeper understanding of a particular design need.

• incubation:  relates to my brainstorming process.

• illumination:  relates to my concept development and sketching process.

• verification: Relates to my composite development, audience polling and collaboration stage

although the order of my stages, in comparison to wallas’ proposed stages, are totally different, the concepts are the mostly the same. I do think that I could stand to expand my stages a lot more though. For example, I would like to include more areas of wallas’ incubation stage in my process, like juxtaposing, blending, and imaging. I would also like to expand my verification process. i already explore style and technique, but i would like to conduct a more in-depth exploration. i feel that my process is sometimes a little lacking in those areas.

for the most part, my process correlates well with wallas’. However, i could use some refining. i am adding that to my to-do list. as always, thanks for reading!

shonda,

Hi Readers,

My first time ever hearing the concept of “Flow” was in my Graphic Design Seminar: Methodologies class. I have experienced flow many times. However, it never resonated with me what the process was called or what I was experiencing at the time. There are often periods of time when I am working, and I realize that over twelve hours have passed before I notice the time or decide to take a break. Ironically, many times that I experience flow are directly after an extreme creative block. This is because creative blocks have taken up so much of my time that I have no choice but to dive right in to my work. Also, my methods of getting out of a creative block are the same as my methods for generating flow.

When working, I often separate myself from all distractions, like the television, people, noises, music, etc. In extreme cases, I even fast from food until the work is done. Being hungry is definitely motivation to keep the flow going. Lol Then there are times when my means for generating flow are the complete opposite, like when I blast my music from the time I start my work until the time I finish it, when I HAVE to watch tv while I work or when I talk on the phone or talk to a friend the entire time I’m working. Mainly, my “flow” catalyst depends on my mood and the amount of pressure I am under to get the work done.

As always, thanks for reading!

Shonda,

Hi Readers,

One thing I can say about my creative process is that it never stays the same for too long. I personally feel that creativity should never be stagnant. My belief is that you cannot develop new things if you are constantly utilizing the same old practices. This does not mean that once you get bored with a creative process, you should totally abandon it and move on. It simply means that processes should work in accordance with the desired outcomes. I was taught the typical creative process described in the unit:

1. Research
2. Brainstorming
3. Thumbnails
4. Sketches
5. Refined comps
6. Execution.

However, over the years, I have begun to further develop my own creative process and what works for me. As it stands today, my creative process is:

Honestly, I don’t feel that I am the strongest that I could be in any area of design. There is always room for improvement. So I am always open to collaborating with someone with more expertise and experience than me as well as someone on the same level as me. I don’t feel that any two people or two designers know exactly the same things or have exactly the same skill sets, so there is almost always a chance that something I do not know can be brought to the table. I am not the most open-minded person in my personal life, but as it relates to graphic design, because the profession is fixated around people, I feel it is best to be as open-minded and as un-reliant on self as possible.

As always, thanks for reading!

Shonda,

Hi Readers,

I decided to write my literature review on “Stress in Graphic Design”. I chose this topic because I suffer from anxiety myself, and because, throughout my years as a graphic design student and professional, I found that many of my peers are plagued with stress as well and have trouble managing it and finding the balance. I chose to keep my presentation fun and light-hearted to reflect the energy a person should have whenever stress is a threat. To rate my presentation:

I must admit, it feels a little weird to be rating myself, but I did my best to be honest. Ironically, this week was extremely stressful, so many of the techniques in the video, I had to take heed to myself.  Aside from the technical difficulties, it was rewarding to see the end product. As always, thanks for reading!

All the best,

Shonda

Hi readers,

Four weeks ago, I was asked what graphic design means to me. Not much has changed in its meaning. However, I have learned a great deal about it in such a short time frame. In the last post, I stated:

Graphic design holds a much more life-like quality in that for me, it is about my passion for the people. I have a strong interest in making a difference, more importantly, a positive difference. Graphic design gives me an avenue to do that. Not only that, it gives me an opportunity to further build on and positively utilize my God-given talents, WHILE making a profitable living.”

 

I also mentioned that it is about the journey. I still feel the way, and will probably feel that way years, maybe even decades from now. I don’t think my love for the field will ever lose its zest, because the keeping the journey going is what excites me…constantly learning new things and finding ways to expand my skills and touch people. The new things I’ve learned over the past four weeks have not changed the meaning of graphic design for me. However, they have given me a deeper thirst for more knowledge of these new subjects (that I hope to somewhat gain in the next four weeks).

As always, thanks for reading!

Shonda,

Hi Readers,

Stanford University d.School’s Bootcamp Bootleg Blog presents an array of very interesting approaches to design thinking. I chose two methods from the blog that I regular practice. They are:

“Saturate and Group

You space saturate to help you unpack thoughts and experiences into tangible and visual pieces of information that you surround yourself with to inform and inspire the design team. You group these findings to explore what themes and patterns emerge, and strive to move toward identifying meaningful needs of people and insights that will inform your design solutions.

Stroke

Stoke activities help teams loosen up and become mentally and physically active. Use stoke activities when energy is wavering, to wake up in the morning, to launch a meeting, or before a brainstorm.”

Saturate and Group is quite similar to developing a concept map, in that you gather all the ideas, group them based on similarities, and draw connections. I like the idea of Saturate and Group, because you are able to layout your ideas and easily regroup and adjust them, due to the convenience of the sticky notes. This type of design thinking can help with organization and answer questions like,  “What are the salient themes, patterns, or categories of meaning for participants?” and “How are these patterns linked with one another?” This method makes categorization much more feasible.

The activities presented in the stroke method are what I call “ice-breakers”. In my experience, they are usually done at the beginning of an event, meeting or gathering to help get everyone acquainted. These activities usually get everyone warmed up, get ideas flowing, and introduce everyone to the purpose of the meeting. Studies show that icebreakers help with jumpstarting cognition. Read: Ice Breakers:  Easy Group Contribution. This type of active engagement can answer an array of design questions. It is all based on the subject of the activity performed. Take “Category, Category, Die” for example:

“Category, category, die! Line folks up. Name a category (breakfast cereals, vegetables, animals, car manufacturers). Point at each person in rapid succession, skipping around the group. The player has to name something in the category. If she does not, everyone yells “die!!” and that player is out for the round.”

If the category you use is “What do kindergarteners like to play with?”, you could jumpstart a design solution for designing toys for children 5-6.

Saturate and Group relates the GRDS 701-OL Unit content posed in “Analysis”, in that it focusing on organizing and analyzing the data collected. Stroke relates to the “Types of Data Collection” section of the unit, because it is a unique way of quickly gathering data and learning perspectives of participants.

Thanks for reading! As always, I hope you found my post insightful.

Shonda,

Source:
Bootcamp Bootleg

Hi readers,

The subject of Peripheral Research is derivative of the idea of conducting  qualitative research while “orbiting the hairball”. “Orbiting the hairball” is a phrase referred to in John Bielenberg’s Design Thinking out Loud:  Outside In, as the ability to step outside of existing ways of behavior and work with heuristic biases. Heuristic biases develop from the brain’s creation of pathways of thought and learned behaviors and patterns that we follow. For example, one of your heuristic biases may be to always play music while studying. Orbiting your hairball may be to try studying without music.

This is relative to qualitative research in that it must be conducted outside of self. GRDS 701-OL Unit 4 Reading, Types of Data Collection: Fieldwork states:

In The Essential Writings of Ralph Waldo Emerson, Ralph Waldo Emerson wrote, “People only see what they are prepared to see.” Much of the research work you do as a designer centers around fieldwork. You will be involved in observing, interviewing, and analyzing documents. Therefore, you must develop the skills to do so. Educator, writer, and designer Eric Heiman describes the fieldwork process as having two facets: “‘empathy’–looking at the human experience with a sympathetic eye to see what is truly needed by the audience–and ‘curiosity’– having an interest in the lives of the audience so as to further an understanding of what is needed in a product.”

This simply means that in order to properly explore our subjects through qualitative research, we must take a legitimate approach to understanding them, without allowing personal goals and objectives the steer the process. For example, ever notice how in the court room when one lawyer is questioning a witness and the other lawyer yells, “Objection! He’s leading the witness!” We must take the same approach to qualitative research, shaping our questions in a way that not only deliver the answers to the information that we are seeking, but also in a way that allows for natural flow of dialogue and new discoveries. Daniel Simons and Christopher Chabris concluded that,

“We don’t see things that we don’t focus our attention on.”

Think about your favorite movie. You may have seen it a thousand times, but each time you watch it (without waiting for your favorite part of the movie), you discover a new scene that you have never noticed before. This is because you are seeing it with fresh eyes. This too, is a practice relative to conducting qualitative research. Reviewing content several times, allows you to make new discoveries.