Typography

For this typographical conveyance, I located an image of an ice cream cone and placed it in PowerPoint.  Then I proceeded to format, bend, and shape words in PowerPoint.  I used random fonts for the cone with shades of cream and tan.  For the chocolate, I focused on two primary fonts, and then incorporated a third font in the beginning "c" of the lighter brown.  Finally, I used two values of red for the cherry, with one font.  Once I was satisfied with the shape of the text, I deleted the ice cream cone image.  Then, I applied a gradient background with values of light blue.  Of course, the final step was the screen grab to upload to my blog.

Clarity
This theme should be fun.  Therefore, I incorporated random fonts, placed right-side up, sideways, and even upside down.  I think its interpretation is clear.  I could not decide if the cherry or the chocolate should be the focal point, and I am still not sure.  Since my values start dark with the cherry and proceed downwards to lighter shades of browns and then creams, I do not believe the colors distract.  If anything competes for attention, it may the first "c" fonts in my chocolate.  However, I think if this is used as a small graphic, such as above, it is okay.  I thought about making everything a single color to simplify it like the class example.  However, I thought the color portrayed fun and helped separate the different food parts.  While I liked the effect of the solid white background, I think my shape looks more like a torch.  I tried selecting a group and resizing, but that was a disaster.  However, the gradient blue distracts from the overall shape, thus making it appear more like an ice cream cone.

Audience
I think there could be two possible audiences for this project.  It could be used as a graphic on a menu, or advertisement for an ice cream shop.  Secondly, it might even be fun to use on an invitation to a party.  The demographics are almost unlimited.  Even dogs like ice cream, though I doubt a dog can decipher this. LOL!  If I wanted to change the tone, I could change the background.  A brighter hue might suggest more fun, but I need to be careful that it does not become a distraction.  Hopefully, anyone that views this visual will immediately sense the taste of ice cream.  Certainly, it should stand apart from the typical clip art ice cream cone.  I think it conveys fun, in an artsy way.  By varying the shades of color, it also adds dimension and texture.  If this piece were a person they would immediately drive to Kline's and stand in line for a chocolate cone!

Purpose
Again, I think this graphic could be used to sell ice cream or could stand alone on an invitation for informative purposes.  Therefore, it is both persuasive and informative.  I hope that the varied sizes of fonts in "chocolate" give the effect of swirls.  Also, I hope the round wordart depicts a "cherry" and the curved placements of "cone" give both shape and dimension.

HARTS Visuals

In this particular project I worked under the instructions of my group partners, Katie and April.  They are conducting the instructional design HARTS project for the Emmanuel Epsicopal Church.  Sometimes instructional designers face creative constraints due to the preferences and needs of a client.  Katie and April faced such challenges as their client desired simple, but informative materials, that would meet the approval of the parish.  Therefore, with instructions to keep posters and materials as plain as possible, we worked to create professional designs, especially through connected themes of color and font with added visuals that enforce the function of each.

Photographs 

These photographs depict the desired entrance for HARTS and the location for trash, respectively.  By muting color saturation and lighting on the entire photo except for the door and the trash bins, the emphasis of the designated points emerges.  Clearly the red doors and the earth-colored trash cans stand out.  Furthermore, the black font (Myriad Pro) provides additional information.  Photographs intended for instructional purposes should not be altered to the point that instruction may be hampered.  Thus, we let the photographs dictate our choice of color palette for the remainder of our designs.  Coincidentally, the red worked perfect for the emergency contact poster and exit map.  Next, we chose a complementary green, a few shades lighter than that of the trash can lid.  This allows for greater visibility of our black fonts.  Then we incorporated additional colors as necessary.

To what degree do the visuals...

• convey meaning:  The photographs incorporate text, but the text is not necessary to understand the intended meaning of the entry and trash bins.  The emphasis on color placement commands viewers' attentions.
• support learning:  Again, the simple emphasis on the doors and trash gives focus to the subject.
• incorporate CARP:  These photographs certainly incorporate contrast through colors and repetition in regards to our ongoing theme.  I suppose you could also state the proximity and alignment of the targeted items extend to the lower right sides of the picture.  However, this particular aspect of design will have a greater role in our other visuals.
• fulfill their purpose:  The visuals have met the approval of the client, and will benefit HARTS volunteers.
• express clarity:  The photographs are simple, but effective.  They gain attention without distracting.
• display professionalism:  The photographs follow our thematic approach, they move beyond the simple editing of photography, and they demonstrate a creative approach to make a point without the use of much text.
• achieve the goal:  They certainly reflect the simple and plain aesthetics as desired by the client.

Maps

Map-making requires an understanding of their intended concept, as well as knowledge of proportions, layout, and the effective use of icons defined through a key.  Our maps serve two very different functions.  The first is an emergency plan  and the second is a map to make kitchen use convenient, especially for those unfamiliar to the church.  Both incorporate our color palette and font.  Effective maps retain simplicity for ease of use.  However, the number of components, shapes, and layers were extensive to create the necessary designs.

To what degree does the emergency floor plan...

• convey meaning:  Here the visuals convey meaning, but some text is necessary for labels, i.e. "Fellowship Hall," "Entertainment," etc. Popular icons reflect "emergency" and "bathrooms" without the need for text.
• support learning:  First, the nearly transparent Google Earth screen grab quickly teaches orientation and direction.  The popular red and white icons reflect emergency symbols.  The lines denote the layout of each room, door placements, and specified emergency exits.  The bathrooms and trash are also represented with popular icons and a key acts as a reinforcement to define icons.
• incorporate CARP:  Here there was little room to experiment with the CARP principles. Our thematic colors of red and green offer contrast with the red denoting emergency.  We did use repetition of lines to create doorways, and arrows for entry points.  The separated key with the green background denotes important information that is placed just to the right of the title.  Overall alignment and proximity are defined by preset proportions based on a church map provided to the group. Text and icons in the key are aligned.
• fulfill its purpose:  The map fulfills the need for an emergency plan, and should be easy to comprehend by all.
• express clarity:  While the photograph in the background has the potential to distract, by making it less opaque, and then allowing the primary focus of the map to contain a solid white background, there is little distraction.
• display professionalism:  The icons do not go beyond everyday representations, simply because we wanted them readily understood.  However, the overall design of the map, layered with Google Earth definitely moves beyond the everyday depiction.
• demonstrate creativity:  Again, color and font coordinate with other visuals and the map displays creativity with its layered real-life background. 
• achieve the goal:  The client was pleased with the map and overall the color choice and contrasting background with a solid white map give it a pleasing aesthetic quality.

To what degree does the kitchen floor plan...

• convey meaning:  The kitchen map primarily relies on text labels to direct users to the proper cabinets more than a reliance on icons.  First, the key offers a photograph of the actual cabinets to denote the levels of the cabinets.  These are further coded by colors, again making use of our continued green and red, with added yellow that coordinates with our emergency poster.  Also proportional rectangles distinguish cabinets, a table, and appliances. 

• support learning:  First, although the inventory provides a guideline for learning, hands-on experience in the kitchen will certainly be the best teacher.  The map will be a time saving feature for anyone trying to locate a specific item.  It also serves as a reminder of the original location of items for restocking cabinets.  Rather than rely on directional cues (north, south, etc.), one can orient themselves to the kitchen through the visible blue markers.  For instance, if someone finds the stove, they can determine that the top cabinet to the right of the stove houses the measuring cups.  Therefore, the map will aide in ease-of-use, especially for volunteers unfamiliar with the kitchen set-up.

• incorporate CARP:  Again, like the emergency map, the contrasting color scheme adds contrast to the map.  Repetitive shapes denote cabinets and repetitive lines denote kitchen exits.  Again, alignment depended upon the already designed kitchen.  All fonts on labels are right aligned.  Proximity becomes the greatest challenge.  First, labels had to be small enough to fit within the page yet large enough to read.  Therefore, we placed label on the exterior of the map.  Additionally, the fonts for the appliances and tables were enlarged so volunteers can orient themselves quickly.  This presented a problem with the hyphenation of the dishwasher.  However, the size of the shape could not be adjusted to fit the entire word.  So we decided to compromise and allow the hyphenation.

• fulfill its purpose:  The visuals will be helpful for HARTS volunteers as they maneuver about the kitchen.  The client approved the design.

• express clarity:  Although the labels are quite colorful, by placing them on the exterior of the map, and by incorporating the distinct blue for designated spots, the interior of the map becomes the focal point.  Unfortunately, the inventory was already in place in the cabinets preventing any chunking or categorizing.  Volunteers will just have to scan the labels to locate items.  This was beyond our control.

• display professionalism:  The map moves beyond everyday representations through the use of multiple layers, simple cabinet shapes which retain similar proportions, contrasting colors, and the effective incorporation of the photo in the key.

• achieve the goal:  The map includes our color scheme and font.  Though the map serves a different purpose, the simple rectangular structures and exits retain similar qualities to those in our emergency floor plan.  It demonstrates the creative use of developing a plan for the use of a large inventory.  Its aesthetics and appeal relate to its function - the most significant factors for maps. 

 

Kitchen Directions

The kitchen directions had to fulfill chronological steps for operating a dishwasher and making coffee.  Both are intended to be posted to the wall.  Due to parish regulations, they had to retain the least amount of color, with simple directions.  April and Katie worked with the director to condense the amount of required text, although the amount of text desired still limited design options, especially with accompanying photographs.  Regardless, by color coordinating directions to specified shapes layered on the photographs, the posters are both functional and fulfill the client's requests. 

To what degree do the visuals...

• convey meaning:  visuals do convey meanings, and aid with the directions. Since specific written directions were required, the visuals could not be substituted completely for text.

• support learning:  While the visuals cannot substitute for text, they greatly enhance learning.  For instance, outlined shapes give emphasis to imperative steps.  Volunteers can easily determine the correct position for the dishwasher knob and can also connect the color-coded steps for making coffee to the visual representations.

• incorporate CARP:  First, the dishwasher's written steps are placed parallel to coordinating visual representations.  Text is left aligned for easy reading, Large visible numbers identify main steps while bullet texts reduces the complexity of each step.  The contrast of font size and color gives visibility to important information.  Repetitive red circles point to various parts of the dishwasher.  For the coffee directions, contrasting font sizes separate each distinctive step and color coding echos the shapes denoting specified locations.  Text is left aligned in an easy to read format and placed in single lines where possible.  Titles for both are in large bold fonts and steps are grouped in chronological order.  Both reflect similarities with font, placement, and color coding. It should be noted that on these directions the hue of the green had to be brightened to add contrast for better visibility with the required white background.

• fulfill their purpose:  Thinking back to our competency posters,  we were challenged to chunk things and create icons for memorization purposes.  These posters serve a different purpose.  Volunteers don't necessarily need to learn each step, they just need to be able to follow the steps in an ordered pattern.  Therefore, the simple top to bottom placement of text on the left in harmony with the shapes specifying particular points on the photographs fulfill the design needs of both the parish and the volunteers.

• express clarity:  The colors contrast but do not distract.  The numbered sequence is clear and concise.  The bold titles clearly capture the viewer's initial attention.  Fonts are large enough for posters that will be fastened to the walls.

• display professionalism:  Though simplistic in nature, these visuals incorporate color echo schemes, layering over visuals, thematic fonts and borders that give credence to a professional design.

• fulfill the goal:  Again the color and font continue to echo our theme. And the black border carries through with all posters to be hung on walls (although the border on the emergency poster is red for attention-getting purposes).  Both posters demonstrate the amount of creativity allowed by a parish with strict regulations.

The simplistic nature of the visuals do contain an aesthetic appeal and prevent cognitive overload.  They certainly are an improvement over the current instructions.  The concise directions with photographs eliminate questions that often accompany directions.  Efficiency and function define the success of our instructional posters.

Emergency Map 

The emergency contact poster's creativity was limited by two factors.  First, the director needed a plain poster with as little color as possible to meet parish guidelines.  Second, an emergency poster needs to focus on the information it wants to relate in a quick and easy-to-read format.  Also, it must convey a pattern or color that most people associate with "emergency."  Therefore, rather than create an elaborate poster with lots of design, we kept it straightforward.  

To what degree does this visual...  

• convey meaning:  The bright red and the mobile phone icon with "911" displayed on the face certainly designate the "emergency" purpose.  The accompanying text provides vital necessary information.  In addition, the HARTS logo signifies that this poster pertains to its organization, and is not related to the church or its congregation.

• support learning:  The names and phone numbers relay information. People will see the top "Emergency" visual with the bright red mobile phone face and the bold yellow emergency contact and immediately recognize its importance.

• incorporate CARP:  Contrast emerges between the bright red border and white background, the yellow "Emergency Contact" font and its gradient black background, as well as the black on white font.  Furthermore, the white "911" text on the red phone screen is visible.  All fonts are right aligned.  Though people read large amounts of text from the left to right, the right alignment allows us to keep our phone numbers aligned, and is simple enough to quickly grasp its information.  Likewise, by right aligning, the term "Call" stands directly above the phone numbers.  The red echos the borders and the face of the cell phone.  In addition, the font and colors echo our connected theme from other posters, maps, and photographs.  Here, proximity and placement were important.  The primary space used includes the top visual with text layered to denote "urgent" while the lower portion contains the necessary names and numbers.  By placing the phone at a slight downward/inward angle, viewers quickly connect it to both sets of text.  Nothing interferes in the center.  The border ties it all together within a rectangular space.

• fulfill its purpose:  The visuals meet the design needs.  First, the use of an up-to-date phone icon with the 911 logo and red gradient screen is a meaningful and popular representation for "emergency."  Second, the HARTS logo is thematic in their organization's information and is continued on the poster.

• express clarity:  The poster targets HARTS volunteers specifically.  It is not intended for church use.  By adding a logo one can understand this poster pertains to their organization.  Furthermore, we reduced the saturation and lightened the logo.  This places emphasis on the important information, does not distract, yet relays its intended purpose.

• display professionalism:  This poster does move beyond the ordinary red "emergency contact" with text.  First, the phone was an actual photograph of a cell phone.  By using the magic lasso to extract it from the picture, then applying the find edges tool in Adobe Photoshop, along with inserting a gradient red screen and applying the "911" white font, a more modern symbol for "emergency" was created.  In a day and age when people are terminating the use of corded phones, this up-to-date version can be recognized by young and old.  Then the HARTS logo had to be edited.  Also, the increased font size of both the "E" and "C" beginning "Emergency Contact" give emphasis to the visual.  Last, the subdued use of gradient in both the phone and black background give simple texture to the poster.  While the director specified a white background,  creative hints surface and the poster was accepted for use.

• demonstrate creativity:  The poster follows the thematic approach of our other designs.  Its colors of red and yellow coordinate, along with the fonts.  The major difference of this visual is the application of the HARTS logo.  This choice was made because it is the only visual designed specifically for HARTS.  Our other visuals maintain dual roles - for church use and volunteers of HARTS.

• fulfill its goal:  This visual is quite appropriate for its "emergency"connotation.  It gives emphasis in the correct places and the modern icon gives it an aesthetics appeal.  

   

   

  
  

Before and After HARTS posters

Before

After
This is the emergency contact poster that I specifically worked on for our HARTS project.  The icon of the before poster was supposed to represent an emergency push button.  My first attempt (located in the color section of my blog) looked like a sun.  This one looks like a knob.  Therefore, I decided to eliminate the button idea and create a phone instead.  I cutout an actual cell phone photo in Adobe Photoshop, applied a filter to find the edges, adjusted the hue, and then used the rectangular tool to apply a color style creating a screen.  Next, I applied the text "911".  Then I used color echo from the screen to create my border.  Next, I changed the font to coordinate with our theme, and right aligned the text so that the phone numbers would align for easier viewing.  Last, I added the HARTS logo, reduced its color saturation, and lightened it.  This completed my alterations to my after project.

Clarity
The message of this work is simple:  emergency.  The color red, the cell phone with "911" and the bold fonts and phone numbers work together to present a clear message.  Additionally, by allowing the phone to slightly drop at an angle beyond the initial background, your eye flows to the next set of text which is the information.  The HARTS logo is visible, but not distracting.


Audience
The target audience for this work is the volunteers at HARTS and anyone that may be participating or staying at the church.  I did not have direct contact with the director or church representatives.  My partners, Katie and April, conducted this project for another class.  Therefore, I worked under their directions.  I kept the poster as plain and white as possible, according to parish guidelines.  I believe this fits the typical emergency poster and is not misleading.  Therefore, the visuals, along with names and phone numbers set the correct tone, concept, and should evoke an appropriate response. 

Purpose
This poster serves an informative purpose. The client has approved its format and design.

                        











Before

After

This is the map that I designed for our HARTS project.  It was created in Adobe Photoshop by grouping various rectangular shapes together.  Then I created icons, defined in a separate key, which I placed at the designated spots from a guide that I worked from.  By saturating emergency symbols with a red hue, it contrasts for quick viewing.  In addition, I layered the map over a somewhat transparent Google Earth image for directional comprehension.  I coordinated the fonts and used color echo to keep with our thematic colors for our HARTS project.  I think the best addition to the after poster is the Google Earth photograph.  It is both informative and interesting.

Clarity 

While the main focus of this site plan serves emergency purposes, it also informs volunteers about entrances, restroom facilities, parking and trash take-out.  By using the bright red, the emergency symbols certainly draw attention.  Hopefully, the subdued green parking arrows and trash bin do not disappear on the map.  On the other hand, they should not distract from the emergency locations. I do not see how this map could be simplified more.  Simple was the key to our project due to parish preferences.

Audience

This map will be placed online and in a handbook for HARTS volunteers.  The icons, labels, and easy-to-follow floor plan should be sufficient for most audiences.   I realize in a true emergency, few people will stop and respond to a map.  It probably is more valuable for fire code and insurance purposes.  However, it also gives valuable parking and street information for new volunteers that may be unfamiliar with this church.  Again, I think the real life background sets this map apart from traditional floor plan sites.

Purpose

Again, this map is meant for informative purposes.  It conveys the locations of emergency exits, extinguishers, and alarms while giving additional info about parking, trash, and restroom facilities. According to my group members, the director was pleased with the map. The only thing that I may have changed was the lines denoting the each of the doors.  However, these were on the guide given to me, and I included them in case they were necessary for inspections.  I also tried reducing the key, but then it becomes to hard to read.  Overall, I was happy with the design.

Color Working With HARTS

For the H.A.R.T.'s project, the instructional design team needed a basic emergency contact poster. For both posters I created an icon that represents an emergency button.  For the poster on the left, I chose analogous colors, red, yellow, and orange.  The heaviest emphasis was placed on the red, which I fully saturated.  Rather than have a pure yellow in the background, I reduced the saturation giving greater contrast between the icon, text, and background.  Then, I allowed the border to retain the fully saturated red, again to add contrast.  Though it does not have a lot of graphics or design, its simple components give clear access to necessary information.

The poster on the right is much more subdued.  This poster contained red, analogous yellow, and complementary green.  For the circle icon, I included a sunburst style and then adjusted the hue.  I also added an embossed texture to outline the green rectangular background.  Finally, following the idea of a monochromatic variation, I drastically reduced the saturation of the circular icon and the background.  This places emphasis on the purely saturated red "Emergency Contact," as well as the contact information.  While the poster on the right certainly is not as bright, and does not grab you attention as quickly, it may suffice depending on the wall color.  It also fulfills the weekly color assignment.

Evaluating Components:  Connotation, Attributes, and Placement

Left poster (red on yellow):  Red has long been a color theme for emergency symbols, i.e. the Red Cross, emergency exits, stop signs, etc.  So red definitely works to gain attention.  The red circle behind the font is intended to appear as a button.  It does; however, it may also distract somewhat from the emergency title which should be the primary focus.  In addition, the red border could be lightened to further enhance the focal point. The fonts are simple and large enough to read.  The placement is my largest concern.  I experimented by first aligning the button to the left of the emergency text, and then ultimately decided to place the text on top of the button emphasizing a single focal point.  Of course, the black text underneath the icon is equally important.  Again, it is in a simple and easy-to-read font.  The yellow background box is not completely centered.  Additionally, although I chose a lighter shade of yellow, it still does not contrast enough with the yellow font.  It might have been wise to change the yellow font to bright orange.  Then, I could have still fulfilled the color component assignment and the "emergency contact" would appear much bolder.

Right poster (monochromatic variation).  First, I created this poster as part of the assignment.  While the church members may prefer a more subdued poster, it does not fit the theme of an emergency contact. The circular icon has lost its "button" appearance and looks more like a circle with a gradient fill, which it is.  Secondly, the rectangular backgrounds look more like mattes for photographs found in a scrapbook, than a poster on a wall that is supposed to quickly capture your attention. Again, the emergency contact and name fonts are easy to read and large enough for a wall. I realize I forgot to add a space between the "Call" and the names.  Maybe, the emergency contact could have been increased in size for better emphasis.  Overall, I don't think it is a good representation of what is needed.  However, like I said prior, it completes the second color assignment and offers the church a more subdued poster choice.

Clarity, Audience, & Purpose

Both of these designs are actually the "before" products for my HARTS visual.  Therefore, since I do not consider them finalized, please refer to my HARTS emergency contact visual for my responses.

Special Topics Presentation

Above are just a few screengrabs from our Visual Literacy Special Topics Presentation. We created an interactive kiosk viewing with PowerPoint and 5 hands-on boxes that incorporated our theme of visuals versus written reports in relation to war.  Rather than rearrange the news articles, we retained a similar placement and font to provide viewers with the most authentic experience.  In other words, we tried to make articles appear as though we had cut them out and placed them on the side of the box.  Secondly, on some pages we included a collage of pictures, while others were of a single visual.  By creating a connected layout, with colors (red and black), and a similar frame (appearance of burnt paper), we created a basic theme that gives emphasis to the emotion of war.  We repeated the colors and layout on each of the five boxes, as well as the PowerPoint visual.

Evaluating Components: Connotation, Attributes, and Placement

Certainly the color choice of red and black signify war.  Our largest challenge was the amount of text that was required for our demonstration.  Additionally, the arrows at the bottom were sometimes overlooked by viewers.  The initial arrow may have been created slightly larger to gain viewers' attentions.   I like our theme and the background of burnt paper allows viewers to easily read the text and see the pictures.  Of course, the screengrabs do not justify the three-dimensional boxes, but the font was large enough to read since viewers held the boxes in their hands.  However there is a chart (not shown) on one particular box that may appear somewhat small.

Placement also presented challenges, as did cropping.  In presenting the overview of a journalist, we realized that cropping, editing photos, and even adjusting brightness may alter the theme or intentions of the original photographer.  Therefore, rather than over edit, we tried to simply arrange the visuals.  In the boxes, all text was formatted like that in newpapers (left).  This makes it easier to read, especially with considerable amounts of text.  I think our challenges were less about placement and attributes, and more about how much is too much information.  How many disturbing visuals create a presentation that is too emotional heavy?  On the other hand, do we cover the truth?  In this particular assignment,  our toughest challenge was to balance effective photographs with effective text.

Conceptual Framework Poster

Our poster demonstrates the eleven competencies of professional educators here at JMU.  Our first challenge involved creating meaningful icons.  We looked for components that best represented each competency.  By using Photoshop, we took simple designs and contrasted them with black and white for emphasis.  Then we decided to place them in cogs that shows the connectedness of each competency and its importance to teaching.  Next came placement.  We liked the random alignment that gives the perception that they are working together. Of course, we chose JMU's colors since the poster will be used on campus for students.  After placement of our cogs, we worked to summarize each concept.  At first, we tried making the key words white and the other text gold; however this was too stark and took away from the white icons. By taking the gold text, and giving it a brighter saturation of yellow, and then enlarging key words, we gave emphasis to the main point of each competency.   

Our toughest challenge was determining an effective chunking method to enable quick memorization.  After much experimentation and debate, we decided to add a grid image background (hard to see on the screen grab) and create two black lines to act as dividers.  We left the competencies in their original numerical order.  Though each competency and icon are not categorized they are divided into three separate groups:  4 on top, 4 in the middle, and 3 below with the idea that if you learn several at one time, then you can add additional groups.  Finally, we stretched our title "Professional Educators Demonstrate," which also preludes each competency, across the top of the poster.  We tried echoing the exact color of the cogs and the bottom frame with the title, but the title was too dark.  Therefore, we re-created our title with a lighter shade of the purple and added a white shadow.  This definitely allowed the title to become more legible.  Overall, the poster process entails a lot of pre-planning and layout work.  

Evaluating Components:  Connotation, Attributes, and Placement

Our strengths of the poster include the cogs, simplistic white on black icons, and our highlighted font, in a larger size. These connect the teaching competency theme. I like how we incorporated two varying sizes, and color-connected font giving emphasis to the highlighted text.   With that said, the fonts are probably too small to be read from a great distance.  Additionally, our colors could have been adjusted.  For instance, a lighter purple would have added more contrast between the cogs and the background. Of course, we chose the JMU purple and gold to represent the school.  Maybe we should have opted for blue cogs and white font to represent the education department's colors which also may have created a better contrast.  Moreover the thickness of our dividing horizontal black lines, intended to separate the cogs, may not effectively demonstrate our concept or generate effective chunking for memorization of skills.    The cogs and smaller text certainly play supporting roles while the icons and highlighted text are central.  Overall, I think a few color and placement adjustments may improve our poster.

Business Card

I created this business card in Adobe Photoshop Elements.  It incorporates three basic shapes:  an elongated leaf (two, linking), a rectangular shape that formats the business logo, and a frame.  By adding various color schemes and styles to the shapes, as well as echo, a harmonizing business card emerges.  Additionally, I aligned the objects off-center, allowing them to flow beyond the margins.  Hopefully, the theme represents the logo.

Modifying Shapes in Adobe Photoshop

Before and After.  Here a  shape suddenly becomes a cluster of flowers by simple placement of specific colors and shapes that give meaning to the visual.  By using the elliptical tool, I created a yellow center, and the paint bucket filled the blue background.  By creating the yellow center, there is the concept/illusion that an additional "circle" layer was added. Additionally, by changing the hues, saturation, and adding a gradient to the centers, it increases interest.  Overlapping various sizes of the same flower shape also create dimension.  Also, by saving them as a "GIF" image, the background remains transparent.

Evaluating Components:  Connotation, Attributes, Placement

All of the flower shapes reflect similar shapes and are connected with color echo.  However, increased interest may have been formed if I lightened or adjusted the hue just slightly in one of the blue flowers. In a GIF image, there is no backdrop. However, the front small flower could have been slightly shifted to the right so that all three flowers did not appear to be aligned in a diagonal.

Before and After:  I added a striped style selection to the music notes shape and then used color echo to create bars.  These two simple techniques adds fun to the shape. It also would make music lessons a lot more colorful and fun!

Evaluating Components:  Connotation, Attributes, Placement

Here the texture in the notes is contrasted with a music score developed using color echo.  I like the effect. Though by adjusting the lightness/darkness of the music bars I may have generated increased contrasts and interest allowing the music notes, or starring components, to contrast even more.  Of course, in this graphic, the notes had to be aligned properly with the bars in order to create a realistic theme.  Additionally, I might have slightly enlarged the music notes to add more emphasis.


Before and After: The scissors have different filters applied that increase their texture.  First, I applied the ocean ripple that gives the rough appearance to the scissors.  Next, by using the lens flare the scissors reflect varying light and dark patterns which gives the illusion of dimension.  Of course, after I uploaded the scissors, I realize they almost look "fuzzy."  I was hoping for a more metallic appearance.  Again, I saved the scissors as a "GIF" to eliminate the background.

Evaluating Components:  Connotation, Attributes, Placement

Here the green does not necessarily connect to any particular theme.  Maybe a silver or light blue would have promoted a more metallic look. With a single element in a GIF file, it is hard to critique the backdrop or layout since other comparable composition factors are missing.  Likewise, placement cannot be determined until it is placed into another graphic.  It might be interesting to skew or add perspective to the scissors though.  This might enhance the three dimensional effect.

 

This light bulb shape was actually fun to make.  By placing the shape layer over the candy photograph, using the magnetic lasso, and selecting and deleting the inverse, the shape remains with remnants of the candy picture.  Of course, since the shape had various parts, this process had to be repeated several times.  After I finished generating the light bulb, I placed it on a patterned background.  The background included two darker hues of red to echo the red in the lightbulb. 

Evaluating Components:  Connotation, Attributes, Placement

First, I am not sure that the candy design relates to the light bulb shape.  With that being said, without the before shot, it would be hard to tell that the light bulb was created from candy. Maybe candy with yellow variations would have been more interesting.  In addition, I attempted to place my the graphic in the left corner; however I think that its placement in the center would have made more sense in this particular instance.

Gestalt Principles

 According to Gestalt, we interpret visuals based on proximity, similarity, unity, and meaning. Closure is created with hexagons, although by placing them in adjacent rows with points touching, one might perceive that diamonds were placed between the rows.  In fact, had I not accidentally left a slight space between several of the hexagons, it might be hard to detect if I actually linked diamonds or hexagons in the pattern.

Evaluating Components:  Connotation, Attributes, Placement

Here, the black and white were predefined so no color critique is necessary.  Regardless, a few adjustments could improve the visual.  For instance, some of the hexagons have small white spaces between them while others have no visible white space.  Additionally, the placement does not really make a statement.  It would have been more interesting to increase the sizes of the hexagons, have fewer hexagons, and allow them to flow beyond the margins. That way, they could provide a supporting role as a backdrop for a single colorful graphic.



Proximity demonstrates teardrops grouped together, differing only in size, rotation, and placement.  In this picture, I decided to create a black background with white shapes for added emphasis.  The repetition of the shapes provide greater interest than if I had created just one group.

Evaluating Components: Connotation, Attributes, Placement

Out of all my visuals, I like this one the best.  First, the white on black offers  pleasing aesthetics.  I also like the placement of the vertical elements with a smaller font size.  It may be more interesting to rotate the horizontal group,  shift them to just to the right, adjacent but slightly lower than the smallest group. Then significantly increase the size of the left group to create a greater contrast in the layout.  Although we were directed to use only black and white, by adding a bright color to one single drop in each group, the poster could spark even more interest.

 

Similarity defines shapes grouped according to likeness.  This time, I decided to align three dimensional shapes, and I chose to reverse the colors of the cubes from the cylinders.  Again, even though there are equal numbers in each group, and sizes are similar, their alternating placement and pattern provides a simple, but effective visual.

Evaluating Components: Connotation, Attributes, Placement

Here each shape retains a three-dimensional theme.  I like how the two different shapes appear as opposites by simply reversing outlines and fill colors.  However, it almost seems too busy.  By choosing a two-dimensional circle and rectangle, while still incorporating the reversal of black and white, the message would be much clearer and simpler.  Furthermore, the spacing between the shapes does not appear proportional.  For example, the last cylindrical shape on each row appears slightly farther apart than the rest.  By moving them to the left, a more uniform composition could be obtained.

Continuity occurs by creating star shapes and lines to emphasize an ongoing visual.  By varying the size of the shapes and placing the smaller shape higher on the page, and arranging the stars with the largest in the front, the medium in the middle, and the smaller to the back the stars give the concept of hanging from a string with just four lines also ordered and placed accordingly.  Again, by placing white objects on a black background, and repeating the star shapes, a three dimensional object begins to appear.

Evaluating Components:  Connotation, Attributes, Placement

The alignment of the stars in relation to the straight lines give an illusion of ongoing draped ornaments.  All of the elements seem to be working together with visual weights, especially the varying sizes aligned in proper proportions. While the line is the appropriate size, it could have been attached to the top points of the stars, to place greater emphasis on hanging stars rather than just stars strung together.  Of course, the stars are the "stars" while the lines "support."  However, the placement of the lines is key to creating perception and depth.  Should the stars have been rotated in slightly various angles?  I am not sure, but that might have also displayed a more dangling effect.

Alignment

Alignment:  Here, the assignment dictated that I align and format a poster that replicated a particular layout and composition from our class text. The layout of the content text, as well as the introductory text above the heading, is left aligned.  However, the heading and bottom right logo are both justified.  Additionally though the fonts and sizes of fonts differ, they are all constrained within the same vertical layout of the page.
Graphics: After placement of text on the page, I created a graphic with repetitive panels from a photo that I downloaded from stockvault.net and altered in Adobe Photoshop CS5.  Then, I aligned it along the left side of the page.
Color Echo:  Not only did I incorporate backgrounds in the graphics that apply the colors from the shoe tongue layers, but I also used these same colors in the text. Finally, once complete, I took a screen grab and saved it as a JPEG to upload to my blog.

Emphasis: before and after

After: above; Before: left.
Emphasis:  I saturated the banana with purple, the compliment of yellow to give emphasis to a single banana on the clump.  Then, I added some patterns to add further excitement, rather than change the size or shape.
Harmony:  Next, I cutout the bananas and inserted them onto a background of similar patterns and colors to add harmony to the picture.  Not that it was needed, but I thought it created a more interesting still life.

Harmony with Visual Echos of Color

After I finally decided on a topic, this assignment became fun.  Hopefully, the concept of learning "how to draw" a cake is clear.
The Concept:  First, I found an actual photo of a cake that I cropped with the magic lasso tool.  Then, I proceeded with step-by-step directions. The steps flow in logical numbered order from left to right.  Since black is a dominant color that many associate with writing, I created the numbers, typography, and the specific parts to draw per step in black.  Once a step was completed, I converted "already drawn" parts to white to differentiate between steps.  While this might not make sense upon first glance, as one works their way through the steps it should become apparent.
Color Echo:  Rather than divide the poster in six equal parts, I aligned three smaller boxes in the top row, remembering the pleasing visual of a 62:38, or uneven, split. I also divided these steps with light pink (beads), pink, green, and orange boxes that reflect the identical colors of the cake photo. The visual echo of color gives a harmonious effect to the entire design.  Next, I used slightly brighter colors to fill in the final cake to generate excitement about the completed design. 
Placement:  Finally, the flowers, again drawing on the orange, are just a playful effect to complement the "fun" theme. However, I did place the flowers purposefully so that your eye naturally follows from box to box connecting the content.

Fun with Adobe Warp Tool

Before:  Above is the original photo that I downloaded from Stockvault.  I thought it was an interesting photo that drew your eye directly down the center of the shot.  However, the horizon line is low enough that it works.

After:  Here is the photo that I warped the column.  Initially, after I warped the column lots of transparent space existed in the areas previously occupied by the column.  Therefore, I also had to clone stamp.  The fence is still a little uneven, but overall, it works.  I don't know if it adds to the photo, but it was fun to experiment.

The "After" Version

Cropping:  I took Janet's advice and removed the 100% from the bottom of the left column.  I also cropped the screen grab and removed the word "detail," as well as cropping out the magnifying glass.  This definitely simplifies the left side which previously contributed to cognitive overload. 
Color Choices and Echo:  Additionally, I altered the color by adjusting the gradient colors. Now, the darker color covers a larger portion of the lower left portion providing a stark contrast with the multi-colored flowers and giving more dimension to the "Life is" font.  Most importantly, by switching the placement of the yellow and orange, the yellow now gives the perception of sunlight that flows in a similar diagonal direction with proximity to the watering can and the colored ribbons (which by the way, match the colors of the flowers). 
"Overflowing:"  Now, I know this may alter the two terms that I used to describe myself.  However, I decided that "stretched but fulfilled" could be clustered together to generate "overflowing."  And overflowing can denote a positive or negative personality trait, depending on the day and situation.  I do think this improves my poster.  I always appreciate critiques and advice.

Grouping "Me" Poster

Here is my poster.  Of course, I do not want to explain what it is about, until after our class discussion.  Tools for Design:  However, I did incorporate various programs to develop my poster.  I drew the stick figure (supposed to look a little like me, lol), created the flowers, and edited the flowering can clip in Adobe Elements.  Then I created a Wordle and took a screen grab.  Finally, I put everything together in PowerPoint.
Grouping:   I tried to follow some of the grouping ideas, especially those concerning placement and I applied contrasting and complementary colors for interest.  I also thought about the 62:38 ration and left the top right portion less detailed and open.  Again, I will follow my post with details about why I chose specific placement, after our next class period.

Grouping Shapes

I included two "Unity" designs, simply because I could not decide which seemed most effective.  Components:  The square-framed shapes both retain similar properties, with beveled frames and gradient lighting.  By varying the sizes and alignment, interest increases.  I also thought about the 62:38 ratio and placement of the shapes.  Like a cluster of picture frames hanging on a wall, I wanted to project unity without necessary sameness.
Themes:  Green is supposed to be calming so I chose it to reflect how life is in harmony when we are united.  I liked the vertical placements on the green background.  However, the park-like setting, faded through the transparency function, also suggests one of those camera-ready moments worth photographing to place in a frame.  This time, the frames did not flow well in a vertical placement, so I simply adjusted a few until I created a unique flow without straight lines. In addition, I incorporated "Unity" into the design hoping it would blend.  It also gives the design an odd number of objects that is more pleasing.

Saturation:  I chose the bright rainbow background, using the gradient tool, to generate an exciting environment.  Then I added the star shapes projecting from the center. 
Placement:  I purposely began this project in the center, to experiment with breaking the rules.  In addition, the background tended to draw one's eye to the center.  The stars in the center are smaller, with softer edges and slightly transparent.  As I placed larger stars in the forefront, I increased their sizes and sharpened the edges.  I decided to add the glow/blur effect and rotated the stars in differing directions in hopes that they might give viewers the perception of twirling or dancing.  I still tried to retain the 62:38 ration.  Again, I placed "Celebration" in a fun font with a glow and reflection effect among the stars.  Hopefully, the stars and saturation of color emit fun and happiness.

Nothing like going from the life of the party to being left out of the party! 
Concept:  I chose brackets because when paired, they demonstrate enclosed space; however, unpaired they lose their usefulness. 
Color/Hue/Contrast:  The paired brackets are joined by color (two pairs of complementary colors) and face each other while the two isolated brackets are of differing colors (still complementary) floating in darkness for emphasis.  Again, I used the gradient tool for the background with white and black dividing the space, white for paired, darker shadows for the unpaired. 
3D Design:  I like the bevel and 3D design effects because it adds depth and allows the brackets to appear to be self-standing.  I also added a slight shadow and aligned a larger group and then smaller group of brackets in a diagonal line similar to the title and gradient background. 
Placement:  The title adds to the effect of loneliness.  I purposely spaced the simple-font letters randomly, not uniform, and placed it as a divider between the paired and unpaired brackets.  While I certainly would not have this dreary poster enlarged and framed, I think it evokes "Isolation."

The black backdrop against the receding, progressively placed smaller circles attached on the right, portrays the inside of a tunnel. 
Size, Placement, Hue:  As each beveled circle becomes slight smaller, it also becomes thinner and a little lighter to add depth and perspective.  I purposely placed the largest circle along the border to draw the viewer into the scene.  This time, I let the title become the focal point of the picture.  I beveled the title, added a slight curve, and italicized the font to try and demonstrate movement.  While this picture does not abide by the 62:38 ratio, it does allow for empty space.  I still have not decided whether "Escape" is moving towards the viewer or away from the viewer, yet it does give the concept of a 3D effect.  Maybe the viewer can interpret this.

Components:   I define these shapes as the Pac-Man things.  Out of all my pictures, this took the longest and required a lot of experimentation with the bevel, 3D rotations, and shadows to create the effect that I desired. 
Placement of Shadows:  I wanted the shadow of the large, dark purple Pac-Man shape to loom over the pastel, smaller versions.  Shadows can create a lot of intimidating effects.  I tried to place the smaller shapes in precarious upright positions and then slanted the dark purple shape to hover over the others. The purposeful placement of the large opened Pac-Man shape ready to gobble the small Pac-Mans, in addition to their openings pointing upwards, hopefully produces the concept of fear. 
Color:  I experimented with different backgrounds, and even considered leaving the background white ( I prefer backgrounds of color.  It probably stems from my mother preaching to me about how white walls are clean and make rooms look more spacious.  That is why you won't find a white wall in my house! LOL!).  Anyway, I settled for grey simply because it showed the looming shadow best. Additionally, I blended "Intimidation" into the foreground knowing the large evil "Pac-Man" shape needed little explanation.  I still think the colors are a little blah, but I like the size, placement, and shadow effects. 
Repetition and Proximity:  In conclusion, the contrast between dark and pastel and big and small, the purposeful alignment of the open area of the smaller shapes in repeated positions, along with the proximity of the small shapes to the larger shape produces an abstract idea of intimidation. 

This was a fun, controlled picture to create. 
Composition:  By using complementary colors, I created my 3D pyramid of triangles.  Again, I added a slight bevel to add to the dimensions.  Then I offset the wobbling "Logic" with a counterweight.  I formatted the background with a patterned grid effect that resembles graph paper. 
Placement:  This became my toughest choice.  I followed through with the 62:38 ratio.  Since the "logic" side of the balance leans slightly left, I considered placing the picture to the right of the slide, knowing that the scales tip inward.  On the other hand, the "logic" side stands taller leading your eyes to the tipping yellow triangle.  Therefore, after sliding the graphic around, I decided to place both pictures on my blog and let you decide which composition works best.

Emphasis with Saturated Color:  I chose to highlight and emphasize the actual title "Anarchy," rather than the shapes.  By creating a fractured font, saturated in red, yellow, and orange against a contrasting black background, the word definitely becomes the focal point of the picture.  Again, I added bevel effects for dimension and also inserted a reflection.  Hopefully, these choices add the perception of fire. 
Repetition and Placement:  Then, I used repeated arrows, rotated in various directions, to produce a chaotic form.  Rather than fill the entire picture with arrows, I grouped them in close proximity to the beginning of the title.  Then, I generated their dimensions through the 3D rotational effects.   I chose o fill them with a gradient black/white coloring effect to portray that no conflict is black or white - two sides always exist, each with their own story to tell.  This was quite simple to create, but overall, I like its interpretation.