PDS | Week 6 | Logo Idea

For the midterm/logo project, I wanted to redesign a pre-existing logo. I searched through my laptop and phone trying to find a company I already know. I found the company christianaudio. Their site “offers more than 7,500 audiobooks, lectures, interviews and more from over 55 Christian publishers, ministries and organizations. Many ministries provide exclusive or free content on christianaudio.com that is not available anywhere else.” But their logo looks likes this:

The green leaf doesn’t accurately represent their company. If you just saw the green leaf – like on their app – then its easy to think it belongs to a different company.

The green leaf reminds me (and a few of my classmates) of ancestry.com, other genealogy companies, or environmental companies. I can understand a bit of why they might’ve picked the leaf in the first place. Their mission statement includes: “The mission of christianaudio.com is to be one of the most trusted places on the Internet for the refreshment and growth of the soul.” They use the word growth. Leaves have become a well-known symbol for growth and/or new life, and nature is easily paired with refreshment. However, for this company, I had to look up their mission statement to understand the logo. I think a redesign would help potential customers understand faster who the company is when looking at the just the logo.

The current idea I am entertaining is keeping the same green color and using symbols people would associate with audiobooks (whether just “audio” or “books” or the combined word “audiobooks”) and infusing that with a Christian aspect. I’d like to specifically work with christianaudio’s categories of audiobooks as my three variations. The three I want to work with are: Business and Finances; Family and Relationships; and Womens Interest.


PDS | Week 5 | Typography

I thought back to typewriters and old printing presses for this assignment. I decided I wanted to have each of my letters encased in a rectangle. I also wanted to add some sort of “flourish”. I drew out the first few letters of the alphabet, then drew out what I wanted my letters and word to look like. I also included the vertex point to help me visualize how many I would need and where they would be relative to the others around it.

First, I made a grid with Professor Rune’s Easygrid. I first worked on the A in Module 3. Then, I moved it over to Module 4. I just worked on the basic letter outline – no rectangle or “flourish” yet. With each letter, I made ellipses at all the vertices so I could visualize better.


I then started working on the C.


I finished with the R.


I added the flourish next. I made a line that lerps from the left top side of the letter to the right top side of the letter. Each of these lines ends at the height of the module. Then I added the rectangle that encased everything. As I did with the last project, I made the grid scalable to any size canvas.




PDS | Week 5 | Brockmann Poster with EasyGrid

I had to recreate my Brockmann Poster code using the EasyGrid js library designed by Professor Rune Madsen. The grid helped me visualize where I wanted everything to go and estimate out the measurements. First, I put the colored background rectangles in with the grid. I couldn’t get the preliminary square I was using for positioning to align with the first (upper left) module.

Through email, Professor Rune said that I need to use the grid.STATE.rows, not the modules option in order to make the rectangles “fit” inside the grid I had made with his library. With the above picture, the code was only grabbing the last mod made, not the first and not all of them. Now I just had to put the blocks “inside” the modules I had created with the grid. I thought this would be simple, but it took me a while to figure out how to correctly code it. I had to actually draw out a sketch to map out measurements. I also referred to the original poster many times.

First, I started with a for loop. I had my original grid layout of the three rows and two columns with a gutter that I used as a base grid. The squares didn’t quite “fit” the modules, but that was in part because I was trying to stay “inside” the module, not directly on top of it. Then I decided to just to the right side of the grid of where I’d be placing the blocks (illustrating the words’ positions on the original Brockmann poster).


I then tried to pick out specific modules to have the blocks attach to. This took me a long time to figure out. I kept getting error messages that the editor couldn’t read a value and others. Finally, I decided to hardcode each block inside the for loop. I just made a new variable six times (for the six blocks) and made the for loop individually grab each mod so I could manipulate its positioning. Then I was able to shrink the blocks down and started to position them against the gutter and edges. Once I got the first block positioned, I was able to copy and paste the code six more times (block 4 has two rectangles while the rest only have one) and just change the numbers for the specific module.


Once I had all my blocks correctly placed, I went through my code and cleaned it up. While doing this, I found that my grid was too hardcoded to the current canvas size, so I worked on making it applicable to any canvas size.


After that, I manipulated the color scheme a bit. I decided to make this slightly more hardcoded as I wanted colors closer to the original poster, but still unique. I gave my starting hue and starting lightness and overall saturation fixed numbers. My change hue and change lightness values were smaller than the previous versions.

Here are the original poster, my final look, and the final in different canvas sizes. I decided to do filled in blocks as opposed to just the outline I chose in the previous version. I like this look better.




PDS | Week 4 | Brockmann Poster

I started this piece by separating my canvas into thirds – visually and in the code. I made my three separate colored rectangles using a variable where I had cut the height into thirds. This proved making the rest of my code slightly more difficult. I then edited the background colors and rectangles to be in for loops. I made rectangles where the text would be on the original Josef Müller-Brockmann poster. I only used stroke. Placing these took some math and guessing on my part. I had to calculate based on the variables I had made in regard to width and height. I went back and forth between fractions and decimals – whichever made understanding the proportions easier to me. It took me a bit to get the first couple of rectangles, but I slowly got the hang of it. I’m wondering if these rectangles would’ve been easier or harder in a couple of for loops – one for the left side and one for the right. I think the code works relatively well with being applicable to any size canvas. I think there may be a few small discrepancies if the canvas size is too small or too big. There is a slight issue with the color scheme. Sometimes, it works well and gives three distinct colors. Other times, it seems like it picked the same hue, saturation, and lightness. Sometimes these same/similar rectangles are next to each other. Maybe I didn’t make the variation big enough?


DSFA | Week 3 | Assignment 1

I didn’t realize before this class just how meticulous digital sculpting is. If you mess up one thing, it could cause an entire project redo. This project taught me persistence and time management.

My presentation linked below goes through my process of creation and bumps along the way. I like to draw out what I’m digitally making, so there are many of my own sketches included. I’ve also included my mandala video below as it won’t run in the pdf presentation

presentation  |   mandala

Once I got the hang of Maya and the basics of the workflow and the tools, progress came faster.

I also realized the importance of accurate headshots. If these are even a little off, things become tricky. The photos also showed me how I hold my head and a few asymmetries in my face. That was interesting to see.

 this is the skull based off of my headshots


PDS | Week 3 | Martian Book Cover

For this project, I wanted to have it from the astronaut’s point of view. Therefore, I have part of his helmet ( a beginShape() with a quadraticVertex() ) fringing the top and bottom of the design. Then I wanted Mars to be seen, as he’s stranded on Mars, so I made the ellipse to be Mars. I didn’t want it to be just a flat ellipse, so I added some “depth” by putting some craters on the planet (random ellipses with edge boundaries). I did a little research into what can be seen from Mars and saw that Earth and a few other objects can be seen from Mars. In my code, then, I put three ellipses a little off center and in a slight curve – which I saw in some of the photos I saw. The background is black because of space, and stars, as there are lots of stars dotting our solar system. The stars are tiny ellipses (with a width and height of 2).

The Mars ellipse, the Earth and others ellipses, and Mars’ craters are all color changing. They each have a color range set. The stars and craters are in a for loop.

I decided that I wanted a code that could output virtually the same image regardless of the canvas size. For this, I made almost all widths and heights related to those variables, adding a multiplication or division to position the certain object. I think the only issue with this is the craters – their sizes are actual numbers.

I crudely drew it out to visually see what I wanted to do:

Sketches in the p5 editor:


DSFA | Week 3 | Readings

Dreamworks | Apollo (+Autodesk +Behance) — Class 1

I read the “DreamWorks Animation unveils Apollo” article. This seems like a really cool software to animate in. It also sounds like it works on a visual animation process instead of “archaic methods, like numeric keypads, curves and graphs.” That seems more intuitive for animators. The statistics on what kind of space is needed for animated films were impressive. I liked that Dreamworks pulled in a DoP to help figure out more accurate and sophisticated lighting. That conveys Dreamworks’ attention to detail.

With Autodesk, I made an account a few years ago and used some of their products before (like TinkerCAD) in other IMA classes.

With Behance, I made an account a couple of months ago. I mainly use it to showcase my photography.


Ron Mueck: The Most Realistic Sculptures (I,II,III) — Class 2

It was interesting to see an artist work on a life-size (or larger than life size) scale. Since our pieces in this class are digital, size relative to us in the physical world isn’t really a huge factor (now if we were to print these items, then yes). His ability to draw and sketch – meticulously and not – allow him to create these works of art. If I was to hone in on my drawing skills a bit more, I could probably better visualize what I want my digital pieces to look like, therefore having a great model to work off of instead of trying to keep that one image in my head the entire time I’m working on a project.


Abandoned Street Sculpting (+Behance Activity) — Class 3

It was really neat to see a model of what we work within Maya to be physically sculpted and put out on the streets. There is a certain aesthetic to working in polygons and low-poly designs. I enjoyed seeing a juxtaposition of the physical sculpture and paint (as with the Santa Europa design). The Pressure 1.0 project had a video accompanying it. This video actually showed the artist connecting the sculpture’s pieces together. This allowed me to see someone physically making what I can digitally make in Maya. The CCTV project was interesting as it was less invasive while also being more invasive. It was on a much smaller scale, allowing for it to be put in several locations closer to human interaction. This makes it a little more invasive than the others because it was so close to humans and their everyday errands (like the ATM).

I like scrolling through my Behance feed to not only see the amazing artwork being produced but to also gain inspiration for current works in progress and future works. I really liked Wired’s Logo (https://www.behance.net/gallery/60068713/WIRED-100th-issue-masthead-logo). It’s 3D, but, as they say, not permanent. I don’t know if this kind of look (strong pushing against mesh-like material) is something I’ll be able to implement in this class, but it definitely is something I want to try at some point.


LegacyEffects  — Class 4

I looked at the 3D Modeling – Visualization, 3D Scanning – Life Casting, Maquettes – Collectibles, and Concept Design – Development. For the 3D Modeling section, my favorite was the Mog Makeup on Brian. Not only did they design an amazing alien head, but they then cast it onto Brian’s head to see scaling and possible sizing for a physical copy. The textures and lines were so detailed. For the 3D Scanning – Life Casting, it was great to see a physical object that looks like our digital projects (the masks on the wall). I think it’d be interesting to try using the technology they have for importing the foundational photos/reference images. They look a lot more accurate and sophisticated. I liked looking at the Maquettes – Collectibles tab, too. I can definitely picture using Maya and Mudbox to digitally create those items. Seeing a lot of the physical objects of things we can create digitally has me wondering how I can make a physical copy of my digital creations. Is it just a 3D printer or is it more?  The first photo of the Concept Design – Development section is stunning. It is the lizard man from The Amazing Spider Man. The detail, lighting, and texture, all make this piece fantastic.


Normal vs Displacement Mapping — Class 4

I learned a lot from this reading. The different types of mapping were great to look through and actually see the difference between each one. It’s innovative that game graphics can look so detailed when they aren’t actually. Reading through the different kinds of mapping, I am still a bit confused as to why/when a designer would use tangent mapping. I understand the world mapping, and I figure object mapping is somewhere in the middle. I also enjoyed the different visuals of the cube to illustrate different mapping types.


Understanding Retopology — Class 4

I wasn’t able to view this.


Retopology by Mudbox (Intro Video) — Class 4

I watched the introduction video to retopology in Mudbox. This seems like a really cool texture program. The introduction showed all sorts of editing that could be done in Mudbox. Depth, length, scales, indents, protrusions, and more are possible with this software. I’m excited to see what I can do with it – not only with my face model but with other models I may make in the future.


PDS | Week 2 | Custom Shapes

For my sketch, I had water be the “wet” thing and a cliff be the “sharp” thing. To do this, I used the bezierVertex() for the water, then put it in a for loop so it would repeat across the screen. I also had to tweak numbers quite a bit to find the style that I wanted. It really helped to visualize where the control anchors were. For the cliff, I just used beginShape() and endShape(CLOSE) and put a few vertices in. I kept the cliff concept clean cut to emphasize its sharpness. I wanted the water to be a bit more dynamic, so I made a for loop inside a for loop to go across and down. The roundness of the top of the waves and motion captured in it reminds me of water rushing over into a waterfall – something that is very wet.


PDS | Week 2 | Paul Rand Interview

Throughout the conversation, it seemed Kroeger was leaning heavily on theory and trying to get Rand to applaud theory. Rand, however, wasn’t taking any of it. He seemed to take Kroeger’s theories and say “Sure, but…”

My question thus follows: Did Paul Rand not study theory? If not, do modern-day designers apply theory to his pieces post-humously or do they derive theory from his pieces?

PDS | Week 1 | Ice Cream Cone

For my ice cream cone, I knew I wanted to use a for loop and make it look like concentric circles.

I put my for loop in and my ellipse and my triangle. From there, I tried the scale() function but found that it did not work concentrically. I then remembered to just multiply the size of the ellipse and triangle. The ellipse was easy – one variable and then set it equal to itself plus itself times 1.2. The triangle was much harder as there was no “sizing”. I made all points a variable then took the three points (first and third vertices’ x positions and the second vertex’s y position) that needed to “grow” and modified them to give the illusion of concentric triangles. With the triangle, I had to play with the numbers to get it to look just right.