Blog Post 6

Norman says, "The good news is that the new technologies enable us always to feel connected, to be able to share our thoughts and feelings no matter where we are, no matter what we are doing, independent of the time or time zone.  The bad news is, of course, those very same things.  If all my friends were always to keep in touch, there would be no time for anything else.  Life would be filled with interruptions, twenty-four hours a day. Each interaction alone would be pleasant and rewarding, but the total impact would be overwhelming," (158). This quote's overall theme and underlying message is about finding balance in life. Every aspect of life needs to be balanced in order to be successful and create harmony. Like Norman says, technology is great because it enables us to reach out to the world no matter where we are.  However, if we become too involved in technology it will overtake our lives. It is important to find a balance in all things. Information design in society is essential. Without signs and directions, everyone would be lost and confused. Signs, regulations and design create harmony. Most people understand universal signs and images. These universal elements and emotions unite us together. The wayfinding handbook says, "Let the mishap of disorientation once occur, and the sense of anxiety and even terror that accompanies it reveals to us how closely it is linked to our sense of balance and well-being," (14). This quote further proves the point that balance is essential in life. Without wayfinding technique, people become disoriented, confused or lost. This leads to feelings of frustration, confusion and panic. This in turn leads to anger, rage or fear. Information design, and design in general helps create a sense of balance and positive emotion. Good information design is essential and it must relate to our visceral, behavioral and reflective levels of emotion. People like attractive things, this plays into our visceral emotions. Next, people what things that function and do what they are intended to do.  This appeals to our behavioral emotions. Lastly, people like to associate design, information design, layout, and signs among other things with positive experiences. Memory is a powerful tool and if the mind remembers things in a positive way, it is likely to continue to use a product. This principle is relates back again to the theme of balance. If there is a balance between all aspects of these three levels of emotion, the product is likely to be successful. Good information design is essential in society because it creates balance and harmony.

Blog 5- Objects Designed for Fun

I posted a picture of a jewelry holder I have in my bedroom. It is designed for fun and it serves a functional purpose. It is shaped like a barren tree, with limbs reaching in every direction in which to hang different necklaces from. The book says, "Beauty, fun, and pleasure all work together to produce enjoyment a state of positive affect." I like this jewelry holder because first it helps keep my jewelry organized and in place. It serves a functional purpose, which fits the behavioral level of design. Secondly, it is just a fun design. I bought this stand instead of a jewelry box because it is aestically pleasing and adds beauty to my bedroom. I think it gives pleasure because of its simplicity. It is made of metal and is a solid color. It doesn't stand out, but it has a zen element to it.

Blog Entry 5

The wayfinding handbook says, "Colors are a fundamental part of everyday life and greatly influence our experience in the world. Because people closely identify with colors, designers exploit them in powerful, evocative ways for all kinds of problem solving and often choose colors as the ventral organizing element of a wayfinding design program," (87). Different colors represent different things and actions. It is almost second nature for people to assume that green means go and red means stop. Colors help shape, define and navigate the world we live in.

The first photo I took a picture of is a stop sign. This is one of the most basic, fundamental wayfinding signs in traffic. Even if someone couldn't see the four letters "S-T-O-P" the red color signifies that the driver will need to stop the car. The color red has become a signal to stop a given action. Red is successful as a color tool because it is bright and eye-catching.

The next photo I posted is a picture of a construction cone. I think this is a great example of how color is used as a wayfinding tool. There are no words or symbols on this sign. It is just an orange and white striped construction cone. However, when the color orange is used on street or traffic markers, it always signals that there is traffic ahead and to use caution and slow down. It has become second nature to drivers to know that orange means construction. This orange and white striped cone is a wayfinding marker that tells drivers they are entering a construction area. 

The next two images are similar in their intended meanings. The first image is a pedestrian crossing zone photo. It has symbols of a man and woman in the walking position. Underneath them, there is an arrow pointing to the left. There are no words on this sign, just three symbols that signify that pedestrians are allowed to walk in this general area. The symbols depict a man and woman. The man is in pants and the woman is in a skirt. Their legs are in mid-walk position. There is very little information on this sign, however, most people are able to deduce that this means there is a crosswalk soon.

The second image is of a bicycle. This sign signifies that bikers have the right-of-way and are allowed to ride in this general area of the road. The image of the bike itself is enough to signify that this area is intended for bike use. The text says that, "Symbols provide a shorthand pictorial representation of a place, a service, or an action. Symbols can establish a sense of place while functioning as wayfinding tools." Both of these signs fulfill the definition of a wayfinding symbol.

The next four photographs are examples of 3-D signs. "The wayfinding designer needs to appreciate that three-dimensial structure and detailing can impact the look of a system as much as color and typography. This first image says"Drive Thru Entrance." It is a sign located outside of a local fast restaurant in my neightborhood. It is different from other signs nearby because it is free-standing and 

3-D. It is successful because it looks different from other signs and is more eye-catching. It is illuminated, which catches the viewers attention; and it is located on the curb, which draws more attention to the restaurant.

The next image is the sign posted on the building of a local orthodontics studio. As I was driving around trying to find 3-D signs, this stuck out to me because it was different from other signs of local businesses. Most business signs are just 2-D and flat against the building or typed onto a sign in the building complex. This sign, however, is made of individual 3-D letters that stand out from the building. This is a good example of a 3-D sign. It is successful because I immediately noticed it. Also, it is subtle enough that it doesn't distract from anything, but it is noticeable. 

The next 3-D sign I found was at a gas station. This sign has two different 3-D elements to it. First, there is the Holiday Oil clown which is three dimensional. This is used as both a logo and a sign. People are able to recognize the clown and know that they are approaching a Holiday Oil gas station. The clown is 3-D and catches attention. Next, the price of gas is on a 3-D stand which sticks out and is different from just a typed sign. 

Lastly, I took a photo of the Tres Hombres restaurant sign. This sign has always stuck in my head ever since I was a little girl. No other restaurant that I know of has a sign that moves back and forth and is three-dimensional. Most signs are just typed and 2-D. I think this sign is effective because it catches attention, says what it is for, and helps people find their way to the restaurant. It would be difficult to miss the giant, moving sign of three men that is visible from all four corners of the intersection. 

Visceral, Behavioral and Reflective Design

Norman describes three different levels of design: visceral, behavioral and reflective. Visceral design "is  what nature does. Here good graphics, cleanliness, and beauty play a role. Because visceral design is about initial reactions, it can be studied quite simply by putting people in front of a design and waiting for reactions," (68).
The image I chose to post for this is a photo of our VW bug. Ever since I was little, I have always thought that VW bugs "were just cute." That was my initial reaction to the car. My mom drives a blue convertible bug and when she brought it home the whole family talked about how cute the car was. Everyone who sees the car thinks it is cute, also. I don't know what it is about the car that makes it cute. As far as a car goes, it drives and gets us from place to place. However, if given the choice I always like to drive my mom's car over mine. In reality, my car is the better car. It has four-wheel drive, fits more people, and gets better gas mileage. However, I just like her car more. It is my initial, visceral reaction to it.

The next level of design is the behavioral. Behavioral design "is all about use. Function comes first and foremost; what does a product do, what function does it perform? If the item doesn't do anything of interest, then who cares how well it works. So the very first behavioral test a product must pass is whether it fulfills needs," (70). The image I chose to talk about for behavioral design is the two spoons posted below. We own both sets of silverware posted below. The spoon on the left is more viscerally pleasing, with its curvy handle and shiny silver. However, behaviorally the spoon on the right is much better. The spirally-handled spoon always slips out of your hand when you use it. The spoon on the right is less visually appealing. It is just plain, matte silver. However, the spoon on the right definitely fits the definition of behavioral design better. 

Reflective design "is all about message, about culture, and about the meaning of a product or its use. For one, it is about the meaning of things, the personal remebrances something evokes. For another, very different thing, it is about self-image and the message the product sendds to others," (84). I posted a picture of my Kate Spade black purse. This purse definitely evokes reflective meaning. It is a cultural statement, personal remembrance piece, and it sends a message to others. On the surface level, it is just a very plain, black purse. In small silver lettering it says Kate Spade with the iconic spade symbol above it. These three items make the bag distinct. Kate Spade is a well-renowned designer, and the purse evokes a certain level of prestige. I like carrying this purse around. I don't usually consider myself into brand names, but when my dad bought me this purse in New York, something about it makes me feel good. It isn't more functional than other black purses I own, but there is just something about the Kate Spade purse I love. The leather feels softer, the color seems richer and I feel good when I use the purse. 

3 images-typography

For this post, I combined my three images into one photo to exemplify typography. The goal of typography is to "elevate otherwise mundane signing into an iconic statement, something instantly recognizable and closely associated with a specific place.  Careful letter from design and expressive typography can make all the difference between delivering a mediocre solution or an outstanding one." Pictured below are three different cereal boxes with three different typographic fonts displaying the name and brand of the cereal.

The first typeface for Cheerios seems to be a slab serif. Slab serifs are "a subset of serif types distinguished by bold, geometric endings on the letterforms." The Cheerios font is black, bold and rather plain. The only distinct and recognizable feature is the "cheerio dot" above the letter "i." The font does what it is supposed to, it conveys the name of the cereal to the buyer. However,  there is nothing distinct or memorable about the font.

The Mini Wheats font is much more distinct. The white text makes it a little more distinct. In addition, the wheat icon that curves through the type adds character to the type.  It is written in a semi-script type of font because the word "wheats" is a little curved.

Lastly, the corn flake font is pictured. This is a sans serif font which means there are "umbellished stroke endings, matured in the early modern era in reaction to traditional styles." The type is effective because it displays the name of the cereal. However, none of these typefaces are iconic like the Coca-Cola cursive. Typefaces for brands is more effective when it is distinct to the product. I think the Mini Wheats font is the most effective because the whole grain wheat icon makes the product unique.

Blog Entry 4- wayfinding branding

Wayfinding Branding: Objects

I chose to photograph three different soda pop cans to exemplify wayfinding branding. Each object is branding the same thing: soda pop. However, each object has a distinct branding that differentiates it from another. The text says, "Even today a logo is often the most important expression of a corporate or product identity," (69). The first image is of a FRESCA soda can. Every Fresca can looks the same. The word "FRESCA" is in black capital letters. The can is an aqua blue color with yellow, white and green concentric circles on it. Because Fresca is a made up word, the design strives to create a brand. I think it is successful because the color scheme and design seem to fit with the taste of Fresca. Fresca is a refreshing, light and bubbly tasting soda. The light color scheme and airy bubbles that make up the design seem to fit the soda.

The next photo is a picture of a Sprite can. Like Fresca, Sprite is a citrus-based soda pop. While the objects are very similar, the branding is completely different. Sprite cans are generally a dark blue with the signitaure green-yellow lemon lime logo on it. "Sprite" is written in white lettering. On every Sprite can, the lemon-lime logo appears. This logo represents the flavor of the drink, adds a splash of color to the can, and has become the world recognized logo of Sprite soda. This graphic is an iconic image and has served its purpose because I would argue most everyone could recognize Sprite, simply based off of the lemon-lime logo. The book says, "One glance at the Coca-Cola logo is enough to evoke the brown soda's fizz and bite or the sensation of a cold drink after a hot day." Like Coke, Sprite has branded itself this way. 

Lastly, I took a photo of a Diet Coke soda can. Like the other two images, the object is a soda can. They all serve the same function of containing soda in a metal can. However, the content and branding is completely different and sets each object apart. The Diet Coke can is alway silver with the word "diet" in black cursive lettering and the word "Coke" in red capitals. Coke is a darker, bolder soda than the two citrus sodas above. Therefore, the branding uses bolder colors such as red and black. On this mini can, the only letter visible is the cursive "D." Then, in much smaller lettering on the side you see "Diet Coke." However, the big D alone is enough to distinguish this can as Diet Coke. Because the branding is so well known, most people would not confuse this can with a regular can of coke. I think the branding is successful on all of these objects because they are all very different, yet very recognizable. 

I love the grand piano at my parent's home. It has emotional value to me for a couple of reasons. First, I think the design is beautiful. It is made of highly polished wood, which makes it look nice. It has been smoothly carved and is the overall design flows well. The keys are perfectly shaped and uniform. The legs are beautifully carved.  Everything is symmetrical, polished and balanced. Overall, the piano's design evokes emotions of beauty. The design of the piano is a work of art in itself. I also feel an emotional attachment to the piano for personal reasons. My grandparent's bought us our first piano because they wanted their grandchildren to learn how to play. I took lessons for 15 years and became a talented pianist. The grand piano evokes fond memories of my piano talents, my grandparents, and the beautiful design of the piano itself.