nat-designsurvey

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Project 1, Simple Visual Narratives

London Bridge gif

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Entry 12 - Future of Design

As design improves and expands, designers are really considering how designs can lead to a better world, what a better world might mean, and who will be able to benefit from it (Lecture 12/10). Although these are all just educated guesses as to where design could lead us, there are some key themes that are anticipated to evolve with the future of design. The first key theme is social impact, which is where universal design and mass customization come in. There are already current guidelines in place, but the system is not perfect and will likely continue to change and hopefully improve. This theme is important because it involves creating a change in the way people live, which some can be very resistant to. It also brings together multiple fields of expertise, allowing the designs to succeed the best they possibly can. The next key theme is evolving technology. Some people have begun to question if we are designing for a future dystopia or utopia? We are currently on the dawn of the fourth industrial revolution, at the rate that things are progressing. Parametricism 2.0, where all design parameters are conceived as variables that allow the design within the computed to vary and adapt to certain requirements, brings the idea that the technology will become too intelligent to real life. but this is how all of our technology has been evolving, from phone to cars and our homes, cornification continues to be introduced to improve the design for the user. The next key theme is also very important, which is sustainability and environmental concerns. Given the resources and technology that we have today, it is important that we keep in mind our environment and how we can help it. Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies. This design technique is very creative because before human evolves, everything was able to function, and things that we try to do today, are things that animals or ecosystem already do by themselves naturally. By using nature to improve our designs, we could not only improve them but also make them more eco-friendly. The next key theme involves politics and ethics. Equityxdesign is a practice that organizations, teams, and individuals can use to mitigate the impact of racism and inequality in design practices. This brings to light that problem solving is no longer about inventing things, but rather recreating the current systems that we already have. The final key theme is economics. Design and economics intersect in many ways, but in the near future, the one that will play a large role is that design is good business. This means that even non-design companies will increasingly use design thinking strategies, designers will be seen as needed to improve productivity, and new and old industries will need designers to help them advance as the digital age progresses. Another part of this intersection is that designers will have an increasing disillusionment with capitalism, meaning that designers might turn towards more public or government-funded initiatives to create products or improve systems. As we move forward, I think it is extremely important to look at the histories of technology and truly understand its impact of people, from when it first came out to how it is functioning or not functioning now, and learn from that. Something that I worry about is that designers will continually put efforts into AI technologies and creating new products, while we still have currently systems that need improvements such as our schools to waste collection and management. 

As discussed before, a technology that I know will continue to progress and change is our cell phones. As the displays have improved and they have become smarter with stronger processors, I think designers will expand on what can be a cell phone. With the introduction of smartwatches, I wonder if eventually, that is where your phone will live, on your wrist. I also wonder if we will love the physical device of the cell phone altogether and it will just be a hologram, with the ability to be different sizes and to fit a variety of needs. It also brings to question if we will still call people using a phone service, or if everything will be done through the internet with data. Overall, I know that technology that is being developed;ed today is crazy powerful, and I am excited to see where it will take us, I just hope it is for the better and not for worse. 

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Entry 11 - Postmodernism

 Postmodernism is based on the rejection of modernist ideals. characteristics of this style include the appropriation of historical styles, fine arts, and popular culture motifs (Lecture 11/19). Often times, designers and artists worked to question or challenge the status quo. Psychedelic themes and embracing a mash-up of multiple styles also became an important part of the postmodernist movement characteristics throughout the 1970s and 80s. 

A postmodern designer that really caught my attention is April Greiman. She was one of the first designers to begin experimenting with “hybrid imagery”. Eskilson described this as, “the synthesis of digital technology with traditional hand-drawn practices” (Eskilson 349). This really drew me to her work because she was working with a digital aesthetic which at the time was new, yet reminiscent of the Machine aesthetic from the 1920s. in 1978 when Greiman was collaborating on the California Insitute of Arts Brochure with Jayme Odgers, the style incorporated strong textures and a three-dimensional aspect within the collaged style. When desktop publishing became popular and the new technologies of graphic design began to emerge, Greiman’s style shifted. Still incorporating collage styles, she embraced the New Wave style in her work as well. New Wave is described by postmodern graphic design with an emphasis on bright colors and dynamic energy (Lecture 11/21). The work that Greiman began doing allowed other designers to start taking risks. Using combinations of photographs, MacDraw technology, geometric forms, and transparencies, Greiman’s work became very influential by incorporating new technologies while beginning to study and analyze past movements. As technology advanced, Greiman was allowed to experiment and creating her own digital style. In 1984 when Greiman bought her first Macintosh, she saw, “the computer in a utopian light, believing it would lead to an age of expanded creativity that would permeate the human consciousness” (Eskilson 349). 

April Greiman Portrait, via Pinterest 

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Entry 10 - Helvetica and Mid-century Typography

Helvetica is a typeface that emerged in 1957 after the end of the war alongside the Swiss style. It was designed by Max Miedinger and Eduard Hoffmann in Switzerland with the intent to create a neutral font that could be used by everyone across the board.  Miedinger and Hoffmann felt that this font would be able to clean up the current brand identities, marketing, and advertisements that had existest prior. They want more consistency and order across the board and Helvetica was the answer. 

Helvetica has been described as a font that concentrates on the negative space. With strong vertical lines and clear curves, the font is easy to read and utilizes geometric shapes and forms. The shapes of the letters are created in a way so that they can be reused for other letters with similar forms. For example starting with the letter h to determine the height and shape of n, m, u, and r. There is consistency and community between these letters, which relates to its popularity. 

The way type is used and incorporated in design can say a lot about a company making it an important part to consider. Designers have described Helvetica as feeling transparent, reliable, efficient, and clean. It has the ability to be adaptable and used in many different areas, yet still expressing positive notions. Some designers look for fonts that have a stronger connection to the product or service that they are presenting, making Helvetica not always the top choice, but for a lot of companies and designers, Helvetica is the go-to. When Helvetica first came out, many designers started using it because it was clean and safe, today you see it all over the place from logos to street signs. In the documentary, they showed some designers who believed that Helvetica and its other related fonts are the end-all-be-all, meaning that there is no need to ever use any other font. Other designers believed that Helvetica has been overused due to its popularity and that it's important to explore other fonts. Overall, I believe it is good to have a font like Helvetica that can be read easily across multiple disciplines, but that it is also good to not only rely on that one font for everything. As typographers continually research and design new styles, I think it's important to explore different styles and keep an open mind as to how they can be used. 

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Entry 9 - Brooks Stevens and Post-WWII Design

After the War and the Greta Depression, industries were trying to figure out how to get people to start buying products again. With the new use of automobiles to transport goods, they were now able to begin making a wider variety of products, sometimes for a cheaper cost. The Open University states in their video that, “Things that had no reason to look sleek, now all of a sudden did” (0:40). This made people want to buy, and consumerism rose drastically in the U.S. Things today that a lot of people don’t even think about were changed in Post-WWII era design and have stayed consistent as to how they are marketed today. The video claimed that “...style became equally important as function” (1:20). With American spending money again, industries grew and the design across everyday objects expanded. 

In 1935, Brook Stevens opened his first office in Milwaukee with the intention to have an impact on design. Due to the war, we didn’t have many designs come out of this time, but did work one some military designs and gave lectures on the importance of industrial design. After the war ended, Stevens argued that “‘...an industrial designer in today’s business world should be a businessman, an engineer and a stylist, and in that direct order’” (MAM 6). From there on, Brooks had a large impact on design within Milwaukee and the nation. He coined the phrase “planned obsolescense” at one of his talks, explaining it as “‘instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary’” (MAM 8). This idea was controversial, but the concept has withheld time and it still used today. 

When looking into Stevens various designs, I really enjoyed looking into his Skytop Lounge Train that he created for the Milwaukee Road. The train had both sleeping and lounge cars, including solariums. the rear of the train was 90% windows with the “Beaver Tail” design (Wikipedia). The streamlined design that Stevens embraced in the Skytop Lounge was what made his impact on industrial design so powerful. 

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Entry 8 - Universal Design

Universal design is seen in architecture that is meant to be accessible to a diverse range of people, regardless of their age or disabilities. Although the design is not that simple, and architects keep designing buildings that are one-size-fits-all, which is not a rational solution. Christopher Henry links the historical precedent to the Plato Effect. Henry explains the effect as “...a singular essence/definition of any form or idea must exist aspatially and atemporally in order to attain universal applicability among its various representations” (Henry 2). He goes on to give the example that whether we see a triangle is drawn out perfectly or it squiggled int he sand, we will still look at it and know it is a triangle. This can be described as essentialism. Henry defines it by saying it “attempted to bring objective truths to what he saw as relative and subjective experiences... [and] has and continues to fundamentally shape how we see and deal with diversity” (1-2). He explains that as we do this to forms, we have also fallen victim to doing this to humans, only envisioning a “perfect” human form, and designing around the needs of that. From starting in the time of Christ, Roman architect, “Vitruvius sincerely believed that a building based on this man’s geometry would achieve universal appeal”, we now recognize this as the Vitruvian man (5). Through time, we still rely on these ideas, architect Le Courbruiser stated that “‘range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things’” (6). Henry explains that even today, regardless of who they study, essentialism still holds true in architecture. Plato's original ideas of universal design that still are present today, are seen as completely ridiculous to Henry and sees them as far from universal. Henry claims that “Their archetypes exist outside of this world and outside of time”, meaning that the ideal person that architects are designing for simply does not exist (8). He continues to explain how there have been improvements to reach a universal design, yet their focus remains on people with disabilities. This can be seen as a positive, but the whole idea of universal design is that it, “provides enough accommodations for success and removes all obstacles in the environment that make a disability debilitating” (9). Henry states that “...there exists a disconnect between how some architects conceptualize universal design and the reality of the world” (11). When he says this, he is alluding to the concept that a universal design does not exist, because there is no way to accommodate all disabilities and different walks of human life in a single space. Henry concludes the article by explaining equality in design does not mean sameness, but rather allowing everyone an equal opportunity (12).  I agree with this claim because I think it is important to allow people with specific disabilities a chance to have an environment to be successful, and understand that the same environment cant be a successful space for everyone. Henry also introduces Sandy Speicher, who is an education designer at IDEO, who advocates for mass customization, meaning that in producing a system or product in masses, there is also the capability to personalize. I think a good product that could be mass-customized is a car, allowing it to a more accessible to a diverse population of people. 

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Week 7 - The Modernist Architecture of Le Corbusier

Le Corbusier was a famous architect who practiced purism in his work and created the 5 Points of Architecture. Those 5 points are supports (often concrete columns), roof gardens, free designing of the ground plan, horizontal windows, and free design of the facade.  His designs were highly influential and were described as a machine for living, his designs could be described as “Promenade Architecturale”, meaning he would design the structure to force the viewer to move throughout the building in order to experience the work. He continuously looked to new means to technology, while still showing appreciation for classical and historical means. His practice also often had a strong connection to nature, incorporating it into the structure. (Lecture Notes, 10/15)

(Fig. 1, Wikipedia)

Le Corbusier’s work Villa Savoye was built between 1929 and 1931 in France as the Savoye families country home. This is one of Le Corbusier’s most famous works, incorporating his five points fo architecture. As you can see above in figure 1, the Villa Savoye incorporates his first point of supports. the structure is lacking traditional supporting walls around its base, but rather has concrete columns that support the building. Next, you’ll notice the horizontal windows that wrap all the way around the home. These windows are large and let in a lot of natural light, as well as a connection to nature. The exterior of the structure is simple, the facade is free of any design. This allows the exterior to be not load barring, allowing the home to rest on stilts. He also incorporates the point of an open floor plan, creating inter walls only when aesthetically necessary. this allows for the light to carry through the home. Finally, Villa Savoye has a rooftop garden. This is another aspect that allows for a closer connection to nature, as well as it’s a functional purpose to improve temperature control. This design represents his design methods of a “Promenade Architecturale” through spiral staircases, an open floor plan, a pull-in garage, and the roof terrace. The rooftops terrace also shows Le Corbusier’s inspiration to historical references, connecting it to ancient  Arabic Architecture. (Lecture notes, 10/15)

When looking around campus, the Golda Meir Library pulls my attention to connections of Le Corbusier’s designs. The first thing that pulled me is the supports that hold up the building in its center, allowing you to walk under the building to get in. Next, I notice it’s long windows that stretch around the building allowing in lots of natural light. The floor plan on the first floor of the library is a fairly open floor plan, divided by various working spaces. Lastly, the Golda Meir has a grassy area on its rooftop, assuming it helps improve temperature control, but Le Corbusier would say that the design also helps to bring the students closer to nature. 

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Week 6 - Design and Diversity

The designers that are most widely seen and talked about thought history are white men. The two articles that were read for this week, A Typographic Exercise to Readdress Design History’s Gender Imbalance and Celebrating the African-American Practitioners Absent From Way Too Many Classroom Lectures, both by Madeleine Morley give tribute to minorities designers that have had a crucial impact on today’s design. 

In Morley’s article addressing women designers, I chose to look deeper into April Greiman. She had had an extremely influential impact on the technologies in which we use to design today. “She is considered one of the first designers to see [the] computer in a different light, who realized its potential as a design tool.”, it is also said that “She is recognized for introducing the ‘New Wave’ design style in the US”  (famousgraphicdesigners.org). The New Wae design style is about pushing boundaries within typography and going aginst typical grid arrangments. Another influence that she had while teaching as the head of the design department at the California Institute of Art has now grown across many universities. She advocated for, “...the institute to rename the department as Visual Communications since Graphic Design seemed to limit the scope of the subject” (famousgraphicdesigners.org). This is a change that she made that has had an impact on Peck’s design program as well, capturing a deeper sense of what the program is really about. For me to have never heard of Greiman prior to researching her saddens me because she has had such a large impact on the way that people utilize and look at design.

In the next article, I learned a lot about various African American designers that I had not been exposed to prior. One design that really grabbed my attention was Buddy Esquire. Being self-taught, he is primarily seen as “...a party flyer designer whose work is now some of the only surviving documents from the birth of hip-hop culture” (Morley). Starting out as a graffiti artist, he translated his skills into poster art for the growing hip hop culture of his time. Buddy Esquire described his style as, “...‘neo-deco’ — it borrowed heavily from the Art Deco styles of old movie posters” (Demby, npr.org). You can see a strong link to the Art Deco movement through the muted color paper that he would work on, as well as the strong lines that are used throughout the majority of his posters. the work that went into the flyers was impressive, everything was made “...entirely by hand, combining magazine cutouts, photographs, dry transfer letters, and drawings...his flyers were a different breed of artistry” (Silver, complex.com). He had been making these posters for about a decade, creating over 300 pieces. Not only has his work has an influence on hip hop culture, but also current design practices. He embraced the Art Deco style and was able to contribute to the historical impact of the movement. 

Overall, I found it very fascinating to look into the various minority designers that have had such a large impact on today’s design that I had not heard of. I believe that it is important to continue to celebrate and give tribute to those who have had an impact on the way that we view design, especially to the designs who are less discussed within textbooks, 

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Week 5 - Design History and Your World

When I began to look around in my world to see how design history has impacted it, it didn't take me long to find a few examples that connect to the pieces that I picked. The first piece that I chose was the Bosch advertisement that I found in the textbook, and was also one that was discussed in class. This piece is a great example of Schplakat, which translates to “object-poster” (Eskilson 110). The Schplakat style often times will simply depict the product alongside the companies name, using a few bold colors, as well as avoiding any type of narrative. When coming back to this design in my textbook, I began to start thinking about the various logos and branding that uses this style. Pulling from the jacket that I had on, I found the Supply & thread logo. This company simply shows the company's name, alongside a sewing machine. Although the branding that I had in my jacket avoided any bright colors, the simplicity of the design would allow them to add color need be. They don’ go into any sort of narrative, but more straight forward present the company name with the product that could have made the jacket I am wearing. The tag may not be a direct use of the Schplakat style, but this style definitely had an impact on simplistic designs that now dominate the logo and branding scene. 

Another connection I made from the textbook’s historical designs to my personal life was through Tristan Tzara’s Salon Dada poster. This poster shows the early use of collage elements while giving relevant information, as well as nonsense information that connects it to the Dada movement. Eskilson describes how the poster features the relevant information for the exhibition centered at the top of the page, for clear visual communication (Eskilson 135). He then states that “...the middle of the poster demonstrates the Dada love of chaos and absurdity” (Eskilson 135). The poster shows various graphics and different typefaces while keeping a consistent color scheme and exploring the use of collage. Stone Creeks deign for their Oktober Fest roast uses similar elements to this design. Although they do not send any ambiguous messages, like the Dada movement did, they do send the clear information that they want their customers to grasp about the product. Using a basic color scheme, they use various different graphics to create a collaged piece that is able to represent their coffee. Throughout the piece, they use 3 different typefaces, which is not as much as a Dada artist would have done, but it does push past the norm of choosing one or two font faces to create consistency. Overall, the designs that I found in my daily life are very much modernized, but you are still able to find connections to the history of design such as the Dada movement and the Schplakat style. 

Lucian Bernhard, Bosch, 1914. Color lithograph, 45.4 x 64.1 cm. Museum of Modern Art, New York.  

Thread & Supply, Tag, 2012. Print on fabric. 

Tristan Tzara, Salon Dada, 1912. Poster. Lithograph. Merrill C. Berman Collection.

Stone Creek, Oktober Fest Brew Design, 2019. Coffee beans bag. Milwaukee, WI.

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Week 4 - Decolonization

In the article, “What Does It Mean to Decolonize Design?”, by Anoushka Khandwala, the concept of decolonization is discussed in what it means historically, as well as how it has evolved into today’s terms for design. Khandwala talks about how the term came to be by breaking it up and starting by explaining what colonization means. She states, “‘Colonization’ is rooted in indigenous peoples’ experiences of oppression—specifically, the seizure of native resources, as well as the embedding of Western ideology into society” (Khandwala, 2). She introduces the meaning of the root of the word because it is important in understanding what it meant to then decolonization historically. Originally, it was used to show the separation between the state and its colony. But now, reflecting and looking back on the past, it is used for many different ideas, including the concepts of privilege, oppression and stolen culture (Khandwala 2). 

For Decolonizing Design, Khandwala states that the term is often used interchangeably with diversity, which she stresses that, yes they are connected, but should not be misunderstood as the same (Khandwala 1). Often times in design, we create division and distinctions between was is considered good or bad design, causing most people to work towards creating all similar styles (Khandwala 4,5). This is not good, because it hurts diversity and restricts the ways in which people create. Decolonizing Design is about breaking these stardoms and changing the way that we think and view design. Khandwala states that “An aspect of decoloniality is questioning how solutions might be experienced in someone else’s shoes” (Khandwala 9). This is a way that designers can work to decolonize design by taking the time to look at what they create from multiple perspectives, separating their own biases and views from their work. Some examples that Khandwala gives for when designing are typefaces and imagery. She explains how it is important to be sensitive and think of how other’s may respond to it, besides your initial reaction and response. For critics, this is a concept that could be used to better address and connect with a larger group of people. 

Khandwala gives many ideas as to how to be more aware of the current happenings within design. She gives that thought of, “...taking yourself out of the equation can be an opportunity to ensure people from marginalized backgrounds get a place in the creative community” (Khandwala 13). Having this awareness and ability to start seeing when others are more deserving of the opportunity. As educators, this is something that could be taught and more open in the classroom. Khandwala emphasizes that decolonizing design is a process that is continuously evolving. She also stresses the importance of educating ourselves about the various power structures that shape today's society, impacting out current design choices (Khandwala 16). 

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Week 3 - Design Thinking

After reading “Design Thinking” by Tim Brown, I would define design as a way to improve current issues. Design can be used to break down current problems, it was stated that it isn’t alway about the aesthetic of the design but often more times about the functionality of the product (Brown, 92). When I think of design thinking process that go into the products I use, my mind goes straight to the technology I use. From my iPhone to my MacBook, they have designed products that appeal to me as a student and designer. when purchasing my Mac, they emphasized about the price and me being a student, but they also ensured that this would a a computer that I could carry with me throughout college. Apple makes a variety of products that are all intertwined. When they came out with the iCloud, it allowed people to jump from device to device without having to physically more information over. They thought of the people who may have previously lost documents, information or photos to create a system that holds those things externally from their device. A really significant concept that I found in this weeks reading related to the empathy step of the Design Thinking process. it demonstrated how important it is to put the people and there needs or frustrations first, to them be able to identify how the problem could be solved. For example, in the Kaiser Hospital improvement of care innovation, they took all people into play from the patients, to the nurses, doctors, and administrators (Brown, 86). By doing this, they were able to continue to put the people first when coming to solutions as to how to improve the patients experience and nurses job satisfaction when changing what happens when they move through shift changes. 

After watching the “Deep Dive” video, I gained deeper insight into how IDEO’s design think process works. Their way of innovating begins by inspiration through looking at various perspectives and often observing how a current design works. Next they begin by thinking up as many ideas of ways to improve that design, and eventually prototyping ideas that might work. Finally they test the product to see how well it works, or how else they could make improvements. A lot of the company mottos help to push this process deeper. They follow rules such as to allow crazy ideas, avoiding judgement, and building on the idea of others (The Deep Dive, ~10:16). Other ideals that they implement as a company include asking for forgiveness instead of permission allows for innovation and big thinking to happen more often than other companies. In the video they were given a week to come up with a new innovation of the shopping cart. Through their design thinking process they came to various different issues that currently exist and were able to solve them in the final product. One improvement that I would suggest to their final design was that the bottom rack of baskets seemed less accessible and more difficult to take in and out with the top row of baskets above. I would propose a sliding mechanism that would allow the bottom rack to come out from under the top rack to allow better access to all shopping baskets. 

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Week 2 - William Morris

Two pieces by William Morris that were outlined in the textbook, Graphic Design: A New History, were Minstrel with Clarinet, 1870, as well as Sussex Chair, 1865. These pieces by Morris respond to modernity by going again the practice of being masses produced and were more historic in their design. At the time many choices that were being made for decorating and design within the home were chosen from companies who sold cheap, mass produced products. Morris believed that people should recognize the importance of handcrafted design and supporting a true and honest craft. 

The Arts and Crafts Movement had a large focus on creating designs that were handmade and used raw materials. There was a large emphasis on natural and honest forms, as well as a push for people to view craft and design at the same level as fine arts. This Movement also began to use design as a way to hope to improve current society standards. Morris was unhappy unbalanced views between art and design, he believed that there was a link between art and social reform. In “The Lesser Arts”, by William Morris, 1877, he discusses his hope that people will chose the art of a craftsman over the growing mass production of design. He does not blame any particular class for falling for the cheapness of mass produced products, but blames all for allowing this to happen. 

I only partly agree with Morris’s options in that he wanted design to be seen more as an art form and not to be so easily overlooked and mass produced. Although he did not take into account the various economic classes and what he was designing was not affordable to a lower class buyer. Additionally, he did not fully anticipate what the future of design could be and the potential benefits to mass production. Given the vastness to the industry of design through media, advertising, and goods, being able to efficiently produce work of design allows designers to keep up with trends and the new ideas.  

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Week 1 - About me

Hi! I’m Natalie Wallace and a sophomore here at UWM. I am planning on majoring in Digital and Visual Communications with a minor in JAMS and a certificate in Digital Arts and Culture. I have chose this path because it captures all of my interests and passions. Before coming to Milwaukee, grew up in Crystal Lake, Illinois which is Northwest suburb of Chicago. When looking at schools, I didn't think I wanted to be in an urban area because my idea of a city only Chicago, which in my option is too big and congested. But then I looked at Milwaukee and I fell in love, it is my perfect happy medium! Although, the one thing I do miss about home is my family and animals. I come from a big family with three older brothers, a two sisters; I am also recently a new aunt! I have a corgi named Darla and an orange tabby named George Lucas, they're simply amazing. 

I am taking this class because I am a DVC major and it is required for me to take in order to submit my portfolio in the spring. Lately my interests in design has fallen in areas of specific artist styles and typography. These are also areas that I have been trying to improve and establish in my own practice. Prior to college, I did not have much experience in graphic arts or designing. Art 118 was my first real exposure to working with Adobe programs. But with that class, spending time with the programs and practicing design, I got a job through University Housing in their Design Center. This job has has been a great opportunity for me and has given me the ability to get really comfortable and fluent in the design process. It has also given me real life experience of the relationship between a client and the designer by understanding that their needs and vision often come first. Still there are so many things that I want to learn and explore in the field of design. 

When finding inspiration while designing, I often look to designers and styles that I admire or enjoy myself as a consumer. I love choosing my color palettes for each work as well as exploring different ways to highlight text. I often look for inspiration through Pinterest, as well as other designers blogs. One style that has peaked my interest is minimalism. It also has been a deciding factor many times for me while shopping. One recent chose came when I was picking out a planner for this school year. Many of the choices had floral or geometric patterns, but I was more drawn to the one that was simply white with a tall, skinny font of “TWENTY TWENTY” written on the front. 

I am super excited for this year and for the various design classes that I will be taking in preparation for my portfolio review!