Color adjustment for the previous report covers warmer blue
I received a text message from Isana. I guessed there might be something requiring a prompt response or frequent communication, which is why she contacted me via text instead of email. I saw that my task for this week was to revise the initial three designs using a unified blue color, specifically a new blue that needed to be warmer than the blue I had previously used. I had an idea that to make a color warmer, I should add some magenta. So, I adjusted the color towards a deeper blue and purple, thinking that adding magenta to the blue would create a warmer, more purple-tinted blue. Not being entirely sure what they meant by “warmer blue,” I ended up creating five different shades of blue.
After adjusting the colors, I sent them to Isana and received a quick reply. Unexpectedly, I had made a mistake because I misunderstood the concept of “warmer blue.” What I thought was “warmer blue” was actually “cool blue.” I felt sorry for my assumption and should have confirmed with Isana. Isana was understanding and quickly explained the definition of warmer blue to me. After understanding it, I swiftly selected five different warmer blues and recolored the designs. I managed to complete the color adjustments and sent the email with the updates, informing Isana of the completion just before the end of the work time.
This artwork, created by Stamen Design in 2012, is a free online mapping tool. If you’re interested, you can visit their website at https://watercolormaps.collection.cooperhewitt.org. After coming down from the third floor, I noticed a brightly lit room. Curiosity led me inside, where I saw two large screens displaying textured maps and a console about a meter high on the floor. I approached the console and saw a button labeled “New York.” After pressing it, the map zoomed in on New York, displaying various routes in detail. Intrigued, I tried out the options for several other cities. I love art with non-digital textures, specifically traditional forms like ink, watercolor, crayons, and ink wash. This attraction to textured artwork drew me to these maps, which were both beautiful and interesting. I also noticed that not all countries display detailed routes when zoomed in; only the general outlines of states are shown. These maps are both aesthetically pleasing and fascinating.
Drawing, Textile Design, Flora
This artwork is designed by Leopold Blonder from Austria for the Weiner Werkstatte (Vienna, Austria). I discovered it in a corner, first drawn by the colors and then by the design. The colors are stunning; each section enhances the structure with strong contrasts between light and dark. The three pieces are in different color schemes, representing primary colors: red, blue, and yellow. For example, the first piece (from the left) has a red theme, with tones slightly adjusted, or rather, red mixed with pink and other derivations. The theme is plants, which I personally adore in designs. Even though I couldn’t identify the exact plant or its reference, I loved the floral design. This could serve as inspiration when I’m out of ideas.
Poster, Sports Symbols for Munich Olympics, 1972
These symbols were designed by Otl Aicher for the Olympic Games. I found them on the ground floor in a large room. At first, the room’s exit design made me think it was a shopping store, and I decided to explore it in case there was something interesting to buy. Fortunately, I chose to explore because I have previously researched Olympic sports symbols. I was thrilled to see this poster as it was an unexpected delight. My research showed that each Olympic event’s symbols are localized to reflect the host country’s culture. I also noted that the first use of tools about the sports program to design symbols was in the 1964 Olympics, whereas earlier icons were based on sports equipment. The 1972 Olympics was the second to use human actions for symbols, and from then on, stick figures became the standard. The poster also displayed the grid used for designing these symbols, giving me new inspiration. This museum visit was very rewarding and truly useful.
This week, we continued designing more cover options. I misunderstood the instructions and thought we needed to create six different designs, so when I presented them, Isana was surprised at the number of covers I had produced. After I showcased the six designs, Isana complimented me, saying I was very good at designing covers. She asked if I had any secrets, and I replied that there wasn’t really a secret—just looking at references, especially those that align with my style or aesthetic, and then combining them with my own ideas and inspiration. It felt amazing to be recognized.
Personally, I enjoy looking at the designs of friends, classmates, and colleagues (interns). When given the same theme or requirements, everyone comes up with different styles of design. Often, their designs inspire my own. Their choices of colors, compositions, and design elements are usually quite different from mine, which helps me stay open-minded. I hope my designs can also inspire others in the same way.
