Sustainability in Design

What is ‘cradle to cradle’ design and how can you see this applied in the Graphic Design industry?
Cradle to Cradle design was a term coined by Walter R. Stahel in the 1970, and made known by William McDonough and Michael Braungart in their book of the same name published in 2002. It refers to design which focuses on not just ‘minimal impact’ on the environment, but actually on having no impact or even a  positive impact. It does this through embracing materials that are seen either as ‘technical or biological nutrients.’ The site explaining this further expands; ‘technical nutrients can be recycled or reused with no loss of quality and biological nutrients composted or consumed.’  Therefore, Cradle to Cradle designs are not only created using renewable and sustainable practices and materials, but are designed to be disassembled or recovered in order to be reused or contribute to the natural environment.
Some great examples mentioned in William McDonough’s TED Talk include:
-a building which produces more energy than it needs to operate and purifies water
-a car which is completely solar powered, and made from materials that can all be reused or are biodegradable
-carpet which is infinitely recyclable
-a city in which human waste is used to create natural gas, which powers the city (along with solar energy and other converted energy)
So ultimately, there is absolutely no waste in Cradle-to Cradle Design – all components of a product contribute to providing ‘food’ – or resources – for the production of another product, and so on, creating a cycle in which energy is never lost. The obvious reason this is needed in todays world full of consumption and waste is obvious, but this video is really great at demonstrating just how important it is.

In Graphic Design, the concept of Cradle-to-Cradle design can be applied to any extent – but it does take innovative design, and careful selection of design processes and materials. In Wendy Jedlicka’s book Sustainable Graphic Design, she addresses how graphic designers can work to design within the Cradle to Cradle framework. The solutions she suggests include:
-Designing the product using materials which have been made using sustainable practices (via research and consultation with material producers and providers)
-Designing the product to be re-used (the preferable option,)
-Designing for it to be ‘recaptured.’ This can be done through using materials and processes that have been described – ones which ensure the materials used are able to be infinitely recycled for the further production of a range of resources.

In the ‘Creative Gallery on Sustainable Communications’- what ad has the most impact for you and why?

There are a whole variety of ad’s in this Gallery, all which have been designed to create or raise awareness of the many environmental issues out world is facing. I found many of them to have strong and sometime shocking messages, all portrayed in unique and creative ways. However, this one – about really struck a chord with me.
Arctic -  Teaching Kids Ad

It addresses an issue which I have always worried about and considered an upmost priority – preserving our world so that our children, and their children’s children, will be able to appreciate it as we have. I have always spent a lot of time in nature, with hiking, rock-climbing, surfing, skiing, and sailing being some of my most enjoyed activities. I often worry about the effect that we are having on our Earth because of the rate our population is expanding, how much we are consuming, and how much waste we are producing. Therefore, I hope many saw or see this ad, and will also start to consider just how much of an impact we are having, and what the long-term consequences of this can be.
I think it works well to communicate the message by using a simple and somewhat playful concept with a darker message – with an image of a child’s ‘bath time’ manipulated to represent how the arctic could be seen by the time they have grown up. It is confronting, but it does so in a somewhat innocent way.

Another add I found which uses a similar concept, but applied to another issue, is this one, which shows that water is precious for not only animals, but also humans across the world. save waterIt also uses a simple image – one of a goldfish, which is depicted to to rely on water for life in a more obvious way, and uses the image to communicate a darker issue.  It is a simple yet effective way of communicating that water needs to be saved, as it makes people think about not only the fish, but the people who do lose their lives due to having no water whatsoever.

List five things that a Graphic Designer can do in their practice to decrease their impact on the environment.
1. Research your materials used (paper, plastic, etc) to ensure they are created using eco-friendly processes, and that they are recycled, and/or recyclable/biodegradable. This handy tool, (if it came in English,) would make evaluating materials eco-friendliness easy.
2. Design products or packaging to be re-used.
3. Reduce the amount of paper used in the office day-to-day by only printing when absolutely necessary, discouraging mock-ups, re-using scrap paper, and generally being mindful of any resources used, as well as always recycling.
4. Riding, walking, or using public transport to commute to work will allow individual designers to contribute, even if only slightly, to the reduction of pollution and greenhouse gases.
5. In the home and in the office, embrace natural and sustainable products across all areas of daily life – including food choices, cleaning materials, and furniture. Also, conserve energy – meaning having lighting and electronics turned on only when necessary.

Papercut is a local agency who embraces most these practices, including cradle-to-cradle design, with one of their most important values being sustainability and the protection of the environment. They even use energy efficient light bulbs, and compost waste from the staff kitchen.

My Worth

Working out now much to charge for my design services was quite a difficult task. Ultimately, having done very little freelance work, and none of it paid, (it being for family and friends,) I had to research how I should charge for freelance jobs. There a a couple of options when it comes to charging for design. A flat rate dependant on the type of job – be it a logo, website, or corporate identity – can be charged if a designer generally knows how much work it takes for them to create these designs. They also then often charge an hourly rate for any further work, such as revisions and application fees. Otherwise, designers can charge an hourly rate, as long as they track their hours and ensure clients are fully aware of how your time is spent, and what they are paying you for.
I worked out that as I am only starting out, and don’t really have an idea of how long each job will take me, I will charge hourly as to ensure I am not under (or over) paid.
Working out my hourly rate was difficult though. I have had experience working with a medium Graphic Design agency, and they spoke to me about me contracting for them. When discussing possible rates of pay with them, I divided up the average salary of  Junior Graphic Designer in order to determine what kind of hourly rate I should start at – with it showing me around $20-25/hour. However, I also considered what I earn in my casual day-job whilst studying, (average of $25/hour,) as I feel like I would deserve more than this when using my university-trained skills for a specific and creative design job. On Freelancer.com, the pricing for freelance logo design states that ‘skilled’ designers charge $25-50 per hour, and ‘standard’ charge $15-25.
So after proposing $25-30/hour, the agency owner, who I developed a great mentor-like relationship with over my internship, was actually kind enough to admit that they would be happy to pay $35-$40 for my time. Therefore, as this recommendation comes from someone with plenty of experience in the industry, and I consider it a very reasonable rate, I have ultimately used this as the basis for my rates as  freelancer.
I did consider lowering the rate for different types of jobs that made up a project – such as a lower rate for research and , but haven’t found this to be very common in the Industry. Therefore, to begin with, I will stick with a flat rate of $35 per hour, and ensure clients are always able to clearly understand what I spend my time doing via the use of a timesheet explaining how much time is spent on each job within the project.
I think as I develop as a designer I will be able to start to understand how long types of jobs actually take me, and therefore how much I could charge if I decide to move on to charging flat rates.
I also know that I will probably not always be charging the same rates, as some jobs will be for family and friends still. Maybe for these jobs I can give a discounted hourly rate, or discuss a flat rate that both they and I are happy with, considering our relationship.
As I grow as a designer and possibly start to encounter logos for larger companies which are to be used across a range of media (maybe for advertising,) I may also have to consider charging clients for the rights to use my work, as I would inherently own the rights to anything I design, and therefore need to transfer those rights to the client for them to be able to use them.
But for now I think I can focus on charging per hour for my time, and being transparent with clients by employing the use of a timesheet for each Job I do. Below is a template of a self-branded timesheet I have created using my logo, which included what I have decided is the most important information that needs to be communicated.

TIMESHEET

Ethics

What is “free pitching” and how does it effect the industry as a whole?
Free pitching is when designers provide a proposed – or even completed – design, for no payment. This sounds uncommon, but comes in numerous forms, which include competitions or contests where numerous designers propose a solution, and only one gets chosen – and paid. For this reason, it can sometimes be a grey area, so I found this chart on the methods of obtaining design services, which includes Free Pitching on it.
The majority of leaders and professionals in the industry see Spec work and free pitching as highly unfair in that it takes advantage of designers.
Free pitching, or ‘Spec Work’ is common as some ‘non-clients’ may believe that all they need paying for is the final design. This makes it detrimental to not only the Graphic Design Industry overall, but also the client. This is for a range of reasons:
Firstly, it is immoral and unethical to expect a professional to do their work for free, and the continuing use of free pitches encourages others into thinking it is ok.
Secondly, the client is likely to get inferior design solutions. This is mainly because any designer who will undertake a free pitch or spec work must be inexperienced or under-skilled (and maybe desperate,) as all other successful companies are not likely to even take on a free pitch. Also, less time and effort is obviously put into the design if a designer is not being paid for that time, so there is less research and care undertaken. This also means there are also usually no meetings or consultations between the client and the designer, so they are not able to fully understand each other, or have any revisions.
Lastly, there is never any protection over intellectual property when free pitching, as there is usually no contract.
Some even argue that spec work actually costs – as nothing is ever free – but that the designers’ other clients are the ones to pay, as ‘staff working don’t work for free, and no one gets free utilities, space or supplies.’

And lastly, I leave with a couple of interesting quotes I found online – first, from The Design Institute of Australia;
‘A pitch is commonly defined as: ‘to try to sell or promote something such as a product, personal viewpoint or potential business venture, often in an aggressive way.’ Interestingly, (for those who disapprove of pitching), pitch is also defined as: ‘to fall or stumble, especially headfirst.’
And a quite funny scenario from David Airey, which somehow fully explains just how preposterous free pitching is:
“I went for a dental check-up yesterday. After the dentist inspected my teeth, she suggested some work to prevent further tooth decay. I told her to go ahead, and if the dental work was satisfactory, I’d be more than happy to pay. She responded that she wouldn’t be able to do that, because she normally provides a service when a fee is agreed upon up-front. I said I’d let her know after I checked in with other local dentists.”

Why is it important to have a code of ethics in the Graphic Design industry?
The Graphic Design industry can often be misunderstood or misinterpreted by those in other professional industries – namely, those who are often clients of Graphic Designers. AGDA’s Code of Ethics ensures that both designers and clients treat each other fairly and can therefore work together effectively.
It does this through ensuring designers are always paid fairly for their work, and consequently, that they are responsible for ensuring the client gains the most effective and fitting design. This is communicated in the Code in that it states a designer ‘shall encourage high standards of design and professional conduct,’ and shall always act in the best interests of the client.’
It also ensures that the designer is never forced to design for a company they may be uncomfortable with, or may have a conflicting interest in; ‘A Member shall not knowingly accept a position or commission in which a personal interest conflicts with professional obligation and duty.’
Lastly, it ensures designers are fair to one-another. It notes the laws of copyright, but also mentions the sharing of fair criticism amongst designers, and notes that a designer ‘shall not knowingly accept a commission to work on a project for which there is an existing designer without first informing the other designer.’ This is so that designers can be sure who can be credited for the work without confusion or need for legal actions.
Ultimately, the Code of Ethics enables the creative and flexible nature of the Graphic Design industry to run professionally, and aims to promote fairness to both designers and clients.

Why is it important to have a code of ethics in the Graphic Design industry?
The Graphic Design industry can often be misunderstood or misinterpreted by those in other professional industries – namely, those who are often clients of Graphic Designers. The Code of Ethics ensures that both designers and clients treat each other fairly and can therefore work together effectively.
It does this through ensuring designers are always paid fairly for their work, and consequently, that they are responsible for ensuring the client gains the most effective and fitting design. This is communicated in the Code in that it states a designer ‘shall encourage high standards of design and professional conduct,’ and shall always act in the best interests of the client.’
It also ensures that the designer is never forced to design for a company they may be uncomfortable with, or may have a conflicting interest in; ‘A Member shall not knowingly accept a position or commission in which a personal interest conflicts with professional obligation and duty.’
Lastly, it ensures designers are fair to one-another. It notes the laws of copyright, but also mentions the sharing of fair criticism amongst designers, and notes that a designer ‘shall not knowingly accept a commission to work on a project for which there is an existing designer without first informing the other designer.’ This is so that designers can be sure who can be credited for the work without confusion or need for legal actions.
Ultimately, the Code of Ethics enables the creative and flexible nature of the Graphic Design industry to run professionally, and aims to promote fairness to both designers and clients.

What is the difference between a copyright and a trademark or patent?
Whereas copyright protects the way a designer expresses an idea – that is, their arrangement of information – a Trademark protects the idea itself – such as a brand name or logo. A Patent also protects ideas, but extends to inventions, meaning the way something works or is constructed can be protected.
Copyright exists as soon as a design (or any form of creative expression,) exists, and doesn’t need to be registered or even acknowledged with the Copyright symbol in order to be effective. Copyright also lasts the entirely of the creators life, as well as another 70 years.
Contrastingly, Trademarks and Patents are more effective when registered, and cannot be similar to any other Trademark or Patent in order to be approved. They also cost to register, and must be renewed every 10 years. You don’t have to register your Trademark, but then it is more difficult to protect.

What measures do you need to take as a freelance designer to protect your creative output?
I should firstly always make sure I am never infringing on any copyright laws when designing, even if the work is not going to be published. I can do this by not using others work without permission, unless it is free, and not blatantly copying ideas from any inspiration or research I may have used. If I need to demonstrate where my ideas have come from, I will always credit the source of materials.
As a freelance designer, if I am proposing a brand name or logo, I should search the relevant databases before proceeding to ensure I haven’t accidentally copied or created something too similar to another brand, as Trademarking or any form of intellectual protection will then be less likely. And, of course, I could run into legal trouble for copying!
I should also let clients know that – unless transfer of copyright is discussed and and paid for – my ideas and designs remain my property. This should be confirmed in writing at all times, even if it is just a casual email. And if I ever happen to work with companies which have a Trademark, or any other intellectual protection that is more complex and costly, I should probably gain expert insight from a professional before I go ahead with anything.

Johari Window.

Over the past week or so I have asked some of my closer friends to add to my Johari Window by choosing 5-6 words to describe me.The Johari Window was invented by Joseph Luft and Harrington Ingham in the 1950s as a model for mapping personality awareness. Below the window shows the that words I chose in ‘Facade,’ the ones both me and others chose in ‘Arena,’ and the ones others chose which I didn’t, in ‘Blind Spot.’  Screen Shot 2015-03-16 at 10.20.50 am This is a summary of how popular each word was:Screen Shot 2015-03-16 at 10.20.59 am

What attributes described in Johari Window exercise do you see as key to dealing with clients?
Adaptable – I can deal with a whole range of clients and briefs.
Organised – I can manage my time to effectively deliver to each client.
Dependable, trustworthy and energetic – clients feel I will complete their jobs and give them my all.
Mature and intelligent – clients can get along with and trust me to do my job well and reliably.

What attributes are key to dealing with your colleagues?
Dependable – I can be relied on my colleagues to do my job.
Energetic – so I don’t bore people, and am always on-top of things.
Cheerful, happy and friendly – so colleagues find me pleasant to work with.
Mature, confident, independent, trustworthy – so they can trust me to do my job.

What attributes are key to dealing with yourself?
Independent, confident and mature, – so I can be confident in my own work and deal with my jobs in a mature manner.
Happy – so my morale is high, even when busy.
Logical –  so I don’t have unrealistic expectations of myself.
Adaptable and confident – so new task don’t overwhelm me.

What attributes are key to dealing with your boss?
Adaptable, dependable and  trustworthy – they can rely on me to do my job.
Energetic and friendly – so I am a pleasure to work with.
Confident, mature, independent and intelligent – so I can have conversations with them as equals.

How does your version of the Johari Window differ from your friends/close contacts?
I put down ‘able’ and ‘relaxed,’ which were not chosen by any of my friends.
I think that ‘able’ was not chosen by others as they chose ‘intelligent’ or ‘clever’ instead. Although I considered these words, I think I didn’t chose them as I didn’t want to seem too self-confident and went with ‘able’ instead.
Otherwise, I also think my friends might not often see the me who relaxes, as I do usually mainly relax when enjoying alone-time.

I am even a little surprised with some of the positive results, such as ‘organised,’ which is one of the most popular results. I know I am quite good at planning – I like to make daily to-do-lists and always get things done in time – however, I often feel quite unorganised. I can put smaller tasks off to focus on the more important things, and therefore get behind on where I would rather be. But I guess it’s great that I come across as organised, even if I can sometimes feel a bit overwhelmed!

How does this exercise make you think about your position in the workplace (ie. do you think you would be a good co-worker or boss or are there things you think you need to work on/develop?)
I think the words my friends have used to describe the way people generally see me show me that I will be not only appreciated for my skills in the workplace, as I am apparently ‘organised’ and ‘intelligent’ but also will manage to be liked by most people – being ‘friendly’ and ‘happy.’
I think I could work on showing that I can relax and have a good time, as that is a big part of my personality. It may also ensure that I can maybe be invited to events with co-workers outside of work. I do love my downtime, and wouldn’t mind spending it with people I work with if I get along with them.
I think if I did the Nohari window as well, which focuses on the negatives of my personality, it may be more constructive as to helping me improve on any problems I might have, as the Johari obviously focuses on positives.

Logo.

I’m finally trying to design a logo for myself as a designer. But finding it a huge challenge for multiple reasons. So I’ve gone through LogoTournament as if I want my logo designed, just to get a feel of what I need from my logo – and I can hopefully then follow my own brief!

Describe what your organisation does in one sentence:
Unique, on-trend design solutions.

Please select your industry: Media (design)

Please describe the target audience for your logo:
Primarily young (aged 20-45) people in Canberra and Melbourne who have an eye for great design and knowledge of latest trends. Probably mid-higher socio-economic status, and studying at a tertiary level -they understand what paying for a designer can do for your item or brand.
Secondly, employers or professionals in the design industry who also appreciate great design, being on trend, professionalism, and unique-ness.

What are the Top 3 three things you would like to communicate to your audience through your logo?
1. Unique
2. Professional
3. Approachable

Please select the styles that you would like to see for your logo:
-Wordmark: A wordmark consists of the company name in a stylized type and may include small abstract or pictorial elements.
-Letterform Mark: Typically uses a very small amount of letters (1-2) to represent the organization.

Please describe the colors you would like to see (or not see) in your logo:
Possibly only grey (or black) and white logo – though could have a tiny splash of colour as a feature to make more approachable. (Purple, teal, orange or something pastel.)
(Purple – Royalty, Wisdom, Spirituality, Imagination

Orange – Creativity, Invigoration, Unique, Energy
Grey – Sophisticated, Neutrality, Uncommitted
White – Perfection, Purity, Wedding, Clean, Virtue)

Do you have any logo ideas or additional information or links that would be useful to the designers?
-My personal style/inspiration can be seen at my tumblr – www.skyshouldbefalling.tumblr.com

-Logos that I love/ would consider going in the direction of include:

Source: http://www.fromupnorth.com/logo-inspiration-884/

Source: http://saltedink.com/2014/04/02/new-brand-launch-whiskey-white-events-raleigh-nc/

Source: http://www.fromupnorth.com/logo-inspiration-884/

Screen Shot 2015-03-15 at 4.03.50 pm

Screen Shot 2015-03-15 at 4.02.29 pm

Screen Shot 2015-03-15 at 4.05.00 pm

Style Sliders:

sliders

Where will your logo be used?
Print (resume, business card, portfolio, etc) and online.

So I started experimenting, and came up with a rang of ideas – but found that I think I want to stick with a serif typeface as the feature for some reason.

logo experiment2As you may have read in my personality type – I’m not great at making important decisions so this could take a while! So far I think I have developed a final design with a circular variation, as I couldn’t quite decide on the use of a circle or not. I think both alternative can be used, depending on their context/placement.

Screen Shot 2015-03-16 at 10.02.55 am Screen Shot 2015-03-16 at 11.47.09 am
I found that the simplest logo had the most appeal to everyone I asked, but they still loved the circle as a feature. They also loved the orange, which I chose as I had used it in previous attempts of self-branding – and the fact that I chose it as a final works well because, as mentioned, it happens to  represent creativity! Although I never usually use serif typefaces for display, this one just worked better than anything else I tried, especially when communicating professionalism as well as a bit or warmth.

My resume/CV template doesn’t include this exact branding though, as I had to include my name, not my brand. I decided to use hand-written text in the logo styled part of the resume for this reason – to personalise it. Otherwise, it is styled using similar colours and look and feel of my logo.

sian beadle Graphic design black resume

Looking at Art.

Today I visited the National Gallery of Australia and wandered around before finding a piece which not only caught my eye, but got me thinking about how artists create their work, and why. Nacres [Mother of Pearl] by Amedee Ozenfant  is an Oil on Canvas painting completed in 1926.

Nacres [Mother of Pearl] by Amedee Ozenfont
Nacres [Mother of Pearl] by Amedee Ozenfant
Describe it.

What kinds of things do you see in this painting? What else do you see?
Simple shapes from the kitchen; all glasses I think. Though they all seem to blend together.
Also, lots of space around the central collection of shapes.

What words would you use to describe this painting? What other words might we use?
Calm, subtle, simple, clean, interesting, abstract, defined, peaceful. Or maybe even dull, grey, pointless.

How would you describe the lines in this picture? The shapes? The colours? What does this painting show?
The lines are clearly defined, and sometimes seem quite sharp, though are mostly curved.  The shapes, that are mostly rounded and organic-feeling, somehow are clearly defined, though somehow do seem to blend. This could be due to the colours mostly all being from a similar, neutral  palette.

What is your first impression of the work? What initial observations can you make about it?
It caught my eye as it was peaceful, but also interesting. I noticed the recognisable shapes all bunched together to make one, larger unrecognisable shape.  aI also loved the smaller blocks of colours shapes making up the recognisable ones.

Relate it.

What does this painting remind you of?
– A cloudy sky.
– A neutral, stylish interior.
-The kitchen or lounge room.
-Water

What interests you most about this work of art?
It uses a great amount of empty space that brings the eye to the central group of shapes – which are also one of my favourite features, as well as the use of colour blocks.

Analyse it.

What can you tell me about the colours in this painting?
They are mostly very neutral and pastel shades. It could almost be described as dull with the large amount of light browns and greys. Though there are small bursts of colour – though they are still not bright; they are just deeper. For example – a darker glass-bottle green, and wine-maroon. There are also lovely splashed of white which break it up.

What colour is used the most in this painting?
A light brownish Grey (various shades of it.)

What do you think is the most important part of this picture?
It’s hard to say. Probably how the shapes all seem to blend together, yet also allow the individual shapes to stand out. However, the empty space around the edges could be equally as important.

How do you think the artist made this work?
I would first assume that she carefully planned, or at least sketched the arrangement of shapes, as the lines and shapes are so defined. However, she may have simply begun with one or two shapes, and added to them. I say this as the shapes do blend together so well and feel organic and yet abstract. She also could have added layers of colour to make up the blocks of different colours in the shapes.

What questions would you ask the artist about this work, if s/he were here?
-Is there a deeper message behind the piece?
-Is it supposed to represent something – maybe an issue in society or a feeling?
-What inspired the piece?

Interpret it.

What title would you give to this painting? What made you decide on that title?
Either ‘Shape’ or ‘Glass.’ I think, to me, both of these names are what the piece ultimately is.

What do you think is happening in this painting? What else could be happening?
It could a a whole collection of glasses blending together. Otherwise, I really don’t know.

What sounds (our soundtrack) would this painting make (if it could)?
A peaceful, higher pitched song, (which is not annoying in any way,) probably with guitar or a calm instrument, and an airy female singer who is singing in French.

What do you think is going on in this picture? How did you arrive at that idea?
As mentioned, I think something to do with a range of types of glasses all blending together as one. This is purely due to the fact that I see the shapes of these glasses.

What do you think this painting is about? How did you come up that idea?
It could be about boredom of a domestic life – because everything in the piece are items from in the home (or kitchen) and their shapes interlock and blend together. The colours also are very pale and quite dull, with not much excitement. While I guess at this, I still don’t think it is what it’s about somehow – I really don’t know what it is supposed to be telling me.

Pretend you are inside this painting. What does it feel like?
A quiet, peaceful cloudy day. Though I would feel very comfortable and at home. Though possibly confused, with everything I see almost blending together as one.

Why do you suppose the artist made this painting? What makes you think that?
As mentioned, I think it may have been inspired by pieces in the home – and created to create interest in them, as she may have been bored with domesticated life. I only think so because of the recognisable shapes used, and dull colours.

Evaluate it.

What do you think is good about this painting? What is not so good?
I love the use of colours and shapes – and that they are so defined, yet still seem to blend together. It is so subtle, yet very interesting.
The only downside is that I find it hard to work out the meaning or the piece.

Do you think the person who painted this do a good or bad job? What makes you think so?
A good job, as – apart from the fact it is in the National Gallery of Australia – I can’t recall seeing anything like it. I think this is because of the use of empty space, and the colours used just work so well. Also, you can also see the texture of the oil paint, and the careful directional brush strokes.

Why do you think other people should see this work of art?
It just catches your eye and has something interesting about it to me. I lvoe the use of empty space, shapes, and colour theme.

What do you think other people would say about this work? Why do you think that?
Some could say that it is a bit dull if the colours don’t appeal to them, and they may also struggle to see the point in the painting – it being, ultimately, of glasses, and very abstract.

What would you do with this work if you owned it?
It would feature in my open living area, (which included the kitchen,) and I would base my interior on the slightly brighter colours in the piece in order to enhance them.

What do you think is worth remembering about this painting?
The use of negative space, and central placement of the feature of the piece, as well as the colour combination. I also love the idea of using different blocks of colours in strange shapes to make up a recognisable shape.

Test Yo’self

The Myers Briggs/Jung HumanMetrics Personality test characterises people one of 16 personality types using four criteria:

The first criterion, Extraversion – Introversion, signifies the source and direction of a person’s energy expression. An extravert’s source and direction of energy expression is mainly in the external world, while an introvert has a source of energy mainly in their own internal world.

The second criterion, Sensing – Intuition, represents the method by which someone perceives information. Sensing means that a person mainly believes information he or she receives directly from the external world. Intuition means that a person believes mainly information he or she receives from the internal or imaginative world.

The third criterion, Thinking – Feeling, represents how a person processes information. Thinking means that a person makes a decision mainly through logic. Feeling means that, as a rule, he or she makes a decision based on emotion, i.e. based on what they feel they should do.

The fourth criterion, Judging – Perceiving, reflects how a person implements the information he or she has processed. Judging means that a person organises all of his life events and, as a rule, sticks to his plans. Perceiving means that he or she is inclined to improvise and explore alternative options.

After doing the test, my result was an ENFJ Personality Type, with it telling me:

You have slight preference of Extraversion over Introversion (11%)

You have moderate preference of Intuition over Sensing (38%)

You have moderate preference of Feeling over Thinking (25%)

You have slight preference of Judging over Perceiving (11%)

I found a more in depth explanation of ENFJ here from the test site, and also a more relatable and understandable description here on a more people-friendly version of the test.

Who else (famous people) share this personality type with you?

Sean Connery
Michael Jordan
Johnny Depp
Oprah Winfrey
Matthew McConaughey
Ben Affleck
Ben Stiller
Abraham Lincoln
Ronald Reagan
Barack Obama
and more..

Did the results of this test surprise you?

Slightly, yes. Though not so much after I had read into what the test meant by the world’s ‘judging,’ ‘intuition’ and even ‘extrovert’ as they took slightly different meanings to what I first perceived them as.
I thought the test would show me I was more introverted, as I love spending time alone, but  then realised I am also very comfortable expressing my feelings and opinions. I didn’t know what to expect from the sensing-intuition aspect of the test, but now realise that I do probably analyse things and decide what they mean after looking within myself.
One thing I certainly wasn’t surprised with was the result that I had a preference for feeling over perceiving. I have always felt feeling very strongly, but still use logic in making many decisions that don’t directly affect me – this could be why it is only a moderate preference to feel. The Judging over perceiving also makes sense when I see judging as something that makes me a planner – even if not an effective one. However, I do still do many things spontaneously – though probably only the less important things in life.
I also became less surprised  after reading the description of an ENFJ personality type – including the strengths, weaknesses, and actions in romantic relationships and friendships especially.

Do you agree with your personality assessment? (Why/Why Not?)

Only to a certain degree. Mainly due the fact they are mostly described as leaders, or do-gooders. I love helping people, and do often end up a leader, but I wouldn’t say they are the main passions of mine. Most aspects of the personality type I do see in myself – such as being able to multitask, naturally being a leader in the group, and being ‘apt to neglect themselves and their own needs for the needs of others.’
But either I haven’t realised it, or I am just off the exact personality of ENFJ – as I don’t always love to do these things, or feel like I am particularly good at them. I don’t ‘take pride’ in being the leader; I often feel like it would just be best to lead a team situation in order to get something done more efficiently.
I also don’t feel like I have ‘tremendous charisma’ or am completely ‘selfless.’ This is why I was most surprised with the assessment that I would be in work that helps people. I guess design and advertising does give people solutions – but I don’t feel any pull towards the traditional ENFJ jobs such as teaching or politics.
I think I find the description of an ENFJ a bit over-exaggerated and maybe dramatic, as I possess these qualities, but not to the extent of some other ENFJ’s might. Or, this could be due to the fact that of my preferences of ‘Judging,’ ‘Intuition,’ ‘Extraversion’ or ‘Feeling’ were all slight or moderate – not particularly strong in any one area.
As mentioned though, I do completely agree with parts of the assessment. For one, the strengths and weaknesses and relationships description are almost completely perfect – all of them. As well as the assessment that I can have a ‘tremendous capacity for reflecting on and analysing their own feelings,’  and am ‘very organised.’

How do you think your personality would fit into the workplace (small studio, large global agency, manager, team member?)

As I work well with people, I think either a small agency or larger global group would suit my personality type.
I also think that, after being happy to start in a very junior position, hopefully I would be able to slowly but steadily show, through helping people, and leading in order to solve problems, that I am a valuable member of staff, and that I could prove myself worthy to move up into higher positions – maybe team leaders or even managers. As said on 16Personalities, however, I could underestimate myself. – but, I should be able to ‘take on multiple responsibilities with competence and good cheer…’ whilst being ‘hardworking, reliable and eager to help.’
I never had thought of myself as a future manager – but now I think about it, I can be very good at harnessing people’s work and pulling it all together to create a well-executed solution for many problems.

Lastly, I loved this paragraph, and confirmed a little more to me that this test may have analysed me very close to perfectly, as I hope I can be this kind of worker:

“ENFJs are able to express themselves both creatively and honestly, allowing them to approach positions as sales representatives and advertising consultants from a certain idealistic perspective, intuitively picking up on the needs and wants of their customers, and working to make them happier. However, ENFJs need to make sure they get to focus on people, not systems and spreadsheets, and they are unlikely to have the stomach for making the sort of decisions required in corporate governance positions – they will feel haunted, knowing that their decision cost someone their job, or that their product cost someone their life.”