MDM691 Week 3
Reflection
In revising my portfolio, I added three integral components of the Wonder Woods Workshops brand development: Logo Development (Part 1), Brand Collateral (Part 2), and Full Logo Build Breakdown (Part 3). These additions were not just visual enhancements; they were strategic expansions that showcase my full-spectrum capabilities in brand storytelling, from ideation to execution. Each part reflects a deliberate, research-driven process rooted in emotional resonance, audience empathy, and technical precision.
Part 1 demonstrates my ability to build a brand from the ground up. I began with foundational strategy and mood boards, iterating through thumbnail sketches and peer feedback to arrive at a logo that embodies the brand's "onlyness", its unique emotional and experiential promise. The choice of Orpheus Pro as the wordmark font was intentional: its Art Deco elegance and Roman proportions evoke timelessness and trust, aligning with the brand's ethos.
Part 2 dives into tactile storytelling through collateral design. Raised gold foil, modular layouts, and serif typography were chosen to evoke artisanal warmth and sensory engagement. These decisions weren't aesthetic alone—they were metaphoric, reinforcing the brand's commitment to craft and authenticity.
Part 3 brings the brand to life through motion. The 10-second logo build in 3D space was designed to simulate a magical reveal, inviting viewers into the brand's imaginative world. It reflects my fluency in cinematic storytelling and motion graphics, and my belief that brand identity should be felt, not just seen.
The CCC event posters: Dia de los Muertos, Halloween Jam, and Valentine's Day showcase my versatility in seasonal branding. Each project involved typographic exploration, character design, and compositing techniques tailored to evoke specific moods and cultural themes. These works highlight my ability to adapt design language while maintaining emotional clarity and visual cohesion.
Collectively, my portfolio reflects not just what I can make, but how I think: empathetically, iteratively, and with a deep respect for the story each brand wants to tell.
Essay
Legal Issues and Image Usage
Media designers face legal risks when using images, whether self-created or sourced, if proper licensing, attribution, or permissions are not secured. According to AIGA's Design Business and Ethics, "Illustrations should not be used without gaining permission from the creator" (AIGA, 2009, p. 51). This highlights the importance of respecting intellectual property rights, especially when using stock or commissioned art. Designers need to ensure contracts clearly specify usage rights, duration, and exclusivity.
Brad Weaver emphasizes in Creative Truth that "you must understand the difference between owning the work and owning the rights to use the work" (Weaver, 2015, Ch. 4). This distinction is vital when negotiating with clients or sourcing third-party content. Failing to understand it can result in infringement claims or disputes over derivative works.
Paul Martin Lester's Visual Ethics adds that "ethical visual communicators must be aware of the moral implications of using someone else's work" (Lester, 2018, Ch. 2). Designers should not only follow legal protocols but also maintain ethical standards by giving credit to creators and avoiding stylistic mimicry without permission.
To avoid legal issues, designers should:
Use written contracts for all commissioned work.
License stock images from reputable sources.
Avoid altering copyrighted material without permission.
Maintain documentation of all usage rights.
Protecting Your Work from Unauthorized Use
To protect their work, media designers need to set clear boundaries through contracts and copyright registration. AIGA's Design Business and Ethics states, "Original artwork belongs to the illustrator, regardless of the use rights that are licensed" (AIGA, 2009, p. 50). This means that unless explicitly transferred, the creator retains ownership, even if the client has reproduction rights.
Brad Weaver reinforces this in Creative Truth: "If you don't define the scope of use, you're giving away more than you intended" (Weaver, 2015, Ch. 5). Designers should clarify whether the client is getting a limited license, exclusive rights, or full ownership. Without this clarification, clients might reuse work in unintended ways or share it with other vendors.
Paul Lester's Visual Ethics adds a moral layer: "Designers must consider the long-term implications of how their work is used and reused" (Lester, 2018, Ch. 4). Ethical practice involves not only legal protection but also anticipating how work might be reused and making sure it aligns with the designer's values.
Best practices include:
Using contracts that define scope, media, geography, and duration of use.
Registering work with the U.S. Copyright Office.
Including clauses that prohibit unauthorized reuse or modification.
Retaining rights to preliminary and unused concepts.
Copyright Issues in RFP Responses
Responding to an RFP (Request for Proposal) can put designers at risk of copyright issues, especially when speculative work is asked for. AIGA warns against unpaid design presentations, stating, "Unpaid design presentations are fraught with economic risk… the designer gives up creative property without a fair level of control or compensation" (AIGA, 2009, p. 24). Designers should avoid submitting original work without a signed agreement or compensation.
Brad Weaver advises, "Never give away your best ideas for free. If they want your thinking, they should pay for it" (Weaver, 2015, Ch. 6). This principle safeguards designers from exploitation and guarantees their intellectual property isn't utilized without permission.
Paul Lester's Visual Ethics cautions that "spec work often undermines the integrity of the design profession by commodifying creativity" (Lester, 2018, Ch. 5). Ethical designers should promote fair pay and oppose practices that undermine their skills.
To mitigate copyright concerns in RFPs:
Submit only conceptual summaries or past work, not new designs.
Include disclaimers that all submitted materials remain the property of the designer.
Avoid competitions that require a full transfer of rights without payment.
Clarify licensing terms before sharing any creative assets.
References
AIGA (American Institute of Graphic Arts). (2009). Design business and ethics. AIGA. https://www.aiga.org/resources/design-business-and-ethics
Weaver, B. (2015). Creative truth: Start & build a profitable design business. Focal Press. https://learning.oreilly.com/library/view/creative-truth/9781317541554/
Lester, P. M. (2018). Visual ethics. Routledge. https://learning.oreilly.com/library/view/visual-ethics/9781315455112/