The Dark Edit

Stories, culture, design, and life online through my lens.

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I’ve always been fascinated by how fashion businesses create stories and build communities. This fascination inspired me to get a Bachelor’s degree in Communication from SUNY Cortland and is now fueling my pursuit of a Master’s degree in Interactive Media and Communications at Quinnipiac. My goal is to become a Social Media Manager, where I can create intriguing digital storylines for a fashion company. I’m excited to master the abilities required for this program to help bring that vision to life. This blog will serve as an outlet for me to reflect, practice new skills, assess industry trends, and analyze the subjects we cover in class.

  • Before the First Page

    How Thriller Covers Make Readers Expect a Twist

    Figure 1. Three thriller covers use different images but share strong type, limited color, and an atmosphere of uncertainty. Screenshots by Gabriella Rinaldi.

    The Story Starts on the Shelf

    Imagine walking into a bookstore with no title in mind. A table near the entrance is crowded with new releases, yet one group announces itself before a single description is read. The covers are dark. The titles are oversized. A hallway disappears into shadow, a lonely piece of furniture sits in an empty room, and a bright accent color looks almost like a warning. Within seconds, the books feel secretive, tense, and dangerous. They look like thrillers.

    That instant recognition is not an accident. A thriller cover is a small visual story built to work before the written story begins. It has to catch attention from across a store, remain understandable as a tiny online thumbnail, communicate genre, and leave enough unanswered to create curiosity. The strongest covers do all of this without explaining the plot. They make a promise about the emotional experience waiting inside.

    Research supports the idea that covers shape how books are noticed and selected. Gudinavičius and Šuminas (2018) found that cover design influences reader choice, while Knowlton and Hackert (2015) found that books with publisher-supplied covers received more circulation in an academic library setting. These findings do not mean that readers ignore the author or synopsis. They show that presentation affects whether a reader pauses long enough to consider those details.

    The thriller cover formula depends on a few repeated choices: bold typography, controlled color, an unsettling image, and a clear hierarchy. Repetition helps readers recognize the genre quickly. However, a cover still needs one meaningful difference that belongs to its particular story. The real design challenge is not choosing between familiarity and originality. It is using both at the same time.

    The Shelf Gives Away the Genre

    Visual storytelling is often described as a way of organizing information into a meaningful sequence. Gitner (2015) explains that audiences constantly interpret visual information across platforms, while Bergström (2008) connects storytelling to the relationship between words, images, and composition. A book cover compresses that relationship into one frame. It introduces a mood, hints at conflict, and gives the reader a reason to move closer.

    Genre works like a shared visual language. A romance cover may use warm color, soft lighting, or two figures positioned close together. A fantasy cover may feature an invented landscape, decorative lettering, or a symbolic object. Thrillers often rely on darkness, isolation, sharp contrast, and large type. Readers may not consciously list those features, but they have seen them enough times to understand what they suggest.

    That recognition matters because book shopping is fast. Covers appear beside dozens of competitors in a store and in rows of even smaller images online. Penguin Random House cover designer Anthony Ramondo explains that designers study comparable titles, target readers, and thumbnail performance as part of the process (Ramondo, n.d.). A cover is therefore judged at several distances. It must make sense across a room, in a reader’s hand, and on a phone screen.

    The formula can be seen clearly in three recent examples: Freida McFadden’s The Inmate, McFadden’s Never Lie, and Shari Lapena’s She Didn’t See It Coming. These books do not create the same reading experience. Never Lie moves quickly and builds toward a memorable twist, while The Inmate uses its ending to change how earlier details are understood. She Didn’t See It Coming is less surprising by comparison. Their covers still belong together visually. All three use a large title, limited color palette, strong contrast, and a setting that feels unsafe or incomplete. Together, they show how designers create variety inside a recognizable genre.

    Figure 2. The Inmate uses a cold institutional hallway, a distant figure, and a large white title to suggest confinement. Screenshot by Gabriella Rinaldi.
    Figure 3. Never Lie turns an empty couch and high-contrast title into a visual clue about absence and deception. Screenshot by Gabriella Rinaldi.
    Figure 4. She Didn’t See It Coming combines a dark residential setting with bright green and white typography. Screenshot by Gabriella Rinaldi.

    Typography That Sounds Like a Warning

    On many thriller covers, the title is not simply placed over an image. It becomes the most powerful image on the page. The letters are often tall, condensed, capitalized, and large enough to dominate the composition. This style feels direct and urgent. It also remains legible when the cover is reduced to a thumbnail.

    Haraguchi, Iwana, and Uchida (2024) studied how text design helps characterize book genres. Their findings connected thriller covers with features such as condensed type and dark backgrounds. The result helps explain why so many thriller titles appear narrow, bold, and tightly arranged. The type does more than identify the book. It carries the emotional tone.

    The Inmate uses a large white title against a green-blue hallway. The letters echo the narrow space behind them. The title is more visible than the distant figure, so the idea of confinement comes through before the scene is studied closely. After the ending is known, the hallway and small figure feel more deliberate because the story asks readers to rethink who can be trusted. Never Lie uses red and black type against a pale wall. The word “Lie” receives extra attention through its scale and dark color, making deception feel like the central threat. The cover is simple, but that simplicity matches a book that pulls readers forward through questions and a major final reveal. She Didn’t See It Coming uses a bright green author name above a large white title. It is noticeable, although the brighter color makes it feel slightly less tense than the other two covers.

    Typography can also guide reading order. Gestalt principles help explain why. Similar letters are understood as a group, while proximity connects the title lines into one unit (Busche, n.d.). Scale establishes hierarchy, so the title is usually read before the tagline or review quote. These choices reduce confusion and allow the cover to communicate quickly.

    Typeface also influences attention in measurable ways. In an eye-tracking study, Nakahata et al. (2016) found that typeface affected gaze duration and book choice in their experimental setting. The exact response to a typeface can change by reader and context, but the broader point is useful: lettering is not neutral. It affects what is noticed, how long attention remains, and what kind of personality a book seems to have.

    Figure 5. Common typographic choices help thriller titles feel immediate and readable.

    Color Sets the Emotional Temperature

    Thriller covers commonly begin with a dark base and add one sharp accent. Black, deep blue, gray, and shadowed green create an atmosphere of secrecy. Red can suggest danger, violence, or urgency. Acid yellow or green can feel unnatural, contaminated, or alerting. White often creates the strongest possible contrast for a title.

    Color does not have one fixed meaning. McLeod (2023) explains that perception involves both sensory information and interpretation. Context changes what viewers believe they are seeing. A red shape on a holiday card may feel celebratory, while red lettering on a dark thriller cover can feel threatening. The surrounding image, genre expectations, and typography all help produce the meaning.

    This is visible across the three covers. The cold teal-green of The Inmate makes the hallway feel institutional and emotionally distant. The red title on Never Lie immediately introduces tension against an almost colorless room. The bright green on She Didn’t See It Coming gives the cover energy, but the dark windows and evening sky keep that energy from feeling cheerful. In each case, color works with the setting rather than acting alone.

    The same principle connects to emotional design. Norman (2003) describes a visceral response as the immediate feeling created by appearance. A reader may not have time to analyze why a cover feels tense. Contrast, darkness, and color can create that reaction first. Behavioral and reflective responses follow when the reader picks up the book, reads the description, recognizes an author, or connects the cover to earlier reading experiences.

    The most effective palette is therefore not the darkest one. It is the palette that supports the story and remains distinct beside similar books. If every thriller uses the same black background and red title, the signal becomes easy to recognize but harder to remember. One unexpected color can preserve the genre cue while giving the book its own identity.

    Figure 6. A limited palette can set mood while one accent color creates recognition.

    The Threat Is Often Implied

    Thriller covers rarely show the entire danger. Instead, they offer one fragment: a locked door, a distant figure, a house at night, a staircase, an empty chair, or an object that seems ordinary until the reader understands its role. This restraint is important because suspense depends on missing information.

    Lupton (2017) explains that design can shape a narrative through action, emotion, and sensation. A cover cannot deliver a complete plot arc, but it can begin one. It presents a visual situation and encourages the viewer to ask what happened before and what might happen next. The unanswered question becomes part of the appeal.

    Gestalt theory helps explain why partial information can still feel complete. Closure allows viewers to mentally finish an incomplete form, while figure-ground separation makes one subject stand out from its setting (Busche, n.d.). Thriller covers use the same habits of perception. A silhouette does not need facial detail to be understood as a person. A dark opening can read as a threat even when nothing is visible inside it. The mind fills the gap, and the imagined danger may be more personal than a fully shown scene.

    Never Lie is a good example. The black couch and white brick wall look simple, but the emptiness feels suspicious. The scene does not reveal a crime. It makes the reader wonder who should be in the room and why the space was left empty. That question fits a story built around secrets. The Inmate uses a distant figure at the end of a narrow passage. Because the figure is small and unclear, the hallway becomes almost as important as the person. She Didn’t See It Coming presents a residential space that should feel safe, but darkness and separation turn it into a place of uncertainty. The image communicates the genre clearly, even if its visual clue is not as memorable as the empty couch on Never Lie.

    Reedsy’s collection of thriller cover examples shows how often designers rely on isolated architecture, obscured people, and symbolic objects (Reedsy, n.d.). These repeated images are useful because they suggest danger without spoiling a twist. The image acts as evidence, but the reader still has to decide what it means.

    Figure 7. Figure-ground, closure, and proximity help partial clues feel meaningful.

    Why Familiarity Works

    The repeated thriller formula may seem predictable, but familiarity has practical value. Readers make fast decisions, especially when many options appear at once. Behavioral economics examines how people use mental shortcuts instead of carefully evaluating every detail. Bridgeable (n.d.) identifies principles such as framing, social proof, and choice architecture that influence decisions. A genre cover works as a form of framing. Before a synopsis is read, the design tells the shopper what kind of experience is being offered.

    This shortcut helps both the reader and the publisher. A reader who wants suspense can scan a shelf and eliminate books that do not match that goal. A publisher can position a new title beside successful comparable books. The cover becomes part of the product’s choice architecture because it helps organize a crowded market into recognizable categories.

    Research on book selection shows that several factors work together. D’Astous, Colbert, and Mbarek (2006) found that reader interest in new books is influenced by features connected to the book and its presentation. Cover design is not the only reason someone chooses a title, but it participates in a larger decision that may also include author recognition, recommendations, reviews, and subject matter.

    This is why comparable titles are useful during the design process. They reveal the expectations already present in the market. Ramondo (n.d.) describes using competitive research and thumbnail tests to understand where a cover belongs and whether it remains effective at a small size. The goal is not to copy a successful book. It is to make the new book recognizable to the same audience while protecting its individual story.

    The process resembles a conversation. Familiar features say, “This is the kind of book you enjoy.” A distinctive clue adds, “But this story has something new.” If either side is missing, the cover becomes less effective. A completely unfamiliar design may hide the genre. A completely familiar design may disappear into the shelf.

    Figure 8. The cover supports a fast path from attention to selection.

    When the Formula Becomes Too Familiar

    Every visual formula has a weakness. Once a style becomes successful, it is repeated until many covers begin to look interchangeable. Bold sans-serif titles, dark domestic settings, silhouettes, and red accents can signal a thriller so clearly that the individual book loses its personality.

    Monotype’s discussion of book-cover trends notes the popularity of bold sans-serif typography across contemporary publishing (Monotype, 2023). The trend is useful because it is readable and visually forceful, but trends can flatten differences between stories. A reader may correctly identify five books as thrillers and still struggle to remember which cover belonged to which plot.

    The problem is not repetition by itself. Visual language depends on repetition. The problem begins when the design makes a promise the book does not keep. A cover that looks extremely violent may mislead readers if the story is mainly psychological. A cover that resembles a domestic thriller may disappoint someone expecting a police procedural. Attraction without accuracy can create the wrong audience.

    Book designer Peter Mendelsund has argued that a successful cover should not merely illustrate the book. It should create a visual idea that can stand beside it (Wired, 2014). That approach offers a way out of sameness. Instead of adding every familiar thriller symbol, the designer can identify one detail that matters to this story and build the cover around it.

    Among the three examples, She Didn’t See It Coming pushes the formula furthest through its bright green author name and layered architectural image. It still reads as suspense because of the darkness, scale, and title treatment. However, the cover may be easier to notice than to remember because its central clue is not immediately clear. Never Lie succeeds through extreme simplicity. The empty couch is quieter than a running figure or bloody object, which makes the absence itself memorable. It also gains meaning after the story is finished. The cover does not reveal the twist, but it feels more connected to the book once the reader knows what happened.

    Figure 9. Familiar genre signals work best when paired with one distinctive idea.

    Designing a Cover That Keeps Its Promise

    A useful thriller-cover process can be organized around five questions.

    First, does the cover signal the correct kind of story? Genre should be recognizable through the combined effect of type, color, image, and mood. Second, is there one clear focal point? A reader should not have to decode five competing ideas. Third, does the title remain readable as a thumbnail? Online shopping has made small-scale clarity essential. Fourth, does the image contain a meaningful clue rather than a random symbol of danger? The best clue becomes more interesting after the book is read. Fifth, what makes this cover different from the books beside it?

    These questions create a balance between marketing and storytelling. The cover must sell the book, but it should also respect the story. That requires collaboration among editors, marketers, authors, art directors, and designers. It also requires testing. A beautiful cover at full size may fail on a phone. A mysterious image may be too vague for the intended audience. A title that looks dramatic may become unreadable when reduced.

    An effective workflow moves from broad to specific. It begins with the emotional promise of the story, studies comparable titles, selects one central visual idea, develops type and color around that idea, and tests the result in realistic settings. The final check is not simply whether the cover looks attractive. It is whether the right reader understands the promise.

    This approach also protects originality. Instead of asking how to make a cover “look like a thriller,” the designer can ask what kind of tension belongs to this thriller. Confinement, deception, disappearance, surveillance, and domestic danger can all produce suspense, but they should not look identical. A formula is most useful when it acts as a structure, not a cage.

    Figure 10. A focused workflow keeps the cover connected to both story and audience.
    Figure 11. A final scorecard tests whether the cover makes an accurate and memorable promise.

    What Happens Before Page One

    Return to the bookstore table. The reader still has not opened a book, but several decisions have already happened. One cover was recognized as a thriller. Another seemed too familiar. A third offered a clue that created a question. The reader picked it up.

    That moment shows the real power of cover design. A thriller cover does not simply decorate a finished story. It begins the reader’s experience by setting an emotional temperature, creating expectations, and withholding just enough information. Typography can sound like a warning. Color can make a familiar room feel unsafe. A single image can suggest a conflict without revealing it.

    The thriller cover formula works because it speaks a language readers already understand. Dark settings, bold titles, limited palettes, and incomplete scenes help the genre announce itself quickly. Yet recognition is only the beginning. The covers that remain memorable add one decision that belongs to the specific book. They use convention to reach the right audience and originality to make a promise worth following.

    Before the first page is turned, the story has already started.

    References

    Bergström, B. (2008). Essentials of visual communication. Laurence King Publishing. [Course resource, Module 1]

    Bridgeable. (n.d.). The top 5 behavioural economics principles for designers. https://www.bridgeable.com/ideas/the-top-5-behavioural-economics-principles-for-designers/ [Course resource, Module 4]

    Busche, L. (n.d.). Simplicity, symmetry and more: Gestalt theory and the design principles it gave birth to. Canva. https://www.canva.com/learn/gestalt-theory/ [Course resource, Module 4]

    D’Astous, A., Colbert, F., & Mbarek, I. (2006). Factors influencing readers’ interest in new book releases: An experimental study. Poetics, 34(2), 134–147. https://doi.org/10.1016/j.poetic.2005.12.001

    Gitner, S. (2015). Multimedia storytelling for digital communicators in a multiplatform world. Routledge. [Course resource, Module 1]

    Gudinavičius, A., & Šuminas, A. (2018). Choosing a book by its cover: Analysis of a reader’s choice. Journal of Documentation, 74(2), 430–446. https://doi.org/10.1108/JD-09-2016-0111

    Haraguchi, D., Iwana, B. K., & Uchida, S. (2024). What text design characterizes book genres? In Document analysis systems: DAS 2024 (pp. 165–181). Springer. https://doi.org/10.1007/978-3-031-70442-0_10

    Knowlton, S. A., & Hackert, L. N. (2015). Value added: Book covers provide additional impetus for academic library patrons to check out books. Library Resources & Technical Services, 59(3), 112–119. https://doi.org/10.5860/lrts.59n3.112

    Lupton, E. (2017). Design is storytelling. Cooper Hewitt, Smithsonian Design Museum. [Course resource, Module 3]

    McLeod, S. (2023). Visual perception theory. Simply Psychology. https://www.simplypsychology.org/perception-theories.html [Course resource, Module 4]

    Monotype. (2023). 4 popular book cover design trends in 2023. https://www.monotype.com/resources/articles/4-popular-book-cover-design-trends-2023

    Nakahata, S., Yoshikawa, T., Yamazaki, K., & Ueda, K. (2016). Effects of color of book cover and typeface of title and author name on gaze duration and choice behavior for books: Evidence from an eye-tracking experiment. Proceedings of the Association for Information Science and Technology, 53(1), 1–4. https://doi.org/10.1002/pra2.2016.14505301100

    Norman, D. (2003). 3 ways good design makes you happy [Video]. TED Conferences. https://www.ted.com/talks/don_norman_3_ways_good_design_makes_you_happy [Course resource, Module 3]

    Ramondo, A. (n.d.). The ins and outs of cover design. Penguin Random House. https://authornews.penguinrandomhouse.com/the-ins-and-outs-of-cover-design/

    Reedsy. (n.d.). Thriller book covers: 40+ examples and design ideas. https://reedsy.com/design/book-covers/thriller

    Wired. (2014). What makes for a brilliant book cover? A master explains. https://www.wired.com/2014/08/what-makes-for-a-brilliant-book-cover-a-master-explains/

  • One More Chapter: Choosing a Book Before Bed

    At the end of a long day, nighttime can feel like the first real chance to slow down. A bedtime routine is made up of small things that signal that everything else is finished for the night, the skincare, the dimmer lights, getting comfortable, and deciding what to read. For someone who loves books, choosing a story becomes part of that routine. This photo essay follows those quiet moments, from getting ready for bed to finally opening a book and escaping into another story for a little while.

    Photo essays work best when the images are connected by one clear idea rather than feeling like a random collection of pictures. Shurbaji (2014) explains that a photo essay brings a group of photographs together around an overall topic or theme to create a larger story. That idea guided the way these photographs were taken and arranged.

    The day starts to feel officially over when the bedroom becomes quieter and the lights get softer.

    Getting Ready for the Night

    Before picking up a book, the night starts with getting ready for bed. Skincare is one of those routines that happens almost automatically, but it also marks the point when the day begins to slow down. Products come out, makeup comes off, and there is finally nowhere else to be.

    A familiar skincare routine becomes the first step between a busy day and a quieter night.

    Turning Everything Else Off

    The brightest lights go off and the bedside lamp takes over. It is a small change, but it completely changes the feeling of the room. Everything starts to feel warmer, calmer, and less distracting.

    Turning off the main light changes the mood of the room and makes the night finally feel slower.

    The lighting also helps move the story forward visually. Instead of every photograph looking the same, the darker setting makes it clear that the routine is getting closer to bedtime. García (2017) discusses the importance of bringing writing, editing, and design together rather than treating each part separately. The images and writing in this essay are meant to work together in the same way.

    Too Many Choices

    Then comes one of the hardest parts: choosing the book.

    A pile of unread books can make the decision harder than expected. Some nights call for something creepy, while others call for a thriller that is impossible to put down. The covers, titles, and mood of each book all become part of deciding which story feels right for that night.

    Every book offers a different way to end the night, making the decision part of the routine itself.

    The Choice

    Eventually, one book stands out from the rest.

    After going back and forth between different choices, one story finally wins.

    This photograph becomes an important point in the sequence because something is actually happening. Instead of only showing the books, the hand reaching into the frame shows the moment a decision is made and moves the story into its next part.

    Getting Comfortable

    Once the book is chosen, everything else falls into place. The book moves to the bed along with the blanket, pillows, and anything else that makes the room feel comfortable. At this point, the routine is almost finished.

    The chosen book becomes part of the rest of the nighttime setup, surrounded by the small things that make staying in bed feel comfortable.

    One More Chapter

    The book finally opens.

    For the next few minutes, or sometimes much longer, the phone can sit untouched and everything outside the room becomes less important. A good book has a way of making “one more chapter” turn into several.

    Once the pages are open, the routine stops being about getting ready for bed and becomes about getting lost in the story.

    The closer angle was used intentionally. Earlier photographs show more of the room and the routine, while this image focuses on a much smaller detail. Shurbaji (2014) explains that photo stories can show a process with a recognizable beginning, middle, and end. Moving from wider shots into smaller details helps make that progression feel more natural.

    Until Tomorrow

    Eventually, the book has to close.

    The book closes for the night and waits on the nightstand until there is time for another chapter.

    What started as an ordinary bedtime routine becomes a small story when each part is photographed separately. The room begins brighter and busier, then slowly becomes darker and quieter. By the final image, everything has settled down. Choosing a book may only be one part of getting ready for bed, but it creates a small escape at the end of the day.

    Behind the Photos

    The goal of this photo essay was to take something ordinary and make it feel like a complete visual story rather than a group of unrelated photographs. Several versions of each part of the routine were taken from different angles and distances before choosing the final images.

    Some photographs were taken from farther away to establish the room and setting, while others focused on details such as a hand reaching toward a book or an open page under the bedside light. The photographs were then arranged in the same order that the routine normally happens, creating a clear beginning, middle, and ending.

    That process connects to the idea behind WED, or the integration of writing, editing, and design. Reason (2002) explains that these elements become more effective when they work together rather than separately. The order of the photographs, captions, writing, lighting, and layout were all considered as parts of the same story.

    References

    García, M. R. (2017, January 19). Digital storytelling, part one: The fusion of writing/editing/design. García Media. (Module 5) García Media

    Reason, R. (2002, August 19). WED: The integration of writing/editing/design. Poynter. (Module 5) Poynter

    Shurbaji, E. (2014, December 17). Photo narratives: Defining picture stories, essays and packages. Medium. (Module 5) Medium

  • Designed to Decide: How Websites Influence What We Click, Buy, and Choose

    Ratings, awards, prices, and limited-edition labels influence which products customers notice and consider purchasing. Screenshot from Sephora

    A Simple Shopping Decision

    Imagine opening a eauty website because you need a new lip product. At first, the decision seems simple. Then you see dozens of shades, customer ratings, sale prices, limited-edition labels, and messages saying that certain products are almost gone. One item is marked “Bestseller,” while another is already selected as the recommended option. Before you realize it, the website has helped determine what you notice, compare, and eventually purchase.

    This is where behavioral economics becomes important to design. Traditional economics often assumes that people carefully compare every option and make the most logical decision. In reality, people are affected by emotion, habits, time pressure, visual cues, and the way choices are presented. Behavioral economics studies these influences. Designers can use that knowledge to make decisions easier, but they can also use it to push people toward choices they may not have made on their own.

    When Too Many Choices Become a Problem

    One way behavioral economics appears in design through choice architecture, which is the way options are organized and presented. A website may technically allow customers to choose from hundreds of products, but it rarely displays every option with equal importance. Instead, it uses categories, filters, recommendations, and featured products to make the decision feel more manageable.

    This connects to perception and cognition because people cannot give equal attention to everything on a crowded screen. Color, size, placement, and contrast influence what we notice first. A large “Add to Bag” button will probably receive more attention than a small gray link underneath it.

    This also connects to affordances, or the visual qualities that suggest how an object can be used. According to the Interaction Design Foundation, affordances help users recognize the actions available to them. A button that looks clickable tells someone what to do without requiring a long explanation. Interaction Design Foundation

    An “Addt to Bag” button is an affordance, but its placement is also part of the choice architecture. When it appears beside a recommended shade, strong reviews, and free-shipping information, the whole layout gently directs the customer toward completing the purchase.

    Choice architecture can be helpful. Filters for shade, price, finish, or skin type save customers from searching through every product. However, the same principle can become frustrating when a website gives one option much more attention than the others or makes the company’s preferred choice easier to select.

    Sephora organizes its shade options and highlights the selected product, helping customers compare many choices without becoming overwhelmed. Screenshot from Sephora

    Why We Trust What Other People Choose

    After narrowing down the options, a customer may still be unsure which product to buy. This is when social proof can influence the decision. Ratings, reviews, award badges, customer photographs, and labels such as “Bestseller” suggest that other people have already approved of the product.

    Bridgeable explains that behavioral economics helps designers understand how people actually make decisions, including the mental shortcuts that influence their behavior. Bridgeable When people feel uncertain, the behavior of others can become one of those shortcuts. A product with thousands of positive reviews may feel safer than one with no reviews, even if the customer has not compared their ingredients or quality.

    Social media adds another layer to this principle. A beauty product may become more desirable after it goes viral on TikTok, sells out, or appears in multiple influencer videos. When that popularity is repeated on the product page through ratings and customer content, the item feels familiar before the customer has even tried it.

    This does not mean reviews are unhelpful. Real customer experiences can provide useful information about a shade, fit, or formula. The problem begins when a design creates pressure instead of providing honest information.

    Scarcity messages use the possibility of missing out to make a purchasing decision feel more urgent.

    The Fear of Missing Out

    Once a customer becomes interested in a product, loss aversion can encourage them to act quickly. Psychologist Daniel Kahneman’s research showed that people often experience the pain of a loss more strongly than the pleasure of an equal gain. His work connected psychology with economic decision-making and earned him the 2002 Nobel Prixe in Economic Sciences. Nobel Prize

    Online, loss aversion appears through messages such as “Only two left,” “Sale ends tonight,” or “Your cart is about to expire.” These messages change the customer’s focus. Instead of asking whether they truly want the item, they may start worrying that they will lose the chance to buy it.

    A countdown can be useful when a sale really has a clear ending. An inventory warning can also help customers understand that a product is nearly sold out. However, a fake countdown that restarts whenever the page is refreshed creates urgency without giving the customer truthful information. At that point, behavioral design becomes manipulation.

    When Guidance Becomes Manipulation

    The shopping experience changes once we recognize that a website is not simply displaying information. It is arranging that information to encourage a particular behavior.

    This influence is not automatically wrong. Good design should help people understand their options and complete a task without unnecessary confusion. Clear buttons, useful recommendations, honest reviews, and organized categories can reduce the amount of mental effort a decision requires. The Behavioural Insights Team applies research about human behavior to interventions intended to solve real-world problems. Behavioural Insights Team

    The ethical question is whether a design supports the user’s goal or only the company’s goal. The Federal Trade Comission uses the term dark patterns to describe digital design practices that can trick or manipulate people into making decisions. These practices may include hiding addtional charges until checkout, making a subscription easy to begin but difficult to cancel, or using confusing buttons that cause someone to agree unintentionally. Federal Trade Commission

    A helpful design makes important information easy to see. A manipulative design hides that information while making the company’s preferred sction stand out.

    Designing Choices People Can Trust

    By the end of the shopping experience, a customer may feel as if they independently selected a product. They did make the final choice, but the design shaped the path that led to it. It determined which products appeared first, which button stood out, which reviews were visible, and whether the customer felt calm or rushed.

    For social media managers andcontent creators, this matters because every visual decision can affect behavior. Choosing a color, label, photograph, button, or call to action is not only about making content attractive. It can also influence what the audience notices, believes, and does next.

    Behavioral economics can make design clearer and more useful when it helps people make informed decisions. It becomes harmful when it depends on confusion, hidden infomration, or unnecessary pressure. The strongest design does not take freedsom away from the user. It presents choices clearly enough for people to understand what is happening and feel confident about the decisions they make.

    Sources

  • More Than a Lip Kit: How Design Turns Beauty Into an Experience

    Kylie Cosmetics website featuring Kylie Jenner applying makeup against a pink background, with product categories displayed below.
    Kylie Cosmetics uses color, campaign photography, typography, and Kylie Jenner’s image to create a recognizable beauty experience. Screenshot from the Kylie Cosmetics Website

    When a Product Becomes Something More

    A lipstick has a simple purpose: adding color to someone’s lips. However, the experience of discovering, purchasing, opening, wearing, and sharing that lipstick can make it feel like much more. Its packaging may communicate confidence before it is even opened. A campaign might make customers imagine themselves achieving a particular look. A social media launch can create anticipation and make purchasing the product feel like participating in an event.

    Kylie Cosmetics is a strong example of how design can create this added value. Customers are not only purchasing a Lip Kit. They are also buying into a visual world connected to beauty trends, celebrity culture, self-expression, and Kylie Jenner’s personal image. The products have value because of how they perform, but design gives them a recognizable personality and emotional meaning.

    This relates to what B. Joseph Pine ll and James H. Gilmore call the experience economy. They explain that economic value has progressed from commodities to goods, services, and finally experiences. A company in the experience economy does not only sell an object or provide a service. It creates an event that involves the customer and leaves them a memory. (Harvard Business Review)

    For visual designers, the challenge is to make a product useful while also turning the customer’s interaction with it into an experience that they will remember.

    Designing an Emotional Journey

    Ellen Lupton explains in Design is Storytelling that people experience design across time. A package, website, store, or social media campaign can function like a narrative. The customer begins with a desire or need, encounters different visual touchpoints, makes a decision, and ideally finishes the journey feeling satisfied or transformed.

    Don Norman’s three levels of emotional design help explain how this journey works. The visceral level is the customer’s immediate reaction to appearance. Color, shape, photography, and typography can make a product look luxurious, playful, comforting, or exciting. The behavioral level concerns how well the design functions. The webiste must be easy to navigate, and the packaging must be understandable and usable. The reflective level involves the personal meaning attached to a product, including identity, memories, status, and values. (Don Norman’s TED Talk)

    Three connected circles representing visceral appearance, behavioral function, and reflective meaning.
    The three levels of emotional design show how appearance, function, and personal meaning work together. Illustration created by Gabriella Rinaldi and adapted from Don Norman.

    Aarron Walter presents a similar hierarchy in Designing for Emotion. A design must first be functional, reliable, and usable before it can become pleasurable. An attractive beauty website cannot create a positive experience if customers cannot find a shade or complete their purchase. Once those basic needs are met, personality and emotion can make the interaction feel more human and memorable. (Aarron Walter, Designing for Emotion)

    Emotional design is not only about making something look attractive. It shapes how the audience moves through and remembers the entire experience.

    Entering Kylie’s World

    Kylie Cosmentics originally built much of its identity through online releases and Kylie Jenner’s social media presence. Its campaigns made product launches feel like events instead of ordinary additions to a beauty catalog. Product photography, recognizable packaging, limited collections, makeup tutorials, and Kylie’s image create consistent visual story around the brand.

    The first Kylie Cosmetics pop-up shop transformed that digital identity into a physical experience. According to Shopify, Kylie wanted the space to give fans a look inside her world. The shop included a recreation of her bedroom and a selfie station, allowing her customers to interact with the enviornment and create their own photgraphs. (Shopify)

    Kylie Cosmetics pop-up shop featuring a neon Kylie sign, clothing displays, product shelves, and a wall filled with colorful Lip Kits.
    The Kylie Cosmetics pop-up allowed fans to enter a physical version of the brand’s online world. Source: Shopify.

    This pop-up includeed several of the experience types identifiede by Pine and Gilmore. Looking at the displays and taking photographs creates aesthetic and entertaining experiences. Testing products and exploring the environment allowede customers to participate instead of only observing. The bedroom recreation also made the space feel more personal by connecting the products to Kylie’s identity.

    The store added value without changing the makeup itself. Customers received a physical setting in which beauty, celebrity, photography, and social interaction could come together. When vistitors posted their pictures online, the experience continued beyond pop-up. Customers became part of the brand’s visual storytelling and helped share the experience with a larger audience.

    Creating Emotion Through Packaging

    Packaging is another important part of the Kylie Cosmetics experience because it may be the customer’s first physical interaction with the brand. The logo, colors, product names, materials, and photographs must make a small cosmetic item feel connected to the larger Kylie identity.

    In 2021, Coty announced a Kylie Cosmetics relaunch that included updates formulas, refreshed packaging, and a new direct-to-consumer website. The company also brought Kylie Cosmetics and Kylie Skin together in one place for the first time. (Coty)

    This change shows how a brand redesign an experience when its identity or its audience’s expectations change. The updated packaging needed to remain recognizable to existing customers while communicating the brand’s new direction. The product itself was important, but the website and packaging helped make the change visible.

    Color also plays a role in this recognition. Kylie Cosmetics regularly uses pink, nude, black, and white to create a feminine and polished appearance. However, color meanings are not universal. They can change depending on the audience, culture, context, and other visual elements. Designers should decide which emotion they want to communicate and then research or test whether their audience responds in that way.

    Typography functions as the brand’s visual voice. Clean type can make product information feel modern and readable, while more expressive lettering can give a collection personality. These elements must remain consistent enough for customers to recognize the brand across packaging, websites, advertisements, retail dispalys, and social media.

    Four Kylie Cosmetics gift sets displayed on the brand’s website in coordinated pink, white, nude, and red packaging.
    Consistent colors, typography, logos, and product photography connect different Kylie Cosmetics products to one recognizable visual identity. Screenshot from the Kylie Cosmetics website.

    From Anticipation to Participate

    The emotional journey surronding a Kylie Cosmetics launch can begin before the product is available. A teaser photograph or video creates anticipation. The official reveal provides information while increasing excitement. Tutorials show customers how the product can be used, while the website or retail display allows them to explore shades and make a decision. Receiving and opening the package completes the purchase, but sharing the finished look can continue the story.

    Plutchik’s Wheel of Emotions can help designers describe this experience more precisely. Instead of simply saying that customers should feel happy, a designer could aim to create anticipation before a launch, surprise during the reveal, trust while viewing product information, and joy after receiving the order. (Interaction Design Foundation)

    Five connected circles show the emotional journey of a beauty launch: teaser and anticipation, reveal and excitement, shopping and curiosity, unboxing and satisfaction, and sharing and connection.
    The emotional journey of a beauty launch moves from anticipation and excitement to curiosity, satisfaction, and connection. Illustration created by Gabriella Rinaldi.

    Mapping this journey helps designers identify where the experience could become frustrating. A launch might create excitement, but an unclear website, missing shade information, or difficult checkout process could quickly replace that excitement with confusion. Good visual storytelling must guide the audience through the practical parts of the experience as carefully as it builds anticipation.

    When Emotion Becomes Value

    The emotion intended by a designer is not always the emotion experienced by a user. Donald Norman and Andrew Ortony explain that designers and users may interpret the same design differently. A minimal package might feel sophisticated to one customer but plain to another. Celebrity-focused marketing might feel personal and exciting to a fan but less relatable to someone unfamiliar with Kylie Jenner. (Norman and Ortony)

    This is why designers need audience research, personas, observation, and testing. Emotional design should be based on an understanding of the intended audience rather than assumptions about what everyone will feel.

    Brands must also avoid using emotional design to hide a poor product or frustrating experience. Beautiful packaging may create a song visceral response, but that feeling will disappear if the package is difficult to use or the product does not perform as expected. Emotional value lasts longer when appearance, function, and personal meaning support one another.

    Since I am interested in working in social media and content creation, I can see how this applies to every customer touchpoint. A teaser can begin the story, social media can build anticipation, a website can guide the audience toward a purchase, packaging can make the story physical, and user-generated content can extend it. When these pieces share consistent colors, typogrpahy, photography, and tone, they feel like oone connected experience.

    When the Customer Carries With Them

    Kylie Cosmetics products in pink and nude packaging arranged across textured black fabric.
    The soft pink and nude packaging creates a recognizable visual identity across different Kylie Cosmetics products. Photograph by Gabriella Rinaldi.

    By the end of the journey, a customer may leave with a Lip Kit, but the brand gives them something less visible too: a feeling. They may remember the anticipation of a product reveal, the excitement of entering a pop-up shop, the appearance of the package, or the confidence they felt after creating a new look.

    That memory is where design adds value in the experience economy. The product remains important, but it becomes part of a larger emotional story. Kylie Cosmetics demonstrates how visual design can turn a cosmetic product into an experience involving identity, celebrity, participation, and self-expression.

    A successful experience does more than convince someone to purchase a product. It makes the customer feel involved in the story. When that happens, design turns an ordinary transaction into an experience that continues after the package has been opened.

    Sources

  • A Snow Day in Space: Designing a Future You Can Feel

    Missing Something as Simple as Snow

    Imagine growing up in space and never knowing what it feels like to watch snow fall. You might have seen videos of winter on Earth or heard people describe the quietness of a snowstorm, but you would have no memory of actually experiencing it. Even for someone who once lived on Earth, spending years inside a spacecraft could make familiar experiences like snow begin to feel distant.

    This possibility inspired Snow Day, one of the concepts I developed during The Thing from the Future. Snow Day is a pill that temporarily recreates the experience of snowfall without producing real snow or using water. It would allow space travelers to reconnect with Earth while giving children born in space the opportunity to experience a type of weather they have never known. The object is fictional, but the emotions behind it, nostalgia, homesickness, comfort, and curiosity are real. This is what makes design fiction useful: it turns a distant possibility into something people can picture and discuss.

    Design Fiction Makes the Future Visible

    Design fiction uses imagined objects and scenarios to explore how people could live in the future. It is not meant to predict exactly what will happen. Instead, it asks “what if?” and creates enough detail to make that possibility feel believable.

    Designer and researcher Julian Bleecker describes design fiction as making things that tell stories. Through the Near Future Laboratory, he explains that fictional objects can encourage conversations about technology, society, and everyday life. Instead of only writing a report about the future, a designer might create a product, advertisement, package, catalog, or instruction manual that appears to come from the future. (Near Future Laboratory)

    Visual design is what helps these imagined objects feel real. Typography can suggest which company created an object. Color can make the future appear comforting, clinical, exciting, or dangerous. Materials, warning labels, packaging, photography, and signs of use can reveal how an object fits into daily life. The design does more than show what the product looks like; it provides clues about the larger world surrounding it.

    Anthony Dunne and Fiona Raby make a similar argument in Speculative Everything. They describe design as a tool for creating ideas, not only products. Instead of immediately trying to solve a problem, speculative designers can ask questions about which ones they should prevent. Their purpose is not to create a perfect prediction but to encourage discussion. (MIT Press)

    Stepping Into a Possible Future

    A strong example is Superflux’s Mitigation of Shock, an immersive installation that imagined a future London apartment affected by climate change. The space included indoor food-growing systems and other people showing how a family might adapt to environmental changes. Instead of presenting climate change only through numbers and statistics, the designers created a home that viewers could enter and examine. (S+T+ARTS Prize)

    The apartment acts a the setting of a larger story. The objects inside it become visual evidence of what has happened outside. Viewers can imagine the people who live there, the problems they face, and the events that made these unfamiliar objects necessary. This demonstrates how visual storytelling can make an abstract future feel personal.

    How ever imagined futures should not only look creative. Designers must also consider whose experiences they represent. The Design Museum has questioned whether alternative futures are truly inclusive or mainly reflect the perspectives of certain cultures and economics. (Design Museum) A futuristic design will not be meaningful if it ignores the people who would actually have to live with it.

    What Would Snow Day Look Like?

    During The Thing from the Future, the combination of Transformation, Space, and Pill led me to Snow Day. The object would be small, but its visual design would need to communicate an entire sensory experience.

    I imagine the pill inside black and icy-blue packaging with silver details that resemble frost forming across a window. A snowflake symbol would immediately communicate the purpose of the product, while an image of Earth could strengthen its emotional connection to home. The instructions would explain that the experience is temporary and does not produce actual moisture. These choices would make Snowy Day look like a believable future product while communicating coldness, memory, and comfort.

    After someone takes the pill, the lighting inside the moon could shift to a soft blue-white color. Snowfall could appear through a projection or controlled sensory system, while the temperature becomes slightly cooler and the sounds around the person becoming quieter. The user would not simply take a pill, they would temporarily step into a designed memory of winter on Earth.

    Our other concepts also showed how one object could reveal a larger future. One imagined a law requiring shoppers to return an old item before purchasing something new. That idea suggests a future shaped by overconsumption, waste, and limited resources. Another concept was used rings as a gift connected to sex and relationships. Although the objects were different, each one created questions about the kind of society that would need it.

    A Future Object With a Human Purpose

    Snow Day began as a random combination of cards, but developing it made me think about what could emotionally lose when they leave Earth. Most designs for space focus on survival, transportation, or advanced technology. Snow Day focuses on something less obvious: the comfort of an ordinary experience.

    This is why design fiction matters to visual design. It gives form to ideas that do not exist yet and allows an audience to react to them. Once Snow Day has a shape, package, color palette, and imagined user, it becomes more than a strange idea about a pill. It becomes evidence of a future where people can survive in space but still miss the feeling of home.

    The best design fiction does not provide every answer it creates enough visual detail to make us wonder what happened before the object existed, who needs it, and what its creation says about the future. Snow Day may never become a real product, but its story raises a real question: if people eventually leave Earth, which everyday experiences will they wish they could take them?

  • Look Closer: Her Story Is in the Details

    How visual clues reveal the stories hidden inside an image

    Dark visual storytelling collage featuring four women from film, fashion, and music.

    The Story Starts Before We Know It

    We often understand the feeling of an image before we even realize how many details we have noticed. A facial expression, a reflection, the color of a dress, or something placed in the background can make us wonder who a person is and what brought them to that moment. The most interesting images do not reveal the entire story. Instead, they provide just enough visual clues for us to imagine what may have happened before the picture was taken and what could happen afterward.

    The seven images in this collection come from film, fashion, music, and popular culture. Although they come from different sources, they are connected by the way small details reveal something deeper about each woman’s story. Mirrors can represent divided identities, clothing can communicate feelings without words, and settings can show the difference between someone’s polished public image and what they may be experiencing privately. By looking more closely at composition, color, lighting, body language, symbolism, and point of view, we can see how even the smallest detail can help an image tell a much larger story.

    The Reflection Before the Transformation

    Priscilla holds a blue hand mirror while studying her makeup in a pink nightgown.
    Cailee Spaeny as Priscilla Presley in Priscilla (2023). Image courtesy of A24, via Refinery29.

    In this still from Priscilla, a normal beauty routine becomes a quiet moment of change. The blue hand mirror creates a visual hierarchy that draws our attention to Priscilla’s focused expression before we notice the carefully applied eyeliner, styled hair, and pale-pink nightgown. These details make her appear young and soft, but her serious expression shows that getting ready does not feel playful or effortless. The bright light beside her face contrasts with the darker background, separating the polished appearance she is creating from everything happening outside the frame. Her hands also partly block the mirror, preventing us from seeing her complete reflection. This suggests that Priscilla is still caught between two versions of herself: the young girl she was before Elvis and the public figure she is expected to become. Although the finished look may appear effortless to everyone else, this private moment reveals the time, concentration, and pressure involved in creating it.

    When One Reflection Becomes Many

    Nina adjusts her hair while multiple mirror panels fragment and repeat her reflection.
    Natalie Portman as Nina in Black Swan (2010). Image courtesy of Searchlight Pictures, via Vogue.

    While Priscilla looks into one controlled reflection, Nina is surrounded by more versions of herself than she can handle. The mirrors divide and repeat her face across the frame, making the simple act of fixing her hair feel unsettling. This repetition creates visual rhythm, but it also makes it difficult to separate the real Nina from all the reflections around her. Her pale-pink clothing suggests softness and innocence, while the cool lighting, dark shadows, and serious expression create a feeling of psychological tension. The tight framing leaves almost no empty space, making it seem as if the reflections are closing in on her. Before this moment, Nina has already been pressured to perform two completely different roles in Swan Lake. The composition shows that this pressure is beginning to affect how she sees herself. Her transformation may look beautiful from the outside, but the mirrors suggest that her need to be perfect is slowly becoming destructive.

    When Femininity Becomes a Performance

    Elaine sits in a pink tearoom wearing a flowered hat, lace clothing, blue eyeshadow, and red nails.
    Samantha Robinson as Elaine in The Love Witch (2016), written and directed by Anna Biller. Image via Topanga New Times.

    The mirrors surrounding Nina show her struggling with her identity, while Elaine in The Love Witch uses her appearance as a type of performance. Elaine looks calm and perfectly put together, but every detail in the composition feels carefully planned. Her oversized pink hat creates a visual hierarchy by making her the main focal point, while her blue eyeshadow, red nails, lace outfit, jewelry, and floral tea set add to the exaggerated version of femininity she has created. Pink normally symbolizes romance and softness, but the intense use of color makes the setting feel almost too perfect to be real. Her straight posture and upward gaze also act as visual clues. Even though she is in a crowded tearoom, her body language separates her from the blurry people in the background. Before this moment, Elaine has created a version of herself that she believes men will want. She later uses that polished appearance to attract and influence them. Through color, costume, setting, and symbolism, the image shows how femininity can become both a fantasy and a source of power.

    The Dress That Spoke for Her

    Princess Diana walks confidently in a fitted black off-the-shoulder dress after stepping away from a car.
    Princess Diana arriving at London’s Serpentine Gallery in 1994. Photograph by Jayne Fincher/Getty Images, via British Vogue.

    Elaine uses clothing to create a fantasy, while Princess Diana’s black dress communicates something more personal and public. The photograph captures Diana smiling and moving forward, while the fabric trailing behind her creates a sense of movement within the still image. Her fitted, off-the-shoulder dress also goes against the more conservative clothing normally expected of a royal woman. The black dress contrasts with the bright green background, making Diana the clear focal point, while her sapphire-and-pearl necklace helps direct attention toward her face. This visual hierarchy is important because it was not an ordinary public appearance. Diana arrived at the Serpentine Gallery on the same night Prince Charles publicly discussed his infidelity. The waiting car and people in the background provide context and show that she knows she is entering a space where she will be photographed. Knowing what happened before this moment changes how we see the dress. Instead of being just a fashion choice, it becomes a deliberate form of self-expression. Through contrast, movement, clothing, and context, the photograph turns her arrival into a powerful statement about confidence and taking back control.

    Freedom as a Carefully Created Image

    Lana Del Rey stands beneath an American flag with her arms raised and eyes closed against a desert landscape.
    Lana Del Rey in “Ride” (2012), directed by Anthony Mandler. Still from the official music video.

    Princess Diana uses fashion to take back control during a real public moment, while Lana Del Rey creates a fictional world where freedom becomes part of her identity. In this frame from “Ride,” the American flag stretches above Lana, making it look like both a form of protection and a stage. Her raised arms and closed eyes suggest freedom, surrender, or relief, while the low camera angle makes her appear more powerful. The open desert and warm lighting contrast with the enclosed settings shown earlier in the collection, making the space around her feel almost limitless. The flag also acts as a symbol of American independence and rebellion. Before this moment, the video presents Lana’s character as someone searching for freedom and a place where she belongs. Afterward, she continues traveling through a world of motorcycles, motels, and temporary relationships. Through its camera angle, lighting, setting, body language, and symbolism, the image does more than show freedom, it creates a romanticized version of what freedom is supposed to look and feel like.

    A Love Story Embroidered in Lace

    Kourtney Kardashian stands at her wedding altar wearing a cathedral-length veil embroidered with the Virgin Mary.
    Kourtney Kardashian and Travis Barker’s wedding in Portofino, Italy, 2022. Kardashian’s Dolce & Gabbana veil incorporates imagery inspired by Barker’s tattoo. Image via Page Six.

    Lana Del Rey’s image uses the American flag as a familiar symbol, while Kourtney Kardashian’s wedding veil turns a public ceremony into a more personal visual story. The couple’s faces are not the main focal point. Instead, the cathedral-length veil creates a visual path that leads our attention through the composition and toward the altar. The Virgin Mary embroidered into the veil reflects the religious image tattooed on Travis Barker’s head, turning the garment into a meaningful tribute to their relationship. The red roses, candles, gold decorations, and statue add to the dramatic Italian-Catholic setting. At the same time, the white veil contrasts with Travis’s black suit, helping Kourtney stand out within the detailed scene. The symmetry of the composition creates a sense of tradition and importance, while the personalized embroidery makes the wedding feel unique to the couple. Before the ceremony, Kourtney worked with Dolce & Gabbana to include these personal references in her outfit. Afterward, the veil becomes a lasting reminder of how they wanted their relationship and wedding to be remembered. Instead of relying on facial expressions, this image tells its story through symbolism, contrast, composition, and objects filled with personal meaning.

    What the Mirror Does Not Reveal

    Nessa Barrett faces a bathroom mirror wearing a black hood while cold blue light fills the room.
    Nessa Barrett in “dying on the inside” (2022), directed by JakeTheShooter and Hunter Moreno. Still from the official music video.

    The final image returns to the use of a mirror, but it shows something very different from Priscilla’s controlled beauty routine at the beginning of the collection. Nessa Barrett faces her bathroom reflection in an oversized black hood, while her hair covers most of her eyes. Instead of helping her create a perfect appearance, the mirror makes it difficult for viewers to see her clearly. The camera angle shows both her back and her reflection, creating two versions of Nessa within the same composition. The cold blue lighting also takes away the warmth we might normally connect with a private bathroom setting. Her dark clothing and lowered body language contrast with the bright window behind her, making the outside world feel distant. The song focuses on the pressure to look fine while privately struggling, and the visual composition communicates that difference without needing a dramatic action. Before this moment, Nessa has entered the bathroom alone, and afterward, she may leave looking completely put together. Through lighting, contrast, body language, framing, and point of view, the image reveals the private part of her story that other people may never see.

    The Story Continues Beyond the Frame

    Although these seven women are shown in very different situations, each image depends on small details that could easily be missed. A mirror can represent transformation or a divided identity. A dress can communicate confidence and rebellion, while a veil can preserve a personal connection. Color, lighting, body language, framing, and symbolic objects all act as visual clues. They guide viewers toward the story without revealing every answer.

    This way of looking closely connects to Seth Gitner’s discussion of how visual storytelling appears in everyday life and Bo Bergström’s explanation of storytelling as an important part of visual communication. It also relates to the “Jury Room Analysis” video, where objects, facial expressions, and the placement of people become evidence that viewers use to understand a larger event. The strongest images do not need to explain everything. Instead, they provide enough details for viewers to use context and imagination to take part in the story. Looking closer does not only reveal what is inside the frame. It also helps us imagine the larger story continuing beyond it.

    Sources and References

    Image Sources

    Module References

  • Redesigning Trust: My Rinaldi Electric Brand Proposal

    May 2, 2026

    When I started this project, I didn’t just want to redesign a brand; I wanted to rethink how trust is communicated visually. For my final project, I focused on Rinaldi Electric, a local, family-owned electrical company with a strong reputation built on reliability and relationships. The challenge wasn’t to fix something broken, but to elevate something that already works.

    This project pushed me to think like both a designer and a strategist. Instead of jumping straight into visuals, I started by asking: What does this brand need to say before it even speaks?

    Understanding the Brand First

    Rinaldi Electric is built on trust, responsiveness, and long-term customer relationships. That became the foundation of every design decision I made. The goal of this redesign was to create a brand that:

    • Feels more modern and professional
    • Builds trust instantly with homeowners
    • Works consistently across web, print, and service materials

    As shown in my deck, this wasn’t about changing the identity completely; it was about strengthening how that trust is visually communicated.

    Research That Shaped My Direction

    One of the most important parts of this project was analyzing competitors. When I looked at companies like Keating Electric, Consolidated Hudson Electric, and Norco Electric, I noticed something interesting: they all focused heavily on function, but very little on brand identity.

    This created a huge opportunity.

    Most competitor websites were clean and informative, but visually generic. That insight directly influenced my approach. I wanted Rinaldi Electric to feel more refined and memorable without losing its professionalism.

    I also researched typography trends in the industry and found that clean sans-serif fonts dominate. Instead of blindly following that, I intentionally paired Montserrat and Open Sans to balance strong headlines with readability.

    Building a Cohesive Visual System

    From there, everything became about consistency.

    I developed a full visual system including:

    • A structured type hierarchy
    • A cohesive color palette (navy, white, electric blue, and safety accents)
    • Real, professional photography to build credibility
    • A refined logo approach that keeps brand recognition while improving presentation

    The color palette was especially important to me. Navy communicates trust and professionalism, while accent colors like electric blue and safety yellow create subtle moments of emphasis without overwhelming the design.

    Applying the Brand in Real Life

    What really brought this project together was applying the brand across real materials. Instead of just designing a logo, I created a full identity system including:

    • Business cards and vehicle decals
    • Website mockups with clear calls to action
    • An event poster focused on readability and hierarchy
    • A brochure with a structured, easy-to-follow layout
    • A newsletter to reinforce long-term brand consistency

    Each piece was designed with the same goal: to make information easy to understand while reinforcing trust at every touchpoint.

    What I Took Away From This Project

    This project changed how I think about design.

    Before this, I saw branding as mostly visual. Now, I see it as a system, one that combines strategy, psychology, and design to create a clear experience. Every choice I made had to answer a bigger question: Does this make the brand feel more trustworthy?

    In the end, this redesign isn’t just about looking better. It’s about feeling more credible, more modern, and more consistent across every interaction.

    Final Deck

    Final DeckDownload

  • Why Grids Changed the Way I Think About Design

    April 26, 2026

    Before this module, I honestly thought good design just meant making something “look nice.” If it felt balanced and aesthetically pleasing, I assumed I was doing it right. But after diving into grids, wireframes, and mockups, I realized something important: the best designs aren’t just pretty, they’re intentional.

    This week completely shifted how I approach visual design. Instead of starting with colors or fonts, I now start with structure.

    The Moment It Clicked for Me

    When I started working on my Rinaldi Electric website and newsletter, I initially jumped straight into designing the final version. I wanted it to look clean, modern, and professional. But I kept running into the same problem, that something always felt slightly “off,” even if I couldn’t explain why.

    Once I stepped back and created wireframes first, everything changed.

    Using a grid forced me to think more logically:

    • Where does the user’s eye go first?
    • What information matters most?
    • How do I guide someone through the page without overwhelming them?

    It made me realize that design isn’t just about visuals, but it’s about communication.

    Why Grids Actually Matter

    Grids are one of those things that feel invisible when they’re done well, but obvious when they’re not.

    After researching different layouts and real-world examples, I noticed that almost every professional website or newsletter uses some form of grid system. It’s what keeps everything aligned, consistent, and easy to follow.

    For my projects, I kept things simple:

    • A strong hero section at the top
    • Clean, stacked sections underneath
    • A clear call-to-action at the bottom

    This structure helped me create designs that feel organized without looking boring.

    From Wireframes to Final Design

    One of the biggest takeaways for me was understanding the difference between wireframes and comps.

    At first, wireframes felt unnecessary. They’re not visually exciting, and honestly, they’re just boxes and placeholders. But now I see them as the most important step in the process.

    Wireframes allowed me to:

    • Focus on layout without distractions
    • Experiment quickly with different structures
    • Fix problems before committing to design

    By the time I moved into my final comps, everything felt easier. I wasn’t guessing anymore; instead, I was building on a solid foundation.

    Designing With the User in Mind

    Something I kept thinking about throughout this process is how real people interact with design.

    For example, if someone is looking for an electrician, they don’t want to search around a complicated website. They want:

    • Clear services
    • Easy contact information
    • A sense of trust

    That’s why I focused on making my layouts simple and direct. Every section had a purpose, and every element supported that purpose.

    This is something I want to carry into my future work, especially as I continue pursuing social media and digital marketing. Design isn’t just about creativity; it’s about creating experiences that make sense.

    Final Thoughts

    This module helped me move from designing based on instinct to designing with intention. For my website, it was tricky navigating at first, but once I started the newsletter, the grids truly helped.

    Grids, wireframes, and mockups might seem like technical steps, but they completely change the outcome of a project. They make designs stronger, clearer, and more effective.

    Going forward, I know I won’t skip these steps again. If anything, they make the creative process feel more controlled and, honestly, more enjoyable.

    Because once the structure is there, everything else just falls into place.

  • Why Hierarchy in Layout Is What Makes Design Work

    April 19, 2026

    When most people think about design, they usually notice the colors, fonts, or images first. While those details are important, one of the most powerful design tools is hierarchy. Hierarchy in layout is what helps guide the viewer’s eye and makes information easier to understand. Without it, even a visually appealing design can feel cluttered and confusing.

    Hierarchy is the arrangement of elements according to their importance. Designers use size, spacing, contrast, alignment, and typography to show viewers what to look at first, second, and third. It creates order and makes content feel intentional instead of random.

    What Hierarchy Looks Like in Everyday Life

    We interact with hierarchy constantly, even if we do not realize it. When we open an app, visit a website, or look at a social media post, hierarchy is already directing our attention. Headlines are larger than body text. Buttons use bright colors. Important information is placed near the top.

    These choices are strategic. They help users move through information quickly and naturally.

    Why It Matters in Posters and Advertising

    Hierarchy becomes especially important in posters and promotional design. A viewer should immediately understand what they are looking at within seconds. The most important information needs to stand out first.

    For example, in a movie poster, the title is often the largest element because it needs instant attention. Supporting details such as actor names, taglines, and release dates are smaller because they are secondary.

    This week’s project helped me understand how hierarchy can create mood while still organizing information. The title grabs attention first, then the eye moves to the photos, and then to the smaller details at the bottom.

    Applying Hierarchy to Brand Design

    I also saw hierarchy while creating event posters for Rinaldi Electric. In that design, viewers need to know three things right away: what the event is, when it is happening, and how to respond. That means the event title should be the strongest, followed by the date and time, then the phone number or call to action.

    If everything is the same size or weight, nothing feels important. A good hierarchy solves that problem by creating a clear visual path.

    My Biggest Takeaway

    The biggest lesson I learned this week is that design is not just decoration. It is communication. Every size choice, spacing adjustment, and placement decision sends a message to the audience.

    Strong hierarchy can make a brand feel polished, trustworthy, modern, or exciting. Weak hierarchy can make a design feel overwhelming or forgettable.

    As someone interested in communication and branding, this topic is valuable because great ideas only work when people can understand them quickly.

    Final Thoughts

    The next time I see a strong ad, website, or poster, I know I will notice something different. I will pay attention to what caught my eye first, and how the designer made that happen.

  • The Psychology of Color: Why Color Matters More Than You Think

    April 5, 2026

    Color is something we see every day, but most of the time we don’t actually think about how much it influences us. Before this module, I honestly saw color as more of an aesthetic choice. Like something that just makes a design look “good.” But after going through the readings and applying it to my own work, I’ve started to realize that color is actually one of the most powerful tools in design.

    Color psychology is the idea that colors can influence how people feel, think, and even behave. What stood out to me the most is that these reactions often happen without us even realizing it. For example, certain colors like red and orange are often associated with energy, urgency, or excitement, while colors like blue and green tend to feel more calming and stable. This made me think about how often brands and designers use color intentionally to shape how we experience something.

    In my own project this week, I experimented with different color schemes while keeping the design exactly the same. What surprised me the most was how much the mood changed just by switching the colors. A more neutral or monochromatic palette felt clean and minimal, while a high-contrast complementary palette felt bold and attention-grabbing. Even though the layout didn’t change, the design’s feel completely shifted. That really helped me understand that color is not just decoration, it’s communication.

    One idea from the readings that I found really interesting is how color can influence perception in ways that aren’t obvious. For example, color can impact how we judge things like quality, trust, or even taste. This is especially important in marketing and branding, where the goal is to create a specific emotional response. It also made me realize why consistency in color is so important, which connects to systems like Pantone that are used to standardize color across different platforms and materials.

    Another thing that stood out to me is that color meaning isn’t always universal. While there are general associations, color perception can change depending on culture, age, and context. This made me think more critically about designing for different audiences and not assuming that everyone will interpret color the same way. It adds another layer of responsibility when making design decisions.

    Overall, this module completely changed the way I think about color. I now see it as something that can guide attention, create emotion, and influence how a message is received. As someone interested in social media, branding, and content creation, this is especially important because color plays a huge role in how people engage with visual content. Moving forward, I want to be more intentional with my color choices, thinking beyond what looks good and focusing on what communicates the right feeling.