COP3 : Evaluation

What skills have you developed through this module and how effectively do you think you have applied them?

There are a number of skills I feel I have improved though out this module. I now feel like I now understand how to engage in academic writing and feel that through going to the academic writing classes that my writing skills have improved and I was able to apply the skills I learnt to my extended piece of writing. I feel like my research skills have greatly improved, I now  know how to approach and focus research, it is important to not waste time during the research stage of a design brief or this extended writing so learning how to focus my research and make it as specific and relevant was very useful and will be something that will continue to be useful in other modules in the research stage. My organisation skills have been tested through this module as I began research when we broke up for summer and have only just finished now, that is a lot of sources, books, quotes, etc to keep organised so that I could access them when I needed to, although I probably could have done it better, my organisation skills were definitely improved and I was able to keep onto of the organisation of research. I have developed better communication skills through the primary research stage of my research project. I had to communicate with a number of people and form question that would get me the most useful and valid responses, so by taking the time to do this I realised that although it does take longer, it is best to really take into consideration exactly what you want to get out of the scenario. From doing this I got really useful replies which I was able to use both in the written element of the project and the practical side.   

I have gained a great deal of knowledge into how the creative process works and applied it directly to graphic design which has helped my personal practice as a designer. Through understanding the power of innovation and how it is achieved I feel more confident to go forward in the design world. I always had the worry in my mind of 'what happens if I run out of ides' and so on, but now that I understand how it all works I no longer have this fear to hold me back. 

I approached my practical project wanting to create something which communicates a strong message as I think the way that people have a hang up on creativity  needs to change.  I wanted to communicate how beneficial creative thinking is to the graphic designer but also create a conversation, not just force the message in people face. The range of my project allowed me to do this as I could approach each product slightly different to gain a different voice.

In terms of production skills, I have furthered my book binding skills. I wanted the book to visual represent the messages it was delivering so the best way to do this was to break the mould of the book by using books within books and several binds making the book into a an interactive piece. This was a very complex bind and involved a lot of planning but I feel it is successful and works well with the message of the book. 

I feel that my stengths in this module have been the research skills which as I said I will take further and apply to all other briefs and module. I really enjoyed really delving deep into a subject especially one that I have such a strong interest in but I did no know much about, where as now I know a lot about my research subject and feel like I have gained so much from all the knowledge.  In terms of my practical piece I believe I have successfully achieved synergy between my practical piece, research and essay. I have taken onboard all the information and research and developed it into something new. I am also happy with the primary research I undertook. I got some really valid interesting primary research and I can see the importance of it and really don't think my essay or practical outcome would have been as rounded without it, so this level of primary researching will definitely be developed into my other briefs

My organisation was probably a weakness. I wrote plans and tried to stick to them as best I could but when obstacles appeared such as pressure from other modules it made my planning crumble. I need to develop my ability to share my time between module.  I also think my crafting of the final product needs work as something always seems to go wrong which could be solved by leaving enough time to make mistakes during the crafting which I will start to do from now on as it is a shame to not create something which is executed perfectly as so many hours have been spent on it.


Identify five things that you will do differently next time and what do you expect to gain from doing these?

- Research, I put myself massively behind through researching the wrong things at the start. I was reading really interesting books and they were relevant to my subject but just not to the academic level of the things I should have been reading. So I will definitely research with focus from now on to save time

- Leave enough time to make mistake in the final crafting of the product this will improve the overall aesthetics of the piece and make it look more professional for portfolio shots

- conduct more primary research. I did a lot but it was so beneficial that more would have been even better.

- Begin to write earlier, this would have abled me to get over the writing hurdle quicker, but I may not have been as well informed starting sooner.

- Photograph work professionally - this would communicate my work better and is something which I should definitely put into the time frame 



How would you grade yourself in the following areas;
Attendance: 4
Punctuality: 5
Motivation: 4
Commitment: 4
Quantity of work: 4
Quality of work: 4

COP 3 : design boards

COP3: Photographs of end products

Photographs of products. click here for Illumination website -  http://cargocollective.com/illumination

Illuminate - Magazine photographs

I am really happy with how the magazine has turned out, it is simplistic in style and easy to read and navigate around. The interviews work well that I conducting with the graphic designer and I am very thankful for their co operation.

Illumination - Book photographs

I am really pleased at the level of interaction I managed to achieve with the book, it defies what a book should read like but whilst maintaining to use traditional binding methods/styles. I am disappointed at the end execution of the book, it was going well until the glueing of the bind which went slightly wrong, this is something I would have liked to change by starting the book again, but time was an issue so it was best to make do.

The contact of this book was all derived from the research I have been undertaking. The process of the graphic designer is based on the theory of by Graham Wallas (1949) who describes the process of creativity as four stages, preparation, incubation, inspiration and verification. I have just adapted his theory and applied it to graphic design. Another example is the intrinsic, extrinsic motivation and about how fake deadlines and threats effect a persons creativity as a creative person is intrinsically motivated. This is the theory of Amabile(1998) in the article 'how to kill creativity', one more example is the 'leave your negativity outside the door this is based upon the finding professor John Beeman made about how prior to a creative endeavour is someone is in a bad mood, there creativity will be hindered. I could go on, but every single statement is backed up with research.   

COP3 : End bibliography

This is my finished bibliography of all the sours I used throughout writing my COP3 essay and practical.

Bibliography 

ACR Staff. 2012. What You Need to Know to Be a Graphic Designer in South Carolina | Animation Career Review. [online] Available at: http://www.animationcareerreview.com/articles/what-you-need-know-be-graphic-designer-south-carolina [Accessed: 10 Jan 2014].

Adams, K. 2006. The sources of innovation and creativity. National Center on Education and the Economy.

Adams, K. 2006. The sources of innovation and creativity. National Center on Education and the Economy.

Amabile, T. M. 1998. How to Kill Creativity. Harvard Business Review, pp. 77 - 87.

Amabile, T. M. 1982. The Social Psychology of Creativity: A Consensual Assessment Technique.Journal of Personality and Social Psychology, 43 (5), pp. 997-1013.

Amabile, T. M. and Amabile, T. M. 1996. Creativity in context. Boulder, Colo.: Westview Press.

Amabile, T. M., Conti, R., Coon, H., Lazenby, J. and Herron, M. 1996. Assessing the work environment for creativity. Academy of management journal, 39 (5), pp. 1154--1184.

Austin, J. H. 2003. Chase, chance, and creativity. Cambridge, Mass.: MIT Press.

Batey, M. and Furnham, A. 2006. Creativity, intelligence, and personality: A critical review of the scattered literature. Genetic, Social, and General Psychology Monographs, 132 (4), pp. 355--429.

Buzan, T. 2002. The power of creative intelligence. [S.l.]: PerfectBound.

Buzan, T. 2006. Mind mapping. Edinburg: BBC active.

Edwards, M. 2013. Graphic design and creativity. Interviewed by Suzanne Moore [TV] 18 dec 2013.

Feist, G. J. 1998. A meta-analysis of personality in scientific and artistic creativity. Personality and Social Psychology Review, 2 (4), pp. 290--309.

Gazzaniga, M. 2002. The split brain revisited. Scientific America, The hidden mind pp. 27-31.

Grafton, J. 2013. Graphic design and creativity. Interviewed by Suzanne Moore [radio] 18 dec 2013.

Gröger, A. 2014. Graphic design and creativity. Interviewed by Suzanne Moore [radio] 12 jan 2014.

Guilford, J. 1967. Creativity: Yesterday, today and tomorrow. The Journal of Creative Behavior, 1 (1), pp. 3--14.

Horizon: The Creative Brain - How Insight Works. 2013. [TV programme] BBC, channel two, 27th june.

Jarrett, C. 2012. Why the Left-Brain Right-Brain Myth Will Probably Never Die. [online] Available at: http://www.psychologytoday.com/blog/brain-myths/201206/why-the-left-brain-right-brain-myth-will-probably-never-die [Accessed: 25th september 2013].

Johnson, S. 2010. Where good ideas come from. New York: Riverhead Books.

Jungkind, W. n.d. The Society of Graphic Designers of Canada Graphic Design - Definition |. [online] Available at: http://www.gdc.net/designers/features/articles/122.php [Accessed: 7 Jan 2014].

Kaufman, J. and Sternberg, R. 2007. Resource Review : Creativity. Change, pp. 55-58.

Kaufman, J. C. 2009. Creativity 101. New York, NY: Springer Pub.

Kaufman, J. C. and Sternberg, R. J. 2010. The Cambridge handbook of creativity. Cambridge: Cambridge University Press.

Kaufman, J. C. and Sternberg, R. J. 2006. The international handbook of creativity. Cambridge: Cambridge University Press.

Keegan, R. 1996. Creativity from childhood to adulthood: the development issues. In: Runco, M. A. eds. 1996. Creativity from childhood through adulthood. San Francisco: Jossey-Bass, pp. 57-66.

Kiosoglou, B. and Philippin, F. 2013. I used to be a design student. London: Laurence King.

Kounios, J. and Beeman, M. 2009. Aha! in the Brain. Current Directions in Psychological Science, vol. 18 (4), pp. 210-216.

Lehrer, J. 2008. The eureka hunt. New Yorker.

Lehrer, J. 2008. The eureka hunt. New Yorker.

Lehrer, J. 2008. The eureka hunt. New Yorker, Jul 28 2008, pp. 40-45.

Mednick, S. 1962. The associative basis of the creative process. Psychological review, 69 (3), p. 220.

Milgram, R. M. and Livne, N. L. 2006. Research on creativity in Israel: A chronicle of theoretical and empirical development. In: Kaufman, J. C. and Sternberg, R. J. eds. 2006. The International Handbook of Creativity. New York:: Cambridge University Press, pp. 307-336.

Millotte, L. 2014. Graphic design and creativity. Interviewed by Suzanne Moore [radio] 14 jan 2014.

Moore, E. 2007. How to kill creativity ten easy steps. Industry and Higher Education, 21 (5), pp. 337--343.

Oxforddictionaries.com. n.d. creative: definition of creative in Oxford dictionary (British & World English). [online] Available at: http://www.oxforddictionaries.com/definition/english/creative?q=creative [Accessed: 5 nov 2013].

Rhodes, M. 1961. An analysis of creativity. The Phi Delta Kappan, 42 (7), pp. 305--310.

Ritter, S. M., Damian, R. I., Simonton, D. K., Van Baaren, R. B., Strick, M., Derks, J. and Dijksterhuis, A. 2012. Diversifying experiences enhance cognitive flexibility. Journal of Experimental Social Psychology, 48 (4), pp. 961--964.

RSA. 2010. RSA Edge Lecture with Sir Ken Robinson - Changing Paradigms. [video online] Available at: http://www.thersa.org/events/video/archive/sir-ken-robinson [Accessed: 30th october 2013].

Rubenson, D. L. and Runco, M. A. 1995. The psychoeconomic view of creative work in groups and organizations. Creativity and Innovation Management, 4 (4), pp. 232--241.

Runco, M. A. 1996. Creativity from childhood through adulthood. San Francisco: Jossey-Bass.

Runco, M. A. 1992. Children's divergent thinking and creative ideation. Developmental Review, 12 (3), pp. 233-264.

Runco, M. A. 1984. Teachers’ judgements of creativity and divergent thinking. Educational and Psychological Measurement, 46 pp. 375-384.

Runco, M. A. 1984. Teachers’ judgements of creativity and divergent thinking. Educational and Psychological Measurement, 46 pp. 375-384.

Runco, M. A. 2014. Parents’ and teachers’ ratings of creativity in children. Journal of social behaviour and personality, 4 pp. 73-83.

Sawyer, R. K. 1997. Pretend play as improvisation. Mahwah, N.J.: L. Erlbaum Associates.

Sethi, R., Smith, D. C. and Park, C. W. 2002. How to kill a team's creativity. Harvard Business Review, 80 (8), pp. 16--17.

Shaw, O. 2013. Graphic design and creativity. Interviewed by Suzanne Moore [radio] 19 Dec 2013.

Strawberry. 2013. Divergent thinking tests. [online] Available at: http://educationmuseum.wordpress.com/2013/03/12/divergent-thinking-tests/ [Accessed: 22 sep 2013].

Suzanne Moore. 2013. What is 'creativity'?. Interviewed by Suzanne Moore [radio] https://www.surveymonkey.com/MySurvey_EditorFull.aspx?sm=3xRvpEq2hX9fGRdmlb90sD4_2FGWKJglI_2FX9vTrMXhzwA_3D, 21 nov 2013.

Suzanne Moore. 2014. Graphic design: student to industry. Interviewed by Suzanne Moore [radio] https://www.surveymonkey.com/s/TDK7QW7, 20 jan 2014.

Suzanne Moore. 2013. Process: Creativity test. Interviewed by Suzanne Moore [radio] Leeds.

TED. 2006. Ken Robinson: How schools kill creativity. [video online] Available at: http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.html [Accessed: 31 october 2013].

Tierney, J. 2010. Log In - The New York Times. [online] Available at: http://www.nytimes.com/2010/06/29/science/29tier.html?pagewanted=all&_r=2& [Accessed: 5 Jan 2014].

Torrance, E. P. 1970. Encouraging creativity in the classroom. Dubuque, Iowa: W.C. Brown Co.

Vygotsky, L. S. 2004. Imagination and creativity in childhood. Journal of Russian and east European psychology, 42 (1), pp. 7--97.

Wallace, D. B. and Gruber, H. E. 1989. Creative people at work. New York: Oxford University Press.

Wallas, G. 1949. The art of thought. London: Watts.

Witjas, A. 2013. Graphic design and creativity. Interviewed by Suzanne Moore [radio] 18 dec 2013.

Zagorski, N. 2008. Hopkins Medicine Magazine - A Kind of Calling. [online] Available at: http://www.hopkinsmedicine.org/hmn/s08/feature4.cfm [Accessed: 11 Jan 2014].

COP3 :Website development

Website :

This is the final outcome for the website it functions as a platform for graphic designers to develop, learn and communicate about creative potential. It is something that you would visit when you suffer a creative block on a brief or just to read an interesting article .

the pictures act as the navigation opening to each of the pages which will feature different things take for example 'the work it out' image links to the graphic design work out video that people can join in with to unblock there creative problem.  

Other features are interviews with Graphic designers around the subject of creative potential within graphic design and the process they uses when approaching a brief.

I am happy with how the website has worked out it all works visually as a set but also houses information that I think would be useful for a graphic designer to know. It would be updated regulary so that it is current and exciting and would hold the interest of the the audience. 

COP3: Process booklet

Pictures of process booklet

These are photographs of the finished process creativity tests, the question booklet and answer booklets  printed and filled in. I have already evaluated the this pieces of primary research in a previous post but thought it would be beneficial to show photographed documentation of the booklets.

COP3 : design development

Covers:

These are the resolved cover designs for the magazine (right) and book (left) I am happy with how they have turned out and feel that they work well in the range but are different enough to be recognisable as one or the other but enough the same so that people will know they are part of the same range 'illumination'.

 


Magazine editorial layout:

This is the format I am going to for my magazine layout. I want there to be lots of white space on the page so that the text does not feel overpowering. I want this magazine to be an easy but interesting read that allows the brain to think and wonder.




Bellow is how the layout works when filled in with images. I experimented with adding more visuals to the introduction page to the graphic design but I don't think it works as well as the simpler layout as in the right and bellow image the text has more room to breath and makes it easier to look at when reading.

  

 

As the start of each interview is very basic I want to showcase the work of the graphic designer on the next spread, so that the interview can be put into the context of the work of the designer.

The layout will follow systematic rules such as the width between each image, and the placing of the designers name and website. This will add a coherent fluidity to the magazine. To stop the spreads for each designer looking to similar and repetitive I will use different sized and formated images.

 

 

 

 

COP3 : Finsihed videos

Finsihed videos for website

These are all the finished video I have created for the website. They are all associated by the fact they are designed to enhance creativity. My aim was to create videos that work on their own but also have a sense of unity and I feel I have achieved this. The video feature on the website would be regulary added to with more ways of improving creative innovation.

Mix it up : Mix up cognitive connections

 

Work it out : Work out video to get the body moving and ideas generated



Washing up : this is an easy task that will allow the brain to tick over and unconsciously solve the problem



Power shower : Having a shower is also another task that allows the brain to wander and ides to bubble up to the surface of the mind



Open eyes : This is the idea that exploring and opening your eyes to your environment can make new connections in the brain.

COP3 : Primary research responce - professional graphic designer

Responses

I have been really fortunate and had six replies to my email to professional designers. The answers I have got a really useful for both my written element for COP3 but will also feature in my practical outcome. It is interesting to look at the correlations between the six responses like for example every designer answered that creativity is important within graphic design. As I have six responses I feel like I can use them to draw conclusions as there it is backed up by six opinions from professionals.


Dr. Me

Is the process of creating an idea mechanical or is it more of a moment of inspiration what is your process for approaching a brief?

It kind of depends on the brief, normally we try and come up with as many ideas as possible, play around with them and they normally narrow themselves down quite naturally. It sometimes helps to send them off to the client as they will have opinions on which path to take and it helps them to feel a bit more involved, that's not for everyone, some people hate clients getting involved but we like to work closely with the people we work for.
Do you think creativity is important within Graphic Design are there any specific areas of design where creativity is most necessary?
A monkey can be taught to use creative suite, your mind is the post powerful and unique gift you can ever bring to a piece of work regardless of what area of Design you're working in.

If you hit a a wall on a project do you have a specific method for untangling the problem and furthering your ideas, do you have any unusual methods of stimulating creativity, do you see any benefits in learning some? 

ABL - Always Be Learning.

Just keep reading, watching, tasting, looking, picking things up, stealing things, all of the time. If you have an opportunity to learn something new then take it, you never know when it could come in useful. Find a book tonight (not a design book), go and read it over Christmas and tell me that in someway it doesn't effect your work. Books unlock the imagination. Aside from this, try taking your mind off the problem if you're really stuck, running is good for that, sweat the problem out.

Does the design of your studio space influence the way you work?

I'd say so yes, it's funny, we moved from our old studio to the one we're in now over the summer and promised ourselves a new layout to freshen it up. After a day of arguing, moving things around we settled on an incredibly functional, balanced layout that we all felt comfortable with. Had we re-created our original studio layout? Of course we fucking had. That aside though, being tidy (not that we are particularly) really helps with creativity, you'll be surprised how taking 5 minutes at the end of the day to tidy your studio will effect you in the morning. Look into feng shui, some of it goes a bit over the edge but we agree with the whole not having your back to the door, ain't nothing more distracting than that feeling that you're going to get stabbed.

Have a nice day,

Eddy

Alex Witjas

Is the process of creating an idea mechanical or is it more of a moment of inspiration what is your process for approaching a brief?

I find that it's a mixture of both. A lot of times an idea can just come so easily and organically upon first hearing a project request. This can be amazing when the idea is right, but a lot of times it can be the wrong direction and then it's hard to shake that initial idea. I find it's very helpful to always try and rationalize the idea, figure out the root of what it needs to communicate. Most all of the work I do is strongly visual and tactile and there is no need for a clear cut message, like in the advertising world, but it really helps to elevate your work if you can take the time to think it through conceptually rather than acting initially on an aesthetic direction....

Do you think creativity is important within Graphic Design are there any specific areas of design where creativity is most necessary?

It absolutely is. But truthfully, it isn't necessary. Graphic design at it's essence is technical, if you know how to use the programs you can be a graphic designer. When creativity is introduced, that is when you get books, or invites, or posters, or magazines that start to feel like art objects in their own right, and not just vehicles of communication.

If you hit a a wall on a project do you have a specific method for untangling the problem and furthering your ideas, do you have any unusual methods of stimulating creativity, do you see any benefits in learning some? 

Talking it through is the best stimulation I've found. I've been lucky enough to work with a lot of people I respect and who are amazing designers. Being able to have a conversation with them about the project, and my concerns or issues, is always helpful in sparking new paths of thinking. Sometimes it's really necessary to get out of your own head in order to work out a solution to a problem.

Does the design of your studio space influence the way you work?

Definitely. The current studio I work at (Li, Inc.) has completely transformed the way I work, my aesthetic, and my process. I've learned so much and continue to learn here everyday which is an amazing thing.

Catalogue 

1. Our thought process when approaching a brief is more methodical than mechanical. We receive the brief, talk it over and start generating ideas. Once we've visualised a few we cut them down to a few we really like, polish them and send them to the client. 

2. We do think creativity is important within Graphic Design, even the most commercial brief can benefit from a little creativity. We would never pin point ourselves as being "creatives", but subconsciously good designers are creative people and it is important to try and inject that into all your work. 

3. If we ever hit a wall, the best way we deal with it is to do something else. We then come back to it with a fresh head the next day. We don't practice any unusual methods, we just don't push it too hard. If you can't get anymore ideas out the chances are you don't want to, so a break is necessary. 

4. We try and have a neat, tidy, minimal space. It certainly helps being in a nice environment, but you could say that about any job. We tend to have a lot of nice books around and good music on, but the only way it would ever influence us is because it's a nice, relaxing and open.

Jack Grafton

I think that it's a combination of the two, I have almost like a checklist of things I do when approaching a brief, brainstorming and building up a library of relevant inspiration and research. I guess you kind of hope inspiration strikes at some point along the journey.

Creativity is important in that its the backbone of all design. I think an individual who works in the creative field who isn't creative, in some sense of the word, will struggle to make anything of value. I think that everybody is creative in some way.

If I hit a wall with a project or direction, I always try to over compensate by doing a million variations, sometimes it works and others it doesn't. The best thing for me to do is to seek the opinion of someone who has nothing to do with the project, often they say something which you can use as a trigger or notice things you hadn't seen before.

I like to have a very clear space when I start and finish working, I reckon the space actually influences you more than you'd think. Architecture, music, company, books and other ephemera must surely have a bearing on creativity and productivity.

I Like Birds

1) Is the process of creating an idea mechanical or is it more of a moment of inspiration what is your process for approaching a brief? 

It´s a good combination of both. Some parts need thinking to the point, others happen subconsciously. The idea should be connected to the brief and forms the outcome. It is generally a lot about thinking and communication. 

2) Do you think creativity is important within Graphic Design are there any specific areas of design where creativity is most necessary?

It´s depending on the client, the solution and the job. New, clever, unusual and surprising solutions are (mostly) never wrong.

3) If you hit a a wall on a project do you have a specific method for untangling the problem and furthering your ideas?

For us it works out best keeping the assignment in mind and just follow our everyday life routine/activities. Exchanging our thoughts during meetings from time to time helps us getting deeper into the subject. After a while this process generates the ideas automatically. Writing down our thoughts also helps us a lot. We like to carry a notebook with us. Switching of on the weekends became an important part too - breathing fresh air is clearing our minds.

4) Do you have any unusual methods of stimulating creativity, do you see any benefits in learning some?

Methods for creative thinking never really worked out for us. We are rather inspired by art but not so much by »contemporary« sources like blogs on the Internet - we don´t really like sitting in front of the computer all day. In fact, it’s very rare that we read such things, in contrast to books and specific newspapers. In addition to that, we visit museums, and there are lots of stimuli in everyday life. Things that happen on accident and sudden coincidences.

5) Does the design of your studio space influence the way you work?

No. It doesn´t matter.

Laurie Millotte

- Is the process of creating an idea mechanical or is it more of a moment of inspiration what is your process for approaching a brief?

>>> to me it is more about connecting the dots. I have a very good memory and I just "absorb" a lot of various inspirations day after day, noting the "wow" moments, or the improvements I would have done, seeing how one thing reminds me of another.
When then it comes to creating a new concept, I have this reference bank that supports me in creating and designing new things yet untapped.


- Do you think creativity is important within Graphic Design are there any specific areas of design where creativity is most necessary?

>>> I think creativity is primordial, and not just in Graphic Design. More and more, it is what differences is us from computers. Life should be taken creatively, and if your job is to create brands, than even more so. What I love the most is burst of creativity in areas of life people never thought of looking before (Method Cleaning products is an example, a fun and storytelling wine label is another ;)

- If you hit a a wall on a project do you have a specific method for untangling the problem and furthering your ideas, do you have any unusual methods of stimulating creativity, do you see any benefits in learning some? 

>>> I always have a big notepad next to me. I write down ideas, scratch those which don't work, I make a lot of arrows and circles... No more seriously, I usually do two things: spread out/untangle the problem on paper and browse some bookmarked inspiration websites (not looking at the competition per say, that would be defeating the purpose, but watching how other people creatively proposed their own solutions to existing problems).
I also allow myself to sleep on it. Quite literally, if I can, I let it sit in the back of my mind for a couple of days to go back at it with fresh eyes. I usually then produce in 2 hours better work than if I would have tolled 16!


- Does the design of your studio space influence the way you work?

>>> The space I work in is very basic. The main factor is that it's an open space concept, with high-ceiling. You can breathe and not feel cramped in front of your computer. I share a desk with my senior designer, and the owner of the company with the junior designer. No one is behind closed doors and everyone is aware of what's going on. It makes it easy for the team to be up to date on any given project and submit ideas.