Duracell Battery Package

     This plastic and cardboard packaging for batteries distills the concept of packaging as advertisement into something efficient and distinct in style without becoming completely minimalist.  The flat cardboard plane could be reduced in size to make the overall package smaller in the space it occupies, but increased size means increased visibility on store shelves.  This size also guarantees that the space for the actual product can contain a large bulk, like forty batteries, and allow sufficient graphic space for the advertisement of the product.  Putting the advertisement on the free cardboard space instead of around the batteries permits the product to be completely visible within its plastic casing, augmenting the advertising process and distinguishing the package from its competitors.
   
     A large case of batteries like this is attracting buyers who prefer to invest extra money, space, and time in a single purchase rather than several purchases as they would need them.   They buy this product with the intent of using it all, but they want enough quantity of product so that they don't need to return to the store too frequently.  To further incentivize this audience, the packaging even boasts "10 years in storage" along the white strip just over the batteries.  With a promise like this, the packaging rewards the buyer's investment, with the idea that a ten-year guarantee will cover the potential amount of time the buyer will spend using up the product.
   
     Since batteries are always in demand in this technologically driven society, a large package like this caters to that demand with its large size and promise of longevity.  It can be placed anywhere in the home where it is easily accessed when batteries must be replaced for certain devices.  Flat cardboard uses very little three-dimensional space, but the plastic casing sticks out profusely, so the storage capacity of this package is somewhat demanding but maneuverable.  The color choice of the brand - Duracell - is implemented all over the packaging in an attempt to imitate the actual color scheme of the battery.  Doing so makes this package and its brand visible and recognizable from afar, making it a more profitable product.
   
     The severe bending of the plastic casing highlights a particular design choice when creating the package: the strength of adhesive that keeps it all together.  The adhesive was chosen to keep the product enclosed, but was not so strong that sufficient human force could not peel it open when needed.  As a result, this package is visually worn-down and made rugged for it.  Less space is being used up in that half of the casing than is available, implying that several batteries have already been taken out of it and used.  The design not only suffers in visual appeal as a result, it also becomes more difficult to store.  Unless the owner goes out of their way to tape the casing closed, the remaining batteries can slip out, and the bent casing can obstruct other objects around it.
   
     The idea behind this design was to appeal to bulk-buyers with a package and advertisement pitch that represented the large quantity of the product it was attempting to sell, while allowing the package to be easily disposable.  The problem in such a design is to overcome the issue of space when creating large packaging like this and to choose materials that are sturdy and reliable despite being disposable. 
   
     With cheap materials like cardboard and plastic, the package can be easily thrown away without suffering in aesthetics or durability, at least at installation.  These aspects fall apart, however, once the package has been opened; there is no inherent system in the package that permits the plastic to be resealable without external aid.  This can be alleviated by creating flaps and slots between the plastic and cardboard, respectively, that intersect and lock in place.  While the flap would stick out at the other end of the cardboard and take up vertical space, it would still be a significant improvement over the massive gap and elevation of material observed with this current casing.
   
     The concept of creating a package that represents an aspect of its product sounds viable and appealing, and the flatness of the cardboard is a clever design that implies bulk without taking up too much excessive space in of itself.  That said, the cardboard and casing could be made thinner and less wide, so that the size is represented more in one axis in three-dimensional space.   Doing so improves the package's storage capacity and reduces the cost of mass production.  Overall, the design's flaws can be ironed out with one more re-design that streamlines the package without sacrificing its representation through size.

Catholic-Themed Bread Plaque

     This decorative plaque takes a quote, "Give us this day, our daily bread," that is commonly associated with Catholic religious significance and changes the context into something comedic.  This comedy is achieved by infusing the religious element with technical, health-based qualifications that reflect an aspect of American culture - that being the desire to emphasize healthy eating choices in order to combat obesity.   Therefore, the quote is no longer a call to God to give "us" - the audience - food, but a call to give "us" healthy food and, by extension, help "us" fix the culture's health issues.
   
     Other technical aspects contribute to the overall function of the design.  The cross at the bottom qualifies the specific religious affiliations this plaque is targeting, making its message as clear as possible.  The name of the creators, Grateful Old Souls, provoke an image of a middle-aged to elderly demographic who embrace a spiritual outlook.  Even the creators' logo, a simple graphic of a fish, is a call-back to one of the earliest symbols representative of Catholicism - that being a fish.  With these numerous attributes in mind, the intended audience is quite clear: persons of catholic and/or related faiths who live in America, share in the cultural concern for healthy eating, and appreciate and accept a humorous tint to their religious beliefs.
   
     Being a wall decoration for the home with an emphasis on food humor, this plaque fits most appropriately in or near a kitchen space, or a location associated with food like a dining table.  It is also small in size, enough to fit neatly onto this small barrier space, so it can be placed in many different locations alongside other decorative elements.  Choosing glazed clay as this plaque's medium makes it durable and gives it a polished gleam against light sources, but the warm color choice and crude outlines evoke a home-made tone.  These materials refer to "down-to-earth" motifs that present this piece as something humble and personal, attributes that are considered desirable to the religious group this design is targeting.
   
     The plaque's installation in the home lies in an area that divides a living space - as seen with the lamps, the front door, and the strung lights to the left - and a kitchen space - observable with the spoons and vitamin bottles in the lower right.  This plaque is made observable in both key directions of the living space, allowing its message to remain visible at all times.  This highlights the significance this piece may have with its owner; as a design, it remains a fixture of the home's interior layout and is not surrounded by an overabundance of clutter.  It is clearly the centerpiece of this section of the home, and is made larger for it than the dimensions of the piece alone could allow.
   
     The idea of this plaque's design was to combine the motifs of a specific religious group with comedy based on the culture of its inception in order to serve as a desirable home decoration for its intended demographic.  The problem to overcome in this design can be shared with many other concepts that are trying to spin religious motifs: executing a memorable spin without going too far and offending the target group, accidentally or not.
   
     Inevitably there are some members of this religious group who may question the idea of making humor out of a common religious quote.  This one, in particular, was originally a call for Food, a vital resource that can be scarce and difficult to attain for some, especially in hard times.  By associating the quote with healthy eating to combat overeating, this rewrite may be seen as contradicting the spirit of the original.
   
     That said, there is no ill intent to offend audiences behind this rewrite.  Numerous design choices were made specifically to indicate that the creators are acting with good intentions and respect for the original quote, from the name of the creators to the religious symbols of the fish and the cross.  Their presence is a testament to the knowledge and appreciation for the religion that the creators have, in that they associate themselves with these symbols as part of what makes up their design philosophy.  The overall success of the design lies with its simplicity.  It does not go out of its way to install overt design or glamour on the plaque, rather it allows its religion-based comedy to be the center of a light piece of decor.

Plastic Storage Box

     This storage box possesses a streamlined structure with smooth walls and minimal decoration in order to maximize its overall storage capacity.  This allows the most possible space within the interior of the box's dimensions, and the least amount of clutter along the exterior that would otherwise potentially obstruct storage of other objects around it.  Each side latch must be released in order to remove and place the lid, and the folded handle in the center of the lid provides a convenient grip with which to carry the box.
   
     Its small size can be inferred from the selection of supplies already stored inside it - A brush, pens, a plastic cup, and an ink bottle.  These items are all art-related supplies, an example of the type of materials that this storage can facilitate.  Any other groups of items of this small scale will find an appropriate home in this box.  For the owner of the item in question, its small size and construction makes it easy to store anywhere in any home, even in households with limited space.  If the owner needs to move small supplies from place to place, this box can cater that need as well, and thanks to the handle it is easy to carry around with other items.  Since the box is also made of cheap, durable plastic, it can be put in a larger box with other items and transported across vast distances without significant risk of the package breaking down.
   
     Every facet of design applied to this box ignores stylish graphics or elaborate physical layout, all for the purpose of reinforcing its main function as storage.  Therefore, the design is not intended to be viewed or displayed as home decor.  This includes the choice of transparent plastic, which keeps the supplies stored inside visible, but is also unsightly when compared to more decorative items like candle holders or statuettes.  Were the box made of glass, it would be more distinguished as a valuable item, but also more fragile and vulnerable to breaking.  The box is made to be easily ignored when not required and easy to access when it is. 
   
     Since its initial construction, the box has served its storing purposes for these art supplies.   An inventory like this is highly suggestive of the kind of person who owns this box: what their interests are, what tools they own, how much value they place on these tools.  A creator of artworks, specifically ink-work given this selection of tools, has chosen to store these items away in a small, plastic box that they can take anywhere with them, or store away, conveniently.  They want these tools to be handy and together as a set, and using this appropriately-sized box to achieve this ends give credence to the value of the boxes design.
   
     This storage bin's design idea was to provide a functional space that organizes small-scale materials together into a compact unit.  The problem lies in creating that space in a way that will not significantly obstruct its external environment while providing ample protection for the materials within.
   
     The lid and upper rim protrude further outward than the body of the box, and the two latches increase the amount of space that is occupied.  They distinguish the box from an aesthetic perspective, but they run in contrast to the otherwise minimal design approach that is supposed to allow space for its environment.  This rim should be thinned and compressed further inward, but only by a few millimeters.  Too much compression will result in the rim becoming a barrier that limits the size and quantity of objects that can actually fit inside the unit, like that cup tilting upward toward the rim.
   
     Otherwise, there are no other noteworthy flaws that would deem this design a failure, and that lies in the fact that it is very simple.  Because there is no decoration, the design is allowed to be as sleek and finely-tuned as it needs to be.  The significant amount of items taking up the space is evidence that the owner has accepted the design. 

Twenty-Four-Inch Metal Ruler

     This twenty-four inch straight ruler was constructed with a pliable metal allow and a cork underside that gives the structure rigidity while allowing it to bend in accordance with the force applied onto it. 
   
     This tool was made for artists, architects, mathematicians, and any other vocation, hobby, or project that requires a straight-edge measurement system.  Since this device is labeled using both inches and centimeters, this ruler can be applied to both the Imperial and metric systems of measurement, thus diversifying the range of audiences who can take advantage of the tool.   However, given that the text was printed right-side up across only one side of the ruler - that of the inches - there is an unspoken priority given to followers of the Imperial Measurement system.  Such prioritization is a marketing strategy; doing this appeals to that specific audience and gives them incentive to purchase this tool.
   
     A ruler of this particular scale was created to accommodate projects that are too large for a twelve inch measurement tool, but too small to require anything larger.  The flexibility of the materials actually makes the overall structure more durable.  As a solid straight-edge, it would have a very limited point at which an external force exerted on it would break the structure apart.  When it is so flexible as it is here, however, it can absorb some of these forces, increasing its lifespan.  Flexibility also allows the ruler to bend as much as is necessary to pack it into a bag or piece of luggage that may not be the ruler's length.  Furthermore, the installation of a cork underside provides friction that the metal alone cannot provide when it is placed on a hard surface.  Friction increases the force required to move two surfaces across each other, and with cork the ruler has a better chance of staying in place for the measurements and lines to be drawn from the user.
   
     There is, however, an imperfection along the cork: a single scar that reveals the metal underside.  It is only a small blemish on its own, but missing material like this is indicative of the cork's vulnerability to natural wear.  A scar like this ages the product and reduces its capacity to produce friction.  Eventually, more cork will erode and chip off the structure, reaching a point where it becomes both aesthetically jarring and functionally flawed.  
   
     The idea for this design was to adhere to common measurement systems and requirements while using materials that enhance the structure of the ruler.  The problem here is to create a design that will last a significant amount of time, enough for the user to implement this tool into their projects on a regular basis.
   
     On one hand, the vulnerable cork reduces this tool's long-term functionality.  Once the cork is sufficiently chipped, it will look unsightly and lose its friction, making it harder to measure with.  A possible solution for the cork is to apply a stronger adhesive to bind the particles together and keep them stuck more firmly on the ruler.  A rubber border protecting the edges of the cork will reduce the chances of the material being chipped off from the edges inward.
   
     That said, the potential loss of the cork will probably be insignificant in the grand scheme of things.  The metal alloy making up the body of the ruler is durable, so it is not so vulnerable to wear as its cork underside.  The ruler itself is ultimately more important than a medium that only serves as a friction aid.  Furthermore, while metal is a material with less friction than cork, it is not so lacking in friction that it will actively hinder a measurement.  This two-foot size allows the tool a wide applicability that is more useful for artists and architects, who rely on larger mediums of paper and materials than persons from other vocations.  On the whole, this sleek design is of excellent quality and promises long-lasting use, even if age will gradually degrade the visual quality of the underside cork.

Cup Holder

    

     This smooth wooden cup holder exhibits a very functional design: flat and wide to accommodate cups of various sizes, with an earth-toned painting atop its face for aesthetic purposes.  Basic needs for a homeowner include places to store their drinks that will prevent damage to their furniture.  Holders like this one were created to meet this demand, and given the particular choice of visual design it also wanted to appeal to its audience's sense of visual quality.
   
     As can be observed in the example of the bottom image, the holder fits well on a typical home table next to other decor and items.  It is small enough that it accentuates the layout of the surface it inhabits without becoming too distinct.  The brightness of its colors makes the holder stand out against the dark wooden table, yet by that same token its warm hues harmonizes with the bright red bowl and red candy packaging nearby.  This particular installation of the item was clearly thought out in regards to how its design interacts with the current environment.  With this particular execution, the cup holder is visible and appropriate in its environment, thus its function and its aesthetics are strengthened.
   
     The idea for this design was to create a structure, with the right materials and physical construction, that can provide the basic household need of a sufficient space to place a drink in order to protect the surface of furniture.  The problem here is twofold: the visual design must be visible enough that homeowners will be drawn towards it and think of the object itself when they need.  However, the materials and structure chosen must remain functional, and not become so engrossed in visual appeal that it sabotages its own primary purpose.
   
     A thick material like hardened wood, in theory, sounds ideal for absorbing liquids, and it can be easily fashioned into the desired flat structure.  Unfortunately, it is not a material that produces good friction, especially when smoothed out and glossed the way this particular cup holder has been.  Without good grip, the cup will slide across the surface and possibly fall over the gap between the height of the holder and the surface under it.  Accidents like that are entirely within the realm of possibility, like an absent hand casually reaching for the cup with too much force.  Even sticky cup holders can only do so much to prevent such accidents, but a smooth, wooden holder like this only increases the possibility of such an accident happening.
   
     While perhaps not the most visually appealing solution, including small bumps and indents across the surface would provide additional friction that acts against the bottom of the cup, reducing its chances of slipping and falling over.  On the other hand, there are rubber cup holders constructed with a surface design that foregoes visual appeal and instead creates abstract, flat geometric shapes, like the bottoms of a shoe, that allow more grip. Perhaps rings of plastic, still painted with the same color scheme, that repeat across the circumference of the cup holder in different sizes, can alleviate this issue of smoothness without removing the visual style outright.

Lubriderm Bottle

     This small bottle of skin cream was produced with a semi-organic structure that smoothly moves around in someone's hands while still being structurally built in this vertical rectangle in order to stand upright.
   
     Given the qualifications on the front flap, such as the note about the product having been produced by a particular specialist and the bullet points at the bottom detailing the cream's properties, this bottle is trying to appeal to a customer's sense of assurance in purchase and use of this product.  These facts inform the design by way of extending its existence beyond what can simply be seen; now this product has an important-sounding title behind it, now it contains all of these positive properties.  This sounds appealing to any customer wanting a solution to treat their skin with.  
   
     The creamy-white coloration of the plastic bottle allude to the product held within and provoke a mental image of what the product is - a white cream - to the viewer who sees it.  The various tints and shades of blue for the text, the graphics, and the cap all unify the overall design so that it is not overwhelmingly white.  At the same time, this specific color choice serves to appeal to the particular brand associated with the product, Lubriderm. 
   
     Since its initial purchase, dirt and grime have built up all over the packaging, noticeably against the predominantly white bottle.  Even the structure of the bottle itself is slightly morphed inwards, a telltale sign of the bottle having been squeezed in order to push its contents out.  It is clear this bottle has seen some use, but has likely been neglected for some time, long enough for the package to build up dirt before the product has been completely used up.   This renders the package considerably less appealing, compared to its original, unaltered state on the store shelf when it was first purchased.
   
     This bottle's design idea was to create a small structure that can still stand up on its own, contain a sufficient amount of cream for the desired structure, and deliver some qualifying attributes that promote the product.  The problem here is to find a way to actively incentivize use of this product beyond the time of purchase.
   
     Given the age of the product indicating its lack of use, this design has failed to resolve the problem.  It is functional as an advertisement, though that power is limited by the sheer minimalism of graphic choices.  All of these positive traits associated with the product are not enough to compel a buyer to actually use the product when they need it, especially if they have other products like this in their home that they use more often. 
   
     In this case, the packaging would benefit from being a little more elaborate and colorful in its external design.  This muted pallet takes attention away from the product and makes it less visible against other background elements or products.  Having a design that draws people to the package, namely a proper use of saturation in colors among a variety of hues, will make it more likely that they will use the product.  This of course needs to be limited to a degree; with too much color, the bottle will become noise to the viewer's eyes that is difficult to look at, thus paradoxically becoming less visible in the background.  A choice of warm colors with a dash of a complementary color would make the product visually exciting while at the same time consistent and reserved.

Miniature Notepad

     This hand-held Mead Memo notepad implements a "flip-phone" design by laying out its spine at the top of the pad, as opposed to the side as most other notebooks do.  In so doing, the spine takes up very little of the notepad paper itself, maximizing the space provided to the owner on which to write. 
   
     Such a small notepad is useful for any person wanting a convenient documentation medium to take with them on the go, to temporary places and events like a seminar or school presentation.  A device like this provides an alternative to larger, classroom-oriented notebooks, which are  heavier to carry around may become mostly dead weight for the writer who only needs a small amount of space for their notes.  This notepad can also be useful as a grocery or check list, as seen in the bottom image. 
   
     The simple plastic cover and metal wire spine are typical elements of a notebook, both cheap materials that serve to protect the paper and bind it together respectively, but is otherwise far removed from anything ornate.  Even the graphic for the brand on the cover, a simple yellow block with white typography imposed over it, is very streamlined.  All of these design choices take attention away from these elements specifically to emphasize the paper, the main point of this notepads purpose.  

     A grocery list like the one displayed here provides poignant context regarding how this pad has been used since its purchase, and demonstrates its small scale through the size of the handwriting on the paper.  At the same time, this highlight's the notepads limited usability and disposable nature; with how quickly handwriting takes up space on the notepads dimensions, the lifespan of the paper depends entirely on the quantity of sheets installed into the design, which appears to be very little.
   
     The idea behind this design was to construct a handheld medium that effectively budgeted its limited space in order to provide a maximum degree of usability out of the pad.  The problem is also tied to the limited space, in that the designers needed to question how big they wanted the actual pad to be, how thick they wanted the cover and the spine to be, and how small or large they wanted to print out the spacing lines on the paper.
   
     Designs as sleek as this cover and spine are invaluable to the functionality of a product this small, yet they manage to achieve aesthetic quality through the simplicity of materials, color choice, and text.  The aesthetic design is appealing enough to draw the eye of anyone needing a convenient writing medium, but humble to ensure that it doesn't distract or detract from its main function.

Roll of Blue Tape

     This roll of blue painting tape is a very simple  doughnut-shaped design that is small enough for convenience of storage and travel, and big enough to permit copious amounts of tape.  Even the hollow interior serves a function, that being to provide a space in which instructions and information regarding the tape's purpose are printed in Spanish and English.
   
     Given this linguistic range, this particular roll was designed with the region of its purchase in mind; the designers, manufacturers, and store chains collaborated to ensure that this tape was printed with two specific languages in order to meet a specific regional quota, which gives insight into both the corporate purpose behind this tape's construction and the demographics this tape was aimed at. 
   
     In a general sense, though, this tape would typically be useful in any general situation where an adhesive material is required, but its specific function as a painting tape makes it specially useful for painters.  This tape creates borders that block off certain sections of a composition that the artist does not want paint on, which can be very helpful for any artist of any skill level who wants to maintain a profession quality of presentation in their own work.  In effect, this tape was created by design, for design.
   
     The blue coloring of the tape itself is an aid that distinguishes it among other types of tapes and adhesives on the store shelf.  When an individual sees this blue tape, and uses it frequently to help them paint, there is a chance they will develop a mental association between the color blue, its use in design for tape, and the tape's function as a painter's aid.  The internal cardboard is responsible for framing the roll and providing space for the text.  It is cheap, easy to manufacture, and easily disposable, which is useful for store sales and for the consumer once the product has expired its utility. 
   
     There's an evident sign of previous use of this roll through the small flap of loose, unrolled tape.  That kind of naturally occurring imagery evoke a sense of fulfilled purpose, in that the tape is clearly being taken advantage of and serving its purpose, even when the absence of surface area is not immediately recognizable.   Even so, there is still a vast quantity of tape remaining, so the evident use of this roll is still very young and its full potential yet to be realized.  This image can be likened to a journey having taken its start, with still a long ways to go before its end.
   
     The idea behind this design was to find the proper geometric form that would best cater to the customer in their needs for a painting-aid adhesive, and best serve the store in stocking and selling these tapes in bulk.  The problem has to do with determining the proper amount of tape, the size of the tape, and the size of the overall roll in order to meet all of those previous functions, as well as provide instruction on the product's use.
   
     The most apparent flaw with this idea's execution is readily clear with the internal design of the text, namely that it is cut off in both the top and bottom of the inner ring.  There clearly is text missing that might be important to the rest of the instruction and cautionary notes of the product.
   
     Increasing the height of the roll might have allowed enough space for every part of the instruction, but that would also mean increasing the width of the tape itself.  Doing so might be helpful to some artists, but probably unattractive to stores with limited space to store these rolls.  Decreasing the text size, while possible to include all the instructions, would potentially decrease readability, especially for customers with sight problems that prevent them from reading small text.
   
     Perhaps the best solution is to slightly decrease text size and to revise the text itself in order to decrease the number of characters and words needed to communicate the information.  The spacing between the top and bottom text should also be slightly reduced, a few millimeters at most,  and the red borders should be shrunken and thinned out, if not removed entirely, since they unnecessarily take up space.

Pencil Case and Display Hybrid

    

     This package for Prismacolor artist's coloring pencils implements simplicity in form in order to provide not only convenience of transfer but applicability as a display to make the pencils easily removable and replaceable within the display.  The front half of the package folds open and closed, and locks in place via two slots on either side that snap tightly together.  When folded open, the front half can then be snapped closed again, but without encasing the pencils.  When that closed flap rests against the pencils, the entire package creates a sharp-angled stand that props up and showcases the pencils, allowing anyone to quickly pull out and push them back in the package.
   
     Pencil artists looking for a small set of mixable colors will find a varied collection like this if they are willing to work within a limited palette that can be packed into a bag or case very easily.  They would find this folding mechanism useful as a way to economically budget their working space.  Without the case, the pencils would have to be stored elsewhere, like a larger case that must be set aside from the artist's work space, or on the work space where they might roll around and get in the way without a bumper keeping them in place.
   
     In creating a case like this, the designer wants to appeal to the artist's desire for convenience of space by creating a package that uses a small surface area and displays the pencils in a manner that is easily gathered and stored.  Therefore, this package is useful at the time the artist is working their craft in their studio, and can be closed up for storage in any larger bag or shelf where the artist keeps their supplies for future use.
   
     Transparent plastic for the bulk of the package is cheap for production but also pliable for the display and case hybrid design in mind.  Plastic is also convenient for showcasing the pencils themselves as the main attraction of the overall design.  This is the package's function as a marketing tool; the artist will see exactly what they're purchasing and can base their buying decision on this emphasis of sight.  To reinforce this, the few examples of paper on the case, both the brand claiming ownership of the case at the top and the more direct advertisement at the bottom, are minimal.  The bottom advertisement space, through its highly saturated and poly-chromatic color scheme, evoke the spirit of creation to appeal to an artist's own desire to create.  It also implicates the pencils themselves as being viable tools of creation that the artist wants, that they can create this wide and varied color scheme on any compositions the artist is making.
   
     Since installation, the pencils themselves have become a wide mix of sharpened, dulled, and shortened, all demonstrating telltale signs of use.  The overall design is made rugged, "lived-in" as it were, which, if anything, strengthens the packaging's advertising power despite it no longer being a product in a store awaiting an owner.  It has already been used several times by an owner, which implies that they have found the case's function to be highly useful to them during their experience with this design. 
   
     The idea here was to produce a packaging and advertising medium for a set of colored pencils that would transcend the store shelf and provide convenience to the artist throughout the lifespan of the pencils.  The problem with such an idea is figuring out how to actually convince a buyer after purchase to recognize the package's intended function and embrace it, rather than discard the package and store the pencils elsewhere.
   
     Being made up mostly with an inexpensive and crude material like plastic, the package's aesthetic appeal is lacking.  The focus is more prominent on the wide range of colors from the pencils, so they are given the proper emphasis as intended by the package.  Divorced from that, however, the package's minimal, functional appearance can deter buyers from taking advantage of the package outside of the time of purchase. 
   
     That said, plastic is not only a good material to use to make the package cheaper for the buyer, but it is also one of the more safe and convenient mediums with which to create a transportable package like this.  Glass is a potential alternative medium that allows transparency to showcase the pencils, but glass is fragile and creates an obvious health hazard in a situation where it falls and shatters.  This plastic is durable, so it can absorb a decent degree of abuse as the artist carries it from one place to another, and thus safer than glass.
   
     Furthermore, setting aside the aesthetic quality, the package works perfectly as a small display for the pencils during an artist's creation process.  It takes up less room than if the pencils were all lain out on the table side by side, so it can take up room at the table or desk next to the artist's composition without being an inconvenience.  Keeping the pencils together in this package also makes it much easier for the artist to access the specific color palette they provide, as opposed to if the artist chose to store them in a large box alongside many other pencils from many other packages and color palettes that will all end up bleeding into each other. 

Medieval European Knight Figurine

     

     This figurine of a European Knight was designed in such a way that its standing pose is well-balanced atop the stand, maximizing its stability when on display.  Its small size allows any collector of medieval-themed memorabilia to place it in any convenient space within their household.  Any customer attracted to these types of figurines will find its hand-held size easy to transport and place anywhere they wish. 
   
     This figure fits nicely alongside other decorations or collector's items carrying the same Medieval European tone, especially to do with warfare or knighthood.  On its own, though, it can stand out among other unrelated household items without being too large as to overshadow them or too small to be overshadowed itself. 
   
     Using hardened plastic minimizes the cost of producing this, but the light doesn't bounce off the material the same fashion that authentic metals do.  The golden-colored inlays against the steel-toned chassis stamp a regal presence upon this figure.  At the same time, the design of the armor is very grounded in realistic design, such as the numerous belts along the back of the leg pieces keeping them in place while giving the impression that they were designed to be adjustable based on the wearer's body proportions. Like the rest of the work, though, the belts themselves are not made out of authentic leather, so they, like every other piece of this figurine, are a simulation.
   
     The idea behind this figurine's design was to simulate the look  of a European knight  in a hand-held scale with attention to detail in mind.  The problems of such a task involve seeking out the appropriate materials that will reinforce this simulation, and arranging them in such a way that they will remain functional atop a stand.
   
     The technicalities of this work at least have been accomplished; it stands up in excellent stability, the design is ornate while avoiding fantastical liberties, and the choice of materials guarantees it to be lightweight and cheap.  On the other hand, in choosing these inauthentic materials for the sake of functionality, the intended simulation of a knight's armor set is very shallow; upon touching and scrutinizing the figurine, its materials clearly do not match the genuine article.  Even looking at the way the light affects the figurine gives its cheapness away. 
   
     While it would have been more expensive to invest in proper steel, gold alloys, chain-links, cloth, and leather, the design of the work would have been vastly improved and the simulation that much closer to real life.  A collector would value such an item greatly, and probably be willing to pay whatever cost necessary to include it in his personal gallery.

Antique Coffee Advertisement Decoration

     This piece of household decor generates a worn, down-to-earth atmosphere through its rough and antique visual design.  This choice of style and tone caters to individuals who wish to transplant it into an intended space . Using coffee as its signature nails down the type of environment that this piece would feel most at home in: the kitchen, where actual coffee is made and consumed, and in a restaurant space, particularly one associated with coffee, coffee products, or even breakfast as a general concept.
   
     The simulated scratched-paint effect along the edges, the slightly white-washed earthy colors, the typographical choices, and the simple graphic of the hot coffee cup impress a "dated", or old-fashioned, tone.  Even the use of metal wire as the medium from which the sign is installed onto the wall reinforces this tone by the natural occurrence of its bumpy, bending frame.  The five-cents stamp at the corner and the slogan at the bottom are all signals that this decor is simulating an dated advertisement; such a small price for coffee at a store or chain is unheard of today.  This correlates with  bygone decades, possibly between 1920 and 1940, and every detail of simulated age supports the idea of this sign being a product "out of time", as it were.
   
     The design idea was to capture a specific period in time as a tool to generate a specific tone that could accentuate or give context to the space it inhabits.  The problem not only entails being able to accurately capture that time period, but also making it appropriate for modern times and modern sensibilities.
   
     There is no denying the construction of this decor successful creates the impression of "old-fashioned" design, but it is left vague exactly what date this sign is supposed to originate from.  Ultimately that latter concern is unimportant here, because the point was the impression of old times, rather than being an accurate time-capsule in of itself, and that impression comes through clearly.  Whether or not it fits its environment, however, ultimately relies on the owner of the work and their ability to transplant this decor into an appropriate place.

Wall Candle Mounts

     This set of decorative candle displays implements its aesthetic design into its two key functions: holding the candles, and providing a space with which to hang the display itself onto a wall.  There is a particular organic construction in these pieces that resemble leaves at the bottom and vines sprouting up from them to form flowing patterns, cultivating in a heart with a loop at the top for the nail to rest in.  Even the tray for the candles appear to naturally spring from the vine structures, extending the candles themselves as part of this nature-like appearance. 
  
     Any homeowner with a ready supply of candles and nails, a need for a stand to place them, and a desire for the type of organic, abstract style embodied within this set will find it attractive.  As a product, these mounts were created to appeal to that specific market.  As decoration for the home, they are both attractive to that market and functional.  The metal material gives the mount a certain sturdiness and strength that allows it the ability to firmly wield the burden of the candles.  The design itself is also minimal enough that the material will not be so heavy as to rip itself out of the nails through sheer weight and gravity.

    The specific layout in which the two pieces were nailed to the wall in relation to each other, one higher above the other, creates a certain elevation-effect to the whole set.  They are not just static, but embodying a sense of motion through their mere placement around each other.  The choice of red, broad candles complement the black metal mounts in generating a low, dark tone to the design.  All of these aspects were imposed onto the piece by its owner, highlighting the dynamic relationship that exists between the piece and the audience.
   
     The idea behind these mounts was to deliver function through form by way of a particular organic style that would appeal to a specific audience.  The problem to solve here would be the ideal choice of material, and the best way to implement that material into the form, in order to allow the set the ability to hold heavy candles without risk of falling off the wall under its own weight.
   
     Opinions on the value and appeal of the mounts' aesthetic are mostly subjective, since the design succeeds in its most important goals while still being versatile enough to allow the owner to arrange the set however they choose.  They can easily be placed in relation to other home decorative items, even on the same wall, in order to create a greater unity.  If there is any flaw to this design, it is the mere fact that, on its own, these candle mounts are only as effective as they fit into their environment.  On a wall next to modernist sculptures and paintings, these ornate mounts may seem out of place, but next to decorations of a similar aesthetic they are made more noticeable and appealing than on their own.

Metro Bus Route Map

     This pamphlet details the route of a specific bus - Line 258 according to the legend above - from Garfield Avenue at the top to Jackson street on the bottom, and back. 
   
     The map implements a graphic design depicting street, railway, and freeway layouts that can be found in other sources, such as Google Maps.  Creating this stylistic parallel allows this map to connect with its readers through familiarity of format, since it can be assumed that the average person nowadays has access to the internet and Google Maps.  This is especially true for people who want to know how to get from point A to B in the best manner possible.  These people would want a map like this, so it stands to reason that imitating a graphic style that they've likely seen before will serve the audience's needs.
   
     This pamphlet focuses on a specific area in order to chart the course of Line 258, which is highlighted in red.  Streets, cities, and districts are all lain out according to their relative distance and location from one another in order to depict the route as accurately as possible.  This minimizes potential confusion from bus-goers trying to chart their course through this map.  The two legends at the sidebar clarify specific graphics and symbols within the map, providing crucial information about the area without crowding the map itself with additional text.
   
     This pamphlet is useful for people who are specifically pursuing information on Line 258's route .  By extension, they want to use the bus itself to reach their destination.  The map, therefore, was conceived to satisfy a public demand for information that will assist their transportation needs on Line 258.  It's place, logically, lies within the buses of Line 258; this pamphlet was placed within slots inside an appropriate bus among many other copies, free for anyone to pick up.
   
     The minimal use of color is essential in minimizing potential confusion for viewers of this map.  Black lines of varying intensities and patterns signify different types of roads - be they streets, highways, or Metro rails.  The minimal use of red to signify the borders of the map, map notes, and legend are part of the crucial function of red in the map itself: the route of Line 258.  This subtle color association links red with the Metro's graphical style in this pamphlet, which immediately associate's the red trail on the map with Metro as well.  The route, being the most important part of this whole map, is visible and immediately understandable because of this.
   
     The idea here is simple: design a map that will cleanly provide information on the local area that affects the line's route in order to give bus-riders as much help as possible with determining how to use the bus.  The problem is to deliver this function in such a way that is also accessible to the public and can be mass-produced at a low cost without sacrificing essential information.
   
     There are not many flaws to be found in this pamphlets very efficient layout.  Readers are required to have literacy in these types of maps in order to understand this, otherwise they will have trouble interpreting the information.  Otherwise, a useful addition would be to place markers in the specific points in which the bus will make stops.  This is a very important detail for anyone using the bus, since they need to know the best stop to drop off of in order to get to their destination as effectively as possible.

Jab Anstoetz Magazine Advertisement Page

    

     This magazine page featuring textiles from Jab Anstoetz displays a set of various products containing a consistent color theme in order to advertise the brand and the product itself.  Its heavy furniture influence, from the curtains at the right to the pillow at the bottom and the rolls of fabric on the left, caters to customers who want new textiles and designs for their home. 
   
     The page itself specifically targeting a particular demographic that would find appeal in this primary color-heavy set, those who desire a high-class aesthetic.  However these golden yellows, deep royal blues, and rich reds carry the distinction of high-cost, regardless of their actual prices.  Therefore, any viewer who finds this ad valuable as a customer wants their home to achieve that high-class aesthetic, and this ad wants this customer to do it through the brand. 
   
     These deep colors are also eye-catching as a result of their high-contrast with one another.  Combine this with the fact that all these materials are consistent with the color scheme, it is evident that the page's construction goes beyond the products on display.  It wants to present Jab Anstoetz as a brand of high-quality textiles, and in doing so the ad indirectly advertises all of the brand's other products.
   
     This brings up the advertisement's main idea: to encourage customers, through a simple and intricately constructed display, to take interest in the brand and its products.  The design problem this entails, given the limited magazine space, was to deliver on this information as effectively as possible - without unnecessary text or images - in order to avoid the possibility of magazine readers merely skipping the page altogether.
   
     The stark contrast of colors, as mentioned before, are very noticeable, and the arrangement of the brand logo against the plain wood backdrop emphasizes it against the noise of the surrounding products.  The sheer volume of these colors may be overwhelming to some, and the viewer's subjective tastes regarding these particular textiles will ultimately decide their interest in the brand.  That said, the ad succeeds in overcoming the design problem; the color choice reflects the type of customers they wish to draw, and they allow the textiles to speak for themselves rather than augment them with descriptions or qualifying statements.  Overall, the ad is effective, though still limited in its influence over the viewer.

Digital Watch Display

    

     This case for a Timex digital watch was designed to be functional and reusable as a display featuring the watch and the brand attached to it.  Its small, hand-held size makes it practical for store shelves and at home, since it takes up little inventory space and can be kept for the owner to store the watch when not using it.  At the same time, plastic, paper, and ink are cheap materials that can be disposed of if the purchaser wishes to, unlike other brands or manufactures who may use expensive components like leather, felt, or metals.

     The kind of shopper that this display is going for wants  to be economical, since they don't want to spend too much on another watch brand made with more costly materials.  This kind of audience wants to make the most of their purchase, in that they'd buy into the case's design and reuse it for storage of their watch in the future.

     The packaging is crude in its design, down to the aesthetic choice of the case's exterior decoration.  The stone-textured gray tones contrast with the sharp, yellow borders to present an earthly tone that has been imposed upon by human artifice, like graffiti on a highway wall.  This is another detail that specifies the kind of audience the brand wants to attract to the watch: those who are also drawn to that clashing of the earthly and the artifical. 

     The idea behind the design was to communicate a particular style that served in the advertisement of this watch.  The design problem was to minimize costs while designing the case in such a way that allows it to be easily placed in store shelves and reused by the customer at home.
   
     Whether the aesthetics of the display work for any given viewer depends on whether the style fits their tastes personally, but it is clear that the exterior was given more thought and effort than the interior.  While the exterior maintains that crude, earthly tone, the inside is plastic and whitewashed, seemingly unfinished.   While the case was intended to be viewed exclusively from the outside, every time the owner wishes to put in or take out their watch from the case they always see the inside.  It's arguably more noticeable as a result, since the owner likely won't look at the case itself unless they need to use it.
   
     A potential solution could be to alter the materials used - specifically, the type of paper pasted to the exterior.  Since the plastic case itself is transparent, using transparent paper would allow the design of the exterior to show through both ways.  Once they paste the paper onto the plastic surface, that design will carry through as well, decorating the interior.  This would be less expensive than completely restructuring the display's design in order to fit inked paper into the interior as well as the exterior.

Printer Setup Instructions

     

     These first two pages of instructions for first-time setup of a paper printer demonstrate techniques that take advantage of the typical reading format in America - eyes moving left to right, top to bottom.  The visuals are placed in exactly this order, so that their place within the numerous steps can be easily interpreted without using unnecessary graphics or typography.  This helps reduce their costs in ink over printing mass copies of these instructions for the market, and it simplifies the installation instruction so that customers are more likely to be satisfied with their purchases.
   
     The inclusion of three languages help pinpoint the particular audience that the company is targeting with this manual - a specific regional demographic that the circumstantial place-of-purchase would reside in.  This is another example of cost reduction; rather than invest all the space and ink in a vast library of languages that may or may not be in a particular location, the company specializes these manuals within a limited scope of languages that cater to a particular region.
   
     Any first-time user who falls under the demographic umbrella that this model was constructed for will find this kind of simple manual invaluable. If it were more complicated or less deliberately constructed, they could be confused or frustrated.  Worst case scenario for the company is the customer returning their product because they can't figure out how to use it.
   
     Given all this, it makes sense that this manual was built with a very simple color scheme: blue, white, and several tones of gray.  Signs of a particular graphical style are on display here, with the blue border at the bottom, the blue underline with blue text at the top, even a sidebar next to the text.  These elements help elevate the top text in terms of its relationship to the rest of theses pages, in that they indicate the purpose behind the instructions throughout this part of the manual.  Otherwise, the simple color choice for the printer graphics minimize potential noise that may obstruct the instruction process.  The dark arrows are cleanly placed and visible against the light-toned graphics, and the combined use of images and text associate specific actions with each step in installation.
   
     The idea here is straight-forward, to communicate the process of first-time setup of a specific printer model with simple paper instructions.  This comes with the problem of lacking a human presence to assist in the setup process, and that is the primary hurdle that this manual was constructed to overcome.
   
     The simplicity of the instructions definitely work to its advantage, as does its attempt to open itself to a broader demographic by way of printing in multiple languages.  The only significant issue here, as with any product attempting to breach multiple languages, is the simple fact that it is still very limited in its linguistic range.  Printing in multiple languages is tenable - a company's concern for cost would still be minimal given how efficient they are already with graphics and word choice - but these is a concern to be had that too many different sentences could generate far too much noise in the overall layout.  This manual still has space to spare, but it is nevertheless limited.

Pledge Spray Can Design

    This spray can's visual design was constructed with clear instruction and aesthetic appeal in mind.  It takes advantage of the can's vertical cone shape to deliver its message, being the function and application of the contents within the can. 
   
     As a cleaning product, this design caters to people who desire a cleaning product that can be applied to multiple objects and furniture within their living space.  This kind of demographic is looking for convenience and efficiency in cost, since an all-in-one cleaning solution is easier to use and purchase than multiple different cleaning products for different surfaces.  This design was created to fulfill the need for convenience that is a staple of modern society - in this case, the convenience to use this single product as a solution for multiple cleaning problems. 
   
     This design's function is intended both on store shelves and in the home.  The appealing visuals help the product stand out  on the shelf, while the instructions are both an incentive for purchase in the store and a convenient reference at home for the owner to look up when they want to use the product. 
   
     The intensity of the blue-colored metal surface and yellow top reflects the brand's logo - a blue circle with a yellow outline behind the name - so that customers will instantly identify the product by its brand through color association, even if they don't see the title immediately.  The typography is consistent and contains easy readability, which allows it to be printed in multiple sizes on the same can.  The images of the four surfaces augment the text with visual aid, making them perfectly clear and instantly understandable when viewed.
   
     While not necessarily showing age, the intense light-reflection running along the center of the can is a resultant artifact from the camera that took this image.  This intensity clearly affects the readability of some of the text caught under the light.  While this is an extreme circumstance, the fact that the material's interaction with its environment negatively affected the design's delivery of the message can be interpreted as a design flaw.
   
     This spray can's underlying idea was to clearly advertise its intended household function, and the limited space of the can contributes to the bigger design problem being addressed here.  That design problem was to deliver the most information with the greatest clarity and efficient use of space, all the while serving as both an incentive for purchase and instruction for use. 
   
     Overall, this idea has been executed very well.  The issues with the material overriding the message is a factor that can crop up in unintended, unexpected circumstances, and the note about "Glade Rainshower" is not at all explained here.  The only people who could appreciate the note would need to have already known what Glade Rainshower was before buying this product.  Nevertheless, the primary design problem is properly addressed in this can.  Everything is clearly lai out in a structured, ordered manor that draws reader's eyes up-to-down with the decreasing size in text font and eventual introduction of the visuals. 

Startup Notice

     

     This notice for "Startup Weekend" by the Business and Economics department of Cal State L.A. uses crisp typography and minimalist graphics to conjure a specific aesthetic that effectively pitches its offer.  As it states at the very bottom, this advertised program has no limitations on the audience it's reaching out to, other than them being students of the school.  Students don't have to have a major in the Business and Economics Department in order to take advantage of this opportunity, in other words.

     Startup was clearly intended with a broad student demographic in mind, so to facilitate that need this ad, which could be installed anywhere on campus, is hung on a public tick-board, placed inside a campus hallway and surrounded by ads from other independent bodies and organizations.  This notice's place is very clearly the public forum of the campus as a whole.

     This notice's design implements clean typography and a single solid block of color with minimal graphics, likely in an attempt to visually distinguish itself from its surrounding competition and give it a "professional" look.   Professional, in this instance, would mean a clean aesthetic with no typographical errors, no unnecessary images, and an appropriate balance established between all the elements.  The white and yellow color scheme, for example, provides a light contrast that is then complemented by the bold sentence beneath the color block and set just below the ad's center line.  To distinguish itself as professional is to induce confidence from the audience, confidence that the people and the program behind the ad know what they're doing and will be genuinely beneficial to any student who takes up the Startup program.

     The idea running this ad was to draw attention to a student-based program that would only be available within a limited time-scale.  Obviously, the design problem at hand in achieving this end was to draw enough students and incur enough enthusiasm in order to  maximize the number of participants who will take advantage of the program.

     Unfortunately, despite this ad's aesthetic quality, it lacks crucial information about Startup, namely what the program is even about.  If this ad was going to work, it needed to explain to its demographic, the general student body, why Startup would be beneficial for them.  It needed to provide incentive for students to take advantage of that limited time-scale.  This is especially important when students are likely occupied during their regular schedule, be it with work, extra-curricular activities, or personal affairs.  This is especially problematic when the ad itself claims that the Startup will take up 54 hours of someone's time.  It is unclear, taking the ad on its own, how many of those 54 hours will involve the students directly working with the program. 

Summer Work Advertisement

    

     This black and white advertisement for summer work briefly and concisely offers opportunities to any interested individuals.  It combines enticing images with details of the offer in order to draw attention.  Its place on a tick board among many other advertisements within a university hallway is a clear indicator that its intended audiences are unemployed college students who are seeking paid summer work.  These kinds of students would likely not attend classes during summer and probably need or want the extra money from work to cover college costs or living expenses, thus they are more likely to take their free time for a job opportunity. 

     These details explain why the employers responsible for this ad would specifically target this audience with this time-slot.  It is the most optimal period to attain student employees for their positions.  Due to this ad's heavy university student focus, its intended place is naturally the college setting, specifically a location that many students would frequently attend.  A tick board in a hallway wedged right in between several classrooms is the most optimal placement that remains non-intrusive.  Non-intrusiveness is important here because the ad needs to be inviting - not overtly aggressive - in order to sell its message, so being out of the way of students' schedules while still being present within them works well for this purpose.   The black and white printing is very functional and to-the-point, likely to ensure that the message won't be lost surrounded by unnecessary colors or graphics.  The simplicity of the typography is supposed to give the ad maximum readability, as with the interplay between dark background and white text. 

     Based on the two graphical images, the idea intended behind this advertisement is to associate summer work with a positive attitude by presenting itself alongside ideas that it believes will appeal to students: the pursuit of success in life, which is often associated with college as a whole, and freedom, be it the freedom to choose whatever career students want or just the abstract concept of freedom.  The design problem being addressed here, as with any ad, is to establish an initial connection between the intended audience and the product or service being advertised.  In this case, the design problem was figuring out how to convince students with free time in the summer and a need or desire for a wage to call the number on the ad or email the address and take advantage of their opportunities.

     On paper, it is a good idea to reach this audience for summer employees, but in practice this advertisement does very little to present itself.  The black and white aesthetic, though minimal and to-the-point, is unexciting to the human eye, and the values between light and dark are not well-balanced here.  The text at the lower left is too dark and blends in with the grey background.  Said background is also too light to allow the white text to properly stand out.  The two images of "Success Just Ahead" and "Freedom" feel out of place, wedged in the center and  saying absolutely nothing about the actual jobs being offered.  That is the biggest problem with this ad: it doesn't present any images or descriptive text about the actual job or jobs being offered here.  It doesn't give students enough of an idea of what they may be potentially participating in to make an informed choice.

     A lot more information, both visual and contextual, needs to be added and revised about this ad before it can draw viewers.  It must present more essential information about the job in question, from expected wages and hours to the physical location and exact months that the job will be available.  Images should include the work location and the employer, possibly other employees as well, allowing students a visual window into the job.  If the employers want to save money on color printing, they need to improve the contrasting of values to allow their text to stand out better - including changing the black text to white.  However, color is a powerful visual tool that shouldn't be ignored in the ads construction.  With the right application of color, the text can be highlighted better than with gray-scale, the ad itself will stand out from its surrounding competition, and the images will look more appealing.

Caution Note on Metal Cutter

    

     This printed sticker is a precautionary note that recommends all potential users of the machine in question to equip appropriate protection.  It functions through its adhesive quality, being applied directly onto the machine to ensure that their relationship is not lost to any viewer.
    
     Given the fact that this device, an electrically powered metal cutting saw, is located within a classroom setting that involves the manipulation of physical materials for the creation of three-dimensional art, this note is intended for students attending any and all courses relating to this classroom.  It passively participates in class instruction, in that it gives students context on appropriate protection during the creation process.  This is especially helpful to students who may have never encountered this machine in their lives before.  The room itself also serves as a resource for any individuals, students or otherwise, who wish to manipulate metal materials for their projects, so this note can extend beyond a classroom context and serve as a simple reminder to anyone attempting to cut metal materials with this devise.

     This note was created out of a desire to deliver this important precaution on its own, transcending the need for an experienced operator to attend the room at all times for this one instruction.  The stark contrast of the bright yellow sticker against the cool metal surface catches the viewer's attention, directing their eyes to the text that in turn boldly contrasts against the yellow sticker.  Using tape paper to install the message right onto the machine completes the communication between note and viewer by physically connecting the note to the context it is intended for.  In short, all of these elements were chosen to maximize its visibility in the environment.  Any signs of wear are very minimal on this note, the biggest details being the slightly curled upper-left and lower-right corners of the note.  It remains in good condition since its installation and has retained its intended effect, but these small signs of wear may prelude future degradation, and thus produce a requirement for a replacement note.

    The idea behind this note is to communicate, indirectly, the potential dangers of the machine.  Asking that users wear eye protection when handling the machine implies the possibility of loose materials or sparks launching from any projects being handled on the machine.  Without prior knowledge, it is not actually obvious that the machine is intended to cut metal, but its saw blade instantly communicates its function as a cutter.  The design problem that this note addresses is defining the scale of the potential work hazards this device entails, and doing so without requiring a human presence.

     The idea at work here is commendable and necessary, but on its own it is still ineffectual because it does nothing to actually prevent users from potentially handling the machine without proper protection.  This is especially true if professionals or frequent users themselves don't use protection around the machine, thus mitigating the supposed danger that the note implies.  People can assess that the dangers are worth the risks, since they are only a hazard so long as they are operating the devise.

     A potential solution needs to follow the same fundamental rationale of this note: communicate the dangers and solutions in a way that negates the need for a human presence to deliver the message.  Perhaps the note should be more overt of bad consequences, like permanent damage to the eyes as a result of shrapnel or sparks.  Maybe the consequences should be more long-term and go beyond the temporary experience of using the machine.  The Department responsible for this machine could deliver repercussions for mishandling of this equipment, with the note giving a short, concise warning that any user not wearing goggles may be fined or removed from the privilege of using this machine.  These examples, however, are examples of negative reinforcement as a tool to manipulate behavior, which is not always adhered to and can potentially generate an antagonistic attitude towards the machine.

     The only long-term and most obvious solution ultimately relies on human involvement and goes beyond the note, highlighting its ineffectiveness: that users exercise responsibility with the machine and that instructors give the necessary precautions and help to any student using it.