This document provides a design documentation for Mindlumi smart glasses. It includes sections on the device, target audience, moodboard, logo, rhetorical image, information design, and packaging. For each section, it discusses influences, the final design, and design principles used. The document also includes references at the end that were sources of inspiration for different elements of the design project. The overall purpose is to document the full design process and rationale for the Mindlumi smart glasses.

1. DESIGN DOCUMENTATION
MINDLUMIMARIA NGUYEN | n9472665 | DXB102

2. DESIGN DOCUMENTATION
CONTENTS
DEVICE
AUDIENCE
MOODBOARD
STYLE
LOGO
Influences
Final
Principles
RHETORICAL IMAGE
Influences
Final
Principles
INFORMATION DESIGN
Influences
Final
Principles
PACKAGING
Influences
Final
Princples
Constructed
REFERENCES
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 & 16
17
18
19 & 20

3. ALL ABOUT THE
DEVICE
MINDLUMI are advanced pairs of wearable prescription
spectacles that maximises your brain’s potential. Many
people suffer from poor eyesight and problems with pro-
ductivity. These issues may be solved with one device.
Discrete sensors are located on the inner surface of each
wing designed to be in contact with the skin near the tem-
ple. The sensors will track brain activity through brainwaves
to improve performance where necessary including focus,
balance, concentration, eye coordination and awareness.
These are all conducted without being obvious, just like
normal glasses.
1

4. ALL ABOUT THE TARGETED
AUDIENCE
The targeted demographic for Mindlumi are 18 year olds
to the elderly. Those of 40 years and under will likely be
matured enough to be work driven with a medium to high
income rate.This way, they can benefit from Mindlumi by
providing them with increase productivity and focus when
working. For the elderlies, they should have free lesisure
time to improve their brain’s potiental.
A classic example of this is John.
John is 19 and attends university full time with part time
work afterwards. He tries his best with assignments, how-
ever he is restricted to try his best and lacks motivation
from tiredness after work. Mindlumi will help him reduce
procrastination, let him be focused and be alerted when
doing work to finish by the deadline.
2

5. MOODBOARD
3
DESIGN

6. ALL ABOUT THE
STYLE
ART DECO
The portfolio of work was inspired by two themes. The
first is Art Deco. The style of Art Deco originated from
Paris in the 1920’s and is renowned for its stylized repre-
sentation of basic shapes (Eckler and Manucdoc, 2010).
This theme was chosen for the simple attributes of shapes
and lines combined to create an object. It represented the
mature and stylish aspect of the product and it’s design.
MINIMALIST
The second inspired style was Minimalism. This would
speak to the technological aspect of the product with its’
modern and sleek look. Combining these two styles mixes
modern with historical to make a unique design that will
appeal to the targeted audience.
4

7. INFLUENCES FOR
5
LOGO
These logos capture different principles in which was in-
spiration for Mindlumi. The 1st and 3rd offers closure, and
the 2nd and 3rd are a play on light bulbs which were a
major part of Mindlumi’s logo. Through these logos, prox-
imity, grouping, basic shapes and the extendable colours
choices of monochromatic and analogous color schemes
were implemented into the final design. Typographical el-
ements of the 2nd and 3rd placed at the bottom created
a balanced look that was also embedded into the design.

8. FINAL DESIGN FOR
LOGO
6

9. DESIGN PRINCIPLES FOR
LOGO
GESTALT
The term Gestalt signifies a unified whole referring to the-
ories of visual perception. It was founded in German in the
1920’s.These are used to describe how people organise
visual elements and principles (Spokane Falls Community
College, n.d)The use of closure is the main element with-
in the shape of the light bulb and the border. The books
made out of dynamic and multiple lines create figure and
ground, proximity and dissimilarity.
SHAPES
The balance of both squares and curves signify nurture
and reliability, which speaks to the product coherently.
With all these lines however, it may cause trouble with
scalability from a distance. However this aspect is over-
looked to help other elements be effective.
COLOURS
The blue represents the keyword of relaxing, orange rep-
resents productive and purple represents stylish. This uses
triadic colours calls for easy reproducibility & remains ef-
fective in black and white and with typography.
7

10. INFLUENCES FOR RHETORICAL
IMAGE
8
These images incorporate Art
Deco themes however they use
different tones of analogous co-
lours, complimentary colours,
movement and action to achieve
different meanings. Pathos and
logos techniques of persuasion are
evident throughout these images.

11. FINAL DESIGN FOR RHETORICAL
IMAGE
9
DON’T LET TIME DRAG YOUR WORKLOAD BACK
MINDLUMI
THINK LESS. DO MORE

12. PRINCIPLE USED FOR RHETORICAL
IMAGE
10
This image takes on a connoted linguistic message, as it is
metaphorical and ironic. Irony is created in the text at the
top in contrast to the illustration. It is metaphorical for the
workload as the hourglass is for time.
The overall aesthetics of this image uses the Guttenberg
pattern that draws the audience’s in a Z formation from
the top text through the movement of the pencils leading
to the logo, creating balance.
The use of triadic colour choices ties in with the logo. The
background of dynamic triangular shapes and diagonal
lines indicates strength, direction and radiance.

13. INFLUENCES FOR INFORMTION
DESIGN
11
Inspiration was drawn from these two information designs
as they were very simple and readable. They are free from
excessive chartjunk and Tufte made the little information
that was there concise and to the point. The consistency
and small multiples were used well which was also created
in the final design.

14. FINAL INFORMATION
DESIGN
12
PLACE DEVICE ON HEAD
5MINS
MINDLUMI
TURN DEVICE ON VIA GREEN BUTTON & WAIT 5 MINUTES PRODUCTIVTY ACTIVATED
Information design allows the au-
dience or viewer a procedure to
create and understand. This in-
formation design was made with
easy steps to guide people of all
ages without trouble. Information
designs are meant to tell a story
and not just about the aesthesis
(Emerson, 2008). It is bringing
form and structure to information
allowing appeal through visual and
mental aspects.

15. PRINCIPLES USED FOR INFORMTION
DESIGN
13
TUFTE
Used on the information to make it concise and simple so over-crowding
wasn’t an issue.
CONSISTENCY
The border is kept consistent with the logo design and the triadic colours
are kept the same to match the theme of the logo and rhetorical image.
CHARTJUNK
However, with keeping the consistency, this creates Chartjunk, however
without it, the information design would look unfinished and inconsistent.
INTELLIGENCE
The information isn’t too childish and acknowledge that the matured target
audience can read it.
MIRCO-MACRO
The mirco-macro design was included in the watch featured in the previ-
ous slide and zoomed to show close details that provides information.
LAYERS AND SEPERATION
Used through the colours, texture and shape, being consistent in design
and style.
SMALL MULTIPLES
The woman appeared in all three slides and maintained the content while
adding different meaning with added context.

16. INFLUENCES FOR
PACKAGE
14
Inspiration was taken from these two
ideas for the packaging design. In the
1st design, the cutout window was uti-
lized well with the abnormal take on the
square, creating interesting handleability.
The 2nd one inspired the basis of the
shape of the final package with its many
surfaces and openings.

17. FINAL DESIGN FOR
PACKAGE
15
bottom
side
front
top
top
front
side
backMINDLUMI
STYLE1/3
MINDLUMI
INCREASE PRODUCTIVITY, FOCUS & STAMINA
BY MAXIMISING YOUR BRAIN’S POTIENTAL
PLACEDEVICEONEAD
MINS
TURNDEVICEONVIAGREENBUTTON&AITMINUTESPRODUCTIVTYACTIVATED

18. 16
MINDLUMI
STYLE1/3
MINDLUMI
INCREASEPRODUCTIVITY,FOCUS&STAMINA
BYMAXIMISINGYOURBRAIN’SPOTIENTAL
PLACE DEVICE ON HEAD
5MINS
TURN DEVICE ON VIA GREEN BUTTON & WAIT 5 MINUTES PRODUCTIVTY ACTIVATED

19. PRINCIPLES FOR THE
PACKAGE
17
IDENTITY
The product’s identity is kept similar to the logo, rhetorical image and
information design through the Art Deco and Minimalistic theme.
HANDLEABILITY
The three dimensional aspects incorporates an interesting handleabil-
tiy through the overall aesthetics of shape and materials.
FORM
The form is designed for the whole face of the packaging and the de-
sign wraps around all surfaces. It can be reused and reopened. The
texture of it has a visual and physical interest to some people as it has
two textures including an overall matte finish with elements of titles
in gloss. It maintains the traditional form of protection, security and
containment.
INTERACTION
The interactional elements are visual through the plastic window
showcasing the glasses and the magnetic closer in the front for a
sleek design.
SUSTAINABILITY
The material is recyclable however does not showcase its eco friendly
ways through green washing.
IDENTITY AND AUDIENCE
The overall look will appeal to the target audience of matured, so-
phisticated and work driven people. The font choice also reflects the
theme and message.

20. FINAL CONSTRUCTED
PACKAGE
18

21. DESIGN DOCUMENTATION
REFERENCE
19
UNIT’S READINGS
Eckler and Manucdoc. 2010. “Modern Art Movements To Inspire Your Logo Design”
Accessed June 6, 2015. http://www.smashingmagazine.
com/2010/01/07/12-modern-art-movements-to-inspire-your-logo-design/
Emerson, J. (2008). Visualizing information for advocacy: an introduction to information
design. Available online: http://www.tmplab.org/wiki/images/a/a7/Visualizing_Info
rmation_for_Advocacy_-_An_Introduction_to_Information_Design.pdf
Spokane Falls Community College. n.d. “The Gestalt Principles” Ac
cessed June 6, 2015. http://graphicdesign.spokane falls.edu/tutorials/pro
cess/gestaltprinciples/gestaltprinc.htm
LOGOS INFLUENCES
BrandCrowd. (2011). Savenergy [Image]. Retrieved June 6 2015,
from http://www.brandcrowd.com/logo-design/details/29378
Cini. (2011). 42 Logo Designs With Creative Use of Pen [Image]. Retrieved June 6
2015, from http://www.inspirefirst.com/2011/12/26/42-logo-designs-
creative-pen/
Creative Logos. (2011). Click inspire logo design [Image]. Retrieved June 6 2015,
from http://www.logodesignbuzz.com/creativelogos/click-inspire-lo
go-design/
RHETORICAL IMAGE INFLUENCES
Bennet, N. (2011). Jonas Bergstrand afts beautiful ‘vintage’ posters for Soho
Beach House [Image]. Retrieved April 25, 2015, from http:// www.
digitalartsonline.co.uk/news/illustration/jonas-bergstrand-crafts-
beautiful-vintage-posters-for-soho-beach-house/
Leii, P. (n.d). Art Deco Poster for Napa Valley Champagne [Image]. Retrieved April 25,
2015, from http://luc.devroye.org/usa-california.html

22. 20
Pipedreamergrey (2010). Geek Art Gallery [Image]. Retrieved April 25, 2015,
from http://geekartgallery.blogspot.com.au/2010/11/posters-art-deco-
batman-and-superman.html
INFORMATION DESIGN INFLUENCES
Megha Shenoy. (n.d). Infographics [Image]. Retrieved June 6, 2015 from http://
www.meghashenoy.com/infographics/
Show me how (2008). Repot a house plant[Image]. Retrieved June
6 2015, from http://www. learningsolutionsmag.com/articles/630/make-the-complex-un
derstandable-show-dont-tell/page2
PACKAGING INFLUENCES
IDEO. (2012). Window’s 8 Packaging for Mircosoft [Image].
Retrieved June 6 2015, from http://www.ideo.com/work/win
dows-8-packaging-design
Interpak. (n.d). Men’s jewelry packaging [Image]. Retrieved June
6 2015, from http://www.interpak.co.uk/products/
mens-jewellery-packaging/mens-01/
DESIGN DOCUMENTATION
REFERENCE