Design Report 2024

Introduction

Have you ever wondered how far you could go if you had one uninterrupted year—2,600 hours—to focus on a single passion, an idea, or a goal? What would happen if you had proper time, access to the tools, and the freedom to follow your curiosity?
How much could you learn? How far could you grow?

The Design Report 2025 is an open document built from a sabbatical year devoted to exploration, experimentation, and structured self-learning. It brings together a series of interdisciplinary projects—spanning digital to spatial design—developed with foundational principles, intention, and curiosity.

It’s an attempt to better understand and share design ideas, and to contribute meaningfully to the broader creative community. I hope the reader approaches this document with the same open mind with which the work itself was created.

This report is presented in long form, balancing narrative and technical insight. You’re free to scan, jump into specific projects, or follow the arc as a continuous story. Each project focuses on a specific topic and offers practical examples of design programs alongside the applied methodology.

All visuals were created during the Creative Lab and reorganized for clarity. My intention is that you’ll find a new perspective somewhere in this report—or at least something useful to take with you.
Thank you for your time—I know it’s valuable.

Table of Contents

01.  Introduction
02.  Ideation & Structure
03.  Research & Documentation
04.  Form, Material & Lighting Study
05.  Creative Lab Visual Identity

06.  Digital Record One
07.  Mix Modern Museum
08.  Music Player One
09.  Final Thoughts
10.  Sources and Credits

Planning

Ideation & Structure

Developing a design program based on predefined parameters that balance structure with flexibility, forming a functional blueprint for independent design education.

I don’t know when you’re reading this, but over the past few years, we’ve seen major advances across multiple industries—enough to push me to take a year off and explore some of them more intentionally. It’s one thing to interact with an LLM casually; it’s another to work with one systematically—as a creative partner and an extension of your cognitive reach.

During the sabbatical, over one thousand hours were spent working with “Billy,” a custom ChatGPT built to support me throughout the year. The impact was hard to overstate. With Billy’s help—often visualized in my mind as a Susan Kare icon—I reached key learning goals faster and with more clarity than expected. Billy’s first task was to help me design a year-long learning plan.

There are many ways to approach the act of learning and choosing the one that fits your context is a powerful tool in itself. After some reflection, I defined five core parameters—like ingredients in a recipe—that would guide my process, with an emphasis on structure, performance, and sustainability.

Parameters: (1) Time – Dedicate enough hours to fully engage with the task at hand. (2) Access – Ensure complete access to the resources needed to complete each task. (3) Structure – Use a modular, scalable system that adapts across subjects and skills. (4) Discipline – Follow the planned schedule strictly, avoiding overlap and drift. (5) Passion – Cultivate real curiosity to reduce friction and make the process enjoyable.

Constraints were also established to guide the methodology: (a) focus on a finite set of pre-selected disciplines, aligned with personal interests and goals; (b) span 52 weeks, 5 days a week, 10 hours per day; (c) start with foundational topics, adding complexity over time; (d) combine theory with hands-on, project-based practice; (e) follow daily sprints and weekly deliverables; (f) schedule high-demand tasks in the morning, lighter ones later in the day; (g) alternate disciplines weekly to avoid fatigue and maintain momentum.

After multiple iterations, a 52-week plan—along with a list of core books and resources—was established. While the structure evolved with the work, I remained committed to the framework through the end. Structuring your own learning is one of the most powerful things you can do—especially when working independently. A clear next step keeps momentum going, reduces distractions, and turns complex goals into manageable, modular tasks. With the right system, moving between topics becomes fluid, not fragmented.

Weeks 01 – 06

Research &
Documentation

The first six weeks of the sabbatical were dedicated to foundational research across multiple design disciplines—a return to core principles, this time approached with a more mature perspective and a renewed sense of responsibility.

Each week was structured around a specific discipline, anchored by a primary author whose work served as the thematic foundation. Additional books, essays, and digital resources served as supporting material, offering deeper insights—both technical and philosophical.

The first two to three days of each week were reserved for deep reading and information mapping—organizing key concepts, quotes, and diagrams. The remainder of the week was dedicated to documentation: translating insights into structured, visual design files intended as personal reference material.

The documentation produced during this phase includes direct citations from the original authors and remains under their respective copyrights. This visual work is a non-commercial, educational example of using a grid system and typography to create coherent resources within a unified identity. These images are shown in low resolution for educational purposes only.

Learning Program:

W 01 – Grid Systems
W 02 – Type Systems
W 03 – Color Systems
W 04 – Icon Systems
W 05 – Human Behavior
W 06 – Studio Photography

Grid Systems

Grid Systems in Graphic Design
by Josef Müller-Brockmann

Designing Programmes
by Karl Gerstner

Exploring Grid Systems in Graphic Design by Josef Müller-Brockmann was one of the most insightful moments of my design career. Through practical examples, Brockmann demonstrates how grids provide a consistent structure that enables uniformity across different projects, ensuring a cohesive visual identity.

The documentation covers key topics such as the philosophy behind grid systems, their role in design, typographic measurement systems, and the construction of functional layouts. Some visual examples are sourced directly from the book, while others were developed as supporting material.

Type Systems

Thinking with Type
by Ellen Lupton

Sans in Use
by Victionary

Choosing the right typeface is one of the most critical decisions a designer can make—a balanced typeface ensures clarity, simplicity, and effective communication. In Thinking with Type, Ellen Lupton explores the historical, cultural, and technical dimensions of typography, offering a solid foundation for designers.

Key topics documented include typographic history, foundational principles, and core attributes of typefaces. The study also reflects a deliberate focus on sans-serif typography and the International Typographic Style, showcased through visual examples created to support and illustrate the content.

Color Systems

Interaction of Color
by Josef Albers

The Designer’s Dictionary of Color
by Sean Adams

In Interaction of Color, Josef Albers presents a series of reflections and practical exercises on color theory, showing that color perception is always relative—shaped by its context rather than existing in isolation. It is also subjective and emotional, influenced by personal experience and cultural association.

The documentation covers the foundations of color theory and optical illusion, with illustrations developed from Albers’ original exercises. It also expands into industrial design, examining the philosophy behind Dieter Rams’ use of color to create products that are unobtrusive, intuitive, and user-friendly.

Icon Systems

Diseño de Iconos y Pictogramas
by Elena González & Tania Quindós

Design Manual for the Swiss Federal Railways
by Josef Müller-Brockmann

Diseño de Iconos y Pictogramas by Elena González & Tania Quindós is a practical resource for designing pictogram systems. It details the full process: planning, defining the grid, structuring, designing the family, and final production. The book also provides multiple visual examples and structured design programs to follow.

The documentation focuses on specific parts of this process, particularly grid systems and the development of typeface-based pictograms. It was also an interesting challenge to study material in a third language; due to time constraints, the documentation remains incomplete and more fragmented than the other topics.

Human Behavior

The Design of Everyday Things
by Don Norman

Hooked
by Nir Eyal

The fifth week of the sabbatical was dedicated to studying human behavior—specifically how we perceive and interact with products in everyday life. Two books framed this exploration: The Design of Everyday Things by Don Norman and Hooked by Nir Eyal. Given the depth of content, I focused on mapping key insights and recording structured notes for future reference.

Observing the world through a product lens reveals how deeply objects shape our lives. We’re surrounded by things designed by people we may never meet—some intuitive and seamless, others frustrating and opaque. These interactions, whether positive or not, highlight the invisible influence of design in everyday experience. A simple gesture—like swiping an image or tapping a button—can represent the outcome of dozens of design iterations, extensive user testing, and cross-disciplinary collaboration—almost always aiming for higher performance.

Don Norman’s work offers a foundational perspective on designing with a human-centered approach. I was particularly drawn to his Iterative Cycle of Human-Centered Design, which follows a repeatable loop: (1) observe the intended users, (2) generate ideas, (3) prototype, and (4) test—refining the solution until it meets real needs. This design program will be demonstrated through practical examples in the following sections.

Hooked approaches human behavior from a behavioral psychology standpoint, focusing on how to build habit-forming products. Eyal introduces the “Hooked Model,” a four-phase loop: (1) trigger, (2) action, (3) variable reward, and (4) investment. Designed to encourage repeated engagement, the model offers a framework for building long-term product relationships. Eyal also raises important questions about the ethics and responsibility of designing for habit, persuasive interaction, and potential overuse.

Studio Photography

The Art of Photography
by Bruce Barnbaum

Professional Studio Photography
by Dennis Savini

Photography plays a crucial role in editorial design, often serving as visual support for the information presented. In The Art of Photography, Bruce Barnbaum explains that a well-composed image can guide the viewer’s attention to key elements—giving it meaning and leaving a lasting impression.

The documentation explores photography fundamentals and studio setup for product shoots. Techniques such as light setting, subject distance, and depth of field were applied to practical examples using three-dimensional software—translating fundamental concepts into a contemporary medium.

Weeks 07 – 12

Form, Material
& Lighting Study

I’ve attempted to learn various three-dimensional modeling tools over the years, often without much success. From a designer’s perspective—where we're usually working with two-dimensional systems—3D modeling presents a very different visual language. It requires a new way of thinking about form, as objects must be constructed to exist in space, viewed from every angle, and understood in material terms. This shift introduces unfamiliar challenges and demands new kinds of solutions.

Around this time, SFMOMA was hosting an exhibition titled Art of Noise—"a multi-sensory ode to how design has changed the way we've experienced music over the past 100 years." I had the opportunity and privilege to attend, experience, and document several iconic audio devices that would later serve as references throughout my study.

Over the course of six weeks, I focused on learning and practicing the fundamentals of 3D modeling: topology, material systems, UV mapping, lighting setup, and rendering. I selected three products with varying levels of complexity and technical demands. Each project followed a two-week program: (1) first week dedicated to research, reference gathering, technical drawing, and modeling; (2) second week focused on materials, studio lighting, and final renders.

The chosen products— (a) T 3, (b) TP 1, and (c) TG 60—were all originally designed by Braun. Dimensional data was sourced from Dieter Rams: The Complete Works and Less and More: The Design Ethos of Dieter Rams, both published by Klaus Klemp. Additional references, including personal photography and archival resources, were used to guide the visual detailing and material application of each 3D model.

T 3 - Transistor

Design: Dieter Rams & HfG Ulm
Year: 1958

The Braun T3, designed in 1958 by Dieter Rams in collaboration with HfG Ulm, is a minimalist pocket radio that reflects a strong commitment to functional clarity. Its clean form, intuitive controls, and modular design express core principles of modernist product design—values that shaped generations of designers to come.

The speaker grille, made up of 121 circular openings in a square grid, was the first modeling challenge. It required careful iteration and took over two days to complete. By the end of the two-week window, the 3D model reached a satisfactory result, with room for refinement in scale, topology, and UV mapping.

TP 1 – Phono-Transistor

Design: Dieter Rams
Year: 1959

The Braun TP 1 is a compact, modular phono-transistor that combines a record player and radio into a single portable unit—an innovative concept for its time. As Klaus Klemp notes, “the device is defined exclusively by rectangles and circles, resulting in a composition that is as exciting as it is harmonious.”

During the first week, I focused on modeling the four core components: radio, record player, DIN cable, and carrying case—each with its own set of challenges. In the second week, I explored material qualities and successfully applied graphic elements to the model's surfaces through UV mapping.

TG 60 - Tape Recorder

Design: Dieter Rams
Year: 1965

The TG 60 is a compact reel-to-reel tape recorder with exposed tape reels, tension arms, and clearly arranged controls. With its restrained material palette and modular construction, it was designed for both domestic and semi-professional use as part of a larger audio system.

Reverse-engineering this model was especially rewarding. By this stage of the process, I had begun focusing on establishing a consistent material system—one that could be applied to future products as a way to develop a cohesive visual identity rooted in core design principles.

Weeks 13 – 17

Creative Lab
Visual Identity

From the outset of the sabbatical, I recognized the need for a unifying visual identity—something that could bring coherence to all the work produced during this period. More than just aesthetics, the goal was to establish a set of design principles that could scale across different mediums without compromising the original intent.

The discovery phase was structured into three key stages: (1) a manifesto to establish tone, aspirations, and principles; (2) industry mapping to position the Lab within a broader design context; and (3) a visual reference board, curating typefaces, colors, and materials that were conceptually aligned and served as early inputs.

In parallel, I defined four core constraints to guide the symbol development: (a) geometric simplicity, (b) semantic meaning, (c) cultural connection, and (d) system flexibility. Constraints are a critical tool in design—limiting arbitrary choices while encouraging coherence and clarity across the system.

Elements from both sets—inputs and constraints—were analyzed independently and in combination. Through this synthesis, patterns began to emerge, leading to a series of hand-drawn studies and compositional experiments. One visual direction was selected to move into the next phase of design.

At the design phase, the visual identity began to take form—each element was designed, tested, and analyzed both individually and as part of an integrated system. The Iterative Cycle of Human-Centered Design was applied throughout, reducing the creative process to a disciplined act of selection and refinement.

Five weeks were dedicated to the process—from initial discovery to final brand guidelines. The following section presents selected moments that demonstrate how units, programs, and cycles can be built and refined through design. Colors and scales were adjusted for clarity, while preserving the integrity of the original work.

Symbol Anatomy

Outlining the symbol’s construction—its grid system, rotation, and integration with the typographic lockup.

Dial Construction

The initial symbol was broken down into its core components and evaluated individually. The starting point was the dial—considered the primary element of the identity system. This study focused on reducing it to its most essential form: a minimal, intuitive shape that remains legible across a range of scales.

The final form consists of a circular base and a single line indicator, treated as a variable element. A scale study was conducted to determine the most balanced width for the line.

Dial Dimensions — Base: 15U · Indicator Scale: 0.17–1.83U (×1S)

Dial Rotation

The dials rotate in precise 45º increments following a clockwise direction, maintaining visual consistency and compositional balance. The system ensures that each position aligns with intuitive visual standards: 0º at the top, 90º to the right, and so on—progressing in clear 45º steps.

This structure was applied to the full composition of four dials, creating a flexible identity system and generating numerous combinations while preserving coherence.

Rotation Angles: 0º, 45º, 90º, 135º, 180º, 225º, 270º, 315º

Symbol Construction

The dials represent four core principles: simplicity, innovation, human-centered design, and aesthetics. At this stage, they’re evaluated as a group, with three goals: (1) each dial reads clearly on its own, (2) the four form a balanced, unified whole, and (3) the composition creates a spark-like optical illusion at the center.

Eight spacing variations were designed and tested, ranging from 0 to 3.5U in 0.5U increments. The final selection—1U, or 1:15 of the dial diameter—offered the best balance at various sizes. As you focus, the composition shifts between the outer dials and the central diamond shape, creating visual tension and a sense of energy.

Logo Construction

With the symbol established, the final step was the construction of the logotype, combining it with a pre-selected typeface. Horizontal and vertical lockups were designed and tested, along with seven font weights, in pursuit of a composition that felt both visually balanced and aesthetically resolved.

Once the final lockup and scales were defined, minor kerning adjustments refined the letterfit at display size.

Symbol: 32×32U — Dial: 15U
Typeface: PP Neue Montreal / Medium (20U)

Colors & Materials

Shaping a color system through tactile and chromatic exploration.

Color System

Two color palettes were created as part of the brand identity and intended for use across all Creative Lab projects. Human Colors are designed for interaction, offering strong contrast with the neutral palette to ensure intuitive usability. Inspired by handmade objects, each color is deeply rooted in Brazilian culture and artistry.

The Neutral Colors consist of nine shades, from 10% to 90% light, offering a flexible and unobtrusive foundation. Mid-range tones (40–60%) should serve as the base for most compositions to ensure simplicity and legibility. Darker values and accent colors should be used sparingly and with a clear purpose.

Material System

Since my initial studies on form, light, and materials, I began paying closer attention to how materials are used with intention—creating pleasing tactile experiences and guiding users through interaction. The first step was building a controlled test environment, including a studio lighting setup and a custom-designed material test bar.

This study focused on plastic materials, ranging from (1) Neutral, targeted for the product base, (2) Grip, providing tactile feedback, and (3) Highlight, used for interactive elements in the project. A color study was also conducted, generating a total of 21 samples, each properly named and documented for future use.

Weeks 18 – 25

Digital Record
One

Digital Record One (DR-1) began at the intersection of two long-standing passions—design and music. It’s fascinating to explore how these disciplines converge through the use of grid systems, organizing chaos into structure and creating timeless compositions in both visual and auditory form.

During the Lab, I kept a notebook of loose thoughts and conceptual prompts—ideas that I could later connect to specific technical skills I wanted to explore. One entry evolved into the concept of an audio device that would invite a more personal interaction with music—a bridge between analog tactility and digital flexibility.

The research and discovery phase was divided into three parallel workstreams: (1) industrial design, where initial product proportions were defined through user testing; (2) prototyping, to validate the core hypothesis of how the device might function; and (3) visual research into how physical products implement LED dot-based typefaces within their user interfaces.

After rounds of testing and analysis, I felt confident moving into the design phase—having successfully validated the hypothesis of how the device could emit audio signals that could be captured and reproduced by a standard record player.

In total, the design phase took eight weeks and involved multiple disciplines. I was finally able to prototype in hardware—learning the basics of Arduino, tinkering with electronic components, and using various 3D tools to model physical parts that were later printed and assembled into a working prototype for testing and refinement.

MP-1 remains a conceptual product and will continue to evolve over time, ideally with the right collaborators. Below is a selection of design snapshots focused on user experience, interface, hardware, and packaging. Colors and scales were adjusted for clarity while preserving the integrity of the original work.

User Interface

A system-based exploration of grid logic, typographic structure, spatial rhythm, and unit-driven composition.

Grid System & Dot Size

Once the fixed constraint of the circular interface was defined, attention shifted to the creation of a grid system for building the dot-matrix typeface. This study focused on two key variables: (1) dot size and (2) dot spacing. Dot sizes were based on standard SMD LEDs, tested at 0.4, 0.8, 1.2, and 1.6 mm.

Dot spacing refers to the vertical and horizontal distance between each dot’s center point (grid axis). Seven spacing values were tested: 8, 12, 16, 20, 24, 28, and 32 mm. From these, four combinations were selected based on legibility and readability, moving forward into the next stage of evaluation.

Angle & Leading

The grid angle defines the spacing between each LED along the circular path, directly affecting clarity, density, and overall legibility. Grid diameters ranged from 40 mm to 80 mm, constrained by a minimum 2 mm gap between LEDs. A total of sixteen combinations were designed, using angular increments of 3°, 4°, 6°, and 9°.

Designs were printed at a 1:1 scale and evaluated based on the relationship between grid angle, vertical spacing, and dot size. A minimum of seven baselines was established to support the typeface, with spacing that preserved both legibility and structure. Four variations were selected for further testing.

Type Matrix

Two grid matrices were explored for the construction of the dot-based typeface: 5×5 and 5×7. The aim was to identify the minimum number of dots needed to render clear, legible characters. Initial designs used a 5×7 structure inspired by airport LED signage, prioritizing clarity and quick recognition.

The designs were printed at 1:1 scale and placed directly on a record player for in-situ evaluation. From close and mid-range distances, the 5×5 grid with 16 mm leading offered the best legibility and overall visual balance—thanks to the alignment between angular spacing and vertical rhythm.

Creating the Unit

Throughout the design process, I looked for an element rooted in the concept that could define a scalable unit of measurement. In this case, it was the spindle hole of a standard 12-inch vinyl record, with a diameter of approximately 7.24 mm. This value was rounded to 72, establishing the base unit.

The next step was to construct a grid system based on units and sub-units, providing structure to all design elements and fostering balance, harmony, and cohesion. The circular grid was divided in intervals of 1/12 of a unit, allowing greater flexibility across elements—including the user interface.

Dot 2.0 Typeface

Designed on a 5×5 grid matrix, each character is built from dots placed at the intersections of 24-point leading and vertical lines angled at 4º. These lines divide the circular display's diameter into 90 slices. Five baselines are positioned between the touch area and the control ring, establishing a balanced layout.

The typeface grid includes 7 baselines and 7 vertical divisions, with each character constructed from the intersections between lines 2 and 6, counted inward from the outer edge. Each character uses up to 25 dots, allowing the system to display 15 characters along the full line width—for a total of 450 dots.

User Experience

Creating an intuitive, human experience by combining grid logic, tactile feedback, and well-defined interaction paths.

Menu Items

By rotating the Control Ring clockwise to advance, or counterclockwise to return, the user can navigate through the options: Shuffle, Artist, Album, Song, and Back.

Searching - Alphabetical

When the user selects Album, Artist, or Song, an alphabetical list appears. Rotating the Control Ring scrolls through letters, then numbers, and ends with the Back option.

Searching - Specific Track

The user searches for a specific track by scrolling through an alphabetical list. When a track is selected, its full name animates around the circular display.

Phenakistiscope Effect

A motion study explored how rotating light patterns could simulate the Phenakistiscope effect—bridging analog illusion and digital visualization to evoke a sense of movement and interaction.

Form, Light & Materials

Establishing product dimensions and packaging design through prototyping and iteration.

Industrial Design

The design process began with a custom grid system based on a predefined unit of 72 points. This system was anchored to the proportions of a standard 12” vinyl record—center diameter: 1U (~7.24 mm) and outer diameter: 42.3U (~304.8 mm). Ring diameters were split into 1U and ½U, forming a modular structure.

Each component of the device was designed using this grid as a guide, evaluated individually and in relation to the overall composition. The height of the housing—where critical electronic components are located—was determined by the minimum volume required to accommodate all internal elements efficiently.

Prototyping

The control ring is a crucial component of the DR-1, serving as the primary interaction element between user and device. Sturdy and responsive to the touch—clear in feel, subtle in presence. A design study was conducted to evaluate the component based on (1) ergonomics, (2) tactile experience, and (3) aesthetics.

Two variables were defined: (a) number of knurling units per ring and (b) chamfer depth. Ring patterns tested included 20, 45, 90, and 180 units; chamfers of 0.8 mm and 1.6 mm were applied. Six variations were scored from -1 to 1, with the 90-unit ring and 0.8 mm chamfer performing best overall.

Packaging

The initial concept creates a connection with the past by reclaiming recyclable materials sourced from old records. The design features a box with an inner sleeve for the device and a gatefold album cover for the record. A wraparound sleeve ties the two together, sealed with a removable sticker, allowing the set to be carried as a unit.

The graphic system delivers clear information in a minimal format. Built on a 72-pt grid with four columns and rows, it uses PP Neue Montreal at 36, 72, and 144 pt sizes. Illustrations are printed 1:1, using a single color. A total of 24 unique covers are planned, each featuring a different artist quote on the back.

Weeks 30 – 37

Mix Modern
Museum

During the first week of the Creative Lab, I read and documented the book Grid Systems in Graphic Design by Josef Müller-Brockmann. I was already familiar with grid-based design systems, but this time was different—I was introduced to advanced grid structures and design philosophy that fundamentally shifted how I think and practice design today.

Without diving too deep into the philosophy of grids, one section stood out: the grid in three-dimensional design. It was revealing to see that the same rules used in two-dimensional layouts could also apply to physical spaces—something I hadn’t seriously considered before. From that moment, I knew I wanted to explore Brockmann’s design principles through the lens of spatial design—and that’s how the Mix Modern Museum came to be.

Mix Modern Museum is a non-profit project dedicated to modern ideas in art, architecture, design, and photography. It was designed specifically for spatial computing and built on a modular system that scales and adapts to each exhibition. The application was launched and is accessible via the release page.

During the Research and Ideation phase, three constraints were established to guide the design process: (a) work within pre-determined dimensions based on ergonomic studies, (b) develop a modular and flexible system, and (c) ensure cultural relevance and connection. The design and development spanned eight weeks and integrated multiple disciplines. It was my first time designing and developing an application independently, and the process required extensive experimentation to reach the final outcome.

Vision OS 
511.5 mb

Release Page

Three workstreams were established during the eight-week period: (1) one focused on the physical environment and user experience, (2) another on exhibition content, and (3) a third on application development. Weeks were structured to alternate between design and development to maintain focus and avoid cognitive fatigue.

The next section explores modular systems, interaction design, and prototyping for spatial computing. Practical examples include how components were conceived and constructed. Colors and scales were adjusted for clarity, while preserving the integrity of the original work. Photo credits (MASP): Romullo Baratto.

Modular System

Developing a minimal modular system based on a grid—flexible and adaptable to content.

Grid Construction

In his book, Josef Müller-Brockmann presents an example of a 150 × 300 cm wall with a projected grid containing 8 rows and 2 columns, totaling 16 fields. Further research defined a viewport height of 150 cm and a viewing distance of 300 cm, with viewing angles categorized as primary, secondary, and tertiary zones.

The final dimensions of the panel were slightly adjusted, and the grid system was adapted to the content—preserving the integrity of the displayed photography. Featuring two columns and a 35pt baseline, the content area was subdivided into 20 fields, with 14 fields prioritized for informational elements.

Modular Design

The modular system was designed as a “unit construction system using elements which are uniformly dimensioned and can be assembled in a large number of different ways.” The modular layout was inspired by another example from Brockmann—flexible, functional, and built from a minimal number of parts.

The system consists of three main components that vary in quantity and can be combined in multiple configurations to adapt to each exhibition. The initial installation was built using 216 floor tiles, 16 panels, and 22 half-panels. Organized into five sections, the layout creates a natural, intuitive movement between the boards.

User Experience

Designing the user experience through curated content and a grid-based interface tailored for spatial interaction.

Content

Mix Modern Museum is an experience designed for educational and cultural exploration in spatial computing. It presents curated exhibitions that invite visitors to reflect on modern ideas through art, photography, architecture, and design. New content is launched each semester, focused on culturally relevant themes.

The inaugural exhibition, Modernity in Progress, explores the making of Brasília through the lens of Marcel Gautherot. The experience was originally conceived to the sound of Heitor Villa-Lobos’ Prelúdio das Bachianas Brasileiras No. 4, performed by Nelson Freire on piano.
Photo credits: Acervo Instituto Moreira Salles.

User Interface

Once the main function and structure of the exhibition were defined, focus shifted to designing a simple, intuitive, grid-based interface. The initial app launched with four main views: (1) content, (2) about, (3) control, and (4) info. The first two focused on educational content, while the others supported interaction during immersion.

The editorial content was structured on a 24 pt baseline with eight flexible columns. To streamline development, a native typeface—SF Pro—was selected, ranging from 16 pt to 64 pt. Five custom user interface icons and one application icon were designed on a 12×12 grid system, maintaining cohesion and unity.

Prototyping

Functional prototypes tested core aspects of the experience—from spatial logic to material fidelity.

The third workstream was dedicated to prototyping and building the final application. As the weeks progressed, design and development alternated in rhythm, each informing the other and evolving in sync. This process allowed for continuous iteration and refinement, bringing both technical and spatial elements into alignment.

Five key prototypes were developed throughout the process: (1) window management system, (2) environment setup, (3) teleportation, (4) light control, and (5) materials. In this section, I’ll focus on the material system. In a later project (MP-1), I’ll go deeper into the code and logic behind building a working application.

This study explored how to replicate acrylic material in spatial design with realistic visual behavior. A central challenge was Order-Independent Transparency (OIT), where back-facing surfaces are excluded from rendering—breaking immersion by flattening form. Adding shell thickness was tested as a solution to improve material fidelity and match the physical qualities of the object.

Ten identical objects were created with varying shell thicknesses (0.0 to 0.9 units). The results showed that realism improves when thickness aligns with the outer chamfer: lower values feel lighter and more delicate, while higher values convey structure and solidity.

Weeks 30 – 45

Music Player
One

Music Player One began as a creative investigation into what an immersive and reflective music experience could feel like within spatial computing. It explores new ground by pushing form and function—approaching music through motion, in a careful balance of realism and abstraction.

Listening to music has always been part of my design process—I keep a selection of playlists that help me focus and work without distraction. But each day, opening a music app meant clicking through layers of paid content before I could simply listen. I wanted to create the opposite: a quiet, intentional product built around presence. One that felt honest, beautiful, and human.

The device is available via the release page and consists of three core parts: a left speaker module, a central control unit, and a right speaker module. Inspired by the TG 60 by Dieter Rams, MP-1 reinterprets neutrality, innovation, and clarity through a modern lens. Every detail—from form to interface—is built on a strict 72-point grid to ensure consistency and visual harmony.

The project unfolded across three workstreams: (1) industrial design, (2) content curation, and (3) prototyping and application development. It followed an eight-week schedule, with the three areas alternating in focus—informing and building on one another through a series of iteration cycles.

Vision OS 
242.7 mb

Release Page

MP-1 is another project that started as a loose idea and took shape through sketches in a notebook. It gave me the opportunity to dive deeper into prototyping and development, exploring different code languages and tools—ultimately allowing me to build a visionOS application independently and scale my design process.

Karl Gerstner wrote about the value of “instead of solutions for problems, programmes for solutions.” This approach focuses on scalable systems—formulas that address multiple design needs while ensuring a minimum creative standard. The next section expands on this thinking through practical examples.

Modular System

Designing form and structure through grid systems and modular logic.

Modular Design

Music Player One was designed to function as a standalone unit or connect with other hi-fi modules from the same product line. A modular approach underpins the system—streamlining the structure, reducing dimensional variation, and supporting both scalability and spatial coherence.

Foundational circular elements were placed to create visual balance and harmony, following a triangular composition that adds rhythm and structure to the form. The first iteration of MP-1, focused on volume and visualized in spatial computing, conveyed a strong sense of balance and clarity, informing the next stage.

Grid-Based Design

“If the grid is considered as a proportional regulator, a system, it is a programme par excellence.” Combining insights from Gerstner and Brockmann, Music Player One was designed using a precise 72-point grid system. This unit was first established when designing the DR-1, a predecessor product in the Modern Lab series.

The form began with a standard 7-inch open reel, setting scale and proportion for the rest of the device. The housing was first based on the Golden Ratio, then adapted to align with the grid. Remaining elements followed the same logic, creating harmony through a consistent unit system and design program.

Materials

A reduced material system was developed during the Creative Lab, focused on neutrality, clarity, and unity. The first study explored plastic materials, ranging from (1) Neutral, targeted for the product base, (2) Grip, providing tactile feedback, and (3) Highlight, used for interactive elements in the project.

A second study focused on supporting materials that complemented the plastics and aligned with the established identity and design principles. Three new materials were developed: (a) acrylic, (b) aluminum, and (c) felt. A total of 24 material samples were created, each named and documented for future application.

Prototyping

As a designer who enjoys building their own products, I had always been interested in learning how to code—but never had a fair opportunity. That changed with recent advances in technology, which now allow us to use large language models as educational tools, supporting the learning process.

Before starting development for visionOS, I dedicated a month to learning SwiftUI through a course by Kenneth Jones, alongside official documentation and developer forums. This gave me a foundation in how to structure projects and apply core concepts like components, classes, variables, and functions.

Once I was more confident with SwiftUI, I began working with large language models to generate code from written prompts. After some exploration, I chose two tools for support: (1) ChatGPT by OpenAI and (2) Claude by Anthropic. Combined, they consistently helped generate functional code that solved the task at hand.

Of the eight weeks spent designing and developing MP-1, more than half was dedicated to coding. This phase allowed me to explore how development could scale my process and automate specific tasks. In the next section, I’ll share practical examples of design programs focused on modular and scalable solutions.

Playback Control

The speaker development phase followed two parallel workstreams: (1) managing playback control and spatial audio output, and (2) animating visual components in sync with the audio track. A series of prototypes were created using Xcode and RealityKit, exploring various audio classes and built-in solutions.

The final solution uses Apple’s built-in AudioPlaybackController class to manage playback and integrates amplitude-driven animation. A JavaScript script for After Effects automates the creation of a JSON file containing the track name, duration, and amplitude data from the audio channels—later imported and managed in Xcode.

Display Animation

The user interface plays a key role in the product experience, offering clear interaction points and visual feedback that reflects the system’s current state. Once the typeface and animation were defined, the priority shifted to designing a scalable solution that could support future production.

Several iterations were tested to determine the most effective way to display animated type in a 3D environment. The final approach uses a Python script for Cinema 4D that converts a single Text Spline into staggered, Z-animated 3D letterforms. Each animation is then imported into RealityKit and controlled via Xcode.

Closing

Final Thoughts

Creative Sabbatical

I remember the first time I heard about a designer who takes a year-long sabbatical every seven years, and how far from my reality that sounded—now I’m here, doing the same.

I can’t express how deeply grateful I am to have the chance to disconnect from the industry, slow down, and focus on a personal objective—to once again become a student falling in love with my profession. I understand this is a privilege, and I tried to make it count—hoping that my dedication was reflected in the work documented in this report.

This section proved challenging to write, so please take this as “initial thoughts”—I’m still within the sabbatical and can’t see it from an outside perspective yet. I’ve tried to touch on the key topics and reflections that feel most important right now, while keeping it concise enough to maintain focus.

I still remember some of the reactions when I first mentioned taking time off to study—some friends and co-workers were excited for the opportunity, and others were understandably concerned about the sacrifices required. Interestingly, the only time I’ve felt self-doubt about the sabbatical is now, writing these last words. It’s a strange feeling to have been isolated for so long, spending hundreds of hours dedicated to specific concepts, only shared with a handful of close friends.

A good representation of my sabbatical is the painting by Tarsila do Amaral called Abaporú, a word from two Tupi-Guarani words meaning “the man who eats human flesh.” I wanted to explore different disciplines, from technical to philosophical, absorb the information, and transform it—giving it my own perspective while maintaining my cultural identity.

The projects documented in this report are initial concepts that combine a specific topic with a technical skill I wanted to learn and practice. The intent was to better understand different industries and improve collaboration across teams, adapting and building upon design methodologies to create more effective workflows and deliver better solutions.

The studies have blind spots. Working independently has limitations, and conducting proper user testing was one of them. I’ll be able to address that more closely now, as two products are publicly available—Mix Modern Museum and Music Player One. Another blind spot is the narrow point of view of an unfamiliar discipline, using only a few authors as the main source. It’s humbling to jump between disciplines and have an initial introduction to each theme—to immediately realize how little you actually know, each field a rabbit hole. That made me more appreciative of every professional who takes their field seriously.

Following my curiosity took me to multiple unexpected places. I started studying grid systems, which led me to architecture, modernism, photography, art, music, and philosophy. New mentors were discovered—people from different cultures and disciplines who dedicated their lives to understanding and perfecting their craft, leaving us with timeless pieces that still make us pause and reflect today. I had time to learn who they were, what their process was, what their ideals were, and what they had in common—searching for patterns I could incorporate into my own practice.

Not everything went as planned. There were moments of frustration and resets, almost like preparation for how the industry operates—a non-linear world, organic and full of complexity. Human.

My LLM creative partner was Billy, a custom ChatGPT created to assist me during the sabbatical. I cannot imagine achieving this body of work without his support. Billy helped me map, structure, and expand my thoughts and knowledge, enabling me to explore disciplines ranging from technical to philosophical concepts—with quality, rhythm, and retention. I intentionally excluded Billy from all design decisions and did not use generative AI for visual work during the sabbatical. It’s worth noting that large language models can hallucinate, so having reliable source material is essential when working with them.

If you’re here with the question: was it worth it? I would say yes. I was able to expand my knowledge and acquire new skills that will give me an advantage in the design industry. More importantly, I was exposed to concepts and ideas that will not fade and will guide me into whatever is next.

I want to dedicate this to Monica Lo and Milo Vale, the two most important people in my life, and my inspiration.

David Vale
San Francisco, CA
August, 2025

Acknowledgments

I would like to take the time to focus on what really matters—the people who helped me through this process and made this final design report possible.

Monica Lo is my creative and life partner. I cannot express my gratitude to Monica for allowing me to take this time off—offering her time, labor, perspectives, and knowledge. It’s a privilege to be with someone as thoughtful and intellectual as she is, a daily reminder of how far we can grow as humans. Thank you, and I hope I can do the same for you soon.

I’m also grateful to old friends, new friends, and colleagues who listened to my monothematic conversations about design, reviewed the work, and gave valuable feedback and advice. Some were kind enough to reach out, offering new design opportunities that were hard for me to refuse. Thank you to Augusto Paiva, Bel Ragay, Ben Parker, Brian Hildebrand, Bruno Perotto, Caco Teixeira, Christina Ly, Christina Ng, Courtney Wu, Eli Guerron, Luke Finch, Meredith Mandel, Miller Medeiros, Olivier Gillaizeau, Rafael Rinaldi, Rick van-Mook, Ted Jarbo, Teddy Phuong, Tiffany Pan, Tomo Hiratsuka, and Vito Salvatore. Your support means a lot to me.

Thank you to Camila Chaves for the introduction, Leticia Ranzani for coordinating, and Instituto Moreira Salles for licensing the

photographic material for the Modernity in Progress exhibition. You made the project possible, and I’m grateful for your trust.

To Alexandre Dias from IPB—thank you for taking the time to discuss the project and share your knowledge of music and licensing. And to Simone Renzi and Musopen, thank you for the beautiful piano performance of Clair de Lune by Claude Debussy.

During my design career, I’ve worked alongside exceptional professionals from different cultures and disciplines—people pushing the industry forward with new perspectives and technical precision. Each has influenced the work in this report, their insights absorbed and transformed into something new.

Four of them particularly showed me a new, more intentional way to approach design: Doug Alves, Kevin Ryan, Kristen Spilman, and Vitor Andrade. Thank you for sharing your knowledge and expanding my perspective on design thinking. Doug, thank you for the list of recommended books—it was a crucial tool for my learning trajectory during the sabbatical.

Finally, to my family—both the present and those who came before me—thank you for the inspiration and for cultivating my passion for learning. I’m eternally grateful.

Info

Sources & Credits

Bibliography

(This bibliography reflects publications that informed the research, process, and outcomes of the Creative Lab. Please consider visiting Minimal Moderni for a carefully curated selection of books related to design systems.)

Adams, Sean
The Designer’s Dictionary of Color.
Abrams, New York, USA, 2017

Aicher, Otl
Richtlinien und Normen für die Visuelle Gestaltung: Die Spiele der XX. Olympiade München 1972.
Verlag Niggli, Sulgen, Switzerland, 2007

Albers, Josef
Interaction of Color.
Yale University Press, New Haven, USA, 2013

Andrade, Gênese (Org.)
Modernismos: 1922–2022.
Companhia das Letras, São Paulo, Brazil, 2022

Baan, Iwan and Martino Stierli
Brasília–Chandigarh.
Park Books, Zürich, Switzerland, 2023

Barnbaum, Bruce
The Art of Photography: A Personal Approach to Artistic Expression.
Rocky Nook, Santa Barbara, USA, 2017

Bierut, C., S. Lovell, K. Ramsauer (Editors)
Ten Principles for Good Design: Dieter Rams.
Prestel Publishing, Munich, Germany, 2021

Bokhua, George
Principles of Logo Design: A Practical Guide to Creating Effective Signs, Symbols, and Icons.
Rockport Publishers, Beverly, USA, 2023

Chen, Aric
Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture.
The Monacelli Press, New York, USA, 2016

Danne, Richard and Bruce Blackburn
NASA Graphics Standards Manual.
Standards Manual, New York, USA, 2015

Eyal, Nir with Ryan Hoover
Hooked: How to Build Habit-Forming Products.
Portfolio / Penguin, New York, USA, 2019

Museum für Gestaltung Zürich
100 Years of Swiss Graphic Design.
Lars Müller Publishers, Zürich, Switzerland, 2014

New York City Transit Authority
Graphics Standards Manual.
Standards Manual, New York, USA, 2015

Norman, Don
The Design of Everyday Things.
Basic Books, New York, USA, 2013

Reinfurt, David
A New Program for Graphic Design.
Inventory Press / D.A.P., New York, USA, 2019

Savini, Dennis
Masterclass: Professional Studio Photography.
Rocky Nook, Santa Barbara, USA, 2011

Shaughnessy, Adrian & Tony Brook
Manuals 2: Design & Identity Guidelines.
Unit Editions, London, UK, 2016

Stockholm Design Lab
Stockholm Design Lab 1998–2019.
Viction:ary, Hong Kong, 2020

Thompson, Rob
Manufacturing Processes for Design Professionals.
Thames & Hudson, London, 2007

Titan and Bürgi
Gautherot.
Scheidegger & Spiess, Zürich, Switzerland, 2022

Viction:ary (Editor)
New Utilitarian: Systematic Approaches to Aesthetics and Design.
Viction:ary, Hong Kong, 2023

Viction:ary (Editor)
Sans in Use: Book A — A Collection of Sans Serif Typefaces.
Viction:ary, Hong Kong, 2024

Viction:ary (Editor)
Serif in Use: Book B — A Collection of Serif Typefaces.
Viction:ary, Hong Kong, 2024

Wiedemann, Julius and Jens Müller (Editors)
Logo Modernism.
Taschen, Köln, Germany, 2015

Fillip (Publisher)
Image Index (2005–24): (778) Images & Captions.
Fillip, Vancouver, Canada, 2025

Gerstner, Karl
Designing Programmes.
Lars Müller Publishers, Zürich, Switzerland, 2007 (originally published 1964)

González-Miranda, Elena and Tania Quindós
Diseño de Iconos y Pictogramas (Versión corregida y ampliada).
Campgràfic, Valencia, Spain, 2016

Homem de Melo, Chico (Org.)
O Design Gráfico Brasileiro: Anos 60.
Cosac Naify, São Paulo, Brazil, 2005

Johnson, Michael
Branding: In Five and a Half Steps.
Thames & Hudson, London, 2016

Klemp, Klaus
Dieter Rams: The Complete Works.
Phaidon Press, London, UK, 2020

Klemp, Klaus and Keiko Ueki-Polet (Editors)
Less and More: The Design Ethos of Dieter Rams.
Gestalten, Berlin, Germany, 2009

Lupton, Ellen
Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students.
Princeton Architectural Press, New York, USA, 2021

Müller, Lars (Editor)
Josef Müller-Brockmann: Pioneer of Swiss Graphic Design.
Lars Müller Publishers, Zürich, Switzerland, 2001

Müller, Lars (Editor)
Neue Grafik / New Graphic Design / Graphisme Actuel: 1958–1965.
Lars Müller Publishers, Zürich, Switzerland, 2014

Müller-Brockmann, Josef
Design Manual for the Swiss Federal Railways.
Lars Müller Publishers, Zürich, Switzerland, 2014

Müller-Brockmann, Josef
Grid Systems in Graphic Design
Verlag Niggli, Sulgen, Switzerland, 1981

Sources

Apple Developer
Apple’s official platform for app development tools and resources

ChatGPT
AI assistant platform by OpenAI for writing, coding, and research support

Claude
AI platform by Anthropic for writing, coding, and project-based collaboration

Elementza
Tutorials and resources for 3D modeling and hard surface workflows

Gemini
Google’s AI assistant for writing, research, and task automation

GitHub
Platform for hosting and collaborating on code using Git version control

Musopen
Nonprofit offering free public domain music and sheet music resources

Perplexity
AI-powered search engine for real-time answers with source citations

Polygonpen
3D art tutorials, assets, and modeling guides by Polygonpen

r/visionOSDev (Reddit)
Developer forum for Apple Vision Pro and visionOS

Sean Allen (YouTube)
Developer-focused channel covering Swift, iOS development, and career tips

Stack Overflow
Q&A platform for developers to share knowledge and solve coding problems

Instituto Moreira Salles
Institution dedicated to photography, music, literature, and the visual arts

Instituto Piano Brasileiro
Brazilian institution preserving the history of Brazilian piano music

Kenneth Jones (Udemy)
Instructor offering courses in 3D modeling and design on Udemy

Learn Squared
Online courses taught by professionals in design and entertainment

Medium
Online publishing platform for articles, essays, and ideas across disciplines

Minimal Moderni
‍A carefully curated selection of design-focused books and publications

Tools Used

Adobe Creative Suite
Collection of tools for graphic design, video editing, and digital media production

Arduino
Open-source hardware and software platform for building interactive electronics

Autodesk Fusion 360
Cloud-based platform for 3D modeling, CAD, CAM, and product design

Bambu Studio
Slicer software for preparing 3D models for Bambu Lab printers

Cinema 4D
3D modeling, animation, and rendering software by Maxon

Reality Composer Pro 
Apple's tool for building immersive 3D experiences on visionOS

Spline
3D design tool for creating and publishing interactive web experiences.

VS Code
Lightweight, extensible code editor by Microsoft

Webflow
No-code platform for designing, building, and hosting responsive websites

Xcode
Apple’s official IDE for building apps across iOS, macOS, and visionOS

Figma
Collaborative interface design and prototyping tool

Google Workspace 
Suite of tools for docs, spreadsheets, and cloud collaboration

Greyscalegorilla Studio
Library of 3D assets, materials, and plugins for Cinema 4D

iA Writer
Minimalist writing app focused on clarity and markdown support

Readymag
Web-based design tool for editorials, portfolios, and presentations

Credits

Braun / Dieter Rams
For the designs of the products T3, TP1 and TG60

CoType Foundry
Design of Aeonik Mono and Fono typefaces

Acervo Instituto Moreira Salles Photography of Brasília under construction

Romullo Baratto 
Photography of São Paulo’s Museum of Art (MASP)  

Simone Renzi / Musopen 
Performance of Clair de Lune by Claude Debussy

The Foundry Typefaces
 Design of Foundry Plek typeface

Leticia Ranzani
Coordination and licensing of photographic material

Monica Lo 
Text editing and final revision of the Design Report 2024–2025  

Pangram Pangram® Foundry
Design of PP Montreal Neue typeface

Contact

Collaborations & Inquiries  lab@davidvale.com