week 9


Four weeks really flew by! It’s hard to believe we are done with this project. This week, I devoted my time to fine tuning the small details of my poster and spread, as well as recreating my website into one single artboard and adding the rest of the content to it.

The poster stayed mainly the same — the only change I made this week was simplifying the presentation times, but I think it had a big effect. There’s more consistency now, since the widths are more similar (having the 11AM – 12PM was driving me crazy, but stylistically it felt wrong to just take out the AM/PM). This was also helpful in the site design for the same reason.

For the article spread, I added half-columns but didn’t end up using them in the outer margins. I liked how wide they were, so I kept them that way (except for the header, so that the title could have more room in the inner margin). To avoid the issue with the quote’s inner margin, I moved it around the grid. I also changed the tracking in some spots where the spacing was off, with a special look to any widows and orphans. The first paragraph was especially tricky, so to fix it I added a drop caps which I really liked — I think it helps tie the headline and body text together some more.

Final spread grid with the half-columns (12 columns total)

The website took the most amount of time, since I still had content to add to my single-scroll page. To start off, I added margins (160px) and padding (20px) to my columns (now 115px), then adjusted my content to fit into the new grid. I left my Itinerary section mostly as it was; changing the presentation times like I mentioned before, which helped the consistency, and leaving them right-aligned, with the 20px padding providing the space between the columns. I simplified the Speakers section, imagining an auto-playing slideshow moving from speaker to speaker, with only one big image and short bio at a time. The bubbles underneath the bio should help indicate that it’s a slideshow, and allow the user to click into a different speaker (for this mockup, though, the interaction and content is missing). The FAQ is also pretty simple, with just three questions mocked up with lorem ipsum, though I envisioned the rest could go on past one screen length, like the Itinerary section. Since this is a single-page site, the menu buttons will scroll up and down the page to the appropriate sections; I prototyped these actions, and also added some slight hover animations to make it more interactive. The prototype also somewhat crudely shows how I envisioned the header “shrinking” as you scroll down; plus, it has the fixed header and footer across the scrolling locations, so it’s a lot more high-fidelity than the PDF is. 

Final website grid with margins and padding

Overall, I’m very happy with my final deliverables and progress over the course of these four weeks. While finalizing the poster, I took a look at each file I submitted each week — it was really cool to see the progression, from big changes to small tweaks as the weeks went on. It was a challenge to create such different products, with varying needs and constraints depending on the platform/media, while keeping the look and feel consistent. It was great to have four weeks to make it happen, with enough time to explore and play around.

Edited 4/7/2021: Updated PDFs to include overlays with the grid systems used.

week 8


This week I spent most of my time refining my drafts, both in small and big ways. Across the three deliverables, I came up with a more consistent image treatment — using a gradient map between my teal and beige to create a duotone effect, with the help of this Adobe tutorial. Before, I’d used Color Dodge and Screen/Multiply blending modes for each color layer, but the gradient map is a lot easier and creates a sleeker look without color distortion (it takes the darkest and lightest points of the image and maps them as teal and beige respectively, so the process happens all at once). 

For my poster, I’d gotten feedback regarding the line spacing in the body text, the kerning and chunking of the header text, and the color palette (trying to find ways to make it more cohesive, maybe by bringing the teal into the header text somehow). I tried to act on all of those points — I tweaked the spacing and weights of the body text, bolding the speakers’ names, which I think helps create more visual distinction between each presentation. I went back to my logo to justify it, reducing the kerning between the letters in “Invisible” and increasing both kerning and point size of the letters in “Designs.” This in particular seemed like a really small change, but once I actually saw it, the effect was a lot more noticeable than I’d expect. I also used a light version of the teal for the fine print text — I’m not 100% convinced it works better that way (and maybe I’m overthinking it!), but it was my best attempt at incorporating the teal. 

Since we didn’t devote much time last week to the article spreads, I didn’t make many edits to this one. I moved my caption around on the second spread and added another quote in order to break the text a little more and create some more movement. I played around with the body text settings too, making my font slightly bigger and playing around with different hyphenation settings. I did also try out left-alignment, but decided to stay on justified because I’m a fan of the strong lines it creates on both sides of the columns. I didn’t notice any particularly egregious “rivers” of space, probably thanks to the hyphenation settings, so I’m pretty satisfied with the look of it. Since this is a small-sized spread, I erred on the side of caution in terms of graphical elements; I didn’t want to add too much and make it busy or hard to follow. 

For the website, I tweaked my first screen (updating the logo and image as well as changing the body text size and alignment) and then made the two following ones. Since I’m imagining this as a single-page website, with each menu acting as an anchor link to headings, I wanted to keep the basic structure consistent. As the user scrolls from the “About” section towards “Itinerary,” the header will resize to take up less space, and the image will change. The “Speakers” section will show 4 speakers at a time, also changing the headshot collage as you scroll down. I think creating these screens really helped the website come to life, so I’m happy with how it’s turning out so far. 

week 7


I was very excited to see Pressing On listed under our assignments this week. I watched the documentary early in 2018, and looking back now I think it was really influential in igniting my interest in design. Seeing the passion in all of the film subjects, regardless of how long they’d been working with letterpresses and how much experience they’d had with the machines before starting out, was very inspiring. Just a few months after watching the film, I bought my first design books online and started getting into the field more seriously — so it was a joy to revisit it. I think this time around, the sense of history and legacy in each machine hit me even harder: it’s touching to see how seriously the subjects take each “printer rescue,” for example, since each machine is unique and will be lost forever — not just as an object, but as a technology — if thrown away.

With our Invisible Designs assignment, I went back to redraw my grids following the feedback I got. I used six-column and nine-row grids without margins or gutters as a way to experiment (except in my website draft; that one stayed twelve-column). I tried a lot harder to stick to it this time, and hopefully it shows! Understanding that the article spread could be worked on as a spread, with elements spanning more than the single page, was really helpful. Right now, that’s my favorite layout of the three. Another thing that really helped me was plotting the elements in black and white before moving onto color, although I did tweak some details after that. Below are my B&W grids and the color versions that followed:

In developing the look and feel some more, I tweaked my color palette to have a darker brown, which was useful for contrast against the cream background color. I also went back to re-do my earthy-edge elements all in the same scale — this time creating some long strips to be used in footers and image edges. Lastly, I decided on a two-toned teal and cream treatment for images, to add more visual cohesion throughout the pieces. They definitely feel more unified to me this time around, even if things like the palette and grids aren’t used exactly the same across the board. 

I’m excited to continue developing these pieces. I’m looking forward to working more on the website especially — I’d like to add some more elements below the fold, since I imagine this to be a single-page website, with the menu links auto-scrolling to different headings. I imagine the header and footer would stay fixed on the page, but the title would shrink to a single line so that the header can be thinner and not take up so much real estate on the screen. I also envisioned the teal image in the landing page to be a slideshow, featuring more pieces from different geographical areas. I think prototyping these animations, as well as any other hover or scrolling interactions, would be really exciting as a way to help the page come to life.

For reference, the artwork used in the poster and website is by Aboriginal artist Michelle Wilura Kickett. The images used in the article spread come straight from the original Print magazine article.

week 6


This multi-week assignment is so exciting to me. I love the process of developing a visual system, something consistent yet flexible, exciting but not overwhelming. The hypothetical symposium is an amazing way to frame this challenge, not only because its topics are so interesting and relevant, but also because it provides a great range of considerations and deliverables.

I took a bit of a winding road with it this week. The first thing I locked down were my fonts, New Kansas and Realist. I chose both based on their weight flexibility (within each font) and width contrast (between both fonts). I also liked that New Kansas has a Cooper Black look, but more modernized and even a bit quirky (love the detail on the “f”). After that, I looked at color palettes. I wanted some warm tones, which eventually led me towards an earthy palette — but I also wanted a contrast color, so I went with teal. While my full palette is six colors, I probably won’t use them all in each design, though I like having the options (and I noticed when drafting my deliverables that one color might look very close to another depending on where it’s used, like a small thin font). This is what my fonts look like within the color palette combinations — of course, the contrast between some of them is too low, so they may just be used for decorative elements:

At this point, I hadn’t exactly noticed that my palette was “earthy,” but I framed it that way because I think unconsciously it helped me get to my “big idea.” I got to this idea first by writing my tagline “Unearthing erased histories in graphic design.” I didn’t have a very specific reason to use “unearth” — I just liked the way it sound. But after a while I realized I could tie the whole thing together that way. I started playing around with making the title look as if it’s being dug up from the earth:

I got drawn to this because it made some very literal sense: by unearthing something, you’re making it visible. But I immediately also saw it as a call back to colonialism, hopefully in a more reclaimed way — the idea being that these designs are precious resources that the communities that create them have a right to. Maybe it also raises questions about cultures being sold like commodities through design, and who (if anyone) has a right to do that.

The last part was making my grids and drafts. This is my first time actively trying to make a grid — I think it’s very challenging to do that before you know what the content will look like on the page. For the poster and article spread, I created modular grids in a proportional way: first by setting my margins, then by dividing the inside between three columns, and then by making rows that were the same height as the columns were wide. For the website, it made way less sense to have rows, so I split it into 12 columns (160px each), and have just been trying to space out the elements with a proportional number (40px, or 80px, and so on). Here are my grid sketches:

I also did start the first drafts of these, maybe prematurely — I wanted to see how my “big idea” would look. Below are the PDFs for those drafts, where you can already see me breaking my own grids quite substantially:

week 5


While the constraints in this assignment were absolutely maddening, I did appreciate the challenge of conveying hierarchy with the bare minimum — using each tool individually before moving onto their combinations. 

Task 1: Leading felt to me like the most useful tool in individual terms — being able to chunk the information together really helps clarify the logic for me. I tried to spread out the information as much as possible vertically to add more whitespace and give the eye a breather. 

Task 2: With indentation, my instinct would be to mix alignments (having some information be right-aligned, for example). But since we had to keep a left alignment, I tried to limit the levels of indentations as much as possible. To me, having too many indents causes the eye to dart back and forth too much, confusing and straining the reader. So I kept one level for the program, and another (with double the spacing, to give some more breathing room) for the details.

Task 3: Without any ability to distance information (vertically or horizontally), I felt I needed to use bolding not just to highlight the most important information (titles), but also to help create boundaries. So I bolded the times to help differentiate between presentations — for example, seeing “Tristan Schultz” in one line and “02:00pm” right under it with the same style, my instinct was to group them together. I bolded the first sentence in the footer (“Registration is free”) for the same reason: to denote that the schedule section was over. 

Task 4: This seemed like the hardest challenge to me. Using color sparingly to denote importance while also trying to differentiate information by its category — without any help from other variables — was really tough. I tried a lot of different variations, but wasn’t really happy with any of them. I think this highlights how we shouldn’t use color alone to denote meaning. 

Task 5: Such a relief to both be able to use size and to combine it with something else. Out of the two-variable combos, I think this is the most useful one — size is the easiest way to quickly denote importance (to guide users’ attention), while space (through leading) is the easiest way to group elements together (to clarify details). 

Task 6: Similar to the first indentation task, I kept this at two levels — but now, being able to use leading, I could distance the schedule from the title and footer while keeping the original left alignment as intact as possible. 

Task 7: Being able to space things out fully solved the challenges I had with the first bolding task. I could now keep the times and footer unbolded, since there wouldn’t be as much confusion about where each group begins and ends.

Task 8: This one highlights the importance of spacing to me. With three variables but no way to distance them, it seems too busy even though I was very deliberate with what I did. I bolded the headers and titles first, then colored the titles only; then I felt like the details for each presentation/panel should connect to its title, so I bolded the times and colored the participants. I think the logic of it is sound enough, but the end result is a little disappointing given the amount of variables.

Tasks 9 & 10: Now we’re talking! With both of these, I tried to create contrast in size as much as possible to make a more visually captivating flyer. I didn’t really miss the indenting in Task 9 — I feel like I was able to do everything I really needed. But, given the opportunity to indent the subheading, I tucked it under the title and saved up some vertical space, which allowed me to make the title a lot bigger — I think it made this version more dynamic.

week 4

brand sheet



Being satisfied with the long form of my logo from last week, I focused on making a short form that could be a more eye-catching and memorable symbol. One of the ideas that came from the in-class feedback I got was to use color to create a symbol that gets incorporated into the letterforms I already had. I pretty immediately realized that the top curves of the T and S could form an eyelid, and the exaggerated curve of the S could be a pupil. I really liked the idea of an eye as an obvious but fitting symbol to represent concepts like curiosity and attention, and also skills in visual design, research, or copyediting. I also liked the idea of using CMYK as my color palette as another nod to design — initially, I wanted the colors to be layered on top of each other with a Multiply blending effect to show the secondary colors, but this quickly became way too busy for a logo. Right after class was over, I started sketching different shapes for the eye (see those below) — but in the end, my very first sketch seemed clearest to me. For one, it was important that the gap between the T and the S be only one color, to improve the legibility of the “hidden B,” but this version also preserved the continuity of the curves best while staying as simple as possible. I did tweak the anchor points and handles many, many times, trying to get the smoothest curves possible — shoutout to the Simplify tool on Illustrator, which as I just found out during this process can be used in anchor point chunks, and not only for the entire shape. In the monochrome version, the spot color should be lighter than the letterforms so that they remain legible, and the yellow portion is removed to both highlight the “hidden B” more clearly, as well as emphasize the eye as a shape.  

Other eye explorations

For the brand sheet, I used the typeface in the long form of the logo. I felt strongly about including Portuguese diacritics in the placeholder text, so I made up a sentence (“She drinks tea with sugar and watches TV in the attic”) with a variety of accents in order to see how they’re set. The mockup samples took a long time, since I shot and edited the photos myself — this was the first time I made one from scratch as opposed to using a free template. I chose my substrates based on my career and hobbies, and also to showcase a variety of textures. A business card is an obvious choice since it’s such a useful object, so I made sure to do it in a glossy paper to stand out from the other substrates. My second choice was a Moleskine notebook, on behalf of my love for sketching and writing, but also as an opportunity to emboss the logo with a leathery look (with the strokes going deeper than the monochrome cutout, for higher contrast). Lastly, the cross stitch pattern on a hoop is a tribute to the hobby I’ve picked up in the last year, with a very unique threaded texture. I did have to physically stitch the pattern to make it convincing, but in the spirit of manipulating the photo digitally (plus to save on materials), I did it in a smaller section of fabric and in only one color, so that I’d have to place and color it on Photoshop. Despite how long these took, I did find the process really satisfying, and I learned a lot of techniques while playing around with the images. 

My stitched logo in some leftover thread

Overall, I’m really happy with this work, especially given the timeframe. I think the shape of the eye has a smoothness to it, with an attentive and confident gaze to it. There’s a femininity in the curve of the eyelash, but it’s balanced by the boldness and saturation of the colors, so it doesn’t become cloying or condescending. I feel like both the graphic logo and the sample mockups do a good job at capturing my personality and interests. With more time, I’d play around with the shape some more, since there’s always more adjustments that can be made to those pesky anchor points and handles.

week 3


Initial sketches

Designing a logo for myself was more challenging than I’d expected. In looking for inspiration, I kept wishing I were a hardcore specialist — that way, I could highlight a single, specific skill I excel at, or embody my “essence” through a symbol like an object or animal. I could easily think of logos I’d design for my parents, whose professions feel a lot more visually definable than mine: neurosurgery (a brain) and architecture (a house). I don’t have one shining skill, one dream job, and I’m actually pretty okay with that. It does, however, make it harder to distill myself down to a single memorable concept.

For that reason, I decided to focus more on my name. My name is, after all, a big part of my identity, and it is indicative of my habit of keeping different facets of myself separate. For context: my birth name was Betina Paglioli. When I came to the US for college, I decided to go by Tina because I don’t like the way English speakers pronounce my name (not many people in Brazil call me by my full name anyway; friends and family might call me Bê or Beti or Bets, all of which also sound strange in English). Then, when I got married in 2017, I took my husband’s last name (I really wanted to be Betina Solo Paglioli, since I never had a middle name anyway, but New York State only let me hyphenate the last names, and that seemed too annoying to deal with). I really like the sonority of Tina Solo, but I do have a serious issue in identifying with the T.S. initials after going my whole life identifying with B.P. (and B.S. would both be a little funny/vulgar and confusing for people who only know me as Tina). This is all a bit of a clusterfuck, but one I’ve embraced — and so I figured my logo should embrace it too.

In playing with the letters and shapes, I started being drawn by the idea of a “hidden B”. At first I just thought of it as a background to the logo — maybe a blobby B, that almost looks like a painter’s palette. But then I sketched a T and S together in a way that looked like a B, while still being legible as their respective letters when separate. On my second page of drafts, I kept exploring that shape, and eventually landed on this primary draft.

Primary logo draft, short and long forms

Another repeating feature in my drafts was the idea of mixing sharpness and smoothness. The letterforms of “TINA” (since for a logo, I liked it better capitalized) are very straight and pointy, whereas “Solo” (especially with a cursive l) is all curves. I was very drawn to that too, so I devoted a lot of time to exploring that as a second draft. On the left side is the “Solo” I drew on Illustrator, from scratch — I’d never tried lettering before, so I was pretty happy with the attempt, but I felt like something was off, especially when trying to pair it with another font for “TINA”. On the right, I made the full logo using two actual fonts made by professionals — I think it’s balanced better, but I preferred the form of my S, and in the end, it just seemed a little generic to me. 

Secondary drafts

In the end, I stuck with the “hidden B” design: I feel like it’s clean and simple, but also a little intriguing in the oddness of the T and S. I’d hope that people who aren’t familiar with the history of my name would still be interested in the visual even if they don’t understand a deeper meaning — and maybe that would make it memorable and unique, as a logo should be.

week 2


Our assignment this week was to illustrate a Brothers Grimm tale within several visual constraints (only 4x4in artboards; only combinations of circles, triangles, and squares for shapes; only three colors plus black and white; and the possibility but not requirement to use a line of text for each artboard). The two readings were perfect preparations for this assignment — both articulating the basic principles of shapes, color, and perspective that we all internalize, and then also providing concrete examples in action. I found myself going through the same thought process that Burns details in Picture This, and was able to take her advice to improve my own piece.

I immediately knew I wanted to illustrate Rumpelstiltskin, because it was the most memorable Grimm tale from my childhood. While doing research for the assignment, I was elated to find pictures of the exact box set I owned — so much so that decided to go with this version’s ending (where Rumpel falls into a hole, instead of tearing himself in two). Beyond my personal investment, I knew this story was full of contrast between characters and elements that would lend itself to interesting visuals: innocent delicate maiden vs. greedy imposing king vs. wicked little imp, small bodies vs. huge rooms full of straw, and so on.

My first step was deciding on color, since I felt that was the most restrictive element. Gold was an obvious choice, being such a prominent element in the story. Green felt integral to Rumpel’s character, and even if I didn’t use it in many other elements, it would help make him stand out. For the last color, I played around with some oranges and pinks and reds — I wanted something that could both be soft as the maiden’s main color, but also rich and striking when combined with black for the king. I ended up using a coral that doubled as Rumpel’s skintone, and was really satisfied with the way it clashed with the green of his clothes (since the values are too similar, as I believe The New Basics mentioned at some point); I think it captures the unsettling feeling that Rumpel is supposed to evoke.

I then outlined my artboards with ideas for the visuals and the lines I’d pick for each; I really wanted the spread to be fully understood as the entire story, so I got a bit lenient with “a line of text” and considered it to be one full sentence. From the outline, I went straight into Illustrator to figure out the shapes of the main characters. I wanted them to be very distinct: the maiden is made of circles and a softened triangle, with a white band on her dress to show delicateness. The king should be square, but the coral rectangle wasn’t enough; the black triangle gives him his menacing feel, both through the color and sharp edges. Rumpel is triangular, with the color cash already mentioned; his head is a circle to give him some softness (he does help the maiden, after all), but with the hint of a pointy chin to stay true to his wickedness.

With the main characters done, I dove right into the artboards, without sketching them at all. I had to improvise at points, when the idea for the visual didn’t actually work in practice. Another leniency I quickly felt would be necessary was to use gradients between the allowed colors, both to help the legibility of elements with similar colors (how do you differentiate straw and gold if you only have one yellow?) and also to help set the mood in the limited environment in terms of shape. Playing with scale and positioning (tilting a character one way, moving their head closer or further from the body) was also vital in conveying their emotions. Figuring all of this out took a lot longer than I’d anticipated, but it was a really interesting challenge. If I had more time to work on the assignment, I think texture would be a great avenue to explore and help differentiate elements even further (but it would be a hefty investment of time, especially in Illustrator where layers and clipping masks can be so finicky). Overall, I feel very satisfied with the end result — I think it does succeed in telling the story, in a consistent style and with interesting visuals.

week 1


I really enjoyed reading the three 20th century manifestos — so varied in tone and context, which I could appreciate given their respective introductions. As we talked about in the first class, historical context can be vital in understanding what a piece is really arguing, or where these arguments stem from. 

The futurist manifesto’s prose struck me — its captivating rhythm seemed to strengthen its own argument about energy and speed. I looked for the original Italian text thinking the fluency I once had in the language would add a new dimension to my understanding — and while I didn’t understand it nearly as well as in English, I felt even more enamored with the sound of the words. Of course all of this beauty is punctuated by extremely unsettling rhetoric, glorifying war and nationalism while vilifying “moralism, feminism, every opportunistic or utilitarian cowardice.” The introduction warned us, but I still wasn’t ready for how enthusiastically Marinetti advocates for these oppressive ideas. The writing reels you in by its energy, making the manifesto extremely attractive to a willing audience. 

The constructivist manifesto felt less straightforward, maybe by design. It reads more like poetry — diffuse, fragmented, even confusing until a second read. At first I couldn’t tell which “side” of the art vs. technology debate the author was on; it seems to leave a lot unsaid or assumed. The lack of punctuation makes the reader sometimes guess where a sentence might end, creating ambiguity. Still, parts of it deeply resonated with me — most of all, “Of course, the square existed previously, the line and the grid existed previously. What’s the deal. Well, it’s simply — they were pointed out. They were announced.” I’d seen this argument before in the Non-Designer’s Design Book: the author tells the story of getting a tree identification book and reading about the Joshua tree, thinking it was a very unique tree she hadn’t seen before, only to realize it was all over the neighborhood where she grew up. She had never noticed the tree until it was pointed out to her, named and described. So many important discoveries hinge upon this simple process of pointing out, whether on an individual or systemic level.

The Bauhaus manifesto struck me in its prescience — “tomorrow we shall be able to look into the heart of our fellow man, be everywhere and yet be alone.” It’s hard to believe that Moholy-Nagy, living in the early age of film, could truly imagine the level of detail we’re able to garner from our fellow man’s heart today. On the other hand, he mentions “the unambiguousness of the real, the truth in the everyday situation,” taking image as reality in a way we cannot do anymore. Lastly, Dematerialization of Screen Space was both interesting and challenging to absorb — given it mentions tools and paradigms we’re currently using and depending on. Like Helfand says, “we are also [the computer’s] prisoners: trapped in a medium in which visual expression must filter through a protocol of uncompromising programming scripts, “design” must submit to a series of commands.” This must be a familiar feeling to all designers: the struggle to translate from brain to screen, the urge to toss your mouse to the side and draw right on the screen. Even with a tablet screen, I’ve felt constrained, restricted by my posture or my laptop’s positioning on the table — not to mention performance issues that get worse as my machine becomes obsolete. At the same time that a tool restricts us, it gives so much freedom and ability that we wouldn’t have; drawing a perfectly straight line in a second, or scaling graphics to our heart’s desire, for example. I understand the call for new spatial paradigms, and can imagine AR/VR may help us get there; still, it’s hard to conceptualize a personal computer operating in new dimensions when 2D digital interfaces can already be so overwhelming to some. Familiar formats — flat, metaphorical, and conventional — help users process the abundance of options and information in digital tools. How do you introduce a new paradigm without disorienting and alienating audiences, when digital literacy is a pressing issue as things stand? This isn’t to say I disagree with the manifesto, but rather to acknowledge (and appreciate) how hard it is to envision a new technology before it’s in practice. It’s especially interesting after reading 20th century manifestos — making me wonder how they were received in their time.

my manifesto

Our world is busy, noisy, and messy. No one knows what they’re doing and no one’s in charge, not really, in the way we liked to imagine as kids. Every second of every day, for most of us, there’s way too much going on — maybe more than we were meant to process, maybe more than we should. The things you make can be louder than the rest and add to the noise, or they can try to be something else.

I want to bring focus and comfort: the relief of a pause when something falls into place, when it makes sense to your eye and your mind. I want to delight in simplicity, to make you say, “Of course,” like it couldn’t have been any other way. To be confident in concision. To honor my viewer by not burdening you with needless work — to recognize when challenge or intrigue are needed, and to make sure they pay off. I want to be balanced and bold and nimble. To craft color, shape, and words into a beautiful rhythm — a perfect rhyme that rings in your ears, cuts through the noise, and brings you a smile.