CRITERION B

• In terms of security features, you want people to feel confident in your banknote design 

• Raised texture helps people feel confident when initially touching the money; this occurs during transactions 

• Some banknotes have especially unique optical features, such as making a bird (which may be a country's national symbol) move/flap its wings as you turn the bill from side-to-side. I may consider applying these concepts to my final designs in criterion C

• Totality is significant; this means that using a consistent colour palette within your design(s) is very beneficial and a notable design choice 

• As said in my design specifications, to maintain longevity and resistance to wear and tear, I will use robust materials such as a cotton-linen paper blend for all banknotes

• Raised ink/markings will be used on 3-Dimensional elements, specifically the Maple leafs and each of the "100"s

• Mike Drewoth banknotes make use of a cooler colour scheme in contrast with Zarqa Nawaz banknotes' warm colour scheme (according to my design specifications), hence the use of different shades of blue/grey scales

• Small red Canadian maple leafs in between "Bank of Canada" and "Bank Du Canada" are all holographic 

• Serial number acts as an effective security feature 

• Braille is on larger "100"s on each side which ensures of accessibility for the visually impaired 

• "One Hundred Dollars" in sketch #2 will use an optical effect in which when the bill is moved, the text will shift to "Cent Dollars" to showcase bilingual nationality, while also acting as an accessibility feature (use of more than one language) 

• Size of All Bills: 65mm x 115mm

From my peer feedback, it is evident that my variety in different shades of orange/blue for each of my banknotes for my chosen historical figures is effective in capturing the attention of the audience (as this was first note from Hannah about my designs). Additionally, contrast between lighter elements against a darker background (such as in sketch #5), and the additions to the background as symbols that relate to each of my figures (such as the Brampton Hall of Fame Star in sketches 5 and 6) are "really nice touches" according to Talia. However, to improve, I can include the names of each figure on the edges/face of the banknote, to make them easily identifiable; make greater use of contrast to make the denominations more readable; use repetition as an artistic choice as opposed to randomly (as I did in the repetition of the Canadian flag); and using a fading effect for the elements of the background in order to create a more cohesive and unique banknote design that makes use of CRAP principles. 

These 2 designs best reflect the functionality (general functionality, accessibility features and security features) and aesthetics parameters set in my design specifications. In terms of aesthetics, the designs are set up in such a way that makes it evident that they are part of a banknote series, as opposed to 2 distinct banknote designs. This is in part, due to the vertical layout of the banknotes as well as the similar Image Trace features on both main elements (the historical figures as well as the mosques) of each design. Additionally, this unity amongst the two designs, despite their contrasting colour schemes, illustrates effective use of my inspiration artist's design style; The use of geometric shapes in the background in both designs encapsulates Elyse Dodge's creative art style, which is characterized by geometric abstraction. These designs also fall in line with making effective use of CRAP principles (a requirement in my design specifications); contrast is displayed through black lettering (20/Twenty Dollars) being displayed against a lighter background, or on the contrary, white lettering being displayed against a darker background; repetition of different features/elements (particularly the holographic Canadian flags); proximity and alignment amongst the designs' different elements, making it appear less empty and more intentional in their artistic choices.

The contents of these designs are also much better and more organized than my other designs. I feel that in sketch #2, I have encapsulated the versatility and unexpected impact of Mike Drewoth, as many elements of my design (specifically the Image Trace features) were described as such in my peer feedback. In sketch #5, I have captured Zarqa Nawaz's creative, unique personality and style, as an activist and a film-maker. 

My designs display both, a connection to what my figures contributed to the present Canadian society, as well as their individual personalities. In both designs, the front of the bill is symbolic of a spiritual personality while the back of the bill shows a symbol of their actual accomplishment. Generally, this series has put the bold and daring contributions of Muslim Canadians on display in a very unique and different way than previous banknotes have. This effect is also provided by the greater sense of totality the two banknotes work together to create.