Finding My Direction Through CMF and Material Experience

This term has made me realise how naturally I connect with materials, culture, and sensory experience. Throughout both the JLR Bloom project and my Morocco–Spain CMF development, I learned that the meaning within a material often comes from the story around it. In the intercultural project, I explored cultural significance before choosing any materials, and I found myself understanding how Spanish clarity and Moroccan tactility shape atmosphere long before I selected swatches. Allowing culture to guide the palette made me recognise a real strength in my practice. I am able to interpret context and translate it into CMF decisions that feel grounded and emotionally considered.

The JLR Bloom project pushed me in a different direction. It required me to imagine materials that live between reality and near-future speculation. I discovered that I can be imaginative while still staying grounded in what feels achievable. The chromatic alloy concept is the best example of this. It is innovative without feeling unrealistic, and that balance is something I had not realised was part of my design identity. When I saw the final model of Bloom, I felt genuinely proud. The clarity and restraint of the piece reflected who I am as a designer in a way my previous work never had.

Throughout my portfolio, the elements that felt most connected to me were the hero boards. They communicate atmosphere and experience instantly, and creating them feels intuitive. Composition, pacing, mood, and clarity are things that come very naturally to me. My tutors often commented that my work is well laid out and visually engaging, which reassured me that my approach to visual communication is not just aesthetic. It is a defining strength that shapes how my ideas are interpreted.

Colour is the instinct that guides many of my CMF decisions. I rarely overthink palettes because I usually know what tones feel right immediately. But this module made me realise that colour alone is not enough. It becomes meaningful only when paired with material behaviour, lighting, and depth. I did not include formal colour palettes in this version of my portfolio, and I see now that this is an area I want to strengthen. Colour is one of my strongest skills, and I want it to be more visible in the next iteration of my work.

Before this year, I saw CMF as something applied to support a project rather than something that shaped it. This module changed that. I now understand that CMF defines emotion, behaviour, atmosphere, and cultural meaning. Through lighting tests, material experiments, and building three full interior environments, I learned how materials react within a space and how they communicate character. That level of understanding did not exist in my earlier work, and it has completely changed how I design.

This module also revealed weaknesses. Digital material sourcing and management was challenging because I naturally prefer working physically. Creating CMF boards digitally felt unfamiliar at first. Blender lighting and camera setups pushed me even further out of my comfort zone. Looking back at my earlier JLR work, it became clear how limiting it was to model only a single component instead of building a fuller context. My research report grade was another lesson. Scoring 60 because of missing citations showed me that research rigour is not optional, and it highlighted how important evidence is within professional CMF practice.

To improve, I focused on building technical skill rather than avoiding it. I spent time modelling everyday objects, experimenting with modifiers, refining lighting setups, and understanding render logic. I used Mattoboard to source physical references and gradually built Blender scenes that finally felt intentional and controlled. The clearest proof of improvement is the three interior environments I produced. Each one has its own atmosphere, material logic, and lighting behaviour. The flip-flop material tests also showed that I can now manage reflective and complex surfaces with accuracy. These outcomes make it clear that the actions I took genuinely strengthened my CMF skillset.

Professionally, I see myself moving toward an entry-level role in product design or interior design with a CMF focus. These areas allow me to explore material narrative and sensory experience far more freely than automotive alone. What sets me apart is that I am not limited to CMF. My background in design thinking, visual communication, and experience design influences how I approach materials. CMF, for me, is a synthesis of everything I do, and that interdisciplinary approach is something I want to carry forward into industry.

A major weakness has been confidence in my portfolio. For a long time, I felt that it did not reflect my abilities accurately. This year is the first time my projects show the direction I want to pursue. Over the next few months, I plan to continue improving my visualisation skills through Blender, Vizcom, and Affinity, while staying connected with the Talent Team and my success coach. I am exploring graduate schemes and entry-level roles related to material experience, interiors, and product environments. My aim is to produce a portfolio that feels distinct, refined, and aligned with my strengths.

My mindset has evolved significantly. Design thinking now feels like a natural part of my process rather than a justification. I have learned to research more deeply and develop concepts with intention rather than instinct alone. My understanding of CMF has expanded to include commercial realities, supply, material behaviour, and emotional resonance. The moment I realised that CMF is truly my direction was when I noticed how differently I think compared to others in my studio. While many focused on form, I found myself drawn to cultural depth, sensory impact, and the narrative power of materials.

Personal challenges also shaped this term. Procrastination and long commutes affected my consistency. Spending two hours a day on buses drained my motivation and reduced the time I spent in the studio. Switching to the train helped, and when I did attend, I made sure to engage with the tutors who supported my direction. Next semester, I intend to attend more regularly, take part in employer events, and simplify my travel by driving when possible. I want my final portfolio to show both quality and consistency.

At the centre of everything is a simple truth. I love working with my hands and exploring what materials can become. That curiosity has been part of me since childhood, and it continues to drive my work now. This term confirmed that CMF is not just a path I am choosing. It is the path that fits who I am as a designer.

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SWOT Analysis

Strengths

I can translate cultural context into meaningful material choices, which became especially clear in my Morocco–Spain CMF project. Colour decisions come naturally to me, and I understand how colour shapes atmosphere and emotional tone. I am confident exploring future materials and speculative directions, as shown in my Bloom project. My presentation style is strong, and my layouts, hero boards, and visual storytelling remain consistent and intentional. I also work well across disciplines, combining CMF with design thinking, graphic work, and experience design.

Weaknesses

Digital CMF boards and flatlays are still difficult for me to structure in an interesting and refined way. Earlier projects in my portfolio did not show strong CMF work, so I am still building a body of work that represents my current ability. Blender lighting, rendering, and technical workflows are improving but not yet at the level I want. Studio attendance has been inconsistent, partly due to travel. I also need to maintain stronger research rigour, especially with referencing and evidence.

Opportunities

There is increasing demand for CMF designers who understand cultural depth, sensory experience, and material storytelling. I can apply my skillset across product, interior, and transport design. Support from the Talent Team, my success coach, and upcoming employer events can help me prepare for industry. Strengthening my CMF projects this year will improve my chances for graduate schemes and early roles. Learning Vizcom, Affinity, and Gravity Sketch will help me communicate materials and lighting more effectively.

Threats

There is strong competition from students with highly advanced visualisation and 3D modelling skills. Travel challenges could continue to affect my attendance and networking if not managed well. Procrastination may slow my development if I am not consistent. Some roles may expect more hands-on or industry-level CMF experience, so I need to secure opportunities early.