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TABLE OF CONTENTS 1

2

3

UNDERSTANDING THE SUBJECT/CONTENT 3 4-8 9 10 11 12

Design Brief Image Boards Gesture Drawings Chosen Word Research Concept Drawings Chosen Word Research

DESIGN DEVELOPMENT 13 14-18

Blue Foam Process Blue Foam Permutations

DETAIL REFINEMENT 19-23

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5

FINAL MODEL AND PRESENTATION PREPARATION 24 25-26 27 28-29 30

Final Blue Foam Process Final Blue Foam Final Ren-Shape Process Final Ren-Shape Final Blue Foam & Ren

PATTERN PRODUCTION 31 Wood Model Process 32-33 Final Wood Model 34 Blue Foam, Ren, Wood 35 Casting Process 36 Aluminum Cast 37 Aluminum Process 38-39 Final Aluminum 40 Final Trio 41 Vessel Use 42 Vessel Sketches 43 Final Vessel Render 44 Magazine Proposals 45 Final Magazine Ad 46-51 Perfume & Cologne Pattern CAD 52 Reflection

Blue Foam Iterations

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DESIGN BRIEF ASSIGNMENT Design a pair of vessels to hold perfume and cologne. In doing, this you will base your design direction and design development on a set of attributes you have chosen to describe the contents of the vessels, and the relationship of the two substances. In considering which attributes to choose, it is important to consider the history and the nature of perfume and/or cologne. Why do they exist in a contemporary society, how are they used, and what is their historical context? In addition, since we are dealing with scent, it is important to consider the nature or “flavor� of the scent itself, is it musky, piney, floral, etc.

MATERIAL CONSTRAINTS Models will be developed in 3D using blue foam techniques. The finals will be hard models. In addition, the vessels you design must be moldable using standard aluminum sand casting technologies. As part of the assignment, we will be having the final protoypes sand cast for finishing. In approaching the assignment, it is expected that you will adress issues of form, human interaction, tactility, and scale.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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IMAGE BOARDS

? ? N R E

D O M

For my three words I chose modern, natural, and dangerous. While picking my words I took into consideration what I pictured the relationship between the perfume and cologne bottle would potentially be. I also thought about the scent as well as how it was presented. I eventually chose dangerous and my thought process is shown on page six.

NATU

RAL?

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? ? US

O R E G N

DA PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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MODERN MODERN -- Current, up to date style. Synonyms -- contemporary, current, new, clean, sleak, straight When thinking of modern forms, I begin to think about straight cut clean lines converging to make forms. These sleak lines and edges begin to make a very nice looking form that can either be simple or complex. A modern relationship could be clean looking forms that converge into one another.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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NATURAL NATURAL -- Existing in or caused by nature. Synonyms -- flowing, free, earthy A natural form is something with not much definition, but is a free-flowing form that makes sense. When something is natural, it just comes to you freely. Something like a wave is beautiful, but has no definite form and is very free. These natural curves and earthy feel work together to make something make sense. This natural relationship between two things is something that causes no confusion and looks like these two things were meant to be.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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DANGEROUS DANGEROUS -- Able or likely to cause harm or injury. Synonyms -threatening, treacherous, sharp, pointy, menacing A dangerous relationship can be fatal for one thing in that relationship. By using sharp edges and points this relationship could pierce into one another,bringing out each objects true colors.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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-Speed -Motorcycle -Biker Fire

-Sharp Edges -Cliffs -Points

WHAT IS DANGEROUS?

-Drowning -Waves -Surfer

-Guns -Gangs

-Animals -Sharks -Spiders

Dangerous Relationships

Dark

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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GESTURE DRAWINGS: DANGEROUS From the three image boards, we were to choose a word that we wanted to work with. I chose the word dangerous because I felt a connection with the word from the beginning. The next step was to produce gesture drawings from our word. My gesture drawings for the word dangerous were very quick and very sharp. The hard edges and points came off dangerous to me and I used these gestures to create my concept drawings.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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DANGEROUS Dangerous: Able or likely to cause harm or injury. Synonyms: Threatening , Savage , Wild A dangerous person is someone who gives off a dark vibe. They contain a sharp look like they could snap and harm at any second. A dangerous person may come off as a calm looking person on the outside, but on the inside have this sharp, dangerous personality. Typically a dangerous person is caught in black, with maybe a leather coat on and combat boots. They give off a rugged look at most times, but can clean up nicely in a suit. This person could be seen on a motorcycle, and sometimes with a cigarette in their mouth. These people tend to stay quiet but could pounce at any minute. These types of people give off a “badass” look and are not someone you want to mess with. Some people are blatantly dangerous, while others are subtlety dangerous, and those are the ones to be afraid of. Their cologne or perfume of choice is not something worn on a special occasion. It is a part of them, something very natural. It is a sharp “cool” smell, something you notice when they walk in the room. It’s not a flowery smell, but is a natural smell that is known when worn.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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CONCEPT DRAWINGSS After producing gestures that I believe represented dangerous, I began to explore what I thought a pair of dangerous vessels would actually look like. I took into consideration what I believed dangerous was and I came to conclusion that it was threatening, sharp, extreme, etc. I began by analyzing my gesture drawings very closely and seeing what I could take away from them to make a form. I noticed that I had a lot of sharp quick edges, so I began to incorporate those into my drawings. The two concept drawings on the right were two that I did not move forward with into my blue foam exploration, but they definitely helped me along the way. I was going for two vessels that worked together to show dangerous. By rendering with grey markers and using contour lines, I really began to understand the forms. The next four drawings I transformed into blue foam and I was on my way to making a final form.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

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DANGEROUS These dangerous people live on the edge. They are fast and quick and can change their direction at any second. They do extreme activities such as surfing and climbing. These activities are very risky but they do not phase these types of people. When they put this scent on it is one with them and they are immediately up and going. These vessels are located in their bedroom in a dark, gloomy, setting. It is typically a place where you would not want to get caught by yourself. Their group of friends are just like them and they all have a gnarly look to them. This scent is a part of their ego and gives them that edge they are looking for in the morning.

PHASE 1: UNDERSTANDING THE SUBJECT/CONTENT

ACTIVITIES

WHO?

WHERE?

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BLUE FOAM PROCESS

3

After analyzing my concept drawings, I was ready to transform them into 3-D objects made out of blue foam. The first step in this process was to make templates out of chipboard that would give me a rough shape of what I wanted to eventually be my final form. I made my templates a little bigger than what I wanted my form to be, just to give myself some extra foam to work with when carving. After making these templates, I spray mounted them onto square pieces of blue foam. From there it was onto the wire cutter where I cut out my forms using the template as a guide. Once these forms were cut out on the wire cutter, it was onto rasping, filing, and sanding to produce a beautiful pair.

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PHASE 2: DESIGN DEVELOPMENT

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5

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BLUE FOAM PERMUTATIONS: CONCEPT 1 When I began to make this dangerous relationship, I was thinking along the lines of the dominant form piercing the smaller form. I wanted this relationship to actually feel dangerous. But with this pair, I did not succeed in making them both have dangerous features. From this permutation I took away the fact that I wanted one form piercing the other. In all of these permutations I used the concept drawing to make my blue foam, and the dimension drawings to help make my templates. I achieved the shape I wanted in this form, but I wasn’t too fond of the final result. BLUE FOAM

CONCEPT DRAWING

BLUE FOAM

PHASE 2: DESIGN DEVELOPMENT

TEMPLATE DRAWING

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BLUE FOAM PERMUTATIONS: CONCEPT 2 On this pair I began to achieve the x and y axis that I was looking for. I loved the idea of an implied pierce, but it still wasn’t dangerous enough. I took away from this pair the pointy edges that made this pair look a little dangerous. I was still looking for that pair that really gave me a dangerous vibe. This was the pair that I pushed foward with into my iterations.

BLUE FOAM

CONCEPT DRAWING

BLUE FOAM

PHASE 2: DESIGN DEVELOPMENT

TEMPLATE DRAWING

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BLUE FOAM PERMUTATIONS: CONCEPT 3 This permutation really showed me that I wanted to use very sharp edges to achieve danger. This was a big step in my design. It had a nice x and y axis and it was a form that I eventually took aspects from in my final design. One big thing that I used in my final design was two sharp points that helped me achieve the dangerous look that I was going for. But, at this point I had still not achieved the relationship that I wanted. I was making two forms that looked similar, and I needed to change that quick.

BLUE FOAM

CONCEPT DRAWING

BLUE FOAM

TEMPLATE DRAWING

BLUE FOAM

PHASE 2: DESIGN DEVELOPMENT

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BLUE FOAM PERMUTATIONS: CONCEPT 4 On this form I was going for the element of chopping off a piece of the other form to achieve danger. In my concept drawing the subdominant piece was very weak, so I changed it in my blue foam. This pair gave me a nice way of flowing shapes that I eventually used in my final design.

BLUE FOAM

CONCEPT DRAWING

BLUE FOAM

PHASE 2: DESIGN DEVELOPMENT

TEMPLATE DRAWING

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BLUE FOAM PERMUTATIONS: CONCEPT 5 It was in this form that I really got the sharp looking point that I wanted. My relationship was still along the lines of implied danger and this was something I felt I had to change. The subdominant form showed movement and I liked that.

BLUE FOAM

CONCEPT DRAWING

BLUE FOAM

PHASE 2: DESIGN DEVELOPMENT

TEMPLATE DRAWING

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BLUE FOAM ITERATIONS Going into the iteration stage I still felt like I didn’t have a final design. I went through a long process to come up with my final “dangerous” design. I took into consideration my concept drawings and permutations and went to work. I knew I wanted to incorporate a piercing look, but I wanted to work with the relationship a lot more than I had in the permutation stage. When I chose the word dangerous I wanted a gnarly form. A form that you would not want to mess with. As I began sketching and dreaming up ideas, the double sharp points really began to give me what I want. Throughout this whole iteration process I took into consideration what these forms would look like in a dangerous persons setting. I also really thought about the relationship between the two. I conquered my dominant form in my second iteration, but I still did not have the pair down until the final blue foam. I worked with the mind set that both of these forms had to be beautiful on their own, not just together. As I worked the relationship more and more, I loved the idea of the second form being subtlety dangerous, and I believe that I achieved this relationship in my final design.

PHASE 3: DETAIL REFINEMENT

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BLUE FOAM ITERATIONS: CONCEPT 1 After analyzing my second and fifth permutations, I tried to incorporate their dangerous features into my first iteration. I wanted a drastic point and I also wanted to work with the x and y axis. After analyzing this design I knew I wanted a sharp point but I thought I needed more. I really began to think about what I wanted in my next iteration because I still didn’t believe I had a final design at this point.

PHASE 3: DETAIL REFINEMENT

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BLUE FOAM ITERATIONS: CONCEPT 2 This dominant form was the form I pushed forward with for my final. It was the first form that I truly liked. It really captured a dangerous vibe with its sharp points and wretched body. It was an asymmetrical form that gave a nice dangerous twist. At this point I felt I had a final dominant form but did not have a good subdominant form.

PHASE 3: DETAIL REFINEMENT

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BLUE FOAM ITERATIONS: CONCEPT 3 It was in this form where I really began to understand the dangerous relationship that I was looking for. I made the dominant form symmetrical and I really enjoyed it in the beginning. As I moved forward in the iteration process, I soon realized that asymmetrical was the way to go. This subdominant form I have here was dangerous in its own way with two sharp edges. It was subtlety dangerous and contained the dominant dangerous form by sitting on the ground and wrapping around it. As I analyzed this form I realized that the smaller form was not meant to be on the ground in this relationship.

PHASE 3: DETAIL REFINEMENT

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BLUE FOAM ITERATIONS: CONCEPT 4 In this last iteration I achieved the x and y axis that I was looking for in the dominant form. It was also in this form where I really began to achieve a vessel form. It had a nice feel in the hands and it also had a nice relationship. It was very close to my final design. I also got very close with the smaller form. After really studying this form, I knew what I had to do going into my final blue foam design. I needed to wrap the smaller form over the entire form. I also needed to round the entire smaller form and shorten one of the sharp edges to give it the irregularity that I wanted. On the larger form I fell back to my asymmetrical design and pushed forward with that for my final blue foam design.

PHASE 3: DETAIL REFINEMENT

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FINAL BLUE FOAM PROCESS After I narrowed down exactly what I wanted for a final design, it was on to making it. I started by making templates that gave me a rough shape. After making the templates out of chipboard, I cut them on the wire cutter and it was onto rasping and sanding to make a final form.

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PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL BLUE FOAM: PAGE 1 In my final blue foam design I achieved a design that really gave off a dangerous vibe. The dominant form had its wretched asymmetrical feel and the smaller form was subtlety dangerous in the relationship with its partner. My favorite part about this design is the touching of the longer point on smaller form to the ground. The overhang on this form gives it a very eerie look, which was something I wanted. The sharp edges of the dominant form make it look like something that you do not want to mess with. Both of these forms look nice together, and on their own they both have their dangerous features.

PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL BLUE FOAM: PAGE 2

PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL RENSHAPE PROCESS

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After completing my blue foam model, it was on to replicating it in RenShape. This was a new material for me and it took a little getting used to. The first step was to put my templates onto the Ren and then use the bandsaw to cut out the shapes. I cut the Ren a little big so I could have some extra material to work with. From there it was onto rasping the Ren to make it look like my blue foam. After rasping to shape, it was onto filing and sanding to make a beautiful form.

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PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL RENSHAPE DESIGN: PAGE 1 With the RenShape I achieved what I wanted for my dangerous vessel design. I got the overhanging form to fit perfect around the larger form and it looked like it was meant to be. The larger form still had the twist I was trying to achieve as well. The overhanging form still had the point touching the ground and I loved that. With this relationship it looks like the overhanging piece is choking the larger form and this is something I was going for. The overhanging form is not as gnarly as the big form and still has that subtlety dangerous feel. Both of these designs have dangerous qualities. For example on the larger piece the asymmetrically gives a dangerous twist and contains very sharp points. Both of these forms are dangerous in the relationship, but they are also dangerous on their own.

PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL RENSHAPE DESIGN: PAGE 2

PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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FINAL BLUE FOAM & REN

PHASE 4: FINAL MODEL AND PRESENTATION PREPARATION

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WOOD MODEL PROCESS

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When it was time to make my wood model for casting, my goal was to make a clone of my Ren. After buying Poplar wood at Home Depot, I cut them big enough on the chop saw to fit my shapes with the grain (8x10 & 5x10). After gluing 3 slabs together over night, it was on to band sawing my pieces to get a shape. Once these pieces were cut out, they were rather large so I could have material to work with and carve. After band sawing I began rasping, filing, and sanding until I had my forms.

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PHASE 5: PATTERN PRODUCTION

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FINAL WOOD MODEL: PAGE 1 A lot of thought went into my wood model. I got it as close as I could taking into account draft angle and keeping my sharp points fat for casting. The wood was a long process but I truly began to understand my form as I rasped and filed to complete my form.

PHASE 5: PATTERN PRODUCTION

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FINAL WOOD MODEL: PAGE 2

PHASE 5: PATTERN PRODUCTION

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BLUE FOAM. REN. WOOD.

PHASE 5: PATTERN PRODUCTION

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CASTING PROCESS

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Once my wood model was finished I played the waiting game until I got my aluminum cast back. We got a glimpse of the process that goes behind aluminum casting at Wentworth to get an idea of what the real process was. Once our mold was put into place, we waited for the aluminum to be poured. Once the aluminum was poured we began to work on extracting our pieces from the sand. After this was over it was onto cooling down our pieces before we could really examine the beauty that had been created. This is just a glimpse of what went on during the process of our vessels being casted.

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PHASE 5: PATTERN PRODUCTION

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ALUMINUM CAST

PHASE 5: PATTERN PRODUCTION

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ALUMINUM PROCESS

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As shown on the last page, my aluminum had some work to due to the fact that I left my points fat and that I had a gnarly casting line. I began by filing my piece for a very long time to achieve my shape and sharp points. From there it was onto sanding and analyzing my form after every grit. After using a variety of grits it was onto very fine sandpaper and steel wool to achieve a beautiful finish. My smaller piece actually pierced my hand near the end of my process.

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PHASE 5: PATTERN PRODUCTION

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FINAL ALUMINUM: PAGE 1 The aluminum was a long process but the final result was well worth it. Both forms evolved into more complete forms in my aluminum compared to my Ren-Shape. The smaller form had a sharper curve to it and both forms contain very sharp points. Where the two pieces meet contains marks that represent this dangerous relationship. This snug fit really came to life in my aluminum and the relationship really exploited its dangerous features.

PHASE 5: PATTERN PRODUCTION

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FINAL ALUMINUM: PAGE 2

PHASE 5: PATTERN PRODUCTION

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FINAL TRIO

PHASE 5: PATTERN PRODUCTION

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COLOGNE AND PERFUME IN USE

PHASE 5: PATTERN PRODUCTION

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VESSEL RENDERING SKETCHES In my rendering I wanted to capture danger with the material as well as the forms. I came up with the idea of a black glass finish/matte black finish to portray danger. I wanted this murdered out look that gave off this vibe that you did not want to mess with this object. I explored shattered glass techniques, black marker techniques, and chalk techniques for these renderings.

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FINAL RENDERING My final rendering got the finish that I was hoping for. The black glass finish gives it an essence of danger. I used a shattered glass vignette to give it a more dangerous vibe.

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PROPOSED MAGAZINE ADS For my magazine ads I wanted to work with a minimal layout that portrayed dangerous. I started with Photoshop and moved on to taking my own pictures of my classmates. I started with thoughts of what danger actually is, and what a dangerous person looks like. I incorporated both of these things into my final magazine ad. For my final magazine ad I used two of my classmates to portray danger. My fragrance is called risk due to the risky actions that a dangerous person is usually doing. Using my friend Tom as a dangerous looking person, I portrayed him as a threat to the female, who also has a subtlety dangerous look to her. This magazine ad resembles my final design in a way that the dominant force, the male, is a blatant threat to its partner. But on the other hand the female has a dangerous look to her that gives off a vibe that she could strike back at any second.

DANGER PERFUME AND COLOGNE

FOR THOSE ON THE EDGE

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FINAL MAGAZINE AD & NARRATIVE It is a dark gloomy morning. The man and his new girlfriend roll out of bed. The first thing this couple does in the morning is take a shower and apply Risk to get their day going. It is a no brainer to these two when applying this fragrance. Once they grab it from their bureau, it is a part of them. It is a very noticeable and clean smell. Without this fragrance they begin to get that feeling that they forgot something. After the man puts on his fragrance, he tosses on his boots and dark clothes and is off to work. His day consists of riding his motorcycle, working in his shop, and then riding a couple waves before he comes home for dinner. His circle of friends contains a bunch of dudes that you would not want to mess with. Some of these men are just mean people, and some are quiet but have a dangerous edge to them. The female in this relationship is a pretty dangerous person her self. On the outside, she is not a blatantly dangerous person. To her colleagues she is a nice person, but is known to have a mean temper. Her group of friends are relatively nice girls, but they know the real “her�. When these two partners come home from work, they both seem to have an edge to them. The man is not very nice to his girlfriend but that is just part of his nature. His girlfriend takes the abuse for only so long before she suddenly becomes a very dangerous person. These two are meant for each other, but due to their nature they clash relatively often. These two people are made for each other and even though they have a dangerous nature, they have plenty of potential to be a beautiful pair.

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REFLECTION Once again this project proved that designing something of your own is the best feeling in the world. To start from just a simple gesture drawing to having a beautiful aluminum form is amazing! As the process went along I really began to understand my form. Sanding and filing began to feel natural and it was a very cool thing to begin to see. This project really helped me grow as a designer and really made me think about each move I was going to make in the design process. In the end, I believe I made a pair that truly accorded to my word, dangerous.

DANGEROUS.

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