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PROCESS BOOK ELISSA CREVOISERAT

DES 300 SPRING 2019


TABLE OF CONTENTS PROCESS BOOK • DES 300 • SPRING 2019

PROJECT 1

Translations

PROJECT 2

Family Crest

34–43

PROJECT 3

2

4–33

Mass Customization

44–53


B BURROWED


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PROJECT 1

TRANSLATIONS


STEP 1 LANGUAGE TO IMAGE I BEGAN THIS PROJECT WITH A POEM written in a foreign language. My professor randomly assignment me this poem and tasked me to translating it into design. The beauty of this task was the freedom to ignore the meaning of the words and only pay attention to the forms of the characters. THE CHALLENGE WAS THE RESTRICTION. The first step of the process was to analysis the lines, shapes and forms, and find some sort of meaning from it. From there I was to create sketches based on my findings. It required a fire of creativity.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

By looking closely at the calligraphy, I picked up on several elements I wanted to focus on for my design. The contrast between the straight horizontal lines stabilizing each word, versus the freedom of the curly, sinuous lines of the characters below it, were particularly interesting. I also wanted to integrate the sprout-like forms that repeated throughout the poem, as well as the general shapes of each character. These were the elements I focused on for my sketches.


My first thought upon seeing the poem was that the forms were seeds taking root. The horizontal lines were the soil and the freeflowing lines below it were the roots. I HAD TO FORCE MYSELF TO STAY ABSTRACT. But this idea, along with the many others I documented throughout my drawings, remained at the back of my mind.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION


I rendered my versions of the calligraphy lines as waves, ropes, roots, gusts of wine, and more. I let my hand flow loosely to create these lines and then bounded them with a contrastingly harsh, straight line. These took the form of poles, frames, structures, etc. I tried keeping the interpretation of the objects open to the viewer and I got interesting feedback from my peers as to what they saw in each. I heard light poles, docks, tornadoes and flames. The consensus was that I had created a sort of eerie dystopian world within these drawings, and that each one contributed something different to that world.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION


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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

After hearing feedback on my dystopian sketches, I explored the idea of integrating two or more of my drawings to create something new. I explored layering and stacking the images over a light box.

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STEP 2 IMAGE TO OBJECT

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

The next step of the process was to create 3-Dimensional objects based on the sketches we created. While still initially inspired by the poem, these objects were free to explore ideas beyond initially anticipated. I used materials I had on hand such as wood, rope, string, paper, wire, fabric, and straws.. I refereed to my sketches often and put together these

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

This translation brought on a number of changes in the form of structure, texture, and feel. However, I think they are still closely tied to the sketches that inspired them.

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B ED BURROW STEP 3 OBJECT TO POSTER

R R 18


r

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a s h f u l o

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u o y a n t u r r o w e d o

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C u r D o d g F l o G r o w t R a p i R o u g S o l i t a r S t r e s T a n g l e T e a T o i T o r T u r W a v e

l l e w h d h y s d r l n n s

I chose the words Barred, Buoyant, and Burrowed to describe the three ideas I wanted to pursue. These terms applied to the sketches, objects and still my initial analysis of the poem.

I WOULD INTEGRATE PIECES OF EACH INTO THREE POSTERS based on the ideas and photographs of what I’d made so far. I would also have to manipulate my current objects and even make new ones to complete this step..

MASS CUSTOMIZATION

a

The next step I took in this process was coming up with words to describe my objects. These were not only descriptions but feelings or passing thoughts that came to mind when looking at my translations. These are a few of the terms I listed at this step.

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FAMILY CREST

a l a n c e

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TRANSLATIONS

B B B B B B C

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POSTER 1: TYPOGRAPHY

My first poster focused on the element of water and was inspired by a number of my sketches. To create a tactile typeface to match this theme, I sought to render my title from water.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

I covered a white backdrop with plastic wrap and readied water, a paintbrush and blue pigments. I had to quickly and repeatedly paint out my letters and take a picture before the water droplets pooled together. It took time to get images of each letter and longer still to separate the background from the letters in post. But in the end, I achieved a buoyant, liquid looking typeface.

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POSTER 1: PROCESS

This poster went through multiple variations before reaching its final form. I created the background by layering several images of my made objects. The bunched fabric, curled paper, and layered rope objects made-up the underwater landscape, separated by different blend modes and opacity variations. The foreground is a scanned image of my drawing with the addition of organic lines and forms created digitally. The last thing I added was my newly made bubble lettering.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

Here you can see the initial sketch compared to the completed poster. I think that the overall look of the poster is cohesive and gives off my intended feeling of being submerged in an underwater landscape.

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POSTER 2: PROCESS

This poster saw changes in many forms, including its title. I used the concept of harsh lines and my barobject to create a stressful image of layers and colors and lines. I layered images and used blend modes to separate them. In my first few versions, the text was lost in the loud layers and I had to pay special attention to emphasize it. With a much larger and bolder presence, “Barred� is much more noticeable in my final version.

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FAMILY CREST

MASS CUSTOMIZATION

If I were to revisit this poster, there are definitely some things I would change. Although the feeling of stress was my goal, I think the effect could still be achieved with more refinement. Removing several layers and creating more of a central focus would lead this poster in a better direction.

R R

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TRANSLATIONS

I think this poster is successful in getting across the emotion of stress. This is what I imagine in response to being constrained, restricted, pushed against a wall, or stuck between a rock and a hard place. This is what I mean by Barred.

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POSTER 1: PROCESS

I created the Burrowed poster in much the same way as the first. The background is comprised of the same fabric, rope, and curled paper objects, although taken in a different direction. I wanted the integration of the images to be more rough in look and feel. My concept for this was to see roots burrowed in soil. The sketch I overlaid is very organic and I wanted to play into that when creating a background full of depth, texture, and good old dirt. I also tried to convey this look of depth and the perceived act of burrowing through the typography.

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MASS CUSTOMIZATION

A lot of feedback I got on this piece was a short, “This is interesting� followed by quiet starring. I like to take that as the poster being so engrossing as to wrap its tangled roots around its observer and burrow them beneath the dirt.

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FAMILY CREST

I think this translation is the closest representation of the poem. It integrates the rows of lines, the sprout-like form above the lines, and the offshooting lines from below. The contrast between the white foreground and the dark, foreboding background makes it stand out, and I am happy with how it turned out.

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TRANSLATIONS

B BURROWED

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STEP 3 PRODUCT DEVELOPMENT

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MASS CUSTOMIZATION

I invented the brand Dénicher to sell this product line. I found the phrase after searching on Google Translate, testing English phrases such as buried, burrowed, etc to see what French translation had a nice ring to it. Dénicher means “unearthed“ and I can only hope that it doesn’t have an unpleasant sub-meaning.

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FAMILY CREST

For my truffle products, I created a brand name, logo, label and packaging design. I thought this would be the perfect product for my poster renderings since truffles have a similar natural pattern as well as literal relevance, since they are mushrooms that are dug up. I did some research on the product and began my design.

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TRANSLATIONS

The final step of this project was to develop a product from our previous explorations. I selected my Burrowed poster to use as inspiration and chose truffles as my product to design for.

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LOGO DESIGN

These are the first few steps I took in developing the truffle brand ‘s concept, logo and label. I was inspired by the ideas of digging up these luxury truffle products and wanted to incorporate that in the designs. Some concepts of integrating more roots in logo as well as the color scheme and label needed to see a lot of changes. However, these were all essential steps of exploration and refinement that lead to the final product.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

This is the result of those different explorations. I ended up with a warm color palate of black, rust and gold. The logo has more controlled lines while still being free flowing. I was also able to incorporate the sprout-form at the edges of the lines and to emphasize the “e�. I think the color scheme exudes the luxury product I was hoping to sell and it matches the interior of black truffles themselves.


I applied the logos and labels to several mock ups that I would potentially use to sell the truffle products. I wanted to see how the brand would present on several different jar sizes and styles as well as on a specialty box for packing and transporting.

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MASS CUSTOMIZATION

I highlighted several sections that I think reveal the main message of the work. Surprising, I think it aligns slightly to the concepts I moved forward with for the project. The idea of breaking free from the constraints of history and live and learn freely mirror the contrast I found between the rigid and free-flowing lines. But, my project definitely would not have turned out the same if I started with this translated version.

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FAMILY CREST

This is the first poem I started this project with, but translated to English. I must admit that the character forms are far less interesting. However, there is something to be said for being able to understand the words.

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TRANSLATIONS

POEM TRANSLATION

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Family Crest

2 t c e j o Pr


Mood Board

My ly i m a F

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

Initial Sketches

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Digital Sketches

th eC

s revoiserat'

I created digital renderings of my rough, pencil sketches to test some ideas on a couple family crests. A major component to my family are our two Miniature Schnauzers. They are quite undignified and small so I thought it would be in great comedic effect to juxtapose them to a very classical and dignified crest format with shields and billowing scroll. Going with the comedic theme, I mimicked the Stark family crest from the television series, Game of Thrones, but inserted the face of our bearded, mini-dog in place of the Stark house’s dire wolf. I played with a few shield shape variations and fully fleshed out the scroll and font I wanted to use for my final product

Op en the Door 38


HARD CIDER

Suh Dah Nano Boo

th eC

s ' t revoisera

MASS CUSTOMIZATION

This is the final rendering of my digital family crest. I incorporated the dog silhouettes but added more details overall. I split the shield into four sections for each member of our family. I added their favorite beverage to these sections, along with their family nickname. I added the quote, “there the are“ to the top which is from the movie, It’s a Wonderful Life, a family classic and one that we all quote often. I also thought the quote tied in with our family name presented at the bottom.

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FAMILY CREST

They Ar e r e e Th

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TRANSLATIONS

Final Draft

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3D Rendering

The next step in this project was to create a 3 dimensional object based on our crest. For this, I decided to try my hand at wood carving. With a piece of oak wood I had already stained dark gray, I traced my design. I practiced a few styles and began plugging away on my first draft. I learned some techniques and started working on a second draft soon after.

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FAMILY CREST

MASS CUSTOMIZATION

Here you can see the results of my first draft and much of what I learned to (and not) to do. To avoid another turtle shell, I opted for a slightly simpler design and on a much larger piece of wood.

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TRANSLATIONS

Final Draft

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Final Draft

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ere They Are h T

HARD CIDER

Suh Dah Nano Boo

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

This is the final family crest. I incorporated elements from both of my earlier crest renditions and am pleased with the result. The dark wood portrays the rustic quality of my family, as does the natural cedar and drift wood incorporated in my final design. This object ended up being a piece of art that I can hang on the wall to display.

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MASS CUSTOMIZATION Product Design


The Problem

This project centered on FIXING A PRODUCT that was less than satisfactory. I chose the issue of phone cords tearing and breaking and sought to solve it by creating a supplementary phone accessory to strengthen the cord while still being flexible.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

Sketches

I made several rough sketches of ideas I thought would solve the problem. My concept centered around a strong plastic device that could snap onto one’s phone case and loosely around the base of the charging cable. I tested the logistics of different versions through these drawings.


Paper Template

Keeping my sketches in mind, I took measurements of my phone and translated that to a paper template to use for the product build.

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FAMILY CREST

MASS CUSTOMIZATION

Then I made the transition from paper to plastic. Using a thermo modeling plastic and a hairdryer, I melted plastic sheets and molded them to create the product I envisioned. I tried different styles and versions of my design and ended up with something quite different than what I started.

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TRANSLATIONS

Model Building

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Finished Product

This is the final design. It is a strong, durable plastic shell that easily snaps on and off your phone. The design hugs the base of your charging cable which is the most susceptible to damage. The design insures that this protection remains in place yet still out of the way for easy phone access. The bottom section hugs your cord while still allowing it the, FLEXIBILITY TO BEND, MINUS THE BREAK.

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TRANSLATIONS

FAMILY CREST

MASS CUSTOMIZATION

This is the product in action. You can see how it securely clips to the phone and secures the charging cord in place while still allowing it to bend for ease.


Final Thoughts

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FAMILY CREST

MASS CUSTOMIZATION

To further pursue this design, I would definitely like to create a 3D rendering on a digital design program and seek 3D printing. However, I would not trade the experience of first molding it with my hands as that was extremely effective in testing and finalizing the design.

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TRANSLATIONS This product truly saw massive structural change throughout its development. The material I used was quite difficult to work with but it still managed to make an item I now use daily.

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PROCESS BOOK

ELISSA CREVOISERAT • DES 300 • SPRING 2019

Profile for Elissa

Process Book: DES 300  

This is a book describing and reflecting on the three projects I completed over a semester in my Design Process, DES 300, class.

Process Book: DES 300  

This is a book describing and reflecting on the three projects I completed over a semester in my Design Process, DES 300, class.

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