Spice + Mortar. Part 2: Prototyping.

FAINA IASEN

SPICE & MORTAR Prototyping

BA (Hons) Product Design 2019/20 Final Major Project

desired features of the final design

Previously identified features: Easy navigation

Versatility & universality

Clear indication

Compact size

Security & protection

Easy maintenance

Limited customization

Seamless experience

Vertical storing

Newly identified features: Clean aethetics

Ease of access

Flexibility & adaptation

The form factor of the system's outer shell should be minimal and non-invasive when it comes to interiors. It should be able to fit in in most (if not all) styles of interiors. It should also create an initial impression of singularity.

All of the spices have to be easily accessed. Both in the sense of taking out a container and extracting the spice itself out of its vessel.

The containers shouldn't be unextractable, and the organisation system has to allow for rearrangements.

There shouldn't be any complex manipulations required to change the system or replace a label.

container ver. 1

Based on the finding of the 2nd probe, I started my design from a simple rectangle shape that later would be developed through a series of tests and trials.

Iterations needed: it's too big and difficult to hold, too wide for an average palm.

The sharp corners of the box also catch on the sides of the shell, making it difficult to put it back into its holder.

This type of handle is unsuitable for a container this small since the handle of fitting proportions is just unusable.

container ver. 2

I've separated the container in 2 parts and made the vessel for the spices transparent to allow visibility of contents. The tapered end makes it just a tiny bit easier to put back, but I want it to be really effortless and for it to guide itself in perfectly. So I'll have to make the angle more gradual. It's still too boxy and uncomfortable to hold in one hand, so I'll try to go with a thinner but longer vessel instead. I've added holes at the end so the container could be used as a shaker.

Iterations needed: make the angle at the end less sharp; make the vessel thinner but longer;

container ver. 3

The size and shape of this container are very comfortable for use even with one hand and the angled end slides itself nicely when put into its shell. I also decided to switch the door-knob style handle for a leather loop. It'll be much easier to hold and pull out. But however beautiful it might be, it won't do for the handle as it's not sturdy enough to withstand the weight of a container and it will spill over if pulled out with one hand.

Iterations needed: Replace the leather loop with a sturdy handle

container ver. 4

Now that the shape and handle of the container are set out, I need to figure out where the opening will be and how it will work as it's one of the main requirements for this design.

Iterations needed: Make an opening that can be closed tight and will be be enough for the spoon to fit in.

lid/cap prototyping

slider lid After trying out 7 different ways to make an opening, I decided that the best and easiest to produce solution would be a sliding lid. It's a very natural and obvious motion that most people would be comfortable with.

I gave it to people to test along with 4 other prototypes that had a cap on the top part of the vessel. The feedback was unanimously in favour of the slider, so I went along and modelled the sliding lid.

evolution of lids

Ver. 2 I've cut the dip on the bottom that keeps the lid on in half and left only the back part for it to slide halfway. I've also added a grip dip on top for a finger, but it's too deep - the sharp edge stabs the thumb, and the finger also gets stuck. It needs to be more shallow.

Ver. 1 Just the top part of the container cut away with a little dip inside for it to be stuck on the body. It fits nicely on top of the container, but is uncomfortable to open. It also has to slide for easy use and a stopper for it to not fall over when opened.

Ver. 4 I've deepened the inside part, so now it hold onto the container nice and tight, but still slides comfortably. I've also added a piece at the end that closes the shaker hole when the lid is open.

Ver. 3 The grip dip is much more comfortable now that it's shallow and it doesn't get stuck to the finger. But the dip that holds it in the container is too small so the led falls out when it's open.

container ver. 5 The slider lid is complete with a gripping dip and an appendix in the front of the slide stopper that closes the shaker hole shut when the lid is open to prevent spilling spice.

final for now

The dispenser hole is a single cut instead of many separate once, which allows better control over the flow and amount of spice dispenced.

The angled end effortlessly slides in its case, so the user doesn't have to try and be precise when putting it back.

The handle is bent out of a single piece of metal and screwed to the wooden base to provide sufficient support. This way, the container can be used with one hand.

The handle sits in the groove and securely supports the whole container, perfectly withstanding its weight.

outer shell This is the outer shell I'm currently using for testing purposes, it's not the final design - only a prototype necessity. I don't see the point of modelling and testing the final version of the outer shell until the containers are decided upon since the final form factor of the containers will determine the structure and visuals of the outer shell.

final requirements Easy navigation

Versatility & universality

Clear indication

Compact size

Security & protection

Easy maintenance

Limited customization

Seamless experience

Vertical storing

Clean aethetics

Ease of access

Flexibility & adaptation

Mill Since I want this storage to provide the user with all functions needed for comfortable use of spices, I needed to design a mill of sorts for them to be able to mill and crush the big spices (e.g. peppers, cloves). I'm not too fond of the idea of making a mill unit (as in the standard modern mill) since it will require the user to purchase a mill for each spice in their collection that requires crushing. It's logical to assume that such a complex module will be significantly more expensive than the spice unit, which in turn would mean that users who required more mills would have to pay much more for the same size of the system than those who only needed storage units.

Another problem would be that if a user would purchase, for example, whole pepper instead of the crushed pepper they've used before, they'd need to buy an additional module and take out one of the units OR crush all of their fresh pepper before putting it into the unit - that's a very unsustainable module for the user's side. So I need to design a universal crushing module that can be used for all spices or even mixes of spices. A mortar is a great solution for this, but I need to find a way to make it modular as well to fit the system.

Mortar Another point in favour of a mortar is its historical context.

It was proven efficient thousands of years ago, and it still used today in many homes and restaurants for food, labs and pharmacies for medicine and so on. It's a great design that works, but most importantly - it actively engages the user in what they're doing. I want to use it to enforce the user's connection to the product I'm making and the spices they use in their food. It has been proven that people feel more affection to things they took part in making (a.k.a. IKEA effect) and I can use that in my product by giving them this fantastic ancient tool. When using a mortar, you have to look at what you're crushing and watch the process - it's a much more conscious action than just using a spice mill. A mortar can also be used to make fresh seasonings and dips, mix the spices you crush together - which can't be done with a mill.

wheel mortar

This design was based on and inspired by traditional twowheel wheat mills from ancient Egypt. This one has the rod that inserts itself as an axis of rotation for the disk and is used to rock it back and forth, crushing the spices underneath it. It can be assembled in a matter of seconds and disassembled to lie flat when not needed. This particular design would be made out of one material, preferably stone. But it would be too heavy for my storage system as well as not aesthetically simple or pleasing for that matter. It looks and works a bit too crude for my liking and doesn't really fit the narrative of my simplistic storage system.

thump mortar

This mortar design was based on the universal size of my modules - 40x40cm in diameter. It was to be placed near the storage or attached to it in a way that I'd design later if I proceeded with this design. The technology behind this one is something between a traditional mortar, two wheels that were used to mill wheat and a modern spice mill. The metal rod in the centre keeps it centred and allows it to rotate with the rod acting as an axis.

This design, however, is deeply flawed as it has too many material connections and has to be very small, which after testing (on a 3D print) proved to not work well for its purpose. The main work area for crashing spices is too small and insufficient for any reasonable amount of spices.

The motion of thumping is also too weak to break up black pepper. I also have serious concerns that the rod in the centre wouldn't hold up with heavier materials than 3D printed plastic - cement/stone and wood that I planned to use. So this option was dismissed, although it was the most original one.

classic mortar

After all, I decided to go with a more classic type of mortar, but to give it a more modern look and feel. It's been made square to fit in my storage system (exactly 2 unit slots), and it facilitates an opening that goes through it to house a Pestle.

The L-shaped base that holds it will be made out of wood and the handle will be in metal as on the other units. The central part that performs the crashing will preferably be in stone. Still, it will depend on my costs and possibilities.

metal (steel, brass, copper, anodized black

granite

glass (in perspective) / plastic (for development)

paper wood

Materials This product is all about elegance, minimalistic and clean style, so the materials I picked have to do their part. I chose natural and durable materials that can be fit into any interior aimlessly.

Casing Wood for the casing. It's easily manipulated and very durable if finished right.

Unit Wood for the supporting base and the drawer fronts.

Mortar Wood for the casing. It's easily manipulated and very durable if finished right.

Metal for the handles and lables.

Metal for the little legs and hanging hinjes, It can be easily attached to wood and will match the metal parts on the unit.

Glass (plastic in case of prototyping) for the spice vessel. It is see-through which is important to most user according to my survets + can be closed tightly for spice to not breathe out.

Metal for the little legs and hanging hinjes, It can be easily attached to wood and will match the metal parts on the unit.

Casting protocol

3

Plastic castng

1

Master model

2

Silicone mould

4

Extraction

1 3

Master mould can be produced in several different ways. 1. the easiest way is to get an existing object/product and use it as a master mould. It's best for practice. 2. It can be 3D printed but then has to be sanded and primed as silicone (and consequently plastic) picks up every smallest feature of the surface it is poured on, in case of a 3D print - layer ridges. 3. It can be sculpted of wax, clay or plasticine, but it will keep all small dents and fingerprints and transfer them to the final cast.

4. It can be laser-cut if it's 2D or milled on a CNC if it's surface is one-sided.

After the mould has fully cured it is time to cast plastic in it. The mould needs several small openings for 2 reasons: a. for the plastic to be poured through it & b. for the air bubbles to come out, otherwise, they will rise to the top of the mould and stay there while it's curing, causing the surface to be uneven and ruining the cast.

2 4

The mould can be 1-part or 2-part, or even more in cases of complex shapes and surfaces. I will be making a 2 part mould because I need to have a reflection of both sides of my master model to copy it properly and it's vertically symmetrical, so it doesn't need more than 2 parts. A 2 part mould can be either cast in one step and the cut in 2 parts or be cast in 2 steps.

After the plastic is cured (the time of curing depends on the formula and has to be mentioned on the bottle or instructions to the material) it has to be extracted from the mould. The plastic usually doesn't stick to silicone, but a quickrelease solution can be used to ensure it. The extraction should be gentle and slow as thin parts of the cast may be snapped by the firm silicone or bent if the plastic is not fully cured.

Materials I chose Smooth-On Crystal Clear plastic for it's fluidity and curing time of 90 minutes. It's a 2-part solutin that has to be mixed in 98:100 ration. It was my first time working with transparent plastic and it turned out later that I'm allergic to a component or the whole solution as I developed a severe reaction to it after use.

For moulds, I chose the ToolDecor silicone as I've seen it recommended a lot for small moulds and decorative objects. Its main advantage is that it doesn't require degassing ina vacuum pump, unlike many others. I took two different types of it - a rigid 40 type and a softer 25 type to see which would fit better.

It's also a 2part solution, but unlike plastic, it's mixing ration is 100:10 with 10 being the catalyst for the silicone.

Tools The primary vital tool for both silicone and plastic casting is a good kitchen scale as the proportions of different parts in the mixture should be very precise for them to cast and cure properly.

The quick-release solution will create a separating film between the master mould and silicone and later between silicone and silicone when casting 2-part moulds.

Disposable plastic cups are for mixing silicone and plastic in, and the wooden spatulas are for mixing them with.

Before casting pure silicone I decided to try out the salad technique, in which the old silicone moulds are chopped up and used as filler of free space. Mixing them into uncured silicone is safe as long as both are of the same type of silicon (e.g. both platinum) they will form one solid material after the freshly poured silicone cures and bonds the pieces together. Sadly, I didn't know what type of silicone was the old mould given to me by my one of my coursemates. And judging by how it never cured completely around the chopped pieces, it must have been the tin-catalyzed silicone, while I was using platinum-cured.

Parallel with the salad experiments I made several small moulds cast in pure silicone to test the plastic and get a hang of working with it. It has a much lower working time of just 9 minutes (compared to the silicone's 90 minutes) and I had to work fast. I picked several thin and small objects as the model I was going to cast in the end was thin-walled (2-3mm) and I had to make sure the plastic would hold its shape once cured and not snap during extraction. I made 4 rounds of casting plastic in the same moulds, iterating the process and timing to better the results.

As I went, I was writing all the times and details down in my sketchbook for future reference since the curing time mentioned on the packaging may slightly vary depending on the temperature and dryness of the room the plastic is cast in,

After getting more or less comfortable with the process, I went on to make the first mould - the spice unit cap mould. I planned to cast it in one part and then cut it in the middle to separate it in two to allow removal of the master and future casts. I, however, did it very clumsily, and it ended up bent and uneven and a failure. If I were to do this again, I'd build a solid casing first and make sure the master model was positioned parallel to the casing walls, cause this attempt was atrocious.

My second attempt at making a mould for the lid and casting it was even worse. I decided to cast it in one part and have the top flat. So I fixed the master model to a flat surface and poured silicone over it. And it probably would be fine if I poured the plastic in the mould from the top - the tp part would just be open and liquid plastic would level itself out. But I decided to make holes in it and instead pour the plastic through those holes with the mould fixed to a flat surface upside-down. What it actually resulted in was the mould separating from the surface and plastic leaking everywhere. I had to clean it up before it started curing and it was a total disaster.

2-part mould options

A.

B. freshly poured silicone

plywood casing

cured silicone

mastermodel

sticks to create pouring and airing openings

Mould A

Mould B

easier for plastic to pour evenly from top of the surface to the bottom of the wall edges easier extraction of a cast

easier to make than A mould less horizontal surface on top (only the wall edges) for bubbles to stuck under during plastic casting

harder to make than B mould since you have to avoid pouring any silicone inside the master and have to pour strictly around risk of the supports collapsing during the pouring more horizontal surface on top for bubbles to get stuck under during plastic casting

plastic might not fill the bottom surface evenly when poured through the thin space of the walls and the bottom surface might not get filled out resulting in holes harder to attach and secure the sticks that create openings harder (hence riskier) extraction of the cast

A

I decided to proceed with the first attempt at casting the mould for the spice unit.

This time in a food container since it was correctly picked in size, maintained its shape when filled due to the rigid walls and had a closing lid to protect the curing silicone of falling dust or any other trash that could contaminate the silicon and interrupt its curing. Sadly, I poured this mould at the same time with the test silicone, so I didn't know yet that the chopped up silicone was of a different kind, hence using it to fill the space further from the master model and save the clean silicone. So, consequently, this mould has never fully cured, staying liquidy around the coloured silicone and preventing the removal of the master model. Another problem was that I ran out of silicone on that mould and now had to purchase more. Knowing now, that the other silicone I used as a filler was tin-cured, I decided to buy the same type this time to match it.

B After I realised that the main mould was ruined, I had to start anew. This time I used a carton box that came from takeout and therefore was laminated on the inside. I wrapped it in several layers of scotch tape, making it leak-proof and added wooden spatulas running along the sides to give it added rigidity and support the thin cardboard didn't have on its own. I needed the casing to be stable during the whole curing process and after as I planned to cast plastic. At the same time, the mould would be housed in the same casing, preventing it from bending and distorting the cast. I estimated that I have just enough silicone left for another try if I use some of the chopped up salad, but knowing it was a different type of silicone I had tO be very careful about it. I would pour a thin layer of silicone and then sparingly add some colourful salad, careful not to put it close to the master model and risk it not curing.

Then I'd pour another layer of silicone, sealing the small pieces all the way around. This time everything went according to plan and (with some additional waiting time out of precaution) the mould was almost perfect. I could now proceed to make the second part.

An advantage of using a carton box as the casing for this mould was that I could cut it along the edges and fully unfold it. It made the mould extraction process much easier and kept the sides of the casing unbent as well so it could be reused. After taking the first part out, separating it from the master mould and cleaning the later from the plasticine I used to stuff the small opening on the side, I was ready to cast the second part. I placed the 1 part of the mould back in the casing, with the master model in its place but now facing the top. Then I taped the casing back together, adding 3-4 layers of scotch all around and especially on the corners to make sure no opening was left for the silicone to leak through. Then I used a blade to cut through the silicone in an uneven circle in 6 places on top of the fist part - these dips would serve as guides and locks for the first part. Then I sprayed the whole thing heavily with the quick-release solution to prevent the new silicone from bonding itself to the cured first part. This time I didn't use much salad as the top part of the mould would be much thinner than the other one, and I couldn't risk it not curing since I only had a minimal amount of silicone left. I sprinkled a bit here and there using a wooden spatula to drown the pieces in the silicone and making sure that none touched the edges of the master model. After two days of waiting, I tried to separate the mould parts and was happy to see the top part cured entirely. The mould was ready.

After printing out my mortar design and making sure it works with a simple test of crushing some spices, I wanted to try and cast my mortar in cement or at least plaster to test it out in a material closer to reality. For that, I prepared a special silicone mould that can be taken apart and then put together. Since the mortar had an opening that went all the way through it on the side - to house the pestle, I placed a hollow tube of the same size through it before casting. After the mould has cured, it could be taken out and set back inside to allow for casting and extraction of the cast.

Then I made a mould for the pestle as well.

When both moulds were fully cured and the masters extracted, I took my cement and went to the ceramics workshop. Where I was brought back to earth when the head technician explained to me in detail how what I want to make can't be made in the school's workshop. Or most ceramic workshops for that matter, The walls of the mortar where the opening is were too thin in comparison to the other walls, which meant they would dry and bake faster than the rest and break or even explode in the oven. It would have to be technical faience cast by a professional in a specialised 2-3 part mould and it'd be quite expensive and would take a lot of time.

All of this meant that I couldn't cast my mortars myself. And I also had to change the design of it to remove the opening through the side, make the pestle bigger and the working area for crushing deeper.

FInal mortar design After testing the previous version of a mortar, I concluded that it's unusable for the general public and I can't cause my user inconvenience in use just to make production easier or aesthetics nicer.

The user's experience comes first, and I need to focus on that.

First, I needed to make the working area bigger, so I switched from 2 units size to 3 units. Then I removed the opening that went through and moved it to the front of the mortar - made a holder for it that can be reached from the top as well. Then I made the crushing area oval instead of round to test if that still going to be functional. Finally, I made the pestle bigger - modelling it after the one I actually had at home from a store-bought mortar.

The plan was not to make the whole module in one piece, but also modular. The crushing area can be made out of stone, ceramics, metal or wood and can be removed from its wooden 'nest' for easy washing and pouring spices out. It's also comfortable to hold in one hand.

During the quarantine, my only chance to test this design was to 3D print it as most workshops were closed. I found a 3D printing studio that still worked and ordered the details to print. When they came, I assembled the mortar and asked my partner to try and use it. I was happy to see that the handle width was good and comfortable to hold. After 'pulling it out of the drawer' she took it in her left hand and took out the pestle with her right. Her thumb pressed the front side of the base for support.

Instead of sliding the grinder out, she took it from the top. She said the pestle laid well in hand and was comfortable to hold, easy to find a stable hold position.

It was finally time to test the mortar itself. I was worried that changing the shape from round to oval might have disrupted the mortar's function. Still, to my surprise, it worked even better. The oval guided the motion of the hand, and it was even more of a natural movement than with a round mortar.

After confirming the convenience of the mortar, we tested its functionality. We got some pepper, cloves and cinnamon to crush and it worked perfectly! I knew that I was ready to proceed with this design, this time comfortable for the user AND easier to produce as it can be split into parts.

Сasing I've long thought on how to optimise production of the casing not to sacrifice its function and aesthetics. I needed to find a way to streamline it to allow for customisation and avoid making it unproducable. I designed it to be laser cut and assembled in a way that doesn't show any joints on the outside, Laser cutting will make creating custom casings easy and fast, not much harder than 5-6 standard sizes. Just generate a file, send it to the laser and wait - woila!

A breakdown of parts for a minimum set-up

backside

backside

sides

top & bottom

sides

top & bottom separators

middle part

bottom inside

vertical separators

Prototype production plan Since there are several different materials in my product, I needed to devise a plan for prototype production, see what I can do myself and what I'll have to outsource for each element.

Wood for the casing can be laser cut and then assembled with wood glue so that I'll do myself in the workshop.

The brass legs have to be cast, so I'll need to prepare wax models with the help of our jewellery workshop technician and then give to a metal casting company for outsourcing.

There's no possibility to cut stone in BHSAD's workshop, so that'll have to be outsourced as well. I need it milled from both sides and partially polished.

When experimenting with plastic, I found out that I'm allergic to some of its components, so I have no choice than to outsource it.

After trying to bend brass handles and consulting with the jewellery workshop technician, I found that casting the handles would be much more efficient and durable than bending them. So I'll have to prepare the wax models, and the outsource the casting itself.

Wood for the base can be milled on a CNC in our workshop, s that I'll do in-house.

Wood for the base can be laser cut and then assembled so that I'll do myself in the workshop.

Outsource market reasearch I've started searching for outsource companies online and compiling them in an excel table.

I recorded their contacts, price (if known) and any other relevant details. If I sent an inquiry or not, and fill in the price column when I received a price quote.

At first, I didn't know where to start looking and was a bit lost. I went the most obvious way - googling keywords for the production I needed. My main goal was to find a company that does small batches and does them fast. And, preferably, for a fair price. But at the time I had no idea what a reasonable price was, so I messaged everyone and put all numbers in a spreadsheet to compare and choose from later.

File types After finding quite a few companies and filling in my spreadsheet, I started preparing the files to send to companies with a price quote request.

I started with finalising all the model, fixing and smoothing the surfaces and implementing the last small changes to make sure I didn't accidentally send an unfinished prototype into production.

If I wasn't able to reach a company through a call, I sent them a default set of files that would consist of a 3D model of the needed component in 3 different most common formats ( .obj / .mtl / .stl) and .pdf blueprint for a quick glance from andy device + those that didn't accept 3D models (mostly stone and metal).

After calling several companies from my list, I realised that they all needed different formats of files, so I combined different sets of files for optimisation of the e-mailing process. I significantly sped up the process since I was able to just open a folder with the needed set and drag-drop it into an e-mail instead of selecting separate files one-by-one.

Price quote requests When the models were ready, I compiled a template email for the mass-mailing. All I had to do now was to overcome my anxiety and start emailing every company I found. I came to terms with the thought that the more companies I contact, the more chances I have to get a fair price for a quality job.

This is a translation of the basic email templates I was sending out. After several replies with follow-up questions I realised that I need to add more details and started writing more specifically about the services I required from them.

Each email had to include - amount - type od surface - time - didn't name budget - type of job

Communication After I received most of the price quote ( I waited for a week for companies to respond), I looked at the prices and realised that they were way out of my budget. There wasn't a single company in Moscow that wanted less than 50 thousand rubles for the job that I needed done. Then I decided to take a risk and contacted several companies from other cities, mostly Saint Petersburg and Samara. And I hit the jackpot - 2 companies in Peter gave me almost identical price - 36 thousand. It was still a ton of money, but it was the lowest price out of all. And it included shipping to Moscow and it'd be ready in just 15 workdays.

So I picked a company that to me seemed more professional out of two and went with them. On a cal we established the terms - they'd 3d print a master model and confirm it with me. Then make two moulds of each part (because only one cast can be made in a single mould a day and I needed them faster), then make test casts and approve them with me before making the whole batch .

That's where the problems started - I heard nothing from the representative I've been in contact with for almost a week. When he finally answered me, he sent me a picture of a cast. And the cast was wrong.

They've breached our agreement and went on with making the mould without confirming the master model with me. The original 3D model got corrupted during the conversion into a different format, and it changed the shape of the opening in it. So it was unusable, but they've already made all four moulds that were the most expensive part of the production. At first, the suggested reprinting the master model (for the price of a new master) because it was 'my mistake' that it got corrupted. And I was tempted to agree, but then realised that all of this would be avoided if they'd confirm it with me as we agreed in the first place. So I pressed them, and at the end, they carved the opening manually to fit the need and remade the moulds for free. Because it was their fault and I proved it. So, in the end, it took a bit more time, but I received all of my casts for a fair price and okay time.

What I initially received

What I received after battling the client service

Can I speak to the manager?

Another problem that I had to face while outsourcing was subpar quality. I ordered 3D prints to test the new mortar design.

While I usually set up and watch my 3D prints myself, I wasn't able to do so during the lockdown for the simple reason of not owning a 3D printer. So I ordered prints from a 3D printing studio and what I received (for quite a high price) was of very poor quality. I couldn't accept it as it was not up to the standard I needed for testing. So I had five calls and six emails long buttle with client support after which they finally accepted their mistake and reprinted and delivered proper quality prints to me.

In both cases (plastic and copies) I stood my ground and got the results. It's a huge sign of growth to me since two years ago I couldn't ask a person in a shop a question about the product I wanted to buy Such a difference...

EXPERIENCE EVALUATION All in all, outsourcing turned out to be a very tricky phenomenon. On one hand, it's quite neat that I can pay professionals who have the knowledge and equipment to perform a job better and faster than I. On the other hand, I'm the only one who knows how exactly the said job has to be done, what the outcome needs to be. So there's plenty of space for misunderstandings between the parties. Especially if I can't physically interact with the people, you outsource to and take part in the process, as was in my case since I had to outsource my plastic casting to a company in another city.

Rules that I learned about outsourcing:

give all important details when asking for a price quote something that might seem insignificant to you could affect the price and/or time of production keep a record of correspondence, who you sent a request and fill it in as replies come - helps to keep track and not lose any info always compare prices ask what affects the cost and what changes can lower it request for production time as it may be crucial to the project's successful completion look farther than your city - companies in other cities might offer a better price at the cost of a day-two spent on shipping, and it might save you a lot of money never accept the product if its quality is not to the standard you agreed on with the company all spoken agreements have to be later confirmed in print for evidence in case of any trouble always confirm that the payment has been received and keep all receipts

I had big plans of producing the fully functional product until the end of April and starting photoshoots, video filming, promotional campaign preparation and exhibition preparations in May; unfortunately, the universe had other plans for my graduation year, and most smaller outsourcing companies (that work with small batches like mine) were closed by the beginning of April, so my plans for production were unreal in those circumstances. I would replace photoshoots with 3D visualisation and exhibition with an exhibition proposal, but sadly I wasn't able to complete the prototype during the upcoming month.

Faina Iasen, 2020