F25_IARD4650_Bespoke Lighting Design

IARD 4650V Fall 2025

Bespoke Lighting

Abbey Panneck Ann-Elizabeth R Williams Brandi Meredith Caroline Rose Normand Gavin McWethy Haley Czeschin John Blake Jordan Gerling Katie Hill Madelyn Rose Kennish Mary Virginia McNeil Olivia Phelan Parker Brobston Sofia Chiartosini Suzu Kokuho Taylor Nicole Heath

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CONTRIBUTORS

Course IARD 4650V Special Topic | Premiumization, Sustainability, and Bespoke Design in Fall 2025 Students Abbey Panneck Ann-Elizabeth R Williams Brandi Meredith Caroline Rose Normand Gavin McWethy Haley Czeschin John Blake Jordan Gerling Katie Hill Madelyn Rose Kennish Mary Virginia McNeil Olivia Phelan Parker Brobston Sofia Chiartosini Suzu Kokuho Taylor Nicole Heath Instructor Jinoh Park Jake Tucci Acknowledgment This project was made possible through funding from the Nuckolls Fund for Lighting Education, with additional support from the Fay Jones School of Architecture and Design and the Department of Interior Architecture and Design. The authors are grateful for the resources and opportunities provided by these organizations to advance lighting design education.

*. There is no restriction on academic use of the contents of this book. *. The copyright of all design results contained in this book belongs to each (student) designer.

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CONTENTS

01 CONTENTS

66 Caroline Rose Normand

154 Katie Hill

260 Sofia Chiartosini B E S P O K E

A D V A N C E D

U N I V E R S I T Y

O F

L I G H T I N G

A R K A N S A S

02 Project Briefs AMORE

04 Course Schedule

Lamp specifications

E

PSICHE

SCULPTURAL

LIGHT OBJECT

P L A N T - B A S E D

R E S I N

A

P RO D U CT BY

S O F I A

3 D

P R I N T

C H I A RTO S I N I

Height: 8 1/2" Width: 6 1/2" Length: 6 1/2"

Bulb type led a19 60w, 8.5w

Material

plant-based resin 2.0 white

Caroline Normand 90 Gavin McWethy

178 Madelyn Rose Kennish

Lighting Portfolio

272 Suzu Kokuho

F A L L

2 0 2 5

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Product Branding Package (1/4)

14 Abbey Panneck

90 Haley Czeschin

196 Mary Virginia Madel yn KenniMcNeil sh

288 Taylor Nicole Heath

Por tfol i o

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the top and boƩom porƟons of derable amount.

Records of 3D Printing Progress

H a ley Czeschin

Narrative

30 Ann-Elizabeth Williams

110 John Blake

222 Olivia Phelan

Po r t fo lio

Taylor Heath

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Po r t fo l i o 9

Trial

Trial

8

1

9

Error

Error

Error

Trial

40 Brandi Meredith

130 Jordan Gerling 18

Success

Whole success

240 Parker Brobston Final product

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9

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304 Design, Illuminated

by Michelle Parks, ReView: Summer/Fall 2025

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Project Briefs

Park & Tucci - 11/25/2025

o o IARD 4650V / ARCH 402H / ARDS 60203 PREMIUMIZATION, SUSTAINABILITY, AND MAKING OF BESPOKE LIGHTING – PROFESSIONAL ELECTIVE FALL 2025 Fay Jones School of Architecture and Design University of Arkansas

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Phase 1 – Table Luminaire Conceptualization Students will conceptualize and develop a sculpt emphasizes narrative-driven design and material The design process begins with a conceptual narr natural systems, mathematical patterns, or scien students will intentionally sculpt meaningful form Key considerations include: Why would a consum when displayed in their space? How can the desi science?

The focus is on creative exploration, form develo readiness, resulting in an expressive and thought

Individual Project

BUOY LIGHTS by Lucas Zito

Description:

For the Luminaire project, students will each develop a sculptural table luminaire. The project will be of small size, intended to help students learn new digital modeling techniques, test materials, and experiment with light sources.

Phase 2 – Table Luminaire Production Building on the conceptual foundation of Project ready prototype. This phase transitions the work retail, exhibition, or small-batch manufacturing. T sustainability, and brand coherence, resulting in presentation.

The project will begin with developing a conceptual narrative and hand sketching. While you could randomly assemble shapes and forms until you achieve an interesting form, successful products tell stories, and sometimes the simplest ones are the best. With your luminaire, you MUST seek inspiration from patterns and structures in math, geometry, biology, or physics. You will manually create your form in Rhino through an iterative design process.

Refinement tasks include: • Selecting materials and finishes for durabili • Optimizing 3D print files for technical accur • Detailing assembly and enhancing user inte • Adjusting lighting performance for safety a

Why would a consumer buy your luminaire design? When they display their lamp in their space, what does it say about that person and how they want to portray themselves? In the eighties, “geeks” and “nerds” were often ridiculed; now they have developed many of the things around us that have changed the way we live and work. The love of math, geometry, and science drives that passion to innovate. How can your luminaire abstractly showcase and celebrate the beauty found in those disciplines?

Phase 3 – Branding Package Students will create a complete brand identity an collateral (spec sheets, photography, promotiona focuses on refining the brand message for the fin brand presence. Students will also propose comp type—to form a cohesive luminaire collection.

Materials: • • •

Laptop with Rhino 3D and Adobe software loaded.

A variety of 3D printing resins and filaments. (Provided by instructor funded by Nuckolls Fund) Light sources with appropriate hardware. (Provided by instructor funded by Nuckolls Fund)

Parameters: •

Must: o o o o

Deliverables:

Maximum volume: 10” wide x 10” deep x 15 high.

Use an E26 Base (provided by the instructors) Be able to access the lamp for changing out for new lamps.

Integrate the hardware to fit/mount within the design.

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Possibilities: o Use more than one type of filament o o Be made of a single print or of multip o Use different bulb shapes and sizes ( o Be visually simple or complex.

Development Phases:

Bespoke Table Luminaire

Objective: to develop a small table luminaire by engaging in 3D design and 3D printing and exploring branding, various materials, and lighting concepts.

Avoid the light source from directly t Be stable and not tip over easily.

1/3 scale test prints The luminaire is completed.

Branding Package/Brochure (instructor will p  Format – size of your choice

Park & Tucci - 11/25/2025

Park & Tucci - 11/25/2025

touching the plastic diffuser.

or resin. ple pieces/parts that are assembled. (must have an E26 Base).

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tural table lamp as a functional artwork. This phase l experimentation using 3D modeling tools such as Rhino. rative and hand-drawn sketches, drawing inspiration from ntific structures. Rather than forming shapes at random, ms that convey a story, value, or personal design language. mer buy your luminaire? What would it say about them ign abstractly celebrate the beauty of math, geometry, and

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opment, and prototyping without the pressure of markett-provoking lighting object.

t 1, students will refine their table lamp into a productionk from expressive art to a fully realized item suitable for This stage integrates production feasibility, user appeal, a professional-grade lighting product ready for public

ity and manufacturability racy eraction and compatibility

 Double-sided (facing pages)  PDF FILE. o Includes the following:  Name and Logo for the luminaire.  Design process images.  Concept narrative – the “COPY”.  Hero shot.  Close-up, detailed shot.  A diagrammatic section with dimensions.  Packaging design.  Additional images.

Process Appendix o Create a digital appendix for your branding brochure that provides an in-depth overview of the design process for your luminaire. Include early sketches, 1/3 scale prints, failures, and any other materials that illustrate the design journey. o The appendix should match the size and format of your branding brochure, but will be provided as a separate PDF file.

Completed Pricing Sheet Final semester Exhibition – Tuesday, December 9th, 12:45 PM – 2:45 PM (setup will occur earlier in the day) o Final working luminaire. o 8.5”x11” One-sided project flyer to be mounted or placed next to your luminaire.  Name of luminaire.  Your name.  Text description.  Visual or text dimensions.  Quality 3D line drawing of luminaire.  Add anything else you would like to the flyer. o Refined package design - physical prototype.

Schedule for Deliverables: see course schedule. Additional details on daily deliverables will be assigned during class time.

nd launch package, including packaging design, marketing al graphics), and a presentation pitch deck. This stage nal production design and positioning it within a broader plementary designs—such as variations in size or fixture

provide InDesign Template) 3

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Park & Tucci 8/19/25

Course Schedule

IARD 4650V / ARCH 402H / ARDS 60203 – PREMIUMIZATION, SUSTAINABILITY, AND MAKING OF BESPOKE LIGHTING – Fall 2025 Interior Architecture and Design Fay Jones School of Architecture and Design University of Arkansas

SCHEDULE _V1

Schedule is subject to change.

All Class Sessions Will Be Delivered on Campus, in person.

Tuesdays 2:00 PM – 4:45 PM – Vol Walker 210

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Week

Date

Week 1

Aug 19 (Tues)

Week 2

August 26 (Tues)

Week 3

Sept 2 (Tues)

Lesson

Assignment Given (Due Next Class Period)

• Review Syllabus • Introduce Project 1 • Hand out light sources and hardware.

• Develop narrative and sketches (in-class).

• 3D model of the light source and hardware in Rhino, and model the build volume box of both Printers • Refine narrative (Word) and produce more 2D sketches (Scanned or Captured Images; PDF) and produce quick 3D Rhino sketches.

• LinkedIn Certificate: Rhino: From Curves to Surfaces 3.5Hours • YouTube – Introduction to SUB-D Modeling in Rhino

• Review updated work.

• Option: Using Grasshopper for patterns and surface textures, not for form and entire shape.

• Reading: Untangling Grasshopper

• Final draft narrative (Word) and additional 2D sketches (Scanned or Captured Images; PDF).

• If you use Grasshopper: Submit a) Flow chart of the Grasshopper code (Captured images; PDF) and b) Output in Model view (Captured images; PDF).

• Review pattern experimentations.

• Lesson: Preparing SLA 3D Printing • Begin modeling the “final” iteration of the Luminaire.

• Final narrative (Word) and additional 2D sketches (Scanned or Captured Images; PDF).

• Make progress on Project 1.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF)

INTD-201 8/19/25

Week

Date

Due

Week 4

Sept 9 (Tues)

Week 5

Sept 16 (Tues)Field Trip Week

Week 6

Sept 23 (Tues)

Week 7

Sep 30 (Tues)

Lesson

Assignment Given (Due Next Class Period)

• Review progress.

• Make progress on Project 1.

• 3D Print 1/3 scale piece.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF)

• Field Trip Week – (maybe no class)

• Refine your work

• Lesson: Branding the first product • Review first drafts of branding.

• Develop branding for your Project 1 (Template; PDF) • Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Refine branding for Project 1 • Complete 3D model of Luminaire.

• Complete Product Branding package (Reference 1, 2, 3, 4; PDF).

• Review Final Project 1 Prototype and Branding Identity.

• Begin 3D printing final work.

• Introduce Project 2 • Review narrative, sketches, and precedent.

• Develop a conceptual narrative (Word) and produce sketches or conceptual images (Scanned or Captured Images; PDF).

• Find Precedent (picture, captured image, anything but meaningful; PDF).

• Refine narrative (Word) and produce more 2D sketches (Scanned or Captured Images; PDF) and produce quick 3D Rhino sketches.

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INTD-201 8/19/25

Week

6

Date

Due

Week 8

Oct 7 (Tues)

Week 9

Oct 14 (Tues)

Week 10

Oct 21 (Tues)

Week 11

Oct 28 (Tues)

Week 12

Nov 4 (Tues)

Lesson

Assignment Given (Due Next Class Period)

• Review updated work.

• Experiment with creating patterns and surface textures using Grasshopper.

• If you use Grasshopper: Submit a) Flow chart of the Grasshopper code (Captured images; PDF) and b) Output in Model view (Captured images; PDF).

• Develop Project 2 design.

• Final draft narrative (Word) and produce more 2D sketches (Scanned or Captured Images; PDF) and produce quick 3D Rhino sketches.

• FALL BREAK – No Class

• Begin test prints, 1/3 scale.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Review updated work.

• Review the latest iteration.

• Develop Project 2 design.

• Refine Project 2 design.

• Final narrative (Word) and produce more 2D sketches (Scanned or Captured Images; PDF) and produce quick 3D Rhino sketches.

• Review updated work.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Review updated work.

• Complete Luminaire Design (in Rhino) • Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Begin 3D printing the final Luminaire.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

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INTD-201 8/19/25

Week

Date

Due

Week 13

Nov 11 (Tues)

Week 14

Nov 18 (Tues)

Week 15

Nov 25 (Tues)

Week 16

Dec 2 (Tues)

Dec TBA

Lesson

Assignment Given (Due Next Class Period)

• Review updated work.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Review updated work.

• Complete Luminaire Design (in Rhino) • Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Begin 3D printing the final Luminaire.

• Records of 3D Printing Progress (picture, captured image, anything but meaningful; PDF).

• Lesson: Package, Delivery, and UX. • Review Branding and Identity work.

• Refine Branding Package.

• Continue to refine work.

• Refine Branding Package.

• Continue to refine work.

• Find Precedent (picture, collage, inspiration, captured image, anything but meaningful; PDF).

• Develop a conceptual narrative (Word) and produce sketches or conceptual images (Scanned or Captured Images; PDF).

• Records of 3D printing and Branding Progress (picture, captured image, anything but meaningful; PDF).

• Build your product packages for your products

• Last Day of Classes • Review Project 2 Deliverables

• Continue to refine work.

• Records of 3D printing and Branding Progress (picture, captured image, anything but meaningful; PDF).

• Build your product packages for your products • Complete presentation work and 3D printed Luminaire.

• Exhibition Day in Vol Walker

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Custom Glow: Empowering Students to Design and 3D Print Unique Bespoke Lighting Jake Tucci, Assistant Professor in Interior Architecture and Design, Fay Jones School of Architecture, University of Arkansas, Fayetteville Jinoh Park, Assistant Professor in Interior Architecture and Design, Fay Jones School of Architecture, University of Arkansas, Fayetteville ABSTRACT This paper discusses the potential for 3D printing in decorative lighting, emphasizing sustainability, bespoke aesthetics, and customization efficiency.

Furthermore, it describes an innovative educational initiative funded by the 2024 Nuckolls Fund for Lighting Education, which enables students to design and manufacture market-ready 3D-printed luminaires. This initiative emphasizes the reciprocal relationship between tools and their human users, enabling students to explore how tools influence design thinking and outcomes. 3D printing is both a tool and a process under this initiative. This paper examines the evolving role of tools in equipping the next generation of designers for the challenges of the future through this lens.

Introduction The lighting industry is experiencing a transformation driven by advances in 3D printing technology. Between 2024 and 2028, the decorative lighting market is expected to grow by USD 8.65 billion. The growth can be attributed to new lighting product designs catering to the premium market, as well as increasing global awareness of sustainability1. As an alternative to traditional manufacturing methods, 3D printing offers unparalleled opportunities for creating bespoke designs while addressing environmental concerns. We examine how 3D printing disrupts the decorative lighting market and its application within a design education context, enabling students to develop innovative, market-ready lighting solutions. Embracing 3D printing as both a tool and a methodology aligns this initiative with the broader theme of exploring the reciprocal relationship between tools and their human users.

Fig 1. Student Sculptural Table Luminaire.

3D Printing: A Tool of the Trade Disrupting the Lighting Industry Sustainability and Energy Conservation By reducing material waste and energy consumption, 3D printing minimizes the environmental impact of lighting production. As an alternative to energy-intensive bespoke glasswork, it contributes to global sustainability initiatives. If traditional production methods were used instead of 3D printing technology, a glass-blowing facility would require the use of a glass melting furnace that pumps out 84 cubic feet of CO2 gas per hour for 24 hours and a reheat oven that pumps out 100 cubic feet of CO2 gas per hour. Compared to this, 3D printers are estimated to generate 0.11-0.65 cubic feet of CO2 gas per hour when the power is supplied and in the standby state, and 0.21-10.96 cubic feet per hour when printing2.

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Aesthetics and Bespoke Forms

In a realm where art meets innovation, designers can create unique, intricate forms that were previously unattainable using conventional methods. With ceramic-like finishes and digitally crafted aesthetics, decorative lighting design is being pushed to new boundaries. The additive nature of the 3D printing process enables designers to utilize visual layering, variations in material thickness, and the creation of internal voids—features that are not typically achievable with traditional glass and plastic manufacturing methods. This expands creative opportunities for manipulating lighting through the use of different materials and forms. The strategic application of these 3D printable variables influences the sharpness of internal shadow play, the intensity of light transmitted through the material, and the lighting caustics cast on the interior surfaces.

funding from the 2024 Nuckolls Fund for Lighting Education, this project aims to integrate technical, aesthetic, and business elements into lighting design education by developing a new elective course. The course focuses on premiumization and sustainability in branding and decorative luminaire design using 3D-printed components. This course expanded on two existing lighting courses offered by the Fay Jones School of Architecture and Design.

While the current courses primarily address architectural lighting systems, this new course specifically targets the decorative lighting market and offers a comprehensive understanding of designing 3D-printed luminaires for consumers. By the end of the semester, students were guided to create functional, market-ready luminaires.

Customization and Efficiency Rapid prototyping and rapid manufacturing are made possible by 3D printing, allowing designers to iterate and tailor solutions to specific requirements quickly. 3D printing allows for exploring innovative solutions to design challenges that traditional manufacturing methods cannot address in a costeffective or timely manner. For bespoke designers, the digital nature of the generative design process using 3D modeling software allows them to select a specific luminaire design and digitally create various sizes and proportional adjustments. This enables the development of a collection of pieces with a quick turnaround. Furthermore, the technology offers benefits such as weight savings and enhanced durability, making it an efficient and versatile tool for decorative lighting design.

Empowering Students to Create Bespoke Lighting Project Initiation Jinoh Park and Jake Tucci collaborated on this project to leverage their expertise in design, lighting education, and 3D printing. They both share a passion for lighting and 3D printing. With

Fig 2. Informal Pin-up3.

Pedagogical Approach This course used a multidisciplinary approach aligned with the theme of tool-mediated design thinking: 1) the design process involves students in a comprehensive design journey that explores the interplay between tools and creativity from ideation to final product; 2) the curriculum emphasizes the role of tools in market-driven innovation by integrating entrepreneurial aspects, such as branding and market strategies; 3) an emphasis is placed on acquiring technical proficiency in 3D printing so that complex designs can be realized, as well as reflection on how the tool shapes design possibilities.

In the Fall of 2024, there were 16 students, including Interior Architecture and architecture students, and one graduate student. This

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experience allowed students to master emerging 3D printing technology in luminaire design while advocating eco-friendly manufacturing methods that lower carbon emissions. Students in this course learned the technical aspects of creating custom 3D-printed lighting and how to overcome challenges that come with the rapid prototyping process, where failure is common. Local lighting representatives from Sesco Lighting gave a lecture on the role of 3D printing in the lighting industry and provided light samples. With support from the Nuckolls Fund, students had dedicated access to six new rapid machines (three DLP resin printers and three high-speed filament-based printers) and a range of bio-based resins and filaments. Students were trained in 3D modeling techniques, designing luminaire components, considering tool limitations, managing slicing applications, and operating machines, and testing the resiliency of both the tools and the students. The low ratio of 2.6 students per printer allowed students to design and prototype at a rapid pace, less hindered by waiting for printer availability. This was a huge advantage to the students as they had increased freedom to change the design, modify light source attachment points, test the light quality, and much more.

The curriculum included two main projects. The first project accounted for one-third of the semester, while the second project covered twothirds of the semester. The first project involved creating a small sculptural table luminaire. Each student received the necessary lighting hardware, which was compatible with an E26-style lamp base, to support their designs. The second project was a wall-mounted luminaire of greater size and complexity where the students would choose their light source and make their own electrical connections. The lower complexity of the first project acted as an introductory project whereas the second increased in complexity providing a greater technical challenge for the students. Each project consisted of an initial ideation phase of sketching and modeling in Rhino3D, small-scale prototyping, full-scale prototyping, and branding development.

3D-Printed Results Sculptural Table Luminaire Students drew inspiration from patterns and structures found in mathematics, geometry, biology, and physics. They were tasked with designing table luminaires that balanced form and function. An E26 base, provided by the instructors, had to be incorporated into the design. The design specifications required the luminaires to be no wider than 10 inches, no deeper than 10 inches, and no taller than 15 inches. They needed to consider the machine's build volumes against options to create smaller objects, strategically hide seams, or celebrate them. For many students, limitations of the tool affected the physical forms they designed, leading them to incorporate undulations, angles, or reveals to hide seams.

Fig 3. 1/3 scale mock-up review & Soldering Demonstration.

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or a modern George Nelson pendant. The design could consist of a single fixture or an installation within the 34” x 34” wall area limit, protruding a maximum of 4” from the wall. With guidance from the instructors, students selected the type of LED light source and power supply and then performed the correct wiring for the luminaire.

Fig 4. Sculptural Table Luminaires3.

Students who used the DLP resin machines utilized the same resin as an adhesive, applying it with a UV flashlight to bond parts together and sand the resin to achieve a matte glass finish. The luminaires should allow for easy lamp replacement, securely integrate the necessary hardware, and maintain stability to prevent tipping over. Students achieved ceramic-like finish and unique geometry demonstrating the capabilities of 3D printing for bespoke lighting. Iterative exploration of design possibilities is demonstrated in these projects.

Fig 5. Sculptural Wall Luminaires.

Exhibitions

Sculptural Wall Luminaire

Fay Jones School of Architecture and Design

Students applied what they learned from the first project to blend aesthetics and practicality with wall-mounted luminaires to create bespoke lighting solutions tailored to specific interior environments, lightweight, durable materials were used, demonstrating how tools facilitate the design process. Their task was to design a luminaire that is as much a piece of art as it is a light source – something that draws the attention of the viewer, like an elaborately crafted French glass chandelier

A school-wide exhibition highlighting student achievements and the role of tools in the creative process took place at the end of the Fall 2024 semester.

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and streamlining production processes. By demonstrating the synergy between design education and industry advancements, the project demonstrates how tools affect not only outcomes but also design thinking and problem-solving techniques. Designed to foster technical and entrepreneurial skills, this initiative is in line with the conference theme, preparing future designers to navigate and innovate in an increasingly complex design environment.

Fig 6. School Exhibition.

Stockholm Furniture Fair 2025 (Feb. 4-8, 2025) Participating in an international design forum during Stockholm Design Week underscored the global importance of tool-mediated design, particularly in showcasing student-made table luminaires.

Throughout this design journey, students were enthusiastic, highly motivated, and productive.

The instructors credit this to the tangibleness of the real-world project, the high-level accessibility of the tools given to the students, and the joy of light. Lessons learned included: students need significant instruction to a digital model for 3D printing; detailed procedures are needed to clean and maintain the tools; and efficient workflow pacing is required to guarantee student success.

Jinoh and Jake plan to run the course for the second time in Fall 2025, implementing lessons learned. Once the grant funding phase is over, the six 3D printers will be made available for other development opportunities in elective and studiobased courses continuing the mission of integrating 3D printing into tool-mediated design thinking.

Fig 7. Stockholm Furniture Fair Wall Display.

International Contemporary Furniture Fair (ICFF) 2025 (May 18-20, 2025) Displaying sculptural wall luminaries at the International Contemporary Furniture Fair in New York City, emphasizing the interplay between tools, creativity, and professional impact.

Conclusions It is anticipated that 3D printing will revolutionize the decorative lighting industry by addressing sustainability issues, enabling bespoke designs,

Fig 8. Students sharing their work at the School Exhibition.

Acknowledgment

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This project was made possible through funding from the Nuckolls Fund for Lighting Education, with additional support from the Fay Jones School of Architecture and Design and the Department of Interior Architecture and Design. The authors are grateful for the resources and opportunities provided by these organizations to advance lighting design education.

End Notes 1. “Decorative Lighting Market Analysis APAC, Europe, North America, South America, Middle East and Africa China, US, Germany, Japan, UK - Size and Forecast 2024-2028,” Technavio, May 2024, https://www.technavio.com/report/decorativelighting-market-size-industry-analysis.

2. Elbadawi, M., Basit, A., & Gaisford, S., “Energy consumption and carbon footprint of 3D printing in pharmaceutical manufacture”, International Journal of Pharmaceutics, 639, May 25, 2023, https://doi.org/10.1016/j.ijpharm.2023.122926.

3. Ferkel, Tara. 2024. “Interior Architecture Faculty Develop Advanced Lighting Course With $30,000 Nuckolls Grant | University of Arkansas.” University of Arkansas. November 5, 2024. https://news.uark.edu/articles/72762/interiorarchitecture-faculty-develop-advanced-lighting-coursewith-30-000-nuckolls-grant.

Bibliography “Decorative Lighting Market Analysis APAC, Europe, North America, South America, Middle East and Africa - China, US, Germany, Japan, UK - Size and Forecast 2024-2028,” Technavio, May 2024, https://www.technavio.com/report/decorativelighting-market-size-industry-analysis.

Elbadawi, M., Basit, A., & Gaisford, S., “Energy consumption and carbon footprint of 3D printing in pharmaceutical manufacture”, International Journal of Pharmaceutics, 639, May 25, 2023, https://doi.org/10.1016/j.ijpharm.2023.122926.

Weitekamp, Raymond, “Why 3D Printing Is a Critical Part of the Battle Against Climate Change,” PolySpectra, Jan 9, 2019, https://polyspectra.com/blog/why-3d-printing-isa-critical.

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Abbey Panneck

Abig a il Panneck Port foli o 14

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Summary of semester project...

This bespoke lighting project explores the fusion of iterative digital modeling and 3D printing to create a luminaire rooted in the biomimicry of carnivorous plants. Inspired specifically by the Sundew (Drosera), the design draws on the plant’s natural strategy of luring, capturing, and containing its prey through form and function.

The Drosera attracts insects with sweet-scented droplets before folding inward to trap them and digesting with the very dew that attracted them, the lamp’s form evolves around the importance of this action, elevating the dew bulbs from decorative detail to conceptual and structural driver. Through continuous digital and physical iteration, these bulbs transform into sculpted funnels that lock the interior and exterior shades together, channel light through their forms, and give the luminaire its vertical poise.

The result is a lighting piece that echoes the quiet drama of its biological inspiration - capturing and holding light with the same entrancing effectiveness that the Sundew uses to lure its prey, ultimately drawing viewers in as if they were part of the plant’s ecosystem all along.

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Initial Concept Narrative and Sketches - OCEANIC BIOMIMICRY This lamp series draws on oceanic biomimicry, channeling the fluid motion, structural intelligence, and luminous behaviors of marine organisms.

SKETCH 01

SKETCH 02

SKETCH 03

SKETCH 04

SKETCH 05

SKETCH 06

SKETCH 07

SKETCH 08

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Initial Concept Narrative and Sketches Cont. - OCEANIC BIOMIMICRY By translating the sea’s adaptive forms into functional sculpture, each piece captures the quiet glow and living dynamism of the underwater world.

SKETCH 09

SKETCH 10

SKETCH 11

SKETCH 12

SKETCH 13

SKETCH 14

SKETCH 15

SKETCH 16

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Initial Concept Narrative and Sketches Cont. - CARNIVOROUS PLANT BIOMIMICRY This lamp collection uses carnivorous plant biomimicry to capture the tension between allure and entrapment, echoing the way these plants attract and hold their prey. By translating their sculptural structures and light-catching mechanisms into functional design, each piece becomes a luminous object that houses light as if it were an insect.

SKETCH 01

SKETCH 02

SKETCH 03

SKETCH 04

SKETCH 05

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SKETCH 07

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Final Luminaire Concept Narrative, Sketches, and Rendering Using digital modeling, this lamp series draws inspiration from the Sundew (Drosera), transforming the plant’s alluring mechanisms into its structural and functional core. The dewy bulbs and delicate stems evolve into sculpted funnels that channel and suspend both light and attention, while the surrounding shade softly diffuses any direct illumination from the viewer.

SKETCH 09 - CHOSEN SKETCH

STEP 1 - SUB-D SPHERE AND BASE CREATED

STEP 2 - ELEMENTS SUBTRACTED FROM OUTER SHADE

STEP 3 - EDGES OF SHADE MANIPULATED TO MIMIC FOLDING OF PLANT

ITERATION OF STEP 3

STEP 4 - LIGHT FUNNELS ADDED TO MIMIC DEW DROPS

STEP 5 - LIGHT FUNNELS PERMEATE INNER SHADE + OUTER SHADE

STEP 6 - BASE REMOVED, FUNNELS BECOME FULL STRUCTURAL CONCEPT

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Rendering

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Records of 3D Printing Progress Here we highlight the printing process, where digital design and physical adaptation work in tandem. These prints reveal an evolving understanding of printer capabilities, structural behavior, and design intent.

FIRST FILAMENT PRINT

FIRST RESIN PRINT

EXPLORATION OF SHADE + SUPPORTS

FIRST SUCCESSFUL 1/3 SCALE PRINT

FIRST SUCCESSFUL PRINT 1/3 SCALE FROM ABOVE

FIRST FULL SCALE PRINT ATTEMPT

FIRST FULL SCALE PRINT ATTEMPT

FIRST FULL SCALE PRINT ATTEMPT

21

7

22

8

Product Branding Package (1/4)

23

9

Product Branding Package (2/4)

MISSION STATEMENT:

TO TRANSFORM LIGHT INTO A SCULPTURAL EXPERIENCE BY REIMAGINING THE ELEGANT MECHANICS OF THE SUNDEW PLANT. THE LAMP INVITES VIEWERS INTO A WORLD WHERE NATURE’S QUIET DRAMA MEETS INTENTIONAL DESIGN.

WHO IT’S FOR:

CREATED FOR ARTISTS, DESIGNERS, AND COLLECTORS WHO VALUE OBJECTS THAT BLUR THE LINE BETWEEN FUNCTION AND ART - PIECES THAT SPARK CURIOSITY, CONVERSATION, AND EMOTIONAL CONNECTION.

WHY IT EXISTS:

BORN IN FASCINATION WITH THE DROSERAS ABILITY TO LURE AND CAPTURE, THIS LAMP EXISTS TO REINTERPRET THAT TENSION IN LIGHT. IT TRAPS ILLUMINATION WITHIN IT’S FORM WHILE SIMULTANEOUSLY DRAWING THE VIEWER CLOSER, CREATING AN EXPERIENCE THAT IS BOTH POETIC AND TACTILE.

24

10

Product Branding Package (3/4)

TITLE:

ANTHY DEMO EXTRA BOLD TAGLINE + TEXT: HAETTENSCHWEILER, REGULAR

25

11

Product Branding Package (4/4)

DROSERA

LURE STUDIOS

26

12

Physical Package Mockup

INITIAL BOX DESIGN DIGITAL MOCKUP 27

13

Physical Package Mockup

BOX DESIGN FINAL DIGITAL MOCKUP 28

14

Physical Package

PHYSICAL MOCKUP OF PACKAGE DESIGN 29

15

Ann-Elizabeth R Williams CONTENTS

01 What I learned from...

02 Product Development

10 Branding Package

*. There is no restriction on academic use of the contents of this book. © The copyright of design outcomes contained in this book belongs to the student.

30 2

1

What I learned from...

Process of Table Ligh�ng Design - The process of designing this table luminaire began with sketching elements of nature which we found inspiring. I began with pa�erns with dimension and texture... things such as owing water, tree bark, and drops of dew. When it came to modeling in Rhino, however, I found myself stuck when it came to replica�ng these textures. So, I began modeling by altering the form of several SubD cylinders in Rhino. One of these forms resembled a mushroom, and from then on, the concept which drove my luminaire project was the form of a sprou�ng mushroom.

Series of Product and Business Branding Packages - Because of the driving concept being mushroom sprouts, the chosen colors are also informed by the many naturally occuring hues of mushrooms and their surroundings, including brown, orange, red, and green. I wanted the to packaging to stay true to the simplicity of the lamp’s form, which is why I elected to package the product in a simple, cardboard-brown cylindrical box. The packaging is embellished with a rendered image of the luminaire when lit, along with playful and whimsical fonts to further drive home the lighthearted playfulness of the design.

Process of Package and Exhibi�on prepara�on - Within the packaging, I elected to include styrofoam blocks which have been carved to cradle the lamp and eliminate the possibility of the luminaire moving around during transport and ge�ng damaged.

Series of Process Book Making - Making the process book was admi�edly a last-minute effort, as design adjustments late in the process pushed back the results of the nal product to the very end of the project �meline. In order to represent the project accurately, adjustments to the process book and product packaging were delayed up un�l the day before exhibi�on.

Overall - Overall, this was an incredibly educa�ve experience. Before this semester, I had absolutely no prior knowledge or experience with 3D prin�ng... So I feel very fortunate and proud to have learned as much as I did through this process, and hope to con�nue 3D prin�ng in the future and even possibly aquire a 3D printer of my own!

If you could talk to you before the beginning of the semester, what would you like to share with you?

- I would tell myself to commit to the design early on, and to stray from last-minute adjustments (which I unfortunately did, bringing on new challenges for myself very late in the semester). I woud also tell myself that failure is an instrumental part of the process and not to be in�midated by the unfamiliarity of 3D prin�ng. I would be sure to express how much I would learn through modeling in Rhino and the trial and error of both resin and lament prin�ng.

31 1

IniƟal Concept NarraƟve and Sketches

Following the accidental creaƟon of a warped cylinder which ended up resembing a mushroom in Rhino, the concept was shiŌed from abstract textures to the form of fungi.

32 2

Rened Concept NarraƟve and Sketches

First EdiƟon

Final EdiƟon

33 3

Final Luminaire Concept NarraƟve, Sketches, and Rendering With the mushroom concept locked in, I explored subtle changes in the raƟo of sizes and the relaƟonship of the top and boƩom porƟons of the design. I came to nd that small tweaks in the forms altered the overall appearance of the xture a considerable amount.

34 4

35 5

Records of 3D PrinƟng Progress The 3D PrinƟng process was a massive learning curve, involving many failed prints and design iteraƟon. I found that smaller, thinner geometries were lower maintenance and less laikely to fail, especially in the resin printer.

Filament printer failure

First scale model - resin printer

Second scale model - imperfecƟons

Second scale model

IteraƟon with shorter boƩom piece

IteraƟon using lament printer

Resin print failure

Resin print failure - higher curing Ɵme was needed

36 6

Picture of 3D Printed Your Project 1

37 7

Product VariaƟons Mockup

38 8

Picture of Physical Package

Product Packaging Mockup

39 9

CONTENTS

Brandi Meredith

01 What I learned from...

02 Product Development

8 Branding Package

12 Final Business Branding Package with products

OPTION ONE

OPTION TWO

Brand i Meredith Port foli o *. There is no restriction on academic use of the contents of this book. © The 40copyright of design outcomes contained in this book belongs to the student.

2

1

What I learned from...

Process of Table Lighting Design Through designing my table light, I learned that even the simplest of forms can be extremely compelling and beautiful. It is difficult to design something on the simpler side and be happy with it sometimes. This process has shown me that it’s okay for designs to be less complicated, as long as they are done well.

Series of Product and Business Branding Packages As someone who currently is working in the graphic design field, the branding package came pretty naturally. I have learned that the two design fields I am working in are extremely similar in that regard, when it comes to branding a product vs branding sports like I do for the Razorbacks. It’s decently easy to translate between the two.

Process of Package and Exhibition preparation Making packaging was really difficult, but only because I was set on having a hexagonal box. Instead of buying a box, I was forced to cut my own. It was really tedious, but I would go back and do it again as it turned out extremely well. This process was a lot of trial and error, which taught me more patience than anything I’ve done in the rest of the class.

Series of Process Book Making Making the books is important because is keeps a record of everything you’ve done in one place. While it can be a long task, its good to have all the information about what you’ve done in a class in one place. I have learned to document more because of it, as well as organize said documentation.

Overall This class was my first production based class. It was a really unique experience and I would recommend everyone take it or something similar. I have learned a lot more about branding, 3D printing, and design as a whole from it.

If you could talk to you before the beginning of the semester, what would you like to share with you?

I would tell myself to not get so caught up in the intricate designs. What works will work. It’s much easier to refine products after testing them than it is to do it digitally. Also, print bases for the light socket earlier, as it was the most difficult part of printing for me.

41

1

Initial Concept Narrative and Sketches We were initally told to sketch by drawwing inspiration from natural systems, mathematical patterns, or scientific structures. I went ahead a sketched designs based on all three options, narrowing it down later in the process.

Natural System: Laceleaf

Natural System: Sand Dunes

Scientific Structure: Bubble Raft

Mathematical Pattern: Snowflake Branching

Natural System: Sea Anenome

Mathematical Pattern: Crystals

Natural System: Mushrooms

Mathmatical Pattern: Honeycomb

2

42

Final Draft Concept Narrative and Sketches With initial sketching completed, I began modeling out things that intrigued me the most. After a while, I found that I was overcomplicating my models, and eventually started focusing on the honeycomb and, more specifically, hexagons. These are my first three models.

Stacked hexagons

Top View of Stacked Hexagons

Eucalyptus

Top View of Eucalyptus

Pineapple

Top View of Pineapple

43

3

Final Luminaire Concept Narrative, Sketches, and Rendersing After the test printing, I settled on the one concept of the hexagon being skewed into a new form, nearly unrecognizable. It resonated with me the most, as well as my colleagues and professors. People were drawn to the simplicity of it. This is the collection of all the hexagon models I did, including my chosen option and its runner-up.

Hexagons on a circular revolve, then stretched vertically

Linear honeycomb pattern

Twisted hexagon, then mirrored

Twisted vertically

Twisted vertically, then stacked

Offset honeycomb pattern

Hexagons on a circular revolve (SECOND OPTION)

Twisted vertically, then stretched (CHOSEN ITERATION)

4

44

45

5

Records of 3D Printing Progress Weeks of trial and error, and issues with the resin printers, lead me to make the switch to filament printing. This ultimately gave me more freedom to design, especially the with the specific infills, and also saved me a lot of time and effort. I learned a lot about 3D printing during this semester, which allowed me to develop to the outcome I initially pictured.

Third scale model, unlit

Third scale ,odel, lit

Original full scale model (resin printed), unlit

Original full scale model (resin printed), lit

Failed print, resin

Base Testing

Full scale print, Bone White Filament, lit

Full scale print, Matte White Filament, lit

6

46

47

7

Product Branding Package (1/2)

8

48

49

9

Product Branding Package (2/2)

10

50

Physical Package

Caption 51

11

12

52

53

13

14

54

55

15

16

56

57

17

18

58

59

19

20

60

61

21

22

62

63

23

24

64

65

25

Caroline Rose Normand

Caroline Normand Lighting Portfolio

66

1

What I learned from...

Process of Table Lighting Design I researched different lighting forms, sketched ideas, and tested materials and brightness levels. Through prototyping and refinement, I created a table light that balances function and aesthetics.

Process of Wall Sconce Lighting I explored how light interacts with walls, experimenting with angles, shadows, and mounting methods. Iterations helped me refine the form and light distribution for a clean, effective wall sconce.

Series of Product and Business Branding Packages I developed a cohesive brand system with logos, colors, typography, and mockups.

Each package builds on the last to show a polished and consistent identity across my lighting products.

Process of Package and Exhibition Preparation I designed packaging that communicates the brand while protecting the product.

For the exhibition, I planned the layout and displays to clearly present my design story and final work.

Series of Process Book Making I organized my research, sketches, models, and final images into process books.

The goal was clear storytelling, clean layouts, and documenting how each project developed.

Overall This semester taught me how to take ideas from concept to final presentation, improving my skills in lighting design, branding, packaging, and exhibition planning.

If you could talk to yourself before the semester, what would you say?

I’d tell myself to trust the process, stay organized, and experiment more. Everything comes together with time, practice, and openness to feedback.

67

1

Initial Concept Narrative and Sketches These represent my initial concept sketches for the lamp, exploring form and early design ideas.

68

2

Refined Concept Narrative and Sketches After extensive sketching, I narrowed the concepts and refined them into these five final options.

69

3

Final Draft Concept Narrative and Sketches I kept returning to these sketches throughout the process.

4

70

Section of Lamp 1

2

3

1. Lamp Shade

2. Stand

3. Lightbulb

5

71

Final Luminaire Concept Narrative, Sketches, and Rendersing These 3D drawings stood out to me, so I chose to develop them further.

6

72

Rendering

7

73

Records of 3D Printing Progress Some test runs of my 3D process.

8

74

Picture of 3D Printed Your Project 1

9

75

76

10

77

11

78

12

79

80

14

81

15

82

16

83

Gav

in M

cWe

thy

O R T E M

Gavin McWethy 84

85

O R T E M

METRO: short for Metropolis

METROPOLIS: a very large and densely populated industrial and commercial city

The Metro Lamp, named after the word metropolis, draws its form and meaning from the language of urbanism and density. Its stacked layers and geometric divots echo the rhythm of a growing city, block by block, level by level, capturing the continuous vertical and horizontal expansion of dense urban environments. Each tier suggests a new stage of development, while the repeating grid creates a visual metaphor for how cities evolve, intensify, and accumulate over time. Through its architectural silhouette, the Metro Lamp transforms the complexity of metropolitan growth into an illuminated object that celebrates structure, repetition, and the beauty of contemporary urban density.

86

87

Lamp includes metro Lamp bulb base bulb socket power cord

88

Lamp specifications Height: 8 1/2" Width: 6 1/2" Length: 6 1/2"

Bulb type led a19 60w, 8.5w

Material

plant-based resin 2.0 white

89

Haley Czeschin

H aley Czeschin Po r t fo l io 90

What I learned from...

Process of Table Lighting Design - The project began with the challenge of translating a celestial idea into a functional grounded object. I worked from the concept of black holes and solar eclipses, shaping it through the practical boundaries of FDM printing. Matte White PLA became the core material, and much of the process centered on testing print depths to manipulate opacity. The most demanding technical moment was developing the lamp kit mechanism, which allowed the form to remain uninterrupted by visible hardware. This hidden mechanism became central to preserving the purity of the silhouette.

Series of Product and Business Branding Packages - Building the NOVA brand meant creating a voice that felt both technical and poetic so that it reflected the dual identity of the lamp. I established five guiding values: sculptural, ethereal, celestial, craft, and design for wonder. These shaped the visual and verbal language. Clean typography and high-constracting photograph created a quiet, minimal framing that allowed the lamp’s presence to lead. Through this work, the piece became more than an object. It solidified inot an experience meant to shape the mood of an interior.

Process of Package and Exhibition preparation - The exhibition strategy aimed to guide the viewer from concept to precision. Layouts began with the origins of the design and moved toward the technical realities of dimensions, materials, and mechanical solutions. Technicla drawings are paried with perspectives and renderings to underscore that the lamp exists together as engineering and art.

Series of Process Book Making - The process book served as the connective tissue between ideation and final product. It documented the progression of form, the development of the “creases”, and the experiments in light diffusion that shaped the final effect. It became a record of transformation: how a standard lamp kit evolved inot a cohesive, intentional design through iteration, testing, and refinement.

Overall - This semester was ultimately a study in tension. Between light and shadow, abstraction and fabrication, ambition and limitation. While th elamp explores the balace between illumination and void, the design process asked me to balance a poetic vision with the constraints of 3D printing. The final piece feels natural and atmospheric rather than manufactured, demostrating how FDM technology can produce work that stands confidently in a gallery context when its hidden details are carefully resolved.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- I would say, trust the concept. The technicla solutions will emerge as extensions of the story you’re trying to tell. Don’t be intimidated by the mechanical challenges. Spend more time early on refining the narrative because once you understand the reason the light needs to look the way it does, the fabircation choices fall into place naturally.

91

Initial Concept Narrative and Sketches The initial concept for the lamp emerged from a fascination with solar eclipses and black holes. I viewed these phenomena as a dynamic conversation between light and void, highlighting how the absence of light can be just as compelling as its presence. The design aim was to compress the slow, celestial choreography of an eclipse into a permanent sculptural object. Ultimately, the piece explores the idea that light is often more profound when it is partially obscured—finding beauty at the edge of darkness.

Solar Eclipse Phenomena

Black Hole Sketches

Light Ring Sketch

Iteration 1

Iteration 1

Iteration 1

92

Refined Concept Narrative and Sketches Moving into the next phase of concept development, I focused on physical interventions that could disrupt the light source. Since the core inspiration was the ‘absence of light,’ I investigated geometries that would not just transmit illumination, but actively block or dissipate it. This exploration led to the development of the rings—layered bands designed to trap light and create depth through varying levels of opacity.

Solar Eclipe

Iteration 2

Iteration 3

Abstract Eclipse

Exploration

Exploration

Black Hole

Iteration 4 93

Final Draft Concept Narrative and Sketches The final conceptual leap occurred during the sketching phase. I noticed that drawing concentric contour lines created the illusion of three-dimensional topography—like hills rising from a map. I translated this graphic insight into physical volume, resulting in the ‘overflowing’ spherical forms. These swells visualizes a state of dynamic tension: the light acts as an expanding force pushing outward to escape, while the material structure acts as a gravitational force, holding the volume together.

94

FInal Draft Concept Narrative and Renderings

95

Final Luminaire Concept Narrative, Sketches, and Rendering The concept culminates in a system of constraint and expansion. The glowing spheres, modeled to look like swelling volumes of pressurized light, push outward against the structure. In contrast, the rigid, concentric bands act as the restrictive force—mimicking the gravitational pull that warps space. The bands literally and visually compress the ‘bulbs,’ creating a silhouette that feels like it is constantly struggling to maintain its shape against the internal pressure of the illumination.

96

97

Records of 3D Printing Progress Initially, the fabrication strategy focused on resin (SLA) printing to achieve a smooth, monolithic surface. However, the design process revealed that the internal logic of the print was just as critical as the exterior shell. I transitioned to filament (FDM) printing because it offered granular control over internal parameters. Specifically the infill density and pattern. By manipulating these variable settings, I was able to solve diffusion challenges that resin could not address, using the internal geometry of the print to sculpt the light from within.

Complete First Full Size Print

Section of FIrst Full Size Print

First Thrid Scale Resin Print

First Third Scale Filament Print

First Lamp Kit Connection

Exploration in Lamp Connection

Testing Material Colors

98

99

Marketing Ideas

100

Marketing Ideas

101

Product Branding Package (2/2)

102

Physical Package

103

Caption

Architectural Architectural & & Interior Interior Lighting Lighting

NOVA

14

104

Designer.

Designer.

Haley Haley Czeschin Czeschin

HC Design

Concept

Drawing inspiration from the silence of space and the visual distortion of gravitational lensing, this luminaire explores the tension between light and void. The form mimics the event horizon of a black hole or the corona of a solar eclipse, where light is not merely emitted but warped and sculpted by geometry. The matte white surface acts as a canvas for this interaction; deep creases function like gravitational ripples, trapping and diffusing the illumination into a soft, nebulous glow. The lamp captures the drama of these celestial phenomena, transforming the raw physics of the cosmos into a quiet, tangible atmosphere for the interior.

105

15

DESIGNED FOR WONDER

BRAND VALUES SCULPTURAL

ETHEREAL

LESTIAL 106

16

CRAFT

Dimensions

Materials

Recommended Blub

Lamp H 12" W 9" D 8 1/2"

BAMBU Labs PLA White Matte

Soft White - 2700K T10 Bulb 800 Lumen LED

Lamp Base H 1 1/2" W 2 3/8" D 2 3/8"

Fabricated using FDM technology with Matte White PLA, the lamp‘s shell is printed as a continuous, single material volume. The unique diffusion is achieved through the geometry of the print itself; the varying depths of the crease manipulate the opacity of the material. The assembly relies on a custom-designed, 3D-printed locking ring mechanism at the abse. This threaded component secures the standard lamp kit to the shell without need for visible hardware or adhesives, maintaing the purity of the form.

Specifications The notch on inside the lamp allows the lamp kit to perfectly fit in a bayonett lock mechinism.

8 15/16"

12 5/8"

6 1/4"

1 1/2" 2 3/8"

107

17

MOTIF OTIF

Gravitational Gravitational Distortion Distortion

Geometry Geometryacting actingas asgravity gravity totowarp warpdiffusion diffusion

The TheEvent Event Horizon Horizon

The Theboundary boundarybetween betweenthe the glow glowand andthe thevoid void

Absence Absenceof of Light Light

Beauty Beautyrevealed revealedthrough throughthe the absorption absorptionofoflight light

RICING RICING

NOVA NOVA COMPOSITION: COMPOSITION: WHITE WHITEMATTE MATTE PLA PLAFILAMENT FILAMENT

O W

COLORS: COLORS:

PRICE: PRICE:

$425 $425

Priority PriorityMail MailExpress Express2-Day 2-Day+ +$72.45 $72.45 Priority PriorityMail Mail(3-4 (3-4Business BusinessDays) Days)+ +$10.50 $10.50 USPS USPSGround GroundFREE FREE

108

18

#

TYPEFACE

Dream Avenue

Title

ABCDEFGHIKLMNOPQRSTUVWXYZabcdefghijklmnopqrst wxyz1234567890123456789!@#$%^&*()

gabriel sans

Body

ABCDEFGHIKLMNOPQRSTUVWXYZabcdefghijklmnop stuvwxyz1234567890123456789!@#$%^&*()

COLORS

Orchid Whisper

Crimson Velvet

Mossy Stone

Mulberry Shadow

Pearl Tint

#CB438B

#BF3556

#6C6A43

#4D3449

#FFF0D 109

19

John Blake

J o h n B l ake e P o r t fo l io o 110

What I learned from...

Process of Ligh�ng Design - Design of a highly in�mate object like a lamp requires a different approach from designing space and architecture. I have a new apprecia�on for designers that can nego�ate the complexity in dis�lla�on. To transform a conceptual, ethereal idea into a physical object is an aspect of design I have less experience in, but this exercise has taught me a great deal in designing at a human scale.

Series of Product and Business Branding Packages - I am curious to learn more about produc�on and branding packages now. It is different from presen�ng to a panel of jurors in that I feel that I have the agency to design for specic people. Some�mes architecture can feel a bit disjointed from the human scale because it requires a great level of a�en�on to a broad scope of work. My work on this lamp has allowed me to shi� to focusing on the individual, and I hope to reect an in�mate rela�onship with the branding of my project.

Process of Package and Exhibi�on prepara�on - The package design of my project took a few different forms. I think that this was a part of the exercise that I spent less �me on. If I were to take on another project like this I think that I would try to work on some of the graphics and packaging in tandem with the design. I think that a workow like that would push me to keep rening the conceptual aspects of the project as I develop the technical sides of it.

Series of Process Book Making - I enjoy documen�ng my work in a way that requires a reec�on of the project. It is a way for the project to live on, and even if I fail to take in to account every detail of it, if I can extract the most important points of the exercise then coming back to the project later becomes more reasonable.

Overall - I hope that from this class I can take away greater skills in designing for the individual on a hyper-detailed, in�mate scale.

My tendency is to work on a broader, more expanded scale when designing, and integra�ng some of the intui�on I have developed in this class into my design work in studio or beyond I think will help develop richer, more complete spaces.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- I would tell myself to work on eshing out the details and rening the engineering side of the lamp, but to also put more �me into the branding and in developing the conceptual side of the project. Some of the essence of the lamp I think is lost in the packaging, so spending more �me with that would help it communicate be�er.

111

Shuddering Cabinet, Chris Schanck

Pyrite Crystal

112

Pomegranate GroƩo Console, Chris Schanck

Pyrite Crystal

I

A DETAILED

* METEORITE CapƟon

CapƟon

NESTE

CapƟon

CapƟon

FoLLO

SOLID EXPERIMENT NI ORIENTATION

CapƟon

CapƟon

RESPOND 2.

CRYSTALS

15

10

18113

CapƟon

CapƟon

StEMS LIKE IT WELL W/ THE 2

CapƟon

114

CapƟon

Sketches

115

Sketches

Final Luminaire Concept NarraƟve, Sketches, and Rendering The purpose of ‘contact’ is to create a luminous object that invite closeness. LighƟng that doesn’t just illuminate space, but becomes a presence within it. It was conceived out of curiosity in symbioƟc and parasiƟc relaƟonships between objects. Two disƟnct components interacƟng in a way that invites closer examinaƟon. Ambiguity in whether the mass is emanaƟng out of the prism or surrounding it is intenƟonal.

Preliminary sketches explored crystalline structures, fungal growths, and sculpted forms. Chris Schank’s work in furniture and domesƟc objects was a huge inspiraƟon in determining how the two components physically react to one another. By allowing the prism to exist as a simple prism, the addiƟonal masses can be freely sculpted and formed. The purity of the inner shape informed how playful the mass could be.

116

Rendering of Luminaire

Rendering of Luminaire

117

Rendering of Luminaire

Records of 3D PrinƟng Progress NarraƟve

CapƟon

CapƟon

118

CapƟon

119

Photograph of Luminaire

Detail of Luminaire

120

Detail of Luminaire

121

Product Branding Package (1/2)

Typefaces

Title

Orpheus Pro [Bold]

contact

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()-+=[]{}

Body Text

Neue Haas Grotesk Text Pro [Medium]

Sub-text

Neue Haas Grotesk Text Pro [Medium Italic]

122

contact

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()-+=[]{}

contact

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()-+=[]{}

Graphic Branding

colors light blue #88b8f7 R:136 G:184 B:247

orange #8dc4500 R:220 G:69 B:0

light orange #f49a2b R:244 G:154 B:43

blue #295fa6 R:41 G:95 B:166

white #ffffff R:255 G:255 B:255

navy #09182b R:9 G:24 B:43

123

Product Branding Package (2/2)

The inner prism is 3D printed from translucent petg filament and takes approximately 14.25 hours to print. The masses are printed from pla filament and all together take approximately 15.5 hours.

There are 6 layers of filament in the walls of the prism, and to produce a quality light level the luminaire utilizes a 500 lumen LED bulb. Post processing and assembly of a completed lamp takes approximately 1 hour. The price of each lamp including packaging and shipping costs is $385. prism height - 190.0 mm prism width - 104.5 mm luminaire height - 258.5 mm luminaire width - 185.5 mm luminaire depth - 201.0 mm

124

Physical Package

125

CapƟon

Prototyping

Printing Times 3d Printer Type Filament Usage (gram) Filament Waste (Priming, Support) 1 Filament 99.39 19.878 2 Filament 192.31 38.462 3 Filament 188.77 37.754 4 Filament 122.91 24.582 5 Filament 20.36 4.072 6 Filament 393.01 78.602 7 Filament 105.55 21.11 8 Resin 0 9 Resin 0 10 Resin 0 11 Resin 0 12 Filament 184.3 36.86 13 Resin 0 14 Filament 25.43 5.086 15 0 16 0 17 0 18 0 19 0 20 0 Total

Each Piece

Total

1332.03

266.406

Filament Print Time FDM Electricity 3.25 0.0403 5.33 0.066092 3.75 0.0465 4 0.0496 1.6 0.01984 9.25 0.1147 2 0.0248 0 0 0 0 5 0.062 0 1 0.0124 0 0 0 0 0 0 35.18

0.436232

3d Printer Type Filament Usage (gram) Filament Waste (Priming, Support) 1 Filament 184.33 36.866 2 Filament 338.12 67.624 3 Filament 200.37 40.074 4 Filament 108 21.6 5 0 6 0 7 0 8 0 9 0 10 0 11 0 12 0 13 0 14 0 15 0 16 0 17 0 18 0 19 0 20 0

Filament Print Time FDM Electricity 5 0.062 14.5 0.1798 6.5 0.0806 3 0.0372 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

830.82

29

166.164

0.3596

Design Work Hours Concept Development and Sketches 10 3D Modeling (Rhino) 25 Design Update 15 3D Printing Preparation 10 Others 2 Total 62

126

16

Pricing Template

Phase

Type Hard Cost Hard Cost Product Developmen Soft Cost Indirect cost

Production per Item

Hard Cost Hard Cost Hard Cost Hard Cost Soft Cost Indirect cost

Quantity Quantity Applied Production Cost

Content Unit Resin Liter Fillament Gram Your Labor Hour storage, electricity, wifi, etc.

Prototype Price Resin Liter Fillament Gram Lighting Item Electricity Item Production and post production Hour storage, electricity, wifi, etc.

Package Package Delivery Package Labor for Package and Delivery Soft Cost Hour Next Product Set Set Cost Quantity Applied Operation and Maintenance Cost TOTAL COST Operation and Maintenance with the following development

Hard Cost Hard Cost

Revenue Setting Fee Profit when you sell all your product Profit per Item

Ratio

Unit Price Amount Cost $15.90 1.83425 $29.16 $0.02 1598.436 $31.97 $28.00 62.55 $1,751.40 $ 1.60 $1,814.14 $18.00 $0.02 $10.00 $0.20

0 830.82 1 1

$0.00 $16.62 $10.00 $0.20

$28.00

0.5

$14.00 $0.90

20 20

$834.26

$5.00 $18.00

20 20

$100.00 $360.00

$28.00 $1,814.14

0.25 1

$7.00 $1,814.14 $2,281.14 $4,929.54

1.5

$7,394.31 $2,464.77 $123.24

20

Target Market Price per Unit Price per Unit

$ 385.00 369.7152563

Gap between your Target and Production

$

15.28

127

18

128

contact John Blake

The purpose of ‘contact’ is to create a luminous object that invite closeness. Lighting that doesn’t just illuminate space, but becomes a presence within it. It was conceived out of curiosity in symbiotic and parasitic relationships between objects. Two distinct components interacting in a way that invites closer examination. Ambiguity in whether the mass is emanating out of the prism or surrounding it is intentional.

Preliminary sketches explored crystalline structures, fungal growths, and sculpted forms. Chris Schank’s work in furniture and domestic objects was a huge inspiration in determining how the two components physically react to one another. By allowing the prism to exist as a simple prism, the additional masses can be freely sculpted and formed. The purity of the inner shape informed how playful the mass could be.

The inner prism is 3D printed from soy-based resin and takes approximately 6.25 hours to print. The masses are printed from pla filament and all together take approximately 15.5 hours. The walls of the prism are 3.5 mm thick, and to produce a quality light level the luminaire utilizes a 500 lumen LED bulb. Post processing and assembly of a completed lamp takes approximately 1 hour. The price of each lamp including packaging and shipping costs is $385.

Prism height - 190.0 mm Prism width - 104.5 mm luminaire height - 258.5 mm luminaire width - 185.5 mm luminaire depth - 201.0 mm luminaire weight -

129

J O R DA N GE RLING Por tfol i o

130

What I learned from...

Process of Table Lighting Design - Trial and error is required, design is an iterative process and 3D-printers don’t always work the way they should.

My design ideas changed several times as I learned the constraints of the printers and the lighting hardware. All though it was a big time commitment, it became enjoyable as I developed and gained control of the design the further I went on.

Series of Product and Business Branding Packages - This section of the course taught me arguably just as much as the design work. I liked the pricing spreadsheet break down for product development, setting fee ratio and quantity of manufacturing to establish a pricepoint for the lamp. The spreadsheets and business branding made some of the unknown aspects of selling boutique lights more tangible for me.

Process of Package and Exhibition preparation - I learned that creating a physical packaging mockup, and trying to make it look as good as the version you photoshopped, is not very easy. If I do it again in the future, I am going to increase the dimensions of my box in every direction by ~1/2”.

Series of Process Book Making - I enjoy the process of archiving/portfolio projects because it is always introspective for me to see the culmination of a project and see what I learned from it.

Overall - I would consider myself lucky to make a living creating luminares using this method or other methods of fabrication.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- Make sure the digital model you develop is actually scaled to the correct 3D-printer. I unfortunately had to learn this the hard way.

131

Initial Concept Narrative and Sketches Although I spent a considerable amount of time towards my sketches and finding the best idea, I knew from the start that I wanted to do something ferro-fluid inspired. This idea progressed further in form in my sketches compared to the final lamp, however I am glad I went the route that I did.

Many early sketches were spent exploring themes, forms, patterns, and colors found in nature, math, and physics.

The sketches above are mostly bio-mimicry.

The left image was exploring a coral-esque shape.

The right image was an idea of ‘stems’ sprouting from a main light funnel.

At some point, I kept finding myself sketching ferrofluid being manipulated by a magnetic pull. I did this to try and define certain parts of the lamp (legs, base, shade, etc.) with an idea of a magnetic field creating the form of the lamp.

Referring to the last caption, this shows how a “magnetic base” would create long spandrel legs of ferrofluid. I ultimately strayed away from this idea because of how delicate thin members are when 3D printed.

“magnetic shade” creates a light orb that defines the shade from the base.

Same as prior drawing. I did not like this sketch as much because of the second sphere.

132

Refined Concept Narrative and Sketches When starting the model, I was very intimidated with the complexity of modelling a ferrofluid.

While the process was time consuming, it was not as difficult as I had expected. The process consisted of creating a SubD sphere, halfing it, pushing/pulling the spikes into place, and SubD stitching the entire surface together.

After I had my finalized lamp shade, I simply designed the base around the geometry and the constraints of the light hardware.

EARLY SHAPE BUILDING OF LAMP-SHADE

SECONDARY DESIGN,GONE BUT NOT FORGOTTEN

PROGRESSED SHAPE MODELLING

MODEL FACES ARE EACH SEPERATE SUBD’S HERE

FINAL REVISIONS OF SHAPE & BASE

LAMP PROTOTYPE SECTION

PROTOTYPE AXON

PROTOTYPE AXON

133

Final Luminaire Concept Narrative, Sketches, and Rendersing

STUDENT LAMP EXHIBITION

POLISHED ABS

TRANSLUCENT PETG & POLISHED ABS

TRANSLUCENT PETG & POLISHED ABS

POLISHED ABS

POLISHED ABS

TRANSLUCENT PETG

Gemini AI generated Image, lamp details unchanged.

134

Gemini AI generated Image, lamp details unchanged.

135

Records of 3D Printing Progress I originally set out to print this lamp using liquid resin, as I very much like the soft glow and smooth texture. However, as my design progressed in scale and complexity, I had to switch to filament-printing due to multiple consecutive resin-print fails. I actually came to appreciate the fdm printing because of the simplicity and availability of different materials and finishes. The topography lines of the shape that you get from the print layers actually enhance help the design in my opinion. Typically, I am not a fan of the layer lines from 3D prints.

1/3rd scale liquid resin print.

Full scale resin print attempt, I never had a successful resin print after this fail.

FDM printed bulb assembly mockup.

ABS shade prints, the black shade sadly is not translucent.

DIY acetone vapour polishing on ABS prototype. Please do not try this at home.

136

Finished result of acetone polishing. While the finish is not perfect, the material went from matte to very glossy without the need for any sanding.

137

Product Branding Package (1/2)

GERLING, JORDAN

OTHERLAMP

COVER PAGE

OTHERLAMP

OTHERLAMP OTHERLAMP FERRO derives its essense from the curious movements of ferrofluid. Ferrofluid is unique when within a magnetic field, it dances and reacts with alien emotion. FERRO takes this feeling and transforms it to light in an experimental and tactile way.

OTHERLAMP

OTHERLAMP

This lamp is a living sculpture, challenging how light and form can feel.

OTHERLAMP

Buyers are provided with a selection of in-house materials & finishes to customize their lamp. FERRO’s low kit of parts compliments customization, making servicing and swapping parts a breeze.

PRECISION-PRINTED ILLUMINATION

The first production run is limited to fifty units, priced at $260.

STORY

138

TITLE: GEOM GRAPHIC BOLD TAGLINE & STATEMENTS: MACHOMODULAR BOLD MARKETING & HEADLINES: MOTIF GEOM GRAPHIC REGULAR

TITLE: GEOM GRAPHIC BOLD BODY TEXT: AZO SANS REGULAR

TAGLINE & STATEMENTS: MACHOMODULAR BOLD MARKETING & HEADLINES: GEOM GRAPHIC REGULAR BODY TEXT: AZO SANS REGULAR

TEXT & COLOR PALETTE

139

Product Branding Package (2/2)

SHIPPING LABEL MOCKUP

SECTION

140

Physical Package

RENDERED PACKAGE MOCKUP

PHYSICAL PACKAGE MOCKUP

141

Final version Business Br your products Duplicate this spread as has

142

GERLING, randing Package with JORDAN

many as your package OTHERLAMP

OTHERLAMP

OTHERLAMP

OTHERLAMP

OTHERLAMP

OTHERLAMP

PRECISION-PRINTED ILLUMINATION

143

144

OTHERLAMP FERRO derives its essense from the curious movements of ferrofluid. Ferrofluid is unique when within a magnetic field, it dances and reacts with alien emotion. FERRO takes this feeling and transforms it to light in an experimental and tactile way.

This lamp is a living sculpture, challenging how light and form can feel.

Buyers are provided with a selection of in-house materials & finishes to customize their lamp. FERRO’s low kit of parts compliments customization, making servicing and swapping parts a breeze.

The first production run is limited to fifty units, priced at $260.

145

146

147

Mission:

To blur the boundary between comfort and curiosity through light.

Crafting modular, 3D-printed lamps that feel alive and unearthly.

Why it exists:

To challenge the notion that household lighting should blend in.

Our lamp celebrates the alien, the imperfect, and the tactile.

Who it’s for:

For design enthusiasts, collectors, and futurists who see their spaces as extensions of identity and creativity.

Unique Value:

A customizable art-lamp that transforms curiosity into ambience. a product born from digital craft and emotional provocation.

148

TITLE: GEOM GRAPHIC BOLD TAGLINE & STATEMENTS: MACHOMODULAR BOLD MARKETING & HEADLINES: GEOM GRAPHIC REGULAR BODY TEXT: AZO SANS REGULAR

149

Printing Times

3d Printer Type 1 Resin 2 Resin 3 Resin 4 Resin 5 Resin 6 7 Filament 8 Filament 9 Filament 10 Filament 11 Filament 12 Filament 13 Filament 14 Filament 15 Filament 16 17 18 19 20

Filament Usage (gram)

Total

Filament Waste (Priming, Support)

125.9 115.02 7.87 7.87 98.49 89.24 87.82 89.24 37.67

659.12

0 0 0 0 0 0 25.18 23.004 1.574 1.574 19.698 17.848 17.564 17.848 7.534 0 0 0 0 0

Filament Print Time

6.5 4.15 0.4 0.4 3.25 5.75 3.5 5.75 2

131.824

31.7

FDM Electricity

0 0 0 0 0 0 0.0806 0.05146 0.00496 0.00496 0.0403 0.0713 0.0434 0.0713 0.0248 0 0 0 0 0 0.39308

Resin Usage (Liter) Resin Waste (Base layer, Residue) Resin P 0.034779 0.00521685 0.088225 0.01323375 0.128958 0.0193437 0.158958 0.0238437 0.162103 0.02431545 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0.573023

0.08595345

PROTOTYPING PRINT LOG: 0

You can see my early attempts at resin-printing before I decided to switch to FDM printing. Filament prints included a variety of prints exploring different filament types, colors, and settings.

Each Piece

Total

3d Printer Type 1 Filament 2 Filament 3 Filament 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Filament Usage (gram) Filament Waste (Priming, Support) Filament Print Time FDM Electricity Resin Usage (Liter) 89.24 17.848 5.75 0.0713 87.82 17.564 3.5 0.0434 37.67 7.534 2 0.0248 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 214.73

42.946

11.25

0.1395

PRODUCTION PRINT LOG: The set of prints above is the complete list of printed parts for the lamp.

The shade is the most intensive print, with the longest time and 2 grams more than the base. The base and disc are the contact points for lighting hardware that allow for easy disassembly.

150

Resin Waste (Base layer,

0

Print Time

2 3 3.5 3.5 3.5

SLA Electricity Labor 0.0208 0.7333333333 0.0312 0.7333333333 0.0364 0.7333333333 0.0364 0.7333333333 0.0364 0.7333333333 0 0 0.55 0 0.55 0 0.55 0 0.55 0 0.55 0 0.55 0 0.55 0 0.55 0 0.55 0 0 0 0 0

15.5

, Residue)

*. Labor Calculation FDM: 33 mins Cleaning 8 mins + Treating supports 25 mins.

SLA: 44 mins = Cleaning 6 mins + Treating supports 10 mins + Cleaning and Dry for model 18 mins + Curing 10mins.

Notes 1/3 Scale shade 1/2 scale shade (10.06.25) Failed Shade v.1 (10.19.25) Less failed shade v.2 (10.26.25) Rotated Shade v.3 (11.xx.25) PRINT ME PEPG shade v.2 (10.28.25) PEPG base v.2 PLA Small plate v.1 (10.19.25) PLA Small plate v.2 (10.19.25) PLA Base v.3 (10.30.25) ABS SHADE (11..02.25) orange ABS BASE (11..06..25) orange ABS SHADE (11.06.25) black ABS base disc v.3 (12.08.25)

0.1612 8.616666667

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Resin Print Time

SLA Electricity

0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Labor

0.55 shade 0.55 base 0.55 disc

*. Labor Calculation FDM: 33 mins Cleaning 8 mins + Treating supports 25 mins.

SLA: 44 mins = Cleaning 6 mins + Treating supports 10 mins + Cleaning and Dry for model 18 mins + Curing 10mins.

1.65

151

Design Work Concept Development and Sketches 3D Modeling (Rhino) Design Update 3D Printing Preparation Others Total

Hours

10 16 14 10 10 60

DESIGN WORK LOG:

The above list is an estimate of time spent towards the project’s development from start to finish. I admittedly spent more time developing the concept & sketches than I should have.

Phase Product Development

Type

Content

Unit

Hard Cost

Resin

Liter

Unit Price

Amount

Hard Cost

Fillament

Gram

$0.02

790.9

Soft Cost

Your Labor

Hour

$24.50

68.616666

Indirect cost

storage, electricity, wifi, etc.

$15.90

0.658976

Prototype Price

Production per Item

Hard Cost

Resin

Liter

$0.00

Hard Cost

Fillament

Gram

$0.02

Hard Cost

Lighting

Item

$10.00

Hard Cost

Item

$8.00

Soft Cost

Electricity Production and post production

Hour

$14.00

Indirect cost

storage, electricity, wifi, etc.

257.6

1.

Quantity Quantity Applied Production Cost Hard Cost Operation and Hard Cost Maintenance with the following development Soft Cost

Package

Package

$3.00

Delivery Labor for Package and Delivery

Package

$0.00

Hour

$20.00

Set Cost

Next Product

Set

$1,708.79

12

Quantity Applied Operation and Maintenance Cost TOTAL COST Revenue

Setting Fee

Profit when you sell all your product Profit per Item Target Market Price per Unit 152

Price per Unit Gap between your Target and Production

Ratio

1.

PRICING LOG:

o As shown below, the spreadsheet breaks down the data from the previous 3 charts and estimates pricing for lamp/quanity of unit production. The table is customizable and I have tweaked a handful of settings so that it is accurate for my branding package.

With a lower setting fee of 1.85x, and a large bulk of 50 units, I am able to keep the price per lamp exactly where I want it at about 85% market cost.

Cost

645

Reference $10.48 All you have spent

944

$15.82 All you have spent

667

$1,681.11 For Design Intern, the market price is between $13 and $32 as 2024. ($

1.39) $1,708.79

0

$0.00 Only for one item

676

$5.15 Only for one item

1

$10.00 Only for one item

1

$8.00 Only for one item

.65

$23.10 Only for one item $0.35

50 50

$2,330.11

50

$150.00 Only for one item

50

$0.00 Only for one item

2.5

$250.00 Only for one item

1

$1,708.79 For Design Intern, the market price is between $13 and $32 as 2024. $2,108.79 $6,147.69

.85

$11,373.24 Design Firm's Setting Fee Ratio is about 2.7 to 3., But you are not a professional yet. $5,225.54

50

$104.51 $260) $227.46 ($

32.54)

153

Katie Hill

Katie Hill Po r t fo l io 154

What I learned from...

Process of Table Lighting Design I learned the art of coming up with an interesting and unique table lamp design, while also making it very functional and useable for people so they actually want it. Also learning coming up with an interesting concept and abstracting it was an interesting challenge on the semester.

Series of Product and Business Branding Packages I learned a lot about the ‘behind the scenes’ side of things, like how to make a simple lamp sound much more appealing and give a ‘personality’ to your product. I also learned about the idea of coming up with a story to tell about the lamp and have something people can connect with about the product.

Process of Package and Exhibition preparation Preparing for the exhibit I learned how much post processing went into working with a resin lamp, and how finnicky they can be to make look exceptional. I also learned about how to make an interesting placard telling the story of the lamp and showing interesting elements of it.

Series of Process Book Making I learned through the process book how much effort actually went into creating this lamp, as well as how much information you can generate while working on a product like this.

Overall Product design is not as simple as it could seem, and there are many more elements that go into it beyond just the creating of the product itself. The reason people want products is because they are marketed properly and interestingly, as well as having a unique and interesting design.

If you could talk to you before the beginning of the semester, what would you like to share with you?

I would have told myself the full expectations for the class which would’ve likely resulted in my lamp design changing so that I could work better with the printers and have a more successful lamp.

155

Initial Concept Narrative and Sketches

When coming up with ideas for this exercise, I started by just thinking of things I found interesting or thought could make complex shapes if they were adapted. As I began looking at different options that I liked, I started to realize that some could become very different lamps when playing with diffusion to make the lighting stand out as its own element. I started first with the idea of a glowing uranium ore, where some areas are thicker and the light comes through less, and then areas where the ‘ore’ exists which becomes thinner and more light comes through. I really enjoyed this concept and think it would be very exciting to include in my final lamp, and I want to look into it further and see what other options there are for this idea, and consider maybe letting the light be exposed in some areas or something as an option. I liked more symmetrical ideas that I came up with, which makes me think that the idea of rotating something on its axis several times and making it more symmetrical will spark more interest for me in the ideas I liked but wanted something more out of. I think that this exercise helped me find a niche I enjoyed and has given me a solid starting point to work with for more solid ideas that could actually be turned into lamps.

Pyrite

Nucleus

Wavelengths

Atoms

Geode

Snowflake

Galaxy

Geode

156

Katie Hill

Refined Concept Narrative and Sketches

Katie Hill in the lightbulb creates a juxtaposition of how the part that produces the light can be the outer The filament shape of the bespoke lamp itself, created in a relatively simple form.

Filament 1

Filament

Filament 1

Filament

Filament 1

Filamen Filament 2

Filament 2

Filament 2

Filament Tooth

Tooth

Tooth 157

3

Final Draft Concept Narrative and Sketches Early final concepts originated from enjoying the rounded shapes of the rhino forms and finding interesting connections and different ways to join the rounded objects. All of these came together to start the idea of form for the final lamp and helped with Rhino generation of it.

Early Concept

Early Concept

Early Concept

Early Concept

Early Concept

Early Concept

Early Concept

Early Concept

4

158

Final Luminaire Concept Narrative, Sketches, and Rendersing The STACK Lamp was created to give a fun, simple, interactive lamp. It is for people who want an interesting lighting element that feels like they have a hand in it, while also being very simple to assemble but give each person a sense of development in the lamp. This lamp is very simple but could be fun for children to take apart and put back together over and over again, has very simple but pleasing aesthetics, and is also functional and useful for users that just want a standard lamp.

Trip to Seven Magic Mountains

Caption

Caption

Caption

Caption

Lamp Base

3D Scaled Rendering (not split)

Full Scale Lamp (Split) 159

6

7

160

Records of 3D Printing Progress Narrative

Scale Models (Split and Full Resin)

Scale Model (Filament)

Failed Full Scale Print (Resin)

Failed Full Scale (Filament)

Failed Full Scale (Resin)

Failed Full Scale (Resin)

Full Scale Print

Full Scale Print before Sanding 161

8

9

162

Product Branding Package (1/2)

Cover page

S T A C K

KATIE HILL

Story

C O N C E P

The STACK Lamp was created to give a fun, simple, interactive lamp. It is for people who want an interesting lighting element that feels like they have a hand in it, while also being very simple to assemble but give each person a sense of development in the lamp.

This lamp is very simple but could be fun for children to take apart and put back together over and over again, has very simple but pleasing aesthetics, and is also functional and useful for users that just want a standard lamp.

163

Motif

INTERACTIVE PLAYFUL LIVELY

ADAPTIVE

ENGAGING

Font and Colors Bespoke Lighting Branding Ideas

● Serenity/Serene ○

Draws on the idea of stacked rocks standing alone on a beach can be calming to view

● Balance/Balanced ○

Draws on the rocks being balanced and stable amongst each other.

○

More fun and playful, calls to putting the lamp together yourself.

● STACKED!/STACK !

Ways to Show Ideas ● ●

Lamp with imager of stacked rocks Colors: Blue, Tan, and White for serenity/balance

○

●

Possibly lighter and brighter colors for the STACK! Idea

Showcase individual parts of the lamp and their connections ○ Lean into a bit of a ‘build it yourself’ idea with the lamp, giving more options for how it works.

Packaging: ●

●

The box will have the colors selected for the branding ○ The blue/tan/white would have all the colors on each side, and possibly a simple image of stacked rocks on the box with the logo ○ The colorful one would have each side be a different color and would feature the images scattered throughout the sides.

The product would be disassembled and stacked within each other as much as possible to minimize the size of the packaging.

Brand Mission Statement ● The STACK Lamp was created to give a fun, simple, interactive lamp. It is for people who want an interesting lighting element that feels like they have a hand in it, while also being very simple to assemble but give each person a sense of development in the lamp. This lamp is very simple but could be fun for children to take apart and put back together over and over again, has very simple but pleasing aesthetics, and is also functional and useful for users that just want a standard lamp.

11

164

Product Branding Package (2/2)

INCLUDED

Features

LAMP, IN THREE STACKABLE PARTS (PICTURED LEFT)

S E20 LAMP HOLDER T *DOES NOT INCLUDE BULB* A C K LAMP BASE (PICTURED BELOW)

LAMP BASE

LAMP ASSEMBLED

Katie Hill

Specification

DIMENSIONS TOP PIECE: 8 IN X 8 IN X 4.75 IN

MIDDLE PIECE:

6.25 IN X 6.25 IN X 2.25 IN

BOTTOM PIECE:

7.75 IN X 7.75 IN X 2.75 IN

LAMP, IN THREE STACKABLE PARTS (PICTURED LEFT)

LUMINERE BASE: 4.25 IN X 4.25 IN X 2.75 IN

HOW IT WORKS

INCLUDED

The lamp pieces LAMP, IN THREE STACKABLE PARTS interlock within one (PICTURED LEFT) another through the design of the lamp, with it being possible LAMP BASE to stack it with 4 curves (PICTURED BELOW) or three. The E20 lamp base fits into the E20 LAMP HOLDER luminere base, and then the shades sit on top of that base.

*DOES NOT INCLUDE BULB*

MATERIALS USED BAMBU LAB PRINTER FILAMENT PLA BASIC WHITE ANYCUBIC RESIN PRINTER

S P E INCLUDED C I F I C A T I O N

LAMP BASE

LAMP BASE (PICTURED BELOW) E20 LAMP HOLDER

*DOES NOT INCLUDE BULB*

LAMP BASE

165

Physical Package

Picture of Physical Package

Caption

13

166

KATIE HILL 14

S T A C K

167

C O N C E P T

The STACK Lamp was created to give a fun, simple, interactive lamp. It is for people who want an interesting lighting element that feels like they have a hand in it, while also being very simple to assemble but give each person a sense of development in the lamp.

This lamp is very simple but could be fun for children to take apart and put back together over and over again, has very simple but pleasing aesthetics, and is also functional and useful for users that just want a standard lamp.

SEVEN MAGIC MOUNTAINS 15

168

16

169

INTERACTIVE PLAYFUL LIVELY

ADAPTIVE

ENGAGING 17

170

S T A C K LAMP ASSEMBLED

Ka

18 171

19

172

DIMENSIONS TOP PIECE: 8 IN X 8 IN X 4.75 IN

MIDDLE PIECE:

6.25 IN X 6.25 IN X 2.25 IN

LAMP, IN THR (PIC

BOTTOM PIECE:

7.75 IN X 7.75 IN X 2.75 IN LUMINERE BASE: 4.25 IN X 4.25 IN X 2.75 IN

INCLUDED

LAMP, IN THREE STACKABLE PARTS HOW IT WORKS The lamp pieces interlock within one another through the design of the lamp, with it being possible to stack it with 4 curves or three. The E20 lamp base fits into the luminere base, and then the shades sit on top of that base.

(PICTURED LEFT)

LAMP BASE (PICTURED BELOW) E20 LAMP HOLDER *DOES NOT INCLUDE BULB*

ANYCUBIC RESIN PRINTER RESIN: PLANTED BASED WHITE 2.0

LA (PICT

E20 L

*DOES NO

L

MATERIALS USED BAMBU LAB PRINTER FILAMENT PLA BASIC WHITE

S PINC E C I F I C A T I O N S

LAMP BASE

20 173

NCLUDED

8 in

HREE STACKABLE PARTS PICTURED LEFT)

LAMP BASE CTURED BELOW)

0 LAMP HOLDER

NOT INCLUDE 10 in BULB*

2.5 in

LAMP BASE 3 in

4.75 in

LAMP SECTION

21

174

175

22

P A C K A G I N G

BOX

UNFOLDED BOX

176

23

Phase

Type Hard Cost Hard Cost Product Developmen Soft Cost Indirect cost

Production per Item

Hard Cost Hard Cost Hard Cost Hard Cost Soft Cost Indirect cost

Quantity Quantity Applied Production Cost

Content Unit Resin Liter Fillament Gram Your Labor Hour storage, electricity, wifi, etc.

Prototype Price Resin Liter Fillament Gram Lighting Item Electricity Item Production and post production Hour storage, electricity, wifi, etc.

Package Package Delivery Package Labor for Package and Delivery Soft Cost Hour Next Product Set Set Cost Quantity Applied Operation and Maintenance Cost TOTAL COST Operation and Maintenance with the following development

Hard Cost Hard Cost

Revenue Setting Fee Profit when you sell all your product Profit per Item Target Market Price per Unit Price per Unit Gap between your Target and Production

24

Ratio

Unit Price Amount Cost $15.90 5.359 $85.21 $0.02 1132.788 $22.66 $25.00 36.73333333 $918.33 $ 2.18 $1,028.38 $35.99 $0.02 $9.99 $24.00

1.0925 30

$39.32 $0.60 $0.00 $0.00

$26.00

0.733333333

$19.07 $0.52

60 60

$3,570.32

$6.00 $21.95

60 60

$360.00 $1,317.00

$13.00 $1,028.38

15 1

$195.00 $1,028.38 $2,900.38 $7,499.07

2.3

$17,247.87 $9,748.80 $162.48

60

$ 275.00 287.4645297 $ (12.46)

177

Madelyn Rose Kennish

M a d e l y n Ke n n i s h 178

Po r t fo l i o

What I learned from...

Process of Table LighƟng Design - I learned how to turn a simple idea into a real working lamp through trial, tes�ng, and rening. I gured out how propor�ons, thickness, and glow affect the en�re feel of the piece. It taught me to slow down, adjust details, and design with inten�on instead of rushing. Seeing the lamp evolve through each print showed me how much the small decisions ma�er.

Process of Wall Scone LighƟng - For the sconce I only worked with white resin and lament, which made me pay close a�en�on to form and the way light moved across it. Rhino felt overwhelming at rst, and the process was honestly frustra�ng, but it taught me pa�ence and perseverance. Once I pushed through the learning curve, the design nally started to make sense.

Series of Product and Business Branding Packages - Working on the branding packages helped me understand how to present my lamp as a real product. I learned how big of a difference consistent photography, colors, and layout make. It showed me how branding can shape the personality of a product and how important it is to communicate clearly through visuals.

Process of Package and ExhibiƟon preparaƟon - This part taught me the prac�cal side of designing for a real audience. I learned how to create packaging that protects the lamp but s�ll feels clean and inten�onal. Ge�ng everything ready for the exhibi�on also made me focus on layout, spacing, and how to display the lamp so people immediately understand its purpose.

Series of Process Book Making - Pu�ng together the process book helped me see the full journey of my project. I learned how to organize my work, choose the most meaningful steps, and turn them into a clear narra�ve. It made me realize how many decisions and adjustments happened along the way and how much my design improved through the process.

Overall - Overall I learned how much �me, tes�ng, and problem-solving go into crea�ng a product from scratch. This project pushed me out of my comfort zone and helped me grow in Rhino, rendering, branding, and documen�ng my work. It gave me more condence in my design choices and my ability to bring an idea all the way to a nished piece.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- I’d tell myself not to be nervous about Rhino and to start experimen�ng earlier. The best progress happened when I stopped overthinking and just started making things. I’d remind myself that the challenging parts are where the learning happens, and the nal outcome ends up being more rewarding than it looks at the start.

179 1

IniƟal Concept NarraƟve and Sketches My lighƟng concept began with the idea of creaƟng a soŌ, sculptural form that glows from within. I was drawn to verƟcal ribbing and gentle curves because they add movement without feeling busy. My early sketches focused on twisƟng silhoueƩes, repeated lines, and forms that feel almost woven or pleated.

The inspiraƟon images helped me understand how light interacts with texture and how a simple shape can become more expressive when the surface guides the glow. I wanted the lamp to feel calm, warm, and slightly organic, like it’s shaped by air or moƟon.

This led me toward a design that’s lightweight, rhythmic, and inviƟng. The nal direcƟon balances structure with soŌness and creates a quiet but memorable presence in a space.

180 2

Rened Concept NarraƟve and Sketches As I moved into rening the design, I focused on how movement could shape the form in a clearer and more inten�onal way. The early sketches helped me understand the gestures I liked, so this phase was about �ghtening the silhoue�e and controlling the rhythm of the ver�cal lines. I started layering and mapping contours to guide the light more evenly and to create subtle shi�s in texture.

Working in Rhino let me test different twists, thicknesses, and transi�ons, and I was able to see how small changes affected the whole lamp.

The 3D printed test model helped me understand how the light actually moves through the material and what adjustments I needed for a cleaner glow.

This stage was mostly about ge�ng the propor�ons right, rening the surface, and guring out the best way to house the bulb. It pushed the concept toward something more polished, more inten�onal, and closer to the nal design direc�on.

181 3

Final DraŌ Concept NarraƟve and Sketches This nal design brings together everything I explored earlier with light, texture, and movement. I wanted the lamp to feel calm and warm, the same way sunlight lters through window blinds or passes through glass. The ver�cal ribs help guide that glow, crea�ng so� shadows that shi� gently around the form.

Rening the model was mostly about nding the right balance between structure and so�ness. The curved silhoue�e keeps it sculptural while the translucent shell lets the light breathe through the surface. Breaking the lamp into the shade, diffuser, and base made the design cleaner and easier to assemble, and it helped the glow feel more even and inten�onal.

The result is a simple but expressive piece that creates a warm ambient moment in any space.

Sketches

182 4

Final Luminaire Concept NarraƟve, Sketches, and Rendersing This nal luminaire design brings together everything I learned from sketching, modeling, and tes�ng prototypes. Earlier versions focused on �ght ver�cal ribs and a straighter prole, but as the design developed, I started leaning into a so�er, more open approach to controlling light. Rening the curve of the form and widening the rib spacing helped the lamp feel calmer and more sculptural, and it allowed the light to diffuse in a smoother, more even way.

The idea of ltered light con�nued to guide the decisions I made. I wanted the lamp to glow gently, the same way light so�ens when it passes through layered materials or moves across repea�ng ver�cal shadows. Cleaning up the top and base also made the silhoue�e feel more inten�onal and helped the whole piece read as one unied form.

The nal result is a warm, translucent luminaire that shapes ambient light through subtle rhythm and gentle curves. It reects the evolu�on of the concept while staying true to the quiet, atmospheric quality that inspired the design from the beginning.

Sketches

183 5

Final Lamp Render

184 6

Final Lamp SecƟon

0’ - 5.25”

1

0’ - 10.5”

2

3

1. Shade

2. Led Bulb

3. Base 185 7

Records of 3D PrinƟng Progress The 3D prin�ng process helped me understand how the form actually behaved once it moved off the screen. I started with small tests to study the curves and surface ow, which made it easier to see how the geometry would translate into a physical object. As I introduced ver�cal ribs, the prints showed how light interacted with the openings and where the spacing needed to be adjusted.

Prototyping also helped me troubleshoot prac�cal issues. Failed resin a�empts revealed weak points in the structure, and prin�ng separate base components let me rene how the lamp would assemble and support the diffuser. Each itera�on claried what needed to change, from the thickness of the shade to the t of the inner pieces.

Working through these prints made the nal model feel more inten�onal and resolved. The adjustments to rib spacing, propor�ons, and assembly details came directly from seeing the forms in hand and tes�ng how they performed under light.

186 8

Early form test

Twist geometry

First rib models

Failed Resin Print

Failed Base Components

Rib prototype

Shade print

Rib refinement

Light test

Final 3D Print

187 9

Product Branding Package

188 10

189 11

190 12

191 13

192 14

Final Luminaire Concept NarraƟve, Sketches, and Rendersing This nal luminaire design brings together everything I learned from sketching, modeling, and tes�ng prototypes. Earlier versions focused on �ght ver�cal ribs and a straighter prole, but as the design developed, I started leaning into a so�er, more open approach to controlling light. Rening the curve of the form and widening the rib spacing helped the lamp feel calmer and more sculptural, and it allowed the light to diffuse in a smoother, more even way.

The idea of ltered light con�nued to guide the decisions I made. I wanted the lamp to glow gently, the same way light so�ens when it passes through layered materials or moves across repea�ng ver�cal shadows. Cleaning up the top and base also made the silhoue�e feel more inten�onal and helped the whole piece read as one unied form.

The nal result is a warm, translucent luminaire that shapes ambient light through subtle rhythm and gentle curves. It reects the evolu�on of the concept while staying true to the quiet, atmospheric quality that inspired the design from the beginning.

Sketches

193 5

Pricing Sheet 1/2 Design Work

Prototyping

194

Pricing Sheet 2/2 ProducƟon

Cost

195 17

Ma r y Vi rginia McNeil Port foli o 196

1

What I learned from...

Process of Table Lighting Design - I am obsessed with lighting design already and this class made it 1000x worse. The 3D printing technology allowed me to have no limitations to my creativity, it was so refreshing to create something completely my own for a school project. This project strengthened my confidence in my graphic and product design capabilities.

My final product is not related to any of my initial sketches or ideas. The halftone idea came to me as an idea and I knew it would be part of my final design.

Series of Product and Business Branding Packages - This part of the process was my favorite because yes 3D printing has many possibilities, a blank box has even more! It was really important to create an identity for my lamp through playful branding that reflects the playfulness of the design.

Process of Package and Exhibition preparation - One of the final steps of the process was photographing my final design. The pictures were so beautiful that one of them became a full bleed background for the exhibition flyer.

Series of Process Book Making - It was fun to look back and document this process, however I wish I had taken more process photos.

Overall - Overall... this might be my favorite FJSOAD course I’ve ever taken. After completing the process and seeing all the lamps created by my peers, I thought that every student should have this opportunity. Unbound by production constraints and design guidelines allowed me to create something really individual, bespoke you could say.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- Take more pictures! Also, trust your design instincts and enjoy making something you’re truly proud of.

197

1

Initial Concept Narrative and Sketches

natural geometries and textures 198

narrative For the luminaire project, my mind immediately goes to my love for up-close creature photography. Intricate patterns and translucent sea creatures became my focus. The natural geometry of shells, flowers, thorns, and even crocodile teeth became inspiration as I gathered my images. Manipulation of light diffusion is what drives my ideas. When I find a shape or animal that sparks an idea, I wonder how the interaction between that form, the material, and the light will play off each other. A lot of these forms stem from things I have a fixation on. I love close-up ocean photography, it allows us to explore the creativity of nature in a new way. These photos draw me in through their color and texture, while this exercise is not color driven- I love the challenge of creating the same impact through texture and form. A lot of my sketches ended up with a 3-d elliptical shape with soft edges. The next phase for the development would be scaling textures up and down, exaggerating them, thickness, and playing with openings/light diffusion. While I do want to use some fun inspiration like crocodile teeth or flowers and shells, my goal is for the inspiration to not be obvious. I want to create a simple and beautiful luminaire that would contribute personality to a space.

-

- ORCHID SOFT

PETA

BUBBLE

LIKE

-

THORNS

- ELEN. STACKED CONES/ TEETH

- CLOSED THORN, SHAPE

199

C •

200

201

5

Final Luminaire Concept Narrative, Sketches, and Rendersing Doppler Lamp is the result of a desire to explore lighting design through the capabilities of a 3D printer, creating a playful rhythm of illuminated digital patterns. The idea grew from a personal love of graphic textures, particularly halftone effects. Using 3D printing, the lamp integrates digital design with physical form, turning halftones, gradients, and algorithmic patterns into something you can hold and light. What emerges is digital thinking made physical, where code becomes warm and glowing.

2d profile to revolve, revolved forms

Halftone pattern, flowalongsurface to the sleeve form.

202

203

Records of 3D Printing Progress

1

2

3

4

5

6

8

204

205

9

Product Branding Package (1/2) MARY VIRGINIA MCNEIL

2025

*doppler lamp G I N K G O

Concept Narrative

S T U D I O S

Doppler Lamp is the result of a desire to explore lighting design through the capabilities of a 3D printer, creating a playful rhythm of illuminated digital patterns. The idea grew from a personal love of graphic textures, particularly halftone effects. Using 3D printing, the lamp integrates digital design with physical form, turning halftones, gradients, and algorithmic patterns into something you can hold and light. What emerges is digital thinking made physical, where code becomes warm and glowing.

10

206

G I N K G O

S T U D I O S

*doppler lamp Poppins SemiBold

GINKGO STUDIOS Poppins LIGHT # 3f57a6

207

11

Doppler Sleeve

Product Branding Package (2/2)

Kit + Bulb

Base

Box Includes:

1

Insert the lamp kit into the base and screw on the top flange.

2

Insert the light bulb into the socket and tighten until secure.

3

Place Doppler sleeve over the light source and base. Then illuminate!

Assembly Guide:

5 in 5”

*Standard medium base (E26, 8W, 2700 K)

*doppler sleeve

10 in

3.75 in light source 10.5”

Dimensions + Specs:

3 in 0.75 in flange (2) light kit base

12

208

Physical Package

209 Caption

Y VIRGINIA MCNEIL

202

*doppler lamp G I N K G O

210

14

S T U D I O S

Concept Narrative

Doppler Lamp is the result of a desire to explore lighting design through the capabilities of a 3D printer, creating a playful rhythm of illuminated digital patterns. The idea grew from a personal love of graphic textures, particularly halftone effects. Using 3D printing, the lamp integrates digital design with physical form, turning halftones, gradients, and algorithmic patterns into something you can hold and light. What emerges is digital thinking made physical, where code becomes warm and glowing.

211

15

design process

212

213

17

design process

214

18

5”

*doppler sleeve

light source 10.5”

flange (2) light kit base

215

19

packaging design + logo

Doppler Sleeve

Kit + Bulb

Base

Box Includes:

1

Insert the lamp kit into the base and screw on the top flange.

2

Insert the light bulb into the socket and tighten until secure.

3

Place Doppler sleeve over the light source and base. Then illuminate!

Assembly Guide:

5.25”

5 in

5.25”

11.25”

10 in

*Standard medium base (E26, 8W, 2700 K)

3.75 in 3 in

packaging size 216

20

Dimensions + Specs:

0.75 in

packaging design

Doppler Sleeve

Kit + Bulb

Base

Box Includes:

1

Insert the lamp kit into the base and screw on the top flange.

2

Insert the light bulb into the socket and tighten until secure.

3

Place Doppler sleeve over the light source and base. Then illuminate!

Assembly Guide:

5 in

10 in

*Standard medium base (E26, 8W, 2700 K)

3.75 in 3 in

Dimensions + Specs:

*doppler lamp G I N K G O

0.75 in

S T U D I O S

The *Doppler Lamp is what happens when lighting design borrows from graphic design—pattern becomes structure, information becomes form, and the logic of pixels finds its way into the logic of light.

217

21

images images

218

22

219

23

*doppler lamp G I N K G O

S T U D I O S

220

25

221

24

CONTENTS

01 What I learned from...

02 Product Development

10 Branding Package

16 Final Business Branding Package with products

Olivia Phelan Port foli o *. There is no restriction on academic use of the contents of this book. © The 222copyright of design outcomes contained in this book belongs to the student.

2

1

What I learned from...

Process of Table Lighting Design - Designing a lamp to sit upon a surface depends entirely on the surface it exists on. Knowing I would place this upon a taller surface, the elevation of the product had to be the most enticing and provocative view.

Series of Product and Business Branding Packages - Creating a brand out of a simple sketch was difficult in theory, however, it took piecing apart the building blocks of the final product to successful encapsulate the impression and impact of the luminaire.

Process of Package and Exhibition preparation - From the branding, it was clear what the box needed to show to sell the product. Keeping the graphics on the box was essential while still communicating the demanding presence and striking concept.

Series of Process Book Making - Looking back into the photos of process and visualizing the evolution of the luminaire was encouraging and made me hopeful for future designs related to this table luminaire.

Overall - I very much enjoyed this class in the way it challenged and encouraged my advancement in the skill of translation from 2d sketch, to digital 3d model, and then to 3d print. After many failures in the 3d printer, I reached out to a studio peer who is an avid user of the 3d printer, and the advice and instruction I received resulted in my first successful print. With every print being a disappointing failure, I was completed elated at the first success. Once I gained the printing skills and the confidence, printing felt seamless.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- You can learn Rhino again. This class is about to teach you a skill you will become obsessed with, and one you will want to utilize in your everyday life.

223

1

Initial Concept Narrative and Sketches Narrative

Sketch 1

Sketch 2

Sketch 3

Sketch 4

Sketch 5

Sketch 6

224

2

Refined Concept Narrative and Sketches Narrative

Soft, round, & approachable form

Sharp, radial, & intimidating form

225

3

Final Draft Concept Narrative and Sketches Narrative

Final preliminary design sketch

226

4

Foreshadowing for the final product

227

5

Final Luminaire Concept Narrative, Sketches, and Renderings Narrative

Exploring the Sub-D function in Rhino8

Simplifying forms & shapes

Understanding the frame of a simplified model

Imagining surface applied to the simplified model

New view

Seeing the model for its depth & values

Apply idea of light and what forms are intended to be lit

Rethinking the forms and their proportions

228

6

Final iteration of forms and their relative proportions

229

7

Records of 3D Printing Progress Narrative

Trial

Trial

Error

Error

Error

Trial

Success

Whole success

230

8

Final product

231

9

Color palette

232

10

233

11

234

12

235

13

Visible design of the Package

Top of box package

236

14

237

15

olivia phelan

Through the primarily precieved solid filament, let the phenomenon of light reveal the lattice hidden within. See the real solids and voids punching dynamically for attention. Witness the responsibility of internal structures when two provocative geometries unite. The consistently radial and familar shade pattern alternatively baring the load of the light source at an overall width of 7.1 inches to extrude and morph into 9.4 inches of full captivation.

For more details : instagram @ophelandesigns Product’s flyer 238

16

2025

Top of package

Side of package showing section drawing of Lattice Light

Side of package showing lamp requirements & recommendations

Side pf package showing top view of Lattice Light

Side of package showing side view / an elevation of Lattice Light

239

17

Parker Bro bsto n Port foli o 240

1

What I learned from...

Process of Table Lighting Design - I learned that there is a happy balance between function and form, and in a table lighting fixture, that balance is extremely important.

Series of Product and Business Branding Packages - I learned that branding is a very large part of product design. If you can draw people in with your branding, you can sell even the least interesting product.

Process of Package and Exhibition preparation - I learned that post processing and getting resin prints exhibition ready is a very labor intensive process.

Series of Process Book Making - I learned that I should have documented my process better, and that I find a less traditional work flow works better for me.

Overall - I learned about the 3D printing process and how to market and price items.

If you could talk to you before the beginning of the semester, what would you like to share with you?

-I would have chosen a different lamp design. I wish I could have filament printed my design, however the form I chose was not compatible with filament printing. I also would have liked to tell myself to do more research on the printing methods, so my test and final prints could have gone much smoother.

241

1

Initial Concept Narrative and Sketches While generating ideas for this project, I drew most of my inspiration from curvilinear and organic shapes. I pulled from different scientific disciplines, allowing myself to keep an open mind while brainstorming. Ocean life has always fascinated me, so I sketched several ideas based in marine biology. I included some more orthogonal ideas, drawn from quartz, and a rectangular box that when illuminated, shows curvilinear patterns. Several ideas are based on theories, such as gravity, patterns of chaos, and sound waves. These are more abstracted, as I only had diagrams or articles as a basis, as opposed to actual images.

In the next phases of brainstorming, I feel like I will lean towards a more asymmetrical, sculptural idea. The sketches that are most enticing to me are the ones that look as if they should have trouble standing up, but in reality would be balanced and stable. I am also very interested in exploring the idea of a very simple looking unlit exterior, but with a very complex interior design that is only visible when the fixture is lit. I also need to work on abstracting some of my ideas, which has never been my strong suit. This exercise was very helpful in getting my ideas moving in the right direction, and I am looking forward to developing my ideas further.

2 242

Patterns of Chaos

Jellyfish

Sound Waves

Gravity

Solar Flare

Rivers in Spain

Shark Jaw

Kingdom Protea

PARKER BROBSTO

GRAVITYWELL WELL GRAVITY

PARKER BROBSTON PARKER BROBSTON

Gravity Inspiration Image

Gravity Idea Render

STRESS STRESS

Stress Inspiration Image

Stress Idea Render

Anatomy Inspiration Image

Anatomy Idea Render

ANATOMY ANATOMY

ANATOMY ANATOMY

ANATOMY ANATOMY

ANATOMY

PARKER BROBSTON PARKER PARKERBROBSTON BROBSTON

PARKER BROBSTON

STRESS

STRESS STRESS STRESS

GRAVITY WELL

STRESS

GRAVITY WELL

GRAVITY WELL GRAVITY WELL GRAVITY WELL

Refined Concept Narrative and Sketches

Sketched Ideas

I narrowed my design ideas down to 3, and developed them further. I have been drawn to organic, curving shapes, and wanted to explore this further.

I have not yet settled on a final idea, however I am making progress.

Concept Narrative

3 243

Final Draft Concept Narrative and Sketches These are Rhino exploration models. I experiemnted with SUBD modeling, utilzing the software in my brainstorming process.

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

Rhino Exploration Model

4 244

Final Luminaire Concept Narrative, Sketches, and Rendering Narrative

FIN is a resin-printed luminaire inspired by the fluid, dynamic motion of a sea turtle’s fin. Its organic, sculpted form captures the elegance and effortless grace of a turtle gliding through the water. Emitting a warm white glow, FIN creates a calming, restorative atmosphere for the user. In alignment with its oceanic inspiration, the luminaire promotes environmental stewardship through the use of biodegradable and recyclable packaging.

Inspiration Image

Concept Narrative

Sketches

Early Rhino Renderings

Early Lamp Rendering

Developed Lamp

Early Base Rendering

Developed Base

6

245

246

7

Records of 3D Printing Progress These are some of my test and failed prints throughout the printing process.

Fillament Testing

Full Scale Model Attempt

Full Scale Model Attempt

1/3 Scale Model Attempt

Full Scale Model Attempt

1/3 Scale Model Attempt

1/3 Scale Model Attempt

Full Scale Model Attempt

8

247

248

9

Product Branding Package (1/2)

FIN

PARKER BROBSTON

FIN

CONCEPT

FIN is a resin-printed luminaire inspired by the fluid, dynamic motion of a sea turtle’s fin. Its organic, sculpted form captures the elegance and effortless grace of a turtle gliding through the water. Emitting a warm white glow, FIN creates a calming, restorative atmosphere for the user. In alignment with its oceanic inspiration, the luminaire promotes environmental stewardship through the use of biodegradable and recyclable packaging.

10

249

FIN CONSERVATION Branding Package CALMING Design Concept: FLUIDITY Turtle Fin GRACE

FIN

Colors: d5f1e5

99cc99

8b7355

Fonts:

FIN - CENTURY GOTHIC CHELONIA - QUICKSAND FIN - BUBBLER ONE

CHELONIA - QUESTRAL

Branding Package

Packaging: Minimalist Box, Simple colors

Design Concept: Turtle Fin

Include: +Image of lamp in room +Close up of lamp +Diagram of assembly +Concept Diagram +Process Sketches?

BRAND PARKERVALUES BROBSTON

Branding Package

Characteristics: Design Concept: +Conservation +Fluidity +Calming +Graceful

Brand Mission:

Branding Package Design Concept:

99cc99

Fonts:

FIN - CENTURY GOTHIC CHELONIA - QUICKSAND FIN - BUBBLER ONE

CHELONIA - QUESTRAL Minimalist Box, Simple colors 250

Include: +Image of lamp in room

d5f1e5

99cc9

Fonts:

FIN - CENTURY GOTH

CHELONIA - QUICKS 99cc99FIN - BUBBLER ONE 8b7355

CHELONIA - QUESTR

FIN - CENTURY GOTHIC

Minimalist Box, Simple colors CHELONIA - QUICKSAND Include: FIN - BUBBLER ONE

Colors:

Packaging:

Colors:

d5f1e5

FIN was created as a peaceful luminaire to bring fluidity and grace into spaces. It serves as a reminder of the importance of conserving our oceans and the sea life that inhabits it. This lamp Fonts: will be marketed as a luxury luminaire at an affordable price, designed for those who care about the world we live in. 10% of the proceeds will go towards a conservation charity with the mission Packaging: of helping sea life.

Turtle Fin

d5f1e5

Turtle Fin

Colors:

+Image of lamp in room

8b7355 - QUESTRAL +Close up of lamp CHELONIA

Packaging: Minimalist Box, Simple colors

Include: +Image of lamp in room +Close up of lamp +Diagram of assembly +Concept Diagram +Process Sketches?

Characteristics: +Conservation +Fluidity +Calming +Graceful

+Diagram of assembly +Concept Diagram +Process Sketches?

Characteristics: +Conservation +Fluidity +Calming +Graceful

Brand Mission:

FIN was created as a peaceful luminai reminder of the importance of conservi will be marketed as a luxury luminaire 11 the world we live in. 10% of the procee of helping sea life.

Product Branding Package (2/2)

FIN The FIN luminaire includes the resin printed cover, along with a filament printed stand to hold an E20 Lamp Base.

FIN beings an even light to the space, with extruding “barnacles” to add dimension to the smooth facade.

DIMENSIONS

FIN

LAMP H 8.75” - W 7” - D 4” LAMP BASE H 2.75” - W 2.5” - D 2.5”

MATERIALS

BAMBU Labs PLA White Matte

RECOMMENDED BULB Soft White 800 Lumens 2” x 2”

12

SPECIFICATIONS

ANYCUBIC Plant Based Resin 2.0 White

251

Physical Package

Caption

252

13

Final Product Branding Package

F

FIN PARKER BROBSTON

14

253

Final Product Branding Package

F

FIN

18 254

Final Product Product Branding Branding Package Package Final

PROCESS WORK AND CONCEPT IMAGERY

FIN

FIN

CONCEPT

FIN FIN is a resin-printed luminaire inspired by the fluid, dynamic motion of a sea turtle’s fin. Its organic, sculpted form captures the elegance and effortless grace of a turtle gliding through the water. Emitting a warm white glow, FIN creates a calming, restorative atmosphere for the user. In alignment with its oceanic inspiration, the luminaire promotes environmental stewardship through the use of biodegradable and recyclable packaging.

15 255

FIN

Final Product Branding Package

FIN The FIN luminaire includes the resin printed cover, along with a filament printed stand to hold an E20 Lamp Base.

7.62”

8.82”

LAMP LINEWORK

2.50”

2.75”

2.78”

LAMP SECTION

FIN beings an even light to the space, with extruding “barnacles” to add dimension to the smooth facade.

256 17

F

Final Product Branding Package

Fina

CONSERVATION FIN CALMING FLUIDITY GRACE

FIN

BRAND VALUES

PARKER BROBSTON

16

257

FIN

F

Final Product Branding Package

FIN

FIN

Phase

Type Hard Cost Hard Cost Product Developmen Soft Cost Indirect cost

FIN

Production per Item

Hard Cost Hard Cost Hard Cost Hard Cost Soft Cost Indirect cost

Quantity Quantity Applied Production Cost

Content Unit Resin Liter Fillament Gram Your Labor Hour storage, electricity, wifi, etc.

Prototype Price Resin Liter Fillament Gram Lighting Item Electricity Item Production and post production Hour storage, electricity, wifi, etc.

Package Package Delivery Package Labor for Package and Delivery Soft Cost Hour Next Product Set Set Cost Quantity Applied Operation and Maintenance Cost TOTAL COST Operation and Maintenance with the following development

Hard Cost Hard Cost

Revenue Setting Fee Profit when you sell all your product Profit per Item

Ratio

Unit Price Amount Cost $15.90 4.4229 $70.32 $0.02 1549.272 $30.99 $20.00 36.73333333 $734.67 $ 2.41 $838.39 $36.00 $0.02 $10.00 $24.00

0.51635 54.18 1 1

$18.59 $1.08 $10.00 $24.00

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25 1

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100

Target Market Price per Unit Price per Unit

$

200.00 230.736368

Gap between your Target and Production

$

(30.74)

PRICING

PRICE: $230

258 20

PACKAGING

N

Final Product Branding Package

FIN

FIN DIMENSIONS LAMP H 8.75” - W 7” - D 4” LAMP BASE HOLDER H 2.75” - W 2.5” - D 2.5”

FIN

FIN

MATERIALS

BAMBU Labs PLA White Matte Soft White Bulb 800 Lumens 2” x 2”

INCLUDES Custom Lamp Shade Lamp Base Holder E20 Lamp Base Soft White Bulb 800 Lumens 2” x 2”

SPECIFICATIONS

ANYCUBIC Plant Based Resin 2.0 White

259 19

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I F Y O U C O U L D TA L K TO Y O U B E F O R E T H E B E G I N N I N G O F T H E S E M E S T E R , W H AT W O U L D Y O U L I K E TO SHARE WITH YOU? I WO U L D T E L L M Y S E L F N OT TO PA N I C W H E N T H I N G S F E E L U N C L E A R , B ECAU S E C L A R I T Y CO M E S T H RO U G H D O I N G , N OT OV E RT H I N K I N G . T R U ST T H E P RO C E S S , P ROT ECT YO U R I D E A S , A N D A L LOW Y O U R S E L F T H E T I M E TO A R R I V E AT T H E M H O N E S T LY.

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262

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263

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264

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T H I S CO N T R A ST B E T W E E N L I G H T A N D S H A D OW E M P H A S I Z E S B OT H I N T I M ACY A N D R E ST R A I N T W I T H I N T H E D E S I G N . I N S P I R E D BY N I C H E G R E E K M Y T H O LO GY, T H E L A M P D R AWS F RO M T H E STO RY O F A M O R E E P S I C H E , A TA L E O F LOV E T E ST E D T H RO U G H T R U ST, PAT I E N C E , A N D D E VOT I O N .

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265

T H E M Y T H O F A M O R E E P S I C H E “A M O R E

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266

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269

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AM ORE E PSI C H E I S A SCULPTURAL TA B L E L A M P DEFINED BY BA L A N C E , INTIMACY, A N D R E ST R A I N T.

DIM E N SIONS: H 1 0 " D 4 1 / 4 " W5 " MA T E R I AL: W H I T E PLANTB A S E D RESIN RE C O M MENDED G 4 L E D BULB 3 W 2 7 0 0 K 1 2 - 2 4 V 13. 5 X 4 1 MM

BULB:

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I N S P I R E D BY THE MYTH OF A M O R E A ND PSICHE, THE L A M P R E F LECTS THE QUIET ST R E N G T H OF TRUST AND U N I O N , W HERE ILLUMINATION I S E X P E R I ENCED INWARDLY R AT H E R T HAN DISPLAYED.

271

Suzu Kokuho Por t fol i o

What I learned from...

Process of Table Lighting Design - I began by exploring concepts, spending time through sketching to discover what I wanted to express. My concept was Canyon, and I learned how to transform Canyon into something entirely different.

Series of Product and Business Branding Packages - I proceeded with the design while consciously considering how to convey its characteristics and strengths to the client.

I learned that even the same product can be expressed in diverse ways depending on the brand’s atmosphere, and that branding is just as important as the product’s design itself.

Process of Package and Exhibition preparation -Packaging is the first thing customers see when they purchase a product. Exhibitions are also an opportunity to showcase products to new customers. For both processes, we aimed to maximize the expression of our brand’s strengths and prepared for it.

Overall - This class was my first time learning about the entire process from product design to sales. While my regular classes focus on architectural design, I was surprised to discover both similarities and differences between architectural design and lamp design. Especially the branding process was entirely new to me, and I learned not only about design but also the importance of a business perspective.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- It is impossible to create a perfect design from the beginning, so I want to tell to not be afraid of making changes, to try various things, and to pursue a better design.

Initial Concept Narrative and Sketches

Sketch 1

Sketch 2

Sketch 3

Sketch 4

Sketch 5

Sketch 6

Sketch 7

Sketch 8

Refined Concept Narrative and Sketches

Sketch 9

Final Draft Concept Narrative and Sketches

Sketch 10

Sketch 11

Final Luminaire Concept Narrative, Sketches, and Rendersing

Rhino view 1

Rhino view 2

Rhino view 3

Rhino view 4

Rhino view 5

Rhino view 6

Records of 3D Printing Progress

Process 1

Process 2

Process 3

Process 4

Process 5

Process 6

Process 7

Process 8

Product Branding Package

Product Branding Package

Product Branding Package

CONCEPT

This lighting is inspired by the timeless beauty of Canyon. It expresses the power of the canyon, shaped by the passage of time and erosion. It gently illuminates daily life with nature’s serenity, enveloping the space in soft light. This allows the presence of nature to be felt within the ordinary.The design allows the spread of light to change depending on the viewing angle, enabling you to feel nature’s quiet rhythm and depth through the light.

Product Branding Package

DIMENTION

4.5”

6.5”

9.0”

Product Branding Package

Typeface

Title

Franklin Gothic Demi

Sub

Franklin Gothic

Body

Franklin Gothic Book

Color

ffffff

f39038

000000

Product Price

Physical Package

TIMEBORNE

Ta ylor H eath Port foli o 288

1

What I learned from...

Process of Table Lighting Design - I found the beginning design process to be exciting translating my concepts into rhino models. However, learning how to use subd as a tool became somewhat tricky and difficult. It was more of a sculpting tool and not something I was familiar with, however whe nI did learn how to use it I found that it was extremely helpful in creating a fluid and smooth design compared to traditional rhino modeling. Additionally, since I experiemented with both the resin and filament I found that the filament was much easier to create a project but it was much more difficult to create a smooth infill compared to the resin that is an inherently smooth material.

Series of Product and Business Branding Packages - I wanted to create a package that spoke directly to the product and what it embodies which is an idea of cleanliness, organics, peace, and serenity. The idea is for the light to be the main focus but also an accent to an aesthetic it is designed for with also allowing the design to be adaptable in any space. With a clean and somewhat vintage color pallette and typeface, produces a somewhat comforting identity that gives off a sense of peace and familiarity.

Process of Package and Exhibition preparation - Personally I really enjoyed the pacage design process as I felt that I was able to explore many different identities of my design through different forms. The package gives a look to what is inside while also keeping it descriptive enough and somewhat elusive so it is not inheretly revealing what is inside. I also enjoyed preparing for the exhibit as it allowed me to make multiple versions of the same lamp but working on different things such as infill, ironing, and different materials.

Series of Process Book Making - I find this to be the most rewarding part of the process as I am able to go back and look through all the work that I have produced thus far and see how my design has evolved or remained the same. From initial sketches to rhino renderings, I am able to see how the curvature elements of my initial concept have been a constant driving factor in my process and workflow.

Overall - In the end I found this to be an extremely rewarding and fufilling process to see all of the work that I have completed with a simple idea that came to my mind come to life. Previous to this class I had an intrest in lighting and now I know that I have much more of a passion for it than I had anticipated. I plan on after this course, creating a series of lamps and beginning a much greater exploration into lamp and lighting design as well as 3d printing overall.

If you could talk to you before the beginning of the semester, what would you like to share with you?

- I would say to continue working even when the process is hard and try to lean more into the development and experimentation with the rhino design and modeling.

289

1

Initial Concept Narrative and Sketches

When I began sketching for this assignment, I was initially drawn to objects or things that had some sort of opening where light would be able to escape or show through. As I continued to discover more ideas, I played around with the idea of the light diffusing out through the shape. For instance, with the mushroom or jellyfish inspiration I started to think of how the light would come through with the domed shape and how it would diffuse out of the lower parts. I then began to think of things that were dimensional and could have pockets that the light would shine out of. Thinking of some of the rock ideas or clam shells where the light would be contained to only certain areas. I played around with round ideas as well as taller and skinnier ideas and found that I was drawn to the idea of shells and coral more where the light is centered in the object and has very little area for it to escape but can be diffused throughout the entire shape.

SEASHELLS

CLAM SHELL

CONE SHELL

OPEN GEODE

SEA ANENOME

JELLYFISH

SHALE ROCK

PUDDLE

290

2

Refined Concept Narrative and Sketches Through this process I began translating inspiration images and using subd in rhino to create initial lighting designs.

SPIRAL CONCH SHELL

CLAM SHELL WITH PEARL Seashell Curve Inspiration

Rhino Rendered Image

Clamshell Inspiration

Rhino Rendered Image

Sea Urchin Inspiration

Rhino Rendered Image

Conch Shell Inspiration

Rhino Rendered Image

SEA URCHIN SHELL

SPIRAL CO

291

3

Final Draft Concept Narrative and Sketches I continued with the spiral concept and explored different design options through the use of the SubD tool in Rhino in order to achive the look that I was going for. After many iterations, I was able to use this tool to create a design that I was happy with and that I felt embodied my initial design concept.

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

Rhino SubD Modeling

292

4

Final Luminaire Concept Narrative, Sketches, and Renderings SPIRA is a 3d printed lighting piece that is designed to bring calm and serenity to your space. Sculpted from the quiet poetry of the shore, this lamp takes its form from the gentle curves and natural symmetry found in seashells. Each contour reflects the calming rhythm of the ocean, bringing a sense of serenity and soft coastal warmth into your space. This design transforms each room with its organic and clean design, a clear outer shell that imitates light passing through water and curvature reminiscent of the shore. With its organic forms, the project is made of filaments that are recyclable in nature and partially biodegradable to keep a restorative essense.

Final Rendering

Inspiration Images

Design Evolution

Rhino Rendering

Rhino Rendering - Lamp

Rhino Rendering - Base

293

5

Records of 3D Printing Progress This is the process and experience that I went through when it came to exploring the 3d printing process.

1/3 scale resin model

1/3 scale model with light

1/3 scale filament model

Full scale resin print

Resin printing fail

Full scale filament print

1/3 scale resin printing

Failed filament print base

294

7

295

8

table lamp light, refined by the ocean

SPIRA 296

9

SPIRA is a 3d printed lighting piece that is designed to bring calm and serenity to your space. Sculpted from the quiet poetry of the shore, this lamp takes its form from the gentle curves and natural symmetry found in seashells. Each contour reflects the calming rhythm of the ocean, bringing a sense of serenity and soft coastal warmth into your space. This design transforms each room with its organic and clean design, a clear outer shell that imitates light passing through water and curvature reminiscent of the shore. With its organic forms, the project is made of filaments that are recyclable in nature and partially biodegradable to keep a restorative essense

CONCEPT 10

297

DESIGN INSPO 298

11

DESIGN INSPO 12

299

▪ CLEAN ▪ SOFT ▪ ORGANIC

BRAND VALUES 300

13

LightHaus d e s i g n c o.

The Spira luminare is a 3D printed, filament based, light fixture that is created to bring peace and relaxation to any space. The project is printed into twor seperate parts, one out of a clear filament and the other an opaque white. With its spiraling curves, the depth of the print changes throughout each side with none that are identical. The luminare sits on a base that screws the bulb into place and allows it to illuminate the entire form without having any locks or adhesives visible, it sits on a plate and appears to be floating.

DIMENSIONS

MATERIALS

BULB

Lamp:

Bambu Labs PetG Basic - Clear Soft White

L 6” W 6” H 11”

Bambu Labs PLA Basic - White

2700k

Base: L 2” W 2” H 4”

SPECIFICATIONS 14

301

Phase

Type Hard Cost Hard Cost Product Developmen Soft Cost Indirect cost Prototype Price

Production per Item

Hard Cost Hard Cost Hard Cost Hard Cost Soft Cost Indirect cost

Quantity Quantity Applied Production Cost

Content Unit Resin Liter Fillament Gram Your Labor Hour storage, electricity, wifi, etc.

Resin Liter Fillament Gram Lighting Item Electricity Item Production and post production Hour storage, electricity, wifi, etc.

Package Package Delivery Package Labor for Package and Delivery Hour Soft Cost Next Product Set Set Cost Quantity Applied Operation and Maintenance Cost TOTAL COST Operation and Maintenance with the following development

Hard Cost Hard Cost

Revenue Setting Fee Profit when you sell all your product Profit per Item Target Market Price per Unit Price per Unit Gap between your Target and Production

Unit Price Amount ount $15.90 1.0189 $0.02 195.324 $20.00 25.73333333 5.73333333

$0.00 $0.02 $8.00 $24.00

0 1320 1 1

$20.00

0.55 100 100

$8.00 $15.00

100 100

$20.00 $535.28

25 1

Ratio

2 100

TOTAL COST $220

CLEAN SOFT ORGANIC

Design

▪ ▪ ▪

Sculpted from the quiet poetry of the shore, this lamp takes its form from the gentle curves and natural symmetry found in seashells. Each contour reflects the calming rhythm of the ocean, bringing a sense of serenity and soft coastal warmth into your space.

Care: wipe with a soft, dry cloth. avoid moistrure and harsh cleaners to preserve natural finish

Inspire

SPIRA

table lamp

light, refined by the ocean

LightHaus

PRICING 302

15

Pale Sky #aec2cd

Cool Steel

Silver

#859ba9

#afafaf

Soft Linen

#edebde

TYPEFACE The Seasons

5 1/2”

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()

4 1/2”

Poppins

6 1/2”

11”

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()

2”

SPECIFICATIONS 16

6” 303

DESIGN, ILLUMINATED

Michelle Parks

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ReView: Summer/Fall 2025

Students investigate product design possibilities through grant-funded research

T

he glowing, misshapen sphere looks like an object from a science fiction movie. Ruth Prenzler’s otherworldly design for her table lamp challenged and sharpened her 3D modeling and printing skills as she found ways to mimic the texture of extraterrestrial rock.

In a course focused on custom lighting fixtures, Prenzler 3D printed “The Meteor” lamp with white resin, embodying the intriguing light qualities of saffordite rock and the textural qualities of meteorites. Saffordite is a dark rock that becomes translucent when illuminated. Her lamp consists of a textured “shell” that diffuses the light and an inner cylinder that holds the shell and the light bulb.

Continuing the theme, Prenzler was inspired by the impact of a meteor striking Earth’s surface for her wall-mounted luminaire “The Strike.” She fashioned it from two 3D-printed resin pieces with contrasting textures that she press-fit together. An LED light strip in the bottom piece bounces light off the ribbed and rocky textures.

Prenzler, a rising fifth-year architecture student, said the lighting course allowed her to apply architecture design skills of concept, identity and realization to a finished product.

“It expanded my notion of marketability in design and the monetary value that comes with the hours put into it,” she said.

Prenzler was among the 13 architecture, two interior architecture and design, and one Master of Design Studies students who designed and produced custom lighting fixtures in an innovative new course led by Jake Tucci and Jinoh Park.

Tucci and Park, both assistant professors of interior architecture and design, received a $30,000 grant from the Nuckolls Fund for Lighting Education to develop this upper-level professional elective. It was the second time in three years that the Department of Interior Architecture and Design faculty received a Nuckolls Fund grant.

Opposite page, table luminaires designed by students in the bespoke lighting design course. Above, “The Meteor” table luminaire designed by Ruth Prenzler.

The department was one of two programs nationally to be awarded this Nuckolls Fund grant for 2024. The Nuckolls Fund supports college-level lighting programs that enable students to learn, appreciate and apply the fundamentals of lighting design, and to recognize the achievements of James L. Nuckolls, the late lighting designer and pioneer lighting educator.

The grant funding allowed Tucci and Park to develop and implement the course, “Premiumization, Sustainability and Making of Bespoke Lighting,” for the fall 2024 semester. The grant also supported the exhibition of student work created in the course.

ReView: Summer/Fall 2025

17 305

At left, “The Meteor” table luminaire designed by Ruth Prenzler takes shape on the 3D printer. At right, “The Strike” wall-mounted luminaire designed by Prenzler.

Bespoke lighting consists of custom-made lighting fixtures designed to meet the specific needs of a client or space. While glass is typically used in bespoke lighting fixtures, using 3D printers allowed students to undertake the entire planning, design and production process.

This experience encouraged students to investigate and pay attention to how lighting is implemented in space design. It also promoted the use of eco-friendly manufacturing methods that help reduce carbon emissions, unlike traditional glass manufacturing methods. For the course, students employed a soy-based resin that can be hardened using ultraviolet light, as well as a filament made from corn.

“Lighting is a critical component of the built environment,” Tucci said. “You can have a very simple or even bad space completely enhanced with just light. It has the power to transform space, outside of other components.”

While lighting education is important for future interior designers, architects and landscape architects, Tucci and Park said such training at the undergraduate level is not too common. Due to the

18 306

cost of equipment and materials needed for this type of course, they said the external funding was essential to offer this elective.

The Fay Jones School currently offers Lighting Systems, a required course for interior architecture students. In addition, an Advanced Lighting Professional Elective, for students wanting to investigate lighting design, was developed in 2022 with support from a previous Nuckolls Fund grant.

The final run of that funded course was in the spring 2025 semester.

While those two courses focus on exploration, students in the new bespoke lighting course made two functional products using 3D printing technology. The design of a sculptural table luminaire helped students learn new digital modeling techniques, test materials and experiment with light sources. For the second project, a wallmounted luminaire, students created a larger bespoke piece using 3D printed materials, aiming to capture the essence of a glass fixture.

This new course also placed a strong emphasis on students’ hands-on experience, another aspect that Park and Tucci said is sometimes missing in design

ReView: Summer/Fall 2025

At top left, a wall-mounted lighting fixture, called “Portal,” designed by Adam Engelke. Above, a sculptural table luminaire, called “Illuminova Bloom,” designed

by Engelke. At bottom left, a display of luminaires designed by students.

Exploring Product Design Through 3D Printing

education. By helping students develop adaptation and design values, the course explored opportunities to make customized items.

“They are learning the amount of thought, development process and components in the lighting products. They are seeing first-hand how to make these products that they will eventually specify in their designs,” Tucci said. “It helps them understand those products as well as build up a nomenclature and way of communicating about those things.”

The Nuckolls Fund grant paid for the purchase of six new 3D printers exclusively available to students in this course. Three of the printers are resin printers capable of printing a wide range of materials, including soft and flexible thermoplastic urethanes (TPU) filaments and ceramics. The other three are high-speed filament-based fused deposition modeling (FDM) printers.

Students in this course said they expanded their skills and came to understand the difference in designing something at a more intimate human scale than a building. And they noted that creating a product was a new design experience for many students in the class.

“The process is 100 times more iterative, and you have to go from thinking conceptually to considering the price to make it, the price to market it — and then work your way back to maintaining the concept,” said Adam Englke, a rising fifth-year architecture student.

Through this process, he also “exponentially” improved his Rhino modeling skills. He spent time working in SubD modeling software within Rhino and learned to model in a malleable way.

For his sculptural table luminaire, called “Illuminova Bloom,” Englke designed a biophilic vase luminaire with a grid woven around a sphere to make a speckled bulbus shape. He then paired it with a “spinning, splash-like motion” to create a dynamic lamp. His wall-mounted lighting, called “Portal,” took on an “otherworldly vibe” with a ringshaped piece with a concave back that projects light dimly on the wall. A wavy pattern on the front gives the illusion that the piece is spinning.

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Sydney Bommarito, a rising fourth-year interior architecture and design student, enjoyed exploring the intersection of design, technology and storytelling through the creation of her custom lighting pieces. Drawn to forms of aquatic architecture, she began her conceptual research by studying grottos, nymphaeums and various aquatic shells. She also was deeply inspired by the Dutch fashion designer Iris van Herpen, particularly her runway show, Sensory Seas. “[Van Herpen’s] designs influenced the visual language of my collection, which aimed to express the duality of seashells: their unique beauty and their role as a natural dwelling,” Bommarito said. “I incorporated sequential contour lines to enhance visual rhythm and create a sense of cohesion across the collection.”

Before this course, Bommarito didn’t have much hands-on experience in the 3D printing lab.

She fabricated both of her final pieces with the Bambu Labs X1 Carbon 3D filament printer. She learned how 3D printing with materials made from sustainable, biodegradable and renewable resources can significantly reduce material waste and carbon emissions. These qualities make the process a compelling option for environmentally conscious design.

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At left, a sketch showing the components and dimensions of “Haven,” a table luminaire designed by Sydney Bommarito. Above, an up-close view of “Haven.”

“I gained a stronger understanding of how digital modeling and fabrication can result in unique and organic designs — reshaping the way I think about materiality, form-making and sustainable innovation in architecture and design,” Bommarito said.

Her sculptural table luminaire, “Haven,” was inspired by the organic form and layered structure of a conch shell. The design features a substantial, protective outer shell that opens to reveal a more delicate inner shell housing the light source. The outer shell is designed to rotate on its base, allowing users to adjust the lighting from a focused task light to a soft, ambient glowing piece that uses an E26 base bulb with an output of 760 lumens.

“When illuminated, the inner shell creates the impression of a life form nestled within a safe, enclosed sanctuary — inviting a sense of warmth and intimacy. This layered construction is intended to spark curiosity and encourage physical interaction with the piece,” she said.

Bommarito’s wall-mounted sconce, “Nautilus,” was inspired by the structural elegance of a flat scallop shell. Her design, which features both an

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At top, the final “Nautilus” luminaire mounted on the wall. Above, the rendering for “Nautilus” made using 3D modeling software.

Making Through Iteration and at Full Scale

At top, a view from above of “Haven,” designed by Sydney Bommarito. Above left, the “Nautilus” wall-mounted luminaire designed by Bommarito. Above right, the “Nautilus” luminaire immediately after being 3D printed.

interior and exterior shell, is intended to evoke the relationship between a living organism and its protective casing. The fixture is illuminated by a G4 LED bulb emitting 400 lumens, which provides a warm and efficient glow that enhances the design’s ethereal quality.

“The inner shell incorporates gently curved perforations, allowing light to project patterns onto the surrounding wall surface,” she said. “These patterns are designed to resemble the way sunlight refracts through water, creating a soft, immersive visual experience.”

Though students may have had some experience creating work with 3D printers from other courses, they are not typically the ones operating the machines. The grant funding provided the six printers that students ran themselves and supplied the materials, meaning students could test their designs without concerns about cost.

These freedoms of time and cost allowed students to experiment more effectively. And since students were printing an actual product, Park said that this process of trial and error was essential for mastering the product’s functionality.

“If they need to exchange the lightbulb, they need to think about practical ways while keeping the design sense,” Park said. “They need to learn how to handle it, how to use it and how to maintain it.”

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Student lighting designs displayed at the International Contemporary Furniture Fair (ICFF) in New York City in May 2025 (above and top right) and at the Stockholm Furniture Fair in February 2025 (at bottom right).

While students may have been more familiar with 3D printing small-scale models, where aspects do not have to function, Tucci said, for this course, students needed to design around built parts or built connections. Additionally, students designed a real product with the various components represented at full scale.

“We’re concerned with multiple parts coming together. We are interacting with tolerances, meaning that you can’t have a perfect tolerance or things won’t fit,” Tucci said. “We are also dealing with trial and error.”

Additionally, the course introduced students to how business and design intersect. Throughout the semester, students developed a brand kit for their lighting fixtures that determined their design language and established their distinctive brand identity. Tucci and Park said that successful students have been able to tell stories about their products.

Park said this helps students learn the technical aspects of lighting and brand development from a business perspective.

“This is an opportunity to interact or be the inbetween for the designer and the marketer,” Park said.

Following the completion of the course, Tucci and Park presented the students’ work at the

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NDBDS40 (National Conference on the Beginning Design Student) in March 2025 at North Carolina State University in Raleigh, North Carolina. The table luminaires also were shown in the Greenhouse exhibition at the Stockholm Furniture Fair in February 2025, while both table and wall luminaires were displayed in the Wanted exhibition at the International Contemporary Furniture Fair (ICFF) in New York City in May 2025. ICFF is North America’s leading platform for contemporary design, featuring furniture, lighting, textiles and more. The fair takes place annually in New York City and attracts a significant audience of designers, architects, retailers, and other industry professionals.

Embracing and Learning From the Process For Skyler Perryman, a rising fifth-year architecture student, these lighting projects taught valuable lessons about when things don’t go as planned. It took several concepts and iterations to arrive at his table luminaire, “Fino.” A few weeks into the semester, thinking about the layers found in stacked pancakes and folded blankets inspired a final piece that appears thin and delicate, yet is solid and heavy.

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Above, the “Fino” table luminaire designed by Skyler Perryman.

Its three parts — a shell, the legs and a ring to hold the lightbulb — were made from 3D-printed resin. The ring was “press fit” — placed in the stand before the resin fully cured.

“One of the more interesting things is how the light behaves. It doesn’t spread evenly across the surface,” he said. “Each layer curves and undulates in its own way, so the light kind of flows through it differently, depending on where you’re looking from.

Some parts glow more than others, and that’s what makes it feel alive. The texture of the light shifts as you move around it.”

Perryman’s wall luminaire also was inspired by layers, and he strove for a soft, billowing effect that was bigger and more architectural. He used Rhino with Grasshopper to recreate the table lamp’s sensibilities, but his script didn’t work as anticipated.

“It has this pulled and warped quality that felt natural. That became the foundation,” he said.

So, he considered how the piece would look in elevation from every angle. “And lighting was part of the thought process from the very beginning. It wasn’t just about how it looked but how it worked.”

He tested light temperature, lumens and wiring, considered whether to use puck lights or strips and whether to light the face or the edge, and evaluated how the light source would physically fit inside the

At top, the wall-mounted luminaire designed by Perryman. Above left, a 3D printed piece for Perryman’s wall luminaire. Above right, a detail view of Perryman’s wall luminaire.

final product. The piece had to be split into nine parts to print on an FDM printer, and he angled the seams to match the contour of the form and hide the connections. However, the FDM printers make walls with a set thickness. When fitted together, the thin walls between each piece made a double wall, so that certain areas were too thick for light to pass through.

In the final product, only the middle third lights up properly, while the ends remain darker. While things didn’t go as planned, he’s pleased with the result. He’s also glad he didn’t float the piece off the wall as initially planned because it would have felt disconnected.

“Now it feels like it belongs to the wall. It feels more like part of the architecture than something stuck on top of it,” he said. “This whole project was a real lesson in how digital design meets physical reality. Light, material and process all affect each other way more than you’d think.”

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Bachelor of Interior Architecture and Design | Fay Jones School of Architecture and Design, University of Arkansas YEAR ONE IARD 1035 Studio I

IARD 1045 Studio II

YEAR THREE

YEAR TWO IARD 2804 Studio III

IARD 2814 Studio IV

IARD 3805 Studio V

IARD 3815 Studio VI

IARD 4805 Advanced Studio VII

IARD 2723 Digital Media in Design

IARD 2883 History of Interior Design

IARD 3833 Building Systems for Interior Design

IARD 4813 Human Factors for Design

Professional Elective

IARD 2823 Interior Design Materials & Assemblies

IARD 3843 Lighting & Related Building Systems

IARD 4823 Professional Practice for Interior Design

IARD Study Abroad Requirement

ARCH 1212 Design Thinking I

ARCH 1222 Design Thinking II

YEAR FOUR IARD 4815 Advanced Studio VIII

IARD 4811 Internship for Interior Design

ARCH 4433 Architectural History III

ARCH 5016 Option Studio I

FJAD 6906 Advanced Design Studio I

FJAD 6916 Advanced Design Studio II

Students in IARD 4650V Special Topic | Premiumization, Sustainability, and Bespoke Design take an interest in lighting in space design and promote the use of eco-friendly manufacturing methods that help reduce carbon emissions, unlike traditional glass manufacturing. Moreover, while developing a series of 3D-printed custom-made luminaires, they need to identify their own design language and elements so that it is possible to establish their distinctive brand identity. Students will also learn the technical aspects of bespoke lighting and brand development from a business perspective. The development and implementation of this course is supported by the 2024 Nuckolls Fund for Lighting Education grant.

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