ABOUT CV TWENTY RITUAL UNION BONC UDON /4
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ABOUT Hello, my name is Anna Mimran. I am a London based multidisciplinary designer. I recently graduated from Nottingham Trent University with a degree in BA Product Design and a sandwich-year placement diploma. As a designer, I enjoy involving myself in projects of all creative disciplines. When approaching any project I find it essential to inform my outcome using knowledge of materials and processes. I aim to guide every process with intent and to try and communicate the nature of a products function in its form. I believe this creates more balanced and purposeful objects.
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EDUCATION Nottingham Trent University 2016 - 2020 BA Product Design; First Class Honours JFS Secondary School 2013 - 2015 A levels; History, English Literature, Art AS level; Photography
C’s Cuffs
Languages:
May 2019 - February 2020 Part-Time Design and Marketing Assistant
+ English - Native + French - Conversational + Hebrew - Conversational
Through this role I gained exposure to the joys and hurdles of managing an independent design brand. The job presented many varied tasks including managing social media content, image post production, online sales and in-house batch production. Jin G Skate Shop
EMPLOYMENT
May 2019 - September 2019 Sales Assistant
Blond
Working within the leading distributor of contemporary streetwear in Israel’s growing cultural epicentre, Tel Aviv, I was exposed to the final stage of design, the point of sale. Understanding how a final product is distributed and communicated to the end user helped inform my process moving forward. This role also taught me about proactive selling techniques and marketing, as well as curating enticing product displays.
July 2018 - April 2019 Design Intern At Blond, I learned to produce work to a professional standard and refine my capabilities through technical fluency, advanced CAD skills and manufacturing knowledge. I was exposed to manufacturing processes first hand during a trip to Portugal, which provided invaluable insight into the profession. The culture at the studio introduced me to a plethora of contextual influences, widening my scope of knowledge in design; both contemporary and historic. Through this experience I learned to be a more well rounded designer, gaining the knowledge to produce a rational and highly sophisticated outcome without compromising on the aesthetics or functionality of the product.
Manna Delicatessen Aug 2016 - 2019 Part-Time Graphic Designer
Bonc Electric Bicycles
Redesigning the branding, graphics, packaging and website design were my main responsibilities in this role. The brief was to pinpoint a marketing strategy for a niche clientele and refresh a dated brand identity while working within the constraints of the existing brand language. The role presented the opportunity to develop my CAD skills and further my understanding of cost efficient design.
August 2020 - March 2021 Freelance Designer
SKILLS
Bonc is an up and coming e-bike company launching in the summer of 2021. I was approached to establish a visual identity and branding strategy for the start-up. Working independently on the project gave me the opportunity to lead the design process and enhance my professionalism, through writing fee proposals and outlining deliverables to communicating with the client and pitching design concepts.
+ Rhinoceros 3D + Solidworks + Keyshot + Adobe Software; Photoshop, Illustrator, InDesign + Sketching + iPad Illustration
INTERESTS + Film Photography + Cooking + DJing + Illustration AWARDS POQ Lens Shortlisted BBC x Innovia Live Brief; 2018 Shokuba Shoji Shortlisted Herman Miller x Matter - Brand Extension; 2018 The Kimchi Throne International Design Studio: GAFA x NTU; 2018 Twenty Korean Eyewear Design Award; 2020 REFERENCES James Melia Blond Founder + Director james@blond.cc Roie Ziser Bonc Director r@ziser.co.uk CONTACT INFORMATION email: annamimran@gmail.com phone: +44 (0) 77 9051 0241 instagram: @_a.mimran website: annamimran.com
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TWENTY
/2019
“Fashion is innately the antithesis of sustainability” - Osman Ahmed Twenty is a response to the wastefulness of todays fashion industry. It focusses on the inhibition of circularity in the eyewear sector caused by the use of composite materials. By designing for disassembly at a products conception, the recovery rate of the materials can be greatly increased. This reduces waste and allows the material to be reprocessed again and again, preventing more raw material being extracted and less ending up in landfills. Through investigative research it was discovered that spectacle production is highly unsustainable. Glasses use different materials throughout their anatomy which are usually fused together, requiring specialised processes for recycling. As a result, glasses cannot be recycled through kerbside collection services, causing millions of frames to be sent to landfill each year.
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DESIGNED FOR DISASSEMBLY These frames were designed to facilitate the end of life. Through keeping the respective materials separate it allows for responsible disassembly before disposal. It also extends the lifespan of the frames by simplifying the repair process, since the necessary components can be replaced or repaired rather than having to replace the entire frame. This was achieved by attaching the metal components to the frame externally rather than fusing them together permanently. Additionally, the frame front is partially split on either side for greater ease when replacing lenses. The fragmented nature of these frames also allows users to configure the components to their preference, creating a more personalised product.
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THE MATERIAL In conjunction with the ability to disassemble, the frames have also been designed using both recycled and recyclable materials. The material chosen was HDPE, a highly durable and lightweight plastic which is easily processed. The CMF was informed by the fact that black plastic cannot be recycled due to the inability for it to be detected in recycling centres. Furthermore, when coloured plastics are mixed they can only be reprocessed into black. Therefore, by keeping the colourways solid it enables the frames to be recycled into the same colour again. The external components such as the hinges and screws are made of stainless steel which is also easily processable providing they are separated from the plastic when they are disposed of.
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VISUAL IDENTITY Honest, playful and timeless. These were the directional principles upon which the visual identity was defined, informing every decision surrounding brand colours, name and aesthetic direction. The frames were designed to be accessible to a vast range of consumers, yet highly sustainable. Research found that consumers want to buy products that are sustainable, but were less likely to do so when aesthetic is compromised. The ambition of the design was to create a conscious product that users would feel proud to engage with, yet remains competitive with other eyewear on the market. The soft and playful curves juxtapose the technical, utilitarian detailing used to construct the frames creating a contemporary form, designed for both environmental and emotional sustainability. The brand is called twenty, a nod to the commonly used phrase ‘twenty twenty vision’. Furthermore, the number two is the code used to denote HDPE for recycling purposes and the zero resembles a circle, referring to the circular economy and the circularity of this product.
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RITUAL UNION
/2020
Inspired by the lessons religion has taught society over many millennia, this project was an investigation into the ways religious traditions can be adapted for modern times. The research process sought to find shared practices and rituals across several religions and expose their similarities. The ambition was to create an object that would encourage interaction across cultures and communities and inspire discussion. These ideas were explored through creating a ritual object surrounding the act of breaking bread. For centuries this ceremony has been symbolic of prosperity, sharing and friendship, a sacred act to enjoy together.
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THE OUTCOME The final product is made up of three components. A board made from maple, a terracotta tray and a stainless steel bread knife. It was important that the outcome achieved three things; it should reference its religious context, inspire interaction and simultaneously fit seamlessly within a contemporary home in order to appeal to its target user. These objectives informed the design language and CMF, taking cues from religious artworks and architecture, whilst also using softened geometric forms and a neutral tonal palette inspired by its domestic context. The three intersecting components referenced the three intersecting religions explored in the initial research and celebrates this heritage in a contemporary light. This dining set was named ‘companion’, a Latin word which when deconstructed translates to, together and bread, perfectly expressing the intention for this product.
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IDENTITY + USABILITY A firm design identity had to be established to ensure the three objects married harmoniously into one unified form. This was achieved through the linear pill shaped profile that runs across each object, creating a soft yet geometric visual language. This paradox of both organic and controlled forms helped to inform the brand identity of the set where both script and sans serif typography were used to communicate this juxtaposition. In curating the users experience, sensory detailing was used across each object to guide the interaction and invite use. The set was designed to be proudly exhibited in ones home and accommodate storage. The knife can be placed either on top of the board or internally when stacked to ensure space efficiency both on a dining table and when stored away.
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USER FEEDBACK “The neutral tones and raw materials of the product instantly set the mood for a ritualistic experience, creating a sense of calm and prompting a moment for reflection. For me the product presents the opportunity to celebrate the moments where I come together with friends and family more mindfully.”
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BONC
/2020 Bonc is a new player in the personal transport industry, disrupting the market with their design-led ebikes and democratic approach. This project focused on building a brand identity for Bonc. The process began by engaging in conversation with the client in order to establish their core brand principles and ambitions. Through in-depth research, trend analysis and market evaluations, several prospective consumers were constructed to allow the research to be geared towards its target audience. By identifying the brands that these target consumers were likely to engage with it enabled greater insight into the visual details which would be most evocative. Bonc’s guiding principles were defined by being accessible, understated, confident and gender neutral. This informed the logos, typestyles, tone of voice and colours used to build the brands personality. Once these were established, a brand guidelines document was collated to outline the rules of use for these assets, ensuring its communication remained professional and consistent.
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BRAND IDENTITY A client requirement was to focus on a typographical logo that subtly referenced electricity whilst remaining cohesive with the understated design language used in the ebike itself. The result was the glitched logo - a stripped back yet characterful way to communicate the brands identity. Upon completion of the logo, participation in further projects for the company included the design of a graphic logo as well as applying the previously establised guidelines to other business assets including; assembly instructions, product packaging, business cards, letterheads and promotional material.
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UDON
/2021
Paradoxical in its nature, the Udon chair was designed to embody both utilitarianism and expressionism. Its form, both controlled yet outspoken, takes inspiration from mid-century design details and production methods, breathing new life into an iconic archetype. The outcome is a dining chair that embodies both classic and contemporary. It has an essence of minimalism and stripped back simplicity, whilst being outspoken, defiant and individual. Its muted CMF and reductionist structure balance well with its characterful details and playful form making it both timeless, yet of its time.
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PROCESS The process began by defining the archetypal forms used in chairs historically. By categorising these characteristics it enabled greater control over the outcome and more opportunity to incorporate specific details. Following the concept generation stage, the next step was meticulous iterative development, going back and fourth experimenting with forms and proportions until the outcome communicated a simultaneously functional and sculptural form.
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MANUFACTURING METHODS The form was driven by the manufacturing process. The backrest is made of steam bent dowel rods formed to create a skeletal structure, minimising excessive material use. The legs intersect with the backrest, which transitions into the arms of the chair, using a wedged mortise and tenon joint, one of the strongest joinery techniques. This minimised the variety of materials used in the chairs construction. Only two screws are used to secure the chair together in order to encourage both simple and sustainable disassembly.
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+44 (0) 77905 10241
@_a.mimran annamimran.com annamimran@gmail.com