JACK RUSSELL
ID PORTFOLIO 2011
JACK RUSSELL
RESUME Industrial Design one year post-bac program, Umea Institute of Design Design Engineer Daimler Trucks North America Design Engineer Brammo Motorsports Intern PACCAR Technical Center
8.10 - 6.11
3.08 - 6.10
6.06 - 7.07
6.05 - 9.05
BS Industrial Technology Vehicle Design Western Washington University, Vehicle Research Institute 9.02 - 6.06 & 10.07 - 3.08
SOFTWARE
Expertise
CATIA V5 5000+ Hours
Composite Design and Manufacturing
Solidworks 3000+ Hours
Composite Tooling and Layup
Rhino 4.0
Sheet Metal Design and Fabrication
Keyshot 2.1
CNC and Manual Machining
Adobe CS4 & CS5
Rapid Prototyping
Sketchbook Pro Sketchbook Designer
02 Contents
Projects 01-04: Design Engineering Projects 05-11: Industrial Design
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Formula SAE
04
02
Enertia Powercycle
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03
Brammo Ariel Atom
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04
Mazda 323 GTX
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05
Philips Kitchen Timer
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06
Io Thumper
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07
Gardena Pump Sprayer
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08
Mazda Gift Knife
44
09
Sketchbox
50
10
Furniture Transport
58
11
Form Project
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Thanks Thank you for taking the time to check out my work. This portfolio begins with engineering design related projects before showing industrial design work. I began as an engineer and my passion for creating led me into industrial design. I have deep experience with CAD, but enjoying using and learning about the many other aspects of design and engineering. jack.russell@comcast.net
JACK RUSSELL
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Formula sae Formula SAE is an international competition where students design and build open wheel race cars beginning with a blank sheet of paper. Competitions are held annually around the world. During my four years in undergraduate school I had the opportunity to be on the team for three different cars. I began designing components like differentials and brake calipers, and was promoted to technical director by the time I was working on my second car, designing the chassis and suspensions, as well as many other components. Not only did I have the opportunity to design components, but build them. I gained valuable experience in CNC milling, metal fabrication and did many composite layups myself.
JACK RUSSELL
The Viking 38 chassis, with the carbon components shown and hidden, revealing the steel roll bars and aluminum bulkheads the design criteria required that the chassis be as light and stiff as possible, while still able to fit large drivers.
06 COMPONENT DESIGN & ENGINEERING Below are just a few examples of some of the parts and systems I designed and built while on the western Washington university vehicle research institute Formula SAE team during my 4.5 years on the team. Bottom Left: the Viking 32 Race car chassis as built by the team from scratch. Center Left: The brake calipers for the Viking 32 race car. This photo shows the rapid prototype used to mock up on the car and the steps of the manufacturing process, from a billet of aluminum to a finished caliper body. Center image: the Viking 32 differential. Gears from an existing differential were used, but had to be mated to the custom drivetrain of our car. I used these existing components and designed a differential housing and mounts around it. Center this page: a prototype wheel for Viking 38. I designed this wheel to be used on Viking 38. It uses center lock aluminum spokes which mate to a very stiff and light carbon rim. Right image: Detail of the Viking 32 differential without the carbon fiber cover.
JACK RUSSELL
Above: Viking 43 testing. The student team is responsible for the testing procedure. Below: The Viking 43 cockpit, designed to be simple and intuitive under pressure. Left: Viking 43 driving during a testing session. Opposite Left: The rear end of Viking 43. Almost everything seen in this photo was student designed and made, then put to the test. Opposite Right: Viking 36 at the competition in southern California.
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Track testing, refining and improving There is a lot more to designing and building a Formula SAE car than long nights in the shop. The student-led team is also responsible for testing and developing the cars, This is probably the most important part of the process, because only in testing do you find out if your ideas worked or not. Here you have the chance to go back and improve what didn’t work well, and clarify what is complicated. Students are also the drivers during the competitions. I was fortunate enough to be one of the drivers during the 2006 California competition.
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Enertia powercycle While I was at Brammo Motorsports the company changed directions are re branded as Brammo LLC. What began next was the worlds first production electric motorcycle. The Brammo Enertia powercycle. As a design engineer working with an intimate team of other designers and engineers I had the opportunity to help develop the bike, from concept to prototype. What began as sketched parts and CAD models was eventualy realized as the fully functional prototype in just a few months.
JACK RUSSELL ENERTIA PROTOTyPE As part of a team of five, I helped design and build the brammo enertia prototype bike, seen below. As a supporting design engineer on the project, I designed many of the detail parts, such as the foot pegs, kick stand, charge port, and internal component mounts, and wheel hubs. I took these parts from sketch to reality, with a clear vision for manufacturing simplicity.
The prototype bike is below, while details of the process can be seen on the right page. The bike was designed to appeal to entry level riders and take advantage of the mechanical simplicity of and electric motorcycle.
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For the Brammo Enteria, the process didn’t stop at just designing the parts. Everything was fully documented with engineering drawings, bill of materials,and assembly instructions. After a prototype part was built, we worked with the fabricators and machinists to revise the parts so the would be as cheap and easy to make as possible, while still fulfilling all of the requirements.
On the Right you can see one of the many detail parts I designed for the Enertia, the kickstand, the engineering drawings are also shown. Below some are some pictures from the prototype build and test. Some long nights in the shop were spent getting the bike built by the deadline, but there is nothing more satisfying than whipping the bike around the parking lot when its all done.
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Brammo motorsports ariel atom The Ariel Atom is designed to be the ultimate driving experience. A complaint of many supercars is that when you are going 150mph, it feels like 60mph. In the Ariel Atom, its the other way around. No doors, no windshield. When you are cruising at 60mph, it feel like 150. For a year I was part of the small engineering and design team at Brammo Motorsports, a startup vehicle company. As a design engineer I began working on the super car project, the 1000hp Rouge GT. That project was soon scrapped by management and I then moved to design engineering on the US designed and built Ariel Atom. As one of three design engineers on the ariel atom project, I had the opportunity to work on large projects like integrating a Honda K series motor into the already GM Ecotech powered car, to small details like designing an upgraded suspension bell crank.
JACK RUSSELL THE AMERICAN DESIGNED ATOM
The Ariel Atom began in the U.K. where it was originally design and built. Brammo, however, did not want to import U.K. Atoms. The plan was to manufacture them in Ashland Oregon. In traditional British style, there was almost no documentation from the British manufacturer. This gave the design team at Brammo a great opportunity. Every part on the Brammo Atom was made by Brammo and was designed by the Brammo design team, everything from the a-arms to the pedals were redesigned and improved at Brammo Motorsports. 5.
3. 8. 7.
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2. Below are a few of the systems and parts I designed or helped design on the Brammo Ariel atom:
1. 9.
1. Integration of the Honda motor including shifting and supercharing and exhaust systems
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10.
2. Wing mounts and tooling (wings not shown here) 3. Billet suspension bell cranks 4. Pedals and pedal box 5. Weld jig tooling 6. Upgraded axles 7. Brake upgrade packages 8. Sub assembly tooling 9. Rear lights and mounts 10. Dry sump oil system
4.
JACK RUSSELL
Aluminum suspension bell crank Originally the car was supplied with cheap suspension bellcranks made from laser cut steel. The inboard mounted suspensions is one of the key design features of the Ariel Atom and we felt like the other parts of the system needed to live up to the same quality and innovation to remind the customer of the outstanding quality of the vehicle. I undertook the task of designing an aluminum CNC made bellcrank that not only had to preform the task, but look like a premium upgrade. On the left you can see the CAD model in context. Because packaging was tight, a rapid prototype was made (center) to verify and mockup the design before the production run. At right you can see a production aluminum part, anodized black. The design was not only focused on looking like a premium upgrade, but manufacturable within the cost constraints.
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DRySUMP FOR A GM ECOTECH One of the premium options offered for the Brammo Atom was a dry sump oiling system for the GM Ecotech engine (shown left). Initially the system was to use the only available off the shelf pan and a separately manufactured pump. This setup was sketchy at best. It had exposed belts which could easily be damaged, many braided oil lines that could leak and wear difficult to install. It was clear a much better solution was needed and since none existed, it would have to be made in-house. The solution I designed integrated the oil manifold and pump mount, had no braided lines, and completely enclosed the pump belt. In addition to this, it was all very simple to manufacture at low volumes.
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Mazda 323 gtx stage rally After graduating from college and getting a first job with real money, most sensible people decide to pay off their student loans, save for buying a house, etc. For me, none of this made any sense. My first financial goal was to own and race my own rally car. The 4WD turbo 1988 Mazda 323 GTX I bought was technically rally prepped and had rallied a few times before with the previous owner. In fact, I did my first rally with the car still in this early stage. After that rally however, it became clear that this car needed to be totally rebuilt. Since then, it has been an ongoing project. Beginning with the interior, and with the exterior still to come.
JACK RUSSELL
22 Rallying: project management Campaigning a rally team by yourself is a lot more than just driving the car. Its like running a business. A stage rally is a multi day event, involves crew, transport for lots of equipment and a host of other logistical issues. In addition to that, as the team owner, driver and team leader, it is up to you to make key strategy decisions. Even at an amateur level, stage rally is like being thrown into the deep end of serious racing and seriously high pressure management. Below and left are a few images of the interior after renovation. While design might appear to be low on the list of considerations for a race car interior at first, designing for the user is the top priority. Everything that is important to the driver must be east to see and arranged in a hierarchy of importance. Additionally, the codriver in a rally car must be able to reach many of the same things while tightly constrained by the belts. In an emergency situation, the emergency tool accessibility is critical.
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Philips kitchen timer This three week project was to design a kitchen timer for Philips. The challenge for the project focused on the user while still maintaining the brand identity and allowing some new thinking into a seemingly mundane type of product. The concept I chose shows time as a graphic representation, rather than numerical, like on every kitchen timer in production today. This would allow the user to glance at the timer and get a feeling for the time remaining, without having to contextualize the remaining time with the original time.
JACK RUSSELL Research Can you see your kitchen timer from across the room? The central idea behind this timer is that the user would rather know how much time is left by simply glancing across the kitchen and seeing a visual indication, without having to squint to read a number, or read at all. All the timers found during my research (some seen below) were nearly impossible to read from a long distance. What if the time remaining is always graphically represented on the LED bar starting at 100% of the time and going down to zero when the time is up, regardless of the amount of time? There would be no need to squint at small numbers and the timer would be an interesting piece of sculpture instead of a huge ugly screen.
26 IDEATION AND ExPLORATION Forms were explored that would keep the product sculptural and pleasing to see on the counter, yet still subtle. A vertical shape was chosen as it would take up little space on the kitchen counter. It would also be easy to read if things were set in front of it, as they would not obscure the tall display. Because the batteries and other heavy components will be in the bottom of the product, the tall slender design remains stable as long as the buttons are near the bottom. Below are some early iterations of the shape. Different combinations of buttons and button functions where are also explored.
JACK RUSSELL
Select the left or right side timer. In this case, left is selected.
Turn the knob until the desired time appears.
Press knob to begin timing, the LED bar will be fully illuminated.
As the time decreases, so does the LED bar. Down to zero.
The above graphic shows how the timer is set. There are two timers. The timer on the left is selected by pressing the left metal semi-circle button. Once the left or right timer is selected, the knob is dialed to adjust the time, which is displayed above. Once the desired time is set, the knob is then pressed, which starts the timer. Regardless of the amount of time set the display always begins by displaying 100% of the bar as illuminated be that one hour or two minutes, and displays the bar as completely dark when the time is finished, beginning the alarm sequence.
The image to the left shows both timers set, the one on the left more than half way through the time, the one on the right with most of the time remaining.
28 TIMER FUNCTIONS The timer form was verified with a physical foam model and tested in a kitchen environment. Below the graphical alarm is also shown. Another problem with existing timers is the alarm, the loud beeping always causes whoever is nearest to stop what they are doing, no matter how important, to shut off the timer. This design uses a graphical alarm. While remaining silent, the side of the timer which was set blinks on and off very rapidly, commanding attention visually. So the timed action can be addressed when its more convenient for the user. To the left, is the timer with both the left and right timers set, counting down the time remaining, the graphical representation is easy to see from far away.
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Io thumper Future racing on Jupiter’s moon, Io. Here, the gravity is low, so cobbled together racing vehicles which run on the ground during turns, can leap into the thin atmosphere on straight sections of the course to fly over the rough cratered surface. Inspired by old race cars of the 1930’s this two day project combined concept design with the need for a mechanically viable idea.
JACK RUSSELL
32 IO THUMPER SKETCHES AND RENDERS To the left you can see the initial concepts for the Io Thumper. The brief called for the vehicle to be made cheaply by amateur racers using scrap parts. Also, it was important that the vehicle demonstrate the ability to jump over rough terrain visually. This page shows the final concept for the Io Thumper.
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Gardena pump sprayer Gardena is a premium garden tool manufacturer in Europe. They are well known for high quality products, simple innovation and a strong brand language. However, their current offering for a pump sprayer is an outdated design that does not follow the current design language, nor is it very ergonomic. This five week project was to design a new premium price point garden sprayer that solved these problems.
JACK RUSSELL Storyboard The first step in the design process was to study the current product. Both from a user standpoint and an ergonomic standpoint. Story boarding the results create a good place to start the design process. It showed that the pump sprayer has many functions that are important other than spraying, like filling, emptying and cleaning the product.
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CONCEPT AND FORM SKETCHES Early concept sketches of new pump sprayer design are shown. Exploring Gardena brand language form, and new ways to attach the water tank. Gardena has a very strong from language that is consistent throughout their products. It was very important to the brand to continue this, while still incorporating some new innovation in the product.
JACK RUSSELL
CONCEPT DEVELOPMENT After the basic form was chosen more sketches were done exploring the functions of the pump sprayer. One of the problems of the current design was the inconvenience of the spray adjustment on the nozzle. This concept moves the adjustment to the back of the pump sprayer. Also, a new trigger is investigated that keeps the slots in the handle as small as possible. In addition to these design details, different color options were tried in order to keep with the Gardena color guidelines.
38 DESIGN REVIEW The next stage was to develop three distinct designs and review them in a group. Below are the three designs and to the right is the design review where post-it notes are used to give feedback.
JACK RUSSELL ERGONOMIC STUDy Left are handle mock-ups testing the ergonomics of the form. you can see a weight hanging from the bottom of the mock-ups that represents the weight of the existing sprayer full of water. From this research it became apparent that the spray could tilt as it was lifted giving the best ergonomics and aesthetics while sitting.
To the left is a sketch showing the center of gravity and the angle of the handle to the sprayer, as the sprayer sits on a table the nozzle is slightly titled up. When the sprayer is held, the nozzle becomes horizontal as the center of gravity of the sprayer moves under the hand.
40 DETAIL DESIGN The trigger on the original product, seen left, was not very ergonomic, nor did it give the impression of a premium product with large gaps in the plastic. Particular detail was paid here in the new design, starting with sketches on the lower left, to some rendered solutions below.
JACK RUSSELL SIMPLE INNOVATION This page demonstrates the simple innovation of this design. The container does not need to be unscrewed, it simply attaches from the front making it much faster to remove. Also, the wide opening makes it easy to clean. The water container would also be translucent, seen below, simplifying the design be eliminating the need for a window to see how full the container is.
42 PUMP SPRAyER CAD MODEL In order to make sure the design was as feasible as possible and ensure that all the mechanics would work, a detailed cad model is made to communicate the surfaces and internals. The finalized proposal captures Gardena’s brand while communicating its use clearly to the user.
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MAzDA GIFT KNIFE In Sweden it is customary to give a small utility knife as a gift or as schwag at an event. This week long branding and form project was to take a well known company, in this case Mazda, and create a knife that captured the brand and attitude which could be used as a give-a-way at a corporate event in Sweden.
JACK RUSSELL
46 MAzDA GIFT KNIFE CONCEPT SKETCHES Left are some initial concept sketches and inspiration for the mazda knife taking cues from Mazda styling below. The goal was to capture the form language while staying loose with the concept. On this page, some more refined ideas are explored.
JACK RUSSELL
SKETCH MODELS Above are a few sketch models that were made of the concept knifes. It was important that the knife be comfortable to use and hold, not just be an attractive form. This was verified through the use of these models.
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THE MAzDA KNIFE The final design for the Mazda knife incorporated a glossy, deep painted exterior with an inlaid soft rubber grip. The curves are simple, yet clearly inspired by Mazda styling. With this in mind the knife is still comfortable to hold. The styling of the blade follows the lines of the handle, while a notch in the base of the blade prevents the fingers from slipping onto the blade.
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Sketchbox. A sustainable sketch pad Sustainable design is often associated with organic materials and earth tones. This two week project required the design of a sustainable sketch pad. In order to break from the norm, this sketch pad draws on the recycled heritage of aluminum, which can be recycled indefinitely. Perhaps your sketch pad was once part of a WWII fighter plane. This sketchpad not only brings attention to the history and uses of aluminum, but is a premium product, unlike many of the sustainable products on the market today.
JACK RUSSELL MATERIAL RESEARCH The story below tracks the process of aluminum production and its effects on the environment. To the left you can see how Sketchbox side-steps much of this energy intensive process by using one material and being easily recyclable can re-enter the system easily without disassembly.
38% of bauxite mined in Australia
Bauxite is processed into alumina which is the raw ingredient for aluminum
Aluminum ingot from smelters is transported to production around the world 1 kg of aluminum requires the same power as an American household for one day
Bauxite mining
Bauxite is one of the most abundant elements on earth
Bauxite is typically mined with open pit hydraulic mining
Alumina is transported to an aluminum smelter as far as 5000 miles
100 kg of aluminum produces 2 kg of toxic waste including cyanide
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The Sketchbox will remind the owner of recycled aluminum’s interesting past by having a WWII aircraft laser engraved onto the cover. With 66% of current recycled aluminum dating as far back as 1886, it is quite possible that the material this sketch pad was made from was part of history.
21% of aluminum is used in the packaging industry
Aluminum is a great packaging material. Nontoxic, strong, noncorrosive
7.1 billion tons of aluminum cans alone go to landfills per year
Recycling saves 95% of the energy used when compared to bauxite production
Disposal
Smelting creates co2 and air born toxic chemicals
Aluminum can be recycled forever. 2/3 of aluminum in use today dates from as far back as 1886
Aluminum packaging is lightweight and uses less energy for transportation
85% recycling is achieved in the USA when there is an incentive
Education of aluminum cradle to cradle will increase recycling
JACK RUSSELL
SKETCH PAD CONCEPTS This page shows the development of the sketch pad from initial ideation to final design. you can also see how this sketch pad uses a mechanical camming device to hold the writing material, avoiding the need for a steel spring. This allows the whole sketch pad to be made for a single material, aluminum, which means recycling requires zero disassembly. There is also integrated pen storage. The cover of the sketch pad also swings onto the back, tilting the pad to the optimum angle for writing.
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JACK RUSSELL THE SKETCHBOx Another unique sustainable idea behind this sketch pad is the fact that you can clamp any writing material to the pad via the all aluminum camming device, and use any liquid for ink in the included pen. Encouraging creativity and recycling. The pen, which has a built in storage compartment at the top of the pad is also made of just one material and therefore recyclable with the whole pad and without any disassembly.
Internal clamp Clamp lever
Cover attaches to back
Pen storage
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The final design for the sketch pad sustainable sketch pad incorporates the premium look while reminding the owner of aluminum’s aircraft heritage.
JACK RUSSELL
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Furniture: Future Transportation A few years ago I bought a couch and had it delivered. The store I bought it from used a huge moving truck to drive across town and deliver it to my place. The huge truck was empty other than my couch. This four week project required us to find a problem involving transportation and delivery in our home town and solve it. For me, it seemed as though there could be a much better way to deliver furniture.
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RESEARCH AND CONCEPTS
Delivering furniture efficiency was the main goal for this vehicle. Costs for the furniture seller would be kept low if the vehicle delivered furniture as quickly as possible, using the least amount of energy and needed only one human to load, unload and drive the vehicle if possible. Another goal was to not only replace the moving truck, but also replace the forklift back in the warehouse with the same vehicle. To the left is the main inspiration. Currently something like a single couch is delivered by a large truck with a 16 Liter diesel engine. All that just for a single couch. The original concepts focused on eliminating the need for a forklift by including a sort of arm that would lift the furniture as well as hold it during transport. This concept was streamlined into the one shown below which used a movable cargo platform.
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COMMUNICATING THE DESIGN
The vehicle is designed with a cargo platform that raises and lowers in order to facilitate easy loading and unloading of furniture boxes. This makes it so a forklift is no longer needed for loading. The small size of the vehicle is not only efficient, but allows the vehicle to easily travel inside a warehouse. Probably the most striking feature is the movable arms on which the rear wheels are mounted. They spread apart to allow the cargo deck all the way to the floor, while still allowing for a compact vehicle in the transport configuration.
To the left, the size comparison is shown between the future mover and a moving truck. If you are just delivering a couch the size of the future mover is much more efficient.
JACK RUSSELL
Using the vehicle
The flexibility of the vehicle allows it to be used during the entire process of furniture delivery. It can be used in the warehouse, to load the cargo where no additional personnel or vehicles are needed. When rear arms are tucked underneath, it can efficiently travel far to make the delivery. When delivering the furniture, the flexible shape allows the vehicle to back up to a door so close, that it can actually deliver the load inside a building, lessening the need for more personnel or hand carts. Below left, the packaging of the vehicle is shown, The electric motor is near the hubless front wheels while the batteries are kept low in the arms for a low CG. To the right, the driver position is shown, where the driver is semi-standing, allowing for a more compact cab. The narrow cab allows for a very aerodynamic shape, as seen from the top in the center image below, which again, aids the efficiency of the vehicle.
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Exhibition and Presentation At the end of this project we were required to deliver a presentation which could clearly demonstrate the concept in no more than twelve slides, seen left. In addition to the presentation, the class as a whole put on an exhibition of all twenty vehicle concepts for the project. The time for planning and building the exhibition was extremely short, and the pressure was high. The class was able to quickly decide on the themes and graphical styles however, and under the tight deadline pull off a successful exhibition.
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Form project Begin with an insect, and create a form. This project was designed around a simple idea to see how far the identity of the inspiration could be pushed. Here, the insect was a wasp, the final form was made to reflect speed and aggression, while still taking styling cues form the original insect.
JACK RUSSELL
70 ExPLORATORy SKETCHES Beginning with the wasp as inspiration, the first step was to brainstorm ideas of how the forms and textures could interact. The complicated structure of the wasp was boiled down into its basic elements and these elements were used to begin building up new functions and shapes for the form project.
JACK RUSSELL
PAPER AND CLAy MODELS In an effort to quickly gain a 3 dimensional understanding of the form, a paper model was constructed. This process allowed for quick iterations of the main lines and proportions. After the form was developed more, a clay model was made in order to refine the volumes even further before going to a digital model. The clay model allows for careful attention to every curve and surface, so that when the CAD model is started there is already a clear understanding of the form.
72 DIGITAL MODELS Here, the lessons learned in paper and clay about the form were fine tuned. Experimenting in clay is much easier than experimenting digitally, and this was kept in mind during the process. Early digital models where quick and simple to allow a base for sketching in the details. The process of sketching over CAD was repeated over and over until the CAD model had all the right curves.
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ExPLORING COLOR & TExTURE This page shows color and texture experiments. After the form was refined, it was time to add color and texture. The first step was to just make some quick tests. Using digital tools this can be explored with simple shapes before applying them to the more complicated and intricate wasp inspired form.
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ENVIRONMENT AND SCALE
As the form became more and more developed, it was necessary to put the form in an environment to set the mood and give the form scale. The whole attitude and emotion of the form could easily be changed simply by changing the background image. Below are two examples of early environment renders. Putting the form in an environment also allows for the refining of the shape, as the environment adds story and context to the form, weather clear, bright lighting seen left or the darker lighting seen right.
JACK RUSSELL
Wasp Inspired Form The final renders of the form help create the idea that the form is feasible and could exist. There is nothing on this still abstract form that gives away the scale, so scale is achieved only through the angle which the form is viewed. To the left the form is set in an environment, Helping to show the mood and context of the form. The form looks vehicular although there are no obvious traits of a vehicle.
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