Markus Leijon INDUSTRIAL DESIGN PORTFOLIO ‘14
CONTENT // MARKUS LEIJON
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Content
Résumé // page 4 - 5 This is me // page 6 - 7 Future Forestry // page 8 - 25 Ski Pole Basket // page 26 - 31 Car Seat // page 32 - 55 Design Manual // page 56 - 61 Control Lever // page 62 - 67 Back Seat Safety // page 68 - 73
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CONTENT // MARKUS LEIJON
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RÉSUMÉ // MARKUS LEIJON
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Résumé EDUCATION 2011 - 2014 // Degree of Bachelor Of Fine Arts - Industrial Design, Umeå Institute of Design, Umeå Sweden 2006 - 2009 // Degree of Bachelor of Science in Mechanical Engineering, Mid Sweden University, Östersund Sweden 2000 - 2003 // Natural Science Programme & Ski Gymnasium, St:Mikaelskolan, Mora Sweden
DESIGN EXPERIENCE JANUARY - MARS
2013 // Internship Husqvarna Group, Stockholm Sweden
2009 - 2011 // Swedish Winter Sports & Research Centre, Product Development of Sports Equipment For Athletes, Östersund Sweden
SKILLS PHOTOSHOP ILLUSTRATOR INDESIGN PREMIERE PRO AFTER EFFECTS
LIGHTROOM RHINO T-SPLINES SOLIDWORKS KEYSHOT
V-RAY MAYA SKETCHBOOK
COMPREHENSIVE WORKSHOP AND MODELMAKING SKILLS.
LANGUAGE SWEDISH
ENGLISH
FINNISH
GERMAN
RÉSUMÉ // MARKUS LEIJON
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MORA DALARNA
SWEDEN
METHODOLOGY
CONTACT
My design work has a solid foundation in Human Centred Design, where I start with the people I’m designing for. Their needs, dreams and behaviour the whole context where the new product, service or processes are going to work.
EMAIL // leijonmarkus@gmail.com PHONE // +46 70 253 76 55 WEB // www.markusleijon.se LINKEDIN // www.linkedin.com/pub/markus-lei jon/31/2b4/a6b NATIONALITY // Swedish & Finnish
A great way to start is to ask yourself - What? When? Where? Why? How? and Who? am I designing for.
THIS IS ME // MARKUS LEIJON
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This is me MOST OF MY TIME AND FOCUS ON X-COUNTRY SKIING
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X-COUNTRY SKI GYMNASIUM MORA, SWEDEN PROFESSIONAL SKIER AMAING 100 % FOR THE TOP
My life is circulating very much around water, especially around water in form of snow and ice. Don´t get me wrong I really like the hot summer days with warm water and fun water sports. But when most people starts to mumble and swearing when the temperature drops below zero. I start to feel warm inside. The first sign of what to come, the winter that feels far to short every year. As much as I like hot summer days I enjoy the really cold winter. The single largest thing that makes me happy except for my beloved girlfriend, is when the really big snowflakes pours down so fast that you can see the snow grow deeper and deeper with your naked eye. According to me there can´t be to much snow, The term ‘less is more’ which usually is very viable, is absolutely wrong this kind of time.
THIS IS ME // MARKUS LEIJON
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SWSRC - PRODUCT DEVELOPMENT ÖSTERSUND, SWEDEN
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BACHELOR MECHANICAL ENGINEERING ÖSTERSUND, SWEDEN
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14 BFA INDUSTRIAL DESIGN UMEÅ, SWEDEN
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FUTURE FORESTRY // 6 WEEK // TERM PROJECT // SPRING 2013
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Future
forestry This project is initiated by Skogstekniska klustret, a association consisting of several of the major players connected to forestry in northern Sweden. They wanted us to unconditionally look into what problems the forestry will run in to in the future. And depending of what we found create a scenario where we could place some kind of forestry machine that would solve or make the best out of that scenario. The time span that they wanted us to take into account was 50 years in to the future from today.
IN COLLABORATION WITH SKOGSTEKNISKA KLUSTRET - SLU - NORRA SKOGSÄGARNA
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FUTURE FORESTRY // THE PROBLEM
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today in Sweden
Increasing Forestry
and conflicts This project focuses on a future vision on how the heavy clearing of young forests, that today are done by hand can be done in a more automated way, without disturbing people in the forest. Increased demand of forest products in the future will lead to a more frequent forestry. Which in turn leads to conflicts between the forestry and the people enjoying different recreational activities. Already today there is less clearing done than should be done to have a healthy forest. If there should be a possibility to increase the amount of forest harvested in the future we also need to do more clearing to give the forest a chance to grow in it´s most optimal way. My vision focuses on how this could be done in symbiosis with people in the forest. I choose to take
two of the more forgotten things in today’s and tomorrows forestry to put more light on them. This is design for the people, just as much as the forestry companies. Look at this short teaser done for the project in a adjacent course in After Effects.
FUTURE FORESTRY // THE PROBLEM
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2060 in Sweden
85 million m forest harvested
140 million m forest harvested 3
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9,5 million people
12million people
FUTURE FORESTRY // DESIGN THEORY
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Design theory
Uncanny Valley The name captures the idea that an almost human-looking robot that will seem overly “strange” to some human beings, will produce a feeling of uncanniness, and will thus fail to evoke the empathic response required for productive human-robot interaction. The term was originaly coined by the robotics professor Masahiro Mori as Bukimi no Tani Genshō. The uncanny valley is a hypothesis in the field of human aesthetics which holds that when human features
look and move almost, but not exactly, like natural human beings, it causes a response of revulsion among many human observers. Mori’s original hypothesis states that as the appearance of a robot is made more human, some human observers’ emotional response to the robot will become increasingly positive and empathic, until a point is reached beyond which the response quickly becomes that of strong revulsion. However, as the robot’s appearance continues to become less distinguishable from that of a human being, the emotional response becomes positive once again and approaches human-to-human empathy levels.
FUTURE FORESTRY // DESIGN THEORY
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Visual
Sixth sence
COMMUNICATING HARMONIOUS DEDICATED CALM
INTELLEGENT DILIGENT SECURE ENERGETIC LOYAL
If a robot looks like a machine, people will expect little from it, if it looks human, people expect a lot.
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EXACT PRECISELY ACCURATE
what i’m aming for
moving
UNcanny Valley
helthy person
stuffed animal
humanoid robot
still
familarity
industrial robot
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human likeness
50 %
100 % corpse prostetic hand zombie
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Ideation
initial sketches During the sketch process it become more and more clear to me that I was looking for a stance of the robot that shouldn’t be to high. It must not feel large and intimidating, like if it was looking down on you. If someone says that it looks cute, I’m probably on the right track. However it can’t actually look cute. It has to convey a sense that it’s not there to cuddle with you.
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FUTURE FORESTRY // VISUAL
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Elie
The intelligent and communicating clearance robot In this project a name is really important that´s one great thing that gives you as a viewer a closer and more personal contact with the robot, much more than the use of today popular abbreviations. The interesting thing with the name Elie is that it’s a gender-neutral name, it can be both female and male depending of country. We tend to put name on things that we really care about, like our favourite car. And to evoke that feel about a robot of course it has to have a name.
“big feet”
To give a solid and confident feel to the robot the big feet are important. The feet can also by some be considered a bit clumsy and give the robot a non threatening feel.
FUTURE FORESTRY // VISUAL
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Discrete colour Powerful and rugged Soft but sharp Low stance The robot has been given a low stance to give it non superior look, like if it was looking down on you. The low stance also gives it a good stability when cutting down trees.
The design language on Elie is soft but with sharper cuts and lines. It should be perceived in the way that the viewer should feel a inner desire to get closer and touch it. But at the same emit enough respect to not do it.
Elie is a powerful and highly efficient machine and it should come up in the design. Oversized details and parts gives it the look that it can withstand large forces during work and movement. And that it could handle the beating that rough terrain exposes it to.
Gentle and flexible To be able to move around on some of the most rough conditions there is, Elie has to be and also look flexible and gentle. It´s important that people think that it really can move around and not make a big mess. The trust from the public is important.
The very discrete colour palette has been chosen to make the robot feel true to the nature. It should not stand out and take over. On the other hand it should not be to camouflaged so people frankly steps on it before they notice that it’s there. Some moving parts has been given a highly contrasting colour to clearly state keep away from them.
FUTURE FORESTRY // TECHNOLOGY
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Environmental friendly
and discreet
All the technology in the clearance robot has been selected to be as kind to its surroundings as it is possible. The lightweight materials and the wide tracks. The green power supply that enables the use of electric motors to reduce the exhaust emissions to zero and reduces the noise to a minimum. The overall environmental impact should be down close to zero.
FUTURE FORESTRY // TECHNOLOGY
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Silent “big feet”
Cutting blades
The small and light robot has big tracks spreading out wide to even out the pressure against the ground to minimize the impact. As well as it gives good stability during work.
This robot is equipped with blades that cuts down the trees instead of a chainsaw that produces high noise. The relatively small diameter of trees being cut down during clearing suits the cutting technique perfect.
To disturb as little as possible it’s very important that the robot is silent. Therefore the use of electric power from the fuel cell and the lack of a hydraulic system significantly reduces the noise produced by the robot. The noise you will hear is the pleasant sound of cracking trees.
Fuel cell
The power to Elies electric motors comes from fuel cells. The idea is that the forest biomass that the robot produces during it’s work is going to be used as raw material to the fuel cells. This means that the robot will be self-supporting with fuel.
Electric hub motors All joints where the robot can move and all the tracks is driven by electric hub motors. This means that there has to be no motor going on quite high speed to produce pressure to a hydraulic system. This will significantly reduce the noise that a forest machine usually produces.
FUTURE FORESTRY // THE MODES
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Working
mode
During work the arms are deployed, and the robot works in a 180 degree area around the machine. Before the work starts there’s a forest officer walking through the area marking out key elements to be stored in the robot’s internal map, such as particular sensitive areas and trees etc. This will allow a more efficient work.
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Obse
mod
If a robot detects movemen observation mode. It slows and evaluates the situation itself immediately. It’s a ver robots psychology against fold up and stop working. T consciously or unconscious robot have noticed them.
ervation
de
nts close by it goes in to s down it’s working pace n. The robot does not fold ry important part of the people that they will see it This will signal whether it’s sly for the people that the
FUTURE FORESTRY // THE MODES
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Resting
mode
When the robot has fold itself it backs of a little to clearly show that it has stopped working. If the people stays in the area the robot will not resume work until they have left. This new type of forestry will work on the premises of the man who visits the forest. The possibility for the robots to work 24 hours a day makes it possible to be really efficient despite some disruption during the day.
ELIE // CONSIERATION AND COMMUNICATION
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ELIE // CONSIERATION AND COMMUNICATION
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Consideration
and communication 1
Work
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Observe
3
Rest
ELIE // EFFICIENT AND INTELLIGENT CLEARING
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Efficient and
intelligent clearing
180째
ELIE // EFFICIENT AND INTELLIGENT CLEARING
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PRODUCT DEVELOPMENT PROJECT FROM - SWEDISH WINTER SPORT RESEARCH CENTRE AUTUMN 2010
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Ski pole basket Athletes in Ski Team Sweden X-Country together with Finnish sport manufacturer One Way was not satisfied with the performance of the current basket on their skiing poles. Working at Swedish Winter Sport Research Center with product development against elite athletes I got the assignment to design a new basket that would perform better than the basket that was on their current poles.
IN COLLABORATION WITH ONEWAY SPORT - SWEDISH WINTER SPORT RESEARCH CENTRE - SKI TEAM SWEDEN - SWEDISH OLYMPIC COMMITÉ
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SKI POLE BASKET // PROBLEM
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Sinks deep into the snow
When the skier pushes the pole with full force into the snow during competition, the force on the basket is so high that the shape and the size of the basket doesn’t manage to keep it on the surface of the snow. This makes the skier lose momentum and precious seconds, that could be the different between standing on the podium or not.
SNOW SURFACE
RIVAL BRAND ONE WAY BASKET
SKI POLE BASKET // PROCESS
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3D SCANNING AND ANALYSING ALL COMMON BASKETS. SCULPTING AND SKETCHING IN 3D
3D PRINTED PROTOTYPES, TESTED AND EVALUATED BY ATHLETES.
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? 4 MOULDED WORKING PROTOYPE WITH INSERTET METALL TIP.
INJECTION MOLDED FINISHED BASKETS.
What does it do? The basket has one very important purpose that is to transmit the force from the skiers upper body into the snow. Which in turn provides forward speed. If the basket is to small or the shape is wrong it has the consequence that the pole falls into the snow which gives less forward speed. If it´s to big it gets heavy and harder and more uncomfortable to ski with.
SKI POLE BASKET // RESULT
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SKI POLE BASKET // RESULT
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One Way
Ski-Team Sweden edition The new basket for One Way skiing poles has received features to the shape that was not on their earlier baskets. Features like increased surface area that’s in contact with the snow when the pole hits it. A bowl-shaped inner that forces the snow to stay under the basket compared to the old design which squeezed of the snow to the sides, letting the pole sink deep into it. It has also got and slightly gradient to the back to
hit the snow in a more straight and aggressive angle. These new features prevents the pole to sink in to the snow and loss of valuable seconds and power as a result. To fit to the range of different baskets from One Way. The new basket has been allowed to keep some recognizable design features. Seen from the top, which is the way you as a skier usually sees it. It has kept the same basic shape and expression.
INFANT CAR SEAT FOR YOU & ME // 10 WEEK // BFA DEGREE WORK
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The car seat for you and me
Could an infant car seat function equally well for a parent to carry as it is safe for a child to travel in? This is my 10 week BFA degree work done in the spring 2014. Family and friends made me aware of this problem without the knowledge that they did. Through how they expressed themselves when they where in contact with and used their current car seats. Their reactions made me feel that there was something to look closer into.
IN COLLABORATION WITH NTF VÄSTERBOTTEN
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CAR SEAT FOR YOU&ME // THE PROBLEM
34 ~ 14 kg
~ 14 kg
{
}
A really full bag of groceries is something that most people can relate to, and really know how heavy it feels almost immediately.
Car seats
today
Due to the bulky size and design of today’s car seats it must be carried some distance from the body. The distance and weight puts a big momentum to the spine and strain essentially on shoulders and neck. The load is especially bad due to that the spine both bends to the side and turns around its own axis.
Even when the child is newly born the weight of the car seat is so heavy that the mother should not carry such a heavy weight if she suffers from Symphysis pubis dysfunction or have give birth by caesarean.
CAR SEAT FOR YOU&ME // THE USERS
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The car
COMPLETELY RELIANT OF THE CAR USES THE CAR 1,5 - 2 HOURS A DAY WORK - DAY CARE - TRAINING CENTRE AND GROCERY STORE ARE THE MOST FREQUENTLY STOPS
Environment
LIVES ON COUNTRY SIDE OUTSIDE TOWN WORKS AND DO ALL THEIR SHOPPING IN TOWN NO PUBLIC TRANSPORTATION
Anna & Per Anna & Per love their two boys , 3 year and 6 months old, more than anything and spends as much times as possible with them. But they also love to have a active life, meet with friends and don´t be locked up at home, being able to do this they use their car a lot. Mostly for short travel to the city they live outside.
Active & Social EXERCISES 4 TIMES / WEEK LOVE MEETING FRIENDS
CAR SEAT FOR YOU&ME // THE PROBLEM
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The bad Carrying
Dad for a day. Without any personal experience more than the time with my nieces. I borrowed a car seat for myself to see what it is it like to carry around and use.
By talking to and studying how different users use the car seat I got a good insight of the bad carrying. I also got useful information from NTF’s representative in Västerbotten who works with these car seats daily and also holds information to parental groups. NTF’s representative also got me in contact with a parental group that I could hold a small workshop with. Throughout the work I had a couple with a 2 year old girl and a 6 month old boy that worked as my super users. I met with them regularly throughout the project for evaluation.
CAR SEAT FOR YOU&ME // THE PROBLEM
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UNEVEN LOAD CARRYING FAR FROM BODY SEVERE BEND ON SPINE HEAVY AND EXHAUSTED NO FREE HAND
< 500 m DISTANCES UP TO 500 METER, ARE YOU AS A PARENT REQUIRED TO CARRY THE CAR SEAT. - OFTEN SEVERAL TIMES A DAY.
CURVED AND TWISTED BACK AND LEANING FORWARD TIGHT AND AWKWARD
CAR SEAT FOR YOU&ME // KEY FEATURES
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t ligh fit t tigh ced n bala
Key
features Light. To save the body from so much worn and tired muscles as possible, it is crucial to design a structure as light as it conceivable can be. Tight fit. To be able to make safe lifting and carrying over greater distances. It´s crucial to have a tight fit to the body. It´s best for the spine and it keeps your child safe and secure. Balanced across spine. The very worst and greatest loads is the one that are performed during twisting and bending of the spine. Therefore it’s vital to design so that the weight is balanced across the spine and that the spine stays as close as possible to its natural curve.
CAR SEAT FOR YOU&ME // INITIAL SKETCHES
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STRAP POSITIONING
Shape
development In order to end up with most optimal shape and fit to the user and the child traveling in the car seat. The development was largely conducted through out 3D sketches in a foam material, with pencil and paper as support. Several models and adjustments followed by continuous tests was a great way to work towards the most optimal shape. The finished shape was then transformed into sewing patterns for making of the model. Adjustments and development continued during the sewing process.
FIT TO USER
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SHAPING
TESTS
USER EVALUATIONS
SEWEING PATTERN
REFINING
FINDING THE LOGO
FIT TO CHILD
CAR SEAT FOR YOU&ME // EXPRESSION & APPEARANCE
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secure
Expression and
appearance
Secure. The shape should feel safe, confident and enclosing. In the same way that the climbing gear expresses a feel that it will never let you down. It
CAR SEAT FOR YOU&ME // EXPRESSION & APPEARANCE
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discrete
expressive
should have the confidence that a really fast racing car have through the sharp bends of the track. And it should enclose the child in a way that it feels that it will never let go.
Discrete. It should feel re-
strained, have simple but clear lines. The lines do not have to follow the curvature of the shape. Instead simple and straight lines is the right way. Like the white house among the elderly buildings. The expression should not take focus from the environment or the carrier. It should just be there and feel natural.
Expressive. This design direction should stand out. The feel is that it has multiple layers and do not hold back. The expressions are not going to merge with the surroundings and the carrier. The expression should take place and prove it self.
CAR SEAT FOR YOU&ME // EXPRESSION & APPEARANCE
44 The child sits in a â&#x20AC;&#x153;frogâ&#x20AC;? position. Legs spread wide apart with plenty of support between the legs. This is the way a small child should sit, to avoid the risk of hip injuries that can cause problems for life.
Secure and
embracing The selected design should feel like a extension of the body, almost like you have one extra pair of arms embracing the child in the seat. The shoulder straps continues out on the shape in order to display a firm grip around the waist of the child. The upper strip that goes on the outer edge is there to clarify the great support that the seat gives to the neck. Stitches will be clearly visible on selected locations to highlight how secure the seat is put together. The wider fabric piece that wraps the shape from bottom up to 2/3 to the top, is a more durable fabric to show that the seat is able to be put down on the ground.
CAR SEAT FOR YOU&ME // EXPRESSION & APPEARANCE
45 The “pockets” on the back of the seat is there for two reasons, both to be able to move the seatbelt when the child grows but just as much to give the parent a convenient place to rest there hands while embracing there child. A good support for the child’s neck is very important and the feature is displayed in the same way as the embracing feel.
Shoulder straps continuing out on the shape to clearly display the embrace around the child’s waist.
The strap continues down and holds a firm grip under and around the child.
A extra more durable fabric piece to show that the seat could be and manages to be put down on the ground.
DU&JAG // THE CAR SEAT FOR YOU AND ME
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DU
JAG
[ the car seat for you and me ]
The small figure that became the logo and symbol of the project shoved itself after a couple of days work with the shape of the seat. As it turned out by a complete coincidence it was what the form of the seat creates when it is spread out.
The du&jag seat, Swedish words for you and me. Is suppose to be a better alternative than today’s car seats. The seat gives you as a parent more freedom to move around. And it’s a much healthier way for you as a parent to carry your child, even if it’s shorter distances. It also gives you a much closer connection to your child than the traditional car seat does, a connection that could be worth a lot in short and long terms.
DU&JAG // THE CAR SEAT FOR YOU AND ME
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CAR SEAT FOR YOU&ME // FEATURES
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Ergonomic shoulder straps. Adjustable to fit parents height from 1,5 - 2,0 m.
Folding support Sewing. Because of the complexity of the seat. The exact design of some details had to be worked out during the sewing process.
Great support for the child’s neck.
Smart Folding support. Pull down on the purple straps and the support stands for the seat folds out. A simple clip keeps the support in a extended position. The clip can be opened with a simple one hand motion and folded back again.
features All though this new car seat is made for carrying there will be occasions when you would like to use it more like a traditional car seat. The good thing is that it’s perfectly possible thanks to the small features build in to the seat.
The biggest difference is that the child will be more laid-back when it is placed on the ground. This is because there’s a small risk of suffocation when the child has a more upright position and the head can tilt forward.
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CAR SEAT FOR YOU&ME // FEATURES
50 Harder plate of polyethylene for mounting of the seatbelt and secure attachment in the car.
The internal of the seat consist of Poron XRD. A light and extremely shock-absorbing material. The material absorbs as much as 90 % of the energy upon impact.
Upper mounting point for the base placed in the car
Seatbelt can be adjusted according the child’s length in 3 fixed positions.
The
details To get the right feel of safety and ruggedness on the seat the small details plays a big role. I milled out small rigid and sturdy aluminium clips to adjust the length of the shoulder straps instead of ordinary plastic ones, this gives the product a more secure feel.
Poron XRD. To to save weight and to give the child maximum protection in case of a collision. The seat’s internal consist of Poron XRD. A light and extremely shock-absorbing material, it absorbs as much as 90 % of the energy upon impact. This also gives a great protection to the child if you put it sitting on the floor. Seat belt. The seatbelt is adjustable in three fixed positions according to the child’s length. The seatbelt can be tighten both when the child is in the car and when carried, a clip to adjust the length is placed in front of the lower mounting point.
Mounting plate. To securely mount the seat to the base in the car a harder plate of polyethylene is placed on the back of the seat This plate also gives the seatbelt solid points to travel through. Mounting points. In the upper mounting point a metal pin is inserted. A hook on the base then secures it in the car. The lower mounting point have grooves on its side where a spring loaded wedge holds it in place on each side. This rather simple system is basically how it works in today’s car seats and it ensures that the seat is very safe secured in the car.
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The lower mounting point for the base placed in the car is bigger to guide the seat to its right position.
CAR SEAT FOR YOU&ME // FEATURES
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1
2
3
Fastening
the car seat To be able to get the seat in and out of the car in a convenient way a new type of base for the car seat is needed. This new base gives the opportunity to turn it in line with the door of the car. When turned, the parents no longer need to twist and bend their back
to be able to get the seat in to the car. They still need to bend over, but it is nowhere near as bad as twisting the back at the same time. We should also not forget that the weight of this car seat is much less than on conventional models.
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CAR SEAT FOR YOU&ME // ENHANCEMENTS
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Enhancements
with du&jag
The seat gives you as a parent more freedom to move around. It gives you a much closer connection to your child. It is lighter. It has a better carrying ergonomic for a healthier back and shoulders.
DESIGN MANUAL // NIKE SNOWBOARDING // WINTER 2014
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Design manual Nike Snowboarding The given assignment was to create a design manual for Nike snowboarding. The second part of the assignment was to create a product that could be found in Nike Snowboardings future product catalogue. This should be presented as a poster suitable to the manual you just created. The design manual was created in groups of two and the rest of the assignment was carried out on your own.
3 WEEK - DESIGN MANUAL ( CREATED WITH SIMON LINDBERG ) // 1 WEEK PRODUCT DESIGN + POSTER
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DESIGN MANUAL // NIKE SNOWBOARDING // WINTER 2014
nikesnowboarding
brand guideline This brand guideline is for the ones working with Nikesnowboarding products. And it has three purposes.
Clarify Nikesnowboardings core values.
BY FOR
The identity of what Nikesnowboarding represents as brand.
To provide a mutual guideline for everyone working with the brand.
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NikeSnowboarding is not forcing the rider into any style they let the rider be creative on their own , For the love of the rider.
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RIDERS
Jessica Michael the new shooting star of the snowboarding community. Has just celebrated her 20th birthday with her family back home, 50 miles north of Anchorage in the shadows of Mount McKinley. Despite or perhaps because of her young age, she more than anyone personifies what Nikesnowboarding is all about.
If I wasn’t calculating I would not stand here today, the mountains would have taken me.
Her closest friends describes her as completely wild and crazy when she stands on her board. While she herself quietly, relaxed and obviously says that she is calculating more than anything else. An educative she got from home where she practically grew up with wild mountains and a snowboard strapped to her feet. If I wasn’t calculating I would not stand here today, the mountains would have taken me.
If you ask her why, she will tell you that more than anything else she was raised to be herself in all situations. And for her it is what Nike allows her to be, herself. The gear is there so obvious. But the brand highlights me as a rider and does not try to force me into any style and person I’m not. If I want to climb the highest mountain one day, hang in the park next day or ride some rails downtown in the afternoon I will do it. You can´t say anything else than that spontaneity and creativity has never felt so natural as when you’re around Jessica.
When her career took of and a lot of brands craved for her as their team rider. The decision was easy, she wanted to belong to the Nikesnowboarding team.
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DESIGN MANUAL // NIKE SNOWBOARDING // WINTER 2014
Spontaneity and creativity before anything else, for the love of the rider
5 , calculating is not about math, it s about survival, for the love of the rider
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6 individual
calculating The gear extends the riders wisdom to take the right decision.
The product orbits around the rider not the other way around.
the gear is there to support, for the love of the rider
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Design manual After looking through the manual you should be able to create a product that fits the Nike Snowboarding product catalogue, expresses the right feel and have the right design elements in it. As well as you should be able to present it in a Nike Snowboarding style. The design manual should in all way express what Nike Snowboarding stands for and what their prod-
ucts should look like and express in the future. The task was not just to create a design manual which tells you how a Nike snowboarding product should look and don´t look like. It was ju as important that the whole manual itself expresses the Nike Snowboarding feel. The soft values are at least as important as the hard.
DESIGN MANUAL // NIKE SNOWBOARDING // WINTER 2014
60identity shape and lines
11 identity color and pattern
Ease and speed Shapes and lines within the gear should have ease and speed. It should feel like the gear is on its way somewhere. Avoid shape
and lines that makes the overall shape feel heavy. Shapes, lines and the joining between different materials blend into each other.
Lines and shapes that blend out is a signature feature. Changes of direction in lines has clear tension points.
Sharper meetings between shapes and lines has a radius.
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bright, clear and powerful Nikesnowboarding is using bright and clear colors. White and black are often the base, together with one or two accent
identity
identity
identity
textures
technology
features
Enhance features Textures are used to enhance features of the gear. Nikesnowboarding does not build in some special technology or features
and then hides it, nor just makes it transparent to show it of. We make something special of it. Textures that have some special
features is also something that Nikesnowboarding use. The use of texture and patterns often blend.
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Enhance experience Technology is something we really love. Technology that in some way enhances the experience of the use of the
gear. We do not put technology into something just because we can. We do it because it gives something back to the rider.
Technology can be everything from digital solutions to really smart materials and production methods.
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colors. Or three colors with details of white and black. Fabrics are also used and they have a powerful feel. If they
can be used to enhance some special features it is great. Patterns are also built up with different stitches on soft goods.
label in the corner, that is neatly integrated in the gear. It can be the use of the irregular stripes used in this guide. This gives the
Nikesnowboarding gear, commercials and products their own unique Nikesnowboarding feature within the Nike brand.
the additional Features that Nikesnowboarding use is something that gives the gear something additional, the small details. It can be the small
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identity poster
The Nike
shovel
nikesnowboarding FOR THE LOVE OF THE RIDE
nikesnowboarding FOR THE LOVE OF THE RIDE
The Nike Snowboarding shovel has a angle meter to get the right inclination on the kick and landing for better jumps. By splitting the shovel in to two pieces you can measure the inclination and get a value on the small display in the shaft. The string inside the shaft is there to visualise how much snow is needed for the right angel. The display has also the possibility to show how much snow you ha shovelled. And the question is. - Who have shovelled least?
Embrace The environment Veliquat emquam fugiaera doluae nestrum qui ren dolorib usant quae nihitasperum in fuga. Nam nam, uint snonecestinus m idolorio mil is ipmus.
Composition When building communications, either printed or digital. Use the diagonal style layout seen in the guidelines to interlace two
images. Max 50% of the total size of your message, should be striped. The diagonal lines cut through the page at a 60 degree
angel. The label is placed in the upper right corner. Use the label to communicate the message. If more space for text is needed,
place it like the illustration above.
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The pattern on the shovel will camouflage the tear and wear that unavoidably occurs close to the edge of the shovels blade.
NIKE SHOVEL // 1 WEEK DESIGN ASSIGNMENT + POSTER
CONTROL LEVER FOR HARVESTER // 5 WEEK - TEAM PROJECT // AUTUMN 2012 DONE TOGHETER WITH MARIA, ANNICA, JOHAN AND ERIK.
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Control lever for harvester The assignment given by Komatsu Forest was to design a control lever for their future harvester the most advanced machine that runs on land, where around 60 of the most frequently performed commands during the harvesting is located in the grip of two control levers. The control lever should be designed to be in the machine that will leave the assembly line in 1 - 2 years. This meant that they wanted us to design the second generation of the controlling levers thatâ&#x20AC;&#x2122;s in the harvester today.
IN COLLABORATION WITH KOMASTU FOREST
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CONTROL LEVER // THE PROBLEM
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Outdated and non ergonomic The commands in the controlling levers is used thousand of times each day. They put big strain on muscles and joints in a unacceptable way, all the way from the smallest joints in the fingers up to the shoulder and neck.
These pictures shows some of the unacceptable flaws of the controlling lever. That seriously harms the operators health.
The controlling lever suffers from many flaws. If we fore a while ignores the visuals, like the outdated design from the 80’s. The most urgent and the most deficient on the levers are several buttons and controls, that’s are almost
impossible to reach in an acceptable manner. You have to bend your fingers in a way they’re not suppose to be used, which puts a big strain all the way up to the shoulder and neck. In the pictures to the left you can see a couple of examples. The 4-way mini button on top that you cant reach with your thumb, you must instead use your forefinger in away its not made to be used purely mechanical. Or the second picture that shows how you have to stretch your hand in a strained manner to reach the buttons on the side.
CONTROL LEVER // THE PROBLEM
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the fingers
the wrist
the neck
the Shoulders
the forearm the elbow
The operators complains about pain and wear in:
CONTROL LEVER // THE DESIGN
SOME ADDITIONAL RENDERING TO THE ORIGINAL PRESENTATION MATERIAL HAS BEEN DONE IN THE MAKING OF THIS PORTFOLIO.
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The Design The lever is designed with sharper lines and shapes in the area faced away from where the user is in contact with the control lever, to synchronize with Komatsu forests angular industrial design language. It has a rather big factor of recognition in the new design for the in many cases conservative operators and loyal customers. Especially when it was meant to replace the old lever in such short time in to the future this was important.
The basic idea how the lever should be designed to work best together with the operators is developed in close contact with a hand ergonomic specialist and a physiotherapist. And it has been evaluated by professional operators. Shapes and surfaces in contact with the user are smooth and flat, to work with all different hand sizes. No â&#x20AC;&#x153;moulding to the handâ&#x20AC;? thinking is used. This would only lead to a lever that fits one user really good but bad to everyone else.
CONTROL LEVER // FEATURES
67 Fully adjustable and padded support for the hand during long working days. This prevents the user from sitting with constant muscle tension in arms and shoulders.
Two way buttons that could only be used horizontal on the backside of the lever to work in the natural motion of the fingers. Working in a vertical motion in this hand position leads to big strain on the finger joints and pain in the hand.
Buttons and small 4 way mini levers are placed in the natural motion of the thumb. All buttons are programmable so that most used buttons can be placed closest to the operators natural thumb position.
Wooden piece closest to the operators hand is removable booth to give fast and easy access to make quick repair work in the forest. And it also consist of a rfid tag so that the operator can take his or her personal settings to any machine.
BACKSEAT SAFETY // 5 WEEK - TEAM PROJECT // AUTUMN 2013
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Back seat the
f brie
safety
How can we improve safety for passengers traveling in the back seat? This is a team project done in collaboration with the largest automotive safety supplier in the world, Autoliv. Team consisted of Simon Lindberg, Rasmus Breitholtz, Peter H채lldahl, Jacob Dawod and me Markus Leijon.
IN COLLABORATION WITH AUTOLIV
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BACK SEAT SAFETY // PROBLEM
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I wonder if everything is securely in place...
Are they really buckled up there in the back.. What building is that? ...that one! ...can’t you see it there outside of my window?
Can you turn down the volume ?
I wonder if she’s tired...
When is the next stop?
I can’t hear what they are saying on the radio!
I’m freezing!
It’s so hot in here! Are we there yet?
Is she really going to type in that route in this traffic...
BACK SEAT SAFETY // PROBLEM
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Those windows has really started to fogging up, where is that button...
Wow! that was a close one. I really need to keep my eyes on the road and not on the GPS...
How much are you
distracted in the car?
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PRESS T
TO PLAY
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Sharing responsibility This is a movie showing our concept about how we can increase the safety for passengers in the car. By sharing the responsibility so that the passengers in the back seat can help out with functionality and tasks in the car that are not directly connected to the driving. http://vimeo.com/80409240
Thank you! MARKUS LEIJON
+46702537655 LEIJONMARKUS@GMAIL.COM