Product Graphics - a field in between

PRODUCT GRAPHICS - a field in between

PEDER TORGET

CONTENTS PREFACE

About this book INTRODUCTION

A field in between

Backgrounds

Format WHERE TO START?

Existing work and reference material

What do I want to achieve?

Purpose PRODUCT GRAPHICS?

What is it?

Users BOUNDARIES

Preliminary boundaries

A process of maturation RESEARCH

Visual only

Is this methodical?

What to research?

Other writers thoughts

Understanding more than two dimensions

Product semantics

Gathering reseach material ORGANIZING & STRUCTURING

Organizing

Mind map

Workshop

The Categories

The missing category

Tag cloud

Grading of image content OTHER REFLECTIONS

Not just me

Survey

A lecture with NOSE Design Intelligence

4 8

14

18 22 26

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ON PROCESS

How is the process like?

Two examples

A one person process

A large scale operation DAZZLE - A CASE STUDY

Camouflage is graphics

Dictionary entry

Relevance

Examples of modern application IDEAS

3 stages of ideas

The beginning of ideas

Concepts and exercises

Boat and engine

Rims are graphical objects

Computer mouse exercise

Highlighted trash can MATERIALIZING

Making a rim

Product graphics in practice SUM UP

What have I learned REFERENCES

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102 110 112

PREFACE What is this book and why did I make it? It marks the end of five years of schooling, but why should I stop learning?

About this book

◀◀ Abstracta room divider.

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I have studied a mix of product design and interaction design during my years at Oslo School of Architecture and Design. I have created products, experiences, abstractly shaped objects, interfaces, presentations, process documents and numerous other projects based on a wide range of tasks given to me through the course of my studies. When deciding on a task for myself to work with as the grand finale of this five year long master program, I wanted to pursue the areas I have found most inspiring to work with so far. This does not necessarily mean taking the safe way out by “just” using my accumulated skills, on the contrary I feel that the explorative phases of my projects have been the most exiting.

Also, why play it safe when it’s the last chance (at least for a while) to spend half a year doing something purely for my own development? That is why my diploma project is aimed to take me into uncharted territories. I use these words because my initial reference searches on the topic gave little results, and reason suggested that existing schools and educations seemed to be running parallel and not directly through the core of this topic.

This project, then, was already from the start planned as an exploration and findings based research project. I knew little on the specific knowledge needed to perform in this sector of product development and design. I wanted to teach myself this field that seemed to revolve around my interests as a designer, and hopefully result in a competence I could build upon as a professional designer. It is obvious that there are lots of skilled performers working in this field on a daily basis, but what knowledge do they possess and where did they find it? And what about the ones who do not know what they are doing, but keep on anyway? As a byproduct of my own learning I want my project to inspire and enlighten other designers, maybe even other people throughout the

product development cycle.

As part of a typical diploma project at AHO it has been the norm to produce a report documenting the process of the design created. This project differs slightly from this norm in that it does not result in a typical product of a six month long design phase, even though the end result of my project includes the design of an object, this is just a tool for communicating the contents of my self educating journey through this uncharted territories. This means that the book you are holding in your hands contains the findings, discussions and descriptions of this process of building knowledge. Even though it possesses some of the qualities of a report, it is also intended to convey the knowledge and inspiration to those not interested in all aspects of my project. Therefore the book is divided into content based chapters and sections, marked with either a large or small, red header. You should be able to jump in and out of the book, and where reference to what is written in prior chapters is important, I shall try to point that out.

Another thing that separates this book from a typical report is that it isn’t necessarily chronological, but there is no need to worry.

Where reference to other segments of the book is needed, I shall try to provide it, and where chronology is of the essence, it will of course be maintained. The main reason for breaking chronology is to make the book dynamic and accessible without reading it from cover to cover. I have an idea of this book being read in a “pick and mix”-manner, where it should be possible to open the book at the chapter that intrigues you at the moment, and one should be able to make sense of its content. I hope that these decisions gives the book a more accessible format than a typical report, without loosing the ability to convey my process as I have gone through it.

Finally, I would like to say a huge THANK YOU to Sigrun for all the help and support you have given me through this emotional roller coaster of a project. Also, a great many thanks to my mom and pop, Sølve and Øystein, for helping out so unselfishly. And, of course, thanks to my brothers and sister and my friends for hours of talks and support. And finally, thanks to my fantastic team of supervisors; Nina Bjørnstad, Anne Mellbye, Mosse Sjaastad and Geir Øxeth. I could not have done this without all of you!

- Peder

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INTRODUCTION It is hardly a secret, and without disclosing to much I can tell you that product graphics are important. There are many examples of it being applied with great results, but there are equally many, if not more, examples of the opposite. What really is the field of product graphics, and how is it done?

A field in between

When putting together the two words product and graphics the combination immediately suggests a meaning placed between the two fields of study: product design and graphic design. To me these two fields represent several interesting aspects, everything from hundreds of years of history, to the immediacy of creation afforded to us by our contemporary digital empowerment. The resources available for inspiration found in the history of crafting objects are plentiful, and the tools for designing become more and more accessible as the wealth of computers and software around us create new opportunities for everybody to take part.

What remains are the discussions around quality, professionalism, skills and abilities amongst others. How, where and why does the projects involving product graphics unfold? What knowledge, background and skill does the performers have, and who are they really?

So, I have a personal motivation for entering a study on this topic, I really like the process of creating products and I really like learning the intricacies of graphic design. On a suggestion from one of my additional supervisors, Anne Mellbye, I wrote down some words on why I chose this topic for myself. This resulted in a series of five posters I have had hanging in front of me during the entire diploma project. In hindsight, particularly one stands out:

◀◀ Natures own, a caterpillar.

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“Why product graphics: ‘Cause well executed graphics can

really make products “swing” (and poor craftsmanship screws everything up).”

To me this poster says something about the importance of the graphic qualities of a product, be it an insignificant little decal or a total approach to a product which in itself might be perceived in a graphical manner. Furthermore, mostly all products around us have at least an aspect of product graphics to them, everything from the grille of a car to the instructions on a fire extinguisher.

This, along with the fact that product development very often involves a large amounts of resources and individuals, bodes well for an investigation into the topic itself.

Designers working with product graphics might come from a wide range of backgrounds, but as already mentioned the name lends it self to two established schools of design - namely graphic design and product design. What makes this interesting is that the two different educational directions implies different perspectives, methods and theories. It might prove that this division has some relevance, and it might also prove to be less important now that contemporary designers seem to be able to move across the boundaries of what we historically has come to accept as Professional differences. In the programme I raised the questions:

▲ Posters for inspiration and focus at my desk. They remained there throughout the entire diploma project.

Backgrounds

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“What skills do the performers of product graphics have in common? Which skills separate them? How can we become better at it?”. While the word “skills” seem to be central in these questions, the performers are not unimportant to this project as I aim to become one myself.

Format

Another topic raised in the programme, and one that I have touched upon in the preface, is the matter of format. Because of the wide area the field covers, the uncertainty revolving what the content of it really is and the limited amount of time available, this project cannot become a fully constructed academic body of work. In addition the goal of educating my self on the subject guides the reach and format of the end result. By working towards a text based delivery covering the research, analysis and findings the process takes me through, I feel I get a freedom to explore and learn, more so than what a more traditional industrial design process could provide. At the same time the written delivery can not be considered to be a complete academic body of work, though it could perhaps be seen more of an introduction to a deeper study into the matter. Both the time constraints and the wish to conduct a broad exploration makes it difficult to deliver the demanded level of quality.

Through this book I shall cover several different categories, types, elements, means and tools of product graphics, and hopefully uncover some interesting, educating and inspirational things as we go along. I have always been a fan of rules and principles, perhaps because of the utopian qualities that lies in their dogmatic nature.

I will strive to reach a level of expertise where I can formulate dogmatic statements and be prepared to argue for points of view.

I shall try to keep the text as accessible as possible, but it is inevitable that some passages become a bit theoretical and “dry” from time to time. That is why I have placed a couple of small, interesting stories and facts connected to images throughout the text, like small vitamin injections. I call them the “Did you know?”-boxes.

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WHERE TO START? The start of any project can be daunting.

Finding a sensible point of departure for studying a field I previously knew little about, was demanding. The abundance of source material and examples seems contrary to the amount of research done. My initial searches revealed little references.

Existing work and reference material

◀◀ Close-up of anti slip and water draining deck covers on a ferry.

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From early on I realized that this area seems to be getting little attention in terms of written works and references. The topic of product graphics is often left with being discussed as side issues or supporting parts of a larger discussion on a tangential topic.

Searches in libraries and on the Internet reveal limited amount on relevant texts and knowledge. It seems to me that the actors in the professional market operate with different schooling and background, and that the knowledge they have accumulated is not necessarily coming from what can be called a traditional study program. Individual performers build up knowledge through experience, but few are outputting it for others to learn from The informal handling of this topic represents an immediate issue for me in that it seems hard to find direct references for supporting discussions.

Because of the limited amount of written reference material available when going into this study, sourcing examples from a broad range of objects, both contemporary and historical, stood out as the main option for gathering information. Although the knowledge created by others who have undertaken studies with similar material, could have kick started my own process of study, I hoped that the individual and personal interpretation provided by me would result in an even more solid understanding for myself.

And, a solid understanding vouches for an even better output and communication.

I have wanted this to be more than just a process of learning for my self. I hope that I can manage to communicate my process, my findings and my ideas to other performers in the field, and through shining light on the importance of the graphic qualities on, in and around products in an inspirational way, I will strive for a more conscious performance amongst those designers who tend to neglect the impact and importance of product graphics.

This does not mean that I am writing the textbook on how to do product graphics, as already mentioned earlier, this project is to short for this. The programme suggested several possible ways of researching the field of product graphics, from studying presedence to analyzing how the design processes are carried out by the performers today. All this would be futile without a purpose.

What do I want to achieve?

During the course of the project its purpose definition has varied slightly in wording, but the content has roughly remained the same throughout. It might not seem very concrete, but as with the limitations and boundaries, I wanted it to afford the space needed for explorations and at the same time be a (slightly noble) guiding star:

Purpose

To learn, to create and to inspire for a more conscious and skillful treatment of product graphics as the important field it is, for my self and others involved with the process of creating products

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COLOUR SHAPE TE MOTIF BRA MATERIA PATTERNS SEMANTI INFORMA SPATIALIT IDENTITY

SYMBOL EXTURE RAND ALITY S TEXT IC LOGO ATION TY Y

PRODUCT GRAPHICS? There are probably as many opinions on what product graphics really is as there are people to ask. A good question to ask, then.

What is it?

In the programme I listed a series of questions to stimulate thoughts around the question of what product graphics really is.

They were: “And what really is product graphics? Lines of vinyl decals fixed to sports equipment? The brand specific, semantic expression of a grille and emblem on a car? The pattern of a textile? The logo on the lid of a laptop computer? The images used in a piece of software? The instructions on a fire extinguisher? The way finding signs in a hospital?

It is obvious that the answer to this question might encompass a quite extensive list of aspects and interpretations, and the answer will probably depend on the education, profession and references (which often are a matter of subjective evaluations) of the person asked. My initial response to the vastness of the possible answers lead me onto the thoughts of categorization for the sake of making the vastness manageable. This also seemed to work well with my wish to not limit my self into working too specific in a narrow direction. A purposeful categorization of the material uncovered from an exploration and findings based process of gathering material on what exists seems to be a fruitful way to go about understanding what product graphics really is. I hope that the tasks undertaken in this project will answer and communicate this in due course throughout this book.

Users

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We all can be considered users of product graphics, at least when the definition of what it is, remains on a general level. We read instructions, we recognise brands and identities through logos and we understand form through it colors, lines and patterns.

This kind of usage is the ultimate result of a product development process, when the end users practically take advantage solutions

DID YOU KNOW? created for them by innovators, developers, producers, marketers, designers and several other individuals along the first stages of a products life. This project, however, is focused on the investigation into the different elements of product graphics on a level suited to build competence for the performers and decision makers in the product development process. It is therefore important to remember that, even though the end user is the ultimate measure of success, the immediate focus for my exploration is the people performing in the field, be it any of those mentioned above or simply myself. In the end, all stakeholders (end users and creators of products) will benefit from accumulated knowledge which results in better products.

Jonathan Ive, senior vice president of design at Apple Inc., has revealed that Dieter Rams is a source of inspiration. You don’t say?

I guess the product on the left needs no introudction (just in case, it is an Apple iPhone 1.gen), but did you know that Rams’ calculator on the right, the Braun ET66, is almost twenty years older!

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BOUNDARIES When trying to define boundaries for this research, it immediately becomes a balancing act between aiming too narrow and engulfing too much. A smart way of setting up the limitations becomes essential, and perhaps the key lies in the traditional descriptions of the two fields of design.

Preliminary boundaries

The world of product graphics becomes inaccessible without a point of departure for my exploration and research. Initially I contemplated creating a quite narrow description of what product graphics means to this project. The thought was to be able to suggest, argue and redefine later on, but when trying to create this definition I found it increasingly hard to limit myself.

A first draft on a formulation was largely based on me wanting maintain a quite narrow focus for having a limited material for research, and at the same time simplify the definition of what product graphics is.

“This project is about the application of graphics onto objects, not the shaping of the objects themselves. Also, cases has to be spatial - either the application of graphics itself or the object it is applied on, needs to represent a 3rd dimension.”

◀◀ An integrated ashtray in a homemade concrete table.

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This conservative set of boundaries brought forward several interesting discussions and reactions from mostly all of the people I presented it to. Through my discussions with my supervisors I saw the limitations of this first draft took away perhaps one of the most interesting aspects of product graphics coming from an industrial design point of view, namely that of the interplay between three dimensional form and two dimensional graphic qualities.

TRADITIONAL INDUSTRIAL DESIGN

TRADITIONAL GRAPHIC DESIGN

n e. sig c ap de ifi sh ic ec D r. ph sp 3 he ra t a lex uis f g ou p ing k o ith om xt or w a c re e l w ct or fi ca du f a pi ro ate on ty p d ns eo o a mo tio ter nt m uc r y s d o cco nst , An lie a r i o e p t elf ap d us its e e cs ne . th hi st Eg ap u gr , m e. of on lum on ed vo ati pli d lic ap an pp is lity e a t it ca th ec si er bj hy th o t p Ei the en s 3D he or pre to t t s. re on ec ve cs aff el hi ht ms ap ig e gr m s th of ich ect on wh bj ati s, e o lic ect th f al, pp bj of r o hic e a d o ing n o ap Th ape ap t o gr lf. sh sh en d as itse . e th lem ere ct etle / e id du be nt ns ro W ne co e p V po be th he m ht of n t co ig ng ts o t / t m pi en ec ha ha r v sp t t e s ai y a uc th and An rod ing w a p clud indo in g. w E

It has been a process of maturation. Even though the result of the limitations to some extent has evolved along with the research itself (which arguably undermines the point of the boundaries in the first place), I feel that they help concretize an area of product graphics that seem relevant to discuss for me with my background in industrial design.

A process of maturation

The new definition is largely based on looking at the traditional notions of what industrial and graphical designers core competence is. By mapping out some key points, which is derived from the first draft, we begin to see that product graphics is spread out over a spectrum ranging from highly sculptural objects to conventional graphical presentations on plain surfaces.

My focus is of course geared towards the middle of this scale, where it seems that competence is in limbo, but as the red, graded scale explains, my background dictates a slight weighting towards the spatial and sculptural end.

On the next two pages you can find the examples used at the extremities of the scale above, the VW Beetle and a typical fire extinguisher. Note how the two pictures contains quite clear graphical qualities, but how the two different applications demand specialized skills that differs substantially. The car, with its division lines between body panels, shape and split of the rear window and air vents for the engine bay deals with advanced sculptural shapes.

The fire extinguisher has graphics whose purpose is to quickly and securely communicate, and be highly readable. The relation to the surface it is applied to is a quite uncomplicated one.

â–śâ–ś A pre 1953 VW Beetle (split oval rear window) and a swedish fire extingusiher.

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RESEARCH The research phase is the central element in this exploration and findings based project.

One thing is certain, it is going to be very visual! As a fundament for learning and building knowledge, what the accumulated material is, directs what we can output.

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Visual only

How is the research phase in a project like this going to be like?

One thing was for certain from the beginning, and that was probably the only thing certain as well - the research has to be visual.

When discussing industrial design objects, we can hardly avoid touching on other sensory inputs than the visual, and this might be the case with some examples one could categorize under the topic product graphics. Still, the fact remains that product graphics mainly relate to our visual perception, and even though examples like material qualities might affect our visual interpretation, it is through the cognitive processes that we have learned through preceding experiences. Combined with time constraints and the logic behind the graphical qualities being considered through our eyes, I will use visual input as a point of departure for gathering information, discussion, analysis and attempting to build conclusions.

Is this methodical?

It might be a repetition, but it is important to remember that the project is not aspiring to become an academic exercise with all the formalities connected to such a format. This would probably have resulted in a situation where I would focus extensively on meeting the requirements regarding formalization and format in every aspect of my studies. Freeing myself from these formalities enables me to do an explorative research phase, based on findings guided by the preliminary limitations (explained in the chapter on Boundaries). The main reason for selecting such a loosely defined way of researching comes from me not knowing enough about the

topic when starting the project, to entirely know where it was going to take me. Seen in the light of how one conducts thorough academic research, this project might not score to high in those regards, but the way it is structured will enable me (as an layman both to product graphics as a field of design and the academic world) to gain insight through self driven studies and finally make it accessible to others in a way I otherwise would have not been able to.

This, again, is in relation to the earlier chapter on boundaries, but why can’t it be “everything”? Obvious, “everything” is just too much. Why aught it be “everything”? Because the process of learning and creating inspiration around the application of product graphics is as with any creative and innovative process, based upon a certain degree of “findings” and “stumble upons”.

As already stated, the establishing of the boundaries for the project became an ongoing process of maturation, an it was heavily influenced by the path my explorations took me through. The first rounds of gathering objects for examination was lead by what is probably personal references - a quick browse through some examples of bicycles across time and characteristics.

▲ From left to right: Commencal Supreme DH DBS in Oslo Police livery Pashley Guv’nor.

What to research?

Whether it is an abstract process inside the creators head or physi27

cal representations in the world around us, a common characteristic of several creative processes is the fact that ideas spur from something, and it might become something else completely. This is an important argument for choosing to work with the material through explorations the way they are described above, hoping that a less restrictive approach can result in discoveries of relevance and importance. I do not want to exclude any possibilities for striking gold.

Other writers thoughts

An interesting example of how to discuss and understand graphical qualities can be found in Bjørn Rybakkens book “Formsans og design” (Rybakken, 2008) where he presents an extensive selection of objects and products to point out aspects that might influence our interpretation of shapes. He also discusses how external influences becomes significant to how we design. Bjørn Rybakken is a designer and creative director at Tangram Design, a company that mainly works as advisors and consultants on visual identity and graphic design for their customers. This might also be the explanation why the image material presented in the book is abstracted to a level of outlined drawings, with at best a gradient to explain three dimensional shapes. This is probably done for specific reasons, and I can immediately see two of them. The first one is that this makes it possible to specifically isolate and highlight what details of the object depicted are to be discussed. The other reason is as Rybakken states in his preface, that the book is a “pekebok” (the generic picture based children’s book where looking, pointing and learning is the main purpose), and the simplification of the image material adds immediacy to the content.

Even though this kind of abstraction works well in several considerations, I would argue that this also leads to some quite severe limitations when the object’s three dimensional qualities are as important as their graphical elements. How can we understand the interplay between the product and its graphical qualities if we do not assess the sculptural dimensions of it? I also think that by eliminating the surrounding context of the object (by presenting the object isolated from any background) we loose valuable and delicate information that could prove to be important when inspecting an example for the sake of discussion. All in all, I believe that the closer we come to presenting objects in their real appearance and natural context, we will gain a richer outcome. For this book I want to represent the objects for discussion in fully detailed images of photographic quality, even though the setting and context might crowd things a bit from time to time.

Understanding more than two dimensions 28

Why is researching and understanding the area of product graphics important? Rudolf Arneheim’s book “Art and visual perception” deals with the question of the human capacity for understanding

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▲ School children drawing a chair in three dimensions from memory.

three dimensional shapes. He uses findings from George Kerschensteiner’s inquiry involving some 300,000 drawings of school children, part of which was a task where school children had been asked to draw three dimensionally a chair from the memory of it.

The result has been schematically reproduced, but they still retain the key argument of the challenge that lies within the cognitive challenges of understanding three dimensional shapes.

To further add to the argumentation on this important point, we can look to the common interpretation of a car when asking a person without any particular skills in sculptural shaping or drawing compared to what the real product might look like. It is fair to assume that the generic shape of a car seen from a more graphical side view is more common compared to a perspective variation.

▲ To elementary drawings of a car: one in side view and the other in perspective. ◀◀ A page from Bjørn Rybakkens “Formsans og design”.

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From these examples of the relationship between an object’s actual three dimensional shape and the reproduced image of it, we can deduce that the human mind needs more training in understanding spatial representations compared to the same object’s graphical understanding. There is an immediacy to the graphical aspects of an object, and in these examples we can see that our capabilities to abstract three dimensional shapes into graphical representations suggests that product graphic and sculptural shapes

are closely linked.

For my own personal motivation, this argumentation led to the following inspiration poster (see chapter: Introduction): “Why product graphics: The visual representation of a product is as much graphical as it is spatial. (So many people only see objects in two dimensions).”

In the book “Designing for product understanding” Rune Monö (Monö , 1997) discusses the meaning and the use of signs in product design and also how they relate to product semantics.

The term product semantics is an established term describing “the study of the content of signs”. Monö talks about the “current product sign” as features and / or elements of a product aiding us to understand what the product is or what it’s function is like. He uses the example of a steam locomotive with its boiler, funnel, cylinders and tender as a strong sign, and through time a mutual understanding of what this shape is, has formed. It has become such a strong sign that even though steam has been replaced with electricity, the original steam version still remains in use on some road signs and in toys. The connection between the sign and its graphical value becomes evident when it is put to use, in the form of an outline, as a road sign.

Product semantics

There are many examples where semantic value and signs has connections to graphical qualities. The front of a car is, as pointed out

by Bjørn Rybakken, is a composition of functional elements like lights, air intake, bumpers, windscreen, bonnet and so on. In cultures where the car has become a common sight, an agreement among the observers has developed, that this is what we expect as the components of the car’s “face”. As car design has progressed through the history of it’s existence, we see that these “faces” develop into strong semantic communicators, conveying expressions similar to those of a facial expressions of a person. Another example of where semantic values are strongly represented is the Philips roller radio. In the 1980’s Philips invested strongly in the development of semantic stories in many of their products, and in the roller they appear distinctly as graphical traits.

“One of the most successful new products is the roller radio.

It utilizes product semantics in a total sense. The metaphor is mobility. The shape coding, integrated in the fixed handle, says, ‘Carry me”. The speaker grills ... signal sound waves, while the back of the radio clearly shows the battery storage.”

“Not every product has such a strong semantic story, but the concepts are being applied in form, graphics, and packaging of 31

▲ 1982 Philips Roller radio and casette player.

Philip’s products ranging from the consumer area (as described above) to medical equipment, laboratory equipment, data processing, and telecommunications systems.”

Quotes from an essay by Robert I. Blaich, director of Philip’s Concern Industrial Design Centre 1980-1991 (found in “Design Issues: product semantics.“ 1989, a collection of essays)

Gathering reseach material

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As a method of gathering source material, photography stands out as a very purposeful way of documenting, structuring and understanding source material for this project. Firstly, it very effectively records the details on an object and its surroundings and is therefore suitable for this kind of research. Secondly, it offers the possibility of scrutinizing contents without time constraints, enabling us to see things you normally either see briefly or don’t even notice at all. Finally playing with the often used proverb: ”a picture says more than a thousand words”, I believe that this will become especially true for the qualities of communicating the inspirational value of the visual research conducted in this collection of images. At the same time, having the possibility of documenting almost any thinkable application of product graphics in an instant, is valuable for the sake of explorations.

In the programme I suggested “task packages” for external persons as a good way of gathering images and suggestions on what they see as examples of product graphics. I then formulated a task (PDF on CD - <PhotoTask_For_Externals.pdf>) and handed it out to a selection of persons, both with and without a background in design. Though the feedback was slightly limited in amount, it provided information and perspectives outside my own and became a valuable addition to the image material.

From the start of this project I have had an idea of building a database of images, with the intent of having easily accessible material for use in my research. But there is also the possibility of using this as a place to go to for inspiration both for my self and everybody else interested. With the idea of this database of images, came the possibility of using other sorts of material. It need not be limited to photography, it could also be video clips, web sources, illustrations, pretty much anything visual from the field between product design and graphic design. This also opens for the use of web clippings, sources that don’t necessarily originate from myself. A database such as this could be presented in several ways, but shared access and contribution to this kind of material is likely to benefit from the social structures found in internet communities. Examples like www.ffffound.com, www.flickr.com and www.deviantart.com are relevant structures for presenting image material through simple systems of linking and tagging. The main selling point for making use of internet community structures is the upshot of large amounts of user generated content, and the exposure to other stakeholders. For now, my images will be uploaded to my personal flickr account (login information on CD - <Login_FlickrResearchPhotos.txt>), until I figure out a suitable system for publishing and can eliminate any potential copyright infringement.

For this project the images will be made into prints, and I will focus less on the digital presentation of them. Even though the working with a good solution for sharing through a web based community is an interesting thought, it seems to me that it could become long a sidetrack into working with something completely different. Also, when the main purpose is building knowledge and learning, I choose to focus on physical prints because of their qualities in real life discussions.

▶▶ A selection of printed images from the research phase. In this case with a focus on outboard boat engines.

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cars boats

rns

airplanes

panel divisions

public

ferries

s

ht / shadow) accent

transportation (motorized)

trains personal

proportions

boats

warnings

cameras

airplanes

decals

mobile phones

motorcycles

ion

digital interact objects

examples

computers

logo

map plo

cars

semantics

PRODUCTS

music players

semiotics

automats

MISC. WORDS AND TERMS

grille lights bicycles

handles

shoes

wheels

clothing

rims

branding / logos proportions

decals logo semantics semiotics 36

hand tools protective gear

PERCEPTION VALUE INSP

TION

COMMUNI

CULTURE ION CUSTOMIZ AT

skis

warnings

PROPORTION

balls

rns reliefs and embosses

ent

sports equipm

SCALE

MODIFICA

amework construction

skeletons

(naked)

parts textures

components

materiality

materiality

rns N

PRODUCTIO ASPECTS

color

decals

decals semantics

PRODUCT GRAPHICS

rs

brand identifie

semiotics

added afterwards

logos

light / shadow

aesthetical enhancers

VISUAL DESCRIPTION

low level cognition

S CONVENTION ld This bubble shou freely ow be allowed to gr

Informants

pointers warnings pointers

high level cognition

MUTATIONS

INDIVIDUALS ATIONS

mold lines? division lines?

NS

ICATION

hierarcy

proportions surfaces (skin)

S

rns

explanations instructions

5th elements extras

rules

surprises easter eg gs d)

ign relate other (non des

es commercial messag

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ORGANIZING & STRUCTURING The accumulation of data is worthless if it is not examined. In looking for structure through organizing, knowledge is discovered both in processing and in the discussion of itâ&#x20AC;&#x2122;s content. The task of communicating this knowledge is afforded the tool of structure.

Organizing

This is an important part of understanding and making the information, knowledge and skill contained in the source material accessible to any user of these resources. As suggested in the diploma programme for this project, the matter of categorization is vital to constructive progress. Already in the program three main categories for structuring were introduced: visual enhancers, informatives and descriptives/branding. These categories might not be sufficient for categorizing in the way that the source material requires, though this will only become evident through actually testing it out. The categories in the chosen wording above, should be considered a starting point.

Mind map

I got started quite early with working on a mind map hoping that this could provide me an overview of the field product graphics as a whole. It started out as a very fruitful process, in terms of bringing in large amounts of information like descriptions of content, examples of applications, placement of components in relation to each other to mention a few topics. I also suggested how the categories are structured into the theoretical organization found in the map. Even though the exercise was fruitful at first, complexity soon took over for constructive progression. I came to realize that I needed to get input from other persons to avoid stagnation. At this point in the project I had started to accumulate quite a lot of image material, and a picture of how to structure it, had started to take form in my head. The initial three categories had at this stage undergone polishing and refinements and had turned into the fol-

â&#x2014;&#x20AC;â&#x2014;&#x20AC; Mapping out the components of product graphics from free association. (large version on CD - <MindMap.pdf>).

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lowing wording: »» Visual / aesthetical enhancers »» Information conveyors »» Identity and / or brand builders I saw that there was something lacking from these three categories. There was quite a few examples with some specific aspects of product graphics which did not fit well underneath these three. It seemed like one more category was needed, but I could not put my finger on it. Together with the stagnation in the work with the mind map, and a myriad of other unanswered questions, this felt like the right time for arranging a workshop.

The intention for the workshop, as I presented it to the participants, was:

Workshop

“To better understand the structure of the different components of product graphics (without specific boundaries). Also, I hope to create names and descriptions for making the structuring process easier, and for enabling cross referencing within the material.”

The workshop revolved around the physical printouts of the image material and was made up of different tasks of arranging and mapping the images material, either through “graded scales” or “clusters”. Aside from structuring the various printed images around the suggested categories, some of the tasks was created to generate descriptive words, or “tags”, for the various types of content in the images. The idea behind asking for this was that I later could use these tags to create systems for making selections, recommendations and connections for outsiders to follow when browsing a possible digital database (discussed in the chapter on Research, under the section on Gathering research material). Another positive side of creating a set of tags from these images is the possibility of having a basic terminology for explaining to others what the area of product graphics consists of, which again could be useful in enabling others to contribute more efficiently in the future. Before executing the tasks, I hoped that the result of the workshop would become a well documented proposal on organizing, categorisation, evaluation and naming.

The participants were all within the primary user group of this project. In other words they are not end users, but designers who might end up in situations where they will be working with graphical aspects on products. They had also recently finished their education as industrial designers, which made them suitable for this workshop, as they were unexperienced in this particular field of design and need to use reason as their basis for discussions and argumentations. The participants were Sigrun Vik, Christer 39

▲ From the workshop on structuring and organizing image material.

Carlsson, Hans Christian Berge and Knut Karlsen The workshop was divided into the following tasks: 1. Grading images on a scale from little (left) to a lot (right), based on how “product graphic’y” they are.

2. Organize images around the given categories. Is there need for more categories?

3. Make a selection of “generally descriptive” tags based on the content in the images. Make the ones you feel are needed to communicate and systemize the contents.

4. Make as many “specific” descriptive tags as you feel are needed to describe the content depicted in select images.

5. “The test” (if time) – can we use the tags and reorganize the images into new clusters containing a set of select tags?

The first task can be seen as a warm up for the participants to get to know the material. One finding we can extract from this though, is that the majority of images scored above the middle. This means that the participants agrees to the selection of material, which of course is reassuring. The source material gathered corresponds to an industrial designers idea of what product graphics is.

Another thing we discovered was the need for defining what ex-

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actly in the image we were discussing. The multitudes of different elements on objects that might be represented in an image, makes it hard to take that image and place it on a scale devoid of the parameters needed to evaluate separate features. In general we had to find the most prominent feature and place the image based on that. This became the source of many discussions and misinterpretations. What this shows is that it is possible to bring separate issues or matters up to scrutiny through drilling down to singular instances of graphic qualities in a product, and it certainly makes it easier to evaluate and discuss.

When moving on to the second task, we found that arranging the images between the different categories was necessary to be able to arrange them at all. This points out that very rarely is the contents of an image assignable to one category only. It makes sense to discuss the relevance of all categories and place the image accordingly. In addition, the participants agreed on the need for a fourth category as several images had elements that clearly had to do with product graphics, but did not fit comfortably within the three established categories. We did not however manage to figure out what to name it.

As for the third and fourth task, we started to encounter some challenges in terms of subjective interpretations. Trying to create general tags to structure different graphical qualities under, proved to be quite hard. This again, might be attributed to the multiple features often present in the images. And where the generally descriptive tags were universal among the participants, the specific descriptions ranged from literal, precise descriptions to personal and moody remarks. As a result from these two tasks I received a multitude of tags that was harder to put to direct use than I initially had hoped, but they proved to be useful later on in an exercise where I arranged the tags themselves (without images) in relation to the main categories. This exercise turned into what can be best described as a tag cloud, we will get to that in the upcoming section with the same name.

All in all the workshop provided output on the important nuances and subjective evaluations that comes with the topic for this project. The personality of the participants would seep into the way they worked with both structuring and tagging. Knut was on several occasions of the opinion that shape is crucial for the graphical expression, where Christer commented on himself being â&#x20AC;&#x153;conservativeâ&#x20AC;? and kept looking for stickers and add-ons. Hans Christian kept bringing forward humane, yet abstract tags where Sigrun turned to precisely describing words.

Task nr.5 was omitted due to lack of time and issues with tagging.

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The Categories

▲ The decal lines added to the side of a Toyota Corolla are clearly there for visual and aesthetical reasons.

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The initial three categories seemed to have persisted from it’s earliest renditions, though some minor adjustments had been made. The categories we worked with during the workshop was not overly explained to the participants, because I feel that they should be able to present their meaning through their names. This of course only works to a certain extent, and to add a little help to the tasks of mapping a bit I added a few examples to the categories of what it’s application might be. »» Visual / aesthetical enhancers – lines, shapes, colors, patterns, textures etc. »» Information conveyors – instructions, operating manuals,

displays, warnings etc. »» Identity and / or brand builders – logos, liveries, signatures etc.

This might be sufficient in a situation where I, as the facilitator, can inform and guide when questions arise. For this book there is need for further description, and I shall explain what my intention behind them is.

Visual / aesthetical enhancers are often abstract graphical details in form of decals, patterns and colours specifically applied to accentuate and enhance observers apprehension of a product and it’s shape. A very typical example of this kind of product graphics is the addition of decal lines along the side of a car. The use of accents, light and shadow might be categorized here if they contain graphical qualities in addition to their sculptural qualities.

Information conveyors is perhaps more immediate description. This category obviously has to do with graphics whose main purpose is to inform. This could be in the form of text, symbols, icons, contrast colours etc. Examples include the markings connected to the knobs on a stove, the indications of the time on the face of a watch or the informing symbol on a public trash can. The common trait of all these applications is that they communicate aspects of use, be it warnings or instructions.

The third category, identity and / or brand builders, is about the application of product graphics to add identity to a product, and the reason it is divided with an and / or statement, is the question “is it for the user or the producer?”. If the producer of the product wishes to put forward their own identity then this might be perceived as brand building. If the intention of the applied product graphics is the wish to strike a chord with the potential group of buyers through an attempt of building upon sociocultural preferences and trends, this can still be perceived as building identity, though more for the user and only indirectly (and maybe inconsistently) for the brand itself. Examples of this are abundant in the sports equipment area, like the patterns and motifs on a snowboard, the colours and textile qualities in clothing and of course the logos and semantic qualities on a car.

All these suggested categories are large areas of studies in themselves, and can easily become life long tasks of knowledge building. Take for example the category of identity and brand building, which is a field of study where the knowledge from different educations is required to build a strong platform for executing successful designs. I merely suggest this division into categories as a tool for better understanding what product graphics is about, and

▶▶ A Casio digital wristwatch cluttered with information conveyors.

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to decompose objects into components and make them easier to work with. It is also important to note that these categories can not be understood as absolute. Aspects of product graphics can utilize different means and tools for different reasons, and therefor score in different categories with the same tools.

The missing category

▲ Christer’s jumper, with a print of sculls and a traditional knitting pattern.

Tag cloud

◀◀ A Tide branded bus, building idendtity through colours, lines and logos.

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During the course of the project I had planned three discussion and guidance sessions with my supervisors. These sessions become useful tools for discussing progress and status, as well as more direct questions on the matters at hand. The question with a seemingly missing fourth category was still a missing piece in my puzzle. When I presented a summary of the workshop in this forum, the obvious resolution presented itself - the missing category was Storytellers! »» Storytellers – codes, hidden messages, metaphors, etc.

This category presents itself as with a close relation to the three other categories, yet it contains the much needed space for those graphical qualities that seemed to be hard to place. A good example from this category is using colour codes to convey a message to users with inside knowledge. They way Bosch differentiate their entry level products from their professional products is through assigning green as base colour to the affordable series and blue to the high end machines. Storytellers convey information that add a layer of extra output to a product, though it can be relevant both to branding / identity and information conveying, it is not necessarily so. Very often it utilizes the tools and means available in all categories (blue and green are also visual / aesthetical enhancers), but with an extra dimension to it - namely telling a story.

I presumed that the tags created in the workshop would become a tool for understanding the components of product graphics, and to be able to structure the source material embedded in the database of images. The initial plan vast to go into a session of scrutinizing the contents of the images, along with the tags, bring them together and map them out in relation to the categories. My initial plan was to start organizing images and through this try to develop a set of tags and categories from which I can increase accessibility to the knowledge within. These tags and categories I assumed would become valuable for other matters, aside from my own learnings, such as being able to cross reference, navigate and compile information for browsing the library. As a final result I hoped the tags and categories themselves could become both a tool for understanding the field, as well as a tool for publishing.

In a discussion session with my supervisors, the matter of spending time on tagging this images was discussed. There was an initial concern that the entire task would become a never ending quest

DID YOU KNOW? as the magnitude of it seemed to be unfolding for each instance discussed. We figured that a single person spending time with several hundred images for tagging and uploading, maybe is not the best time spent. Also, when leaving this kind of organizing and structuring to the internal justice of internet users gathered in a forum, one can draw on creativity from several minds and create greater extents of data. One disadvantage to using web users in internet forums for organizing and tagging, is the issue of precision. Even though the slight anarchy that the internet brings might create the odd misconception or misinterpretation of what this image database should be about, I believe that these â&#x20AC;&#x153;easter eggsâ&#x20AC;? might not be fatal to such a way of structuring. I reckon that as long as this database is for sharing and finding inspiration in existing examples, it might just bring interesting digressions to the table. I have based on the nature of the tags and the size of the task, decided to forgo this session of mapping tags to images in favor of looking at the tags themselves in relation to the categories.

The way Bosch works with colours on their tools, tells the keen user whether or not it is a professional grade product. Can you guess which is which? There are many hints, but if you look at the material qualities, one of is actually made out of metal where it appears to be, where the other one is faking it. If you donâ&#x20AC;&#x2122;t want to read the main text, I can shall reveal to you the answer: the blue is professional one.

So instead of investing a lot of time into the tagging process, I decide to channel the efforts of studying the image content through tags into an exercise into mapping the tags onto axis system where each axis represents the different categories. The result you can see in tag cloud figure (large version on CD - <TagCloud.pdf>).

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STORYTELLERS

eg. codes, hidden messages, metaphors, etc.

unintended gay

history

fun happy

speed

antique

movement simple

split

eg. colors, patterns textures etc.

bland geometrical

overkill

pattern

glossy

system overlay

playful

parting lines hybrid repetitive organic nature

analog

parametric adjustment

dial

public

INFORMATION

information CONVEYORS warning eg. instructions, opertaing manuals, warnings etc.

attention grabber functional

human mood

sleek strict

definition

mapping

signature safety

feminine masculine personality

nature

trend

literal action

hybrid

material

signal

action

texture

response

visibility

basic

dynamic

VISUAL / AESTHETICAL ENHANCERS

statement

personal environmental global retro

symbolic

survaillance

worn

livery

bling

status

metaphor

luxury differentiation identity

logo

IDENTITY / BRAND BUILDERS eg. logos, liveries, signatures etc.

▲ Tag cloud figure.

Mapping tags from workshop in relation to the four categories.

Grading of image content

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During the workshop I observed that mapping images are challenged by the different contents represented in the images. When trying to map the tags without the ambiguous images present, discovered that there is also an issue with lack of options in this flat structure. The notion of just having an option of just assessing if it is more or less “this or that” feels limiting. There is also the chance that this have impacted the workshop and resulted in inaccuracies in the mapping task. Finally, the conclusion I have arrived at when it comes to structuring through naming and mapping, is that the framework and system for the tasks is of the utmost importance if a precise result is to be achieved. On the other hand, when the goal is to learn from the process and lay a foundation for further studies, the output is usually both inspiring and constructive.

To try combat the impreciseness of the previous workshop and the tagging process, I have produced a form where the user can fill in how the graphic qualities in product scores in more descriptive and nuanced way. The form is based around an image, the schematics were you give the grading and a field where one can make additional notes in writing. The form itself was developed with an informational introduction which is as follows:

--------------------ABOUT This form is a tool for quickly assessing the graphical qualities of products. It can be used for better understanding of similar products when involved with the process of designing a particular product, or it can be used for evaluating the a result of a finished design project if the graphic qualities is of relevance. I am going to use it for exemplifying the diversity of the different graphic elements that a product might contain. We have already talked about the difficulties with categorizing and tagging what is represented in a specific image, but let us repeat some relevant key points for using this tool: »» An image normally contains so many different elements that it becomes hard to focus on and eliminate single aspects for discussion, analysis and tagging. »» One graphical detail might fit within several categories and tags, e.g. the grille of a car might be “brand identity”, “visual/aesthetical enhancer” and “storyteller” all at the same time. »» The subcomponents of the graphical qualities of an object might be explained by different visual representations. By this I mean that we can talk about the same grille as discussed in the point above, as being a technical objects as its purpose is to let cooling air through, but it also scores points when it comes to both material qualities and the selected pattern used.

These are just a few of the complicating issues when focusing on and trying to conduct a fruitful discussion on the topic of product graphics based on studying objects or components. What this form in the end allows us to do, is to break down the components of a product, seen in relation to its graphic elements.

HOW TO USE: The form consists of the four categories divided into columns, which again shall be crosschecked with the different means of design we find in an object (or components).

not relevant

highly relevant

The entries in this form is graded as a shading of gray to intense 49

red, where gray represent not relevant, whereas intense red tells us that this is a strong graphic quality that the product under scrutiny has.

It is also worth noting that the means listed follow the main perceptual senses we as humans have, but I will only focus on visual perception. The upcoming, blank version of the form will show how the senses of hearing, smelling, tasting and tactility is all grayed out, while the visual perception is divided into components ranging from “total shape” to “technical aspects”, which I believe should be sufficient for describing and discussing the contents of an depiction of most products around us.

It is important to note that the entries in this form always should be evaluated from their graphic qualities, one could for example use the sentence “The graphic qualities of the detail shapes on this ... are not of the very visually/aesthetically enhancing type, but they do tell a story quite strongly”. By doing this we remind ourselves that we are grading the graphic qualities of the different components of a product in relation to the categories already established.

Finally, the ratings in themselves does not communicate any in depth knowledge, they only represent an immediate overview of the graphic qualities of a given product. I therefore find it necessary to add some notes to explain further and clarify why the products gets graded the way they do.

DISCLAIMER: As with all evaluations of form and aesthetics they are subjected to the interpretations by the observer, in this case my point of view.

Even though I feel that the competence I have gathered throughout this project allows me to make some educated statements, feel free to disagree. It’s the discussions that make this so interesting.

--------------------More examples of evaluated and graded products can be found on the CD (<Categories_vs_Means_Grading.pdf>) as well as the InDesign tool for filling out your own.

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TE CA G ES RI O S N

EA M

visual / aesthetical enhancers

information conveyors

identity / brand builders

stortytellers

total shape detail shape(s) colour material quality texture pattern logo symbols text technical sound smell taste touch

â&#x2013;˛ Form for grading specific information when evaluating a product on itâ&#x20AC;&#x2122;s graphic qualities.

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TE CA G ES RI O S N

EA M

visual / aesthetical enhancers

information conveyors

identity / brand builders

stortytellers

total shape detail shape(s) colour material quality texture pattern logo symbols text technical

KARI TRAA skiing helmet The main characteristic feature of the Kari Traa helmet is the butterfly shaped logo placed on the top and back of the spherical total shape. It is slightly recessed into the total shape which add to the spatial presentation of the adapted two dimensional logo wrapped around the three dimensional shape.

The three dimensional integration of what normally is two dimensional logo can be said to add detail shapes to this product, and this again makes it score in three of the above categories in this respect.

Kari Traa has since 2002 been designing her products under the motto: Sporty galskap til jenter som tør (http://www.norskdesign.no/industridesign/kari-traa-hjelm-skihjelm-for-jenter-article7721-287.html), which roughly translates into: Sporty craziness for girls who dare. We can see that both the categories of identity / brand builders and storytellers scores quite well through thee means of detail shape, colour, patterns and logo, and when looking at the helmet once again we can see the reflections of this motto in the pink, brocade pattern and the butterfly logo

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TE CA G ES RI O S N

EA M

visual / aesthetical enhancers

information conveyors

identity / brand builders

stortytellers

total shape detail shape(s) colour material quality texture pattern logo symbols text technical

EVINRUDE 225/250 HQ marine outboard engine The Evinrude is a complex overall shape, it is very sculptural and three dimensional with all its accents, complex surfaces and different volumes. This prohibits it from scoring any points on the graphical qualities when considering the total shape. One could argue that the same accents do help to understand the objects shape if it was reproduced in a two dimensional illustration.

Where this object clearly scores quite high is the choice of white as a base color as Evinrude’s “own” (with blue for a special edition version), and the massive use of text for building the brand (logo) and informing about the amount of horsepower and engine specifications.

In addition, the decals on the sides are strong examples of the use of graphical symbols and pattern.

On the white version pattern behind the text lends connotations to waving a checkered flag and the strong symbol of the American flag blowing in the wind is applied on the blue engine.

Finally, the technical aspects on this engine are quite strong graphical elements. The division between the removable top cover and the shaft, the airvents near the top and various bolts, clips and brackets are all important for conveying information on the operation of the various functions of the engine as well as adding to the aesthetichs that we have come to expect from these mechanical objects.

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TE CA G ES RI O S N

EA M

visual / aesthetical enhancers

information conveyors

identity / brand builders

stortytellers

total shape detail shape(s) colour material quality texture pattern logo symbols text technical

BOSCH PRIO sander The Bosch Prio is a product littered with graphic qualities. Though its overall shape scores some points in terms of silhouette and brand recognition, it is mainly detail shapes and colour choices that scores highly. Colour coding helps us understand aspects of use by linking the red button in front to the red vibration surface at the bottom. The colours also adds brand identity and finally tells us the story of this green, Bosch product being a consumer product (in opposition to the blue, professional machines).

From a visual point of view, the material qualities gives us a hint that the product is made to withstand rough use, and addition of pattern tells us where to grip the product.

As for the technical aspects, the air vents placed along the sides of the body are quite graphical in their extruded appearance, and aside from informing of the cooling function of the vents, they add to the apprehension of the aesthetics of the product.

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TE CA G ES RI O S N

EA M

visual / aesthetical enhancers

information conveyors

identity / brand builders

stortytellers

total shape detail shape(s) colour material quality texture pattern logo symbols text technical

ELECTRO HELIOS washing machine The Electro Helios TF 1234 E is a washing machine for the Swedish market. The image depicts a detail of the product, the program selector wheel. Also in the picture we see the model designation, the division line between to separate parts and a curved, recessed line in the plastic surface around the control wheel.

The Electro Helios product is a part of the product range that is typically finished in white, and by following the norm it tells us that it fits in this segment without any wishes to differentiate itself from other brands substantially. The material qualities also reflects the relatively low price of the product, extensive use of plastic which appears to be a bit down the ladder in terms of production cost and with fairly “cheap” characteristics.

How the contents of this image scores in the form above is quite specific. This again goes to prove that the fewer elements covered by the image, the easier it becomes to give a clear rating, and in this case we obviously see high ratings in the “information conveyor“ category.

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DID YOU KNOW? This bike above is owned and ridden by bicycling ace Lance Armstrong. It is decorated by Damien Hirst with real, natural butterfly wings. The bike is part of a set of unique frame designs created for Lanceâ&#x20AC;&#x2122;s competition riding by a selection of artists and designers like Mark Newson, Yoshitomo Nara, Shepard Fairey to mention a few. Now, thatâ&#x20AC;&#x2122;s a product with a story.

When looking back at the task of evaluating and grading content, the different approaches has different pros and cons. There is inspiration in coming together to discuss and analyze examples in a group, but it is not a very precise way of measuring the contents of the source material. By filling out the form and looking at details as individual elements, one will be rewarded with a more thoroughly processed output, but this approach looses some of the fun and inspiration in playing with large amount of material.

Using image material and workshops for driving product graphics design processes is rewarding when done right. The different approaches works in different settings and serve slightly different purposes. For my own studies, I have been provided with an insight and knowledge I could not find in any book, and also have been able to test the knowledge I have accumulated. I feel confident that the four categories are sufficient for structuring material after working thoroughly with them.

For more examples of filled out form on categorisation and means plus the InDesign template for filling out your own, see the enclosed CD in the folder <Categories_vs_Means_Grading>

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OTHER REFLECTIONS Am I the only one of the opinion that product graphics is an important field receiving little focus, and with little reference information? And is it appropriate that I, as an industrial designer, take part in it?

Not just me

In this project I am assuming that there are several designers who are working, or would like to work with product graphics without having any specific background or directly relevant education on the topic. I am also assuming that more people than me are interested in learning, and that more knowledge about this topic should available. To get the opinions and thoughts of other performers in the field I prepared a survey to send out to select designers and other performers in the field.

Survey

The survey is intended get an overview to collect quotes that either build up under or argue against the focus of the project. The companies and individuals that receive the survey are chosen to represent both typical industrial design offices, graphic design offices and offices with varied portfolio and staff. The selection of recipients and the wording of the questions, has a slight weighting towards industrial design, which is natural concerning my background and focus for this project. The list of recipients was the following: Abry design, Brand House, Frost produkt, GeriljaWorks, Grid strategisk design, Hareide Designmill, Hugo, Kadabra, K8, Mikromakaroni, Powerdesign, Red Rabbits, Sol-I-Nor, Scandinavian design group, Strømme & Throndsen, Tangram, Urteriket and 360 grader design About half of the requests returned answers. I shall go through some of the most important questions and the corresponding answers, plus a few interesting quotes.

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Q: How do you understand the term ”product graphics”?

Top off mind; noe klistret på. Etter tanke så ser vi vanligvis grafikk og tegning som en representasjon av en 3D verden. Så da er det definitivt aktuelt å tenke at linjer i form er prod grafikk. Nina Bjørnstad (AHO) All kommunikasjon/dekor på produkt som blir lagt. Kan også være lagt inn i støp, som tekstur, eller som et forsterkende bilde, som bygger form, eller ren pynt, eller ren instruktiv tekst. 63

Marius Andresen (K8 Industridesign AS) Information and styling added on a physical product to simplify use and to describe functionality to user. Aesthetically to allow simple variations of a product, also to visually split and control volumes to enhance elements of a shape on a product. Product graphics can also be logotypes, symbols or a product name. Magne Ekerum Høiby (Hareide Designmill) Print on products. - Øyvind Østmo (Red Rabbits AS) Text and graphics on physical products. Button text and icons.

User interface. Branding (logo) - Aleksander Borgenhov (Powerdesign) “Graphics incorporated in material or appllied to surfaces in eg. print or decals. These graphics can serve a branding purpose or ergonomic function.” - Torgeir Sollid (Sol-I-Nor) Grafiske elementer og tekst plassert på og i tredimensjonale produkter også logoer - Anne Nord (Sol-I-Nor) Dekor og mønster, symboler, instruksjoner - Kaja Kjølås (Mikromakaroni) For meg er produktgrafikk elementer man legger på/implementerer som et tillegg til den allerede ekstisterende 3- dimensjonelle formen. Det vil si farger, teksturer, informasjon, logoer etc.

Grafikken er da (i tillegg til formen) med på å forsterke og tydeliggjøre identiteten, produktets funkjon og intensjon. - Sigrun Vik (Sigrun Vik Industridesign) Q: Give an example of a product that includes graphics as an important part of the process/result.

Biler , levende bilder i interface, tegn i formen som gulllakk der det første laget ble slitt av. Cafe gulv av Front design Stockholm.

- Nina Bjørnstad (AHO) The Less emergency stretcher (K8/M8), Imsdal waterbottle (K8/SDG), Jette Skiboots (K8/M8) - Marius Andresen (K8 Industridesign AS) Stereo Skis wakeskis (twintip waterskis) - http://www.redrabbits.com/blog/2009/rr-ss-wakeski-design-in-action/ - Øyvind Østmo (Red Rabbits AS)

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DID YOU KNOW? Simrad IS20 Analog Display - Aleksander Borgenhov (Powerdesign) Jordan Individual Toothbrush with graphic decals inside the handle - Torgeir Sollid (Sol-I-Nor) Q: Since you answered “yes” on the previous question, why do you think the processes of product graphics differs from those of a traditional industrial design process?

“With the exeption of logo placement, witch often is important on products, product graphic deals with small details on a bigger product. Example the font type on a button. These are details you notice close up.” - Aleksander Borgenhov (Powerdesign)

When Jordan developed the Individual together with Øxeth / Angelfoss design and Sol-I-Nord design, Geir Øxeth provided splitted acrylic models to Sol-I-Nord, for them to be able to work with graphics insde the product. This would ensure correct refraction and avoid unpleasant surprises when put into production.

“Det er desverre ofte ikke en del av prosessen men noe man klistrer på til slutt! -derfor blir det ofte noe man gjør “det beste ut av”.” - Anne Nord (Sol-I-Nord) Another improtant part of the survey is where I put forward a set of statements an let the participants choose, on a graded scale, whether they agree or not.

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The survey provided me with the feedback directly from individuals working with product graphics, and the feedback I got was in general confirming my thoughts and suspicions. It seems like a lot of the answers would be able to compare directly, and confirm the work I have put forward in the suggested categories (perhaps with the exception of storytellers category, which I feel is the result of my in-depth studies). Also, the participants are to a certain extent, agreeing on the importance of the field, ranging from integration in processes to educational aspects.

Christian Harbeke is a partner in the design firm NOSE Design Intelligence from Switzerland. They work in the different areas of product design, corporate & graphic design, interaction design and interior design. He recently held a lecture at AHO (21st of October 2009) where he took us through their process when designing a train for one of the major operators in Europe. Because of the complex nature of trains, the process is equally complicated. He divided the process into four parts: understanding the brief, concept development, present to operator and await verdict and finally, if chosen, the huge process of making everything described in the concept phase. I will come back to more details on this in the section on processes.

A lecture with NOSE Design Intelligence

After the lecture Harbeke offered his time to a few questions, and he stated quite distinctively: “We’ve found that the graphic designers can’t really work with the lines and livery on the exterior of the train.” - a transcribed quote made by Christian Harbeke.

Even though there can be numerous reasons why the task of working with the graphics for the outside of the train is left with the industrial designers at NOSE, but the fact remains that it is a domain that requires the skills and understanding of three dimensional shapes.

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ON PROCESS A design process can not be generalized, they vary from designers to designer, education to education and from project to project. Let us look at a couple of projects where industrial and graphic design meet.

How is the process like?

There are many examples of how the product development process, where the graphical qualities are important factors, is carried out. It is very often a matter in which several individuals take part, but as I have already described, I will focus on the persons directly involved with the actual designing process. I have chosen to look at two processes in depth to better understand how this works professionally. The two different examples that will be presented here, are quite different from each other in that they are on the opposite ends of the scale in terms of resources and manpower. This is interesting because the setting for designing, and the amount of people involved, directly affects the effort and integration of the graphical and industrial side of design.

Two examples

The two processes are not directly observed, they are retold by individuals within the design company responsible. Therefore what I present here must be seen as translations of the information provided to me through dialogue. The two design processes are: »» Packaging design for Hårologi hair products by Hareide Designmill »» Train design for NSB by Nose Design Intelligence My main interest in looking at these processes is the relation between the effort made in the industrial and graphical design department, during the progression of a project. I have chosen to draw up the efforts in graphs where you can read out the amount, efforts and resources put in over time.

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DID YOU KNOW? On the side of the front of Flytoget and NSB’s Signature train, you will find the signature of Terje Meyer in the dividing line between the top panel and the side panel. He was the man in charge for the design process and he managed to sneak in a little piece of his own identity on to the result. It’s really quite funny when you think of it; his signature on NSB’s signature train, called Signature.

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A one person process

The brief was to find (source) existing bottles, someone’s that fit with the ideas and images of how the product series should look like. Then create a set of graphics for that same vision. In the end, the delivery produced was both a series of finalized designs on different bottles for the different products, and a tool where the customer could create new versions (for all the products in the same series) based on the design that Hareide Designmill has created.

This is process where one industrial designer is responsible for the choices made in the three dimensional department, as well as creating the graphical results. As we can see from the graph, the traditional industrial design effort declines as choices are being made, whereas the graphic design escalades rapidly when a bottle has been chosen.

▶▶ Packaging design for Hårologi hair product, by Hareide Designmill.

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This is possibly as good an example as it gets of integration between the two fields, as it is the same, skilled person performing both tasks.

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The process of designing a train is of course immensely complex where numerous considerations, ranging from tunnel width to electric wiring, has to be met. This is why we have to include a few more performers into the graph. In addition to the industrial designers and graphic designers I incorporate the engineers and interaction designers. It is immediate to see that this process is made up of periods where different teams work together or side by side.

There are around 40-50 people working at the NOSE Design Intelligence many of which have other backgrounds and jobs than the 4 described above. There is a team of 8 or 9 industrial designers working with a train, and it takes a while before the graphic designers gets involved. Through the remaining stages it is more a matter of sending elements back and forth between the industrial designers and the graphic designers, than an integrated process - taking it one step at the time. This exemplifies the issues with working tightly integrated on large scale operations: the amount of factors become overwhelming.

A large scale operation

â&#x2014;&#x20AC;â&#x2014;&#x20AC; Reflex for BDWM in collaboration with Bombardier,

by NOSE Design Intelligence.

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Again, this is not exact knowledge. The choice of using hand drawing is deliberate, as it presents and overview, and counteracts the idea of this being a precise measurement like specified and billed hours. Also the structures in the processes can vary substantially from project to project, even within one office. What is important to remember though, is that no matter how complex the situation is, the end result will almost always benefit from integrated processes.

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DAZZLE A CASE STUDY Dazzle camouflage is an interesting phenomenon and can be seen in context of product graphics. It is a phenomenon of visually powerful graphics that has been utilized for various reasons, everything from warfare to trendsetting. Can this type of product graphics tell us anything? .

Camouflage is graphics

Dazzle camouflage was a quite distinct graphic expression applied onto military marine vessels mainly during WWI, but also to a lesser extent during WWII. Its purpose was to make the shape and components of a ship unrecognizable so that the gunner of an enemy submarine would have a hard time aiming, calculating and launching a torpedo assault on the given vessel. It became obsolete as technology evolved and the human eye became less important as a source of information for launching assaults on these ships.

This type of camouflage consisted of high contrast, geometrical and multi colored shapes. It was not intended to match the object with its surroundings, but rather confuse and disrupt as described in the excerpts below (Behrens, 2009): â&#x20AC;&#x153;Camouflage artists (called camoufleurs) make it an arduous challenge to see a figure against a background (called blending or background matching), or to distinguish one category of objects from another (mimicry). Less familiar but potentially far more effective is disruptive of dazzle camouflage in which a single thing appears to be a hodgepodge (or mishmash) of unrelated components.

Disruptive or dazzle camouflage and its corollary, coincident disruption (consisting of blending and dazzle combined), are found throughout the natural world. Such tactics have also been widely employed

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throughout human history.

The specific term “dazzle painting” was coined in 1917 by its British originator, a Navy lieutenant and marine artist named Norman Wilkinson. He devised it to counter torpedo attacks by German submarines (called U-boats). It was Wilkinson’s idea to apply bewildering, geometric shapes to the surfaces of ships, both military and merchant, to make it a challenge to aim at them through a periscope from a substantial distance, in conditions of visibility that were often less than ideal. Because the targeted ship was moving and because the torpedoes took time to arrive, the submarine gunner had to calculate the speed and direction of the ship, and to aim ahead of target.”

The word dazzle is explained by Oxfords dictionary (Macintosh software version) in this way:

▲ USS Argus painted in dazzle camouflage. The reality was more colourful than this black and white photography.

Dictionary entry

Verb [ trans. ] - (of a bright light) blind (a person) temporarily : figurative amaze or overwhelm (someone) with a particular impressive quality Verb [ intrans. ] - archaic (of the eyes) be affected by a bright light Noun - brightness that confuses someone’s vision temporarily The term described here is the British way of naming this phe77

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nomenon, in America it was called razzle dazzle. Merriam-Webster’s Online dictionary defines razzle-dazzle in this way: Noun, (etymology: reduplication of dazzle), date: 1889 a state of confusion or hilarity‚Ä®a complex maneuver (as in sports) designed to confuse an opponent‚Ä®a confusing or colorful often gaudy action or display Relevance

What significance does this topic hold for my diploma? If we look at the marine military vessel as a product, then this form of camouflage could easily be categorized as product graphics. I see it as an interesting phenomenon because of several strong aspects it holds: 1. Its function is to obscure 3 dimensional shapes and render them indistinguishable from each other.

2. It borderlines the definitions I have created for categorizing (see chapter on categorizing).

3. The visual appearance is strong in it self, based on the strong instruments of shapes, colors and contrasts.

On the 2. bullet point above one could argue that Dazzle camouflage hardly fits with “branding and identity”, “information conveyors”, “story tellers” or “aesthetical enhancers”. On the other hand it might be possible to find that the different categories has some value for a different use of this type of graphic in some other form of application.

Examples of modern application

First lets look at another example of application of a similar type of camouflage from the world of car design. If we look at the image of this pre production BMW, it has yet to be officially released into the market. Why is it covered up in this way? There is always the obvious reason of wanting to avoid revealing the design of the car before an official release, when doing road tests and other pre release undertakings before full scale production. Another possible explanation is suggested to us by Bjørn Rybakken in his book Formsans and Design: “Bilprodusenter bruker en spesiell metode. En ny modell presenteres ikke brått og uventet, men etter lang tids ‘lekkasjer‘ av såkalte spionbilder. Bilene er til dels kamuflert, men bildene gir et lite glimt av de nye linjene. Når bilen dukker opp i forretningene, har mange prospektive kjøpere allerede blitt kjent med, og akseptert endringene”

◀◀ Dazzle camouflage paint scheme no. 10A. Originally in shades of blue and gray.

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A short transcription of the quote above would suggest that this kinds of “leaks” to the market in the shape of spy shots are planned and carried out by the car companies to prime and prepare potential buyers, so that when the car finally arrives in the shop they have already become familiar and accepted the changes.

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Whether or not Rybakken is right in suggesting this, it is without doubt a powerful tool the car makers are utilizing when they apply these shape obscuring graphics to their cars. There is also little doubt that the graphics is applied with the primary goal of using the functional aspects of the camouflaging pattern.

Another interesting application of a similar looking graphical “pattern” can be found in a completely different product sphere, with a distinctively different purpose as motivation for use “ Bataleon snow boards from the 2009 lineup. Even though we clearly see similarities in the graphical elements applied to these snow boards, compared to both the BMW from before and the original Dazzle camouflaging, it is evident that it is not applied to obscure the three dimensional shape of the product (as there is not much shape to hide). I would argue that the snowboard scene is dominated by strong and colourful identities, both in the social group dynamics amongst casual riders and as seen in the idols and heroes of the professional riders. When Bataleon choose to implement this strong graphical expression, it is to attract potential buyers who will familiarize and utilize this product to build their own identity. Most buyers probably won’t know the history behind the graphics, but this does not matter as the strength of it lies in the visual appearance, in the same way clothing and trends are building identity for the wearer. So in this form of application, the dazzle graphics become a identity builder, and more so for the individual users than the producer of the product.

“Camouflage has now become an integral part of visual culture.

While its street use - graffiti, skateboard designs, et al - would suggest that it is merely a nice design, it is worth remembering its heritage and its continuing cultural significance.”

- Roy R Behrens http://www.tate.org.uk/tateetc/issue4/camouflage.htm - retrieved 29.nov.2009

◀◀ Upcoming BMW 5 series dressed in camouflage

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â&#x2014;&#x20AC; A selection of Bataleon Snowboards from the 2009/10 lineup

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DID YOU KNOW? This is two Opel Kadett C from the 1970’s and the top one is painted in Dazzle camouflage. It is the work of artist Patricia Van Lubeck.

Isn’t it amazing how the graphics do a great job at obscuring the car’s overall shape and components?

Probably not ideal for wartime use, perhaps more suitable for confusing speed cameras?

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IDEAS What is knowledge if it is inaccessible for use? What good is inspiration if it does not generate ideas? My intention was to translate research into application, so let us see what can be done with that.

3 stages of ideas

I knew from the start that I had to begin contemplating ideas at an early stage. As long as one of my tasks for the project was to create concepts, maybe even a physical representation, I had to generate ideas all along. The way ideas developed was heavily influenced by the phase my research and explorations was in at the time. The ideas can be divided into three chronological phases, each phase on a quite different level, from the small beginnings to the grand, and physical, finale. This part of the project has taken me through playing with terms and abstract directions, through concrete applications to swearing over a lack of proper tools.

The three phases has been as follows. The first suggestions was interesting, though slightly fleeting and abstract, point of departures to work from. Then came a process of working with ideas and exercises more concretely, which helped me understand the tools and application methods of product graphics. At the end we find a compressed design phase with the intention of creating a physical concept that highlights the questions (and possible answers) that has been raised through this project. Please bear in mind that the idea and concept development phase in this project is a condensed version, where some shortcuts has been a necessity, to be able to finish.

The beginning of ideas

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As I went along with my research, explorations and findings I stumbled upon words, images, phenomenons etc. that enticed me. In their earliest incarnation, it might be stretching it a bit calling them complete ideas. In a way they resemble definitions for case areas, as they point in directions more than suggesting

livery |ˈliv(ə)rē| noun ( pl. -eries) special uniform worn by a servant or official.

• a special design and color scheme used on the vehicles, aircraft, or products of a particular company.

- New Oxford American Dictionary (software version for Mac - 12.sept-09)

Links and keywords: • Applied to body • Non-permanent / Permanent • Cultural cohesion • Enhance • Communcation • A uniform

d ias oar yB b Sp snow -

t Rio on oard tale b Ba snow -

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ne ete bo elv tur n H ith vo e w nk tag Ha on s -

oo tatt

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feasible concepts. These ideas, three in number, were presented on A3 posters for benefiting from the physical qualities in prints (especially for one of the posters). The posters in their original size can be found on the CD: <FirstIdeas_Posters.pdf>.

▲ Idea: Livery

I shall quickly go through the ideas, and the names are as follows: »» Livery »» Time mutations »» Moire Livery was an idea of taking the development of identity in sociocultural history and the visual aids connected to them. It was a platform for studying a very humane side of product graphics Time mutations was about the challenging the product graphics of today with the applications of those from not so immediate history. The example of using the codes and stories from a time when production revolved around quality and durability in all details, and design around modern objects with all the advances made through time. The example in the poster is a earlier school project from AHO by Sigrun Vik on modernizing sewing machine.

The final of these first phase ideas was about things that might have more to them than what immediately meets the eye. The 87

mutation |myoōˈtā sh ən| noun ( pl. -s) the changing of the structure of a gene, resulting in a variant form that may be transmitted to subsequent generations, caused by the alteration of single base units in DNA, or the deletion, insertion, or rearrangement of larger sections of genes or chromosomes.

• a distinct form resulting from such a change.

- New Oxford American Dictionary (software version for Mac - 12.sept-09)

▲ Idea: Time mutatioins

moire pattern becomes a good example when you take a complex, symmetric pattern, with subtle variations in curvature and thickness, and force it through the mechanical world of grids and systems. Somewhere between the pixels on the screen or the dots from a printer, something new and unexpected appears. Surprise in graphics, maybe the principle can be used in product graphics as well.

When looking back on these ideas, I see that they probably have shaped the next phases in concept development, at least to some extent.

Concepts and exercises

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When trying to make the rather abstract point of departure for the idea generation process, into something more tangible I start encountering some issues with tools. I come to realize that the nature of combining several techniques, both digital and analogue are often required to do the most mundane tasks. In comparison to the way of working with tools in a traditional industrial design setting, it looks to be somewhat of the same process of utilizing different tools and methods in creating. Though, to my knowledge, the specific tools designed for purposeful execution of tasks are few and far between. The result for me is that the ideas in this phase also serves as exercises in working with practical tools as well as working the methodical tools. It feels as if this phase is

moire |môˈrā;

mwä-; mwär|

noun silk fabric that has been subjected to heat and pressure rollers after weaving to give it a rippled appearance.

ORIGIN mid 17th cent.: French moire ‘mohair’ (the original fabric); the variant moiré ‘given a watered appearance’ (past participle of moirer, from moire).

- New Oxford American Dictionary (software version for Mac - 13.sept-09)

moire pattern In physics, a moiré pattern is an interference pattern created, for example, when two grids are overlaid at an angle, or when they have slightly different mesh sizes.

- Wikipedia (software version for Mac - 13.sept-09)

▲ Idea: Moire

forcing me to learn practical application all over again. That is why the different concepts look a bit eclectic in style, which I rather like because they bring an extra layer of knowledge to the table.

Also here, as with the first phase, I shall quickly go through the ideas, and they are as follows: »» Boat and engine »» Rims are graphical products »» Computer mouse exercise »» Highlighted trash can I had made an observation when gathering image material.

Boats and outboard engines usually live in to different aesthetical spheres. Take for example an Askeladden boat, with flowing lines, serene surfaces and a nicely finished blue and white gel coat.

Then you add an outboard engine from Mercury, a product that has evolved from a mechanical expression to a overpowering and unruly shape, and it is even painted in black. On top of that, you as a consumer are often deprived of the option of choice, as more and more boat producers, or vendors, deliver their boats with specific brands already attached. One should think that buying a boat for 2-300.000 nok could at least buy you a paint job to match the colours of the engine with those of the boat!

Boat and engine

▶▶ Askeladden 475 Freestyle with Mercury outboard engine.

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▲ Application of “merging” graphics to an Askeladden with a Evinrude engine.

Rims are graphical objects

▶▶ A study of rims utilizing different design features, for examining the question of what product graphics is. ◀◀ Sketches on merging shapes in through disruptive graphics applied to existing form.

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There are several types of graphics one can apply to work with or against the discrepancies between the two objects. In addition to combating the issues with three dimensional shapes, it is also an interesting concept in that it removes the branding from the objects, who previously were explicitly marked with it.

The wheels and rims on a car are undeniably very graphical products, in everything from total shape to the details of the tire tread.

There are two interesting aspects when working with wheels for explaining and showcasing product graphics. Firstly, people generally understand this product as a product with strong graphical qualities. Secondly, it is a suitable object for discussing when we can no longer discuss graphical qualities as the gradually becomes sculptural shapes.

Another less obvious, yet powerful aspect of working with wheels and rims, is that colour seem to be a forgotten tale in most cases.

Rims generally appear in its bare aluminum material quality, and the impact is notable when adding other colours into the mix.

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Computer mouse exercise

This one is more of an exercise than a viable idea for further development. It is interesting to see what happens when we strip a product of its identity and / or brand builders, then the information conveyors, and finally the visual / aesthetical enhancers (colour, materials and defining lines). It ends up as a shapeless blob with which we can do whatever we want to. It becomes even more interesting when we “apply the all the categories” back on, but this time from a different product sphere and different producer.

Highlighted trash can

The last idea is more of a suggestion to show what product graphics can be if we think new in terms of means available and possible new scenarios for those means. Take the unobtrusive public trash can, put it in a dark corner of the city and the drunk by passer will throw his kebab right next to it on the sidewalk, because he just did not see it. But what if we combine it with a street light and even project a secondary colour onto it?

◀◀ Deconstruction and reconstructioin of a mouse ▼ Better information conveying through powerful means.

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When I found my self in the situation where I needed to choose object for further development, I found it to be a challenge. I was torn between working with the interesting concept of affecting the perception of shape through disruptive use of product graphics on the boat and engine. On the other side was the option of materializing the wheel, and use its communicating abilities as a physical argument for my entire project. The choice had to be made on what best served the purpose of the book, but then again, what really is the purpose?

Choosing concept

After the final mid term presentation, Anne Mellbye rose a question that would help me find my decision: â&#x20AC;&#x153;What do I want this project to become? Is it a textbook? Is it a showcase?â&#x20AC;? In the end I decided to work further with designing the rim, as it is the closest to what I have stated as the purpose from the beginning. I want to learn from this project, and I want to be able to inspire other performers to treat this field in between as the important field it is. To best communicate my findings to people who have not read this book, the wheel and rim, together with a little information, will tell story what product graphics is and how important it is.

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MATERIALIZING If a picture says more than a thousand words, then the real deal should render them speechless. Making theory into a physical model is perhaps the most effective communicator I can put forward.

Making a rim

The intention to produce a physical model, a materialized argumentation, was stated already in the programme. After seeing several theoretical, and semi theoretical projects being presented through posters cluttered with words, I have come to realize the need for an extra effort when it comes to communication of these kinds of projects. I believe firmly in the importance of the role product graphics play, or can play in all products around us, and I wish to share the knowledge I have accumulated through my diploma. The purpose for this materializing is to keep on learning, this time by doing, and strengthen communication of the knowledge through the strongest argumentation there is - a physical object.

The rim itself is the result of a condensed design process. The design has been entirely created with CAD tools and only reviewed through on-screen evaluation and renderings before going into the process of making it. The design is created around an existing rim (to be able to mount and inflate a real tire). The original rim was chosen from a huge selection of discarded rims I was lucky enough to be allowed to scavenge. This particular rim was chosen mainly for its clean outer wall, so that the design of spokes, hub and cap themselves would be less influenced by other shapes and profiles.

â&#x2013;śâ&#x2013;ś CADing a wheel, hacking a rim, print with RP and assemble.

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The construction of the rim is, aside of the original rim, nylon parts printed at with rapid prototyping equipment. Had it not been for this production method, it would have been a challenge to maintain the same degree of accuracy, and the important ac-

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cents would have been nearly impossible to create with other tools. Finally the rim was assembled, sanded and painted. Colours were chosen to have maximum impact on visual appearance.

Product graphics in As mentioned earlier, a wheel is a product with many features practice and components that can be discussed in terms of their graphical qualities. Aside from the overall shape being very graphical in the first place, we can dissect the various components and relate them to the categories (presented in the chapter on organizing and structuring). By evaluating the object through the categories and the means we have for working with product graphics, it hopefully becomes clearer to comprehend the theory behind the theory.

The identity / brand builder in this product is an easy one to, and even though the Pdr brand is a fictive one, it still adds brand value to the product.

The aesthetical / visual enhancers have are represented in several means here. The most obvious is probably the application of colour. By having the opportunity of customizing and matching the colours on the rim to that of the car we take full advantage of this powerful tool. Then there is the use of pattern on the secondary coloured details. Whether or not the pattern serves any technical purpose, the pattern itself has been designed with aesthetics in mind. Next is the material and texture qualities, where the chosen surface treatment is adding to the visual perception of the product. Finally is the use of facets, which takes advantage of the laws of light and shadow. Yes, the discussion whether this is graphical traits or purely spatial form giving is highly relevant on this one, but the effect of it becomes graphical when observing it head on (which wheels most often are).

The information conveyor here is added for the sake of explanation, and you will find it on the inside of the rim, telling the user not to use these wheels for speeds above 400 km/h

▶▶ Product grpahics in practice in the different components. ◀◀ The finished design rendered with two material quailites.

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When I started creating this object for use as argumentation, I found that the hardest category to produce for is the storyteller category. Storytellers are often related to stories outside the sole existence of one product. And, since this object is completely detached from any real world existence, I found it hard to score in this department. I would argue that the faceted shape with its sharp accents and aggressive outlines do have graphical qualities (even though the geometry is complex) which tells parts of a story. The aesthetics hints to military stealth products, and in exaggerating this trait, the rim becomes slightly tacky and would probably appeal to a particular type of user. All in all, it is a bit of a stretch, but the stealth traits of the rim does tell a story.

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▲ Vredestein Ultrac Sessanta designed by Giugiaro Design.

Exhibition

▲ Sketch on ideas for exhibiting.

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Even though it is not a part of the design process, the rim needs a tire to go with it. Which brings forward another interesting product, which indeed is graphical in almost all aspects. The shape of a tire varies in height and width, but not in form. The only areas available for design is the sidewalls and the tread itself. The tread is dictated by the laws of physics and is concerned with providing maximum grip under a wide range of conditions. Yet it is an area where some tire producers spend an extra effort in making it look appealing as well. One of the most interesting examples is the relationship between Giugiaro Design and Vredestein. They together have created several models, and the Sessanta is a good example of a successful merger between technical demands and aesthetical evaluations. In addition the Sessanta should fit well in the setting of argumentation for and explaining the application of product graphics.

Again, the materialization of this project is an argumentation for “what, why and how“, which ultimately shall be presented in exhibition at the end of this project. That is why I have thought about how this presentation best can be done. The object shall be positioned to grab attention, and after briefly looking at it the observer will be able to find more information on either posters on the wall, or a display running a presentation.

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SUM UP I am a designer and I want to work with product graphics. This project was intended to teach me, and perhaps you as well. Here, at the end of the book, I it is worth taking a quick look back and sumning up a bit.

What have I learned

This project has rewarded me round-handedly with knowledge.

The database of images and this text will be a reference for me, in my future. Hopefully I will be able to build further on both. I have learned new ways of thinking about tools, and I have worked with products in ways I have never done before.

To my mind, the importance of this field is even greater now compared to how I saw it when I started this task. Most industrial design students have experienced the amazing effect adding a little logo has to a model they have built with their own hands.

Product graphics is more than just an affordable (but powerful still) way of adding to the aesthetical and functional level of a product, it can be so much more. It really depends how one limits that definition of what it should encompass. I believe it should the definition should remain fairly wide, because this could provide inspired designers with a way of creating tailored areas of interest areas for themselves. It is largely as with the definition industrial design, it encompasses a myriad of applications, and to me that means options instead of limitations. So what is product graphics? If there still is a need for that specifying statement, here is my go at it (it is formulated from a industrial designers point of view, but it works, with minor changes, from a graphic designers point of view as well, ): Product graphics is the field between the turning point where spatiality negates the graphics qualities and vice versa.

This means that, at some point complex, three dimensional geom-

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DID YOU KNOW? etry will represent a division where talking about graphical qualities no longer makes sense. In the opposite end, we meet the same division when the third dimensions is no longer present, and we are purely dealing with the application of all those methods taught by the school of graphic design.

This entire book is based on the assumption that the designers who find this book interesting, is able to use what knowledge they have as a basis for making their own decisions based on the ideas and theories presented here. When venturing into the uncomfortable zones outside ones competence field, one needs to ask for help or take the appropriate actions to educate oneself. I have learned so much by doing the latter in this book.

This is Andy Warhol painting on a BMW. Did you know that since 1975 the German car maker has invited several reknown artists to contribute to their Art Car series. Artists like Alexander Calder, Roy Lichtenstein, Robert Rauschenberg and Jenny Holzer have all contributed. Talk about adding value through â&#x20AC;&#x153;product graphicsâ&#x20AC;?.

I have studied industrial and interaction design over the previous five years. My knowledge about graphic design has accumulated over time through interest, though not through textbook schooling. I did not know much about this field in between, which I sought to study. I have learned so much. It is not going to end here, though, because, as with all life long tasks, this one will last me as long as I keep working and stay interested. Not even a diploma semester has managed to put me off, I still see product graphics anywhere I turn.

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REFERENCES LITERATURE »» Arnheim, Rudolf 1954, Art and visual perception University of California Press »» Krippendorff, Klaus 2006, The Semantic Turn - a new foundation for design CRC Press »» Karjalainen, Toni Matti 2004, Semantic transformation Publication series of the University of Art and Design Helsinki »» Modö, Rune 1997, Design for product understanding Liber »» Rybakken, Bjørn 2004, Visuell Identitet Abstrakt forlag AS »» Rybakken, Bjørn 2008, Formsans og design Abstrakt forlag AS »» Mollerup, Per 2008 Brand book Børsens Forlag (Egmont) »» Lupton, Ellen 2004 Thinking With Type - A critical guide Princeton Architectural Press »» Essay collection by various authors 1989, Design issues, vol. 5, num. 2: Product semantics The University of Illinois at Chicago »» Behrens, Ron R. 2009, CAMOUPEDIA: A Compendium of Research on Art, Architecture and Camouflage Bobolink Books

WEB & IMAGE CREDITS All image material can be found in a thumbnail sheet with author credits and/or web link on the enclosed CD with the filename: <Image_Credits.pdf>

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DIPLOMA PROJECT AHO / IDE 2009