design*you
*
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youdesign*you
midst mid like inside including in from for concerning circa by beyond betwixt betw inside like mid midst near next of per plus pro qua regarding round through throug by beyond betwixt between beside at as around amongst among amidst amid al regarding round through throughout to toward towards unto via with within with v amongst among amidst amid alongside about alongside amid amidst among amon
wixt beyond by circa concerning for from in including inside like mid midst near next of per plus pro qua regarding round through throughout to to st mid like inside including in from for concerning circa by beyond betwixt between beside at as around amongst among amidst amid alongside about side like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto towards beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amidst among amongst around as at bes round through throughout to toward towards unto via with within with via unto towards to throughout through round regarding qua pro plus per of mong amidst amid alongside about alongside amid amidst among amongst around as at beside between betwixt beyond by circa concerning for fro with within with via unto towards to throughout through round regarding qua pro plus per of next near midst mid like inside including in from for conc t among amongst around as at beside between betwixt beyond by circa concerning for from in including inside like mid midst near next of per plus round regarding qua pro plus per of next near midst mid like inside including in from for concerning circa by beyond betwixt between beside at as wixt beyond by circa concerning for from in including inside like mid midst near next of per plus pro qua regarding round through throughout to to st mid like inside including in from for concerning circa by beyond betwixt between beside at as around amongst among amidst amid alongside about side like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto towards beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amidst among amongst around as at bes round through throughout to toward towards unto via with within with via unto towards to throughout through round regarding qua pro plus per of mong amidst amid alongside about alongside amid amidst among amongst around as at beside between betwixt beyond by circa concerning for fro with within with via unto towards to throughout through round regarding qua pro plus per of next near midst mid like inside including in from for conc t among amongst around as at beside between betwixt beyond by circa concerning for from in including inside like mid midst near next of per plus round regarding qua pro plus per of next near midst mid like inside including in from for concerning circa by beyond betwixt between beside at as wixt beyond by circa concerning for from in including inside like mid midst near next of per plus pro qua regarding round through throughout to to st mid like inside including in from for concerning circa by beyond betwixt between beside at as around amongst among amidst amid alongside about side like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto towards beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amidst among amongst around as at bes round through throughout to toward towards unto via with within with via unto towards to throughout through round regarding qua pro plus per of mong amidst amid alongside about alongside amid amidst among amongst around as at beside between betwixt beyond by circa concerning for fro with within with via unto towards to throughout through round regarding qua pro plus per of next near midst mid like inside including in from for conc t among amongst around as at beside between betwixt beyond by circa concerning for from in including inside like mid midst near next of per plus h round regarding qu around amongst am cerning for from in design is a well constructed narrative that engages people intellectually and h within with via unto emotionally and resonates with them so profoundly that they feel a deep kinship g circa by beyond with it; its meaning is echoed by those who know and love it as they relate to und as at beside b round through thro others the story of thoughtful design. of next near midst st amid alongside a uding inside like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto g circa by beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amidst among amongst aroun regarding round through throughout to toward towards unto via with within with via unto towards to throughout through round regarding qua pro plu ongst among amidst amid alongside about alongside amid amidst among amongst around as at beside between betwixt beyond by circa concerning nto via with within with via unto towards to throughout through round regarding qua pro plus per of next near midst mid like inside including in from f amidst among amongst around as at beside between betwixt beyond by circa concerning for from in including inside like mid midst near next of per p gh round regarding qua pro plus per of next near midst mid like inside including in from for concerning circa by beyond betwixt between beside at as wixt beyond by circa concerning for from in including inside like mid midst near next of per plus pro qua regarding round through throughout to to st mid like inside including in from for concerning circa by beyond betwixt between beside at as around amongst among amidst amid alongside about side like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto towards beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amidst among amongst around as at bes round through throughout to toward towards unto via with within with via unto towards to throughout through round regarding qua pro plus per of mong amidst amid alongside about alongside amid amidst among amongst around as at beside between betwixt beyond by circa concerning for fro with within with via unto towards to throughout through round regarding qua pro plus per of next near midst mid like inside including in from for conc t among amongst around as at beside between hrough throughout to toward towards unto via luding in from for concerning circa by beyond und as at beside between betwixt beyond by circa concerning for from in including inside like mid midst near next of per plus pro qua regarding rou pro plus per of next near midst mid like inside including in from for concerning circa by beyond betwixt between beside at as around amongst amo oncerning for from in including inside like mid midst near next of per plus pro qua regarding round through throughout to toward towards unto via ing in from for concerning circa by beyond betwixt between beside at as around amongst among amidst amid alongside about alongside amid amids ar next of per plus pro qua regarding round through throughout to toward towards unto via with within with via unto towards to throughout through
design portfolio of seth youd christensen
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ard towards unto via with within with via unto about alongside amid amidst among amongst wards to throughout through round regarding ound as at beside between betwixt beyond by pro plus per of next near midst mid like inside concerning for from in including inside like mid luding in from for concerning circa by beyond midst near next of per plus pro qua regarding etwixt between beside at as around amongst d through throughout to toward towards unto g amidst amid alongside about alongside amid ith within with via unto towards to throughout amidst among amongst around as at beside t through round regarding qua pro plus per of tween betwixt beyond by circa concerning for ext near midst mid like inside including in from om in including inside like mid midst near next concerning circa by beyond betwixt between of per plus pro qua regarding round through n beside at as around amongst among amidst ughout to toward towards unto via with within alongside about alongside amid amidst among und as at beside between betwixt beyond by ning for from in including inside like mid midst per plus pro qua regarding round through o toward towards unto via with within with via s to throughout through round regarding qua of next near midst mid like inside including in ncerning circa by beyond betwixt between around amongst among amidst amid alongside ide amid amidst among amongst around as at een betwixt beyond by circa concerning for ding inside like mid midst near next of per plus arding round through throughout to toward amongst among amidst amid alongside about ards unto via with within with via unto towards gside amid amidst among amongst around as o throughout through round regarding qua pro s at beside between betwixt beyond by circa pro plus per of next near midst mid like inside concerning for from in including inside like mid luding in from for concerning circa by beyond midst near next of per plus pro qua regarding etwixt between beside at as around amongst d through throughout to toward towards unto g amidst amid alongside about alongside amid ith within with via unto towards to throughout amidst among amongst around as at beside t through round regarding qua pro plus per of tween betwixt beyond by circa concerning for ext near midst mid like inside including in from om in including inside like mid midst near next concerning circa by beyond betwixt between of per plus pro qua regarding round through of next near midst mid like inside including in amid amidst among amongst around as at regarding round through throughout to toward amongst among amidst amid alongside about ards unto via with within with via unto towards gside amid amidst among amongst around as o throughout through round regarding qua pro s at beside between betwixt beyond by circa
esign*youdes
pro plus per of next near midst mid like inside concerning for from in including inside like mid luding in from for concerning circa by beyond midst near next of per plus pro qua regarding etwixt between beside at as around amongst d through throughout to toward towards unto
Product Design Summit 456.......................................................................................................010 Game, Set, Mat..................................................................................................022 Pillars of Cloud & Fire.........................................................................................024 Hyperbolic Vase.................................................................................................036 Women's Flashlight............................................................................................042 Studio Tables......................................................................................................052 Art, Writing, and Design Mixer Nurturing Narrative in Student Design................................................................058 Yodesk−the Bronze Office Toy............................................................................062 Word Play with Color..........................................................................................064 Figure Drawings.................................................................................................068 Work History Résumé.............................................................................................................074
sign*youdesig
product design
"Frankly there isn’t anyone you couldn’t learn to love once you’ve heard their story." Mr. Rogers always kept this quote from a social worker in his wallet.
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BACK BRACE
BACK BRACE
The SUMMIT 456 is designed specifically to return kyphotic patients to a functional midrange, restore balance, and reduce daily pain. Off-loading destructive forces in the spine and stopping muscle fatigue can lead to an increase in vital function, and better quality of life.
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BACK BRACE
WHAT IS KYPOHOSIS? Kyphosis is a curving of the thoracic (mid to upper) spine that causes a bowing or rounding of the back, which leads to a hunchback or slouching posture. The SUMMIT 456 helps kyphotic patients achieve a functional midrange which relieves pressure on the nerves, opens the neuro pathways and restores lung capacity. It is intended to improve core strength and provide comfort for a more active daily life.
OTHER APPLICATIONS The SUMMIT 456 can also benefit patients who have OSTEOPOROSIS (thinning of bone tissue and loss of bone density over time), COMPRESSION FRACTURES
(collapse of the vertebra due to trauma), FUSIONS (fusing of the spine), and BURST FRACTURES (spinal injury in which a vertebra breaks and shatters into surrounding tissue).
BACK BRACE
DESIGN CHECKLIST Sleek low profile design for patient compliance. Lightweight design is easy to don or doff. Malleable aluminum support conforms to fit all anatomies. Vertically adjustable posterior support. Powerful mechanical advantage with independent compression. Ergonomic design accommodates all waist to hip ratios.
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014
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BACK BRACE
3.8
1.4
13.1
3.0 + 0.00 / - 0.25
2.5
BACK BRACE
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015
016
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BACK BRACE
BACK BRACE
Thank You Joel
Perez, lead designer of SUMMIT 456, for your mentorship. Also, thank you to the entire Aspen Medical Products R&D team for helping me develop as a designer by allowing me to intern with you and to work with you on real projects.
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BACK BRACE
ORTHOTIST 1. Select proper belt size (S-XL). 2. If necessary, custom form malleable back panel to properly fit patient anatomy. 3. Adjust the vertical height of the posterior adjustment strap to fit patient.
1 PATIENT
2 3
4. Apply the fully stretched brace making sure the back panel is centered and low on the back. 5. Overlap the ends of the brace so the hook material grips the opposite side loop as tightly as possible. 6. Slip each thumb into the pull tabs. Extend the tabs out and away from the brace. When desired compression is achieved, place the hook side of the pull tabs down onto the loop material to secure. 7. Pull and tighten the shoulder straps until properly fit. 8. Fasten and tighten optional and removable sternum strap. 9. You have properly applied the brace and are ready to go about your day.
BACK BRACE
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7
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BACK BRACE
BACK BRACE
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021
GAME
SET
MAT Due to the very short lifespan of a tennis ball, approximately 300 million tennis balls contribute 20,000 metric tons of rubber waste each year. Game, Set, Mat is a doormat composed of upcycled tennis balls. Users are provided with a kit containing small plastic fasteners and dyed, halved, and hole punched tennis balls. They can quickly construct any number of doormat shapes to fit their home and their style.
DOORMAT
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LUMINAIRES
Pillars of Cloud & Fire And the Lord went before them by day in a pillar of a cloud, to lead them the way; and by night in a pillar of fire, to give them light; to go by day and night. Exodus 13:21
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LUMINAIRES
define
LUMINAIRES
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PILLAR OF CLOUD
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031
AL
FIN
032
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PILLAR OF FIRE
L
A
IN
F
034
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LUMINAIRES
036
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VASE
Hyperbolic Vase hy路per路bo路le \hahy-pur-buh-lee\ extravagant exaggeration. Latin, from Greek hyperbole excess, hyperbole, hyperbola, from hyperballein to exceed
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VASE
WHO IS REALLY IN CHARGE? Mother Nature needs only to flex her arm to give us a powerful reminder of who is ultimately in control. Not only is Mother Nature powerful, but she is also beautiful. We have learned much from her power and beauty.
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VASE
MOTHER NATURE This small vase celebrates her majesty by exaggerating the strength of a small plant that has pushed and bent the steel tubing vase as it has grown and blossomed.
VASE
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WOMEN'S FLASHLIGHT
Purse Light Outback Flashlights is continually looking for ways to innovate and to expand their market. Outback asked me to design a flashlight that fit contextually within a woman's purse. They also asked me to design a unique point of purchase display to showcase this new line of flashlights. Visual cues taken from lipstick and high heels drove form development. Research of fashion trends informed pattern and color selection.
044
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WOMEN'S FLASHLIGHT
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WOMEN'S FLASHLIGHT
9.0 cm
2.0 cm
22.5 cm
9.4 cm 10.8 cm
17.6 cm
WOMEN'S FLASHLIGHT
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POP Display
Not only designed to turn heads, this display also takes into consideration the valuable counter space at a cash register. It has a small footprint (4.25�x 6.90�) and holds twenty flashlights to avoid having to restock it too often.
WOMEN'S FLASHLIGHT
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Tables for Studios & Classroom
DESIGN CRITERIA:
non-directional (does not suggest that it should be oriented in any specific way), must relate well to existing classroom and studio environments, easy to move, neutral top that won’t distract from design reviews that are held around it, we must be able to manufacture it ourselves, must be able to hold at least six students sitting on it (approximately 1050 lbs or 475 kg), needs to be able to withstand many years of use
STUDIO TABLES
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x9
Professor David Morgan and I designed and built this table for our principal classroom. We trained three more students how to manufacture it. Then we supervised and assisted them as they produced eight more tables for our studio spaces.
STUDIO TABLES
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art, writing & design mixer
"because there is a natural storytelling urge and ability in all human beings, even just a little nurturing of this impulse can bring about astonishing and delightful results." Nancy Mellon
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NARRATIVE
Figure 1 C2 SOLID CHAIR BY PATRICK JOUIN, 2004
Nurturing Narrative in Student Design Excerpts
from
Design Mashup: Personal Objects Meet Narrative In Contemporary Design
Originally Published for The International Conference on Engineering and Product Design Education Presented on the 8th & 9th of September 2011, City University, London, Uk Authors: Bryan Howell & Seth Christensen Brigham Young University, Provo, Ut
E
verybody loves a good story, and all products (even those that aren’t designed) have a story. The narrative can either be intriguing and convincing, or it can be boring and confusing. Design students often find it difficult to understand the role of narrative in their designs, and as a result, they are unable to effectively incorporate it into their work. In essence, they are unable to tell a good story. This paper proposes a method for helping students employ clear and engaging narrative in their design work. It is anticipated that as students learn how to effectively incorporate narrative in their design, that their final products will become more meaningful and engaging; ultimately it will help them to design better products.
Narrative:
a
Design Element
Successful designers let narrative drive the content of their design work because, as Jerome Bruner says, “narrative organizes experience” [1]. Consequently, if the narrative of an object is unclear or confusing, then the meaning of the object is lost and the object itself will be considered insignificant by consumers.
A great example of a product with a clear narrative is Patrick Joiun’s C2 Solid Chair as seen in Figure 1. This chair was displayed in the 2007/8 product design exhibit in The Museum of Modern Art (MoMA) in New York. The exhibit featured objects from around the world that the curator Paola Antonelli selected to “emphasize the diversity and ingenuity of contemporary design” [2]. The C2 Solid Chair is both diverse in its form and ingenious in its manufacturing. The design is plagued by irony. The full-scale, rapid-prototyped chair is celebratory of the height which industrialization has reached, yet it abandons all current industrial production methods. The complex and extravagant form suggests that an excessive amount of waste would result in its production, yet the chair is an argument against the old, resource-heavy methods of manufacturing and exposes a new and promising future of resource-light (or in this case zero-waste) production. Joiun’s design work was included in the exhibit primarily because of the clear and compelling story behind the design: using new rapid prototyping techniques to manufacture complex, yet resource-light, consumer
Everybody loves a good story, and all products (even those that aren’t designed) have a story. The narrative can either be intriguing and convincing, or it can be boring and confusing. Design students often find it difficult to understand the role of narrative in their designs, and as a result, they are unable to effectively incorporate it into their work. In essence, they are unable to tell a good story. This paper proposes a method for helping students employ clear and engaging narrative in their design work. It is anticipated that as
would result in its production, yet the chair is an argument against the old, resource-heavy methods of manufacturing and exposes a new and promising future of resource-light (or in this case zero-waste) production. Joiun’s design work was included in the exhibit primarily because of the clear and compelling story behind the design: using new rapid prototyping techniques to manufacture complex, yet resource-light, consumer products. The aesthetics and functionality of the chair, though important, were secondary to the narrative dictating the design decisions.
Nurturing
it is not enough to validate one’s work with oneself; the designer has to be able to meaningfully engage an audience
students learn how to effectively incorporate narrative in their design, that their final products will become more meaningful and engaging; ultimately it will help them to design better products.
Narrative:
a
Design Element
Successful designers let narrative drive the content of their design work because, as Jerome Bruner says, “narrative organizes experience” [1]. Consequently, if the narrative of an object is unclear or confusing, then the meaning of the object is lost and the object itself will be considered insignificant by consumers. A great example of a product with a clear narrative is Patrick Joiun’s C2 Solid Chair as seen in Figure 1. This chair was displayed in the 2007/8 product design exhibit in The Museum of Modern Art (MoMA) in New York. The exhibit featured objects from around the world that the curator Paola Antonelli selected to “emphasize the diversity and ingenuity of contemporary design” [2]. The C2 Solid Chair is both diverse in its form and ingenious in its manufacturing. The design is plagued by irony. The full-scale, rapid-prototyped chair is celebratory of the height which industrialization has reached, yet it abandons all current industrial production methods. The complex and extravagant form suggests that an excessive amount of waste
the
Narrative
Students have historically found it difficult to develop design stories from the ground up, the first step in this “design mashup” exercise provides students with a foundational narrative upon which they can build. Students are asked to select an object that is meaningful to them. It does not matter whether the object is cheap or expensive, ugly or beautiful, old or new. What does matter is that the object is somehow meaningful to the student. For practical purposes, it is suggested that the object be small and simple. However, the size and complexity of the object does not necessarily affect the outcome. Students are then asked to write a short narrative (no more than 250 words) for their meaningful object. Since there is already an existing reason why the object is important to the student, they find it easy to give narrative to the object. The written narrative (which is really more of a memoir in the sense that it is primarily composed from the students’ personal experiences with the object) becomes the tool whereby the object’s meaning is clarified and validated. The “Power of Storytelling,” defines this method of incorporating a student’s personal history into a classroom environment as “narrative enquiry.” Lindesmith states “Narrative enquiry gives permission to learners to tap into the tacit knowledge embedded in their experience as well as to learn from each other in the process. It also serves as a springboard for dialogue about the deeper issues of their professional discipline that may not be easily illuminated through other methods. Because narratives rely strongly on communication and relationships, they can facilitate connections between people and create a sense of 'shared history'. Thus the environmental context for learning becomes one that supports the strengthening of collegiality and collaboration, and builds selfesteem” [3]. Just as getting started is often the most
NARRATIVE difficult part of writing a paper, developing an intriguing narrative has often been the most difficult part of designing for students. The meaningful object and its written narrative create “a springboard for dialogue” (as Lindesmith concisely stated). It gets the students talking and telling stories. Starting off the project with a narrative that is already meaningful helps push the students over the hurdle of storytelling and gives them a firm foundation upon which they can build the final narrative of the products that they will be asked to design. It is anticipated that this “narrative enquiry” will help students develop final designs that are intriguing, clear in meaning, and convincing.
Essence
within a
Narrative
The reason that students are encouraged to write short narratives that are limited to 250 words is to help guide them to discover the most significant parts of their selected object’s narrative. It pushes them to deeply consider the main reasons why the object is meaningful to them. The written narrative helps the students to clarify the story of the object and is a formal means for the students to validate the importance of that object to themselves. However, in design, it is not enough to validate one’s work with oneself; the designer has to be able to meaningfully engage an audience. Thus, students present their meaningful object and its narrative to the class. While presenting their objects, the audience is asked to help identify the primary reason(s) why the object is meaningful to the student. Based on the responses from the audience, it is easy for the student to see whether or not their narrative was clear and impactful. If students did not clearly transmit the story they intended to, they are encouraged to revisit and revise their written narrative. Most often, an object’s meaning is not only derived from its form and function but also by the associations that are exposed in the narrative. These deeper associations and meanings are referred to as the essence of the narrative. Typically the connections are very personal and filled with deep emotion. For this reason, students are sometimes reluctant to expose themselves by sharing the meaning of their object. Most of the students’ objects fall into one of four categories of essence: mindfulness, experience, security, and utility. Mindfulness [4] is the attentiveness of a family member or loved one who was significantly involved with the student but has passed on or is somehow no longer accessible to the student. Mindfulness is typically developed over time, usually years. Experience
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is also based on relationship. However, the relationships are still intact and accessible. Experience connects specific outstanding events with the people that were involved, e.g., family, friends, and/or loved ones. The object conjures memories of a moment that will likely never be repeated. Security involves comfort (primarily emotional but can also be physical). It is typically connected with “home.” Thus the object offers a sense of belonging and provides an identity. It also invokes feelings of support and protection that are associated with “home.” It is primarily matriarchal. Utility is concerned with the functional ability to assist the individual in experiencing the extraordinary. It celebrates technology and its ability to allow humans to be superhuman. It is centered on adrenalin rushes and feelings of accomplishment. Utility is focused on the individual and his/her quest to overcome certain obstacles. Identifying the essence within the narrative of an object broadens the student’s understanding of what makes a product valuable; it pushes them to reconsider the derivation of a product’s meaning. This exercise expands the students’ existing mindset. It encourages them to discover or redefine an object’s meaning thus increasing the probability that they will design something that will transcend established functional and historical norms.
Contemporary Design Narratives The first exercise in the Design Mashup left students with a strong foundational narrative upon which they can build. However, even though students have developed an engaging story about their meaningful object, they struggle to see how this story can benefit or, let alone, drive a design work. So the students are directed to discover how successful contemporary designers effectively employ narrative in their designs. Students are asked to search for and collect a variety of images of contemporary product designs that resonate with them… [1] Bruner, Jerome S. Acts of Meaning (the JerusalemHarvard Lectures). Cambridge, Mass.: Harvard University Press, 1990. [2] Antonelli, P. and Larson, C. (2007/8). “Criteria for Selecting Works for the Design Collection,” Exhibit at the Museum of Modern Art, New York. [3] Lindesmith, K. 1994, 'The Power of Storytelling', Journal of Continuing Education, Vol. 25, No. 4. [4] Kolko, Jon. Thoughts on Interaction Design, Volume 1, 2010, (Elsevier Inc., Burlington, MA) [7] Mellon, Nancy, The Art of Storytelling, 1998, (Element Books, Salisbury, England)
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BRONZE OFFICE TOY
Yodesk−the Bronze Office Toy Perhaps “office” and “toy” seem like a strange juxtaposition. Maybe the juxtaposition of “bronze” and “toy” isn’t any less peculiar. Or, perhaps to all of you grown up kids who are stuck in an office all day, “bronze office toy” makes perfect sense.
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WORD PLAY
Word Play with Color EXPLORING MEANINGS ASSOCIATED WITH COLOR AND IDIOMS THAT UTILIZE COLOR THROUGH THE MEDIUMS OF OIL PAINT AND THE WRITTEN WORD.
out of the blue: unexpected out of the blue: unexpected out of the blue in the red: a term to describe an economic loss in the red: a term to describ red in the face: to become embarrassed red in the face: to become emba blues: a genre of music blues: a genre of music blues: a genre of music blu feeling blue: to feel sad or unhappy feeling blue: to feel sad or unhappy fe greener pastures: something newer or better (or perceived to be better) gre green around the gills: marked by a pale, sickly, or nauseated appearance in the pink: in good health in the pink: in good health in the pink: in good a pink elephant: term to describe hallucinations during intoxication a pink e yellow fever: a disease involving high fever and jaundice that is common in th yellowbellied: a cowardly manner yellowbellied: a cowardly manner yello purple heart: a medal awarded to a US soldier wounded in battle purple he purple prose: an elaborately written poem or paragraph in literature purple p red flag: a warning of danger red flag: a warning of danger red flag: a warn pink slip: notice that employment is ending pink slip: notice that employmen white flag: the signal of a peaceful surrender white flag: the signal of a peac get the green light: get approval to move ahead or proceed with a project o out of the blue: unexpected out of the blue: unexpected out of the blue in the red: a term to describe an economic loss in the red: a term to describ red in the face: to become embarrassed red in the face: to become emba blues: a genre of music blues: a genre of music blues: a genre of music blu feeling blue: to feel sad or unhappy feeling blue: to feel sad or unhappy fe greener pastures: something newer or better (or perceived to be better) gre green around the gills: marked by a pale, sickly, or nauseated appearance in the pink: in good health in the pink: in good health in the pink: in good a pink elephant: term to describe hallucinations during intoxication a pink e yellow fever: a disease 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health in the pink: in good health in the pink: in good health in the pink: in good health ucinations during intoxication a pink elephant: term to describe hallucinations during intoxication on in the tropics yellow fever: a disease involving high fever and jaundice that is common in the tropics manner yellowbellied: a cowardly manner yellowbellied: a cowardly manner yellowbellied: a cowardly manner ier wounded in battle purple heart: a medal awarded to a US soldier wounded in battle poem or paragraph in literature purple prose: an elaborately written poem or paragraph in literature ed flag: a warning of danger red flag: a warning of danger red flag: a warning of danger red flag: a warning of danger employment is ending pink slip: notice that employment is ending pink slip: notice that employment is ending the signal of a peaceful surrender white flag: the signal of a peaceful surrender white flag: the signal of a peaceful surrender r task get the green light: get approval to move ahead or proceed with a project or task out of the blue: unexpected out of the blue: unexpected out of the blue: unexpected out of the blue: unexpected in the red: a term to describe an economic loss in the red: a term to describe an economic loss embarrassed red in the face: to become embarrassed red in the face: to become embarrassed
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FIGURE DRAWING 5, 10, 15, 30, and 45 minute figure studies
FIGURE DRAWINGS
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069
conte crayon on 18x24 smooth newsprint
FIGURE DRAWINGS
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071
work history
"I know quite certainly that I myself have no special talent; curiosity, obsession and dogged endurance, combined with self-criticism, have brought me to my ideas." Albert Einstein
Seth Youd Christensen seth.y.christensen@gmail.com asthoughtsdo.com 801.609.4454
Skill
Ideation fluency Creative problem solving Prototyping and sketching Collaborates well with others Excellent writing and editing skills Speaks, reads, and writes conversational Spanish Illustrator, InDesign, Photoshop, SolidWorks, SketchUp, Rhino, Keyshot
Experience AUG11
Design Consultant & Freelancer
PRESENT
OUTBACK FLASHLIGHTS, HENCIL, KITCHENOLOGY, METROPOLIS DESIGN, & OTHERS
Design consumer products and graphics for multiple companies.
JAN13
Design Intern
APR13
KLIM, Rigby, ID
Design three backpacks/bags for the 2014 season. Help design consistent visual story for the entire backpack and bag product line. Prepare tech packages.
MAR12
Designer & Engraver
JAN13
OUTBACK FLASHLIGHTS, Orem, UT
Design women's and children's lines of flashlights. Design marketing flyers. Prepare graphics for engraving. Operate and troubleshoot laser engraver.
FEB10
Research Assistant
MAY12
SCHOOL OF TECHNOLOGY, BRIGHAM YOUNG UNIVERSITY, Provo, UT
Collaborate with faculty on design and development projects. Coauthor research paper. Edit papers for publication and advise faculty on research presentations. Train and supervise students in production of studio tables. Assist with instruction of foundational industrial design courses. Format classroom instruction book.
JAN11
Design Intern
APR11
ASPEN MEDICAL PRODUCTS, Irvine, CA
Collaborate in teams of two designers to create ergonomic and aesthetic spinal orthotics. Validate designs (consumers, doctors, orthotic specialists, marketing).
MAY10
Design Intern
AUG10
STILLWATER AWARDS BY ZEIT COMPANY, Salt Lake City, UT
Design acrylic awards and trophies. Research current market trends, new materials, and manufacturing processes. Build prototypes. Collaborate with company presidents on developing new product lines.
Education APR12
BFA in Industrial Design BRIGHAM YOUNG UNIVERSITY, Provo, UT
Thank You
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