Project 2: interviews.

After choosing our object to redesign, we interviewed a variety of different people to determine what the best changes for our design should be. I interviewed three people that I knew that spanned a range of ages, that owned houses, and that would be in a position to use a fly swatter.

Interview I:

Q: How often do you use a fly swatter?

A: On average, three times per week.

Q: Would you want the fly swatter to have the option to be more fun?

A: No, the current design is useful in it’s effectiveness.

Q: What is the most important change you think the fly swatter needs?

A: The handle is uncomfortable and doesn’t fit well in a hand. Also, due to vision difficulties, the end of the fly swatter should be wider.

Q: If there were additional options for the fly swatter, would you buy them?

A: No, probably not.

Q: Would you like to have the option of trapping the fly rather than swatting?

A: No, that would go against the main function of the swatter.

Q: Is there anything you like about the current design of the fly swatter?

A: The length of the current design is effective.

Q: How much would you pay for an improved design of the fly swatter?

A: $2.50

 

Interview II:

Q: How often do you use a fly swatter?

A: As often as needed.

Q: Would you want the fly swatter to have the option to be more fun?

A: No, not particularly.

Q: What is the most important change you think the fly swatter needs?

A: The end of the fly swatter should be bigger or wider.

Q: If there were additional options for the fly swatter, would you buy them?

A: Yes, if there was a counter that could keep track of how many flies are swatted.

Q: Would you like to have the option of trapping the fly rather than swatting?

A: Definitely not.

Q: Is there anything you like about the current design of the fly swatter?

A: The current design is functional.

Q: How much would you pay for an improved design of the fly swatter?

A: $5.00

 

Interview III:

Q: How often do you use a fly swatter?

A: On an infrequent basis

Q: Would you want the fly swatter to have the option to be more fun?

A: No, not especially

Q: What is the most important change you think the fly swatter needs?

A: The handle is uncomfortable and ineffective. The end could have a different design as well.

Q: If there were additional options for the fly swatter, would you buy them?

A: No.

Q: Would you like to have the option of trapping the fly rather than swatting?

A: Absolutely not.

Q: Is there anything you like about the current design of the fly swatter?

A: The flexibility of the current design is an effective aspect.

Q: How much would you pay for an improved design of the fly swatter?

A: $2.50

 

Project 2: Make it better

For project two, our group collected objects that we believed had a poor design. We discussed the pros and cons of our objects and eventually agreed that we felt the fly swatter had the most potential to have a better design. We spent our class time constructing a mind map to catalog the changes we felt that we could improve upon the object.

Project one: What is good design?

This project was the first instance in which I truly considered the design of objects in the manner of what made them good or bad. Rather than making a prompt judgment of liking or disliking an objects design, I was able to use what I had learned in class to think about the object from the perspective of design. I found an object that I regularly use, a pendant, to have a good design. I had always admired the appearance of the pendant, but spent time observing the details that I believed made it a good design. The pendant has an appealing shape, uses as little design as it needs, is understandable and honest, is unobtrusive, and has an aesthetic appeal. The process of showing the design through the course of the project proved to be an unusual challenge, particularly to display what I felt to be the prominent features in a way that could be easily understood by the viewer. I sketched the object multiple times in an attempt to view the different angles and features, but was unable to properly compose the drawings in a way that I felt exemplified my message. I eventually compiled all my drawings and sketches and composed them around the pendant itself. The final poster displays the pendant in prominent view with a proper color application in the fact that the object is the only bright color in the design. The object is amongst the drawings as a central focus point, with the sketches showing detail displayed outward from the center. I feel after this project that my concept of design has changed from observing design without context to being able to study a design and know what makes it good.

Final poster design.

Elisabeth Barnes

Examples of Tone and Value

The past two weeks in BDS 103, Drawing for Design, the class has been working with techniques involving shade and shadow. The use of shade and shadow is made possible by varying degrees of tone and value. Tone is the actual physical presence of pencil on the paper while value is the levels of dark and light. Tone and value are two of the most useful tools in creating effective drawings.

An exercise in variations of tone to create gradients.













Using tone and value to create a drawing of an assorted fruit arrangement.  












Using tone and value to show space within an irregular object.

An example of a gradient of value.

 An example of using value to show an object. (created by another artist)

An example of dark to bright values that create a full spectrum within a picture. (created by another artist)








Value and tone create the highlights and shadow that adds dimension to a picture. The practice of working with value added a new perspective to my Think/Make project design.

Elisabeth Barnes

Tibetian design

  The past few days have given me the chance to watch an amazing piece of artwork being formed. A group of monks from Tibet have spent the past week in the Spencer Museum of Art constructing an amazingly intricate design using sand as a medium. I can't even begin to imagine the amount of patience that goes into such a detailed design. To the best of my understanding on the subject, which is quite limited, the design signifies the unity of religion and how they are connected. The last act of the design was to destroy the entire week's work, the final act to signify the fragility of life. The amount of work, attention to detail, and patience demonstrated by these devout men was truly inspiring.

Elisabeth Barnes