FULL CIRCLE THE 3D ACADEMIC GROUP

STUDENTS, TUTORS, ALUMNI

 FULL CIRCLE
The 3D Academic Group
Students, Tutors, Alumni

Editor:

Aysar Ghassan
Copyright 2009 by School of Design, First published in July 2009 by School of Design, Northumbria University publications.
Northumbria University
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Newcastle Upon Tyne The decorative font (headings) is ‘Myriad Pro’.
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CONTENTS
Foreword V Interior Design 72

Curriculum Philosophy 01 Seton Wakenshaw - Tutor 74

Gemma Corrigan - Graduate 75
Introduction 02 Lucy Marlor - Graduate 76
Emily Walton - Graduate 77
Shared Skills 04 Frank Li - Student 78
Henry Marks - Student 84
Mind Maps 06 Joanna Yuill - Student 90
Mood Boards 08
Designer’s Materials 10 Product Design Technology 96
Perspective Drawing 12
Shadows & Shading 14 Colin Wilson - Tutor 98
Line Quality & Tension 16 Anton Bowness - Graduate 99
Representing Materials 18 Tom Cornthwaite - Graduate 100
Designer’s GAs 20 Steven Blakemore - Graduate 101
Nicola Hall - Student 102
Student Work 22 Josh Wasserman - Student 108
Elton Wang - Student 114
Design For Industry 24
Three Dimensional Design: Furniture & Product 120
Mark Bailey - Tutor 26
Steven Kyffin - Graduate 27 Andy Tennant - Tutor 122
Louise Oatley - Graduate 28 Max Lamb - Graduate 123
Matt Burtonwood - Graduate 29 Daniel Battaglia - Graduate 124
John Read - Student 30 David Irwin - Graduate 125
Kyle Loughlin - Student 36 Alexandra Tinning - Student 126
Prajay Parmar & Anton Webb - Students 42 Phil Luscombe - Student 132
Chris Paton - Student 138
Transportation Design 48
Q &A 144
Matteo Conti - Tutor 50
Dan Kafka - Graduate 51 Design For Industry 146
Sam Jilbert - Graduate 52 Transportation Design 150
Tim Moore - Graduate 53 Interior Design 154
David Fearnley - Student 54 Product Design Technology 158
Gordon Farquhar - Student 60 Three Dimensional Design: Furniture & Product 162
Gianluca D’Alessandro & Jonathan Hodder - Students 66
III
ACKNOWLEDGEMENTS
The editor, Aysar Ghassan would like to thank everyone who kindly gave their time, resources and wisdom in order to make this project possible.

Shared Skills Product Design Technology:

Mind Maps: Rachel Deller & Hannah Toes Programme Cover: Murdoch Oxley, Pete Kingston, Tim Raynor
Mood Boards: Adam Walker Tutor: Colin Wilson
Designer’s Materials: Thomas Hardy Alumni: Anton Bowness, Tom Cornthwaite, Steven Blakemore
Perspective Drawing: James Burnell Students: Nicola Hall, Josh Wasserman, Elton Wang
Shadows & Shading: James Burnell
Line Quality & Tension: Jonathan Douglas Three Dimensional Design: Furniture & Product:
Representing Materials: Danny Ritson
Designer’s GAs: Mark Law, David Law & Martin Atkinson Programme Cover: Tom Gyr
Tutor: Andy Tennant
Student Work Alumni: Max Lamb, Daniel Battaglia, David Irwin
Students: Alexandra Tinning, Phil Luscombe, Chris Paton
Design For Industry:
Q &A
Programme Cover: James Ravenhall
Tutor: Mark Bailey Many thanks to the students enrolled on the programmes covered for thinking up such
Alumni: Steven Kyffin, Louise Oatley, Matt Burtonwood interesting and challenging questions and the tutors and alumni for providing informed
Students: John Read, Kyle Loughlin, Prajay Parmar & Anton Webb and enlightening answers.

Transportation Design: Layout Design

Programme Cover: Chris Pinches Anton Webb & Prajay Parmar

Tutor: Matteo Conti
Alumni: Dan Kafka, Sam Jilbert, Tim Moore Additional Illustrations
Students: David Fearnley, Gordon Farquhar, Gianluca D’Alessandro & Jonathan Hodder
Rob Leeman
Interior Design:
Design Layout Advice
Programme Cover: Seton Wakenshaw
Tutor: Seton Wakenshaw Kathryn McKelvey & Craig Graham
Alumni: Gemma Corrigan, Lucy Marlor, Emily Walton
Students: Frank Li, Henry Marks, Joanna Yuill

IV
FOREWORD
The full circle is a very complicated geometric puzzle that hopefully, with the correct
introduction to design education, can be made more achievable and initially less daunting
to those talented individuals who see their future as possible visionaries into our future.
Design, and its many associated branches, is a profession and a discipline that will at some
time have an effect upon all our lives. Design can appear glamorous; it can be seen to be
of benefit and is capable of generating a ‘feel good’ factor in many aspects of our everyday
lives, therefore many try to be involved in order to be part of the creative process.
Design, the wonderful process of creativity, the ability to rationalise a series of elements
into a logical piece of work, is for me, exciting, stimulating, interesting and most of all
extremely rewarding. It is my profession, and in part my hobby. Design is a great activity. It
has no boundaries and applies to so much of what we do in our everyday lives, to where
we live, work and relax. Design has no age limits. As long as you maintain an open and
inquiring mind, the ability to create new and innovative solutions, fresh graphic ideas and
imagery will never leave you. All you need are a spare few minutes, a pen and some paper
and the creative process can begin.
The process of design is complex, and a well trained designer is a multitalented individual,
capable of working through the development process while maintaining the integrity of
the original concept. A designer is generally required to be able to input into all areas of a
given project and through experience develops an extensive and vast knowledge of pro-
cesses, both old and new. A designer must become knowledgeable in the areas of product
development and realisation and must gain an awareness of emerging technologies and how
best they can be applied - and all within a chosen market for a particular product. It is
the role of educational establishments to ensure that they demonstrate, in an encouraging
manner, the expertise required of a designer and offer, in simple terms, how it is possible
to attain the required levels. The important thing is to instill confidence as this helps to
encourage potential students who find it hard to envisage how they can reach a comparable
level in their own work.
An analytical and inquiring mind is the keystone for a designer. The day-to-day work of a
designer can be very confusing: knowing what to do, what to try and how best to achieve
the client’s demands is difficult. The modern designer needs to be a well organised
individual capable of listening, analysing and applying inputs from a series of extremely
diverse sources - help and a method of processing this information is a necessary part
of the learning process. All young and highly motivated designers of tomorrow should
understand this if they are to grasp the opportunity to realise their personal dreams
and ambitions. Successful design education assists and defines the DNA required for
future designers and develops procedures that promote and inspire confidence with the
students of the future.
Design studios can be daunting places for all except the very confident. Hopefully this
document will give an insight into the design environment, promote confidence and show
that there are no myths surrounding how successful designers conduct their business.
Only a few extremely driven individuals will ever reach their true potential entirely on
their own merits, the greater majority of society requires an additional stimulus to realise
their career potential. Educational establishments exist to provide the structures and
ingredients that nurture those men and women who have the inherent creative nature to
be the talented designers of the future.
Raw talent, creativity and motivation are the starting points for a new designer, but never
at anytime will you stop learning or re-inventing. Although we all have our individual styles
and methods of working, the opportunity to understand how other designers work and
present their ideas is always of great interest. As an experienced designer, it is essential that
I maintain an open attitude to the crafts of my profession. The following pages provide a
wonderful insight into the working practices of designers from the different disciplines of
3D design. It is an honest and direct depiction of how a designer works and develops their
ideas. I hope that it inspires and provides a starting point to base your working practices
around. Even after many years of experience I find viewing other designers’ work of great
interest. It makes me re-evaluate how I work and prompts me to try and improve or just
adjust my techniques - it allows me to broaden my portfolio of styles which I can then
apply to future projects, hopefully across as diverse a spectrum of design as possible.
Lester Allen (Alumni & Automotive Design Consultant) 07/09
V
FOREWORD
There’s never been a better time to be a designer.

Where as design used to be the service that clients used to style their products, develop
their packaging and create their brochures, the canvas is now far broader.

Designers still do all those things of course, but they now do much more. The skills you
develop and refine during your degree will give you the chance to influence your clients’
decisions, not just implement them.

Design is increasingly coming to be seen as a problem solving process with the potential
to deal with some of the really big challenges facing the world, from climate change and
economic meltdown to the ageing population and chronic health conditions. That’s because
more people now realise that design, with its unique insights into human needs and behaviour
and its tools for generating ideas, is crucial to innovation.

But with the enhanced status comes extra responsibility - to learn and keep on learning,
throughout your career. To excel as a designer, you will need solid craft skills that it will
be up to you to update and develop. You will need a good grasp of how businesses run.
You will need to understand other cultures. And you will probably need to be comfortable
about working with specialists from other disciplines from beyond design’s boundaries,
whether they’re ethnographers or technologists.

And remember too that people with design degrees can also become the forecasters,
managers and strategists who play an ever more important role in design consultancies.

So, while the demands on designers are bigger than ever, the opportunities are more
exciting than they’ve ever been. Enjoy them.

Lesley Morris (Head of Design Skills, Design Council) 07/09

VI
CURRICULUM PHILOSOPHY
The Three Dimensional Academic Group has a broad portfolio of undergraduate
programmes with an enviable heritage in terms of student attainment. This is evidenced
by superb competition success, prestigious industry collaboration and graduate progression
into key professional positions. Students within the group enjoy an education that provides
a superior experience in terms of knowledge gained and skills acquired. The Industrial
Placement scheme, Designer in Residence programme and other Industrial Collaborations
engender an exceptionally high level of commercial awareness within the student body and
potentially mark our graduates as distinct within the sector.

The academic staff team within the curriculum group embody a huge range of specialist
skills, subject knowledge and great educational experience. Most also continue to actively
participate in the areas of professional practice, commercial enterprise and research and
the School of Design recognises that it is increasingly important to make use of the full
range of these skills to further support the increasingly broad portfolio of school activities.
As a result it aims to engender a climate of encouragement and support for staff to pursue
their aspirations in terms of personal development, professional practice and research
profile, all of which feed back directly into the student experience.

Our programmes equip students with all the relevant intellectual and practical skills
needed to enable them to successfully gain employment within their chosen area of
professional practice. With an emphasis upon individuality and the development of student
creativity and independent thinking, risk taking is encouraged. The outcome is a graduate
who has an awareness of the industry as a whole and is able to define and contextualise
their own place within it. Graduates are able to find employment associated with a huge
range of professional contexts across the diverse fields of three dimensional, industrial
and environmental design practice.

Our aim is to ensure that the Three Dimensional Academic Group, whilst retaining its
strength in subject, always drives forward the development of innovative and effective
teaching and learning practice that embeds research as a core progenitor for both staff
and students, resulting in world class graduates capable of becoming leaders in their
chosen field.

Trevor Duncan (Head of the Three Dimensional Academic Group) 06/09

1
INTRODUCTION
The idea for this book came from being involved in the admissions process for Transportation
Design, teaching first year students enrolled on that programme, and later also first year
students enrolled on Design For Industry.
As admissions tutor I became very interested in the response of prospective candidates
as I toured them through the School of Design. We’d pass a studio in which groups of
varying sizes convened during their lunch break to be involved in lively discussion and to
do their thing: some folk were sat sketching whilst others stared intensely at a computer
screen, mouse at the ready. We’d walk down into the workshops where students were
busily sanding some MDF, or perhaps eyeing up a half-finished clay model. At every oppor-
tunity, at every turn and in every studio there came the same reaction: the candidates just
wanted to linger a little longer, to study a rendering that took their eye on a wall on the
other side of the room, or to talk to someone about the bit of blue foam they were about
to reshape. Their reaction vividly reminded me of what I had felt on my first journey
through a design teaching and learning environment.
Every single week, on every tour, I could tell that every candidate just really, really wanted
to get involved, and as soon as possible. For many, it was all they had ever wanted to do.
For others, design was something they had only recently been turned on to. Others still
had been through Higher Education already, sometimes in a wholly unrelated field and had
made the decision that design is what they must study.
There was another interesting parallel with what I had felt during my first opportunity
to walk around a School of Design: how was one ever going to be at the level needed to
render that concept so well, hammer that piece of copper into a kettle or ‘slick-up’ that
quarter-scale clay model of a vehicle into something that appeared as though it was moving
at a hundred miles per hour?
Every candidate I spoke to on those admissions Wednesday afternoons were so impressed
by what they were seeing and felt they were so far away from ever being able to do the
things they were marvelling at. The same was true of many of the first years I have been
fortunate enough to teach. They were surrounded by really innovative, interesting and
wonderfully presented work from people in years above them and years gone by. How
were they ever going to begin to match what they saw?
What is sometimes almost impossible to rationalise when you’re in that position is that
somehow, if folk stick at it, they really can, and often do, go on to achieve fantastic things.
2
Every tutor and design practitioner once stood admiring concepts they were sure they
could never emulate, let alone surpass. With passion and dedication, ambitious prospective
candidates turn into resourceful and hard-working first years who, in turn, go on to become
knowledgeable, talented and mature final year students and later successful graduates. So this
book is really for prospective students thinking of joining the Three Dimensional Academic
Group and first years who are already an important part of it. It’s designed to be informative,
to stimulate discussion and to give you, the reader, an opportunity to reflect on how you
go about realising your creative ambitions.
‘Full Circle’ comprises three sections:
1) Shared Skills
Through choosing to study on different programmes within the Three Dimensional
Academic Group, students of course end up specialising in very different disciplines and
become very knowledgeable about their chosen subject.
At their heart though, the programmes that make up the academic group share many
things that will be familiar to any three dimensional designer. Sometimes, people (myself
included) may feel as though they are too busy with their own work to take the time to
find out what is going on in programmes that may seem very different from their own.
The thing is, we all need to find an efficient way of recording our ideas and visualising
materials that we might want to use to create prototypes...so this section aims to take an
introductory look at parts of the design process which are common to everyone in the
Three Dimensional Academic Group. The hope is to encourage you to take a broader
look at what folk are getting up to in a studio or workshop not too far away from your
own. The ultimate aim is for this to be a platform to further stimulate discussion and to
further share skills, interests, opinions and knowledge.
It should be noted that every part of this section has been skillfully illustrated and carefully
narrated by students currently enrolled on programmes within the academic group.
2) Student Work
This part is divided into subsections, each of which incorporates one of the five programmes
making up the Three Dimensional Academic Group. As the title suggests, this section
focuses on projects kindly (and bravely!) presented by students. The students also talk
about who they are, what turned them on to design, how they visualise and tackle projects
and what they feel they would like to be better at.
There is a huge amount of really excellent work in this section - a vast range of projects
which can only go a fraction of the way in explaining the diversity of the academic group.
Each subsection begins by introducing a programme tutor and three successful graduates
who have generously given up their time in order to be a fundamental part of ‘Full Circle.’
The tutor will talk briefly about the vision of the programme and both tutor and alumni
will discuss interests, experiences, who inspires them and what drives them.
As designers, we love to hone our techniques for creating visualisations and get excited
about new and challenging assignments. Because of this, both the students and design
professionals have highlighted what they believe makes for successful visualisations and
great projects. Take some time to compare and contrast what designers from different
areas choose to place emphasis on. Something which is mentioned again and again is
‘context’ - making sure that what is sketched or made fits the purpose it is intended for.
How might this information help you reflect on the way you approach a brief?
Another important thing to note about this section is that all the tutors and alumni are in a
brilliant position to be able to give incredibly valuable, brilliantly insightful and utterly honest
feedback on the work they have seen. By its very nature, design can be a really personal
and emotive discipline and the aim here is to deliver a platform on which the generation
of feedback that is as unique as the professionals who are providing it can take place. In
my time as admissions and first year tutor I was reminded that it is quite normal for many
students not to have ever met a professional from the world they are hoping to go into. I
feel this section provides a rare chance to witness how professionals from different fields all
respond to a given project and believe that it is a great opportunity for discussion and debate
to ensue. Do you have an opinion on the feedback given? If not...why not?! Which parts do
you agree or disagree with? I really hope the feedback will allow you to look at your own
work with fresh eyes and motivates you to increase your creative learning potential.
As well as this, every student who has helped create this section has provided a tutorial
which delves into how they have chosen to tackle a specific aspect of the project they
have presented. The tutorials are very diverse and stretch from looking at how to achieve
something very technically biased to taking a wry look at the act of creation and how one
may go about starting with a clean sheet. All are extremely informed which is a testament
to the teaching teams and the students who have taken the time to rationalise what they
do. Moreover, each one tells a specific story about the person who has been kind enough
to write and present it.
The fact that these tutorials have been illustrated, and the various methods explained
by students who are only a couple of years ahead of where you might be today is very
important. I really believe it shows that with dedication and perseverance anything can be
achieved. I hope these tutorials may serve as a valuable source of inspiration and will get you
thinking and sketching!
Again, it is important to have an opinion on these tutorials. What advice would you give to
someone faced with a clean sheet of paper? Take a deep breath and get to know Photoshop
or another CAD program featured here - what would you do differently in order to put
your signature on your work?
3) Q & A
Because many students come in to Higher Education never having met a design professional,
I felt it would be incredibly valuable to include a Question & Answer section.
Here, students from the featured programmes have pitched some really relevant and
searching questions which have drawn some extremely fascinating answers from the design
professionals featured in ‘Student Work.’ Questions relating to areas such as job satisfaction,
work hours and how one may go about getting industry experience apply to us all, so
don’t just stick to reading the ones from your immediate subject area, allow yourself
the opportunity to read them all. The future is, by its very nature, often uncertain and it
can be very helpful to have to hand the opinions of professionals who were once students
themselves, and who were once very probably interested in learning of the answers to
the very same questions! This is why this book is called ‘Full Circle.’
What will you ask when you get the chance?
No one is ever going to learn everything from a book - real life is far more interesting and
exciting - but I very much hope that ‘Full Circle’ will go some way to inspiring, informing
and motivating those who take the time to read it.
Aysar Ghassan (Editor) 06/09
3
4
SHARED SKILLS

5
MIND MAPS
Because we are designers, we absolutely love to create! And for that, we need ideas and
lots of them too.
Sometimes we feel inspired, full of ideas, opinions and information, but it can be easy to reach
a saturation point when we feel as though there is too much going on inside our heads.
Mind maps are a great way to release all that information and record it. They enable us to
6
take a starting point and plot out all the thoughts that might be related to it - then all the
things that are related to those thoughts! Mind maps let you take a journey through your
thoughts and allow you to build on them and move them around. They really help you
begin to prioritise and can lead to even more idea generation.
Mind maps can take any form, so long as they fit the purpose they are intended for, but
usually are made using pens and ‘sticky notes.’ They can also contain doodles and imagery.
Designers use mind maps because they are quick and easy to make, they don’t interrupt
the flow of thought, they don’t need to make grammatical ‘sense’ and they are very easy
to look back on in order to revisit inspired nuggets that might otherwise have disappeared
into the ether.
They are easy to recall and review and it is often possible to see connections you may
not have otherwise noticed through them. They also show designers and non-designers
alike how you think and work.
You can use mind maps on your own in order to ‘get your ideas out’ or during group
work. Putting everybody’s thoughts together really helps give equal weighting to them all.
7
MOOD BOARDS

A mood board is a type of poster that may consist of images, text and samples of objects
chosen by its creator.

Designers use mood boards to develop their concepts and to clarify and communicate
themes to colleagues in their design studio. Like mind maps, mood boards make for excellent
reference material.

On many occasions mood boards will form an extremely valuable part of a presentation
to clients and will help them to fully understand the origins and direction of the concept.

Creating mood boards using digital media is often quick and easy to do, print and
transport, but the inclusion of physical objects often tends to have a higher impact on
people because of the variety of senses they help to stimulate.

Here are some examples of mood boards created for a recent project. The brief was to
explore the possible application of steel wire within a sport/recreation/fitness context.

Steel wire is a product which has many forms and very many applications. The challenge
was to use it to design a product that will help people improve their health and maintain
a better level of fitness. The aim was to create a lifting strap usable in a gym environment,
the idea being to provide an aid when lifting heavy weights. It was felt that steel wire
could have a positive impact as it would make the product stronger than existing designs
and enable the user to lift heavy weights.

Appropriate images were chosen through analysis of the initial research. The images had
to be visually inspiring and had to also aid in telling the story of the project - they really
helped when it came to creating an overall theme for the concept.

8
Elements and colours from the mood boards were taken and applied to the sketch phase
of the project. This was not just the case for the initial designs - later on in the project
when the design needed developing, new mood boards were created which inspired the
realisation of a refined concept.

The anatomical images of hands in the first mood board (opposite page - top) were used
to great effect when designing the glove. They were particularly useful when it came to
creating the spring system mounted to the top of the glove. In this board there are also
several images of heavy duty weight lifting belts. These have a very traditional look and remain
extremely popular to this day - because of this the final concept had to appear well-made
and very durable.

Many of the images in the second board - the steel wire research board (opposite page -
bottom) - contain elements that aided the design of the concept. In particular, the tension
bridge images inspired the strap for the glove - notice the tense wire embedded within
the neoprene strap.

9
D E S I G N E R ’ S M AT E R I A L S
A pencil is a fundamental tool. ‘Hard’ pencils (H’s) give you
thin, sharp and accurate lines where as ‘soft’ pencils (B’s)
are fantastic for characterful and expressive sketching. ‘B’
pencils tend to smudge a lot more than ‘H’s.
It’s really important to keep coloured pencils sharp. They
can be used to sketch and shade and do not smudge.
10
A Biro is a really great tool. It can be used on its own to
create quick line drawings or to work over the top of
pencil drawings, neatening them up and making them stand
out.
French curves are fantastic for making beautiful lines. If you
have a sketch you want to make neater, simply underlay
it (possibly using layout paper) and match up an existing
curve with one on the French curve.
‘Fine line’ pens produce really smooth immediate lines and
do not smudge, unlike ballpoints! They work very well with
layout paper.
Pastels can be rubbed in to your paper or ground up using
a sharpened blade, mixed with talcum powder and applied
using a lint-free pad. You can use your finger to smudge
them further to create delicate gradients or to mix different
colours together. They also work very well with markers.
An eraser can be used for more than merely rubbing out Correction fluid also has a double life. It can be used to It takes a lot of practice to use markers properly and they
mistakes. Highlights (which can often make a drawing really add fantastic looking highlights which can often make your can be frustrating when you start. You can use the ‘wet
come alive and also help describe a material) can be made drawings really come alive. edge’ of one to help you blend tones together. Be sure to
with one in pencil or pastel drawings. use special marker paper to get the best results.

A mouse is a vital piece of equipment to use with a computer. Graphics tablets can really help to make renderings created When thinking about creating a physical model of a concept,
It’s a great interface between you and 3D CAD packages with CAD packages like Photoshop appear far more emo- it’s always best to do a test model first. You can use paper,
and works well with 2D packages such as Photoshop. A tive. They take a bit of getting used to and can be quite card or perhaps different types of foam. Once you have a
graphics tablet can also be useful for the latter. expensive. good understanding of what you need to do, you can start
. on the final appearance model!
11
P E R S P E C T I V E D R AW I N G
Single point perspective is the simplest form of perspective drawing. All lines moving in a
direction which is set back from the viewer converge on one ‘vanishing point’, typically
behind or just beside the object. All other lines remain perfectly vertical or horizontal.
Single point perspective is ideal for quick visualisations and thumbnail sketches as it is
quick to set up, easy to refer back to and simple to use.
You may want to begin by using two point perspective to create a simple box or ‘stage’
in which your sketch will ‘sit’. This will allow you to begin to figure out where to position
the key construction lines.
12
One of the most effective ways to produce design sketchwork is to use two point
perspective. Instead of the one vanishing point found in single point perspective, there
are now two. All lines moving in a direction which is set back and to the left of the viewer
converge on one vanishing point and ones moving to the right converge on the other.
Both ‘vanishing points’ are situated on an imaginary horizon line.
Don’t give up if you make a mistake - keep on drawing and make alterations until the
sketch works. It is useful to begin sketching lightly until you are sure a line is correct.
You can then start working into the sketch, lightly adding details and strengthening line
weight on key features.
Three point perspective is similar to two point perspective in the use of converging lines,
except that here a third vanishing point is added. This method is useful for composing a
sketch of a very large object. Three point perspective creates a similar effect to a wide-
angle lens on a camera in that it really makes the viewer feel part of the image.
Axonometric perspective is a bird’s-eye plan view with a third dimension. It is drawn at an
angle of 45 degrees so that all vertical lines travel parallel to one another. Vertical lines are
drawn to the correct length and, unlike other forms of perspective drawing, objects do
not appear to decrease in size as they move away from the viewer. The effect is a three
dimensional drawing that shows the sides of objects, but also displays a plan view.
It can be used to create a real appreciation for scale or provide a focal point and a sense
of control and confidence with which to examine a part of an object within a sketch.
Three point perspective is a fantastic way to create drama and atmosphere.
Axonometric perspective can therefore be used to create drawings which contain scale
measurements of both the sides and the top of objects. This form of perspective is used
mainly by interior designers, garden designers and architects as it is a very useful and
advanced form of technical drawing.
13
SHADOWS & SHADING
Shadows result from light being cast on an object and help inform the viewer where the
light source is positioned. Moreover, the strength and position of the light source will
It is useful to remember that complex objects are made up of simple shapes added
together or subtracted from one another. Because simple shapes cast simple shadows,
so it follows that complex forms will cast more complex shadows. So when aiming to
represent a shadow cast by a complex shape, it is a good idea to deconstruct a complex
14
determine the size, shape, intensity and position of the shadow. A shadow is always at its
darkest at its core (the part closest to the object casting the shadow).
form into more simple parts before attempting to plot the shadow it will create. It is
often useful to include shadows as part of a sketch as they will help ‘ground’ an object and
will help you begin to think about how to shade or render it.
A shadow cast from one object can also be used to help describe the form of a neighbouring Shadows drawn beneath an object can be used to give it visual weight and to inform the
one, especially if part of it is not visible to the viewer. As well as this, shadows can help viewer of its position. Without a shadow, an object can appear to be floating unnaturally
inform the viewer of the nature of the environment an object is to be placed in. Thus, in space.
shadows can work in a similar way to contour lines - they help describe shape and form.

Often it is very useful to begin shading by using one imaginary light source as it is relatively Ultimately, this will create really interesting shading effects as shown by the image above.
easy to visualise the shadows which will be cast. As your confidence grows, you may wish The direction of the light sources here are represented by the blue arrows.
to begin to attempt more complicated renderings using multiple light sources.

15
LINE QUALIT Y & TENSION

Apart from printed graphics, there are no ‘lines’ on any three-dimensional form.
It is normal however for designers to use lines in a sketch to communicate where the
boundary of a shape or product is. This line is often a heavy one. Contour lines (normally
thin lines) can be used to help make better sense of the design, especially how and where
surface changes occur. Contour lines can run across the form, or up and down it and
serve to plot what shape the form is taking. Thin lines are also drawn to indicate where
one surface ends and another begins. It is often possible to add a white highlight to
these areas. Because of the addition of contours, it is easy to distinguish between the five
surfaces in the form above.
Contour lines really come in to play when describing more subtle changes in surface and
allow you to begin to think about where to place shading.

16
In the natural world, with all it’s dangers and opportunities, the bodies of animals are
often full of tension. This makes them as efficient as possible and allows them to function
effectively. Tension in the linework gives a sketch ‘life’, helps it stand out and lifts it off the
page. It also helps to show that a design is dynamic, confident, attractive and well thought
out.
Tension also helps to give a design longevity. Above, it is possible to see that with tension
in the lines, the shape to the right looks far more ‘alive’ and vibrant, where as the shape to
the left contains more wobbly lines and looks lifeless and slack.
The sketch below makes good use of plenty of tension in the linework.
17
R E P R E S E N T I N G M AT E R I A L S

The three-dimensional design process often leads to the
creation of physical items. Because of this, choosing and
representing materials is an important part of the process.
Visualising materials successfully helps a designer create a
sense of realism, enhances presentations and helps ‘sell’ the
design by communicating what you are trying to achieve.
It enables you to choose the materials you wish to work
with and really enriches design development.
Don’t worry too much about creating photo realistic
representations. The important thing is to make your
visualisation make sense to peers, tutors and clients. Each
material shows its own type of reflections and highlights
and you can use artistic license to exaggerate effects in order
to make your design seem more dynamic. For example, a
designer may place an emphasis on light to give depth to
the product or scenario and then contrast this with dark
shadow to create a more three dimensional impression.
It is important to think about where the light source is
coming from: observing how materials react to light in real
world scenarios will really help your understanding. Render
with colours that will help sell the product, describe the
form concisely and let the visualisation do the talking.
Less is often more, so a simple rendering with good visual
impact really is the key. Remember, practice makes perfect.
Below are some simple ways to represent some very
common materials. Hopefully they’ll get you going!

There are of course many different types of wood, but you

can easily create a general representation.

Firstly, colour in the background as this will be the lightest

tone of the timber. Once you are sure of the base colour,
you can begin to add the details of the grain in a darker
tone. These help represent the type of timber being used.

Brushed aluminium is a very contemporary material with

many applications.

Block in a light-medium grey colour to ensure an even

tone. Then draw a succession of wispy lines in one direction,
the quicker and lighter the better. This can be done with
a hard pencil or a fine marker tip. You can then introduce
light spots with white chalk pastel. Alternatively, the
(white) paper can be left untouched where the light falls.

18
When representing chrome you are not visualising the
material but the reflections which appear on it. For this
reason it is really important to think about what will be
reflected and how reflections ‘work’.

Compared to a matte or brushed finish on polished metals,

reflections on this material tend to be sharp and linear
and light spots appear vibrant with minimum blur. Unlike
chrome, plastics will have a ‘base’ colour and the reflections
will be less crisp.

A huge array of fabrics are available to any designer. They

can be made from many different materials and many
contain all kinds of patterns and textures.

For a simple, believable fabric, block in a light-medium

colour. It does not need to be an even tone. Then quickly
draw a succession of wispy lines in a cross-hatch direction,
varying the pressure through the strokes. Light spots can
then be added with blended light-coloured chalks.

Sometimes, glass has a ‘base’ colour, but other than that, it

is similar to chrome in that it is the reflections that make
up the surface and these tend to be fairly crisp. Being
transparent, it is easier to represent glass if the objects
behind it are part of the rendering.

It is often easier to begin to visualise glass by applying a

light, even wash of subtle green or blue. Then add a little
darker shading in controlled areas together with shadow
colour. Light spots tends to be vibrant with minimum blur.

19
DESIGNER’S GAs
‘GA’ stands for ‘General Arrangement’.
GAs are not drawn using three-dimensional views, but
instead make use of orthographic views which are a
standard way of displaying an object from several profile
views in order to describe its form. These views normally
include front, side, top and bottom along with any others
that help describe the product. The views should all be
drawn in the same scale and an overall scale should be
provided to help the viewer understand the size and
dimensions of the design.
GAs are a representation of the design and can be used in
the making of either tools for manufacture or models for
appearance or testing.
Below is an example of how a carefully drawn GA can be
used to help you make a really great sketch model.
Carefully preparing a GA will save you time and make the
model-making process far more efficient and much less
like guess work!

An example of a GA can be seen opposite.

20
These types of drawings are only intended to illustrate
general product architecture, hence the name ‘General
Arrangement.’
As such, a GA is a brief description of the overall design
and references more detailed drawings and descriptions of
specific parts or components. They show how these parts
and components are assembled to form the overall design.
Only several dimensions are included on the GA as more
detailed dimensions are used on Component Drawings -
these contain information about the component’s material
and finish, along with desired tolerances for manufacture.
It is possible to create a GA with traditional drawing
materials but nowadays it is more usual to use specialised
computer aided design (CAD) programmes. Applications
such as Graphite allow you to easily set scales, dimensions,
angles and radii.
These can be imported into 3D CAD programmes such
as SolidWorks, Rhinoceros or AliasStudio and can be used
as the basis for building impressive virtual models. Because
measurements can change through choice or necessity
during the 3D CAD process, it is possible to create a
more definitive GA drawing from the completed 3D CAD
model.
As well as being used to create fantastic visualisations,
virtual models can in turn be rapid-prototyped in to
amazingly accurate physical form.
The end result still requires ‘finishing’ such as sanding to
form a smooth surface, then priming.
After this it is possible to spray it with your desired paint,
then you can stand back and admire a professional looking
appearance model.
21
22
STUDENT WORK

23
24
DESIGN FOR INDUSTRY

25
MARK BAILE Y - Tutor
Personal Information:
‘Design For Industry’ has a rich heritage and offers a breadth of opportunity across the
industrial design spectrum. This ensures our graduates are equipped to embark on careers
that are as diverse as they are rewarding; from product designer to design-theorist, service
designer to design educator, interaction designer to sports garment designer…The key to
this is our approach: we teach students a way of seeing situations and of thinking creatively
about them. Designers need to be resourceful.
Experimentation is vital! The best method for this is undoubtedly sketching - using
paper and pen but also modelling clay and foam, cardboard and string, role-play and film:
whatever it takes to explore, understand and communicate the idea. I believe that a strong
emphasis on drawing should be at the heart of design education for any design discipline.
I work as final year tutor and I also lead a Masters programme in Multidisciplinary Design
Innovation. I started my career in the aerospace industry where the very first drawings I
26
did were of a conceptual double-decker airliner that 19 years later took to the skies as
the Airbus A380. I then moved on to creating bespoke interiors for private jets. I have also
managed the design department of a consultancy called Ogle Design where I was involved
in everything from prams to hovercraft, audio systems for Rolls-Royce and pregnancy test
kits. We created an airliner concept called Aircruiser 2000 which showed what could be
achieved by working from the inside out - it started with passenger experience, an approach
that has now been widely adopted.
Good design has to delight and deliver its function beyond expectation. It must be relevant
to the way we live and make commercial sense. Some examples of stuff I like: the 8”
Sabatier Chef’s knife – aesthetically perfectly balanced and functionally perfectly balanced
too; the first generation iPod shuffle – data and music with a simple interface and no
USB lead; the feature that allows me to see a picture of who is calling my mobile phone -
makes me smile every time. I could go on...
STEVEN KYFFIN - Graduate
Personal Information:
I live in Eindhoven, The Netherlands with my wife Lynne and my two children. I’m the
Senior Director for Philips’ Design Research & Innovation programme. Within that role, I
am also Creative Director for The Idea Engine. Engine is Philips Design’s key instrument for
driving Philips and its business incubator’s future growth and building intellectual property
territories for future product service solutions spanning the full breadth of the Philips
portfolio.
In the past, I’ve been creative and program director of our long-term multidisciplinary
strategic research projects where the integration of design, social sciences and computing
technologies, in developing future ‘application solutions’ within the business development
strategy, was the pivotal challenge.
Before joining Philips in 1998, I headed the Industrial Design department at the Royal College
of Art, and during the early part of my career I worked on a wide range of assignments for
several London based design consultancies. In 1998 I started my own design company.
My design research covers three big areas:- Being Human: about being creative in a
cohesive community and living in a state of continuous transformation. Design for integrated
Strategic Innovation: bringing design and its particular creative means to the board room
of innovation. Designing Media: the physical, digital, behavioural and aesthetic qualities of
the new dynamic intelligent content carrying objects…‘Open Tools’ in a continual state
of becoming. I’m also a member of the Philips Design Global Leadership Team and hold a
number of professorships in leading design universities, including Northumbria University.
My challenges include: identifying new strategies for brand design and design led innovation,
as well as the more ‘traditional’ design practice disciplines such as product design, user
interaction, interface design & graphic communication design.
27
L O U I S E O AT L E Y - G r a d u a t e
Personal Information:
I became passionate about design at secondary school as it involves creating something
new and different and at the age of 16 I won an Arkwright Scholarship. Arkwright has a
proven track record in encouraging 15/16-year-old students to take up design, engineering or
technological careers by awarding National Scholarships during ‘A’ Levels that are funded
by industry partners and charitable trusts. I knew that industrial design was the challenge
for me and secured one of the sought after places on the Design For Industry programme
at Northumbria University!
My design and cultural experiences are varied, having worked for a number of industry
sectors including: healthcare, consumer goods, FMCG and interior architectural lighting. In
addition, a year out travelling the world provided a rich contextual framework.
As Design Manager for Mamas and Papas, I manage a team of seven talented designers.
We get excited about delivering inspirational products that look great, are simple to use
28
and grow the brand globally. We design highchairs, cradles, rockers, pushchairs and travel
systems (to name a few products) and strive for a common design language that sets us
apart.
In a commercial environment the aim is to deliver market leading/on brand products at
the right time and price into the global market in the shortest development time. My role
involves facilitating and encouraging the formation and promotion of: an agreed direction,
continual inspiration, a correct approach, continual evaluation, teamwork and active
communication.
The product I am most proud of is the Intellisteam, which I helped to design whilst at
Morphy Richards. This innovative product allows you to program and steam different
foods in three individual containers and ultimately delivers a complete meal ready at the
same time. I was involved in it from start to finish and helped to overcome many challenges.
M AT T B U R T O N W O O D - G r a d u a t e
Personal Information:
I graduated from the Design For Industry programme at Northumbria Univesity in 2001.
Whilst there, I was fortunate enough to complete a 2nd year placement at Philips in
Eindhoven - it was lots of fun and really good to experience working in a big corporate
environment. In the 3rd year I was accepted on an internship at Astro Studios in California.
This was a very different experience as it is a smaller company which works on cool lifestyle
products and brands. It was great to work with companies like Nike, Compaq and Motorola,
I had a great time and met some fantastic people.
In the final year, I won the Royal Society of Arts Bursary Award which was sponsored by
Sony and got to go to the their design studio in Japan. I met the man who designed the
Playstation and had a great time, it was an awesome place, my first time in Asia.
After graduation, I went back to Astro Studios, this time to work as a fully fledged
contracted designer. I really enjoyed living in San Francisco, worked with great people and
learnt a great deal. After a year, I moved back to the UK and set up Open 2 Design, the
design consultancy I still run.
I really didn’t want to move to London, so I set up a business in my home town of
Huddersfield. The aim was to set up a company to make the mountain come to me, so to
speak. I called on some people I had worked with in the past, built up a client list and am
still doing this today.
My motivations are still the same: having fun and making cool products, meeting new
people and learning new things. We now work with some great clients such as Disney,
Yale, Coca-Cola, Electrolux and Flymo to name a few. I hope to keep it that way!
For me, people to check out include Carl Liu - I worked with him at Astro Studios. He’s
got a website: www.carlliu.com. Buy his book, it’s great for students.
29
JOHN READ - Student
Personal Information:
At school I always assumed I would become a biologist or biochemist. However, during
my A-Levels I soon discovered that I disliked my choice of subjects, namely chemistry,
economics and maths! My economics tutor picked up on my disillusionment and asked
me what I wanted to do instead. Art was my real passion but I could see no future in it,
but he convinced me otherwise and to my parents’ dismay I decided to go to art college
in York. Later on, my tutor there encouraged me to apply to Northumbria University.
Everybody develops a different style depending on what they are comfortable with and which
styles they wish to emulate. The medium used also influences how a style develops. Every
brand of pen, pencil or marker produces a different look. Some are dynamic, some clinical.
For me, dynamic pens include Biros, ballpoints and ink refill pens. Clinical pens are fine-liners
and fibre-tips. The difference is in the line quality they allow you to produce - I prefer the
more clinical pens.
30
In my first year I thought I needed more than I did and bought thirty pens and later
another ten as the first thirty I had little use for. Eventually I just stuck to the following:
a 0.05 Staedler, a 0.5 ZIG and a Copic W3 (warm grey 3 marker) - about half my work is
with just these three pens. I also like to use a Tria CG07 (Cool Grey 07 marker) and a
Tria Pantone 801-T (Electric Blue) or a Pantone 485-T (Bright Red).
For me, the best way to start any project is to pretend existing products associated with
that brief have never been made. Products evolve over time and fashion and technologies
influence changes in them and people become accustomed to how a product ‘should’
look. I tend to find that these assumptions can stifle creativity.
If I could give one piece of advice it would be to concentrate on quality over quantity.
Project:
‘Urban Trek’ aims to revitalize the travel pack market through technical, functional and
aesthetic improvement. Through travelling in Portugal, I noticed that most backpackers
carried two packs, a daypack and a large pack - one worn on the front and one on the
back.
I researched existing travel packs (that come as a small and large pack together) and
found they were relatively ugly, slightly dangerous and very basic, yet they cost nearly
twice as much as a large pack alone.
After assessing the potential for improvement I began to sketch ideas to overcome the
obvious problems. I then asked volunteers to transport weights up and down a flight of
stairs using different carrying methods, then asked them to list the pros and cons of each
method. This was followed by several smaller tests to refine limitations for my packs.
Through this I was able to make the following conclusions:- The front pack must minimise
visual and physical obstruction on the front of the body. The weight of the front pack
must rest on the hips and not hang from the shoulders. The packs should connect and
disconnect as easily and quickly as possible. These connections must be secure, restraining
the small pack’s movement, bounce and swing. The packs should look more appealing
than existing packs. The front pack’s contents must be easily accessible when worn on the
front of the body. The front pack must be armoured and padded.
I was lucky enough to work with two legendary backpack companies, Lowe Alpine and
Karrimor. Throughout the whole project they provided feedback, materials, buckles, packs
and information. Embroidery alone cost £300, additional material another £300…At least
I didn’t have to buy a sewing machine, having friends in fashion always helps!
31
32
Feedback from Mark Bailey
This project responds well to its brief because as well as exploring in 2D,
John worked a lot in 3D. Through making prototypes he was able to
develop and refine an appropriate outcome. The initial exploration was
really valuable and John went through an iterative process, moving back
and forth between sketching and 3D development. The drawings were
useful for communicating to others (tutors, peers and collaborators) and
for gaining reflection and advice, where as the 3D mock-ups allowed him
to really understand many inherent problems. Also the focus on detailing
is clear, precise, and never overcomplicated.

Feedback from Steven Kyffin

The presentation looks professional and the technical skills are lovely, the
drawings are perfectly executed and there is good exploration of formal
ideas and the detailing is perfectly fine.
I feel though that you must claim your idea - be upfront and more
confident. Show no inhibition and tell us more about the contextual side.
If the back pack offers physical independence to the user then say so. If
it, for example, takes climbing freedom to a new level then claim the idea.
Explain the big contextual, physical, cognitive & emotional issues which
this idea brings to us.

Feedback from Louise Oatley

John has a nice tight technical style of sketching and the use of different
line weights particularly around the outer edge adds clarity. This is an
interesting project and through a user centered design approach, John
has been able to test and evaluate his ideas and theories and arrive at a
solution. Interestingly, in the baby carrier market there has been a shift
to distributing the weight through the hips as opposed to the shoulders.
John has been fortunate to work with Lowe Alpine and Karrimor - this
commercial experience and knowledge of materials has significantly
enriched his solution.

Feedback from Matt Burtonwood

I like the sketches - good use of thin and thick lines provides some depth
and gives the presentation visual interest. I’d really like to see some quick
2D Photoshop exploration of different colourways; the key front view is
a good base for some nice colour and graphic exploration. Projects that
involve textiles can go one of two ways: if they go well, they can look
really good - and this one does. From a prototyping point of view things
always look better when you work in the actual material. Textile projects
allow you to do that. Nice work John.
33
JOHN READ - Tutor ial
This is a step-by-step tutorial on how to achieve a
Photoshop simulation. Just before a review meeting with
Karrimor, I decided I needed a convincing visual to help
them imagine the product I was designing.

My flatmate and I went on a tour of Newcastle taking

photos. I chose to use one of the Central Station shots
(Fig.1), as his expression was convincingly bored (as you
would be in a station).

Added to this, the perspective was interesting and I could

doctor the image easily. It is better to make the design a
Fig .1 Fig .2

small part of the overall photo as the flaws are less obvious
and the image seems more natural. You want it to look as
if it was the most normal item in the world, as if everybody
already owned one. Hence I believe it helps if the human
models look bored or pre-occupied.

1) The aim here is to present the design of the small pack. A

prop has been used to get an accurate scale and a sense of
lighting conditions and shadow - the prop is a similar sized
ruck sack placed beside my flatmate’s left leg (Fig.1).

2) Use the Colour Sampler Tool to pick the correct

colours from the larger pack’s materials (Fig. 2). The ruck
sack is, after all, meant to be sold with the larger pack.

3) Create a simple visualisation of your design using those

colours (Fig.3).

Fig .3

34
 4) Add details to your rendering (Fig.4). Make them as
similar in style and colour to the large pack as possible.

5) To make the image appear more realistic and convincing,

add shadowing to the rendering (Fig.5) using a combination
of ‘Gradients’ and ‘Burns’. These must be added in accordance
with those in the original photo. Highlight only if appropriate
as it can create a shiny appearance.

Fig .4 Fig .5

6) Add a little ‘Noise’ to the image (between 3 - 6% not

mono, Gaussian). This creates a more convincing texture.
Then drag the image into the photo, placing it over the
prop (Fig.6). Scale the Photoshop image correctly, blur
hard edges slightly for a more realistic effect and remove
any parts of the prop that remain. Now add shadows
from items in close proximity (if needed) to further
enhance a sense of realism.

NB: This simulation is meant to look convincing not

photo-realistic. It is a quick method but no substitute for
using good physical models in simulations.

Fig .6

35
KYLE LOUGHLIN - Student
Personal Information:
I’m from Northern Ireland - about half an hour from Belfast and I’m in my third year at
Northumbria University. I like to find new ways of doing things, whether it’s how you
commute to work, how you boil water or listen to the radio. There will always be a different,
more enjoyable or more immersive way to do it.
Everybody is on their own journey which results in different perspectives, ideas or ways
of presenting work. In my eyes, nothing is wrong, but some work just isn’t as good as
other work. I think mine is somewhere in the middle.
My aim is to make my designs as effective as possible. Some designers want to evoke an
emotional experience, but this doesn’t really excite me. At school I never really enjoyed
art, but always looked forward to my technology lessons as although the creative process
was similar, the end results could be applied to everyday life. Being taught by engineers
has led to my designs being functional and experimental but never truly conceptual. This
36
has also affected the way I present design work. I see sketching as a means to an end and
I feel that you don’t need to be the world’s best sketcher to come up with or present a
good product.
I enjoy using CAD software like Photoshop, Illustrator or SolidWorks to show a concise
and accurate depiction of my ideas. I have learnt, however, that some clients will see a
finished graphic and assume that this is unchangeable, even if it is a concept. Sketch work
can be deliberately vague to allow for improvement or interpretation and is suited more
to concept ideas.
Last summer, I was fortunate enough to be able to take a placement with Inov8, one of
the UK’s leading extreme sports brands. They produce equipment for fell runners, mountain
marathons and Parkour practitioners.
Project:
This project is all about inclusive design and was run in collaboration with British Telecom.
Working in teams of three, we were asked to design a range of three radios that, design
wise, looked in sync and worked no matter what abilities or disabilities the end user may
have. This involved taking into consideration all the possible physical attributes or
technological abilities that people of all ages have. BT provided us with personas which we
used to test our ideas on during the design process. Our radios were meant, as a range,
to fully cover the market in terms of the needs or wants of any end user.
This particular concept is designed to be a rugged outdoor ‘working’ radio. It is for use
around the house in places a normal radio couldn’t survive or outside in the garden. It
features a washable waterproof design with a rounded bottom so resting it in awkward
places won’t be a problem. As part of our development we started with sketches then
moved on to create foam models, which were meant to simulate the estimated size and
weight of the final product. On top of these models we drew different placements of
buttons to test how easy the radio would be to control with just one hand or if a person
had restricted abilities.
Working in a group is always good banter - but there were times when we disagreed
about things. Luckily with this project, we worked individually on each of the concepts
and came together along the way to ensure they all looked part of the same range and to
discuss usability.
This project received good feedback from tutors and the contacts within BT.
37
38
Feedback from Mark Bailey
What’s nice about Kyle’s work is that you can see the development of an
idea. In this type of drawing you can see there is real thinking in the act
of drawing. He is not using drawing merely to tell a story, but actually to
create the story. I think that when Kyle puts pen to paper he has a rough
idea of what is going on, but really it’s not developed until it is drawn.
Therefore it is a simultaneous act of creation and representation. It’s
really nice to be able to see the evolution of the form. The challenging
part here is to create Photoshop renderings which contain the same
energy as the exploratory sketches...
Feedback from Steven Kyffin
The drawings are lovely and Kyle has shown he can handle the computer
software to good effect. The layout is nice but I think he needs to tell the
story of how and why he came up with this solution. I believe the viewer
should know more about how the personas which are given at the
beginning of the project fit together with the theme and nature of the
design to inspire this particular idea. It would also be intriguing to know
what was not chosen to be taken further…all discarded ideas can have
an afterlife. The choices we make as designers are just as important as
the ideas themselves.
Feedback from Louise Oatley
BT have set a clear brief and parameters. Clear objectives will always help
you to keep focused. Kyle has a very dynamic style of sketching which
allows him to quickly explore ideas. There are some nice ideas in his
sketch work for easy ways to operate the radio for people with poor
dexterity - some are a preferred solution to the six small operational
buttons, which may be difficult to use. This radio, although great from
a visibility point, is perhaps more suited to the Black & Decker brand
language. Remember to analyze brand values and direction and feed this
in to your work early on.
Feedback from Matt Burtonwood
I like your sketching Kyle. Working in groups at university is challenging,
but it allows you to see how you work in a team. I’d like to see a scale or
contextual image of the product in order to gauge its size. 2D ‘actual size’
Photoshop work is a good, quick way to explore colourways - maybe
include application of textures on key areas. Docking stations and
charging devices are often overlooked and from a design perspective they
are a great opportunity to add value. Here there seems to be a big step
between it and the radio - maybe look at refining this detail.
39
KYLE LOUGHLIN - Tutor ial
This tutorial describes how to quickly represent the main
body of the radio using Adobe Photoshop.

1) Go to ‘File > New’. Select the Elliptical Marquee Tool.

Go to ‘View > Snap To’ and tick ‘Guides’. This means that
any guides we draw will automatically be snapped to when
drawing shapes. This ensures all our items are aligned.

Go to ‘View > New Guide’. Make two horizontal guides:

at 3cm and 10cm. Also make guides on the vertical axis at
1.5cm and at 7cm. Now draw an elliptical marquee from
Fig .1 the top left corner of the guides to the bottom right corner. Fig .2

Make a new layer (Layer 1), choose the Paint Bucket Tool
and fill with black - this forms the basis of the radio (Fig.1).

2) ‘Right click’ on your new layer, choose ‘Blending Options’,

tick the ‘Colour Overlay’ box and ‘OK’. The ellipse you
have drawn will take on the selected colour in the Blending
Options. Double-click the default colour and type in
‘#ff7800’ to change to the desired colour (Fig.2).

3) Go to ‘View > Clear Guides’ to get rid of our drawn

guides. Now create four new guides: two horizontal at
5cm and 8cm & two vertical at 1.5cm and 7cm (Fig.3).
Create a new elliptical marquee within the new guides.
Guides ensure this marquee will be centrally placed.

Now nudge this ellipse upward to the desired position

and distort it as much as you feel is necessary using
‘Select > Transform Selection.’ It will form the basis of a
grey panel on the radio. Make a new layer (Layer 2) and fill
this selection with grey.

You will notice that some grey shading will stick out of the
Fig .3 radio body. Hold down the Control key and click on the

40
 ‘Layer 1 Thumbnail.’ This brings up a dotted line around
what is drawn on this layer. Now choose ‘Select > Inverse’
and press the Backspace key to delete unwanted material
on layer 2. You should end up with something resembling
the image pictured in Fig.3.

4) Adding shading to the rendering:-

While holding the Control key, click on the ‘Layer 1 Thumbnail’.
Create a new layer (Layer 3), bring up the Paint Bucket Tool
and fill with black. The whole of your radio body will now
once again be black.

Fig .4 Choose ‘Select > Modify > Feather’. Type in ‘60px’ and ‘OK’. Fig .5

Then ‘Select > Modify > Contract’. Type in ‘30px’ and ‘OK’.

This has now made a shape 30 pixels smaller than the

original ellipse (the perimeter of the radio body), with a
faded edge of 60 pixels. Use Backspace to get rid of the
selected shading on Layer 3 - this gives a nice soft edge to
the remaining shading (Fig.4). Deselect the selection.

5) Adding highlights to the rendering:-

Create a new layer. Once again ‘Control + Click’ in the
‘Layer 1 Thumbnail’.
Choose ‘Select > Modify > Contract by 60px’.
Then ‘Select > Modify > Feather by 30px’.

Fill this shape with white (Fig.5). Deselect the selection.

6) Choose the Eraser Tool. Set the brush size to 360, hardness
to 0% and reduce the opacity. Erase parts of the highlight
until it looks as though it is being created by a light source
which is coming from the top-left area.

Create a ground shadow in a new layer. Some more work

Fig .6 with similar techniques makes for a convincing visual (Fig.6).

41
P R A J AY PA R M A R - S t u d e n t

Personal Information:
I was born in Leeds, England, and I am currently in my second year at Northumbria
University. I am studying for a BA (Hons) in Design For Industry. Before I came to university
I completed a Foundation course in Art & Design in Leeds, this was a great learning
experience.
Throughout my time at university I have learnt a lot about many areas of design - from
concept generation to final presentation, design history to contemporary theory. I am
always trying to improve upon my skills. I find trial and error to be the best method of
progressing through a project and strongly believe in exploring each idea as much as I
possibly can. Exploration is definitely what I enjoy most about design. I begin with
sketching and model making and move on to test and refine each element in order to see
which outcomes are the most valuable and exciting.
Normann of Copenhagen. Using simple materials and repetitive forms, they manage to
create interesting, beautiful and crisp designs. I am also influenced by the designers Ross
Lovegrove and Karim Rashid and by Tokyo Plastics - a multi media company. I aspire to
design good products that are both functional and highly considered, for both the user
and the environment.
My approach to this project was to try and focus on the details of my concept. It gave me
an opportunity to look in depth at everything from the placement of split lines down to
the intended manufacturing methods I would use to in order to realise my design’s full
potential and create a convincing product.

An area of design that I particularly admire is lighting design, especially the work of

42
ANTON WEBB - Student
Personal Information:
I am a highly self-motivated, ambitious person with the desire to express my creative
ambitions within the area of product design. I aspire to one day have my own consultancy.
I am particularly influenced by forms found in nature and enjoy incorporating organic
shapes and detailing into simplified, considered forms pertaining to everyday products.
From sketch work to modelling I am constantly making adjustments to my creative vision
and I find that most of the subtle adjustments occur in the soft modelling stage. I was
lucky to have grown up around the London area and took the opportunity to visit
galleries and exhibitions whenever possible. My move to Northumbria University has
proved to be very beneficial to my learning curve.
This project was particularly interesting as it allowed me to describe an object’s functions
and how it is to be perceived through product detailing. I have tried to keep the form
quite sculptural from the outside and it is not apparent what the product does until you
open it up and discover what is inside.
Project:
This project was intended to enable us to develop our individual appreciation of form,
product language and semiotics. The brief specified that we did not have to take into
account the many practical constraints that govern much of the day-to-day work of
practicing designers.
The project involved designing a non-literal product, one that has no overt function, but
which consciously aims to manipulate how an electronic personal, domestic or business
product is to be perceived.
The aim was to experiment with forms, surface finish, colour, weight, texture and detail
- for example, part lines and mechanical assembly. This was not a team project, we have
chosen to include our work in together in order to compare and contrast our individual
styles and ways of working.
43
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Feedback from Mark Bailey
Anton shows more development of the concept and is more focused
on refining specific details within the forms. Prajay has presented a real
breadth of ideas, the key ones being picked out with a little more colour
and detail. Both have used human interaction to give their appearance
models scale - determining scale is an important part of the design process,
as is representing how a concept is meant to be portrayed, or how it
works. Photographs should highlight the best points of a concept and not
point out discrepancies in the model. Lighting must be well positioned
and, if possible, a studio used.
Feedback from Steven Kyffin
The level of drawing and model making is good and the forms are inter-
esting. I think that you could now think about taking your ideas to the
next level and use them as a research tool - give them to people and ask
them to interact with them. How may they interpret their functions and
what may these objects be used for? From these findings you’ll be able
to tell how people’s instincts inform them about why, and how, things
are the way they are. You’ll be able to use this knowledge to design with
more confidence in the future.
Feedback from Louise Oatley
Prajay creates interest through his detailing and mix of materials and the
use of small bright accents of colour to highlight functions has been a key
trend recently in consumer product design. Prajay’s sketch work makes
more of the split line feature and internal functions through the use of
colour. Don’t over-detail, this can lead to fussy, difficult to interpret objects
- it’s not instantly obvious how the product comes apart. Anton’s intriguing
object instantly encourages the user to engage with it. The simple organic
form looks easy to use and the clever detailing of the touch points and
functional elements in colour compels the user to open it. Using colour
on the inside is ‘on trend’ and adds an element of surprise for the user. The
form and size denotes that it is to be held in the palm with the screen visible.
Feedback from Matt Burtonwood
This was one of my favourite university projects. It’s your first opportunity to
detail a product and a chance to translate a sketch in to 3D form. I found
it to be a good opportunity to learn how to model product features.
These projects illustrate good examples of part lines - good consistent
lines with subtle fillets on the edges. We always felt that a good model
maker at uni would make a good designer because they have the right
attention to detail - it’s something you can’t teach. These are tight models,
make sure your sketching shows that same level of consideration.
45
P R A J AY PA R M A R & A N T O N W E B B - T u t o r i a l
In this tutorial I (Anton) am going to concentrate on
improving the two areas circled in red (Fig.1) and to re-touch
the image. My aim is to make the image look better by
removing imperfections. I will be using Adobe Photoshop
to do this.

I always begin my Photoshop projects by duplicating the

base layer. I find this useful as I can always revert back to
the original in case something goes wrong! In this case I
will be deleting the background so duplication is a very
important step.

Fig .1 Fig .2

As you can see from looking at Fig. 2, the ‘fit’ of the two
parts of the appearance model is not as good as it could
have been. This is particularly noticable at the top - from
the angle at which this photograph has been taken, the
top section should appear elliptical. Right now is seems
disjointed.

1) My first step then is to create an ellipse. This can be

done by using the Elliptical Marquee Tool.

2) Next we must transform the ellipse so that it fits in

with the desired shape of the top section of the model
(Fig.3).

Fig .3

46
 3) You may need to move the anchor point of the ellipse as
this may make it easier to manipulate. If necessary you can
also ‘right click’ using the mouse and choose ‘Distort’ or
‘Warp’ to create the desired shape (Fig.4).

4) Once this is done, go to ‘Select > Inverse’ - this inverses

the elliptical selection. Now you can delete the background.
Then use the same command to inverse the selection
once again. You can now use the Clone Tool to fill in the
missing top section areas using the ellipse as a guide. This
will makes the fit of the appearance model seem far more
professional.
Fig .4 Fig .5

5) Above, (Fig.5) I have removed a red stain on the table

Before After
by using the Clone Tool once again. By holding down
the ‘Alt’ key, you can select the area you wish to begin
to clone - in this case a clean part of the table. An icon
resembling crosshairs will appear on the screen once this
is done. It has a fixed relationship to the clone brush and
will inform you of the areas you will be cloning as you
continue.

6) Finally, any last tweaks to the overall colour can be

achieved by firstly going to ‘Image > Adjustments > Auto
Colour’ then ‘Auto Contrast’.

If the effect is not what you were looking for you can go
back a stage and adjust the colour and contrast manually
by choosing ‘Image > Adjustment’ then ‘Colour Balance’
followed by ‘Image > Adjustment > Brightness And Contrast’
and you should end up with a realistic coloured model.

These tweaks are subtle at a glance, but as you can see

from Fig.6 they do make a big difference. They make your
presentation look far more professional.
Fig .6

47
48
T R A N S P O R TAT I O N
DESIGN

49
M AT T E O C O N T I - Tu t o r
Personal Information:
The Transportation Design BA (Hons) programme is extremely diverse and free. Students
participate in all manner of design projects: marine, public and mass transportation, products
relating to transportation and also vehicle design. I am the Yr 3 tutor and manage our
successful Industrial Placement scheme. I also contribute to areas such as design theory &
development, engineering, graphic presentation, portfolio preparation and model making
development.
I began my career in mechanical engineering and worked as a robot programmer/engineer
in the manufacturing and painting department at Fiat. I then progressed to studying
Transportation Design and gained a first class honours degree. After working at Alfa
Romeo, I returned to lecture at Northumbria University.
Because of my love for marine design, I decided to join The Navy during my Italian
national service year. My Grandfather was a famous mechanical engineer, this has certainly
50
inspired me too! I was lucky enough to grow up surrounded by antique furniture, art in
churches, fountains and beautiful architecture and am influenced by them also. I love
Pininfarina and Bertone vehicle designs such as the Ferrari Enzo and the Lancia Stratos.
As for aquatic design, the Riva Aquariva tops my list because it combines the very finest
craftsmanship and traditional marine design with a modern twist. It is extremely elegant
and has a special aura and identity much like the very best supercars.
Creating a narrative is a great way to describe your thought process and finding unique
selling points really helps make any design special. I like to see students showing a complete
package of work from initial research to resolved ideas. Dedication, focus and even self
esteem are paramount in the creation of successful junior designers upon graduation -
the move from being a ‘typical’ student to a professional is a tough one.
DAN KAFKA - Graduate
Personal Information:
I grew up sketching cars and bikes before I even knew what they were! My grandmother,
although not artistically skilled, believed that ‘everything could be designed better’. This
enthusiasm and the family’s active love affair with motorsport led to two of her four children
pursuing Product Design at Newcastle Polytechnic (now Northumbria University). My
Dad went on to become an Automotive Design Consultant - design awareness was
imprinted on me from the beginning.
Northumbria University is where I learnt the core skills that equipped me for the next
level. I had always aspired to go on to the M.A. course at the Royal College of Art. Some
of the most highly regarded designers I can think of (including my dad) studied there.
I feel that much of your learning comes through the people you share your experiences
with. If a year group is strong and improves significantly during the course, they will be
supportive of one other. Being assertive, motivated and self disciplined is essential, but it is
of equal importance to be ready to take influence or advice from those around you. It is
the same in a professional studio. That said, once you’ve developed your basic skills there
is no substitute for gaining professional experience - that’s one thing you can’t be taught!
Gaining my first professional internship was a massive leap as it opened my eyes to the
level required to sustain you in the hyper-competitive environment of a design studio.
I work in the ‘European Tech Centre’ for Tata Group, a company based in India. Currently
I am working on a huge range of vehicles from passenger to commercial, for established
and emerging markets. My duties are very varied, from restyling to new package proposals
and designing from the ground up. I am contributing to a new and recognisable brand identity.
A good starting point in creating fantastic visualisations is defining the purpose - who or
what you are designing for? To me, design is best judged relative to intention. If you can
express your intention, a viewer can judge it relative to a context.
51
SAM JILBERT - Graduate
Personal Information:
Like most guys I’ve been well into cars and motorbikes (and pretty much anything with an
engine) for as long as I can remember. At school I was pretty good at design from a young
age, so when it came to A-Levels and eventually university, Transportation Design seemed
like the best option for me.
I graduated from the Northumbria University course in 2005 and decided that the best
route to employment was industry-based training as opposed to further academic study.
In 2005 I secured an internship at JCB in Staffordshire. My training was in the industrial
design department, working as a trainee under 4 established AliasStudio designers
(AliasStudio is an industry standard 3D CAD package). In 2006 I started work as a junior
AliasStudio designer with the company.
In late 2007 I decided that a move into the automotive sector was the best route to
consolidating the skills I had acquired as an AliasStudio designer.
52
So, in February 2008 I started work at Drive in Ripley, Surrey. I currently work as a digital
modelling consultant for the company, working for a variety of clients, predominantly (but
not exclusively) in the automotive field.
Having a good idea helps in the creation of successful visualisations, but you also NEED to
develop a good design. If the digital model looks terrible, so will the finished product. A
good idea can be totally over-powered by the negative perception that weak visual design
gives a client.
My favourite designs include the MK1 VW Golf, the MV Agusta and Ducati 916.
Although I work on a variety of projects intended for production, I still feel that the
Honda Cub concept project I completed in 2005 (my final major project at university) is
one of my most memorable pieces of work.
TIM MOORE - Graduate
Personal Information:
At a very early age I found myself sketching out pretty much anything and everything. I
progressed to sketching cars, starting initially with ‘copycat’ sketches and later experimenting
with designs of my own. My interest stemmed purely from being intrigued by form rather
than by performance and this is something that hasn’t changed. For me, some of the most
exciting forms and innovations are born within the transport industry and I wanted to be
a part of this scene.
In 2005 I was given the opportunity to work within Pininfarina as an intern student. I followed
this with an additional internship within Pininfarina Extra where the focus was on product
design. Contacts made through these internships allowed for a collaborative final year
project with Sealine (a company who design and manufacture yachts up to 60ft in length).
After graduating from Northumbria University in 2007 I was employed by Sealine as an
Industrial Designer and currently have a free role within the Sealine design team and
work on numerous projects ranging from overall exterior/interior concepts to finer CAD
detailing of individual components and mouldings.
I believe that it is fundamental to have a thorough understanding of brand identity and
who the end consumer is. A project/product will stand a better chance of being a success
if it is aligned with these factors. Although emotive visuals hold great value, they are not
always the best way of communicating an idea or design. The best advice I was ever given
regarding design visuals is to “indicate, not illustrate.”
My favourite piece of design is currently the Saab Aero-X concept. My best piece of design
to date is probably the concept yacht developed in collaboration with Sealine throughout
my final year at Northumbria University.
53
DAV I D F E A R N L E Y - S t u d e n t
Personal Information:
Throughout school I was unsure as to which area of design I wanted to specialise in and
after my A-Levels I undertook a Foundation Diploma in Art & Design. I would strongly
recommend this to anyone who is in a similar position, as the course allowed me to try
my hand at 8 different aspects of art and design. I decided to specialise in 3D design and
became very interested in the Transportation Design course at Northumbria University.
I tend to draw influence from things around me and always seem to find direction and
stimulus in the most unlikely of places. Design, I feel, is about pulling aspects of related
ideas together and communicating them logically whilst adding a fresh twist.
I always start sketching out new ideas in black Biro and pencil as it is the quickest way
to explore, communicate design and convey passion. However, once the design begins
to come together I like to explore the shape and form within 3D CAD as this helps to
‘prove’ the design. CAD also helps in locating areas that I may have overlooked in my
54
sketch work. I believe that CAD and sketching go hand in hand in developing the final
concept.
My vision of design has been greatly influenced by my placement at JCB Excavators as it
changed my outlook from being a stylist to being a designer. Now I appreciate that designs
not only have to look amazing, they also have to function with and around an engineering
package. Because of this, CAD has become an integral part of my design process.
I am happy with the skill-set I have developed at Northumbria University. I have always
enjoyed using Photoshop but have only recently begun to develop my own style of digital
rendering. I feel that my sketch work could be improved as it is a little static and I would
prefer it to convey more passion. This is something I am constantly working on. Like the
saying goes ‘practice makes perfect’.
Project:
It is usual for sports car owners to begrudgingly exchange their vehicles for something
more practical and family-friendly when a child comes along. But does this always have to
be the case? Designed with the user group of a new or young family in mind, the ‘Eigne’
(first born) aims to offer practicality while maintaining the Lotus experience to all
occupants.
The generously scaled central space of the cockpit can accommodate two adults and a
child thanks to a ‘1+3’ seating arrangement, the baby seat being positioned directly behind
the driver. All this is made possible by the in-wheel electric motors which eliminate any
obstacles on the floor pan. The batteries which power these are sandwiched in the floor
pan to keep them cool and to lower the center of gravity for better handling.
Access to the cabin is via a door which incorporates a section of the roof. At the touch
of an electric on/off button hidden under the vent crease, the door opens upward and
outwards. Once open the lower chassis allows easier access and the occupants can then
‘step-in’ to the vehicle.
The interior is designed to look and feel like a Lotus should, but with added practicality.
For example, the multi-display dash features two screens either side of the driver which
relay the same information that the driver views. In this way passengers are able to
monitor the displays whilst enjoying the exhilarating ride. The multi-function steering
wheel has been influenced by game controllers and the standard stalks have been removed
and replaced with keys. This guarantees the driver a better sense of control over the
vehicle.
To add to the practical element, the hatch at the back was designed to allow the full width
of the boot to be easily accessed - great for the shopping, pram, golf clubs, etc.
55
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Feedback from Matteo Conti
This excellent final year project reflects David’s engagement. The
interesting and innovative interior design packaging dictates the exterior
development of this concept. It is not based on pure styling but instead
is a more feasible and well thought out solution. Impressive confidence
is shown in the execution of all the key stages, from sketch development
to renderings and careful and sensitive evolution of the CAD model.
Through iterative and evaluative CAD work, the proportions, surfaces
and details have been addressed and fine tuned. Although not overly
conceptual, it really encapsulates the essence of the Lotus brand.
Feedback from Dan Kafka
A very broadly appealing concept that fits in Lotus’ current line up. I
agree with Tim - it is possibly “too aligned”. Also, a 3-seater configuration
as a USP should be more clearly demonstrated from the exterior. A
‘next gen lotus’ would have been a more adventurous place to start.
Dave’s initial sketch work is very enticing and his interior demonstrates
a good understanding of scale, detail and proportion - the final model
is a proportionally believable and sturdy looking vehicle. Try to retrace
the ‘final’ Alias visual to make it more coherent with ‘initial’ work and to
develop tweaks and areas of refinement.
Feedback from Sam Jilbert
You’ve come a long way since starting your placement at JCB a couple
of years ago Dave. Really strong sketches capture Lotus’ form language,
pushing it in new and appealing directions and I feel you’ve pursued the
strongest in Alias. It’s refreshing to read of your understanding of how the
design process works in industry, especially the integration of digital tools
and traditional sketching - you’re clearly comfortable with both and have
resolved your proposal very maturely. Your digital model is a controlled
and refined progression of your sketches and is not ‘accidental’ - accidental
3D CAD surfacing is often seen at undergraduate level.
Feedback from Tim Moore
The initial sketches show real awareness for line quality and work because
they are not overworked; key lines are picked out and the minimum
amount of colour helps describe form. Some dynamism has been lost in
the digital phase. The digital visuals appear heavy and more difficult to
interpret. The design is very neat, aesthetically appealing and well aligned
with current Lotus branding, maybe too aligned? Some beautiful areas of
subtle detailing such as the tail light configuration and integrated spoiler
show consideration for balance between performance pedigree and the
slightly less aggressive ‘new-family car’ approach.
57
DAV I D F E A R N L E Y - Tu t o r i a l
This tutorial shows how to render an initial sketch of the
Lotus Eigne in Adobe Photoshop.

Start by taking a quickly drawn pen sketch (Fig.1). This one

took me around 5-10 minutes.

This sketch was selected from a page full of drawings. I had

applied some marker to it for a quick form exploration.
After scanning it in to Photoshop I adjusted the image using
‘Contrast’ and ‘Brightness’ until it was clean and crisp. I will
Fig .1 now continue using Photoshop to render it as it quickens the Fig .2
process. I find it easier to work on renderings in greyscale.

1) In the image above (Fig.2) I firstly drew a selection

around the body of the vehicle - you can use the Path Tool
for this, but for speed I tend to use the Polygonal Lasso
Tool. Remember to save your selections as this saves time
in the long run (see step 5). I then used the Paint Bucket
Tool to drop in a mid-grey tone on a new layer. Now set
this layer to ‘Multiply’ as this serves as a level tone to
work your highlights and shadows into.

2) The next step is to begin to block in the dark tones

of the body (Fig.3). I have also blocked in the windows and
shadow. Each area I have shaded here was selected using
the Polygonal Lasso Tool again. Remember it is important to
use layers! I tend to use one layer per selection.

To apply the darker shades I tend to use the Gradient

Tool but the same effect can be created using a soft brush.
If you find the edges of your selections are too sharp try
using the ‘Feather’ command. This allows some of the
shading to bleed outside of the selection creating a softer-
looking shaded area.

Fig .3

58
 3) In Fig.4 you can see I have built up the tonal values a
little more and also added some of the highlights to the
bodywork.

For the highlights I use the same method as before - the

Gradient Tool, but this time set to pure white. I have also
dropped in a suggestion of an interior on a new layer and
have placed it underneath the glass layer. I have also shaded
the wheels. All this adds a little bit of depth and realism to
the image. Working with layers allows you to do this!
Fig .4 Fig .5
4) I now add more details such as lights and the reflections

on the windows (Fig.5). You could go on to add more

details, but this was a quick render to explore the form of
the vehicle so I decided to stop the level of detailing here
in order to keep it fairly loose.

My next move is normally to save the rendering as a PDF,

then flatten it and save it as a JPEG for use in other imagery.
Be careful not to save over your PDF once the image has
been flattened as you will lose your layers. This can be very
annoying - this I know through experience!

5) Grey images can get tiresome at times. In this image

I have altered the colour to that of the ‘Type 49’ colour
scheme. (This is where the selections I saved earlier come
in handy - they allow you to select areas quickly without
having to trace them out again with the lasso).

To change the colour you can use the following: ‘Image >
Adjustments > Hue/Saturation’. Once this dialogue box is
open, tick the ‘Colourize’ option, then play with the sliders
until you are happy with the colour and intensity. Repeat
with other selected areas until you are satisfied with the
Fig .6 image (Fig.6). Remember to SAVE!

59
G O R D A N FA R Q U H A R - S t u d e n t

Personal Information:
I was born and grew up on the Wirral. I have always been interested in drawing and
sketching, something that was encouraged by my grandfather, who likes drawing and
painting with watercolours. Art was always my favourite subject at school. I have been
interested in cars since I was very young, but there is no particular reason why.
I remember having a 1:18 red Lamborghini Diablo when I was about 4 or 5, maybe that’s
where it all started! From about year 9 I began thinking about what I wanted to do after
school and my interest in cars, combined with my interest in art seemed to point me in
the direction of Automotive and Transportation Design.
When I’m visualising, I try to turn the object I’m designing around in my head and imagine
what it would look like from certain angles and then draw what I ‘see’. I like sketching and
tend to use pencil and Biro mostly, but I also really enjoy rendering with Photoshop.
I always endeavor to make my work look as realistic as possible, paying close attention
to detail. I feel that I need to improve by being more conceptual and thinking ‘outside the
box’ more at the beginning of the design process. I also feel I need to start running with
more crazy ideas.

I studied art as an option in year 9 and then chose art, maths and physics as my A-Levels.
I then applied to Northumbria University in my final year at school with my art portfolio.
It’s somewhat clichéd to say, but one of the designers I admire the most is Ian Callum - he
heads the production design team at Jaguar.

60
Project:
This was a live collaborative project with Xenophya Design, a Transportation Design
consultancy who specialise in designing motorbikes. The brief was to create a 400cc bike
for Triumph to fit into their next generation range. The bike was seen as a stepping stone
between some of the smaller capacity bikes and the larger superbikes like the Daytona
675. Xenophya Design observed that 1990s racing replica bikes with 400cc engines have
recently been very much in demand.
The motorbike was to have a nimble, agile, ‘flickable’ feel to it. Where it lost out to the
675 in terms of power, it was to make up in handling in the corners. The bike had to
appeal to users and be exciting to ride.
As a starting point for the project, we were given a package layout as a guideline. This
indicated seat height, wheel base and engine and handlebar position.

The fact they have been holding their value can be very clearly seen by the prices paid for
them on eBay. Despite a seemingly obvious demand, no manufacturer currently has a ‘400’
as part of their line-up.

The aim in producing a Triumph 400 would be to encourage less experienced riders to
buy Triumphs, this would allow some to later graduate to a ‘675’ or ‘Street Triple’ bike. As
such, the target market for the bike would be males and females aged 21-29.

61
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Feedback from Matteo Conti
A benchmark project for a Yr 2 student - it shows complete design
development leading to an exciting concept. Gordon’s engagement, design
sensitivity and the evolution of his concept are demonstrated through a
range of lovely sketches showing free use of line and great attention to
detail. He could have developed more designs as side elevations using the
technical drawing as an underlay. This is important because packaging and
the main engineering criteria must be observed in any successful design
from an early stage. The final design is enriched through a range of
effective and eye-catching marker and digital renderings.

Feedback from Dan Kafka

Unfortunately, I feel that Triumph are following Ducati in trying to claim
the tubular space frame as their own - perhaps Gordon could have helped
move things along. Smaller bikes usually assume the characteristics of their
bigger siblings and tend to contain enlarged features - here, I think certain
proportions too closely resemble the current 600. It works as a current
triumph but bolder graphics would take it to the next level. Gordon’s
skills are really important in bike design - they are the visual culmination
of assembled parts and achieving harmony is difficult. Here, he’s been very
successful. Gordon’s flair for designing bikes is obvious.

Feedback from Sam Jilbert

Great exploration with just a pencil and Biro. Clean and descriptive
renderings have brought a few of the strongest directions to life. The
black side view is great - it looks really nimble with a dynamic stance
due to the high rear seat and visually light construction. The proportions
are balanced and suggest forward motion. There is a great balance of
curvature and hard edges and the front graphic successfully continues the
aggressive theme. Some digital modelling would help with the free-form
nature of the tank, bodywork and seat fairing. The red and white proposal
is too retro for me and is more like a Ducati!

Feedback from Tim Moore

Gordon’s initial sketches create a real sense of movement through quick,
soft lines that flesh out the form - stronger lines are only used to focus
in on detail. It doesn’t matter if you use 1 or even 4 soft lines in creating
a curve, the viewer’s eye will pick the correct one, and the sketch will
be more dynamic and have greater depth. The marker renderings show
dynamism too. Design-wise, this concept works well but could have been
pushed further, the detailing though is really interesting in areas. Could a
detail be developed into a key feature running through the bike?
63
G O R D O N FA R Q U H A R - Tu t o r i a l

This tutorial describes how to render 2) Underlay the sketch and make it neater. 3) Finish the sketch in marker and Biro.
a Triumph 400 in Adobe Photoshop. Begin applying marker. Here I have used a combination of black
Biro, warm grey and ochre markers.
1) Initial sketch in pencil.

64
4) Scan the sketch in to Adobe Photoshop 5) Copy the left hand side of the image. 6) Still in Photoshop, use a black airbrush to
and adjust ‘Levels’ and ‘Colour Balance.’ Flip it horizontally and move it to the right. accentuate shadows. Apply highlights with
This makes the bike appear completely a white airbrush. Add a ground shadow.
symmetrical.

65
G I A N L U C A D ’A L E S S A N D R O - S t u d e n t

Personal Information:
When I was a little kid, I was passionate about Ferrari and F1 cars in particular. After I use 3D CAD as I love the idea of being able to have a definitive look at objects and aim
finishing high school in my native Italy, I studied aeronautical science in order to be an F1 to simulate reality through this process. I feel that sketching alone is not enough when it
designer. Whilst studying, I started freelancing as a graphic/multimedia designer and began comes to understanding exact form and functions.
to specialise in animation, 3D modelling and interactive programming. Even though I saw
my dream job fading away, I loved the creativity of the work I was doing. Applying this to a
mathematical process became extremely fascinating.

I’m attracted by anything created by humans, love studying nature and find the way that
everything works so perfectly extremely interesting. I often dismantle toys or tools in
order to understand their underlying mechanisms and also try to create my own.

I’m fascinated by different cultures, love to travel and have lived in Italy, England, France
and Denmark. Meeting people from every part of the world has really given me a broader
insight in to my design projects.

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J O N AT H A N H O D D E R - S t u d e n t
Personal Information:
I’m a conceptual designer with a keen interest in the automotive industry. I’ve worked on
several collaborations, have travelled to different design schools and have designed many
things from boats to construction equipment.
I find all things inspirational, be they experiences or particular objects. Looking at nature
is a great starting point for any conceptual project, for example, I’ll walk past a flower and
imagine it being inhabited by tiny beings.
I always make sure I understand a brief and create a real emotional attachment to it. Once
I have enough research to carry out the project I’ll sketch lots of concepts as I feel this is
the key: sketch, sketch and sketch some more!
I ask lots of different people what they think about my design solutions and aim to create
visual masterpieces that attract onlookers and communicate my thoughts.
Project:
The brief for this team project was to design a 60ft yacht for the modern luxury market
utilising automotive design influences. We tried to manage the project to get the best from
the time we had. To start off with we created four different concepts, thinking differently for
each one. Finally, one was chosen as the strongest solution to our brief.
After researching and understanding our market, we truly felt emotionally attached to
the project - this meant that we were able to understand all the constraints. We then
began to take the correct proportions of a beautifully designed sexy sports car and used
them to help us create our final solution. It didn’t take us long to finalise the design, this
meant we had all the information we needed to begin a 3D CAD model. We were really
surprised by how great our concept looked in CAD - sketching it all out is one thing but
having a complete CAD model is quite another - it really took us to another level.
We collaborated very well throughout due to our complimentary skills sets.
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68
Feedback from Matteo Conti
The aim of this 3rd year live project with ‘Concept Group International’
was to create watercraft inspired by automotive design. The exciting initial
sketch work features a lot of automotive cues which have been cleverly
mixed to create original proportions. The CAD model maintains the
freshness of the sketches - a perennially difficult transition handled very
well in a very tight time frame. The real strength of this partnership was
their ability to combine their respective talents to produce a convincing
and believable design package. This concept is for the luxury market and
certainly fulfils its brief whilst creating a new niche - a submersible yacht.
Feedback from Dan Kafka
Hull technical data enhances a boat project, so I’m not convinced about
the ‘front wing’, but I could be wrong. Certainly the hull could have been
stretched: longer and sleeker equals ‘sexier’ - think Aston Martin. The
rear deck is nicely represented with contemporary cues, the figure gives
a sense of scale and overall the presentation is clean and modern. The
CAD work makes the sketches appear a little scruffy; sometimes the
quality of one aspect can draw attention elsewhere, bear this in mind
when presenting. Quoting Walter Da Silva: “The era of overdesign is over;
a few lines, nice surfacing, clean, end.”
Feedback from Sam Jilbert
The impressive digital artwork is supported nicely by some of the initial
sketches. Good to see you’ve gone for quite an adventurous and exciting
form - some of the interior elements and detailing are also really appealing.
Some science and testing behind the hull shape would add another level
of integrity. Typically, the ‘designed’ visual elements of the superstructure
forms and the interior follow on from the hull and propulsion fundamentals.
As long as the superstructure interfaces with the hull, its shape can be
completely up to you. This work shows a really high level of visualisation,
approaching photorealism - great to see at undergraduate level.
Feedback from Tim Moore
Some pretty descriptive initial sketch work - shade has been used sparingly,
only in areas where it is most needed. Contour lines have really helped
describe the surfaces - it would be good to see more of this throughout
the sketch development process, to benefit the designer and the viewer.
A pretty radical and adventurous concept which most definitely challenges
the ‘norm’. The strong, clean aesthetic from bow to front screen is, in
my opinion, lost towards the aft with the inclusion of organic, swooping
lines which look weak when viewed alongside the super taut lines of the
foredeck and bow. 69
G I A N L U C A D ’A L E S S A N D R O & J O N AT H A N H O D D E R - T u t o r i a l
Fig.1
In this tutorial I (Gainluca) am going to explain how I made the roof and the glass area of
our yacht. I have used a 3D CAD program called AliasStudio.
1) The first step is to set up the scene. A blueprint of the model is the best starting point.
Here, I have used a top and a side view of the concept (Fig.1).
Fig.3
3) Then I created the roof of the top deck. To do this I defined the four individual curves
(highlighted) I needed in order to create something called a ‘Square Surface’ (Fig.3). My aim
was to create a surface that is bigger than the required area. This surface will later be
trimmed to the correct size.
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Fig.2
2) Here I have created the curves which trace the main volume of the hull (Fig.2). This
part is particularly important as it defines the main dimensions. As you can see from the
top and front views, I only model one half of the yacht and activate the symmetry function
in order to see both halves of the model. In the long run this will help prevent my CAD
file from becoming too ‘big’.
Fig.4
4) To create the Square Surface I selected the four curves and using the advanced
settings menu, selected ‘Explicit Controls’. This gave me enough control to make my
surface as ‘clean’ as possible (Fig.4).
 Fig.5 Fig.6
5) I then played with the CVs (control points) of the surface to get the perfect shape I 6) The next step was to create the profile (highlighted) of the roof from the top view
needed for my model (Fig.5). (Fig.6).

Fig.7 Fig.8
7) Then I projected this curve on to the roof surface and trimmed the unwanted part. 8) My next step was to create the glass surface. As before, I created four curves - these
This gave me my desired roof section (Fig.7). defined my glass areas. I then created a Square Surface from them (Fig.8).

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INTERIOR DESIGN

73
S E TO N WA K E N S H AW - Tu t o r
Personal Information:
Interior Design is the creative response to internal architectural space and considers
function, use, material, space and form. The emphasis is on creativity, individuality and
independent thinking. Design projects investigate key aspects such as re-use and
re-modelling, lighting and experience etc. We do this through a huge range of projects and
because of this our graduates gain an awareness of the design industry as a whole and are
able to define their own place within it.
I have always been interested in art and design and studied Three Dimensional Design,
gaining a first class honours degree. The functional aspects of design influenced my under-
graduate studies and subsequent career. After graduating I took part in various exhibitions
and furniture projects and have been lecturing at Northumbria University for seven
years. I am inspired by multi-disciplinary design companies or individuals who stretch the
boundaries of what is possible. It’s very beneficial for designers to look outside of the
direct area they practice in.
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Charles Eames is a classic example. Getting to the final product often took years of
experimentation with materials and subsequently form. Eames’ furniture, product and
architectural design all informed each other and the outcomes benefitted as a result.
Interior Design is a difficult area to fully communicate visually because of the scale of
projects and the fact that it is very difficult to show every element through one or two
views. It is vital to show the intentions of the project but also to clearly evidence personal
style. Diller, Scofidio & Renfro are very good at doing this.
The Prada store in New York City is a great example of current Interior Design, in terms
of the use of space and materials and the atmosphere it creates. Another great example
is ‘The Brasserie’ located in the Seagram building in New York. The designers, Diller and
Scofidio, are an interdisciplinary studio working in between architecture, the visual arts
and the performing arts. The Brasserie evidences this through its theatrical performances.
GEMMA CORRIGAN - Graduate
Personal Information:
I am naturally a very creative person and always loved art, design and graphics at school
and had a keen interest in science and maths. I planned to study Fine Art at university, but
upon realising that related career options were very limited, decided to opt for a design
led course. I feel that design is essentially a combination of art, biology and maths. I chose
Interior Design, as at the time, it was a new course and I thought it would be exciting and
fascinating.
I work for a commercial Interior Design company based in Newcastle. Due to the office
dynamics there are no specific roles - everyone gets involved with every aspect of the design
process from conception to completion. My work mostly revolves around the use of
AutoCAD for producing plans and detail drawings. I also create mood and sample boards.
The most important thing about producing successful visualisations is choosing the most
interesting view(s) of the interior in order to show the full impact of the design. Similarly,
adding appropriate textures and shadows gives visuals a more realistic feel. A project is
successful when the space works operationally, and when the client and the designer are
happy with the outcome.
It’s difficult to pick a favourite piece of Interior Design as I have so many, and all for very
different reasons: whether for the use of material, colour or just general visual impact.
However, my favourite piece of design has to be the Apple iPod. It has a clean aesthetic
and a simple yet effective navigation system and more importantly has revolutionised the
way we listen to music.
I feel that so far my best piece of design has to be the Central Bean Coffee House in the
centre of Newcastle. I worked alongside another designer in order to create a vibrant and
comfortable space with an urban twist.
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LUCY MARLOR - Graduate
Personal Information:
Interior Design is, for me, a medium between two things I love and feel very strongly
about, namely art and reality. There is an uncertain future in art and design allows your
creative side to flourish whilst dealing with the real world in a fast paced, ever-changing
industry.
I entered a well established Interior Design company straight from university - Ward
Robinson employs 10 designers, 3 project management staff and two admin/management
staff. We predominantly work for high end hotels and restaurants such as Jesmond Dene
House, Seaham Hall, Café 21, Caffe Vivo and Northcote Manor to name but a few. We
have also been involved in a range of office and the odd domestic job.
At university your creative side is being nourished and developed so things like planning,
construction detailing/viability and detailed specification are not the major considerations
in a project. The visuals and boards created at university to display work are visually
76
entertaining and fantastic and these are still used in practice to lure a client in to a project
and to seal a deal, but after this the emphasis in commercial practice changes to
construction.
My favourite pieces of design range from old and intriguing buildings in my native Newcastle,
to the architecture and design of people like Zaha Hadid. I like her forms with their
smooth, continuous lines - these give them a feeling of movement. My favourite (existing)
building is The Central on the Gateshead side of the Tyne Bridge. Its shape is really
intriguing and the building simply erupts vertically from the narrow plot. It appears
wedged into its tiny space.
My favourite design of my own remains my degree project. In commercial practice it is very rare
to get to do something so totally conceptual and EXPENSIVE! I now know the Corian I used
for the main material throughout each floor of the 3 storey building is £300/square metre...
E M I LY WA LT O N - G r a d u a t e
Roger Andrew (www.flickr.com/photos/roger a1/)
Personal Information:
Creativity must run in my family as my great, great grandfather was part of the design
team for the Sydney Harbour Bridge, my father is a fantastic artist, my Auntie a jewellery
maker and one of my brothers is a web designer.
After my Btec National Diploma in Three Dimensional Design, I began to study
Three Dimensional Design at university. This wasn’t for me so I decided to take a year out
and travelled to Australia. I worked on my portfolio and applied to study Interior
Design at Northumbria University because I like the idea of creating spaces that become
experiences that provoke emotions in people.
Having finished my studies, I contacted about 80 companies and was offered a position at
my third job interview. A week later, I moved to London and started at Jestico & Whiles.
Day-to-day I design spatial layouts, create visuals, source materials and fixtures, fittings and
equipment, i.e. furniture, lighting, accessories. I am also responsible for producing plans and
details (CAD drawings) and regularly meet with suppliers, clients, quantity surveyors and
service engineers. As well as this I am also involved in planning applications. It is always
necessary to work to tight deadlines and budgets, be they large or small.
I’ve worked on a number of large scale hotels and am currently leading the design of a
restaurant & bar in Shoreditch, London. I’ve been involved in everything from producing
conceptual sketches to supervising on-site work.
London is full of exciting designs and exhibitions, but on a day-to-day basis, I mostly get
inspired by random places or objects I see while walking around. I always carry a camera
as you never know when something might inspire you! Living in London allows you to
appreciate where you have come from and what you have achieved. I plan to travel and
work abroad in the near future and dream of setting up my own design practice one day.
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FRANK LI - Student
Personal Information:
My name is Frank Li from China and I’m studying Interior Design. This is my final year. I
first heard about Northumbria University because of the reputation of its design degrees.
The School of Design is famous for Chinese students who want to go to England to study
design subjects.
For Chinese people, Interior Design is becoming more and more important because of
the rapid growth of the economy. A good ‘quality of life’ has become an aspiration of the
majority of people - therefore, having fantastic spaces for life is evidence of a truly developing
society. Also, becoming an Interior Designer has been a dream of mine since I was young.
The designer I most admire is Frank Lloyd Wright who became globally famous because of
his ‘Falling Water’ project - it is one of the most remarkable buildings of the 20th century.
This was a house built in1935 in rural southwestern Pennsylvania, 50 miles southeast of
Pittsburgh. Falling Water represents the harmony between buildings and nature.
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The building itself is the extension of a cliff and resides over a waterfall and sits beside
rocks and trees. Natural elements, such as a rock fireplace, are used for the interior.
‘Being part of nature, listening to the sound of water and leaves, feeling the changing of
the seasons’ - this is how people describe this building.
In my opinion, the design for a selected site needs to be firstly based on the basic spatial
situation and the surrounding environment. I like to develop an idea around practical
and reasonable considerations. “How do I design something unique with inspiration and
imagination whilst making it practical and reasonable?” This is what I always think about
during the design process. I like to use AutoCAD for scaled diagrams and plans, SketchUp
and 3D Studio Max for modelling and rendering,V-ray for rendering and Photoshop for
final modifications and creating presentation boards.
Project:
The brief was to design a mixed use office and exhibition space within the Emerson
Chambers building, Blackett Street, Newcastle for a selected advertising agency. My client
was McCann Worldgroup, one of the biggest advertising companies in the world. The key
requirements included providing office space, technical suites, a library, a reception area,
a restaurant and exhibition and lecture space.
At that stage in my education this was the biggest project I had ever been involved in. My
first aim was to acquire a good understanding of the site - I needed to know about its history,
development, structure, the building materials used and other relevant information.
With the site analysis finished, it became necessary to research the selected client. Because
designers work for clients, important information about clients such as the company history,
visual identity, company philosophy and existing office spaces need to be understood very
well.
I hoped all this would help me create an office which meets the needs of clients and
achieves the best possible design solution.
After the essential research and analysis stage was complete, I began working on developing
the design from the initial concept all the way to the final solution. This was the biggest part
of the project. I used my inspiration, ‘Magic Cubical Spaces’ to develop a concept which
was taken from the draft functional spatial division all the way to detailed scaled plans.
What will be needed for the offices? What would be the size of each foundational area?
How to best arrange the spaces for maximum usability? How would areas communicate
with each other? How do I translate my design concept into a design proposal? How
would I use natural and artificial lighting? What materials could be used? I hoped the
process of answering these questions would allow me to create fantastic spaces whilst
meeting the functional, practical, visual and aesthetic needs of the project.
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Feedback from Seton Wakenshaw
Frank makes a more spatial response to Interior Design. His projects
generally respond to the existing site and result in well organised solutions
presented to a high level via 3D software. The use of SketchUp is evident
here - this software is a very good tool for students and professionals
alike because of its ease of use through tutorials linked to the software. It
also has the advantage of being free to download through Google.
Frank’s visuals clearly indicate his manipulation of a space in response to
a given brief and also give an indication of the materials used as part of
the solution.
Feedback from Gemma Corrigan
The concept Magic Cubical Spaces is simple yet effective. Clean, yet
functional plans place focus on the use and quality of the materials. The
plans are very clear and well executed and the key below each plan helps
you understand the workings of the space. The fact that they have been
rendered not only adds ‘life’, but also allows you to see how the changes
in the flooring material divide the space. With regards to the visuals that
Frank has provided, the sectional perspective allows you to understand
how the concept of Magic Cubical Spaces works within the vertical space
of the building.
Feedback from Lucy Marlor
The sketches really set the tone: clean, simple form continuing throughout
the design and presentation style. The spatial planning is well considered -
a great deal of attention has been paid to providing usable space. There’s
a slight sense of there being little interaction between the new design
and the existing fabric and history of the building; more focus on how this
exciting new design coincides with the existing structure would enhance
both new and old. The 3D visuals are well executed and very clear and
the sectional perspectives really give an idea of the spatial qualities of the
scheme and its scale. The presentation is very good.
Feedback from Emily Walton
Frank’s concept for this historical building is sensitive to the original layout
while injecting functionality and breathing new life into a tired space. He
has clearly researched well, which is a mark of a good designer - as all
projects must start with a strong knowledge of the site and client’s wishes.
He has also highlighted the issues and questions needing to be answered.
These have clearly navigated his design and have enabled his concept to be
successful. It is a vast space, however Frank has created an interesting and
functional design. His strong visuals communicate his idea well.
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FR ANK LI - Tutor ial

Fig .1 Fig .2 Fig .3

Fig .4 Fig .5 Fig .6

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This tutorial shows how to build an interior using
Google SketchUp:

Here, I have used SketchUp v5.0 to build a detailed

computer model. All the measurements need to be
correct and the recommended scale is 1:1.

1) Open the scaled CAD-plan in SketchUp (Fig.1).

2) Pull out the structure (Fig.2).

3) Make the glass within the window frames (Fig.3).

4) Build the key elements on the ground floor then

make the secondary elements (Fig.4).

5) Build the mezzanine floor which is a key element

above the ground floor (Fig.5).

6) After modelling is complete, insert colours and

adjust the texture for each element (Fig.6).

7) Place furniture and furnishings in the required

positions (Fig.7).

8) Adjust light sources and conditions to achieve the

required final visualisation (Fig.7).

Fig .7
83
HENRY MARKS - Student

Personal Information:
I grew up in a very sociable environment in a town near Leeds in Yorkshire and was I have always been inspired by architectural and interior décor and really love the very
fortunate enough to be involved in a variety of team sports such as rugby and cross innovative and thought provoking work of artists and designers such as Damien Hurst,
country running and enjoyed working together with others in order to achieve success. Banksy and Marc Newson. I feel that they deserve recognition because they push
boundaries and stay away from the norm.
I have loved my time here in Newcastle and have worked hard in the Interior Design
studio and my bedroom and played hard in the bars and clubs.

I have always had a creative mind and for as long as I can remember have had a very keen
interest in art and design. I see myself as a perfectionist and unless I put in 100% effort
into my work I am very rarely happy with the outcome. This is not always a good thing!
I feel frustrated sometimes that my sketching abilities aren’t up to scratch and that the
results aren’t always as I envisage them to be.

84
Project:
My project brief was to design a unique centre in the heart of Newcastle, one which will
involve a number of facilities to encourage healthy eating and exercise. I have been
inspired through my own experience: twice I have been the innocent victim of mindless
violence perpetrated by what I feel is the ‘forgotten underclass’ under the influence of
drugs and alcohol.
The growing trend of child obesity, underage drinking and anti-social behaviour in the UK
is often attributed to the fact that there are not enough safe and inexpensive places for
young people to exercise and take part in fun and interesting hobbies and activities. There
is also evidence that decreased family interaction leads to anti-social behavior in youths.
Because of this I have designed an indoor activity centre named Dropout for young
people and their parents or carers. Its aim is to offer respite from inner city living.
The centre offers a wide range of activities including a kid’s play area, all-terrain running
track, climbing wall, dance studios, recording studios, graffiti walls and I.T. facilities. All the
activities are designed to encourage interaction between people, to promote exercise and
to stimulate the mind. The centre also includes a smoothie bar and a healthy eating café
to further endorse a healthy lifestyle.
As all the rooms are fully integrated, visitors can truly engage with their surroundings.
Also, there are viewing points and plasma TVs situated all over the building so that
visitors can see what is going on in all the different areas. As well as this, slides between
the floors make the centre fast and full of energy. The interior has an urban feel through
the use of exposed brick & metal to reflect the brand ethos and to appeal to young
people.
Dropout offers a service to society as well as a fun place to visit.
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Feedback from Seton Wakenshaw
Henry’s approach is to challenge the obvious whilst maintaining a fastidious
sense of the technical aspects. Drawing and model-making is key to the
Interior Design process as it is where the main creativity takes place. The
final presentation then becomes an extension of the individual’s style of
visual communication. Henry’s consistency is evident through his drawing
style which is informed, where appropriate, by sketch models. Well
executed 3D models often communicate more information regarding
the design solution, particularly to somebody not accustomed to reading
plans. Henry has done this to very good effect.
Feedback from Gemma Corrigan
Henry’s concept is very strong and extremely appropriate for today’s
society. There are lots of very different elements within the space and
the planning and circulation diagrams show how the layout would work.
However, I feel that too many problems are trying to be tackled within
one place. With regards to the visualisation, the computer-modelled
images are really well executed and show a great amount of detail - you
really get a feel of how the space works. Also, the free-hand sketches
evoke the energetic nature of the interior. The use of colour and layering
really brings the sketches to life.
Feedback from Lucy Marlor
Visually this project and its presentation are very interesting. The initial
sketches and drawings show an energy and playfulness which is reflected
in the forms and structure of the finished design. There is a great relation-
ship too between urban art and the lifestyle and culture of the building’s
users. The concept is strong, unique and has a sense of depth. There
is clear thought as to how design can affect society and be integral to
cultural development. The model is exceptional and is cleverly cut away
to demonstrate how the interior spaces sit and interact within the space,
bringing the building to life.
Feedback from Emily Walton
It is important for a designer to have a finger on the ‘social pulse’ and
Henry has clearly thought about what issues to incorporate into this
project. Designers hold the tools to alter and manipulate the way people
live and I think Henry’s concept works extremely well. He has methodically
thought about how the user will not only use the space but also how they
will become part of a community and improve their lives through exercise
and healthy eating. Henry has exceptional drawing skills which I hope
he does not lose - it is refreshing to see these skills put into practice. He
clearly has the skills and passion to pursue a successful career.
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HENRY MARKS - Tutor ial
This tutorial describes how to set up a sketch of an interior
and colour it up using markers and Adobe Photoshop.

1) Begin by setting up a one-point-perspective (Fig.1).

Create a vanishing point that goes through the back wall
of the interior space - this wall is directly opposite the
viewer.

Create your convergence lines. These meet at the vanishing

point and will form the corners of the back wall rectangle
and the sides of the vertical walls, ceiling and floor. In
pencil, plan out your spatial design and frame the image to
form a nice composition.

2) Continue to add detail to your design and begin to

neaten up your original sketch (Fig.2).

3) Use a pen to draw over your design in order to give

Fig .1 Fig .2
depth to areas you wish to express. Use fine and fat
strokes to describe different areas (Fig.3).

4) Sketch over chosen areas with Letraset Pantone design

pens - in this case mainly the floor and café/bar structure.
This is to provide spatial contrast (Fig.4).

5) Scan your sketch in and import it in to Photoshop.

Use the Polygonal Lasso Tool to select significant areas
and block them in with colour. In order to describe glass,
lower the opacity in the Layers Box - this gives a transparent
feel (Fig.5).

Fig .3 Fig .4

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Fig .5

89
JOANNA YUILL - Student

Personal Information:
In Sixth Form I excelled in ‘the arts’ and one of my teachers suggested I should apply to
study Art History at university. I graduated in BA (Hons) History of Modern Art, Film and
Design in 2004. Halfway through my degree, I realised it was not for me, but completed it
and chose a career in public relations. I believed I was in for a glamorous lifestyle, but was
very much mistaken.
Luckily though, my clients included architects, property developers and builders. I admired
the way they were never bored and that they were rarely in a stuffy office, instead they
were always on site overseeing everything. With this in mind, I knew I had to go back to
university and study something that would fulfil me.
I have always been creative and have a vivid imagination. My weakness, however, is my drawing
technique. My strength is my motivation and as well as studying I manage a small property
portfolio. I have a real work ethic and have constant encouragement from my parents.
Before starting my degree in Interior Design, my influences included artists such as Klimt
because of his quite controversial work and Gaugin because of his use of rich colours and
textures. However, more recently my two main influences have been Marc Newson as he
experiments with a broad range of materials and Zaha Hadid because of her futuristic
approach. I also take influence from social and cultural issues and try to find inspiration
and ideas from everything around me.
I visualise my ideas through my dreams and always keep a pad and pen by my bed. If I am
working late and go to bed without relaxing my brain does not switch off. At these times
I am constantly thinking about what I could do next and this is where some of my best
ideas come from.

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Project:
This project centred around creating the space for an advertising agency, ‘Grey’, to reside
in a Grade II* Listed building, in Blackett Street, Newcastle.
Grey is prestigious and defies the stereotypical advertising agency image by appearing
sophisticated as opposed to humorous. Grey is professional, distinguished yet understated.
The company sees the importance of logic, which is why the philosophy behind Grey is
DNA, for just as Grey works within a huge networking system, DNA also works within an
immense and complicated biological system. DNA provides connotations of uniqueness
which is important to Grey because one of its key responsibilities is to provide clients with
brand identity. The idea of molecules within DNA also relates to Grey employees working
within an efficient open floor plan, resulting in enhanced communication and collaboration.
Grey is situated within a Grade II* listed, five storey building. In order to realise this
concept, there will be intense intervention to the existing architecture, but this design
proposal contains the potential to be removed at a later date without damaging the
original fabric of the building.
Four phrases that are integral to this interior are: Clinical; Laboratory; Science;
Decontamination/Quarantine zone. For example, on entering the building, employees
and the public experience a sense of cleansing as they travel through a white cube. They
are then greeted by the receptionist who is contained within a glass cube and dressed
in a white lab coat. The receptionist can communicate with visitors through an intercom
system, adding to the futuristic atmosphere.
The overall experience will be enlightening, a mix of serene and insane, almost as if the
employees and public have spent time on a Stanley Kubrick film set rather than a
nineteenth century building in the centre of Newcastle.
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Feedback from Seton Wakenshaw
Jo enjoys challenging the possibilities of design briefs and backs this up
with a very strong work ethic. She feels her drawings are weak, but they
do communicate the experimentation and ideas that are key aspects of
strong design development. This second year project relies on Photoshop
skills to fully communicate the design solution. To give a sense of realism
it is imperative to think about what will be reflected in the white surfaces
from the given viewpoint. To evaluate how successful the visuals are,
look at the non-white objects and decide whether they are reflected to
produce a believable effect.

Feedback from Gemma Corrigan

The DNA concept is extremely clever and interesting. The way in which
DNA works has inspired the operational side of the agency, while its
link with medical research inspires the space. The clean style and use of
colour reinforce the scientific and laboratory nature. The warm orange
of the figures contrast with the cold blues and greys of the design and
again reinforce the clinical style. The listed building has great historical
value, so the old façade would greatly contrast with the new minimalist
interior - it would have been nice to see that contrast depicted in some
of the visuals.
Feedback from Lucy Marlor
DNA is well suited to a business context, but I would expect more complex
forms inspired by the nature of a DNA molecule. The project is well
visualised and the interior spaces well depicted. The sketches effectively
explain key areas, while the overall structure shows how floors fit
together and how the space works. The 3D visuals really effectively
represent the finishes and materials. More dramatic angles would further
explain how the floors interact as the sections and axonometrics look
really interesting. Overall, the effect is very clean and crisp with sparse use
of colour seen on the glazed areas and figures. A very attractive presentation.
Feedback from Emily Walton
It is really refreshing to see a project that is aimed towards a professional
working environment. Joanna has clearly used her previous experience
and understanding of reality in the work place to create a strong concept.
The spatial awareness is well judged and she has produced an impressive
working space. Joanna has fantastic skills in producing realistic and clear
visuals that are of a professional standard. The success of her concept
lies in the functionality of the building which is always the quintessential
element of any Interior Design project.
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JOANNA YUILL - Tutor ial
This tutorial describes how to render a perspective in
Adobe Photoshop.

1) Scan in the perspective drawing, create a new document,

a new layer and paint the layer white. Place this layer under
the Background Layer so the perspective is visible (Fig.1).

2) Create a new layer, name it, zoom in and use the Polygonal
Lasso Tool to carefully go around the outlines within a
chosen part of the sketch until the lasso is closed. Use the
Gradient Tool within the space to shade it. As the walls are
created from white Corian and the floor is white resin, use
Fig .1 a mixture of white and light grey for the gradient (Fig.2). Fig .2

3) Insert lighting. Here, each strip of light has been taken

from the same existing jpeg image. Use the Polygonal Lasso
Tool to outline what is to be imported and drag it in to
the main image. Adjust each imported light slightly to
account for perspective and foreshortening. Once finished,
merge the lighting layers, duplicate the resulting layer and
flip it horizontally to create the mirrored strip (Fig.2).

4) Create a new layer called ‘ceiling’ underneath the lighting

layers. Use the Polygonal Lasso Tool to follow the lines
around the ceiling. Make a gradient and create a lighting
effect using the ‘Layer Styles’ function. Be sure to select
‘Omni’ and place the effect in the centre of the ceiling (Fig.2).

5) Padded cloth covers the partition wall - to create this,

source a suitable material from a photo, select the desired
area with the Lasso Tool and drag it in to the rendering (Fig.3).

6) The desk outlines have been drawn on the original

perspective sketch, but to create a more realistic aesthetic
the desks have been imported into the main image, dragged
to the correct area and distorted to make their position
Fig .3 look correct. The same applies to the office chairs (Fig.4).

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 As the floor is shiny, a reflection has been created by
duplicating desk and chair layers, flipping them vertically
and moving them down so they appear correct. Also, reduce
their opacity in order to make them appear more realistic.

7) Start to add finer detail such as text graphics. Either

import a graphic from the Internet or use the ‘T’ (text)
Tool in Photoshop. In order to place the text in the desired
location you will have to rotate it and move it on to the
pillar (Fig.4). To create the bold text seen in Fig. 4 make one
layer of text in one colour then duplicate it and darken it.
Place the layer containing the darker coloured text below
Fig .4 the other layer. The text will now appear ‘bold’. Fig .5

8) To make the black screen, create a new layer and make

a selection using the Rectangular Marquee Tool. Fill this
area with black. Then, go to ‘Edit > Transform > Perspective‘
to alter its shape and to make it fit in with the perspective
of the whole image. For an illusion of depth, duplicate the
layer, reduce its size and lower its opacity to 40% (Fig.5).

Next, create some text and choose ‘Layer > Type > Rasterize.’
This allows you to be able to play with its perspective as
in Fig.5 above. If the text gets too big, scale it down.

10) People are critical to the project and concept. Pictures

of people have been taken from the internet, selected
and filled with colour. Adding reflections makes the image
seem more dynamic and appealing (Fig.6).

11) If you feel the visual needs more definition, print the
final image and sketch over areas needing more attention.
Scan in the print and drag it into the rendering. Use the
Lasso Tool to select all the areas that have been sketched in to.
Once all the areas have been selected, inverse the selection
and delete anything outside of it. This leaves the original
Fig .6 rendering and only the few selected sketched areas (Fig.6).

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96
PRODUC T DESIGN TECHNOLOGY

97
COLIN WILSON - Tutor

Colin Wilson

Personal Information:
I am programme coordinator within the School of Design for BSc Product Design Technology
(PDT) and its sister course BSc Computer Aided Product Design which run concurrently,
as part of the portfolio of the School of Computing, Engineering and Information Sciences.
I look after the Design School’s module delivery.
Regarding student work, I very much like to see a story, a narrative running through a
project, one that gets them as close to a final solution as possible in the given time.
Tangents are great, but ultimately you must find a path which will lead you to a real practical
and innovative solution.

The PDT programme links together engineering, design and business. Students use tech-
nology such as rapid prototyping in order to create products and solutions. The objective
is to solve real life problems.
I began my working life serving an apprenticeship in fabrication and welding then moved
on to work in a variety of related fields, everything from the petrochemical industry to
the manufacture of stainless steel kitchens. I have also been involved in several businesses
revolving around design and fabrication; these include a company designing and manufacturing
leisure craft for inland waterways.
Engineering design can be really beautiful and fascinating, one of the most beautiful
objects being the blade of a wind turbine. Look in detail at one, its aesthetic serves a
purpose - the tension and curvature have been designed to allow it to achieve its full
potential. Simple machined parts also have a real aesthetic beauty.
Summing up what engineering design is all about in just three words - Materials,
Proportion and Comfort.

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ANTON BOWNESS - Graduate

David Pham (www.flickr.com/photos/shapeshift/)

Personal Information:
For me, the design world is always moving forward and no two days at work are ever the
same. I find this far better than the thought of a ‘regular 9 till 5’ job.
I also very much like the idea of there being a product on the market that I can look back
on and say, “That’s mine!” It would be even better if that product really helps people.
A teacher at school pointed me towards Northumbria University and I have never looked
back. PDT has given me a wide range of skills including computing and engineering and I
consider it to have helped me develop a real awareness of the complete design process.
I currently work at Thorn Lighting in Spennymoor as a Project Engineer. My role is to
design lighting which must fulfil briefs from external contractors or the internal marketing
team. Day to day, I communicate with a variety of industry specialists including clients,
suppliers, the shop floor team and am involved in a lot of project meetings.
Successful visualisations should really catch the eye and must be an effective translation
of your ideas. A good project results from achieving personal satisfaction, this is especially
true when you have really enjoyed the process. It is always great, too, when external
reviews are good and when the aim is to make people’s lives better.
Regarding my favourite designs: my love for Apple products began with the iPod and I
believe the iPhone is fantastic. The packaging is great and even the service from Apple is
superb. My best product to date has to be my final year project because of the circuitry
design. The best model and the most aesthetically pleasing design I have been responsible
for is a radio which utilises a Brembo brake disk. It’s a visually striking piece.

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TO M CO R N T H WA I T E - G r a d u a t e

Paul Gallo (www.flickr.com/photos/no3rdw/)

Personal Information:
At school I was a good all rounder, but I particularly liked art and physics. PDT is, I
suppose, the mean of the two! It’s great to come up with something that helps people and
makes a difference to their lives, especially if it’s a fun idea that was difficult to make.
I am currently involved in a Knowledge Transfer Partnership between Northumbria
University and InPipe Products, a company that produces pipeline maintenance tools and
equipment. Essentially I’m a consultant to the company, with the intention of developing
new product lines and embedding a new product development process within the firm.
In terms of visualisations, I think it’s essential to keep in mind the audience for whom the
communication was intended. Anyone should be able to understand the exact information
communicated by the visualisations very quickly. A picture really is worth a1000 words
and if the audience can read those ‘words’ in seconds then the visualisation becomes very
powerful!
I like to bring my personality in to the visualisations, incorporating things I find interesting.
I like to keep it a bit off-beat, fun and colourful.
I very much like Swatch watches. They’re extremely functional, thin, have no additional
features, are lightweight etc…Then there are the graphics. They’re lush! Real fun.
My best piece of design work was for the D&AD project in the final year of university. This
was a six week brief and is probably the only time I’ve been totally happy with a piece of
work. It was essentially a piece of visual communication, a product that had to work and
reflect a brand. All this had to be communicated in a normal amount of space. The product
itself was OK, but I loved the visualisation side.

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STEVEN BLAKEMORE - Graduate
Personal Information:
I come from The Wirral near Liverpool and first saw a future in design whilst studying for
my design and technology A-Level. I used a pram to make a push bike trailer and saw the
full process through, from ideation to manufacturing. The notion of the full design process
is why I chose to apply to PDT rather than any other design course. Studying PDT allowed
me to see ‘why’ and ‘how’ things work.
I’m a Design Engineer for Hi Spec Buckets. We design and manufacture excavator buckets
and attachments and deal a lot with Swedish Steel. My role involves communicating with
clients and visualisation of their briefs. Often when they come to us, they are ‘uncertain
of what they really want’, but this is OK as our products are bespoke or tailor-made. The
communication aspect is therefore very important. I provide drawings, manufacturing
notes and the final design.
My inspiration really comes from my parents. My mother is a teacher and my father a
policeman. They are really very hard working people.
I’m very interested in the innovation aspect of design and very much like to keep up with
advancements in technology. Currently, I really like the mountain bike produced by a
company called GoCycle (check out www.gocycle.com). It has an electric motor which
allows you to travel at 10-12 Km/Hr without pedalling and has a very specialised method
of manufacture.
My favourite work so far has to be a dredging bucket which is now used in Australia. It’s
pictured above in action.
101
NICOLA HALL - Student

Personal Information:
I have always loved design and technology subjects and love being hands-on and being
creative. I followed different paths and ended up taking an A-Level in systems & controls.
I assumed that this, along with my interest in maths, would lead me to study Mechanical
Engineering at university, but luckily I was introduced by one of my teachers to Product
Design Technology. This was an opportunity to look at all areas of product design -
making things look good, marketing and full functionality.
I like to design for the current market. Fashions and trends seem to influence my designs
as I like to know what the next big thing is going to be. I always look at products that
work well and try to improve them. I really feel that everything can be bettered.
words just added and keep going and going. Sometimes I’ll add a little doodle or a clipping
from a magazine. I also like to follow this process whenever I reach a dead end or need
a boost. It gives me a chance to think from a different angle and sometimes points out
something that has been there in front of me all along.
I like to picture something to be fully satisfied that I am going with the right options. This
isn’t always possible with sketches and CAD, so I make a lot of ‘quick and simple’ models
out of a range of materials, whatever is available and will do the job. To actually hold and
feel what you are designing makes a big difference and helps with decision-making.

I like to begin a project by ‘brainstorming’. I start with a blank sheet of paper and some
pens. In the middle of the page I write down what I’m working on and then start adding
things to the page that come from the word in the centre, then things that come from the

102
Project:
Almost half of carbon dioxide emissions come from energy ordinary people use every This device can be used in connection with a number of different appliances, is user
day - at home and when we travel. By thinking about sustainable activities such as saving friendly and actually breaks information down so that the user will be able to understand,
energy we can all help prevent climate change. reflect and act up on it.

The UK has committed to reducing carbon dioxide emissions by 20% by the year 2010
and seeks a 60% reduction by 2050. There are a number of initiatives that have been set
up to help meet these objectives, these include the Energy Efficiency Commitment and
the Climate Change Levy amongst others.

The aim of this project is to help make home owners aware of just how much electricity
is wasted every day. Customers can then use this information to educate the younger
generation to the potential issues inherent in seemingly trivial and innocent activities like
leaving the television on ‘standby’.

103
104
Feedback from Colin Wilson
A great project in that it was undertaken for a valid reason - educating
children. It shows a really high level of exploration. At times this was a
really frustrating project as the ‘form’ didn’t matter for two-thirds of it.
Really, the electronic components were the fundamental part and form
really did follow function. Nicola has gone from sketching to a
photorealistic SolidWorks rendered model. Her level of expertise is
outstanding and this, in many ways, is a fully functioning product. All it
now needs is for someone to come in and invest in it as a commercial
venture.

Feedback from Anton Bowness

This project really shows a wide range of design skills. The use of Solid-
Works to produce a 3D Model, then Photoshop to enhance the visuals
all combine to form an eye-catching result. The product has commercial
possibilities as it is linked to energy awareness - a big topic in today’s
world. People may choose to buy it to help them save money. It also
stands out as it can be used to educate children, either at school or at
home - a good example for any designer as it shows how global issues
can influence product design and function. This project is also a great
example of ‘thinking outside the box.’

Feedback from Tom Cornthwaite

Nicola seems more inclined towards the engineering side, but her
ideation is very open and reflective of the design influence within PDT.
Good to see finite element analysis being used as it is simple to run
once there is a CAD model and gives a good indication of the product’s
physical capabilities. It also adds a lot of value: CAD models are not only
used for defining manufacturing requirements but also for photo-realistic
presentations and stress analysis - working like this in industry saves time.
Environmental issues are very contemporary and Nicola offers a practical
means of monitoring energy usage.

Feedback from Steven Blakemore

Nicola has a considered approach to her design work and the finite element
analysis of the design shows that she is willing to look at possible optimisation
of her designs. This is something that is very important within industry as
it can cut down on costs and produce a more complete product. The ‘Eco
Pad’ is a brilliant concept and could prove very useful both for potential
customers’ finances and also the environment.
105
NICOLA HALL - Tutor ial

Fig .1 Fig .2 Fig .3

This tutorial describes how to make the case for my

product in the 3D CAD package SolidWorks.

1) Sketch the outline required and extrude to the maximum

height needed at any point (Fig.1).

2) Fillet the top edge to give a more desirable top surface

shape (Fig.2).

3) The internal face of the shell. This is where electronics

etc will sit. Ensure the wall is thick enough to retain the
strength of the shell but not too thick as this will result in
excess material being used (Fig.3).

4) Cut out the areas where the buttons and screen will sit
(Fig.4). Ensure enough clearance is left - the location of each
cut-out must match the location of the buttons. These in
turn will sit on the printed circuit board (PCB) inside.

5) Create a rim in the inside edge of the shell wall (Fig.4).

This will allow the top and bottom shell to fit together
nicely and will provide a part line that is pleasing to the eye.
Fig .4

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Fig .5 Fig .6 Fig .7

6) Attention to detail is very important. Chamfer the

edge surrounding the LCD screen - this creates a nice
frame effect. Also fillet the button holes to give a softer
edge (Fig.5).

7) Add posts to the area where the screen and its microchip
will be secured (Fig.6). Take care to ensure the height of
these allows the screen to sit flush on its ‘opening’ in the
top shell and so the chip can be placed far enough down
so that it doesn’t interfere with the buttons.

8) Add some ribs to help support the screen, buttons and

PCB (Fig.7). Ribs also add a great deal of strength to the
area surrounding the posts.

9) Add the posts needed to hold the PCB in place. The

shell now contains enough material to hold all the buttons
and electronics in place (Fig.7). Some of the posts pictured
will serve to secure the front shell to the back the shell.

10) The finished front shell (Fig.8).

Fig .8

107
J O S H WA S S E R M A N - S t u d e n t
Personal Information:
As far back as I can remember I have been intrigued by the way things work. I was always
opening up calculators and toys and was, and still am, really in to cars, planes and especially
motorbikes; I dream of owning a Triumph or an old Royal Enfield.
At school, design wasn’t recognised as a major subject, but it was the only thing I enjoyed.
I had become disillusioned with education and decided to become an entrepreneur, but
after a year of trying and not succeeding I decided to go to university to study the only
thing I ever liked.
Arriving at Northumbria University to study PDT was a real shock to the system as lots
of my mates (who were studying non-design subjects) were attending 7 hours of lectures a
week where as I was on 22! Despite this and the numerous deadlines, I have still managed
to go out and enjoy myself.
108
After 2 years of study, we were given the option of continuing through to the final year or
taking a year’s internship. I opted for the latter and found a place at Suck UK in London.
During this time I gained a thorough understanding of design business flow from stocktaking,
to design, through to company management. Initially I was placed in the stock room but
soon progressed to working alongside the designers. From this I moved on to attending
product direction meetings and finally got the opportunity to sit in with the company
officers.
During this year I polished my SolidWorks, Photoshop and Illustrator skills and honed
my model-making abilities. It was a really valuable time as I gained strong team-working
skills and bonded well with the other interns. We are all still really close and are in regular
contact.
Project:
Allergic disease in the UK is a really serious problem. Currently the UK has the highest
rate of asthma in the world, 20 times higher than in Indonesia for example. Anaphylaxis
has also shown an increase, with more people being severely allergic to products such as
nuts, milk and shellfish (just to name a few).
Anaphylaxis is a potentially lethal condition and must be treated quickly, often by
untrained people using an auto-injector filled with adrenaline. Currently there is not an
auto-injector with the correct dosage of adrenaline for people weighing up to 15kg, most
2 year old children are 15kg. Cases of anaphylaxis are rising and it has become common-
place for children as young as 18 months to become allergic to dairy products.
Anaphylaxis can lead to systemic vasodilation (associated with a sudden drop in blood
pressure) and oedema of bronchial mucosa (resulting in bronchoconstriction and difficulty
breathing). In a situation where a person is in anaphylactic shock, the adrenaline is used
to constrict blood vessels and help stimulate the heart thereby raising blood pressure and
opening up the person’s airways. This allows them to breathe.
This project researches the function and features of current auto-injectors from a critical
point of view as well as what the requirements are for an auto-injector, for example
needle size, correct dosage and material constraints.
The project also looks into the psychological aspects concerning needles and needle phobia.
User feedback was utilised to gain commercial knowledge of what was needed from the
design, the outcome being something intuitive to use, small and attractive.
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110
Feedback from Colin Wilson
Josh’s project is, in my eyes, probably the most worthy project ever
undertaken on PDT - it literally is a matter of life or death. The existing
solution to the problem originates from Vietnam War theatre conditions;
the fact that you have to stab your young child is very stressful - these
conditions must be particularly alarming for a parent of a young child.
Josh’s product is far more intuitive and being pen-like, the child does not
see a needle coming towards it. From sketch work to animated CAD
models through to a working prototype, the project has been fully
explored. It is a working product and shows a fantastic skill base.

Feedback from Anton Bowness

Josh has shown a wide range of skills: precision, accuracy and style in his
computer work and his sketch work. He has worked in great depth and
has achieved a potentially life changing and life saving solution and from
what I have read I see a potential market for his product. The engineering
is of a very high standard - you could almost guarantee that a manufacturer
could produce a working prototype from the drawings. It would have to
go through rigorous testing as it couldn’t fail in any way as someone’s life
could be at risk. If anyone wants to see a benchmark project then this is a
good starting point. It really shows what can be achieved.

Feedback from Tom Cornthwaite

This project is very well rounded and shows PDT at its best. Josh has
obviously given consideration to human factors such as semantics and
aesthetics and has dealt with a difficult problem in a sensitive way. Also,
Josh has really considered how the product will work and how it will be
manufactured. It’s nice to see a degree-level project dealing with difficult
issues as it makes the solutions seem real. It could be taken before an
investor and you could imagine someone actually taking it on board such
is the depth of thought and realisation. Josh has taken this project from
conception to full realisation.
Feedback from Steven Blakemore
Josh makes very clear and concise design work look easy! The design
concept and level of finishing is of a very high standard. The project
explores a serious issue which is becoming more and more evident in the
UK. As well as the product looking slick and professional there is a real
need to complete the project and bring about the best solution possible.
Everything is presented at a high level and Josh shows great CAD and
drawing skills. The product has good commercial prospects and through
development could potentially be successful.
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J O S H WA S S E R M A N - Tu t o r i a l

This tutorial shows how a

retractable needle mechanism
works.

1) View of Needle Mechanism.

2.) The buttons (green) are

squeezed to release the spring.

3) The spring forces the

plunger rod (grey) forward,
along with the syringe which is
connected to it via the plunger
(red).

112
4) The syringe reaches its limit
of travel (when the luer-lock
reaches the needle guide) but
the plunger rod continues
to move forward with the
plunger, delivering the dose.

5) After delivering the dose,

the plunger rod continues
under the force of the spring,
forcing the plunger and needle
sheath against the blade (yellow).

6.) When the blade has severed

the plunger and needle sheath,
a smaller spring is then released,
pushing the severed sections
of the plunger and needle
sheath backwards down the
barrel. The needle sheath is
attached to the needle...

113
E LT O N WA N G - S t u d e n t

Personal Information:
I’m a PDT student from Singapore and previously I was an Army Officer. This is my second
undergraduate degree - I have already received a diploma (with Merit) in Mechanical
Engineering from Singapore Polytechnic. Studying PDT has helped me develop my interests
in design as well as in engineering.
As a child, I enjoyed disassembling things just to see what was on the inside and loved the
challenge of working out where all the parts went when putting everything back together.
My favourite toys included mini 4WD racers, R/C model boats and an R/C model helicopter.
These helped me steadily acquire a knowledge of the design of mechanisms.
When I grew older I began to work as a part-time product design assistant in my father’s
manufacturing company. My duties included helping clients change and improve the design
of some of their existing plastic products. Through this experience I gained the basic skills
needed for sketching and designing a product.
I personally think that to be a successful product designer a person must be socially
responsible and should be able to capture market trends. These skills require a strong
knowledge of engineering, manufacturing and industrial design.
When designing, I always keep one thing in mind - a ‘Wow!’ factor. It’s a feeling of
excitement that language can not really describe. For me, this feeling is instinctive and
subjective and I try to make sure my designs have more ‘Wow!’ than existing products.
Design research has also become very important for me as it helps me maximize the
value of a design. This sometimes takes up too much of my time and I am sometimes at
risk of missing deadlines! Therefore, time management has become especially important
to me too.

114
Project:
This lighting design project focused on shape and material rather than on the internal
components. The aim is to create an innovative and unique lighting unit that produces a
comforting and elegant feel for most of our homes at an affordable retail price.
Target customers are middle-income earners in large urban areas between the ages of 25
and 40. They could be a 25 years old single product designer or a 35 year old bank manager
with two young children. What bonds them is a small to medium disposable income to
make their small to medium living space more stylish. As a result, the design aims to fulfil
the requirement of this range of people.
The design is only for home use as domestic lighting presents a larger range of possible
usable materials and a wider range of shapes for concept generation. The style aims to be
clean, simple and slightly quirky.
The design will use environmentally safe materials. However, the material must be tough
and strong enough to withstand the operating temperature and have sufficient strength
for longevity.
In order to differentiate my design from similar products that may already be on the market,
the emphasis is on its features and the creative use of light. Other key aspects of the
project include keeping the cost of materials down and finding the simplest way of
manufacturing the product.
The overall aim is to produce a good quality product which gives a branded image to the
consumer.
115
116
Feedback from Colin Wilson
Elton, coming from Singapore, brings a real cultural leaning to the programme.
Instead of ignoring his background, he explores issues which are very
relevant to his culture and how it operates. Everything that Elton does is
extremely thorough. Being midway through his studies, he is still exploring
and hasn’t yet found a definitive style. This is a great thing as Elton is
doing exactly what we encourage him to do in order to emerge as a
very talented individual. In this project there is room for improvement,
for example in the level of CAD modelling, and I am sure he will have
addressed this by the time he begins his final major project.

Feedback from Anton Bowness

I dont know Elton as well as I know Josh and Nicola, but as a fellow
designer I can see he works at a very high level - he shows excellent free
hand sketching and professional presentational skills. The level of research
is of a high standard and that influences the final concept which, as you
can see, has been designed well. Elton shows a flare for new designs -
ones which people would associate with a current product. This will get
him far in companies that are trying to be innotative with products that
they design and eventually make.

Feedback from Tom Cornthwaite

This project is one that all PDT students have to undertake at some
point. It’s an opportunity to create a simple yet striking working product
and the chance to design something special. Elton’s presentation, from
sketches to CAD renders, is a treat, as are the photos of the finished
product. Often in design courses you only see the end result mocked-up
so seeing a working product is great. I like the use of patterns as it makes
the end product look genuinely ‘off the shelf’ and makes an otherwise
simple shape look like a legitimate and well executed design. It also plays
with the light itself quite nicely and provides an interesting contrast.

Feedback from Steven Blakemore

Elton has a contemporary style to his design work which stands him in
good stead for the future. His CAD skills are of a high standard and the
renderings of his designs represent his ideas perfectly. Many employers
look for this level of skill with CAD and it bodes well for his future. Elton
has created a unique product that shows his individuality and his flair for
design. So long as Elton continues to develop and improve his skills, there
will be a bright future in design for him.
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E LT O N WA N G - T u t o r i a l

Fig.1 Fig.2

This tutorial shows how to assemble components using the 3D

CAD program SolidWorks.

1) After making individual components it will often be necessary

to assemble them. In this way you can visualise the ‘finished’
product.

Open a new file and go to ‘Insert’ and click ‘Insert Component’

(Fig.1).

Open the parts which need to be assembled (Fig.2).

2) Click the ‘Mate’ icon in the left-hand toolbar (Fig.3).

Fig.3

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Fig.4 Fig.5

3) During the alignment of these two components the sides

of the cylinders of each component ‘slide together’, so the
next step is to select them. Then select ‘Concentric’ and click
on the ‘Tick’ icon (Fig.4). The two components will now be
positioned ready for assembly to be initiated.

4) Select the ends of the cylinders of each component

(Fig.5) - these will now become aligned together.

5) The assembled components (Fig.6). Make sure you save

the file and repeat the same steps for the remaining parts
you wish to assemble.

Fig.6

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THREE DIMENSIONAL DESIGN:
FURNITURE & PRODUCT

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ANDY TENNANT - Tutor
Seton Wakenshaw
Personal Information:
Prior to my career in design education I was employed in a number of different roles
which, though varied, all had outputs of a visual nature - engineering, design for print, the
design and communication of large scale urban regeneration schemes.
Upon returning to education as a mature student, I graduated from the programme with
which I am now primarily associated - 3D Design: Furniture and Product, although the last
twelve months have seen me also become engaged with both teaching and project
supervision for a number of the School’s postgraduate students.
With regard to the 3D programme, the predominant mode of learning is via practice then
reflection upon that activity. From day one, undergraduates are encouraged to develop,
define and construct their own understandings of, and approach to, their chosen subject
matter. The intention being that they migrate from education to professional practice
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with a personal skill set and knowledge base that is marked by it’s contemporaneous and
relevant nature.
My approach to the specifics of teaching visual communication is to encourage each
individual to develop informed views of their environs be they physical, social or cultural.
Allied to this are a series of assignments and exercises which introduce students to, and
help them to cultivate, a number of diverse methods, techniques and approaches with the
long term objective of establishing their own modes of visual expression.
With regard to inspirational figures from the oft interwoven worlds of design and visual
culture I will, for brevity’s sake, restrict myself to the following - Aldo Rossi, Herb Lubalin,
Charles and Ray Eames, Jasper Johns and Patrick Caulfield. Though if you ask me again
tomorrow, I’ll probably give you a different list…
MAX LAMB - Graduate
Personal Information:
Growing up in Cornwall, I spent the majority of my childhood outdoors - be it on the
beach, climbing over rocks or in the woods. We also made camps and explored the china
clay pits and disused clay-drying warehouses up in the hills above St. Austell. Added to this
I also helped out with farming, building and maintenance jobs at my grandpa’s farm.
All this had a huge influence on my interests at school and when it came to deciding what
to study at university, 3D Design was a natural choice. At school I had already made a
molded plywood chair, a solid mahogany occasional table and objects such as a copper
wind vane and a turned beech wood bowl. I had become fascinated by the possibility of
making functional objects by myself using basic raw materials and simple tools.
I am self-employed and design and make furniture. I run the whole business myself -
research, design, sourcing, making, manufacture, exhibitions, accounting/business,
photography, press material etc…etc. I work on a very personal level with manufacturers,
clients, galleries, the media and the public alike - I feel this helps immensely in building
strong and long-lasting relationships with the design industry.
Communication is one of the most important points to consider when developing a new
project. Recently, my work has been as much about communication of my explorations
as the explorations themselves. The quality and longevity of the relationships between
objects and people depend almost entirely upon a person’s engagement with and
understanding of the object. The communication process lets people into a secret and
hopefully captivates them.
One of my favourite designs is the ‘Superleggera’ chair designed by Gio Ponti in 1957 and
produced by Cassina. It combines an overall classical style with ultra-modern detailing such
as the tapered triangular section legs and super-thin cross supports. It demonstrates a
modern and very efficient use of traditional materials. It hasn’t been superseded since 1957!
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D A N I E L B AT TA G L I A - G r a d u a t e
Personal Information:
I am fascinated by how design has such an extensive influence in everyday life and by how
it affects people’s feelings and emotions. I love creating with my hands and 3D Design lets
me manufacture my concepts. Studying furniture design allowed me to investigate new
techniques and has given me the chance to develop and focus on genuine passions, be
they bespoke concrete castings of reclaimed chairs or computer aided manufacturing of
aluminium stools. Design is really about creating ‘solutions’ to ‘problems’.
After graduating I joined Colour: Urban Design Limited, an innovative design-led
landscape architecture practice based in Newcastle. We’re driven by design excellence,
environmental ethics, social responsibility and commerce and we transform urban decay
within city centres and parks. We’ve participated in various projects including the design
development for the Herschel Quadrangle in Newcastle. The work has proven to be very
important in understanding the interworking of the design industry. I also continue to
develop my furniture range and work on various commissions (www.danielbattaglia.co.uk).
124
Communication of an idea can be hugely important when selling an idea to a client. Pitches
can often be won or lost through this. For me it is vital to keep presentation boards
simple - various views of the product dynamic and just enough colour to show enough
information for it to be self-explanatory. Visual styles and detailing should be relative to
the design stage and tell a progressive story of design evolution. The use of both 2D and
3D software has been vital to every project I’ve worked on as form and proportions can
easily be adjusted. CAD visualisations make a concept easily understandable to clients.
Successful projects come about through dedication, original creative thinking and a clear,
concise brief. Inspiration is very important and being excited by what you’re intending to
do is critical. Research should be rigorous and constructive and can take numerous directions.
Options should be explored initially, then summarised and evaluated. Understanding the
context before designing is the cornerstone of any successful design process.
DAV I D I R W I N - G r a d u a t e

Personal Information:
I am a graduate of the Three Dimensional Design programme and a current Designer in My favourite piece of design would be the wishbone chair by Hans Wegner, a beautifully
Residence within the School of Design. simple, considered construction.

I have been spending the last 2 years developing my own furniture brand ‘David J Irwin’, I feel that my best piece of design to date would be the JED lounge chair (pictured above).
whilst also producing pieces on commission as well as working on other projects relating It started as a final year project while studying 3D Design and after a lot of development
to the project management and design of exhibitions. it is now being sold at Habitat stores across the country.

From an early age I have had a fascination with making things, be it Lego or messing
around in my dad’s little woodwork shop. So I think my love for design probably all
stemmed from there.

I believe that successful visualisations and a successful project stem from the clear
demonstration of a thought process with specific consideration to the fundamentals of
the idea.

125
ALEXANDRA TINNING - Student
Personal Information:
Before I began studying at Northumbria University I worked for the Labour Party as a
data technician. The job consisted of the same thing day in, day out. It was this job which
made me realise I wanted employment which could allow me to be creative.
I am not really influenced by any specific designers but more by design from past eras. I
love design which addresses cultural issues and this is why I particularly like design from
the 1950s. When I am designing, the most important thing for me is to have an interesting
story which links the aesthetics to the reasons for producing the design.
I don’t feel confident producing slick, aesthetically pleasing, well-proportioned designs.
I find it difficult to think of new formations and so I focus most of my attention on the
thought behind the design.
126
I believe 1950s furniture has enjoyed a long lifespan of popularity. It continues to go in
and out of fashion and introduces itself to a new audience each time it returns to popular
culture.
I feel that the reason behind the initial success of the 1950s contemporary style was the
thought behind the style of furniture. Designers solved cultural problems. For example,
cabinets had to be low to divide rooms. Mirrors could be bought to make cabinets into
dressing tables. The simplicity meant they could be machined unlike in previous decades.
The light, airy look was completely opposite to the dark, heavy furniture of the pre-war
era and represented a transition to an exciting, optimistic future.
Project:
The brief for this project was to design and produce a new piece or pieces of furniture On reflection divorce appears to create many other social problems such as antisocial
which embrace the 1950s contemporary core values of manufacture and materials of behaviour and crime. It is because of this ripple effect that I decided to base my project
longevity, whilst designing with contemporary social issues in mind. around this major social issue. For thousands of years, the roles of men and women were
clearly defined, however with the freedom of change seen in the last 50 years has come
The aim of my project is to celebrate 1950s design and address issues which are important uncertainty. What do men and women now expect from each other?
to people today i.e. individuality, greed, wasteful attitude and vanity. Through this it is
possible to enhance people’s lives whether on a practical or spiritual level. This change in society has most definitely contributed to the vast rise in the incidence of
divorce: from 33,000 in 1950 to 1,141,000 in the year 2000.
Changes in society from 1950 to 2008 have heavily influenced my design ideas. To design
for today it is important to look back in time to gain a perspective on what the real
problems of our culture are. Divorce, consumption, changing roles, political correctness,
vanity and individuality are all modern day cultural problems.

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128
Feedback from Andy Tennant
Alex first came to my attention due to the work she was producing
for a first year visual communication module - refreshingly different in
terms of style, thoroughly engaging with regard to content and always
celebrated via first class production values. As she progressed through
the programme she has maintained these qualities whilst developing an
increasingly sophisticated understanding of contemporary design and
culture which no doubt informed her subsequent responses to design
briefs. Of equal merit is Alex’s dedication, good humour and her
willingness to support her programme of study at every opportunity.
Feedback from Max Lamb
I’m very happy to see that brainstorming of ideas is still being used and
Alex shows a great example of this process. Words can often have as much
importance and meaning in developing concepts as drawings, especially
when establishing context for a new project. Alex also demonstrates an
interesting sociological and cultural awareness, which I admire when so many
designers care more for the ‘look’ of the objects they design than their
socio-cultural significance. It is also fascinating to see the development of
Alex’s ideas in three dimensions with the use of scale maquettes and pro-
duction photographs, clearly showing the design and realisation process.
Feedback from Daniel Battaglia
I feel incorporating social problems and issues into furniture could
possibly form a negative, unwelcoming experience, but with this more
delicate approach it has created a piece to contemplate and be intrigued
by. The overall approach of the project shows a systematic process in
which knowledge and understanding of the design process has been
revealed, with an array of experimentation into proportions, detailing
and material selection. A final clean and crisp visual clearly conveys the
product’s appearance and values.
Feedback from David Irwin
Alex’s initial visuals reflect her ideological based approach to design. Her
analysis of current cultural issues coupled with her passion for 1950s
furniture spawns sketches which are conceptual and communicate ideas
rather than form and structure. She then makes a transition to producing
sketch models and 1:1 mock ups. The application of her ideas in to 3D
form provides a sense of scale and proportion as well as other information
unattainable through 2D development. It is often the case that things
simply can’t be drawn, they must be made, seen and felt in real
dimensions and real materials.
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ALEXANDR A TINNING - Tutor ial
This tutorial describes how to remove a background from
a photograph using Adobe Photoshop.

1) Open Adobe Photoshop

2) Go to: ‘File > Open’.

3) Select the image you want to work on, I am going to use

an image named ‘DSC00372’. Click ‘Open’ (Fig.1).

4) Now look at the Layers Toolbox situated on the right

hand side of the screen. Drag the ‘Background’ icon on to
Fig.1 the ‘New Layers’ icon. You now have a duplicate layer (Fig.2). Fig.2

5) If you click the ‘Eye’ on the Background Copy it will

hide that layer until we need it. We can now work on the
original Background Layer.

6) Make sure the Background Layer is highlighted and

select the Brush Tool from the left hand Tools menu (you
can change the colour of the brush by double-clicking
the coloured boxes at the bottom of the tool menu. This
leads to a colour picker menu). Choose a white brush and
colour the whole page in. This effectively erases the first
image leaving you with a blank canvas (Fig.3).

7) Go back to the Layers menu and click the Background

Copy ‘Eye’ and the layer image will reappear. Make sure
the Background Copy layer is selected so we can now
work on it.

8) Select the Polygonal Lasso Tool from the Tools menu.

This tool allows you to draw around an object using a
series of straight lines.

Fig.3

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 9) Draw around the object you want to cut out (Fig.4). You
can do this roughly for now and can revisit areas after the
bulk of the object has been selected (see step 13).

10) Once you have drawn all around the object, go to

‘Select > Inverse’. This means that the area you have just
drawn around is no longer selected. Instead the area
around the product is now selected.

11) Press the Delete key on your keyboard. The area

around your product should now be deleted.

Fig.4 12) Now you can revisit areas which need to be tidied Fig.5

up. Zoom in and select the Polygonal Lasso Tool again in

order to delete areas that you may have missed.

13) To cut out the radiused areas, use the Elliptical

Marquee Tool to form a shape which can be used as a
template. Once happy with your shape, press the Delete
key once again to erase everything inside it (Fig.5).

14) You should now have an object which is cut out and
has a plain background. We can now add a slight shadow
to the image. Right-click on the Background Copy layer
icon within the Layers menu.

15) You will now have the ‘Layer Style’ menu in front of
you. Click on the ‘Drop Shadow’ option.

16) You can alter all of the dials to achieve the type of
shadow you would like. Getting your perfect shadow requires
plenty of practice in order to explore the different options
available to you.

17) You should now have a professional looking cut out

Fig.6 image (Fig.6).

131
PHIL LUSCOMBE - Student
Personal Information:
I find it useful to make the distinction between an idea and a drawing. My influence on
this approach is Andy Tennant of Northumbria University. An ‘idea’ is in your head and
can be developed, changed or disregarded. A ‘drawing’ (with regards to design practice)
is a means of recording an idea, to remind yourself of it later or to communicate it to
someone else.
This has helped me to see drawing as a means to an end rather than an end in itself,
something I find useful at the start of a project, when generating initial ideas. Because the
drawing isn’t the idea, it doesn’t matter if it isn’t perfectly resolved or entirely legible. And,
because an idea can be changed or disregarded, you do not need to be convinced of its
value before, or even after, recording it through drawing.
Remembering this makes the process of idea generation quicker, more spontaneous
and hopefully more productive. It also removes the fear of drawing a bad idea because,
132
if someone were to point at a sketch you’re no longer proud of and ask, “What’s this
idea?” You could reply, “that’s not an idea, it’s just a drawing of an old idea that I no longer
consider to be very good.”
I think it’s better to spend 30 seconds drawing an idea that I’ll never use than five minutes
drawing the same thing but bigger. I try to keep in mind that these sketch sheets are for
my own use, rather than for the benefit of anyone else.
When resolving ideas, I’ll do further drawings to work out more thoroughly how they
might work as real objects. Also, I use CAD software to apply real dimensions and change
things quickly. A drawback of this approach is that I rarely think to record the decisions
made during this process and don’t have anything to look back on to remind myself of
why something is designed the way it is. Alongside working in CAD I like to prototype
things in real life.
Project:
For my final major project I have designed objects for a fictional museum exhibition of
the future. Here I have shown the development of one of these objects, the Kinderlite®
Campfire Starter Kit for the year 2018.
Futurologists, novelists and film-makers extrapolate data, trends and technologies to
create their own futuristic worlds that serve to confront people with what society might
become. These worlds excite and entertain and have the power to influence opinion.
However, rather than giving us a fuller understanding of the future, these imagined worlds
more often serve to illuminate contemporary culture by portraying its hopes, fears and
ideals.
In the same way that good science fiction can make imagined futures seem like destined
realities, museum exhibitions showing artefacts from the past can evoke a sense of bygone
civilisations. Displaying the tools of these civilisations as points of reference gives life to
the exhibits and helps us imagine how people interacted with their environment and
one another. As a result of this, these civilisations can be described and judged by their
design.
My idea was to create a museum exhibition set in 2050 that focuses on the design of
2008 – 2038, and to design the products, objects and ephemera to be exhibited. I aimed
to consider the problems that designers might address during this period by extrapolating
current trends and investigating scientific predictions.
I started by imagining case studies of the people and businesses that may exist in the future
and also by writing future news reports. Then I began to create a world for which to design.
All this allowed me to consider the context for which I was designing and the problems
that might need addressing. The overall aim is to ensure the exhibition is engaging and
entertaining whilst arousing debate amongst the audience.
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134
Feedback from Andy Tennant
From an early stage, myself and colleagues realised that Phil would
produce design work that would demand attention and stimulate debate.
However little did we realise that he would communicate his ideas in
both two and three dimensions with such a high degree of innovation
and skill. With regard to his visual communication abilities and specifically
his design sketches, Phil quickly realised that sketching for 3D designers
is primarily a means to an end. Accordingly, he has developed a style that
is highly personal, fluid and engagingly informative and is now executed
with such aplomb that it has become worthy of investigation as a design
outcome in itself.
Feedback from Max Lamb
Phil has not only designed objects for a particular context, but has
designed the context itself. The result is a conceptually rigorous project
that is set in the future, yet suggests a surprisingly high degree of
primitivism. I’d be interested to see who would use the Kinderlite
Campfire, where it would be used and when? But the future looks good.
How to begin a new project is the first and biggest hurdle, but Phil has
provided the answer - just start drawing, be it pen on paper or chalk on
slate. Getting ideas out of one’s head is sound advice.
Feedback from Daniel Battaglia
Overall, the sketch ideas and concept models have fantastic, intriguing
and unfamiliar qualities which consequently draw even more attention
to the product. I feel that creating this level of curiosity is what every
product wishes it can do. The design of the net shows the complexity
and thoroughness the project has been through in order to achieve the
product’s outcome. It has a striking, refreshing appearance with its
multifaceted core and the use of natural materials, followed by
considered graphics and a simple but refined visual.
Feedback from David Irwin
Phil’s approach to initial sketching takes on a different form of commu-
nication to most. Instead of focusing on the progression or detailing of a
product he depicts his journey of lateral thought through a culmination
of ideas. He seems to be an advocate of the ethos that to have a good
idea you must first have lots of ideas. Although he states the sketches
are more for his own benefit, from an outside perspective you can gain
an insight into his thinking no matter how sinister, or surreal it may be,
allowing you to apply your own translation to his pictorial development.
135
PHIL LUSCOMBE - Tutor ial

136
A step-by-step guide to drawing ideas:
1) Ensure you have the correct materials - one A3 layout pad and one Pilot V5 black pen
are the essentials. Other helpful items include a drink (I like water, coffee, JSO or sloe
gin) and music that is already familiar to you (it distracts less than a new tune).
2) Open the layout pad on a fresh page and slide under it a sheet to save the pages
below, I like to use black sugar paper for this purpose. Layout paper is good because it’s
smooth and translucent. This means your pen will work well on it and you can trace
things if needs be.
3) It might help to begin by copying the brief in to the top left-hand corner of the page. I
like to labour over this, often trying to replicate the typeface used in the brief by hand, as
a way of warming up the wrist.
4) At this stage, the direction you take will be steered by the brief. I would suggest drawing
anything at all, just so the page is no longer blank. For example, if the brief is about using
a certain material it might be good to draw lots of things already made from that material.
Or maybe you could start by ‘drawing’ the brief using pictograms to get going.
Remember, the drawings aren’t ideas so it doesn’t really matter what you draw, so long
as it helps the process.
5) If you find yourself day-dreaming just slap yourself about a bit and get on with it.
You’ll always regret having messed around in the early stages of a project so it’s best to
try to minimise the time wasted.
6) Having said this, it’s very rare you can finish a project in one sitting so if it really isn’t
happening then it’s time for a break. I like to visit art galleries, read design journals, travel,
make sculpture, play the flute and write to my pen friends during breaks.
7) Unless you’ll be presenting the ideas to someone you really want to impress, there is
little point in colouring in your initial sketch sheets. Remember, you have chosen to study
design, not geography.
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C H R I S PAT O N - S t u d e n t

Personal Information:
After finishing my A-Levels at sixth form college, I moved on to a Foundation Course in
Art and Design at Newcastle College. Then I came to study at Northumbria University
and chose to specialise in Furniture Design. I grew up in the countryside in Northumberland
and have spent all my life surrounded by nature and find it very inspiring.
Many of my influences and much of my enthusiasm for design originates from growing up
in an environment where my family owned a construction company. From a young age I
was always surrounded by drawings, materials and architecture - it was a way of life for
me and I quickly developed an absolute fascination for it.
As a young designer, I’m aware of many things I feel I need to improve on, one being having
more confidence in my own work. The uncertainty of whether your design will be liked by
others is something that I think you learn to cope with through experience.
As a person, I always try to achieve perfection in everything I do. This in the past has led
to me spending too much time on any one area of the design process, lessening the time
available for other areas. Although I have improved my management in this area, I still feel
there is great room for improvement.

My drawing style is directly influenced by much of what I have grown up experiencing. It varies
throughout the course of any project but is always quite technically based. I take great inspira-
tion from simple clean-lined architecture and many of the commercial Italian furniture and
product manufacturers. I find enjoyment in subtle design detail and the simplest of forms.

138
Project:
The primary objective was to alter the public’s perception of EPS, a ‘throwaway’ material
usually associated with packaging. For me, EPS was always a construction material, used to
insulate buildings against thermal conductivity and sound transfer, so breaking the stigma
attached to the material was crucial.
I generated initial ideas through exploratory sketches that could potentially create everyday
products. I initially drafted a collection of ideas using a 0.1 technical drawing pen on layout
paper. The smoothness of the paper and flow of the ink allows for faster recording of
ideas.
After a while, I started to focus on a few ideas which I thought had potential. Getting
the detail, proportions and potential problems ironed out is crucial to the way I work
and this relates to the way I draw. I often start by working on the proportions and lines
of a product, I begin by drawing an object in 2D plan views, then move on to 1or 2 point
perspective which allows me to record the product as I see it in my head. I never use
much colour as it takes too much time. Instead I prefer to add splashes of maybe 2 bright
colours that add just enough depth and detail to the drawing without overcomplicating
the visual. This allows me to maintain cohesion throughout all my development work. I
then tend to go back to drawing plan and isometric views of specific areas, this gives me
the opportunity to work on details and potential problems that may arise in production.
After developing each idea, I chose to focus on one, the EPS Urban Planter, a potential
solution to growing a garden within a small space such as a backyard or terrace. Through
research in to the market, I was able to assess what the needs of the consumer were,
and because it was to contain a plant, I looked into the needs of common types of plants.
Using the dimensions from my technical drawings, I was able to transfer the design into
the CAD package Cinema 4D and created a 3D model within a potential environment
showing various solutions to planting within small spaces.
139
140
Feedback from Andy Tennant
Throughout his time on the programme, Chris has consistently produced
work of an extremely high standard in a variety of media. Whilst it
quickly became clear that he had arrived with a broad palette of skills at
his disposal, what drew our attention to him was a fierce determination
to strive for excellence at every opportunity. Never afraid to ask for, or
receive criticism, always keen to know more, forever refining his under-
standing of, and approach to, the subject matter. As with Phil and Alex, it’s
been a pleasure to be involved in his educational journey.
Feedback from Max Lamb
Chris sets himself a clear design objective - to improve public perception
of EPS - which is a vital way to give direction and relevance to a new
design brief. Well-honed drawing skills clearly communicate to both Chris
and potential client the form and function of his EPS Planters, which are
further enhanced by the computer rendering. A physical 1:1 model would
be a great addition to help get a feel for the scale and functionality of
the planter. Screenshots are a fantastic tool to communicate complicated
computer programmes such as Cinema 4D and Chris generously shares
his information on ‘www.cinema4dcafe.com’ for downloading free digital
3D models.
Feedback from Daniel Battaglia
The design process is quick yet thoughtful, cutting straight to the concept.
Chris has developed initial thoughts rationally with well-considered
proportions, using a mixture of both sketching and CAD modelling. A clear
understanding of the benefits of using different techniques at different
stages has also been shown. Taking a material out of its comfort zone and
experimenting with possible uses in other markets has led to an appeal-
ing product, but I feel the concept has great potential to be taken further.

Feedback from David Irwin

Chris’ sketches are clear and purposeful. For the most part they are
structurally informative and express the designer’s intentions. The visuals
demonstrate an investigative use of form as he tries to implement a
different aesthetic to the one commonly associated with this material. It is
apparent from Chris’ minimal and clean sketches as well as his accompanying
annotations that a great deal of functionalism is considered throughout
the product development. The minimal use of colour and shading combined
with crisp, smooth lines gives a subtle but adequate representation of the
forms he has created.
141
C H R I S PAT O N - T u t o r i a l
Fig.1
The Cinema 4D layout is fairly straight forward. There are
3 work planes (front, side, top) and a 4th perspective plane
(Fig.1). This tutorial describes how to create a planter.
1) Firstly, create an outline of the top half of the planter on
the front plane by using the Free Hand Bezier Tool. This
will provide a path to follow. Next, use the Rectangular
Fig.4
3) Now create a solid object from the cross-section
rectangles. Do this by going to ‘Objects > NURBS > Lathe
Nurbs’. Select all the cross-sections together by holding
down the Shift key and drop them into the Lathe Tool icon
in the Objects menu on the right of the screen. This will
form a 3D object using the cross-sections as a path to
follow (Fig.4).
142
Fig.2
Shape Tool by selecting ‘Objects > Create Spline > Free-
hand’ and draw a rectangle (Fig.2) on the ZY plane. This
is the first cross-section of the planter so the measure-
ments will need to be roughly accurate. Measurements are
worked out from various technical drawings and provide
accurate dimensions for each rectangle. Cross-sectional
measurements can be altered using the ‘Object Properties
Fig.5
4) Now reflect the model to create the other half of the
planter. Do this by going to ‘Objects > Modelling > Symmetry’.
Next, select the ‘Lathes’ icon from the Object menu and
drop it into the ‘Symmetry’ icon above. This should create
a reflection through the ZY plane (Fig.5).
Fig.3
Box’ to the right of the screen display at any time during
the modelling process.
2) Copy the rectangle and move it across the X axis at set
intervals, in this case 50mm, increasing the size of each rect-
angle relative to the shape of the planter. Note that only half
of the cross sections have been created at this stage (Fig.3).
Fig.6
5) The inside of the planter needs to be removed to allow
room for soil to be added. This is done by creating an
object the same size and shape as the internal volume you
want to remove as shown in Fig.6. This object needs to be
sufficient in size to remove the material without protruding
through the sides of the planter.
 Fig.7
6) The object is then inserted in to the planter in the correct
area. Then go to ‘Objects > Modelling > Boole’. Select this
object and drop it into the ‘Boole’ icon. Repeat for the
planter ‘Symmetry’ icon. It’s important that this order is fol-
lowed or it will not subtract correctly. The planter material
should then disappear to leave a hollow planting bay (Fig.7).
Then use a tool called Hyper Nurbs to smooth out flat
8) The planter models are then assembled. This is done in
a new file. In this example (Fig.10), I firstly built a simple
scene. This was done using simple rectangular objects and
applying textures to create walls and decking. The chairs
and tables were downloaded for free and merged in to the
scene. I then merged the planters in to the environment,
mixing the plants. I chose to build a few assemblies that
Fig.8
surfaces and round corners to produce a more refined
model. This is done by going to ‘Objects > NURBS > Hyper
Nurbs’ then dropping the whole planter into the ‘Hyper
Nurbs’ icon in the Object menu on the right of the screen.
7) Next, add soil - a simple solid object that lies below
the top of the planter. This can be any shape as long as
Fig.10
worked well in the space and simply moved them into
position using the ‘XYZ Axis’ arrows.
9) Finally, I added materials and textures to the planters.
Cinema 4D has its own library of materials which can be
accessed by selecting from the menu at the bottom of the
screen (the lower menu) ‘File > Load materials > Basics’.
Fig.9
it doesn’t visually protrude outside of the planter and
provides a surface to render with a soil texture. Planting
is also added as seen in both Figures 8 & 9. These plant
models were downloaded for free at ‘www.cinema4dcafe.
com’ and imported in to the model file by selecting ‘File >
Merge’ then locating the downloaded file and opening it.
There are many free websites offering similar products.
Fig.11
I also created some of my own materials and downloaded
others such as Polystyrene. I then clicked on the material
and dragged it to the object (Fig.11). Time spent perfecting
textures and lighting adds to the level of realism so spend
as much time as possible adjusting and manipulating these
to achieve the best result.
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Q & A

145
DESIGN FOR INDUSTRY
1) What was your first job after graduating? Stephanie Lauff.
Delivering fast cars whilst waiting for Official Secrets Act clearance so that I could start
work as a designer at British Aerospace.
Mark Bailey
During my final year major design project I worked alongside the Cambridge Computer
Aided Design Centre in order to create a keyboard interface for a program which was,
in many ways, a fore runner of packages such as Photoshop. After graduation, I set up my
own company and continued consulting with the CAD Centre while studying for my MA
at the Royal College of Art.
Steven Kyffin
I worked for Huntleigh Healthcare designing hospital beds and furniture. Huntleigh are
a global organisation who predominantly manufacture pressure relieving mattresses
and hospital beds. Initially I worked as part of a small team to develop beds and hospital
furniture for a global market. I researched the market needs and developed concepts in
accordance with the manufacturing strategy - this experience expanded my knowledge
of manufacturing processes. The role evolved into business planning, co-ordinating the
specification for a new global hospital bed and developing an associated global marketing
strategy for the group.
Louise Oatley
Designer for Astro Studios in California.
Matt Burtonwood
2) What’s the number one piece of advice you’d give to any design student? James Raven-
hall.
Get your rubbish out early - experiment, create, innovate.
Mark Bailey
Take courage; be spirited; be steadfast. Have very big ideas and never, ever, ever give up.
Steven Kyffin
146
Get your project off to a great start by getting your brief, parameters and objectives clear.
With clear vision and direction you will be more focussed.
Louise Oatley
You get out what you put in. If you want to get something out you have to put something
in. There are no short cuts.
Matt Burtonwood
3) What was the hardest thing to overcome at university? Luke Wilson
Temptation!
Mark Bailey
You’ll have to ask my fellow students… Also getting hold of the keys for the workshop in
order to be able to work all night long and keeping it a secret. As well as this, it was
actually really difficult to balance the need to search out ‘new ideas’ while learning the
simple techniques of actually interpreting what was going on around me, developing the
ideas, and communicating what I was trying to say in the appropriate languages.
Communicating a stupid idea very beautifully was just never good enough and yet there
never seemed to be enough time to accomplish everything satisfactorily.
Steven Kyffin
From pretty much day one of any design course, you need to organise your project
approach and self-manage your timescales in order to deliver projects you are proud of.
With lots going on socially at university it can be difficult at first to get the right balance.
Louise Oatley
The lack of model board and electricity in the workshop.
Matt Burtonwood
4) What’s you favourite design tool? Archibald Colvin
Cardboard & sticky tape.
Mark Bailey
An aluminium Rotring propelling pencil containing a 0.5mm ‘F’ lead, and my model making
tools. Amazingly, they still are - I was born before the age of the computer…
Steven Kyffin
Muji 0.5, 0.38 and Sharpie Fine Point marker.
Matt Burtonwood
5) What’s your favourite 3D package? James Ravenhall
A box
Mark Bailey
A Moulton bicycle and a Leica camera.
Steven Kyffin
AliasStudio is a great tool for ‘free form’ modelling, creating renderings and animations. It
is a powerful tool for selling initial concepts to a client.
Louise Oatley
Rhinoceros is great for generating quick and developed 3D CAD models. It’s relatively
quick to learn the basic features/functions and retails at a reasonable price for both
individuals and companies to purchase. 3D Studio Max is good too.
Matt Burtonwood
6) What frustrates you most about design? Luke Wilson
7) What’s your biggest success story so far? Stephanie Lauff
There are about 300 of them – all graduates out there doing their stuff.
Mark Bailey
Sticking with it! Directing the Industrial Design course at the RCA and leading the Design
Research community at Philips. I really learnt about ‘sticking with it’ when I started racing
small sailing boats. I hate using sporting metaphors, though I still use them. I learnt that
I could never win a race or reach home, against wind and tide, if I was upside down in a
boat and crying about it. I learnt that from the books written by one of the world’s sailing
heroes, Uffa Fox. Mad but brilliant.
Steven Kyffin
This is a tricky question. We have just finished a home safe project for Yale. Not super
exciting, but it was a really important project for our client and has been a big success for
them.
Matt Burtonwood
8) What was your biggest disaster at university? Joanne Cone
I thought I was Simon LeBon for a while.
Mark Bailey
Not learning to sail early enough.
Steven Kyffin

The notion that some folk have that if they do enough research, the answer will ‘appear’ It was 3am and I had very nearly completed my final major project appearance model. I had
- rubbish! Do just enough research to let you start designing then do some more if you purchased specially mixed car paints to get the finish and colour I required. With the first
need to. coat dry, I decided to go for a second coat, and to my horror the paint reacted with itself,
Mark Bailey leaving a bubbled top surface. I had no alternative but to sand it all back and start again!
Louise Oatley
Other people’s inability to understand, accept or trust its value for humanity.
Steven Kyffin Breaking a light bulb in my bedroom when spraying a big model. I went to change the bulb
but it was still hot. I dropped it and lots of bit of glass went all over the model. I had to
Not much really. clean it up and re-spray it.
Matt Burtonwood Matt Burtonwood

147
9) What was your favourite university design project? Anna Milner
I designed a camera for children. That was pretty good - it won some awards and I was
able to work with users which is key.
Mark Bailey
‘Sextant’ at the RCA. It introduced me to navigating very complex environmental, physical
and digital, content driven Objects & Systems. It was all about our need to understand our
‘natural’ world through the artificial world which we struggle to create…I almost wish I’d
never started... Racing boats is so much easier... Open Systems vs Closed Systems.
Steven Kyffin
My final year major project was by far my favourite and most rewarding project. I
designed & developed a new (TIVA) anaesthetic machine which involved a huge amount
of technical & user research. Following collaboration with Fresenius Vial, the product has
been manufactured and launched in the following places: UK, Germany, France, Switzerland,
Scandinavia, Italy, China, India and South Korea.
Louise Oatley
Probably the non-literal product/detail project. A good opportunity to explore something
in detail.
Matt Burtonwood
10) What aspect of the design process is your favourite? Prajay Parmar
Thinking with cardboard and sticky tape.
Mark Bailey
The creative part. Imagining, giving life to and protecting the Design Idea.
Steven Kyffin
I get very excited during the initial creative response, when a huge number of ideas and
opportunities are emerging. Similarly, it’s always an amazing buzz when a product you have
been working on for months comes off.
Louise Oatley
148
Sketching. Working things out.
Matt Burtonwood
11) Where do you see yourself in 10 years? Stephanie Lauff
I don’t even know where I’ll be in 10 minutes! Anything is possible.
Mark Bailey
Enabling Education and Corporate Research Institutes to drive the European and National
innovation agenda through design.
Steven Kyffin
Successful, established and having fun.
Matt Burtonwood
12) What is your design philosophy? And has it changed since university? Prajay Parmar
You generate an awful lot of rubbish on your way to the good stuff (that’s if you’re any
good!) Initial ideas are a stepping stone to delivering really great solutions.
Mark Bailey
I believe that everybody is creative, and as such, we should enable everybody to create.
This belief has not changed since university; it is however, maturing.
Steven Kyffin
Be informed and design with an in-depth understanding of the following: the brand you
represent and its future aspirations, social & cultural influences, the competition and the
‘user’ experience. Less is more; simplicity is the key to good design. Ask yourself what is
the one thing your product does well? My design philosophy has been enriched by full
time commercial experience and is more rounded now as a result.
Louise Oatley
Work hard and enjoy it. A career in design can be really rewarding, but there’s nothing
rewarding about a bad project. Never finish a job thinking you could have done more.
Matt Burtonwood
149
T R A N S P O R TAT I O N D E S I G N
1) If you could return to university with the knowledge you have now, what, if anything
would you do differently? Chris Pinches
Due to the evolution of the Transportation Design programme, I would spend more time
doing meaningful research to find more appropriate solutions to a given brief.
Matteo Conti
Been thinking on this for a week now and I haven’t yet got a decent answer. I’d say yeah,
there are lots of things that I’d like to have done differently, but the point is that you learn
as you go along. Make the most of everything at the time. That’s the best you can do.
Dan Kafka
I would have grasped the nettle of learning AliasStudio earlier on. I left it until the end of
the course before I started doing any CAD modelling. You can never start too early.
Sam Jilbert
My approach to design would be more structured now with clearer focus and defined goals.
Tim Moore
2) What is the best thing you have learnt from studying at university? Martin Atkinson
A good range of skills. Designers need to be able to develop designs and have good design
sensitivity in 2D and 3D. They must also have great presentation skills.
Matteo Conti
The most important and beneficial thing I learnt at university was self reliance. It’s a
turning point in education (and growing up) as if you don’t get things done yourself
nobody else will for you. In realising this you learn how to get things done. It also teaches
you what you’re made of - you probably find you can do a lot more than you thought you
were able to.
Dan Kafka
More than anything, Northumbria University provided me with a work ethic. Extra hours
in the studio or workshop all go towards honing your skills and will stand you in good
stead for your final year. Work hard, play hard, nail your final year project.
Sam Jilbert
150
3) Are you glad you made the career choice you did? Zakir Uddin
Yes, because it was meant to be.
Matteo Conti
I am glad of the career choice I made, so far yes. The more you sacrifice the more you
feel it owes you and you just hang in there for more punishment (it’s a bit like gambling)! I
can relate to a lot of what Gordon Farquhar says in his statement “designing around in my
head.” It’s an indulging creative process that makes some people feel good. It’s a profession
that is extremely rewarding but for the same reasons can be frustrating in equal measure.
Dan Kafka
Yes. I love my job.
Sam Jilbert
Indeed. You can’t complain about doing something you enjoy immensely.
Tim Moore
4) What are the most important skills a Transportation Designer should have? Danny
Ritson
Firstly, a long list of skills but above all designers must have drive, commitment and
enthusiasm. These are the driving factors which enable students to develop.
Matteo Conti
One of the most important skills in design that isn’t commonly cited is ‘Communication’,
particularly on a personal level. Design by its very nature is a collaborative process in
many overlapping areas and ways, and without having the ability to understand others and
as importantly express yourself to them, your opportunities for success become greatly
reduced. Another one is resilience!
Dan Kafka
There are many skills involved in the Auto Industry. In reality you’ll never truly master all
of them, although you may master some. Sketching, rendering, clay modelling, hard modelling,
digital modelling and CAD based visualisation are all very different skills. However, if you
want to be a designer you will need excellent sketching ability over and above anything
else. You also need to have the creativity and the appreciation and control of form
necessary to guide other specialists (digital modellers and clay modellers for example)
through their part of the process to get YOUR design right. If you are strong in any of the
other skills listed you could specialise in one of these areas too, although you’ll no longer
be a ‘designer’ in the strictest sense of the word.
Sam Jilbert
All you need is a clear vision and a way of expressing it.
Tim Moore
5) Are earnings good in the field of Transportation Design? Craig Coombes
Yes, and in many cases slightly higher than in the Industrial Design field.
Matteo Conti
Ask any designer if they think they are getting paid enough!?... It’s difficult to say generally -
yes, probably. I think it’s an industry that rewards experience (probably because it’s so
difficult to gain). Given the amount of qualified designers, it’s ‘experience’ that can separate
you from the newly-graduated. After that it’s the quality of your work that influences your
earnings. You’ve got to be patient as well as resilient!
Dan Kafka
I can only speak from personal experience, but be prepared to get some experience
before demanding serious money. Once you have a year or so of genuine industry experi-
ence (you may get this before you graduate or immediately afterwards) then you should
be in a position to get 20k. This really does depend on the nature of the job, the employer
and the location. Once you have three years or so then 25-30k is a fairly safe bet if you
are in a permanent role. Again this varies dramatically depending on the employer, your
experience and your performance. Contracting is the most lucrative but least secure
method of employment. As a contract AliasStudio designer you could earn up to £500 a
day, but this is out of reach of most graduates.
Sam Jilbert
Depends on where you are on the ladder. For the graduate however, you’ll find yourself
earning around the UK average wage.
Tim Moore
6) What do you feel is the difference between art and design? Danny Ritson
Art is the expression of the ‘self’, where as design is the thought process by which we
produce answers to society-based issues.
Matteo Conti
Having started in art and subsequently moving to design much later, the definition of the
two is now very clear to me. I applied to Northumbria University with a purely fine art
portfolio which demonstrated my artistic ability and self expression. I then started my
design education with a fine art approach. I often produced spontaneous, ‘colour burst’
renderings, full of light, colour and movement. Instead of providing clear communication,
my renderings were self-expressions. They made my intentions difficult for others to
understand. In design it’s important to retain your artistic flair, but you must also
communicate ‘a design’ to others - a set of instructions and your vision. Here lies my
distinction between both disciplines: art serves as a vehicle to project your emotions,
feelings or views where as design requires you to communicate to others a set of instructions,
themes or conceptual ideas. Art serves self, design serves others.
Dan Kafka
Design is art with function. Design is the application of artistic ability to an object which
has to do a job, to be manufactured, to be sold, to make money.
Sam Jilbert
Function.
Tim Moore
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7) How did you find the transition between university and industry? What advice would
you give to prepare for this? Thomas Kasher
It is a tough transition which does test you out, also as a human being. Only the most
focussed and passionate graduates would normally pursue this career path. Producing a
convincing portfolio upon graduation is essential.
Matteo Conti
First of all do a great project. Employers won’t be interested in anything other than the
best projects. Once you’ve got that, get it out there, contact as many people as you can
within the industry and get your work in front of them. Don’t be too picky.
Sam Jilbert
Make sure they know you exist and then keep pestering!
Tim Moore

Too many graduates fall by the way side after graduating. A lot seem to abandon their
chosen subject completely. Sometimes you have to re-evaluate your expectations but you
shouldn’t lose sight of what you chose to study and why. A degree requires too much
investment not to be put to good use.
Dan Kafka

The best way to prepare for the transition is to get as much INDUSTRY experience
before you graduate as possible. Be prepared to do unpaid work experience for a few
months after you graduate too.
Sam Jilbert

It’s not a difficult transition, it is in fact enjoyable. Best advice is probably to ‘up the tempo’
in final year. Things can move pretty fast in industry, and they won’t wait for you.
Tim Moore

8) What’s the best way to get yourself recognised by potential employers? Kris Buhagiar

Strive to meet employers face-to-face in order to sell your design abilities and to present
yourself as an interesting and dynamic individual.
Matteo Conti

The best way to impress an employee is great work and preferably experience to boot.
There are no guarantees, but try to appear friendly, well presented, eager and switched on
and you can’t go too far wrong. It all comes down to application and determination. It can
become a war of attrition, how many knocks are you prepared to take before you give in?
Also you’ve got to move to where the work is - David Fearnley is a typical example and
so too is Ben Bonham. Opportunities should be relished! It’s 99% perspiration.
Dan Kafka

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153
INTERIOR DESIGN
1) What’s your day-to-day work life like? Emily Pease
This can involve a variety of tasks from initial site visits and client briefings to final
presentations whilst also ensuring that a design solution is resolved to specification. You
will also (depending upon your role within the company) be involved in the planning,
design, budgeting and visualisation of a project.
Seton Wakenshaw
Generally my day consists of quite a lot of sourcing. I look for suitable fabrics, wallpaper,
furniture, lighting and sanitary ware for projects. I also do a lot of drawing - general
layouts, decoration, lighting drawings and detail drawings for bespoke furniture, bars,
receptions desks etc. To present a scheme we put together boards with samples and
illustrations, very much like at university. I often render plans and elevations in Photoshop
for this type of presentation. Depending on what sort of practice you work for visualisation
can vary greatly. You may end up using 3D Studio Max, SketchUp or even hand drawing
and rendering. There is also a lot of time spent documenting the specification on a job,
doing schedules (spreadsheets listing the details of each and every product specified on a
job) and also doing the orders for a job, when we are purchasing for a project.
Lucy Marlor
2) How does the type of work you do differ from the work at university? Emily Pease
Work within a professional practice will be more intense and come with greater respon-
sibility, particularly as you progress through the company. The more autonomy you can
achieve whilst at university, the better position you will be in upon graduation and your
first job interview.
Seton Wakenshaw
The work I do now is far more in-depth than anything I ever did at university and much
quicker. Nothing can prepare you for the pace at which a design office works. I still produce
mood and sample boards, and our illustrator produces visuals, the main difference is the
amount of detailed drawings you have to generate.
Gemma Corrigan
In terms of project type, work and university for me are quite different. At work you are
designing within the practical world, whilst university projects are conceptual, have no
154
budget, no client and (within reason) no construction limitations. It all depends on
the company you work for and the type of design and sector they specialise in. Some
practices get to do crazy, conceptual, high profile work, for example for flagship designer
stores in London. But this type of job isn’t a regular thing for the sector I work in. Interior
designers are used to design and project manage everyday situations - offices, hotels,
restaurants, cafés.
Lucy Marlor
Time scale is one major factor. I’m currently running the design of a restaurant/bar in Hoxton
- central London…I have worked from initial concept to being on site in less than 4 months!
Emily Walton
3) Did you find it easy to get your first job? Kathryn Mason
The first jobs I took were freelance and ranged from interior design to furniture and
product. Whilst doing this I also began teaching part time. In terms of finding your first job
you can never be sure what companies are looking for but you must ensure that you believe
in and understand the projects within your portfolio when talking to potential employers.
Seton Wakenshaw
I started my job the Monday after I handed in my final project. About 3 weeks before the
end of my final year I heard that Fluid were looking for someone to train up - I have now
been there for nearly two years. I was extremely lucky.
Gemma Corrigan
I was very lucky and got my first job just after finishing my degree. I did have two other
interviews and was offered places at both companies, but found it difficult to find vacancies
in Newcastle. If I had been able or prepared to move to London/Manchester/Leeds etc,
there would have been many more vacancies. I think that right now times are obviously
harder - companies, including my own are having to cut back to protect themselves.
Lucy Marlor
No…it takes a lot of determination. Timing is an important factor. If a company is looking
and you’re there at the right time then great. I sent out approximately 100 CVs and sent
follow up emails. It can be very frustrating as not many people have the common courtesy
to reply.
Emily Walton
4) What’s the pay like? Kathryn Mason
This can be varied and will range from approximately £14000 to £24000, but it is possible
to work your way up through a company relatively quickly if you perform well.
Seton Wakenshaw
I work in London. It is obviously one of the highly paid areas for work. I began on £24,000
and now earn £25,000.
Emily Walton
5) Do you get to travel a lot in your job? Kathryn Mason
As an Interior Designer you will get the opportunity to travel, assuming the company has
clients and undertakes projects overseas. Travelling will also be dependent upon your role
within the company.
Seton Wakenshaw
We are a Newcastle based company and currently have projects in Leeds, Durham, Scotland,
Lake District and York (which are all fairly local). However, in terms of a profession, Interior
Designers often get to travel to different countries for projects. It all depends on the
nature of the company you work for.
Lucy Marlor
6) Is the job what you thought it would be when you left university? Holly Clothier
University will prepare you for work within the Interior Design profession and employers
understand that a graduate needs time to settle in. Your first job will be recognisable to
your time at university and the skills you have learnt will be appropriate, but you will find
that different companies have different working methods and you will need to adapt to
these.
Seton Wakenshaw
I was extremely unsure what work was going to be like after university. However, I fell
straight into it and after completing hours of CAD and 3D visuals etc. at university, going
straight into doing the same thing for live projects was just the next step. It was a natural
progression to start putting the things I had been doing during my degree into practice on
real jobs. The only thing I would say is that the projects at university were more architectural
and modern than those I deal with day to day-at-work. The company I work for focuses
more on high end hotels and restaurants which tend to be concerned with the ‘softer’
side of the industry.
Lucy Marlor
7) Do you enjoy your job? Holly Clothier
I do enjoy my job due the varied roles and responsibilities involved and also the large
amount of new people I meet and work with every year.
Seton Wakenshaw
I really enjoy my job. It’s a job that you couldn’t do unless you enjoy it as it can be stressful
when projects go ‘on site’ - there is always a problem that changes part of your design, so
you are always amending your plans and details. However, the stress and long hours are all
worth it when you see the finished interior. It’s really satisfying to see your design come
to life.
Gemma Corrigan
I am really lucky to have found a great company with great colleagues and a really good
work place/ethic and I really do love my job. It just seems like the next step in my life and
follows on from what I did at university. I think if you enjoyed what you did at university
(apart from the obvious stress and nightmare of the actual degree process) as a profession
it will suit you.
Lucy Marlor
Like every job it has its ups and downs but I do enjoy what I do and I am constantly
learning with each bit of experience I gain.
Emily Walton
155
8) What are the work hours like? Kathryn Mason
Dependent on the practice they will generally be relatively standard but at key points
e.g. project completions/presentations they will pick up. Generally, overtime pay will be
involved on these occasions.
Seton Wakenshaw
Work hours are from 9am till 6pm Monday to Thursday and 9am till 5pm on Friday. I
generally don’t work weekends, but sometimes have to depending on deadlines.
Gemma Corrigan
I am very fortunate with the company I am with to have flexible hours. We can start
anytime between 7.30am and 9.30am and finish anytime between 4.30pm and 6.30pm
(working 8.25 hours). We have a 45 minute lunch break. This combined with the longer
working day from Monday to Thursday means that we get Friday afternoons off. I work
37.5 hours a week.
Lucy Marlor
Day-to-day I work 9-6 but when there are deadlines you can expect to work long hours,
sometimes working well into the night.
Emily Walton
9) Is there a lot of competition out there? Holly Clothier
There is a lot of competition and jobs are not guaranteed, but those who work hard and
make the most of their time at university stand a much higher chance of gaining employment
upon graduation.
Seton Wakenshaw
For companies there is currently a lot of competition as work is scarcer than normal.
There’s also a lot of competition for employment and as a company we receive a huge
amount of CVs.
Gemma Corrigan
156
It is really important to keep on top of your applications as companies will be inundated
with them, so they need to be really eye catching and interesting. You need to ‘cold call’
companies and try and speak to the right people about your and their situation.
Lucy Marlor
10) Do you ever think about changing profession? Charlotte Hodges
I don’t think I will ever do something that does not involve design and fortunately my job
allows me to get involved in a variety of design related activities.
Seton Wakenshaw
No, not at all. I really enjoy what I do and within the profession there are so many avenues
to go down in terms of project type - whether domestic or commercial, hotel or hospital,
restaurant, leisure or office. In the future I think I will want to try new things and experiment,
but I think it will always be within Interior Design.
Lucy Marlor
No…I would like to go back and possibly do an MA in another area of design, maybe
graphics - something that can strengthen and broaden my design knowledge. I plan to set
up my own company one day so extra knowledge is always an added plus.
Emily Walton
11) Is it all worth it? Charlotte Hodges
As long as you can say that you have given something 100%, then it is worth it.
Seton Wakenshaw
Yes. During my degree I thought the work would never end and it was a really difficult
time, what with the huge amount of work required of you. However, after you have finished
and accomplished so much you feel very proud and begin to feel that it is very much
worth it. What you achieve at university will have a huge bearing on what opportunities
you will have in your career. All the hard work pays off when you come into competition
with other people, so stick with it!
Lucy Marlor
Each individual is different, but to me yes it has been worth it. I am designing real interiors
that people are going to experience and talk about. It is different in some ways to what
I thought it would be but not in a bad way. The learning doesn’t stop once you leave uni-
versity…Design is a continuous learning curve - exploring and discovering new ideas and
working with different people means your ideas are evolving all the time.
Emily Walton

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PRODUC T DESIGN TECHNOLOGY
1) What experience did you have before entering your profession? Murdoch Oxley
See my profile!
Colin Wilson
I feel I had a wide range of experience, mainly thanks to PDT and also work experience
prior to being in the profession I am now in. My experience within the design world is
broad, yet more specific in certain areas when compared to my peers. Through working
in my current profession I have furthered my experience - this has helped me to be very
adaptable.
Anton Bowness
Before my current job, I worked in the following design roles: Design Assistant for Kohler
Daryl Showers Ltd, designing shower enclosures; as a Researcher in the Centre for Design
Research at Northumbria University where I worked on service design project for a
multinational organisation and as a Product Designer for Ultraframe, designing components
for a conservatory manufacturer.
Tom Cornthwaite
Apart from my degree, I had very little experience. I took a year out before coming to
university and didn’t do a placement. Four months after finishing my studies I got an
opportunity to begin a Knowledge Transfer Partnership run by the School of Design. This
also allowed me to study for an M.A. at the same time.
Steven Blakemore
2) It is best to do a placement year? Thomas Rayner
Yes! It is imperative in preparation for your final year of study. It gives you more confidence
and maturity with which to approach your final project.
Colin Wilson
I found it hard to get a placement with a design company. However, I was fortunate
enough to do a placement which improved my Adobe Suite skills, which on a personal
level, I needed to improve. I was able to use these skills in my final year to enhance my
overall degree mark.
Anton Bowness
158
Yes. It puts the taught work of the course into an industrial context. It made me realise
what the important ingredients for a successful product actually are and with this in mind
it was easy to be objective about my final year and achieve a good result.
Tom Cornthwaite
Yes. If the opportunity arises, it is a great chance to get your foot in the door.
Steven Blakemore
3) Which computer programs do you use? Jamie Dillon
It all depends on the project. My ambition is to be more proficient with 3D packages. I’m
getting there.
Colin Wilson
Throughout university I used the Adobe Suite (Photoshop & Illustrator) and SolidWorks.
These were useful for 3D CAD drawings and also presentation boards etc. In my
profession I use Pro-Engineer, which is very similar to SolidWorks.
Anton Bowness
SolidWorks, Adobe Illustrator, Adobe Photoshop, Rhinoceros, 3D Studio Max and
AutoCAD.
Tom Cornthwaite
SolidWorks, AutoCAD and all the Microsoft Office Suite. I also use Sage products - these
are manufacturing modules for CAD programs.
Steven Blakemore
4) What advice would you have for a newly graduated student? Elton Wang
Patience! ‘The road is long’. Be persistent and don’t take ‘no’ for an answer.
Colin Wilson
Don’t be scared about leaving university and stepping into the big world. Everyone has to
start somewhere and you’ll be surprised by how many companies want to take on
graduates as they are fresh and ready to bring new ideas.
Anton Bowness
Apply for jobs with your skill set in mind. Work out your strengths and weaknesses.
Taught experience with SolidWorks has served me well in terms of getting jobs.
Tom Cornthwaite
Keep going! Believe in what you want to do as it can take a while to really get somewhere.
Steven Blakemore
5) What salary did you start out on in your first design job? Elton Wang
Why is salary important? It’s your first job, if you take a job that you want then salary really
isn’t important. The experience is far more valuable than the salary, you will spend the
money but keep the experience. You can always move on.
Colin Wilson
In my first job after graduation at Ultraframe I started on £22,500 (I got lucky).
Tom Cornthwaite
19K - Ok for a starting salary. I earn more now though.
Steven Blakemore
6) Do you have any job vacancies? Manling Li
No…sorry!
Tom Cornthwaite
No. The way the market is right now…it’s tough out there.
Steven Blakemore
7) Why do you think your company hired you? Elton Wang
Because of my background and expertise, and I wanted the job.
Colin Wilson
My portfolio and CV showed that as well as having experience of mechanical systems design,
I was capable of applying my design skills in a commercial context. As such, I was able to
use my knowledge of areas such as semantics to create designs that would be more
appealing to the market.
Tom Cornthwaite
I feel they hired me because I came over as very hard working and enthusiastic about the
role.
Steven Blakemore
8) Do you finish all your design projects on time? What happens when you don’t? Manling
Li
Yes! I don’t like excuses.
Colin Wilson
Fortunately I meet all deadlines. However if you miss them I think it may depend on your
relationship with your lecturers. If you are a hard working student the lecturer may perhaps
be more understanding. Or perhaps not...
Anton Bowness
I finish my design projects before the deadline. I think in an industrial environment, it’s
best to get something on the table early that ticks the boxes. After this, any unforeseen
circumstances can be taken into account, for example, customer dissatisfaction or basic
functional failure.
Tom Cornthwaite
I tend to finish in time, but sometimes because of certain pressures not to the absolute
desired outcome. You must make allowances - everything will be fine as long as the
product is manufacturable. If not, you must redress and make sure the same mistakes
aren’t repeated in the future.
Steven Blakemore

I feel the company hired me as I was suited to what it had in mind. However, I have been able
to bring more than they first anticipated and as a result both parties have become better off.
Anton Bowness

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9) If your deadline is approaching and the perfect design solution hasn’t been obtained, 11) In a job interview situation, what work would you put in your portfolio? Stefan
what would you do? Manling Li Scheifer

If the client isn’t happy you will be in trouble (you won’t get paid)! Any solution can,
however, always be improved. Time and budget are the drivers.
Colin Wilson
Question your design skills!! I think designers need to produce ideas quickly and if you
struggle to do that then perhaps you’re not the designer you think you are. Your initial
ideas may not be of any use, but these get developed and redesigned and eventually a
more solid design may be produced.
Anton Bowness
Accept that it isn’t perfect.
Tom Cornthwaite
I feel a wide range of work is a good idea as it shows the employer a broader range of
your skills. Make sure you add stuff that helps you look as though you know what you’re
talking about as they might ask you questions. Knowing the answer could make the difference
between getting the job and not.
Anton Bowness
The work that demonstrates the skills that I think that employer is looking for.
Tom Cornthwaite
I include good graphic representations of my work. Also, I’m sure to include the full scope
of what I do rather than focus on one specific aspect.
Steven Blakemore

Carry on working hard on the project and seek advice from colleagues and peers.
Steven Blakemore

10) Do you think all designers would benefit from using Macs? Murdoch Oxley

No! Find your own comfortable working environment!

Colin Wilson

Although people associate Macs with designers, there is no difference to using a PC. At
the end of the day it’s the person using it that is in control.
Anton Bowness

Macs are great…I like them…but I couldn’t say that ALL designers would benefit…some
might, some wouldn’t and the benefit/hindrance to most would be negligible.
Tom Cornthwaite

No idea. I’ve hardly ever used a Mac.

Steven Blakemore

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THREE DIMENSIONAL DESIGN: FURNITURE & PRODUCT
1) Where do you find out about design jobs? Paula Scrimgeour
There are a number of magazines (and associated websites) on the market which cater
for those working in the design sector and many, if not all, will have sections dedicated to
vacancies eg. see DESIGN WEEK, Creative Review, Icon etc. No doubt there also exist
more general employment websites that publish design vacancies. Another option is to visit
design company sites to see if they are directly offering opportunities within their organisa-
tions e.g. see ‘www.marcelwanders.com’. That said, experience tends to indicate that a lot
of graduates often find out about possible openings via word of mouth, making contacts at
design exhibitions or serendipitously being in the right place at the right time. The final option
is perhaps the most ‘painful’ - i.e. making speculative phone calls, knocking on doors etc.
Andy Tennant
Look in the back of design magazines such as Design Week, Icon, Blueprint, New Design.
The Guardian newspaper on Mondays also has a huge listing of jobs in creative industries
- including design. Nowadays there are also many design related websites and blogs where
design companies often advertise available jobs - especially try ‘www.dezeen.com’ - they
have a whole section dedicated to design jobs and they are usually from established and
very good design firms. Bear in mind that sometimes it might be necessary to do one or
more ‘unpaid’ internships with different companies before you find a company suitable for
you, or before you are offered a full-time position. But the more experience you have with
different design companies the more employable you are!
Max Lamb
Job opportunities can be found in an array of publications, some design magazines have
dedicated sections. Company and recruitment websites as well as design exhibitions are
all good places to look too. Also try to visit graduate fairs as local companies often attend
to seek up-and-coming talent. Through experience, my contacts have often offered me
opportunities, but I also find it very productive sending CVs with a covering letter to
companies. If you’re set on a company, do your homework to find out what they want and
approach them directly. Always follow up with a phone call and be persistent.
Daniel Battaglia
There are some good blogs about advertised positions. A lot of the time word of mouth
is the best way.
David Irwin
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2) What makes a designer stand out? Rachel Jones
Those at the ‘top of the pile’ are innovative, individualistic, hard-working, driven, resilient,
dedicated, brave, visionary, belligerent and above all else, want to make their voice heard
above the crowd. A bit of raw talent helps as well.
Andy Tennant
This is subjective and ultimately depends upon who you want to stand out to. Independence,
originality, commitment to the profession and your ideas, identity, confidence in your
work and the ability to communicate your ideas both verbally, digitally, 2-dimensionally and
3-dimensionally! But always be true to yourself and your personality.
Max Lamb
Although some companies may cut back on recruitment, the key thing is to remain positive.
Develop your skills and be more flexible and adaptable than you might have been in the
past about where you will work in future. Try to get some work experience, it’s a foot in
the door not slave labour. The government has recognised that times will be tough and
have announced plans to help university leavers struggling to find jobs, including three-
month paid internships to help graduates gain work experience.
Daniel Battaglia
I’m of the opinion that a designer’s work should stand out, not the designer themselves...
David Irwin
3) What do you think the job market will be like by the time we graduate? Jake Bontoft
Considering the current turmoil following the global economic meltdown it’s probably a
good time to be in full time education at present. What the situation will be like in two to
three years time is anybody’s guess. Probably of worth is the government’s belief that the
creative industries could be economic drivers for the future wealth of the country and
this may well open up a host of employment opportunities.
Andy Tennant
It’s very fluid at the moment. Doors appear to be closing but I feel this is only temporary.
The world is currently for sale and as a result new opportunities will arise and hopefully
present themselves just as you graduate. Often you have to present yourself to the
opportunity and those who make the effort are likely to be rewarded. There are always
jobs available but it might just take a bit of perseverance in order to find them. I wish you
luck.
Max Lamb
Unfortunately I don’t think it will be any better. Too many design graduates for the available
number of jobs.
David Irwin
4) What is the best way to get work experience? Dan Duquemin-Sheil
Ask for it. Make a case for why ‘they’ should give you the opportunity eg, what skills (both
personally and professionally) will you bring to the organisation and, if you are fortunate
enough to secure something, make sure to create the best possible impression.
Andy Tennant
Contact the designers or design companies whose work you admire. Send them a
portfolio of your work. Be creative about how you do this and make your work easy to
see and understand - make the designer’s decision easy to make. If you get a rejection
then it means the company isn’t right for you just as much as you aren’t right for the
company. You might have to contact 10, 50 or even 100 before you get a response but at
least your name and work is being seen and circulated around the design world.
Max Lamb
Try sending a covering letter with your CV, maybe including examples of your work, showing
a variety of disciplines, therefore demonstrating your breadth and understanding of design.
The letter may include answers to questions such as ‘why you want to do it?’ Or ‘what do
you believe you’ll get from the placement?’ Remember it’s a two way thing, what do you
think the company will get from you? Most of the time if you leave messages you won’t
hear anything so keep pestering them, they’re used to it. After you’ve put in the hours,
you will need to consolidate your hard work - make sure you continue to keep in contact
with your employer. Send a letter or an email after the placement thanking them for taking
you on.
Daniel Battaglia
Contact as many people as possible who are working in the field you are interested in and
see if they are willing to take you on, it may only be for a week or so but it all adds up.
David Irwin
5) How could you go about setting up your own studio? Jordan Scott
Win the lottery...inherit loads of cash. On a more serious note, it depends how you define
‘studio’. For some it would translate as a spare room with a desk and a basic palette of
graphic materials. Others would require a more sophisticated (and more expensive) set up.
However, of greater relevance is what you create within those environments.
Andy Tennant
I have friends who have set up their design studio in their bedrooms, so you don’t have to
have a big studio space, workshop, equipment etc. Start with what you can afford and build
upon it as your work and profile builds. It really is an organic process. Also understand that
it is absolutely fine, and typically a necessity, to subsidise your design work with another
job, at least at the beginning. I didn’t officially set up my own studio until 5 years after
graduating from Northumbria University but I continued to design new objects and
present my work at exhibitions ‘unofficially’ from the day I graduated. Every day off work
or on holiday was spent making my designs and going to exhibitions in England and mainland
Europe.
Max Lamb
As with setting up any type of business, a design studio will still need hard work and
dedication to get it up and running. Various pitfalls can be avoided with the experience
gained from working for someone else and there will be many aspects of business that
you may not have thought about too. Starting a studio will require commitment and you
will need stamina to make your venture successful. Self-employment is about being in
control of your life. You’re the boss. You get all the benefits of your hard work. When you
work for someone else, your economic and personal potential is usually limited.
Daniel Battaglia
I’m currently fortunate enough to be a designer in residence, ask me again in a year or
so…
David Irwin
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6) Would you recommend working for someone else before starting up on your own?
Jake Bontoft
Depends on the individual concerned but generally speaking I think there is an awful lot
to be learnt by working with others before setting out as an individual. Apart from anything
else, I would imagine it to be an extremely lonely (and perhaps a creatively barren)
existence for the solo practitioner.
Andy Tennant
My advice is ‘yes’ as is my personal experience, although this situation doesn’t apply to
everyone. I worked for an interior design company directly after graduating from Northumbria
University. I didn’t want to become an Interior Designer but I saw it as an invaluable
learning process and an insight into the professional design world. Honestly, without doing
this job I would not be running my own design studio now. But all this depends upon
opportunity. If you have the finance and public interest in your work, or there is a company
interested in producing your designs, then of course go for it. But don’t worry when you
are forced to get another job to subsidise your personal work. Just do the job to get the
money so you can continue designing your own work and doing what you love.
Max Lamb
I feel the experience I’ve gained from working for another design company has been vital.
I have day-to-day involvement in professional practices, for example, dealing with clients
or contributing to internal design team meetings. Although experience is desirable, it’s still
possible to found a successful company with a good idea and lots of hard work. One thing
to remember - there is nothing wrong with being an employee and working for someone
else. There are a lot of advantages in terms of job security, steady income, standard hours
and other benefits. It is just a question of looking at your total situation and making the
right choice for you. On the other hand, if you do possess the qualities of an entrepreneur
and really have a good idea backed by adequate capital and expertise, then starting your
own business may be the best thing you will ever do.
Daniel Battaglia
It depends on your circumstances but generally I would say yes.
David Irwin
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7) Is there a difference between British and overseas designers? Psyche Mok
Different people bring different qualities to the design business whatever their nationality,
heritage or cultural backround. As someone who currently supervises twenty overseas
Masters students who come from five different countries, I’m fascinated by the common
‘languages’ we share and enthralled and nourished by their experiences, ideas and opinions.
In short, I believe we should embrace our commonality and celebrate our differences.
Andy Tennant
Fundamentally yes - British schooling/education, geography, resources, culture and language
are all different to what is seen overseas - but practically I’d say the differences are
becoming less and less as a result of globalisation and worldwide communication. But
remember that ‘difference’ is a good thing - it is what makes one nation identifiable from
another and thus what makes one designer identifiable from another designer.
Max Lamb
8) What’s the best way to get contacts? Dan Duquemin-Sheil
An oft asked question that somehow implies there is a secret formula that tutors and
practitioners hide from the student body. Unfortunately the truth is far more prosaic;
speak to people, ask questions, take notes, visit exhibitions, become as informed as you
can about the design profession etc…etc…etc.
Andy Tennant
There is no single way to ‘get contacts’ and really it depends upon what type of contact
you are looking for. To promote yourself as a designer and get contacts within the design
world building yourself a good website is a great way to begin. Your work and portfolio
then becomes instantly presentable to audiences anywhere in the world. Design exhibitions
are another great (but sometimes expensive) way to present your work to an audience
and get contacts. Your Northumbria University Graduation Exhibition and ‘New Designers’
exhibition at the Business Design Centre in London are both fantastic places to exhibit
your work to a wide audience. Be ready with a business card, email address and possibly
even your new website details in order to make it easy for people to view your work and
to make contact with you as simple as possible.
Max Lamb
From personal experience, networking at trade shows and related events in order to get Work more, sleep less.
your work out there and seen by the right people. David Irwin
David Irwin
11) Do you like the design culture in your country? Psyche Mok
9) What makes for a good designer? Nathan Hudson
A complex question that demands a more studied and expansive response than time and
What makes anyone good at their job? Work hard, work smart, build relationships, be space allows but generally speaking, yes. It is vibrant, eclectic, ever-evolving and open to all
reliable, be informed, never delegate understanding, be passionate, learn from your who wish to contribute. Also, it appears to be gathering momentum as a power for good
mistakes - the list is endless. Of more importance though is what you think makes a good in areas previously unreceptive to its potential.
designer. Andy Tennant
Andy Tennant
Yes.
See answer to Q. 2 Max Lamb
Max Lamb
There isn’t much of a design culture where I come from. Sometimes I like that fact,
Your guess is as good as mine, Dieter Rams’ top 10 is a good place to start… sometimes I don’t.
David Irwin David Irwin.

10) How can I become a better designer? Sam Gillis

Becoming better at anything in life always demands a good deal of sacrifices being made
along the way. If you want to become a better designer it will mean working very hard
and forever refining your abilities and knowledge with regard to the subject matter. All
of the graduates from this programme who have gone on to enjoy success have one very
obvious thing in common - their willingness to work hard was outstanding.
Andy Tennant

Observation, practice, logic and questioning. What are you designing? Why are you
designing it? Who are you designing it for? And are they really going to want it? How are
you going to make it? What material are you going to make it from? How much is it going
to cost? Where are you going to sell it?…etc, etc. There are so many questions to ask
yourself throughout the conception, realisation and presentation processes when designing
a product. Most of all just remember to question every decision you make and don’t
continue until you have an answer.
Max Lamb

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This book was made possible by the Centre for Excellence
i n Te a c h i n g & L e a r n i n g i n A s s e s s m e n t f o r L e a r n i n g