Portfolio Matthew Gibbs.pdf

7/26/2019 Portfolio Matthew Gibbs.pdf

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M A T TG I B B S

CREATIVE DESIGN PORTFOLIO


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WELCOMEThank you for taking the time to look at my portfolio. I hope you enjoy viewingsome of the projects I have completed and the work I have produced along theway!

A little about me...

I am a 22 year old Product Designer with a passion for all things design.

I will begraduating from the University of Leeds in July 2016 with a Masters and Bachelorsdegree in Product Design with International Experience, expected to attain a FirstClass Honours. I was fortunate enough to get the opportunity to study abroad inBrisbane, Australia during the third year of my degree, in which I was able to widenmy academic knowledge and gain invaluable experiences along the way.

Whilst an emphasis is placed within Product Design on the ideation of newconcepts and how those can be manifested into marketable products, I am alsovery business minded with a passion for marketing, advertising and branding. Due

to the creative nature of product design, I am always looking for new products andvisuals to create and innovative ways to market existing products and brands. In mytime at university I have completed many projects which apply what I have learnt tothe real world and I look forward to building upon this as I begin my professionalcareer in 2016.


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HAPTIC HANDWRITING

A University of Leeds multidisciplinary Masters project to design andbuild a device that allows children to practice their handwriting skills bygiving visual and haptic feedback when performing pre-programmed

exercises. The outcome of the project was a prototype haptic robot thatcan assist a child to undertake standardised handwriting tasks. Anaccompanying user interface provides the child with task instructions andperformance feedback on their handwriting development.

The work packages I undertook for the project included producing theunit, stylus and game designs, alongside the creation of a brand for thesystem and a subsequent marketing initiative.

OVERVIEWPROJECT SKILLSET


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BRANDING

The branding element of the project involved producing a name, logo and colourscheme for the device. The process behind each element included concept ideation

and further development, utilising user feedback and evaluation matrices throughoutas a measurement for improvement and success. The colour scheme hex codesproduced were used throughout each component of the project including the logo,pamphlet and the aesthetic finish of the device.

WRITERIGHT

WRITERIGHTHAPTIC HANDWRITING

WRITE

RIGHT


WRITE

HAPTIC HANDWRITING

RIGHT

#58585B #62C9DA #D1D2D4



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PAMPHLET DESIGN

WRITERIGHTHAPTIC HANDWRITINGWRITERIGHT

HAPTIC HANDWRITING

University of Leeds

A University of Leeds Masters project to design and build a device

that allows children to practice their handwriting skills by giving visual

and haptic feedback when performing pre-programmed exercises.

Name: Edzani Galetshabele

Course: MEng Medical Engineering

Email: [email protected]

Responsibilities: Handwriting analysis,

Mechanical design

Name: Robin Jackson

Course: MEng Mechatronic and

Robotic Engineering


Responsibilities: Control software

Name: Owen Ahmet-Hayward

Course: MEng Mechatronic and

Robotic Engineering


Responsibilities: Electronics, Kinematic software

Name: Matt Gibbs

Course: MDes Product Design


Responsibilities: Marketing, Branding,

Design (Stylus, Unit, Game)

TheProject

The Future Vision

Name: Jonathan Edwards

Course: MDes Product DesignEmail: edwardsjr94gmail.com

Responsibilities: Design (Casing, Arm, Task, UI)

A4

A5

Increased arm length would

provide a larger workspace area

Device would be supplied with a number

of different pen styles and grips

Reduced size of the mechanism

components, decreasing the

overall size of the device

System would be able to detect

when the pen is in contact with

the paper, in turn switching the

haptics on or off

Adjustable viewing angle

mechanism would be built into

the unit design

Internal feature would analyse

the data produced and create a

development profile for the

individual users

Av ast library of tasks and games

for the users to complete

The Team

The Project

TheProblemThe Beneficiaries

Despite the emergence of advanced technologies in recent years,

having proficient and legible handwriting is still an important part of

education, employment and everyday life. The inability to write with

shown to have lasting effects at university level and beyond.

Developmental Coordination Disorder (DCD) is a common

neurobehavioral disorder in children and adults. Poor fine and gross

motor skills are a consequence of this condition. Studies have shown

that a high percentage of children with DCD have difficulties withhandwriting and spend a lot of their cognitive resources focusing on it.

This in turn slows their development and acquisition of other

fundamental skills developed within the learning environment.

Since a large proportion of children suffer from movement difficulties,

there is a real need to develop tools which can assist and develop

handwriting skills.

Children

Teachers and Schools

Occupational Therapists

Researchers

With an increased number of children receiving the necessary

assistance, the standard of handwriting increases within the class.

Children are more likely to perform better in school when their

handwriting is proficient and legible, making teaching and marking

easier. Alongside this, schools that invest in their pupils are more likely

to be seen favourably in the public eye.

The device serves as a foundation for further research. Both the

software and hardware within the system are fully integrative, ensuring

future software development work can be implemented into the device

The system reduces the time pressures on occupational therapists.

Once the occupational therapist has set up the device, the child can then

choose the necessary tasks or games and perform the exercises without

the need for one to one assistance. Subsequently, the occupational

therapist has more time available to help other children.

With improved handwriting, children can develop other academic skills

such as reading, listening and speaking. Alongside this, an increased

number of children can receive assistance ensuring all children develop

at the same rate as their peers.

31-60%

TheNumbers

of a child's academic day is spent focusing

on fine motor skills (McHale, 1992)

of primary school aged children suffer from some

form of movement difficulty (RFP, 2015)13%Up to

DCD affects of children in primary schools (Dewey

and Wilson, 2001)5-8%

70%of children who suffer with DCD when they are younger

continue to struggle as they get older (Kirby et al, 2008)

The

Solution The Features

Software

Hardware

Unit secures the tablet, mechanical device and the paper writing

surface.

Stylus can be taken out and swapped with a different style of pen or

grip

Tablet viewing angle can be adjusted

Catch mechanism for the casing is disc rete and reduces the chance

of a child opening it up and accessing the components

Three-part casing design enables access to the mechanic

components for repair or future development

Motors are back drivable, reducing the chance of child pushing too

hard on the system and causing damage

Brushes discourage children from placing their fingers in the

mechanism

SHINE handwriting task booklet implemented into the system

Fully customisable for adaptations and future development

Interface is intuitive to use

Data can be exported from the system and analysed

System features a game for users to enjoy alongside the exercises

Electronic mechanism components can be individually replaced

and upgraded over time

Allows unsupervised, repetitive practice to occur

New tasks and games can be added with ease

Draw outtheshapes

Practice:

Final:

Takeyour time!Itisnta race

A1

WRITERIGHTHAPTI C HANDWRI TING

Helpful Hint

Keep lookingat

theexampleshapeto compare

ExemplarTask

UserInterface

My role was to develop an initiative to get our teams design out to stakeholders and those who held an interest inour project outcome. Therefore, I created a marketing pamphlet which provided the reader with an overview of the

project, the team, the problem, our design solution and what our vision for the future was. These were printed anddistributed to our stakeholders.


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UNIT AND STYLUS

I also produced the unit which secured all the components of theoverall device and the stylus which enabled the user to interact with

the system. Multiple phases of sketch ideation, CAD developmentand prototyping were undertaken to reach the respective final designsolutions. The devices logo was etched onto the unit using a lasercutter and finished according to the brands colour scheme.


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FINAL DESIGNS

To produce a final working prototype for the project, each teammember brought together their components of the device and it

was assembled and tested. On the right are two images; the firstis the CAD model we produced and below is the final prototypewith all its functioning components.

A KeyShot animation demonstrating how the device is built andused can be found at:

www.behance.net/gallery/37864351/Haptic-Handwriting

As this project was conducted over the course of an entire year itis difficult to convey all the work I have produced and therefore Iwould be more than happy to talk about it with you if you wantedto know any more!


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A project to redesign a modern day electrical appliance in the style of oneof a number of trends and movements. The style I chose to use for myredesign was Steampunk. This movement looks at bringing together

modern technology with a 19th century industrial, steam poweredaesthetic.

The process involved researching the trend and creating mood boards forinspiration. After producing concept designs and developing them, a finaldesign was built using CAD, rendered in KeyShot and then animated. Amanufacture plan was also produced, explaining how the design would bebuilt and this was given to Level 2 students to prototype.

DESIGN COMMUNICATIONOVERVIEWPROJECT SKILLSET


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I redesigned the electric hand mixer in the style of the Steampunkmovement. The style focuses on giving off an industrial feel, using copper,

bronze and leather materials to give this aesthetic impression. Enabling theuser to see the internal workings of a product is another key feature of theSteampunk movement, hence the clear shell and the visible fans inside.

VISUALISATION


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EXPLODED VIEW

I have also produced a KeyShot animation for this design whichcan be found at:

www.behance.net/gallery/37866387/Design-Communication


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A project to create a product in which the design process followed anumber of user-centred design (UCD) methods. For this project, I waschallenged to identify a user who had a problem that was not currently

solved by any existing products or solutions.

After conducting background research into an area I was interested in,the design brief I tasked myself with was to Design a product or systemthat monitors force impact in real time and visually indicates the potentialfor a concussion within individuals aged between Key Stage 1,2 and 3.

Throughout the process I engaged with the user and other stakeholders,implementing a number of UCD methods including questionnaires,

interviews, participatory design, prototyping and usability testing.

USER-CENTRED DESIGNOVERVIEWPROJECT SKILLSET


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SKETCHING

The first phase of the project involved ideating a number of designconcepts which had the potential to meet the brief and sketching

these down for evaluation against the requirements.


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90%U8 (KS1)

85%U11 (KS2)

65%U15 (KS3)

15%U8 (KS1)

5%U12 (KS2)

0%U15 (KS3)

INFOGRAPHICS of second impact syndrome leadsto death. That is, brain injury caused

by returning prematurely afterreceiving an initial concussion.

248,000children inthe US visited the emergencyroom suffering from

concussions in 2009.

1.6m to 3.8m sportsrelated concussions in the US everyyear.

The increase in the number ofconcussions that occurred in EnglishRugby during the 2013-2014 season incomparison to the prior year.

59%

is the risk of experiencing a concussion

during 1season of contact sport.20%

50%

90%, the number of sportsconcussions believed to beunder reported.

Infographics were used throughout this project to convey alot ofthe information that was crucial to the reader. The use of

infographics enabled large sections of text to be condensed downinto a format that was both easier to read and more aestheticallypleasing.

Demonstrated the amountof children who woreheadgear when playing theirrespective sport at school

Each symbol represented adesign requirement. When aconcept failed to meet arequirement it was greyedout like so. Infographics were used to highlight

background research and relevant datafigures to the reader


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FINAL DESIGN User pulls the headpiece down andsecures Individual receives an impact to the head

Green light indicates it wasn't a forcefulimpact

Individual receives a second force to thehead

This time the red light illuminates andthe buzzer sounds

Coaches, teachers, parents and

teammates notice the dangerwarning and take medicalprecautions. Precautions on the

sports field are carried out by thosein charge and the unit is reset oncethe issue has been dealt with. By no

means does a red light indicate aconcussion has occurred, instead itensures that the individual can be

checked in case of one and treatedaccordingly.

My final design used a number of flexible force sensorsthroughout the inner padding of the headwear. These

sensors were set to measure the amount of force ittakes to sustain a potential concussion and dependingon the amount of force, either a green or red LEDilluminated offering real time feedback to the user.


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EMOTIONAL DESIGNOVERVIEW

A design project intended to develop our understanding of user-centreddesign, with specific regard to designing for a user that differs drasticallyfrom oneself. The brief was to design a water bottle for a specific user

and in my case, this was to Design a water vessel for young femaleprofessionals in the office and on the go.

The process began by surveying a number of target markets. A productbenefits specification which highlighted the emotional benefits thedesign would provide the user with was produced, creating conceptualdesigns that met the benefits specification and an evaluation of themfollowed. Lastly, CAD was used to develop the solution into a 3D model.This model was then CNC routed and 3D printed, with a portfolio of work

produced in order to communicate the final design.

PROJECT SKILLSET


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SKETCHING AND PROTOTYPING

The initial phase of the project was to sketch out some styleswhich met the persona of the user I chose. After the concept

had been selected and developed, the CAD models were CNCrouted and 3D printed for testing.


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STORYBOARDING

The final phase of the project was to produce the visuals for the design andan accompanying portfolio to convey the design to the user. I chose to create

a simple storyboard to demonstrate how the design should be used.

When the user wants adrink, she rotates thecap to the bumper

Whilst the cap is in itscatch, the bottle iswatertight

Water flows once the

cap has been rotated

The user can now drinkfrom the vessel. Oncefinished, the user canreturn the cap back toits catch


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DESIGN ARTICLE

The task for this assignment was to produce an article looking at one of anumber of influences on an artifact or product over time which wasfundamental to German design. The focus of this article is on the

aesthetic development of Marcel Bruers B32chair and the effect its stylehas had throughout time.

Alongside the content of the article, the document also had to resembleas closely as possible the style of a Guardian Newspaper article from avisual perspective.

OVERVIEWPROJECT SKILLSET


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Getting Legless:A Guide To German Design

OpinionA German Pespective

The Life Of:Marcel Breuer

Cantilever Chair:Its EffectMatthew Gibbs

The B32 set the precedent for thecantilever style to be massmanufactured, focusingprimarily of being bothfunctional and efficient with itsuse of materials. It was the chairwhich epitomised the movementtowards functionality andminimalism and has to this daybeen continually used within thedesign community. Theproduction of Breuers B32 chairshave changed hands throughoutthe last century. Initially theywere produced by Thornet in1928 however in the 1950smanufacturing rights werehanded over to Gavina to producethe chairs. Then in the 1960s,Gavina was bought by the Knollcompany who to this day stillproduce the authentic versions ofthe B32 (15). As it happens,Marcel Breuer was unable to filefor a patent against the chairsdesign due to the disputedorigins of the cantilever stylewhich means today there are avast number of cantilever styledchairs in circulation. The designcommunity have made good useof the minimalistic aestheticinspired by the B32 chair andeven the likes of IKEA haveproduced cantilevered chairs,

including the Tobias and Pellochairs (16). The style has beenadapted to suit the needs of themodern era, with chairs designedfor both the office environmentand for home comfort. Design plays a prominentrole in Germany, with a sense ofpride and achievement in theirdesign roots (17). It played apivotal role in society after theend of the First World War, withdesign seen as a service to thecommunity. (18). For Germans,design and engineering havebeen the driving force behind itsrise as the leader of Europe andthis has in turn lodged itself intoGerman culture. The Bauhausmovement is one of the bestknown design trends inGermany, influencing a hugenumber of different aspects oftheir culture, from architectureto industrial design with itsfunctional and efficient features(17). And whilst Bauhaus is still aprominent factor in Germandesign, there has been a numberof attempts to move away tomore up to date, current styles.Joerg Suermann of the designaward of the federal republic ofGermany highlights that"German design is veryfunctional, very minimal, but theworld is moving. To be successful

in the future we have to thinkabout what will happen in thefuture, what is necessary for thefuture." This coincides with amovement by young Germandesigners to distance themselvesfrom Bauhaus and create a newmore modern design language(19). The German design councilwas set up in order to strengthenthe design industry, fearing thatthe competitiveness they oncehad was being lost. Each of themembers within thisorganization are committed tothe idea that design is a crucialfactor for both business andcultural success, and thereforedesign has wedged itself in as animperative from all aspects ofsociety (20). Whilst there havebeen many attempts to changethe design scene in Germany,automotive engineering anddesign continues to remain theindustry Germans are bestknown for and provides themwith the biggest sense ofnational pride (21). This howeverhas been detrimental to someother aspects of design such asfashion, in which cities like Parishave emerged as the worldleaders and German fashion hasfallen behind (22).

Inspirationfrom bicycle

handlebars

New designhad both

aesthetic andfunctional

improvements

Currentlyone of the most

recognisablemass produced

products

Breuerdescribed the

chair asSitting on

columns of air

Tubingallowed thechair to flexat the back

Clean linesand

minmalisticmaterials

Marcel Breuer:Aesthetics Of The B32 ChairCaitlin McCulloch

Hungarian born Marcel Breuer is often seen as oneof the most influential architects and teachers ofthe 20th Century (1). Born in a small provincialtown in Hungary, Breuer left home aged 18 toattend the Academy of Fine Arts in Vienna, 1920.However after six months, disillusioned with thefocused and historical approach to art, Breuerdecided to attend the newly formed Bauhaus schoolin Weiner. Staatliches Bauhaus, which translatesas house for building was founded to unite bothart and craftsmanship and was a direct rejection ofthe soullessness of the current manufacturingprocesses (2). It was here that Breuer focused hisattention on furniture and until 1924 attended acarpentry workshop run by one of its foundersWalter Gropius (3). Ind eed, his early works fromthis period heavily featured wood as a medium, oneexample can be seen in his African Chair, 1921. TheAfrican Chair was created in union with his thenlover, Gunta Stozl, as a symbol of their relationship(4). The chair, a combination of both textile andwooden elements is made of multiple wood typesincluding oak, cherry, hemp and cotton (5). Thetextile element, created by Stozl was producedusing woven yarn and featured abstract shapes

reminiscent of folk art (4, 5). Following this,during his final year of study, Breuer becameinterested in functionality and geometric forms.The slatted chair, a development upon an earlierdesign in 1922, was based on De Stijls designprinciples, which focused on simplicity andgeometric forms (6). Both the seat and theplacement of the wooden rungs within the chairwere designed to encourage a comfortable andergonomic seating position (6).

In 1925, after passing his journeymansexamination, Breuer was appointed junior masterby Gropius, which enabled him to direct a furniture

workshop. Breuers interest in inexpensivematerials and modular designs led to thedevelopment of the first chrome plated steel-tubedfurniture in 1925, the B3 chair (7). The B3 chair,

also known as the Wassily chair, was the first steelchair designed for domestic use and remains one ofthe most identifiable icons of the modernistfurniture movement (8). This chair wasrevolutionary in both its use of materials andmethods of manufacturing. In that same year,upon the relocation of the Bauhaus to Dessau,Breuer was commissioned to design all thefurniture for the new buildings. The outcome ofwhich was the S shaped B32 cantilever chair, nowrecognised as one of the most widely usedcommercial chairs in the world (1).

Chirstinne KochBauhaus Archive Assistant

Who is your favorite designer and why?I am a great admirer of one of the founders ofBauhaus, Walter Gropius. I think he was a greatinfluence and his ideology helped to develop manyways of design thinking today.

What do you think his design work meant forGermany?The Bauhaus building its self and its teachings havehelped to inspire a generation of designers. It helpedto develop a functional and minimalist attitudetowards design, seen in many products today. This isvery reflective of the German way of life and thepeoples attitudes.

Which modern day products are influenced bythis?Brands such as Apple and Braun use simple,minimalistic style in turn visually indicating both

form and function.

What does his style mean to you?I feel the design and ethos is very similar to theGerman people and our way of life; functional, exact,

forthcoming and to the point.

BMW Motorcycle Tour Guide

What is your favourite German design and why?The BMW R1200 motorcycle, sport version.Thedevelopment of the bike makes it so special,along with its styling and power.

What do BMW do differently to othercompanies?BMW are pioneers of the boxer engine which I believeto be the key design feature of BMW bikes. They alsouse recognisable headlight clusters, similar to those

on BMW cars. The angular bodywork differentiatesour bikes form from other brands, making theminstantly recognisable throughout the world.

What is the message behind BMW bikes?Germany and BMW have a reputation for qualityengineering. Our bikes portray ideas of power andadventure, which is the main message behind manyof our advertising campaigns.

What does BMW mean to Germany?Many of our bikes are still produced soley inGermany. This ensures that we can maintain ourreputation by using German manufacturingphilosophies. Many of our bikes are used by the localauthorities, exemplifying the reliability and status ofthe designs.

Marcel Breuers B32 Chair

Richard Williams

Marcel Breuer is well known to havepioneered the design of the modern daycantilever chair, under the Bauhausdesign movement. The definition ofcantilever refers to an object which issorely supported at one end (9). Thischair only had legs at the front, hence thename, the cantilever chair emerged forthis radical new style. The initial concept of thecantilever chair was not created by Breuerhimself. Removal of the rear legs from achair was initially proposed by MartStam, a Dutch architect in his S33 chair,1926 (10). The idea was also implementedby Ludwig van der Rohe in the MR10,1927. However, the legs were curved andhence it was impractical to use beneath atable (11). Breuer had past experience inchair design; his B3 Wassily chairprovided much of the inspiration for themodern day cantilever version (10).Breuers cantilever chair had multiplevariations between 1926 and 1928,however the most famous version, the

B32 had a simple armless design (10).Further models such as the B34 and B64incorporated arms into the design to addfurther ergonomic and functionaladvantages. Breuer insisted that his version ofthe cantilever chair should be simplerthan previous attempts, and envisionedthe user sitting on columns of air (12).Breuer used his favourite visual elements

from the previous B3 chair; includingshiny nickel plated tubing in order toproduce a minimalist appeal. Hisinspiration for this was taken frombicycle handlebars (13), utilising both theform and shape within the framework ofthe chair. Breuer explained that usingshiny and impeccable lines in space, asnew components of our interiors wasthe main reason to further incorporate anickel finish on the tubing (13). Breuercreated a modern and unusual take on theexisting chair, adding many aesthetic andfunctional improvements through the useof a continuous framework (14). Theresult was the B32 cantilever chair, asimple armless design that appeared tofloat in the air due to the exclusion of rearlegs. The design was in keeping with theBauhaus style, using clean lines andminimal design techniques to achieveboth an attractive and functionaloutcome.

Shiny and impeccable

lines in space, as newcomponents of ourinteriorsRemoval of the rear legs was a radicalidea at the time, made possible byutilising the strength of steel tubing. Thetubing was not only strong, but allowedthe chair to give a little at the back to

support the body and provide maximumuser comfort and flexibility (10). Thetubing was cold rolled a new techniquethat allowed flexing without wallscollapsing - and bent, which ensured thatmany chairs could be made quickly andefficiently (14). The tubing constructionmethod also allowed the chair to be massproduced which was a crucial Bauhausprinciple. The special properties of thematerial and the viability of the massproduction techniques is what madeMarcel design and construct the chair inthis way. With regards to the constructionmethod, he quoted I considered suchpolished and curved lines not onlysymbolic of our modern technology butactually to be technology (13). The metaltubing was also able to be nickel plated togive the desired effect (10). Cane wasmounted onto the steel tubing to form aseat and backrest (14). Utilizing thismaterial was not only modern andeffective, but also incredibly cheap. Thisallowed the cost of the chair to remainvery affordable, which allowed simplemodernist designs to be available to the

masses. The striking design along with theoverall floating appearance wasobtainable using the selected materials,and also followed the underlying Bauhausprinciples. This created a timeless designwhich is still prominent in many chairdesigns today.

Marcel Breuer

PRINT DESIGN


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[email protected]

07854 658867

www.behance.net/mgibbs363

www.linkedin.com/in/mgibbs363

ID LOVE TO HEAR FROM YOU!

Portfolio Matthew Gibbs.pdf

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