edge line salt & pepper set
TRANSCRIPT
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EDGE LINESALT & PEPPER MILL SET
Griff in Ml l ins
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3
Introdction
Dring this three week project, the goal
was to explore and dene a car design
era, and design and create a working
model of a salt and pepper grinder set
that represents that car design era. The
era that I chose was the Edge Line era.After researching this era, the process
of ideation, renement, and construc-
tion began. This process book follows
this project throghot the three weeks
from start to nish.
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5Table of Contents
Coming p...
Research: Edge Line 8-9 Cltre 10-11 Cars 12-13 Representational Forms 14-15 Salt & Pepper Mills
Exploration of Form: Sketching
18-19 Initial Ideation 20-21 Redesigns
Renement 24-25 Sketch Models
26-27 Selection of Form
Constrction
30-25 Final Model
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CuLTuRE
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9
The edge line era of car de-sign was dring the 1960sand contined into the late1970s. This was a very vibranttime period in history. The unit-ed States had jst won thespace race, the Vietnam warwas ending , the Sears Towerwas nished being built, Ap-ple and Windows were bothfonded, and the Beetleswalked across Abbey Road.
EDGEL I NE
Research Cltre
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1964 Renault 16
1970 Ford Boss 302
1977 Ford Granada
1977 Ford Granada
1967 Shelby Mustang GT
1970 Dodge Coronet 440
1968 Chevy Camaro
1970 Buik Riviera
1969 Fiat 130
precision
sharp lines
functionality
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11
The cars of this era were meant to look verysleek and very modern. They used very sharplines in order to convey precision and edge.
Edge line cars can usually be dened with a long line reaching fromthe back of the roof to the rear of the car; this led in the hatchback de-sign. The goal of this design pertained to efciency and clarity. Amer-ican edge line cars are mainly dened by the muscle car category, but
some family sedans made their way into the mix as well. European edgeline included more toned down colors that kept a more classic look.
clarity
1968 BMW 2000 CS
1979 Lincoln Continental
1970 Holden Torana GTR-XU1
1971 AMC Gremlin 1966 Ford Galaxie
1971 Dodge Charger 1970 Falcon XW GT
1975 Triumph Stag
edge
efficiency
CARS
Research Cars
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13Research Forms
Representational FormsThe next step towards designing the salt and pepper grinders incldedresearching forms the represent the edge line era, althogh they do
not actally have to come from the time period of the era, itself.While searching for forms, the criteria of a form pertained to the shapeof the form itself as well as how the edges of that form interact withthe overall flow of the piece. Edge lines se of simplicity, clarity and
precision give off a niqe look to any object that stands ot whilekeeping a certain sense of class.
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15Research Salt & Pepper Mills
MillsAf ter researching everything about edge
line design, the next step was to research
different salt and pepper mills and theirmechanisms. These mills give a knowl-
edge of the current and past designs
available for certain mechanisms; these
aspects have a huge effect on the form
of the final product.
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17Form Exploration
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19Form Exploration Initial Ideation
Initial IdeationThis four day period included over 150 pages of sketches, each with
two orthographic views and one perspective of forms of salt and
pepper grinder sets that represent the edge line design era. The in-
struments used for these sketches include Copic markers and a pen. These sketches were hung on the
wall as peers commented and marked the most successful. The most successful drawings ended up as
the basis for which I would re-design the forms and re-think ideas that can be improved upon further.
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21Form Exploration Redesigns
Redesigns The two day rede-sign period includ-ed 100 pages of redesigns from the previous
ideation process. It was from these draw-
ings from which the sketch models are made.
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23Renement
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form expression
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25Renement Sketch Models
During the rapid pro-
totyping process, the
goal is to quickly produce high quality models representing the forms explored during theideation process. In this case, I produced twenty different models that represent one grind-
er out of the set of two I would be designing. To create the models I used medium densi-
ty prototyping foam and drew the side view orthographic onto the surface. Next I cut out
the view and continued by drawing the top view on the surface for cutting. To shape the
foam I used a hot wire cutter, a Dremel, sanding sticks, and sandpaper. Many of the models
created during this process were cut into two pieces on a ban saw, then re-attached using a
toothpick; this allows the model to mimick the rotating mechanism of a salt or pepper grinder.
RAPID PROTOTYPING
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27Renement Selection of Form
Selectionof Form
During this process the sketch mod-
els are tested and suggestions are
made towards the designs best suit-ed for the task at hand: achieving
an edge line inspired salt & pepper
grinder set.
I continued this part of the process
by selecting the final design and cre-
ating ideas for the second grinderthat would make up the set.
Lastly, I rendered the final set togeth-
er using SolidWorks and Keyshot.
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29Constrction
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During step one of the process (1,2)
the correct thing to do was to create thesteps in which the grinder set would be constructed.
Step two of the process was gluing the high
density prototyping material (similar in tex-
ture and density to wood) in order to attain the correct
thickness of material (3). This step also included draw-
ing the side view orthographic onto the surface of the
material; which included a parting line for the pieces.
Step three included separating the top
and bottom pieces and turning the top
on the wood lathe in order to create a lip that would slide
into the base. This step also included milling out the in-
side of both pieces. This step was done before shaping be-
cause it must be drilled while the vertical axis is still in tact.
21
3
4 5
6
Two Three
One
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This step involved shaping the form with the ta-ble saw along with the ban saw. This was fol-
lowed by a generous dose of sanding to get clean surfaces.(6)
Step Six included shaping the inside of the milled
holes on the bottoms of the grinders in order
to achieve a proper t for the ceramic mechanism.(8-11)
The seventh step is one of the most crucial. This
step includes slowly sanding each face of the
grinders the correct amount so that the edges and points of contact
between the grinders are ush and aligned as the design intend-
ed. Only after this step can the nal shaping process begin.(12)
Step ve pertains to following steps one through
four with the second grinder.(7)The two grinders
in the set are not built together because precise measurements of
the rst grinder have to be taken once the shaping on is nished
on it. These measurements are crucial to a successful execution.Constrction
For Six
Five Seven
7 8
9
10
11
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The eighth step of this process is called
chamfering. In order for a clean cham-
fer to be sanded, an eighth of an inch from the corners
intended to be chamfered is measured. Next, tape is
placed on either side to mark the chamfer and the cor-
ner is then sanded down in between the tape lines.(13-16)
Step nine has to with preparing to
paint. After the chamfers were complet-
ed, each piece was sanded down with 400 grit sandpa-
per in order to ensure a clean and smooth nish even
before the primer is applied. The pieces were suspend-
ed in order to allow access to the underside.(17-18)
Eight Nine
13
15 16
14 17
18
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33Constrction
The tenth step includes priming the sur-
face to protect, seal, and smooth the fac-
es. After each coat of primer the pieces were sanded up
to 600 grit sandpaper. This was done for a series of four
coats. After which the pieces sat to dry for a consecu-
tive three hours in the same suspended position.(19-20)
The final step in the process
is the eleventh. This step in-
cludes painting each piece evenly with their respect-
ed colors. After painting along with drying, the grind-
ers are ready to be assembled. The mechanisms are
glued in and the tops slid onto the metal axle.(21-22)
Ten ELEVEN
19 21
20 22
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FinalModel
The final model is the essence of
edge line design. The forms playoff of each other, no matter the po-
sition. The chamfered edges of the
forms increase a sense of strengthand precision into the pieces while
remaining functional; the chamfers
make the grinders much easier togrip than filleted edges.
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Conclsion
Dring this three week project, the goal was to ex-plore and dene a car design era, and design andcreate a working model of a salt and pepper grind-er set that represents that car design era. The erathat I chose was the Edge Line era. After research-ing this era, the process of ideation, renement, andconstrction began. Throghot this project therewas challenge after challenge, inclding makingthis process book, bt I realize already how mch it
has improved my work ethic and thinking speed.
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Griffin Mullins
IDUS 250-01
Professor RojasWinter 2013