edge line salt & pepper set

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EDGE LINESALT & PEPPER MILL SET

Griff in Ml l ins


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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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7/38Research


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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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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

edge line salt & pepper set

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