The Products

Ideation

In the course, the topic was „HARDSHIP – The design of suffering and antifragile experiences“. In other words, it was about the targeted amplification of pain and suffering and the emphasis on antifragile systems. Products and applications were to be designed that move between art and design, more precisely in the area of Critical and Speculative Design.

My main problem in brainstorming was to find a motivation that would make users want to use my product. For this reason, I decided to redesign existing products that encourage people to buy for reasons such as consumerism or addiction. So the motivation to buy/use already exists.

Besides ideas to create a „pain game“ or to make psychic pain visible, finally the protective packaging had the most potential. The next step was to create a mood board to work out the aesthetics and create a basis for the design. In this, a wide variety of spines, barbs and thorns from nature were compiled.

Drafting Process & Parametric Design

The shaping was worked out using Rhinoceros and Grasshopper 3D. First, the rough product shapes were designed and a Voronoi mesh was projected onto the surface of these shapes. The resulting polygon curves are now gradually reduced in size and extruded outward. From this approach, spines emerge that extend explosively outward from a defined center of each object.

The final renderings were created with the software Blender.

Naming & Logo

The name „Thornback“ was inspired by the Thornback ray, a species of ray with spines and on the back and tail. The logo for the brand is a simplified shape of this fish with a tail shaped like a spine, symbolizing the inspiration drawn from nature, where animals and plants use thorns as a defense mechanism.

Visual Identity

In the context of Critical Design, the graphic design only takes on a representative role here. The visual design of the graphic elements is therefore very reduced, but clear and full of contrast. The designs only use the colors black and white. The typography should be above all neutral and informative. The font used here is Aeonik. Each label consists of a large, easy-to-read product name (and the clock on the cell phone), a few product details and a warning, such as those found on conventional cigarette packs. In order to differentiate the label or the screen from the actual product, a strong white outline serves as a border. The white thorns that emerge from this also form a subtle reference to the concept and the actual idea.

Poster

World Cup 2022 Ball Design

It's not an actual packaging design, but on the occasion of the World Cup 2022 in Quatar I also designed a soccer ball with a spiky surface. Since this design has a different context, it stands alone and is not part of the series.