DESIGNER

 INTERACTION   LAMPS   INTERFACES 

NL

INTRO

Welcome to the portfolio of Jip Asveld.

I am an Industrial Design graduate, but I prefer to think of myself as a lighting and interaction designer. In practice, this means that I design lamps and interfaces.An interface is a medium through which one can control a product and receive feedback; it enables interaction with the product. Examples of interfaces are a screen (digital interface) and the buttons and lights featured on an oven (physical interface). As interaction designer, my job is not to design the screen or oven itself, but the ways in which they are controlled. For example, the ways in which you can use your mouse and keyboard to achieve a desired result on a screen, as well as the ways you can operate a physical product such as an oven. This portfolio contains clear examples of both digital and physical interfaces. For example, Invisua's Interface shows a project where I design a digital interface, while ShareIT shows a physical interface.

At the moment I am independently designing custom-made lamps, which can be seen in the projects Action Lights and Tree Lamps. Besides, I like to do commissioned work, such as creating a specific lamp or designing a 'customized interface' (like I did for the projects Invisua's Interface and ShareIT).

This portfolio consists of four parts. In the first part, some of my most interesting projects are elaborated. The second part contains a text about me as designer. The third part describes my most relevant skills. In the final part of the portfolio it is possible to contact me. If there are questions or interest regarding my work, please feel free to send me a message.

PROJECTS

My projects can be viewed in this part of the portfolio. The first three projects are commissioned work, completed during my studies. They include my graduation project (Coffice Lamp) and my internship (Invisua's Interface). The final two projects were started post-study and I am still developing more designs. The different products you see here can be made on request.


A desk lamp designed to help decrease the many distractions created by smartphones.

Coffice Lamp was my graduation project. This project is hypothetical and focuses on the year 2020. The objective is to help reduce stress levels experienced by young adults.

The perpetual presence, and (over) use of the internet, impacts our stress level. Smartphones allow young adults to be frequently, if not constantly, connected online. These everyday distractions interfere with our lives and work productivity, leading to delays and increased stress levels. Coffice Lamp aims to assist people by reducing these unnecessary distractions. Making them more productive and less stressed.

Click here to read about the design process in detail: what the design case was, which steps I made throughout the process and how I developed the final design. The essence of the concept is explained in the text below, the final design can be seen in the images.

The Coffice Lamp is a desk lamp that manages your notifications, thus minimalizing distractions and ultimately reducing stress. It goes like this.

Placing your smartphone on the edge of the lamp triggers its light to shine, by slowly turning the light on. In turn, removing your phone turns the light off with a slow dimming effect. Loss of a constant light source is the consequence if you decide to check your smartphone, which is very unsatisfying while working. The fluctuation of light should stimulate you to keep your phone on the lamp.

But there is a more elaborate function the lamp offers to reduce the distraction from your smartphone. Context-aware technologies* will allow smartphones to detect when they are being placed on a Coffice Lamp. This would allow smartphones to set themselves to a stand-by state, meaning incoming notifications, such as e-mails and WhatsApp messages, would not be indicated immediately. “On-hold” notifications would be filtered into relevance-values, interpreted by computed software able to understand and interpret messages*. The value of individually blocked notifications would be then be summed up to form a total relevance-value. Only when the total relevance-value reached a pre-determined level, the smartphone will be taken out of its stand-by state. It is now able to ‘release’ the pending notifications, displaying all notifications at once. The goal and result here is that you are only stimulated to view your smartphone once in a while, rather than constantly and without need.

(*all through technology that will be available by the year 2020, since the design case required this project to aim at this future year.)

Additionally, understanding that some moments are busier than others, and because humans like to have control over their technologies, the Coffice Lamp has two different modes. The placement of your smartphone determines which mode is activated. Placing your smartphone screen-up ascertains that the notifications are received earlier, while placing it screen-down ascertains that the notifications are held for longer periods of time. This second case is best for when you feel very busy. Notifications will arrive later, and less frequently, so that you are distracted less often.

In this way the Coffice Lamp prevents unnecessary smartphone distractions, making you more productive, and less stressed-out!

User-interface interactions designed for the company Invisua.

This is the project for my internship at the lighting development company Invisua. The founder had developed an innovative LED spot for the professional lighting market, to be used for example in shop windows. These spots can emit any color of light, so both varying huesThese are the different colors: red, blue green, orange, etc. and varying 'temperatures of white'These are the different ‘kinds’ of white; from warm, yellowish white to cold, bluish white.. Light intensityThis is the brightness of the light. and color saturationThis can be seen as the purity or colorfulness of the light: a highly saturated color is vivid and intense, while a less saturated color appears more muted, closer to gray. can also be adjusted as needed. Furthermore, it should be possible to send a lighting-plan to a spot, meaning; instead of emitting one fixed color of light, the spot can also emit dynamic, changing, and repetitive light. And finally, since it is likely there will be multiple spots in a room, it should be possible to configure different settings to different spots. All of these factors combined (color, saturation, intensity, timeframe, and the number of spots) mean it is not possible to control the spots using a simple switch or dimmer. It was therefore decided that a user interface would be needed to control these functions.

It was my job to design the user interface that would control Invisua's LED-spots. I focused mainly on the usability of the interactions, to provide a simple and efficient way of controlling the lights. Since my user interface design would serve as the base for final development, I did not have to focus on the layout. I could simply use the corporate identity Invisua had at that time (which they adjusted later on).

The images and text below explain my design. To read about the process, click here.

The basis of the user interface works in the following way (not all details will be explained since this would simply result in too much text for here). After opening the interface, the user first sees the home screen as in the 1st image above. If he has used the interface before, he should now log in. This will bring him to the page of the 4th image (the next paragraph describes this page). If this is the first time the interface is operated, the user should make a profile by clicking ‘new user’. When this is done, the page of image 2 will show up. At the top of the interface, a menu has appeared, which should be used to navigate through the pages. The pages of image 2 and 3 are used to adapt the interface to the specific situation of the user. In image 2, the space in which the spots are placed can be created, after which the spots themselves can be positioned in image 3. This makes it possible to link the settings on the screen to specific spots in the physical space in a clear way.

Image 4 shows the part of the interface where the lighting settings can be applied to the individual spots. In this case, a fixed color of light can be selected for the spots, by dragging the spots to the desired color in the right part of the interface. The left part of the interface now displays which colors the spots emit. When a spot should emit dynamic light, the user should click ‘Dynamic Lighting’. The page of image 5 will now appear. In order to set dynamic light, the interface uses an area with fading colors (the next paragraph and image explain how new ones are composed). Horizontal lines are placed over the image, each representing a spot. Each line has a circle moving over it that indicates which light will be emitted. The circles move at a constant pace, from left to right, which creates the dynamic light.

Image 6 shows the part of the interface where the areas with fading colors are composed. The color gradients are created individually, after which they are put together. As many gradients can be combined as needed. The colors used in the images are very bright, to show the concept clearly; in practice it is likely that more gentle colors will often be used.

The final interface is called Create. Here you can see the interface on Invisua’s website. When you scroll to the chapter 'Selecting the right light scene' you can view an image of it, similar to my 4th and 5th image above.

Another concept I yet want to explain, because I found it very appealing, works with circles as in the 1st image below. The essence is the same here as with the above-mentioned concept: the color that is pointed out indicates the light that will be emitted. However, in this case, the round shape of the circle expresses the continuity of the dynamic light, which is repetitive without a beginning or end. Because the founder of Invisua did not believe in this concept, I left it out of consideration. However, I think both concepts could be combined really well: the space in which the spots are placed can be created in the interface, as in the concept above, after which the circles as below should be placed in this space-representation. It is then immediately clear how the lighting-plan for each spot looks like, which is a great advantage. By clicking on an individual spot, you can alter the settings of the light that spot emits, as in the 2nd image below.

A design to let designers listen to inspirational messages, in exchange for their own messages.

This was a project for the Open Innovation Space* in Eindhoven; a space that should serve many design related purposes such as brainstorming, modeling, discussing, presenting, etc. The goal was to realize an object which helps facilitating designers and designs students when working in the Open Innovation Space. This can be done in many ways, such as providing them with inspiration, with working tools, with connections to other designers, and more.

*which does not exist anymore

I designed an object that provides fast and easy inspiration for the people working in the space. The first image below shows the final prototype. It is a small pillar with a horizontal surface (seen from above), with an explanation of the design and three colored devices that can record and playback messages (this is the physical interface I mention in the intro of this portfolio). The illustrative surface of the design explains the concept in a self-explanatory way. But I will also expound it below the images.

The design operates as follows. At first, the user should select the color of the context in which he wants to exchange inspiring messages, and then take the matching device. When the button is pressed, by squeezing the device, it will play two messages within the chosen context. These messages are recorded by previous users of the design. When both the messages are played, the user needs to record his own message. In order to do this, the button should be squeezed as long as you are talking. Release the button to stop recording. Now you can access the design again, or go process the new inspiration you acquired. Ideas, visions, opportunities, methods, books, and so on, can be shared in this way.

For this design it is very important what the exact contexts are. They determine the extent to which the messages will be interesting for the receiver. The contexts should be specific to such an extent that the messages are appealing to anyone who is interested in the context as a whole; when the contexts are too general, only a part of the context will be interesting enough for the users. Unfortunately there was not enough time to compose appropriate contexts during this project. And when the Open Innovation Space stopped existing, it was no use to extend the process. Otherwise, the important next step for this design should be to research and test which contexts should be used. In order to make the design more favorable for the user.

In order to include a more specified variety of contexts in the design, I can imagine a version where multiple pillars are in the space (each pillar still contains multiple devices). The different pillars are labelled with different contexts: one pillar for context A, one pillar for context B and one pillar for context C. Each of these pillars contains devices, which correspond to sub-contexts within the main-context of the pillar. So pillar A might have three devices attached to it that all correspond to context A but more specified, so context A1, A2 and A3. In this way the user has a lot more to choose, a lot more to specify when selecting the context for his inspirational messages.

Series of lamps that can be turned on and off through simple, original (inter)actions.

For this project I look for new but simple (inter)actions to control light, rather than the regular switch and dimmer. The result is a series of lamps that are operated by clear and innovative actions, such as rotating and stacking. I considered a lot of different (inter)actions and selected the ones you see below as most suitable. They are very straightforward, yet have something mysterious.

The lamps I have designed so far can be seen in the videos below. The four lamps on the left are based on the same principle: attach the lamp (through the internal magnets) to its base or a piece of metal to turn on the light. The two lamps on the right can be controlled by either knocking or waving. The videos speak for themselves. Further below you can see some older prototypes. I am still exploring some of the (inter)actions you can see in these prototypes. To be continued!

The designs in the images below should not be considered as definite product, but rather as prototypes that I will develop further. The first three images show, for example, how I came to the first lamp above.

Unique lamps, designed and crafted from one specific part of a tree.

From a collaboration with a gardening-company (De Knoest) I am able to obtain wood in all shapes and sizes. From this wood I make lamps in the natural shape of the tree. This project is ideal to realize a lamp for specific desires. Below you can find some lamps I designed for this project. Under the lamps you can find some additional explanation.

The lamps above can be divided into four groups:

The first two show lamps are a combination of wood and epoxy. I cut off a part of the wood, made a mold of it, and cast some tinted epoxy resin in it to exactly reproduce the removed part. The result is a perfectly fitting, semi-transparent piece of epoxy. The tree bark texture of the epoxy diffuses the light in a very appealing way; the deeper the grooves are, the lesser the light is colored by the epoxy. The surface gets colored while the grooves stay white. Unfortunately it is not possible to show this through photos.

The third and fourth display pieces wood with a branch that emits the light. The fourth has a turning knob to vary between warm and cold white light.

The fifth is a piece of wood of which the branch is divided into two parts, each containing a LED. These parts can be reassembled, through magnets, to form a new branch. Connecting the parts will light up the LEDs

And the final two lamps depicted on these pages are controlled by touching the metal bar. A touch will let the light either go on or off (it is possible to change the electronics so that a longer touch will dim the light). The inside of the ring of the last image has a tree bark texture. Just as with the epoxy, it is not possible to show through a photo how the texture is emphasized by the light.

ABOUT ME

My name is Jip Asveld. I was born and raised in Tilburg, The Netherlands. I attended the University of Technology in Eindhoven where I graduated with a bachelor's degree in Industrial Design. This portfolio depicts my many capabilities, experiences, and skills. The following key words describe my design-focus, and specialty: lamps, interaction, web design, (technical) prototypes, interfaces, usability. That last one includes both user-friendliness and usefulness.

I work mostly on interactive design. By that I mean interaction in its broadest sense: the way in which we can control a design, and the way in which it responds. In other words, not designs that are passive, such as a chair or table, but rather designs that are responsive to the actions of a user.

While interaction designers often just focus on digital interfaces, I would also like to concentrate on interaction design for physical products. Why should it be any less relevant for physical products to have well-designed interactions!? Take for example the lamp; turning it on and off is typically done by the use of a switch, or sometimes a dimmer. But a lot more is possible, technically speaking, and potentially more suitable for certain situations. I consider it my objective to design alternatives that better suit the user and specific functions that need to be achieved.

Since I aim to keep my designs uncomplicated, the resulting interactions are simple and clear. One sees what happens, and what is possible. Usability benefits from this.

My way of working is structured and well considered. I am very aware of the steps I take in the design process to make progress with my project. Many of the methods and theories I use for making decisions during the process focus on the user. This makes my designs practical and valuable for the user. During my studies I spent a lot of time to develop this way of working. Below, at the skill Design Process, more information can be found; including two clear examples of characteristic design processes.

Please do not hesitate to contact me in case of interest or question..

SKILLS

Below are some specific skills I have mastered. This section is for those who want a more specific idea of how I design, as well as for those who are interested in my skills for other reasons.

Surely, these are not my only skills. These are the skill that characterize me as designer. They highlight the type of work I do, and how I do it. Through these skills I want to distinguish myself as designer.


Carrying out iterative design processes by using a variety of design techniques.

As designer I see it as one of my strengths to guide the design process in exactly the way I want, in order to get the most out of the project. This is done by applying many different design techniques, just at the moment a specific technique is beneficial for the progress the design should make. While I go through the iterative design process, I always have a clear picture of what the next step of the process should be and when I should reconsider a step, in order to review my earlier decisions based on recent information. No design process is the same so you cannot predict your entire way through it. But you can recognize certain circumstances that help you in deciding how to continue the process.

The images below illustrate the design processes from my graduation project Coffice Lamp (first image) and from my internship at Invisua (second image). Clarification of these two processes can be read by clicking on either of the projects in the previous sentence.

Realizing and testing technical prototypes, products, and interfaces.

Realizing and testing technical prototypes, products, and interfaces. Throughout my studies I worked on several technical prototypes. This made me capable of working with electronics and different programming languages. After my studies I spend more time on the subjects: I finished a course in electronics and I practice frequently with programing by realizing websites.

As a result I am familiar with a few programming languagesJavascript, PHP, C++ and the markup languages HTML & CSS. Recently I also started learning SQL. which make it possible to realize and test interactive (web-)interfaces. Furthermore, I can build and test physical, interactive prototypes using ArduinosAn Arduino is a device to which you can connect electronic components, like push buttons, LEDs and distance sensors. Then it is possible to program a code and upload it to the Arduino. This code which will determine how the components operate with relation to each other, for instance a LED will blink as long as you press a button. My programming skills are therefore also relevant when using an Arduino. and electronic circuits.

This website is a clear example of an interface I am able to realize independently; I designed and programmed it myself. The images below show some physical prototypes I made by use of electronics and Arduinos (soon I will add some more examples). The prototypes will be clarified below the images. The images are only to illustrate my skills, which are very diverse and therefore hard to explain here concisely. In case you are interested in my capabilities, please contact me so we can take a look at the possibilities together.

The images show two examples of prototypes I made. The one on the left is a prototype that records and plays messages, the one on the right detects the distance between two devices.

Constructing shapes for prototypes and products in a variety of materials.

I distinguish two types of construction. The first group focuses on shapes suitable as operational end products. The second group focusses on shapes used for prototypes. The two are explained below the images.

The images show a selection of shapes I constructed myself. Some materials I am used to work with are epoxy-, polyester- and acrylic-resin (image 1); plexiglas and other plastic sheets (image 2); foamboard (image 3) and compact styrofoam such as styrodur (image 4 and 5). At the moment I practice with basic metalworking. There will soon be an example in this portfolio. Each material requires a different technique for manufacturing and offers its own possibilities. The text below the images expounds on this as well.

Firstly the end products. Depending on the shape, I make them with molded plastic (image 1) or bent sheets (image 2). I focused mainly on simplistic, geometrical shapes since this has my personal preference. But more complicated shapes are also possible to make.

Secondly the prototypes. Image 3 shows a prototype that is made with the material foamcore. This is a sheet which is very useful for constructing prototypes with moving parts, and testing the interactions with it. Since foamcore is not that flexible, it is not useful for complex shapes. Here I use styrodur, a hard and compact Styrofoam. Image 4 shows three prototypes made from styrodur, where two of them are treated to look like matt and smooth plastic. Styrodur is also very convenient when searching for an appropriate shape or interaction. Image 5 shows such an example of a form study.

Sketching as a design technique, both for idea-generation and further concept development.

Sketching is a very usable technique in the design process. Since pictures can contain information in a more dense way than text does, sketching can be used to rapidly 'think' about an issue. Below are some sketches I made during different design projects. After the images, more information can be read regarding the sketching-technique and different applications.

Sketching makes it easy to come up with many shapes. But other ideas, such as ideas for interactions, can also easily be generated and explored by sketching. This can both be done in a quantitative way, by generating as many ideas as possible, and a qualitative way, by developing the more interesting ideas.

Furthermore, sketching can be used to communicate ideas and concepts in a clear way. A specific way to do this is by use of storyboards. The last image shows a storyboard that communicates the functionality of a design (it was made to explore and communicate the concept of the ShareIT project).

Processing the project-input by structuring and analyzing it in schemes.

I want my design processes to be well-structured, which is the main reason I frequently compose schemes of the project-input; the information and inspiration I gathered throughout the process. This can be anything, like ideas, articles, sketches, quotes, images, etc. The total or a part of the project-input is made accessible by bringing it all together in one sheet.

The images below show examples of such schemes. They can be used in a very diverse way, depending on the purpose. My intentions for using such schemes can be read below the images.

When a scheme is finished it can be used to analyze the project input. Parallels can be drawn, there can be further reasoning, ideas and conclusions can be noted, etc. When all of this is added to the scheme, the result will not only contain the input so far in a clear way but also the outcomes that are useful for the rest of the process. The first three images are fine examples of schemes I filled up with ideas and information.

I also compose schemes according to specific methods, such as the QOC-analysis of image 4. This is one of my favorite methods, where different ideas are assessed and compared based on specific user requirements. It is simple to perform, it can be extended as much as needed, it remains clear and it has a main focus on the user.

CONTACT