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1 Chris Ebbert Achieving Beauty in a Product
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Constructed Aesthetics

Mar 23, 2023

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Page 1: Constructed Aesthetics

1Chris Ebbert

Achieving Beauty in a Product

Page 2: Constructed Aesthetics

2Chris Ebbert

Form and Function

Page 3: Constructed Aesthetics

3Chris Ebbert

Form

Function

Page 4: Constructed Aesthetics

4Chris Ebbert

Form

Function

Page 5: Constructed Aesthetics

5Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 6: Constructed Aesthetics

6Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

ErgonomicsHapticsAerodynamicsLife CycleManufacturing Constraints

Page 7: Constructed Aesthetics

7Chris Ebbert

Form

Function

Page 8: Constructed Aesthetics

8Chris Ebbert

Form

Function

Page 9: Constructed Aesthetics

9Chris Ebbert

Form

Function

Page 10: Constructed Aesthetics

10Chris Ebbert

Form

Function

Page 11: Constructed Aesthetics

11Chris Ebbert

Form

Function

Page 12: Constructed Aesthetics

12Chris Ebbert

Form

Function

Page 13: Constructed Aesthetics

13Chris Ebbert

Form

Function

Page 14: Constructed Aesthetics

14Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife CycleManufacturing Constraints

Page 15: Constructed Aesthetics

15Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife CycleManufacturing Constraints

Page 16: Constructed Aesthetics

16Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife CycleManufacturing Constraints

Physical needs

Page 17: Constructed Aesthetics

17Chris Ebbert

FunctionErgonomics

HapticsAerodynamicsLife CycleManufacturing Constraints

Page 18: Constructed Aesthetics

18Chris Ebbert

FunctionErgonomics

HapticsAerodynamicsLife CycleManufacturing ConstraintsPhysical Feedback

Page 19: Constructed Aesthetics

19Chris Ebbert

FunctionErgonomicsHaptics

AerodynamicsLife CycleManufacturing Constraints

Page 20: Constructed Aesthetics

20Chris Ebbert

FunctionErgonomicsHaptics

AerodynamicsLife CycleManufacturing Constraints

Managing the effect of elements

Page 21: Constructed Aesthetics

21Chris Ebbert

FunctionErgonomicsHapticsAerodynamics

Life CycleManufacturing Constraints

Page 22: Constructed Aesthetics

22Chris Ebbert

FunctionErgonomicsHapticsAerodynamics

Life CycleManufacturing Constraints

Managing the afterlife

Page 23: Constructed Aesthetics

23Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife Cycle

Manufacturing ConstraintsWorking within the framework of the possible

Page 24: Constructed Aesthetics

24Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife Cycle

Manufacturing ConstraintsWorking within the framework of the possible

Page 25: Constructed Aesthetics

25Chris Ebbert

FunctionErgonomicsHapticsAerodynamicsLife CycleManufacturing Constraints

Page 26: Constructed Aesthetics

26Chris Ebbert

Form

Function

Page 27: Constructed Aesthetics

27Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 28: Constructed Aesthetics

28Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 29: Constructed Aesthetics

29Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Relationships of size

Page 30: Constructed Aesthetics

30Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Relationships of size

Page 31: Constructed Aesthetics

31Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 32: Constructed Aesthetics

32Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Relationships of position

Page 33: Constructed Aesthetics

33Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Relationships of position

Page 34: Constructed Aesthetics

34Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 35: Constructed Aesthetics

35Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How mirror-like a surface is

Page 36: Constructed Aesthetics

36Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How mirror-like a surface is

Page 37: Constructed Aesthetics

37Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 38: Constructed Aesthetics

38Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

A centered line

Page 39: Constructed Aesthetics

39Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

A centered line

Page 40: Constructed Aesthetics

40Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 41: Constructed Aesthetics

41Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Accelerated line

Page 42: Constructed Aesthetics

42Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Accelerated line

Page 43: Constructed Aesthetics

43Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 44: Constructed Aesthetics

44Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Consistency

Page 45: Constructed Aesthetics

45Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Consistency

Page 46: Constructed Aesthetics

46Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 47: Constructed Aesthetics

47Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How materials meet

Page 48: Constructed Aesthetics

48Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How materials meet

Page 49: Constructed Aesthetics

49Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 50: Constructed Aesthetics

50Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Implications of direction

Page 51: Constructed Aesthetics

51Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Implications of direction

Page 52: Constructed Aesthetics

52Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Implications of direction

Page 53: Constructed Aesthetics

53Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Implications of direction

Page 54: Constructed Aesthetics

54Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 55: Constructed Aesthetics

55Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How well you can see through it

Page 56: Constructed Aesthetics

56Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

How well you can see through it

Page 57: Constructed Aesthetics

57Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 58: Constructed Aesthetics

58Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Specks of grandeur

Page 59: Constructed Aesthetics

59Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Specks of grandeur

Page 60: Constructed Aesthetics

60Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 61: Constructed Aesthetics

61Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

anchors

Page 62: Constructed Aesthetics

62Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

anchors

Page 63: Constructed Aesthetics

63Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 64: Constructed Aesthetics

64Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Accents of darkness

Page 65: Constructed Aesthetics

65Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Accents of darkness

Page 66: Constructed Aesthetics

66Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 67: Constructed Aesthetics

67Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

What you see from above

Page 68: Constructed Aesthetics

68Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

What you see from above

Page 69: Constructed Aesthetics

69Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 70: Constructed Aesthetics

70Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

What you see against the light

Page 71: Constructed Aesthetics

71Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

What you see against the light

Page 72: Constructed Aesthetics

72Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Page 73: Constructed Aesthetics

73Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Gender specific impression

Page 74: Constructed Aesthetics

74Chris Ebbert

Form

Function

ProportionCompositionReflectivityRadiiCurvesSurfacesSeamsDynamics

OpacityHighlightsShadowsShadow LinesFootprintSilhouetteMasculinity/ Femininity

Gender specific impression

Page 75: Constructed Aesthetics

75Chris Ebbert

Beauty

Page 76: Constructed Aesthetics

76Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

Page 77: Constructed Aesthetics

77Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

Page 78: Constructed Aesthetics

78Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

Page 79: Constructed Aesthetics

79Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

Page 80: Constructed Aesthetics

80Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

Page 81: Constructed Aesthetics

81Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

The Problem with that is:We cannot plan this.

Page 82: Constructed Aesthetics

82Chris Ebbert

A product is considered beautiful when…

…society largely agrees at the time…society largely agrees even after a long time

…its maker can explain why it’s beautiful, even if nobody else sees it… experts agree it’s beautiful, even if society disagrees

The Problem with that is:We cannot plan this.

Build Appreciation instead.

Page 83: Constructed Aesthetics

83Chris Ebbert

Factors Contributing to Appreciation

Page 84: Constructed Aesthetics

84Chris Ebbert

Attraction

Page 85: Constructed Aesthetics

85Chris Ebbert

A quality that causes an interest or desire in something

Page 86: Constructed Aesthetics

86Chris Ebbert

A quality that causes an interest or desire in something

shiny curiosity

colours

gradientswonder

desire

Page 87: Constructed Aesthetics

87Chris Ebbert

Beauty

Page 88: Constructed Aesthetics

88Chris Ebbert

Providing a perceptual experience of pleasure or satisfaction

Providing a perceptual experience of pleasure or satisfaction

Zaha Hadid

Page 89: Constructed Aesthetics

89

Providing a perceptual experience of pleasure or satisfaction

Zaha Hadid

Page 90: Constructed Aesthetics

90

Providing a perceptual experience of pleasure or satisfaction

Mies van der Rohe

Page 91: Constructed Aesthetics

91

Providing a perceptual experience of pleasure or satisfaction

Flaminio Bertoni

Page 92: Constructed Aesthetics

92Chris Ebbert

Providing a perceptual experience of pleasure or satisfaction

Hasselblad

Page 93: Constructed Aesthetics

93

Providing a perceptual experience of pleasure or satisfaction

Page 94: Constructed Aesthetics

94Chris Ebbert

Providing a perceptual experience of pleasure or satisfaction

Page 95: Constructed Aesthetics

95Chris Ebbert

Senses

Page 96: Constructed Aesthetics

96Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 97: Constructed Aesthetics

97Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 98: Constructed Aesthetics

98Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Highlights!

Page 99: Constructed Aesthetics

99Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Shadows!

Page 100: Constructed Aesthetics

100Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Contours!

Page 101: Constructed Aesthetics

101Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Colours!

Page 102: Constructed Aesthetics

102Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 103: Constructed Aesthetics

103Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

“Srrr…!”

Page 104: Constructed Aesthetics

104Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

“Clonk!”

Page 105: Constructed Aesthetics

105Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

“Woop!”

Page 106: Constructed Aesthetics

106Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

“Click!”

Page 107: Constructed Aesthetics

107Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 108: Constructed Aesthetics

108Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 109: Constructed Aesthetics

109Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 110: Constructed Aesthetics

110Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 111: Constructed Aesthetics

111Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Page 112: Constructed Aesthetics

112Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Smooth!

Page 113: Constructed Aesthetics

113Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Cold!

Page 114: Constructed Aesthetics

114Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Warm!

Page 115: Constructed Aesthetics

115Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Soft!

Page 116: Constructed Aesthetics

116Chris Ebbert

Sight – Hearing – Taste – Smell - Touch

Hard!

Page 117: Constructed Aesthetics

117Chris Ebbert

User Experience

Page 118: Constructed Aesthetics

118Chris Ebbert

A person's…

• behaviours• attitudes• emotions

about using a product, system, or service.

Includes …

• practical, • experiential, • affective

… aspects of interaction and ownership.

(If systems: perceptions of…

• Utility• Ease of Use• Efficiency)

Page 119: Constructed Aesthetics

119Chris Ebbert

A person's…

• behaviours• attitudes• emotions

about using a product, system, or service.

Includes …

• practical, • experiential, • affective

… aspects of interaction and ownership.

(If systems: perceptions of…

• Utility• Ease of Use• Efficiency)

Page 120: Constructed Aesthetics

120Chris Ebbert

A person's…

• behaviours• attitudes• emotions

about using a product, system, or service.

Includes …

• practical, • experiential, • affective

… aspects of interaction and ownership.

(If systems: perceptions of…

• Utility• Ease of Use• Efficiency)

Page 121: Constructed Aesthetics

121Chris Ebbert

A person's…

• behaviours• attitudes• emotions

about using a product, system, or service.

Includes …

• practical, • experiential, • affective

… aspects of interaction and ownership.

(If systems: perceptions of…

• Utility• Ease of Use• Efficiency)

Page 122: Constructed Aesthetics

122Chris Ebbert

Association

Page 123: Constructed Aesthetics

123Chris Ebbert

Making mental connections between unrelated things

Page 124: Constructed Aesthetics

124Chris Ebbert

Cult

Page 125: Constructed Aesthetics

125Chris Ebbert

Cult: group with socially deviant and novel beliefs and practices;

Followership; irrational.

Page 126: Constructed Aesthetics

126Chris Ebbert

Factors Contributing to Appreciation

Page 127: Constructed Aesthetics

127Chris Ebbert

Constructing Beauty

Page 128: Constructed Aesthetics

128Chris Ebbert

Proportioning Systems

Page 129: Constructed Aesthetics

129Chris Ebbert

Fibonacci

Page 130: Constructed Aesthetics

130Chris Ebbert

Fibonacci

Page 131: Constructed Aesthetics

131Chris Ebbert

Fibonacci

0.618

1

Page 132: Constructed Aesthetics

132Chris Ebbert

Fibonacci

1

11

1

0.618

0.618

0.618

0.618

Page 133: Constructed Aesthetics

133Chris Ebbert

Fibonacci

Page 134: Constructed Aesthetics

134Chris Ebbert

Consider also:

GeomancySacred GeometryAnthroposophyGolden Angle

Page 135: Constructed Aesthetics

135Chris Ebbert

Surface Construction

Page 136: Constructed Aesthetics

136Chris Ebbert

Surface Construction

Radii Curves Seams Highlights

Page 137: Constructed Aesthetics

137Chris Ebbert

Surface Construction

Radii Curves Seams Highlights

Page 138: Constructed Aesthetics

138Chris Ebbert

Surface Construction

Radii Curves Seams Highlights

Page 139: Constructed Aesthetics

139Chris Ebbert

Surface Construction

Radii Curves Seams Highlights

Page 140: Constructed Aesthetics

140Chris Ebbert

Surface Construction

Radii Curves Seams Highlights

Page 141: Constructed Aesthetics

141Chris Ebbert

x

Page 142: Constructed Aesthetics

142Chris Ebbert

x

Curve

Page 143: Constructed Aesthetics

143Chris Ebbert

xRadius

Radius

Page 144: Constructed Aesthetics

144Chris Ebbert

Seams

Page 145: Constructed Aesthetics

145Chris Ebbert

Page 146: Constructed Aesthetics

146Chris Ebbert

Page 147: Constructed Aesthetics

147Chris Ebbert

Page 148: Constructed Aesthetics

148Chris Ebbert

Page 149: Constructed Aesthetics

149Chris Ebbert

Highlights

Page 150: Constructed Aesthetics

150Chris Ebbert

Page 151: Constructed Aesthetics

151Chris Ebbert

Page 152: Constructed Aesthetics

152Chris Ebbert

Haptic Engineering

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153Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 154: Constructed Aesthetics

154Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 155: Constructed Aesthetics

155Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 156: Constructed Aesthetics

156Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 157: Constructed Aesthetics

157Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 158: Constructed Aesthetics

158Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 159: Constructed Aesthetics

159Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 160: Constructed Aesthetics

160Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 161: Constructed Aesthetics

161Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 162: Constructed Aesthetics

162Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 163: Constructed Aesthetics

163Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 164: Constructed Aesthetics

164Chris Ebbert

Haptics we can plan for:

Surface Touch(hardness, roughness, texture, temperature)

Weighting(balance, force of activation)

Resonance(vibration, rigidity)

Page 165: Constructed Aesthetics

165Chris Ebbert

Dynamics of Form

Page 166: Constructed Aesthetics

166Chris Ebbert

Dynamics of Form

Which way is it moving?

Page 167: Constructed Aesthetics

167Chris Ebbert

Dynamics of Form

Which way is it moving?

Page 168: Constructed Aesthetics

168Chris Ebbert

Dynamics of Form

Which way is it moving?

Page 169: Constructed Aesthetics

169Chris Ebbert

Dynamics of Form

Which way is it moving?

Page 170: Constructed Aesthetics

170Chris Ebbert

Dynamics of Form

Which way is it moving?

Page 171: Constructed Aesthetics

171Chris Ebbert

Dynamics of Form

Which is faster?

Page 172: Constructed Aesthetics

172Chris Ebbert

Which is faster?

Page 173: Constructed Aesthetics

173Chris Ebbert

Parallel or descending lines Ascending lines, fanning open

Page 174: Constructed Aesthetics

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Fragmented Unified

Which is faster?

Page 175: Constructed Aesthetics

175Chris Ebbert

Opacity

Page 176: Constructed Aesthetics

176Chris Ebbert

Which is more precious?

Page 177: Constructed Aesthetics

177Chris Ebbert

Masculinity/ Feminity

Page 178: Constructed Aesthetics

178Chris Ebbert

Aggression – angularity – higher weight Friendliness – soft shapes – lighter weight

Which is more manly?

Page 179: Constructed Aesthetics

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Shadows

Page 180: Constructed Aesthetics

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Which is lighter?

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Heavy Light

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Shadow Lines

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x

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x

Why?

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x

Line Continuity

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Form

Function

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Thank You.