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Personal info
& Select designs
B R A M D E V O G E L
P O R T F O L I O
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B R A M D E V O G E L
P O R T F O L I O 2 0 1 4
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H I ,I’m Bram.
Thank you for picking up my portfolio.
Inside you’ll find out more about who I am and how I
approach and envision design.
I’ve also included a small selection of works I
completed over the past few years.
I hope you’ll have as much pleasure reading my
portfolio as I had making it.
- Bram de Vogel
P.S.: like what you see? Feel free to say ‘hi’ at:
(+31) (0)6 46 13 43 32
www.bramdevogel.com
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Bram de Vogel / 20 / male
3rd year Industrial Design student @ University of Technology Eindhoven
Graphic designer @ De Jongens van de TU, Eindhoven
P E R S O N A L I T Y
Ambitious / gamer / perfectionist / modest / analytical / partybird / social / driven
/ tech-obsessed / chaotic / serious / intellectual / awesome / design nerd / facts &
trivia / sensitive / studious / pixeljunkie
S K I L L S E T / C O M P E T E N C I E SPhotoshop, Illustrator, InDesign
HTML, CSS, Java
Cinema 4D, Unreal Engine 3 (UDK)
Industrial design, graphic design (screen + print), web design, interaction design
I D E N T I T Y & S K I L L S
A b o u t M e
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V I S I O N
D E S I G N T H A T M A T T E R S
I wish to create innovative products
and solutions that can make a differ-
ence in your life and interactions. I
wish to work on designs that through
continued use may become part of
everyday life. Whether it be a per-
sonal (smart) device or a design for
a working or home environment, I
want my design to matter and put to
good use.
F O R M & F U N C T I O N
I believe in the integration of form
and function. The form communi-
cates the design’s functions and in-
teractions, while the interactions
reshape the form in a meaningful
way. A coherent, engaging (fun!) and
easy-to-use experience is key to the
success of a design.
Design should not be subject to aes-
thetics trends. Even after decades
have passed, a product should have
the same look and feel towards the
user as the designer had intend¬ed
at its inception. As Dieter Rams said,
timeless design retains its value and
pleasure to use.
M O D E R N I S M & M I N I M A L I S M
Inspired by modernist architecture,
I try to reflect its virtues in my work.
I love the purity of stark geometric
lines and shapes. I use minimal visual
aids to achieve focus on those things
that are truly important and let them
shine. In a world full of marketing blitz
and feature bloat, those products re-
duced to the simplicity of their core
vision are the ones that stand out.
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I N D U S T R I A L D E S I G N
W O R K S E L E C T I O N
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Industrial Design at the TU/e focuses on designing
intelligent systems, related products and services, for social
or societal transformation. A large emphasis is placed on
the design process. We research contexts, address open
challenges and try to discover new opportunities for
innovation through design.
It is a study with a vision that goes beyond traditional
product design.
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I n d u s t r i a l D e s i g n
P R O J E C T
F L I G H T
1 S T Y E A R
2 N D S E M E S T E R
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I n d u s t r i a l D e s i g n
P R O J E C T B R I E F
We had to design for the future “Internet Café 2020”: a place where
groups of new age entrepreneurs can (digitally) meet with similar groups
elsewhere for sharing knowledge and cooperation.
M E T A
C l i e n t
Brainport Eindhoven
Municipality of Eindhoven
University of Technology Eindhoven
Ye a r
2012
B1.2 semester
Ty p e
Industrial Design (group project)
Wo r k
Product / system design
FLIGHT is a fast, professional commu-
nication interface stimulating collabo-
ration in the 2020 office
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I n d u s t r i a l D e s i g n
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C O N C E P T D E S C R I P T I O N
FLIGHT is a communication interface for professionals in the
year 2020. Inspired by the rise of flexible working and the
complete integration of (digital) technology and data in our
lives, FLIGHT aims to develop more relevant communication
and stimulate collaboration between professionals.
Based around the physical interactions of “launching” and
“landing” of hand-written communications, FLIGHT brings
back fast, personal communication in a digital era. The system
is designed to encourage quick, relevant discussions to only
those people who may be interested in the particular topic.
The tessellated surface of the concept was inspired by ‘de
Blob,’ one of Eindhoven’s newer and iconic buildings.
D E S I G N P R O C E S S
+ In-situ research of flexible working environments
+ Developed vision on cities and work in 2020 and influence
of technology on our lives
+ Determined key issues to address:
1. Rise of flexible working, reduction of fixed working
places
2. Decline of quick, personal interactions / efficiency de-
cline in communication
3. Rise of Big Data; how can we still find relevant infor-
mation in times of exponentially increasing data out-
put?
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L A B Y R I N T HG A M E
I n d u s t r i a l D e s i g n
2 N D Y E A R
1 S T S E M E S T E R
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I n d u s t r i a l D e s i g n
P R O J E C T B R I E F
The project ‘Yes I Can!’ focused on designing and creating a computer game
to help the player cope with societal or peer pressures through an im-
proved feeling of self-worth.
M E T A
C l i e n t
University of Technology Eindhoven
Ye a r
2012 - 2013
B2.1 semester
Ty p e
Industrial design (individual)
Game design
Wo r k
Real-time 3D videogame
Labyrinth is an abstract, minimalist 3D
videogame that helps the player break
through a depressive thinking pattern
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I n d u s t r i a l D e s i g n
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C O N C E P T D E S C R I P T I O N
Labyrinth is a genre-defying game that aims to let the player
break through a depressive thinking pattern. The game tries
to empower the player by overcoming abstracted challenges
related to the real world. The confidence gained by triumph-
ing in the game and the reflection at the end may give the play-
er the push to have a more positive outlook and break out of
a depressive mindset. In the game, the player travels through
his subconscious in a story grounded on Dante Alighieri’s La
Divina Commedia.
Labyrinth combines platform elements with game parts
where no gameplay elements appear to be present at first, re-
sulting in a remarkable game experience. The game features
modernist and minimalist, abstract architectural landscapes
representing the player’s subconscious.
D E S I G N P R O C E S S
+ Evaluated games with emotional impact
+ Researched many psychological mechanisms and triggers
and various topics of game design
+ Wrote my own papers to serve as underlying foundation of
the game
+ Visual look derived from my findings and need for maxi-
mum effect with minimal means. Work of architect Tadao
Ando served as main inspiration
+ Used Unreal Engine 3 (UDK) with Lightmass to create
high-fidelity environments with HDR / GI lighting
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I n d u s t r i a l D e s i g n
The player’s room where he falls asleep and enters his sub-
conscious - before and after
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I n d u s t r i a l D e s i g n
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G R A P H I C D E S I G N
W O R K S E L E C T I O N
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Ever since I was young I have been interested in
graphic design. Since 2012 I have been able to turn my
hobby into work at de Jongens van de TU, a student-run
design bureau. Additionally I completed some projects
as a freelancer. In my role as graphic designer I design
websites, marketing material and brands.
While remaining true to my vision on design, in
my work I strive to create a clear, coherent and
characteristic message befitting each unique client.
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G r a p h i c D e s i g n
V A R I O U S W O R K
Filmgala
I created posters, wallpapers and tickets as promotional material for the Filmgala of the
Stedelijk Gymnasium ‘s-Hertogenbosch.
Page 27
4
Glasses, lipstick, false teeth, the contraceptive pill and even your mobile phone - we take for granted how commonplace human enhancements are. It is an exciting but feared era of modern science, where sci-fi imaginings are brought to life. What does the future, near and far, hold for humans? Is enhancement the next stage of evolution? Should any limits be imposed?
In a time where Lance Armstrong’s worldwide reputation just changed from a sports hero into a disrespected cheater, doping is the most despised kind of human enhancement. A hundred years ago, fair competition was perceived differently. Tom Hicks was the official winner of the 1904 Olympic marathon in London. The runner had received several doses of strychnine in brandy throughout the race to increase his endurance. Doping was acceptable at the time, but it was not allowed to do intensive training longer than four weeks.
_HANDICAPPED BECOMES HANDICAPABLE
How much freedom should we have to take advantage of new ways to improve our mental and physical performance? Everyone agrees technologies should be used to help the handicapped perform at the regular human level again, filling in parts of the human body that were missing… but can we go further than that? Should we surrender to our greediness and be better, faster and smarter than nature intended us to be? Should handicapped become, handicapable, and maybe even extrahandi? As an example take Tanya Vlach: a director who lost her eye and now wants a camera instead, which is connected to her brain similar to a normal eye. On top of that she wants her new ‘eye’ to be able to take pictures.
Look what we found box
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus.
Last summer, Oscar Pistorius, nicknamed the Blade Runner, became the first double leg amputee to participate in the Olympics, in the men’s 400 metres race. With his two prosthetics, called the ‘flex-foot cheetah’, he ran himself to the semi-finals. It became the subject of debate: how fair is it to compare artificial limbs with natural ankles and feet?
_WHAT IF..
Although people have long been dreaming of what it might mean to have superpowers and additive capabilities, it seems impossible to imagine these opportunities without considering potential dangers. It is an enduring aspect of the debate surrounding human enhancement: the question of not just what is possible but at what point we should stop. In every super hero movie there is a villain with similar super powers, always underlining the thin line between human enhancements for the good or the bad.
Lay-out Bram de Vogel - Text Tessa Steenkamp
e-Atelier
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus.
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus.
Lay-out Mitchell Jacobs - Text Nicolas Nelson
U N I D
For the UNID, magazine of Industrial Design @TU/e, I created the accompanying graph-
ics of 2-page article “New Humans” on human enhancement. The resulting graphics were
inspired by the question of human identity in the face of technology.
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G r a p h i c D e s i g n
D E E L I T B R A N D I N G
Design Bram de Vogel,De Jongens van de TU
2013
D E E L I T
Deelit is a new online, Dutch service where users may lend their goods to people nearby
for a small fee. In this respect it shares similarities with services such as AirBnB.
Within a limited timeframe and budget, my job was to design the entire website as well
as the complete branding. The design had to be catchy and trustworthy and adhere to
Dutch values, such as simplicity and honesty.
The project was on a very tight schedule, which led to the decision of designing the core
website first and the branding later. Although this meant that the programmers would
be able to code the system in time, this also resulted in a final branding style not com-
pletely consistent with the website design.
Currently Deelit is operating in open beta. Feedback from this phase will be used as in-
put for designing the next iteration.
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C l i e n tDeelit
Ye a r2012
Ty p eGraphic Design
Wo r k Website / Branding
deelitLeft
View of the user’s dashboard, where all
transactions and products can be man-
aged. (note: all images of users and prod-
ucts are placeholders)
Right
Tile view of products that can be rent
from other users. Left is the filter bar; the
top left tile is displaying its preview state.
Left
Product page, showing additional info,
option to immediately rent a product as
well as related products.
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G r a p h i c D e s i g n
++
D E D E E L I T F O R M U L E C O N S T R U C T I E
VA R I AT I E S
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S T U D I E B O E K E N D E L E N . N L
Deelit decided to create a subsite, part of Deelit, focused spe-
cifically on students renting each other study books. Within
the established branding guidelines, I created promotional
material to market the initiative.
LEFT: Excerpts of the branding guidelines booklet created
for Deelit.
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G r a p h i c D e s i g n
P R I N SPHOTO
PIET PRINSFotograaf
T 0 6 8 3 6 0 0 2 9 5
KVK 1 7 2 4 7 1 9 8
I N F O @ P R I N S P H OTO. N L
WWW.PRINSPHOTO.NL
Logo & Business Card
P R I N S P H O T O
Freelance photographer Piet Prins was looking to expand his
photography business and was in need of professional brand-
ing.
By meeting and talking together, we co-created a design brief
that reflected the core values of his business; professional-
ism, quality, experience and corporate.
I translated these values into an abstract, powerful and strik-
ing image. The final design was picked by the client.
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C l i e n tPiet Prins / Prins Photo
Ye a r2012
Ty p eGraphic Design
Wo r k Branding
KLEURVARIATIES
Fotografie is kleurrijk en veelzijdig, zo ook de mogelijkheden met het logo. Toe te passen op media waar geen tot zeer weinig foto’s worden getoond (zie
voorbeeld volgende pagina)
KARMOZIJN ZAKELIJK
GRASSCHEMERING
LICHT ICOON
This page
Excerpts from branding guidelines booklet for
Prins Photo.
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G r a p h i c D e s i g n
P R I N SPHOTO
PIET PRINSFotograaf
T 0 6 8 3 6 0 0 2 9 5
KVK 1 7 2 4 7 1 9 8
I N F O @ P R I N S P H OTO. N L
WWW.PRINSPHOTO.NL
Logo & Business Card
P R O T O S P A C E 2 0 1 3
ProtoSpace Utrecht was celebrating its fifth anniversary with
a festival called ‘ProtoSpace 2013.’ They wanted a special
logo for the occasion with a website for more information,
with the design (partly) based on their existing branding.
Inspired by the opportunities ProtoSpace offers for 3D print-
ing, the logo was inspired by an isometric 3D-cube, composed
of many other cubes. I created hundreds of color and shape
variations based on this versatile idea, with the final design
picked by the client.
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C l i e n tProtospace
Ye a r2013
Ty p eGraphic Design
Wo r k Branding, Web Design
M O N O C H R O O M
S T E M P E L S , L A S E R C U T T I N G E T C .
V A R I A T I E P A T R O O N G R O O T T E
PS
1 0 0 % 5 0 % 2 5 % 1 2 , 5 % 6 , 2 5 %
S C H A A L B A A R H E I DK L E U R E N
C47 M8 Y78 K0 C64 M0 Y100 K29 C55 M0 Y67 K58
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B R A M D E V O G E L | I N D U S T R I A L & G R A P H I C D E S I G N
b .w. d .vo g e l @ s t u d e n t . t u e . n l
( + 3 1 ) ( 0 ) 6 4 6 1 3 4 3 3 2
w w w. b ra m d evo g e l . c o m
Thanks for reading!