Categorie: Projects

Concept Dev.

PHASE ZERO

The Problem

The challenge was clear: craft a fresh design for a nearly finished prototype that’s already being tested in real-world conditions. The new design had to meet several key goals—first, it needed to align with the user’s needs, providing practical support for daily use. Second, it had to look stunning—something that didn’t just serve a function, but felt like a statement piece the user would be proud to wear every day. Balancing form, function, and pride of ownership was essential in creating a product that seamlessly integrates into the user’s life.

“What if design would allow for strict daily useage and improve overall user experience?”

PHASE ONE

Research

In the research phase, I focused on key aspects of the wearable market, concentrating on materials and functionality that enhance the user experience. I analyzed market trends, identifying the need for durable yet lightweight metals that offer both comfort and a premium feel. Wearable metals like stainless steel and titanium stood out for their balance of strength and style. Additionally, I explored different charging methods, with wireless charging emerging as the most user-friendly option. This research ensured that my design not only looks great but also meets the practical demands of daily use, making it competitive in the wearable market.

PHASE TWO

Product-design proposals

Imagine you’re designing a product based on a prototype that’s almost there but needs a little extra magic to truly shine and support a user-centric experience. You’ve got a solid foundation, but as with anything, there’s room for improvement. That’s where things get interesting.

I took a deep dive into the design, exploring a variety of new ideas that could take it from a good prototype to a great product. On the surface, it might seem like adding every cool new feature would be the way to go, but here’s where it gets tricky: not all changes are created equal. Some could elevate the user experience, making the product feel premium and polished. Others, however, might seem like a good idea at first glance but could actually chip away at the product’s long-term success and manufacturing costs.

To get a clearer picture, I laid out different design propositions side by side, weighing their pros and cons. It was like piecing together a puzzle—seeing which improvements would complement the overall vision and which ones might clutter it up.

The key takeaway? Not every idea should make the cut. The challenge is to be selective, focusing on enhancements that truly add value rather than just packing in more features for the sake of it. It’s about thinking long-term, ensuring each design decision enhances the product’s overall quality and elevates the user experience without sacrificing what makes it special.
In the end, it’s not just about fixing what’s missing—it’s about crafting something that people will love for years to come on a daily basis.

Design Concepts & Conclusion

PHASE THREE

For the design concepts, I explored two approaches:
Re-casing: This concept is based on the existing PCB design, focusing on creating a new exterior that enhances aesthetics and user comfort while keeping the internal electronics unchanged.

Full Redesign: This concept involves a complete overhaul, including a redesign of both the casing and internal electronics, allowing for more flexibility in form, function, and advanced features.

In conclusion, both design concepts offer unique advantages. The re-casing approach preserves the existing electronics while improving aesthetics, focused on improving the user experience and incorporating long-lasting high-quality materials. Meanwhile, the full redesign allows for greater innovation and flexibility, pushing the boundaries of both form and function to create a more refined product.

Projects

Teamflow Game

Project Description in the works.

Projects

Recruit. Lead

THE START

Labor-Intensive ATS

What started as a temporary gig to fill the HR/Recruitment shoes at OWOW quickly morphed into a full-scale transformation of how the company brought new talent on board. Imagine this: OWOW was in the midst of a growth spurt, attracting a flood of applicants eager to join the team. But with that flood came a tidal wave of emails—rejections, interview invites, follow-ups—all handled manually. And by “manually,” I mean juggling applicant updates in Trello, herding Team Leads across development, design, and mobile, and trying to keep everyone on the same page. It was like trying to steer a ship with an Excel sheet.

The first few months were all about speed, trying to keep up with the rapid pace of hiring. But the system—if you can call a marathon of emails and Trello updates a “system”—just wasn’t cutting it. I realized that OWOW needed more than just hands on deck; it needed a better way to navigate the recruitment process altogether.

new platform

Automation

So, I rolled up my sleeves and dove into the world of recruitment platforms. After sifting through options like Workday and Workable, Recruitee stood out as the best fit for OWOW’s needs. But selecting Recruitee was just the beginning. The real challenge was transforming it from just another tool into a seamless part of OWOW’s daily operations.

My tasks included not only integrating Recruitee into the company’s workflow but also implementing automation across the board. I managed everything from the nuts and bolts of integration to the orchestration of multiple Team Leads, ensuring they were all on the same page—literally. I trained them on how to use Recruitee effectively, making sure they weren’t just clicking buttons but leveraging the platform to its fullest potential. This included setting up a new Job Environment within Recruitee that streamlined everything from job postings to applicant tracking.

The results were nothing short of a game-changer. With Recruitee fully implemented, we automated rejection emails, interview scheduling, and job postings across LinkedIn, Indeed, and other job boards. What used to be a long, drawn-out process filled with endless back-and-forth became a smooth, efficient system that saved time and kept everyone—candidates and Team Leads alike—in the loop.

CONCLUSION

Growth-minded

In the end, we didn’t just keep up with OWOW’s growth; we sped past it. The recruitment process became quicker, more organized, and—dare I say it—actually enjoyable. Change wasn’t just needed; it was necessary. And now, OWOW is better equipped to handle whatever growth comes next.

Projects

EHOOG Sessions

Berichtauteur Door twanmuste
Berichtdatum juli 12, 2024
Geen reacties op EHOOG Sessions

PHASE ZERO

The Idea & Vision

The initial idea for EHOOG Sessions was born from a vision to showcase and elevate the vibrant live music scene in Eindhoven. The idea took shape during the Covid-pandemic (2020), when I as Combo Commissioner & Vice-President of ESMG Studentproof Jazz, realized the potential of combining musical talent with high-quality audio and video productions. And showcasing that talent to the world, rather than the local scene. However, pandemics and recording with a big crew was a no-go.

At the end of 2023 Merel van Lieshout came with the idea to revive that idea, and together with Joost Brandes we formed a core team to further develop this idea and finally realize it. Our goal was to create a platform that not only highlights local bands but also demonstrates the collaborative spirit and technical prowess of the Eindhoven community. We aimed to provide an unparalleled experience for viewers by producing top-tier live performance videos that capture the essence of each band’s unique sound and energy.

“What if we can share the amazing talent of Eindhoven-based bands with the world?”

PHASE ONE

Pre-Production

Planning and Coordination – Pre-production was a meticulously planned phase, involving detailed videoplanning, audioplanning, securing locations, and managing band schedules. We collaborated closely with two student associations: Studentproof Jazz, focusing on musical talent, and Dekate Mousa, specializing in video production. We also expanded our core team to smoothly run all facets.

Location and Setup – With the help of Studium Generale we were able to use the Corona hall in the iconic Luna building (formerly e-hoog gebouw) at the TU/e campus, which served as our primary filming location. This choice was strategic, leveraging its lighting grid, rehearsal rooms, living rooms, storage, kitchen and familiarity amongst the cultural associations.

Management & Leadership – As the executive producer, I oversaw the entire process, ensuring that all elements were aligned with our vision. Mainly focused on vision, directing, audio direction and overall video production. With my company The Winning Name I provided a lot of essential gear to both facilitate the audio recordings, backline as video recordings. Leadership roles were clearly defined, with a robust management structure to handle logistics, scheduling, and coordination among the 30+ crew members, volunteers and the eight bands.

PHASE TWO

Production

Intensive Filming Schedule – The production phase was an intense, yet rewarding, effort. Over a span of three days, we filmed 20 live performances from 8 different bands. The setup day involved rigging lights, arranging audio equipment, and setting up multiple camera angles to ensure we captured every nuance of the performances.

Team Dynamics and Execution – With a dedicated crew working tirelessly, the execution was seamless. My role encompassed ensuring the technical quality of audio and video, maintaining the schedule, and troubleshooting any on-the-spot issues. The collaboration between audio engineers, videographers, and the bands themselves was a testament to our collective passion and dedication.

PHASE THREE

Post-Production

The Never Ending Editing Marathon – Post-production involved an intensive edit weekend where the raw footage was transformed into polished videos. This included syncing audio, color grading, and adding graphics to enhance the visual appeal. Each video underwent meticulous editing to ensure it met our high standards.

PHASE FOUR

Marketing & Results

Strategic Marketing Plan – With 20 videos ready for release, we implemented a strategic marketing plan to maximize reach and engagement. Videos were scheduled for weekly uploads on the EHOOG Sessions YouTube channel, supported by social media promotion, collaborations, and community outreach.

Achieving our Goals – The results have been phenomenal, with each video receiving between 400 and 1000 views within the first few weeks. Our efforts have successfully put these local bands on the map and demonstrated what can be achieved with passion, collaboration, and professional execution.

Conclusion – EHOOG Sessions is more than just a series of live music videos; it is a testament to the power of community, the importance of supporting local talent, and the impact of high-quality production. As the executive producer, I am incredibly proud of what we have accomplished and excited for the future of EHOOG Sessions as we continue to grow and innovate.

For inquiries, collaborations, or sponsorship opportunities, feel free to reach out. Let’s continue to elevate the music scene together!

Projects

Haptic Keys

Berichtauteur Door twanmuste
Berichtdatum juli 12, 2024
Geen reacties op Haptic Keys

PHASE ZERO

The Problem

When I moved to Eindhoven in 2019, I really missed having a piano in my tiny 10-square-meter room. I obviously couldn’t fit my parents’ upright piano, so I explored alternatives. The differences were vast—sound quality, design, price, interface, keys, materials, and portability. Even the premium models often felt cheap, and finding the right one was a journey. Ultimately, a choice was made; the Nord Electro 6HP. However, with my bands demanding lighter, faster and more responsive electric piano sounds, a desire for a lighter keybed started to form. The following question rose:

“What if I could adjust the feel of my keyboard and tailor it to match each sound?”

PHASE ONE

Researching piano’s and keyboards

Piano’s and keyboards come in all sorts and kinds. What originally started with the ‘arpicimbaloa’ (harpsichord) from Christofori in 1700, resulted into a large array of keyboard-instruments, all serving a different purpose. Just like fashion, piano and keyboard players will have their preference per instrument or use these instruments as tools to create the sounds they strive. I.e., keyboards and stage piano’s try to mimic as much sounds and interface elements from different instruments (grand piano, organ, rhodes, synthesizer).

Current research into haptic force feedback for keyboards and pianos reveals no commercial products with integrated haptic keys to modify key touch perception. However, studies like the MIKEY project and research by Timmermans explore creating realistic feedback and dynamic simulations. Timmermans developed a haptic piano key with custom actuators and sensors to replicate the feel of a grand piano. Other efforts, like Supakkul’s use of Stanford’s Hapkits, also investigate haptic feedback. Commercially, features like Nord’s “Dynamic Curve” and “polyphonic aftertouch” offer limited key feel adjustments.

To fully understand all elements of keyboards, piano’s, their feel and haptic implementation a fundemantal understanding of these topics was needed. This included a deep-dive in the history of piano’s, their mechanical working, the difference in keybeds, key sizes and instrument types.

PHASE TWO

Exploration; haptics, sketching, mechanics

Keybeds from manufacturers like Fatar are designed to mimic the feel of original instruments, such as grand pianos’ hammer-action keys and organs’ waterfall keys, while maintaining a portable form factor. However, these keybeds cannot dynamically change their feel or weight. Haptic force feedback offers a solution by using actuators to provide counterforce, replicating the sensation of weight or resistance. For this project, GB36-2 haptic motors and FEELIX software were used to design the haptic force feedback curves, enabling a more versatile and responsive keybed experience.

Haptic Force Feedback Design implementation in FEELIX project

To implement this technology within the design space of keyboards and keybeds, a linear approach is needed. Based on several research and linear actuation mechanism an initial design was iterated. This sketch was then translated into a 3D-design to test limitations, issues and act as design research artefact.

The execution of this sketch to a 3D-printed prototype brought many issues and complexities to the surface., helping to shape the problem statement and discover possible solutions.

Initial Sketch and 3D-printed Prototype of Haptic Keys Prototype 1 “The White One”

PHASE THREE

Iterative prototyping; an explorative approach

Following the initial prototype, multiple iterations were developed using a modular and explorative approach. This sandbox environment allowed for extensive testing and refinement of individual components. Each iteration was first designed in a 3D environment using Cinema 4D, complete with dynamic simulations. The designs were then optimized for 3D printing and fabricated with PETG to ensure material stability and strength.

Haptic Keys Prototypes; The White One, The Tall One, The Overcomplicated One, Back to the Basics and The Considered Final One.

All Haptic Keys Prototype Parts, designed with a Modular Approach

The second iteration of haptic keys, dubbed The Overcomplicated One, aimed to minimize plastic contact for a high-end immersive experience. Inspired by JON-A-TRON’s linear motion concept (2017), I developed a rotational freedom mechanism with Feelix. The first version, The Tall One, used a hinge mechanism to create linear motion but still involved plastic friction. The Overcomplicated One eliminated plastic parts by using steel rods and bearings, but its complexity led to poor interaction. Ultimately, The Tall One’s simpler approach proved more functional, highlighting the importance of straightforward mechanical design.

The Considered Final One embraced a “back to the basics” approach based on the learnings from the Tall One. This simplified design minimized errors and allowed for effective motor mappings to simulate light, medium, and heavy key resistance. Although this implementation does not repect the limitations and linear approach needed for a haptic implementation in keyboards, it opened up explorative testing opportunities in a simple manner.

A push sensor was add to map force to MIDI CC values, creating two mappings: pitch-range and velocity. In pitch-range, more force raised the note, creating an arpeggio effect. In velocity, more force increased loudness, mimicking a piano’s hammer action. This design also enabled an “aftertouch” function, adding further versatility. The required force by the user was less when the motor mapping was weak, and stronger when the motor mapping was mapped at a heavy setting.

PHASE FOUR

Learnings & Business Opportunities

The Haptic Keys project has commercial potential but faces significant challenges. Implementing haptics in an 88-key keyboard is costly and impractical, highlighting the need for more efficient solutions. However, this research is an important first step towards affordable, seamless, and reliable haptic keyboards. The final prototype successfully demonstrated how haptics can enhance MIDI interactions, with heavier haptics allowing easier access to high notes and the slide sensor offering new musical possibilities. These innovations could inspire new products and ways for pianists and keyboard players to create music, indicating promising business opportunities with further development. The haptic implementation could improve the overall play ability and useability of keyboard instruments, and enable an “one-for-all” instrument system.

An overview of several events and demonstration of Haptic Keys

VIDEO

Watch & Learn?

Tags Arduino, Design, Haptics, Mechanics, MIDI, Music, Prototyping, Videol

Projects

Living Leather

Berichtauteur Door twanmuste
Berichtdatum juli 11, 2024
Geen reacties op Living Leather

PHASE ZERO

The Challenge & Initial Iterations

As humans and organisms, we live, we breath, we think, we interact, and we use the world around us to get inspiration and discover new opportunities. Interactive design is about creating unique interactions. By applying an approach to interactive design, such as the Material Oriented Design (MOD) method, an interactive entity can be created from a different perspective. Within this approach the Material stands central. In this paper we present Living Leather, a MOD driven interactive entity which respects its history and uses interactive systems to incorporate the alive element. We show the benefits of applying this approach and the unique aspects of reviving the live in modified artefacts. By combining two interactive elements, the sweat and breathing layer, we designed a standalone entity which is unpredictable, might evoke emotions and provides a unique immersive interaction.

“What if we could ‘revive’ leather to re-expose its amazing natural qualities?”

PHASE ONE

Understanding materials

In our project, we explored leather’s dual-layer structure: the grain and the flesh (suede). The grain, being dense, smooth, and hydrophobic, contrasts with the suede, which is open, looser, and hydrophilic. Understanding these properties was crucial as the suede’s composition significantly affects leather’s thickness and stretchiness. This guided our selection process based on the intended application, balancing malleability and durability.

We also delved into the historical and cultural context of leather. Initially a staple material, leather’s role has evolved due to synthetic alternatives. Today, it represents craftsmanship and luxury, influenced by societal values and ethical considerations. This awareness informed our approach, ensuring sensitivity to leather’s complex contemporary perception.

Five different leather types, varying based on thickness, pebble-pattern and stretchiness.

PHASE TWO

Material Driven Design

With a fundamental understanding of leather our challenge was to create a unique experience. We started with Material Experimentation, thus changing and manipulating the properties of leather to create new interactive properties. This meant; bending the leather, stretching it, poking small holes, watering it, etc. This created interested insights from which a haptic experience could be designed.

Process overview of Living Leather. From Material Experimentation to Gestalt.

To revive leather we wanted to incorporate the ‘sweating’ aspect compared to the human-skin. By poking small holes and testing different patterns, needles (diameter) and techniques we developed a first prototype. To mimic movement we created two prototypes; one including a rotational approach to test the haptic feedback of moving leather, and one other to create a fully randomized movement by the implementations of a haptic force feedback motor and different size paper and wooden balls.

Two iterative prototypes to test the manipulation of the main material; leather. On the left an early randomizing movement prototype, on the right an early prototype of the sweat mechanism.

PHASE THREE

The Final Prototype

A breakdown of the final artefact that shows how the experiments with the materials, mechanisms, and interactions came together.

Demonstration of the pinholes in the leather to allow the surface to sweat.
The selections of lather to decide the final surface, we chose a thicker pebbled leather.
The selection of sponges and foams used to retain and release the water.
The cling film layer to protect the electronics as well as assist in pushing the water up through the leather surface.
One of the mechanisms to give the artefact movement, the balls are used to create randomized movement as they roll over each other and press against the leather.
The final artefact was printed in PETG, which supports a more sturdy base and housing for both the Feelix Motor as the balls and leather attachment.
The Feelix Motor system which provided the needed power to move the final artefact.

PHASE FOUR

Concluding

“Living Leather” demonstrates the potential for creating immersive experiences using a MOD approach while honoring the material’s history. We successfully recreated a breathing and sweating layer, reflecting the original features of leather. By analyzing, synthesizing, and detailing aspects of interactive materiality, designers can research material properties, delve into its history, and explore interaction opportunities. Ultimately, our project showcases key learnings and design process elements, illustrating how to integrate material history into MOD-driven interactive design.

VIDEO

Introducing Living Leather

Tags Design