Edward Prince Furniture Design - Services - Design

 

Design is usually a part of the project, whether I am making to your design or we are creating a design together. Some clients have a clear idea of what they want and I can work to other designers' outlines or detailed drawings. Occasionally adapting another designs proportions to better suit your needs. For clients with an open mind or with less specific ideas a fully bespoke service provides an opportunity to have as little or as much involvement in creating their piece of furniture as desired.

The development of most commissions follows the following six stages.

The Design Process

Stage 1	The Brief	Establish the requirements
Stage 2	Research	Find out information
Stage 3	Idea Generation	Seek possible solutions
Stage 4	Presentation	Discuss solution
Stage 5	Confirmation	Finalise details
Stage 6	Manufacture	Make the object

Step 1. THE BRIEF

Each project begins with a very informal initial consultation to establish a clear picture of the environment, personal tastes, what inspires you, influences and lifestyle considerations. We will also discuss an outline budget and timescales. If it is possible, I like to see where the furniture is to be placed. Existing visual references may influence my design proposals.
These discussions will establish if there are any designs from my portfolio you like and may form the basis for your commission. I will take dimensions or receive plans of the space, and note any special features or obstacles. When working from a plan it is best to gather any images of forms and finishes that could be used in the overall scheme. Normally I make no charge for this stage beyond the reimbursement of reasonable travel expenses.
In both cases we will consider many things and challenge assumptions like the purpose, function, style, timelines, budget or character. The purpose of checking assumptions is to develop a working brief. Is the design going to employ qualities of construction that are found in traditional cabinetmaking or will modern materials and construction techniques be used? Will other materials be featured like cast or formed metal, glass, stone or plastics like laminate, fiberglass or acrylic. What compromises need to be made to achieve the aesthetic yet retain integrity etcetera.

Step 2. RESEARCH

Unless the client has a predetermined idea of exactly what it is they want and do not require any further input I remain reasonably flexible as to the exact form and details with which the object may take. I prefer not to jump to conclusions and run with the first idea that comes to mind preferring to be creative exploring a number of options. I will often draw a mind map as this allows me to see easily all aspects of the discussion and note any ideas. Some research may be necessary to provide inspiration or guide context. for example a client interested in Ballet or Maori art would require a good look at aspects of dance or traditional and contemporary Maori artists. Always a good excuse to visit the library or head out with the camera.

Step 3. IDEA GENERATION

The actual process of generating ideas is somewhat mysterious and un-quantifiable. There are some conscious techniques which I use as well as the inspiration of the muses and relaxed attention. The start of any idea demands an interesting context, achieved through determining what interests, influences or intentions that the client feels could be incorporated in the design. This may be sailing, technology, national or corporate identity, flora, fauna, history….. All acting as a spring board from which forms are generated.
In the early stages of idea generation I do not get too concerned with the how of making the piece but sketch with an open mind playing with forms, essences, details and ideas irrespective of direct application. You never know at which stage a good idea will emerge. I make a point when seeking ideas to pursue the mantra of ‘quantity’ the more thoughts that are placed on the page the better. Quantity will lead to quality, its hard to get a good result from one mediocre idea. At this stage it is also necessary to keep in mind that falling in love with an idea stifles creativity, wait till later if you need to fall in love with an idea, even then always be open to ambiguity and the possibility of change.
The number one conscious creative tool is to combine concepts. For example; a client who is interested in boats triggers ideas of as many different aspects of boats as possible. Decks, masts, rigging, sailing techniques, trawlers, navy, waves, kites, flags, knots, freedom, racing, catamarans, wrecks, pirates. each one may then trigger an interesting form. When I have some ideas the use of active words is also a great help to provoke further alternatives. A popular tool is to use the acronym SCAMPER. which means Simplify, Combine, Adapt, Multiply, Put to other uses, Exaggerate, Reverse. See which of the elements within the ideas can be further manipulated extending the range of ideas

Once a few pages of a sketchbook have been filled or time has run out the ideas are assessed for realism and drawn roughly to scale. Which ones work visually and technically, can be refined to fit the brief. Finally I will draw a refined perspective sketch and the most revealing elevations, including notes about possible materials, details and features. These sketches are ready to present to the client.

The copyright is reserved and if a client chooses not to proceed at this stage, the design may not be taken away and made elsewhere.

Step 4. PRESENTATION

The “Conceptual Designs” are presented using drawings, notes on construction, materials, finishes, and prepared samples to help explain design details and wood selection. There follows lots of discussion, once the drawings have been digested and some of the ideas have been eliminated we sit down and refine the details. What do you like, why? what don't you like, why? does this fit in with the function, what would be better, how can we refine modify proportions, what materials work, what pattern looks best, how can the design be simplified, what elements of the pieces new environment can be highlighted in the design, can a joint be turned into a feature, can cost be reduced, what sort of hardware is going to be chosen. Once the discussion has revealed the essence of a final design through the use of quick sketches, a rough sketch is produced to confirm both client and designer are on the same wavelength.
This may be all that is required, but if the commission is particularly involved then large scale projects may require more than one meeting. This may necessitate rendered images, a dimensioned drawing, samples of timber and finishes as well as fabrics and other materials and possibly a scale model, prototype/mock-up, I would supply a separate quotation for this work in advance. For many commissions this stage can be omitted. When the design stage is particularly involved it is usual to agree a separate design fee.

It is necessary to clarify the budget early in the process. Whilst a good working relationship can be created early in a project, and indeed lasting associations are often made, the first stage is to establish some rough idea of the budget. This avoids misunderstandings in expectations. It could be disappointing to be presented with ideas for a piece of furniture that is not as spectacular as you had envisioned because your budget would not allow for the degree of work and detail involved or ideas that are clearly outside of your budget. Even if you choose not to go ahead, I want you to feel confident enough to come back to discuss any future projects. You may not know just what your budget will get for you, but it is often possible to show you comparisons that this cost $2.000 and this one cost $7.000 and the reasons for the differences.

Step 5. CONFIRMATION

Depending upon the extent of the commission the most basic step is to produce a scaled working drawing with all dimensions and appropriate notes. Greater involvement may require a full size drawing, possibly a full sized mock up of details, decorative elements or feature joints.

Making a scale model can help for those people who have difficulty visualising what something looks like from a drawing or checking details before the expensive process of making something that is aesthetically or functionally unresolved.

Finally for complex projects making a full size mock up out of pine and ply and painting it white to disguise any material distractions will give an accurate idea of what the piece will look like. A full sized mock up is especially useful when having chairs made as it is almost impossible to get the ergonomics correct without making a few fine adjustments to a working model.
Once the details of the design have been finalised and accepted a fixed quotation will be supplied with the proposed design along with a delivery date, which can vary widely but is usually only protracted when the piece is particularly complicated. One of the delights of designer-made furniture is the chance to tweak the design as things progress during the many decisions that are made at the bench. At this stage we will also require a pre-agreed deposit this helps to cover the cost of the materials needed for the project and some of the initial workshop costs. The deposit is usually 1/3rd, although for material intensive projects the deposit may be more. For larger projects I may ask for further stage payments as the work proceeds, frequency would be specified in the initial quotation. The outstanding balance will be paid on delivery.
Any significant design changes requested by the client after the initial design and quotation have been accepted will normally be subject to a fee reflecting the amount of additional design time.