My Trophy

Pihu Tewari
Product Design - AY 2018–2019
 Statement of Inquiry:
Rewards can be in different forms based on the identity of an
individual in a community.

Unit Description
and Guide Key Concept: Communities

Related Concepts: Adaptation and Form

Global Context: Identities and Relationships

Exploration to develop:

● Identity formation, self-esteem, status, roles and role models

● Competition and cooperation
● Teams, affiliation and leadership
 Criterion A
Inquiring & Analysing
 ● Setting the Stage: Initial Connections and Conceptualisation
○ Problem statement and justifying the need for the task
○ How can the concept of trophies be linked to the global
context of identities and relationships?
○ How can the concept of trophies be linked to the key
Research Plan concept of communities?
○ Discuss trophies in relation to individuality, societal
relationships, and conformity within the population
● Background on Trophies
○ What is the origin, evolution, and history of trophies?
○ Look at some existing trophies in the market; what are the
elements and characteristics they comprise in accordance to
the ACCESS FM model?
○ Analyse existing trophy designs by creating a moodboard
with visuals and annotations.
Primary Source/Research
○ Look at a real trophy you have access to; what are the
Secondary Source/Research
elements and characteristics they comprise in accordance to
the ACCESS FM model?
 ● Before the Hands-On Action: Knowledge and Safety
○ What are some health and safety briefs relevant to the workroom
and our unit, that one must keep in mind while working on their
product?
○ What are the multiple tools and equipments present in the
Research Plan workroom? What use and purpose do each of them serve?
● Getting Familiar with Materials and Processes: Digital and Tangible
○ What are the pros and cons of wood? What are the ethical
implications of using wood? Is using wood in our trophies a good
choice for this task?
○ What are the pros and cons of acrylic? What are the ethical
implications of using acrylic? Is using acrylic in our trophies a
good choice for this task?
○ What are the pros and cons of LED lights? What are the ethical
Primary Source/Research implications of using LED lights? Is using LED lights in our
Secondary Source/Research trophies a good choice for this task?
 Getting Familiar with Materials and Processes: Digital and Tangible
●
(continued)
○ In relevance to this unit and the task of creating trophies, what are
circuits? What is their function? Why would they be useful?
○ What are CAD/CAM softwares? Why do designers and artists use
Research Plan them? Compare and contrast Fusion 360 and Sketchup.
○ What does the process of soldering entail? Why is it useful?
○ What is “quality control” and what significance does it hold to
product designing?
● Understanding the Audience, Specifications, and Requirements
○ What is user-centered design? What purpose does it serve and
what impact does its consideration have? Why would it be useful?
○ What does the audience/market want from a trophy? What are the
specifications and requirements they look for?
● Practical Experience: Hands-on Training in the Workroom
Primary Source/Research
Secondary Source/Research ○ What are the tools you’ve been working with in class?
○ What products have you made using the equipments available and
the skills you’ve developed?
Circuits Quality Control CAD/CAM Problem Statement Correspondence Between
+ Justifying the Trophies, Individuality, and
Need Societal Connections
Soldering Acrylic LED Lights Wood

Materials and Processes Setting the Stage

Origin, Evolution, and

History of Trophies

Practical Experience Designing a Trophy Background Moodboards

ACCESS FM
Making a Die Acrylic Forming
Real Trophy
Prior Knowledge
Audience and Requirements
and Safety

Health and Safety Briefs

User-Centered Design Questionnaire
Workshop Tools and Their Functions
 Justifying the Need - Problem Statement
Trophies have been exalted and pedestalled for centuries now, and their glorification is no different in today’s
time and age. They may just be fabricated scraps of metal or glass, but they’ve been given the power to
constitute all of a person’s achievements, successes, and efforts. Whether it’s in the workplace or in school,
the overwhelming pressure to receive an award that validates one’s strives according to societal values and in
other’s eyes, is immense. While it may drive some to push themselves for the better and see fruitful results,
putting others in this form of tribulation only discourages them and backtracks their progress, along with
embittering their relationships with others in the face of competition and ambition. And after one goes
through these obstacles to finally receive the award they so longingly desired, what do they get? A standard
trophy bought from a store shelf—no distinct design, no unique components, no name engraved; it could be
picked up and handed over to anyone. Yet we persist in our pursuit of fighting over these generalised rewards,
for acclaim, praise, and recognition—they’re all addictive. Surprisingly, there’s another issue that accompanies
trophies, contrastive to what’s discussed above. Gradually, the granting of participation awards is increasing,
along with lowering the standard for what receives credit, leading to a larger sum of people getting awarded
than there were earlier. While this might be effective in boosting the self-esteem and drive of many that aren’t
normally awarded, it also trivialises certain rewards for those who put in additional effort or rank higher than
the rest, yet still earn the same level of recognition. When looking at the big picture, the conformity of
trophies and the value society attaches to them are two notable complexities that justify the need for this
project. By asking us to create an individualistic, unique trophy for a person or trait that often isn’t recognised,
not only is this task demanding that we challenge ourselves in conceptualising an idea that justifies the
purpose of the unit and in being able to actually implement our plan, but the unit also contributes to
combatting conventional, detrimental beliefs and customs about one’s identity and achievements that are
present today and to encouraging singularity for a future of unity and plurality.
Global Context
Identities & Relationships
The correspondence between trophies,
individuality, and societal connections
 Identity?
Our identities are the very crux of who we are; our mindset, upbringing, attitude, physicality, beliefs—all
encapsulated and abridged down to this 8-letter word. Although this term is often thrown around and its
diversity is now perceived as hackneyed, one’s identity comprises a vast range of idiosyncrasies, particular
to only them.

But we fail to recognise the singularity that accompanies each identity. We find out one thing about a
person—their favourite sports team or their dream job—and we use that piece of information to summarise
their complete character. As platitudinous as it sounds, we’re inclined to put people into boxes and stray
away from putting in time and effort into understanding an individual’s nuances.

And that’s where a profound concept like “identity” melds into a much smaller, more tangible idea of a
trophy. We’re surrounded with standard, common achievements—“Student of the Year,” “Most Valuable
Player,” “Miss Universe.” But amalgamating this unit’s focus on rewards with the global context of “Identities
and Relationships,” we must embrace the quirks each individual has and give recognition to the people or
traits that aren’t always celebrated. We must look at reshaping the idea of an achievement and what
deserves acclaim, in turn reshaping our identities and our perception of ourselves and those around us.
 Relationships?
As developers and creators of unique rewards, we’ll be looking at distinctive identities and characteristics to
focus our product on. Engaging in this insightful process would not only strengthen our understanding and
relationship with our own identity, but with those around us too.

Taking this notion into a broader, real-world context, relationships are often impacted when people see
others receiving awards and accolades. On one end, there’s a sense of pride and joy that people would feel
for those that are subject to acclamation. Whether it’s a friend, family member, or role model, watching
people receive praise may definitely strengthen one’s perception of and relationship with them.

However, there’s also a significant boost in competitive spirit and ambition that accompanies the awarding
of achievements. Sometimes, watching others getting acknowledged for their doings brings a greater sense
of rivalry and spite, that motivates people to work towards their goals and objectives.

Positive or negative, trophies and awards certainly have an impact on our relationships with ourselves and
those around us, significantly remoulding the lens through which we perceive our achievements of the past
and aspirations for the future.
Key Concept
Communities
 Trophies and Conformity in Society
Trophies and certificates are often used as corporeal measures of one’s success and achievements.
When a person receives an award—be it for academics or sports—their achievement becomes a part of their
identity. Their trophy becomes a significant discerning factor that provides them a chance to be recognised
within a large community.

Being awarded for celebrated achievements is important to so many individuals, because it establishes their
place in society and allows them to leave their mark behind. But achieving that isn’t plain sailing; society only
recognises standard achievements—“Most Valuable Player,” “Spelling Bee Champion,” or “Miss Universe 2019.”
We, as a community, fail to realise that everyone has what it takes to earn a trophy—just not for the same
reasons.

Earning trophies and awards leaves a pronounced impact on one’s identity and their place in the community.
Whether it’s in the school or workplace, receiving recognition for one’s achievements adds immense value to
their character and reputation. Changing society’s views and definition of the achievements deserve to be
rewarded would be what moulds our world into a more united, content place—for not only would it encourage
and motivate the people who aren’t normally awarded, but it’d also urge others to open their minds up and put
efforts into appreciating those around them.
 Design Brief
It’s common to see people around us earn awards and certifications for achievements in their academic,
professional, and personal lives, but the praise we choose to impart seems to be conformed and standardised. Our
generalisation of accomplishments snatches away the individuality and singularity that thrives within the many
identities that surround us.

For this reason, my aim is to develop a unique and original idea for a trophy that gives recognition to an identity or
trait that isn’t often acknowledged. Not like regular trophies with common shapes/forms and a blank slate where
anybody’s name can be engraved—a nuanced and distinct design that would only apply to a select few individuals.

In order to do this, I’ll be needing a thorough understanding of trophies, their history, their contents, their process
of creation, the existing market, and my audience, which I’ll be attaining through research done in this investigative
aspect of the design cycle. Furthermore, after being clear with the workroom and tools, health and safety briefs,
and the softwares and materials available for this project, I will start developing my design for the trophy. I’ll be
using CAD/CAM softwares like Fusion 360 and Sketchup, along with isometric and geometric drawings and
prototypes to create the framework for the product. To end, I’ll be using wood, acrylic, LED lights, and a circuit to
construct my final product, ensuring that I’m using all materials effectively and with a clear intention to create a
harmonious and cohesive trophy.
 ● Before getting into the workspace and using the equipment, one should have
the due knowledge and training with equipments, so that they’re aware of
what’s to be done and aren’t lost in a room full of serrated apparatuses.
● At every given point, the teacher/supervisor should be informed of where
Brief on students are and what they’re doing. Before changing stations, moving with
tools, or entering unauthorised areas, it’s imperative one asks for permission.
Health & Safety ● All tools and equipment should be kept and exchanged in the appropriate
manner: inwards (towards the blunt edge of the tool) and placed towards the
center (if resting on a surface)
● There should always be a suitable amount of distance maintained from
people who are using the tools and equipments (especially larger machinery)
in the workspace. Everybody in the area is required to follow the yellow and
black guiding lines to do so.
● If a person has relatively longer hair that could interfere with their sight and
process of working, their hair should be tied back. With several jagged,
rotating machines that could easily catch on to bits of hair and pull in the user
to reach other parts of their body, even hair clips or hair bands wouldn’t be
protection enough. There’s no exceptions—all hair needs to be tied back.
 ● Before stepping into the workplace, one’s shoelaces need to be tied and held
securely in place. Having dangling laces in a bustling room with razor-edged
tools and adrenaline-filled students running around is the simplest way to get
Brief on injured. Laces could get caught into working equipments or could make you
trip over your own feet, so ensure that they don’t get in the way.
Health & Safety ● Students must be wearing aprons at all times in the workroom. Whether
they’re working with an equipment or just present around machinery, they
need to wear their apron to protect themselves from dust and dirt.
● Whenever students are working with or around tools and machinery,
protective eyewear must be worn. Dust, chips, and splinters tend to fly
around when working with materials like wood or acrylic, and having bare
eyes around them can be extremely painful if both come in contact.
● If necessary, students may also choose to wear gloves when working with
certain equipments in the workplace. Although gloves wouldn’t do much to
prevent sharp cuts or wounds, they could certainly be of aid when working
with smaller blades or when one’s hands get dirty.
 ● When working with or around tools, make sure you have no earphones or
music running in the background. Having earphones—or any other dangling
wires, as a matter of fact—is highly dangerous in the workroom, because of
the risk of it getting caught in a working machine. Even having music playing in
Brief on the background could divert one’s attention and lead to a lack of
Health & Safety concentration and focus, which is immensely dangerous when working with
sharp-edged tools.
● There should be no running or rushed movement in the workroom at any
given point. With more than 20 students trying to get their products finished,
the workroom is bound to be a place with people bustling around at every
corner. In order to maintain discipline and safety, everyone must move around
at a moderate pace and be attentive when doing so.
● Even if any other health and safety briefs aren’t adhered to, there’s one
back-up for emergency situations within the workroom—the emergency
stop button. In case a student or anyone around them is facing trouble with
an equipment or have injured themselves, there are multiple red buttons
around the room that can be pressed to stop the current supply to all
machinery and switch off all equipments instantly.
General Research
Mainly Secondary Investigation
History of Trophies
Analysing the origin and
evolution of trophies
Using trophies and awards to give recognition to a person’s achievements, potential, and capabilities isn’t a concept
that’s new or recently developed. It’s human nature to want to be acclaimed by those around you and earn your
respect and reputation within society through competitive means, so it’s no surprise that trophies were a significant
part of our world ever since humanity and civilisations first began. With an origin that dates so far back, trophies and
the purpose behind them have evolved over time and through places—an abridgement of which is given below.

750 BC — 400 AD
During these times, which were essentially the commencement of large civilisations and nations, trophies first gained
importance within society. However, when compared to modern day trophies, the intent and purpose behind the
awards of this period were strikingly different. No matter what part of the world is focussed on, the principal
purposes behind creating trophies revolved around the concepts of god and war.
In ancient Greece, victorious soldiers returned from wars that they had won with multiple tokens of their triumph and
success. These included scriptures of the war’s details on metal coins, the weapons used by opponents in the war, and
even an enemy’s body parts. These mementos and keepsakes were then hanged on and around trees to resemble the
figure of a warrior and create the most prestigious trophy offered at the time. After collecting these relics and
celebrating their conquest, soldiers dedicated all the awards and trophies to their gods and ensured to preserve
them—for it was considered irreverent to have a community’s victory and its symbol of respect for the gods decaying
and deteriorating.
750 BC — 400 AD (continued)
This manner of developing, sharing, and celebrating trophies extended beyond just Greece.
In ancient Rome, the pattern of dedicating trophies to gods and religious figures was constantly observed as well.
Although, the prime difference between the trophies of Greece and Rome, was that Greece created trophies that
were compact and focussed on intricate details, while Rome had its eye on creating trophies that were larger and
more architectural in approach. Ancient Romans built pillars and columns in honour of their victories and with respect
for their deities—some of which were renowned monumental designs and are still seen standing in the nation today.
As for the rest of the world during this period, most trophy designs were rough, albeit the concept and idea behind
achievements remained constant around the world. In Spain, soldiers and toreros were rewarded with one or two bull
horns, depending on their performance on the ground and how clean and sharp their cuts were on their opponents.
As evident, this form of a trophy was more rustic and primitive than the sophisticated creations of Greece and Rome,
but the importance given to awards and recognition stayed the same in almost all places.
Ancient Greece Ancient Rome
Ancient Spain
476 AD — 1500 AD (Middle Ages)
This period—denoting the Middle Ages—wasn’t often associated with over-the-top, sophisticated, and lavish goods
and products. However, the trophies and awards developed during this period formed the foundation of many designs
created today. With triumphs in sports and wars being the two principal achievements that were recognised during
these times, the Middle Ages introduced to the world a common form of a trophy used today: the chalice. This hollow
cup, supported with two handles, was a common prize given to winners of sporting events. Because of its
unconventional design and conceptualisation at the time—the round, hollow construction instead of the standard,
upright structure; the handles as supporting components instead of the regular supporting base attached to
trophies—this pattern of a trophy was taken forward through the ages and is extremely common today and most
renowned for its adaptation into the Stanley Cup and Davis Cup.

Stanley Cup
Davis Cup

Middle Ages’ Chalice

Present Day
After centuries of evolution and deviation from its original form and purpose, trophies in the modern day are perceived
and created rather differently. The purpose and intent behind designing and awarding trophies is no longer limited to
honouring a religious figure, but simply for giving credit to a person or trait that deserves to be recognised. When
looking at the transformation trophies have been through and what they’ve become in today’s time and age, I believe
there are two principal takes on designing this product. On one end, while trophies of previous periods were distinct to
their respective era and their features depicted the notion behind awards at the time, trophies have gradually become
generic over time. Instead of presenting unique designs that represent the 21st century, most trophies on store shelves
tend to look identical and bear no individuality. On the other end, I also believe that there’s an immense increase in the
resources and opportunities available when designing products in the modern age. We have materials and machinery,
both digital and tangible, that the designers before our time didn’t have access to, and this leads to a variety of trophies
developed during this time period. We aren’t constricted to just metal or just wood, and have the freedom to explore a
legion of options, which in turn decreases the conformity of trophies to some extent.

Conformity
VS.
Individuality
 Circuits
When creating our trophies, we will have the chance to use lights through the
design and illuminate parts of the award. However, there’s an essential part of
this process that we need to be aware of before incorporating light into the
award—circuits.

Circuits, as per their definition, are routes or paths that start and end at the
same point and contain several parts that work together to generate energy
that powers a connected output.

The starting point of a circuit is the battery, which provides the voltage to the
circuit. The potential difference on the two terminals of the battery (+ and -)
is what pushes and powers the movement of current along the circuit.

In order for current to flow through the circuit, there need to be connecting
wires that can carry the current to different components within the circuits. If
these wires aren’t in place and connected to the output and the
battery—essentially looped into a circular pathway that starts and ends at the
same position—the circuit won’t work.

The final component of a simple circuit is the output (in our case, the LED
light) that needs to be powered using the components listed above. This
component is what consumes the energy provided by the battery, eventually
releasing it in the form of light, while also acting as a resistor that allows a
voltage drop and completes the circuit’s path.
 A circuit with all components
A circuit with all components connected
disconnected
 Soldering is a process where two or more metals are conjoined through
the melting of a joint and the hollow area imparted being occluded with a
filler metal—often called the solder.
Along with the solder, the process consists of another vital tool: the solder
iron—a thin, long wire that acts as the conjugating glue that completes the
Soldering process of soldering.
With its ability to band two separate substances into one, the utilisation
and application of soldering is manifold—used in the jewellery, technology,
mechanical, and construction industries.
In relevance to the task of creating trophies, soldering comes into play
when working with circuits. Like any regular soldering process, soldering
circuits would also require users to have additional materials around apart
from just the solder and the iron. This includes a cleaning sponge (used to
keep the tip of the iron fresh and sharp) and an exhaust (used in case any
fumes are released during the heating and melting process).
Here is the link to a video demonstrating the process of soldering:
https://bit.ly/1JtjNfh (2:20 - 3:00)
 CAD/CAM Softwares

CAD/CAM stands for computer-aided design and computer-aided

manufacturing, and is used by artists and designers to develop prototypes and
frameworks of their ideas using a digital platform.

Designers and artists choose to work on CAD/CAM softwares, since they’re

the most efficient platforms that can aid creators in bringing their ideas to life.
CAD/CAM softwares allow for easier implementation and deletion of work,
which is a common, inconvenient process that creators go through when
working on paper or cardboard.

Not only are CAD/CAM softwares used for rough prototypes and ideas, but
they’re often also used to produce final products for large corporations, with
some examples being SandFlo golf putters and Switzerland’s watch-making
company, CallisonRTKL.

In this unit, CAD/CAM softwares would be an integral part of the creation

process of trophies, since we’d get to look into individual artistic elements and
components of the trophy on a screen before having it cut out in real life.
Having an idea of what our trophies will look like in real life through designs on
these softwares would be helpful in constantly refining and perfecting our
products with a critical lens, and with respect to creating a product that’s a
user-centered design and can be improved through the creation of multiple
prototypes until the trophy best fits the intended audience.
 Quality control is a system used by design and manufacturing
corporations to ensure that the goods they produce have a constant,
high quality that’s maintained throughout the generation process.
In order to verify that the quality of the goods produced is
Quality Control maintained, firms establish a logical system that comprises teams of
trained personnel that set the product aside a formerly developed
benchmark and ensure that the final output isn’t subpar.
When bringing the concept of quality control to the subject of
product designing, it’s essential that we focus on maintaining the
quality of our work and effort as we get familiar with the tools and
workspace provided to us. Whether it’s creating six even sides for a
die or joining all the components of our final trophy, it’s imperative
that we’re patient with the process to remain consistent in our
approach and that we constantly refer to the product specification
and design brief created by us, in order to ensure that we’re on track.
 User-centered designing is a process that entails the constant verification
and comparison of products created to the client/market’s expectations and
guidelines. The principal objective of a user-centered designing process—as
User-Centered
suggested by its name—is to develop a product that’s centered around the
client and their needs, and is actually useful and accessible when required.
Design User-centered designing is an iterative, repeated process that demands a
combination of methods to determine what aspects a product needs to have
to be accepted in the market. This can be completed through surveys,
questionnaires, and analysing the sales and market demand reports of the
past.
In relevance to this task and project, it’s imperative that the final trophy that
we create is a user-centered design and adheres to the guidelines that are
specific to only the client/audience receiving the trophy, since the very aim of
this unit is to recognise the singularity and eccentricities that each individual
possesses. By following a user-centered designing process, we can
successfully achieve the objective of this unit, which is to stray away from the
generic and conformed designs of trophies to give recognition to a person or
trait that isn’t often acclaimed.
Specific Research
Mainly Primary Investigation
 ACCESS FM
Analysing existing products
 ACCESS FM - Components Analysed

According to the standard ACCESS FM model, the components of a product that must be analysed and focussed on
are aesthetics, cost, customer, environment, safety, size, function, and material.
Although these aspects are applicable to the analysis of most products, I’d like to modify the model to make it more
appropriate to trophies and the aim of this unit.
I’d like to eliminate the aspect of cost for my analysis of trophies, simply because it isn’t as relevant to the purpose of
this unit and wouldn’t add any value or depth to my understanding of trophies. In this unit, we’re looking at creating
trophies to reward identities or traits that aren’t often recognised. We’re not aiming at selling to clients or customers
that would buy the product, but instead creating a free-of-cost reward for someone who isn’t given enough credit for
their achievements. For this reason, we don’t need to put emphasis on the cost of production and sale for the trophy.
Although the use of certain materials may have significant impacts on financial aspects, we’re prioritising emotional
value over monetary value, so this aspect of cost isn’t relevant enough for analysis.
In addition to the removal of this aspect, I’d like to add another criterion to the ACCESS FM model—construction. In
this unit, we’re getting an insight into the working equipment and tools that are used for design and carpentry in the
real world, along with exploring the materials that are used in trophies and how they’re fastened to each other and
configured to create a cohesive final product. In order to do justice to this aspect of the unit, I’d like to add the aspect
of construction, that’ll help me break down the creation and components of a trophy to look into the rudimentary
starting point where the trophy’s conceptualisation and process of creation began.
The final, revised model I’ll be using is:
A (esthetics) C (ustomer) C (onstruction) E (nvironment) S (ize) S (afety) F (unction) M (aterial)
Trophy #1
Trophy for the Development of Literary Arts
2009 Annual Cultural Awards South Africa
Aesthetics: Trophy #1
This trophy has a minimalistic design, with two simple components: a wooden base and a series of steel columns. The overall design
appears angular and geometric, providing a neat and clean finish to the design. A crucial aspect of this trophy’s aesthetic is the play on
perspective. While the steel posts resemble a building/high rise property when viewing the design from the side, the stands come
together to form the word “Read” when looking at the trophy from bird’s eye view, which is an interesting way to convey the purpose
and intent behind the creation and awarding of the trophy.

Construction:

This trophy was constructed by attaching a square-figured wooden base to a series of steel columns. The attachment process seems as
though it’s been completed using clear, transparent adhesive, as there are no visible fastening bolts or latches. The construction
process for this trophy would have been extremely intricate and challenging to follow through, since all the steel columns would have
had to be arranged in a manner that they resembled a building/high rise property from a lateral perspective, but formed the word
“Read” when looked at from bird’s eye view. If even one column was fastened incorrectly or out of its measured place, the final effect of
the trophy would’ve been lost, making the construction an imperative aspect of the ACCESS FM for this design.

Customer:

This award is aimed at the concept of development through the means of literary arts and education, which seems fitting, considering
that the award contains a building/high rise (symbolising development/growth) and the word “read” (symbolising education and literary
arts). The interconnectedness of these two aspects within the trophy and the manner in which the steel columns amalgamate to create
these figures, is what depicts the central idea and target for the trophy.

Size:

The size of the trophy appears to be standard and similar to that of a regular trophy that can be held in a hand. The sizing of the steel
columns is in proportion to the thickness and dimensions of the wooden base, giving the trophy a balanced and consistent overall look.
Environment: Trophy #1
This trophy makes use of two principal materials: steel and wood. Neither of the materials have any significant negative impact on the
environment, since wood is a sustainable and eco-friendly substance and the type of metal used in the trophy isn’t one like lead,
cadmium, or mercury, that are known for producing toxic emissions and radioactive waste. If the trophy was to be disposed, it’s likely it
would decompose easily and wouldn’t interfere with ecological processes or obtrude the biodiversity or ecosystems around us.

Safety:

The trophy contains a fair amount of sharp, razor-edged sides, due to its geometrical and clean-cut figure. The steel columns, especially,
tend to jut out from the base of the trophy, and coming in touch with them could lead to minor injuries. The use of steel and a thick
wooden base also make the trophy seem moderately heavy, so it could be dangerous if dropped.

Function:

The function of this trophy is to honour development and growth through literary arts and education, and it manages to do so through
the thorough detail and conceptualisation of the steel columns and the differing impact they create from different angles. However,
there is no place on the trophy for a name or title that can give recognition to the receiver of this award, which is a significant part of
individuality and credit with respect to awards.

Material:

The two principal materials used in this trophy are wood and steel, for the base of the design and the principal construction on the
trophy, respectively. This choice of materials was one that was effective not only in that it had sustainability as its very essence, but also
because the contrast and striking difference in texture, pattern, and colour of the two materials works together to create an
eye-catching design when combined.
Trophy #2
CS Design Awards 2013
Aesthetics: Trophy #2
This trophy contains three round, arc-like metal blocks stacked on top of one another, wherein the first block is silver/gray, and the two
layered above are gold in colour. This design appears to be simple and elegant at first glance, due to the elementary shapes and figures
used, along with the basic color scheme and pattern of the design. However, the trophy also incorporates a rotating function that allows
for the circular blocks to be moved around to customise the trophy and change its appearance without really reconstructing or breaking
the product down.

Construction:

The construction of this product seems quite intricate, due to the rotating feature of the design that allows the circular arcs in the trophy
to be moved around as per the desire of the user. Having this interesting feature that allows free movement and the transformation of
the trophy in a matter of a few seconds would require strong construction with multiple bolts and latches to secure the metal block in
places where it needs to be fixed and to leave it be in the areas where it can be moved.

Customer:

This product is targeted at designers and artists as the principal customer, which seems fitting, seeing that the design is extremely
innovative and fashions detailed construction that allows free movement and rotation of the metal blocks in the trophy. I believe artists
and designers would be content receiving this award. Albeit the color scheme and incorporated shapes are simple and straightforward,
the movement of the metal blocks is the stand-out feature that would allow the customer to individualise the design and customise it to
what they prefer.

Size:

The size of the strophy seems compact and manageable when all metal blocks are closed in and secured at the center to form three
semi-circles. However, the design also boasts a fluctuating size, since the metal blocks can open up and result in a much larger design.
Environment: Trophy #2
The one principal material used in this product is metal, which wouldn’t be harmful or detrimental to the environment when looking at
this product. The type of metal used in the trophy isn’t one like lead, cadmium, or mercury, that are known for producing toxic emissions
and radioactive waste. If the trophy was to be disposed, it’s likely it would decompose easily and wouldn’t interfere with ecological
processes or obtrude the biodiversity or ecosystems around us.

Safety:

Since this design isn’t geometric or agular for the most part, there isn’t any danger regarding exposure to sharp edges or sides that may
cause injuries. However, the rotation of the metal blocks relies on an intricate construction system. The pinching down or pulling of skin
may be a potential danger that accompanies three moving metal blocks. If any hinges or fastening parts are loose, then there’s also the
risk of a metal block breaking or falling off, which could be extremely injurious, bearing in mind the possibly high weight this metal
trophy would have.

Function:

The principal function and concept behind the trophy is to give recognition to talented designers and artists. While the design does do
the idea justice in a way—with its unique, changeable form reflecting the creativity and innovation within the arts and design
professional sectors—it doesn’t have any space for the artist or designer’s name or title to be written or engraved on, which makes the
award less personal and pushes it further away from its objective of giving credit to a person for their accomplishment; the award could
be picked up and given to any designer/artist.

Material:

There is only one principal material used in this trophy, which is metal. However, the use of this one material is approached in a rather
creative manner. In order to variegate the design of the trophy, yet still stick to just one substance, the product contains variations in
color and layering that bring a certain oomph to the design and elevate it from just being three blocks of metal stacked on each other.
Trophy #3
AIGA’s 2017 SEED Awards
Aesthetics: Trophy #3
These trophies consist of three principal elements that are a part of its structure—the cube base/support for the entire trophy, the
sturdy column/pillar holding up the upper half of the trophy, and the defining center piece that’s held up by the first two components.
The entire trophy follows a monochromatic pattern, with all components filled in with the constant colour of brown. The overall design
appears to be rather rustic, crude, and homely, because of its construction out of organic and sustainable resources.

Construction:

The material used in these trophies wouldn’t allow harsh construction processes or equipment like bolts, latches, and metal fastening
devices. Instead, the construction process seems more manual and hand-finished than processed through machinery. The intricate
layering of cardboard surfaces for the creation of the design would require the use of adhesive for bringing all elements together.

Customer and Function:

These trophies are created with the intention of repurposing used materials in order to give recognition to the people and talents
within a small community. AIGA’s aim with the construction of these trophies aligns with our objective for this project—fostering a
space where everyone can be valued and given credit to for what they can contribute to the world. By creating a variety of different
designs (movie reel, trackpad, book, etc.) AIGA’s SEED awards certainly don’t hold back when addressing their clients and appreciating
the diverse talents present in our community.

Size:

This trophy seems rather sizeable and evidently larger than what a regular trophy would be. Since the construction process requires
the cutting, fining, layering, and gluing of a material as fragile and pliable as cardboard, a smaller size would’ve made the final design too
concentrated and messy.
 Trophy #3
Environment:

This trophy is one of the most environmentally-friendly designs, since it only makes use of paper, cardboard, mount board, and other
recycled shipping materials. All these substances are sustainable and eco-friendly, leaving no negative impact on our physical
surroundings. If the trophy was to be disposed, it’s certain that it would decompose easily and wouldn’t interfere with ecological
processes or obtrude the biodiversity or ecosystems around us.

Safety:

The safety accompanying a trophy of this sort doesn’t seem to be too much of a concern. Although the overall structure and built of the
trophy is more geometric than organic, the primary use of cardboard doesn’t entail any notably sharp edges that could cause severe
injuries, apart from the slight possibility of paper cuts. Again, due to the material it’s made out of, the weight of the trophy also wouldn’t
be too much of a worry.

Material:

This trophy makes use of paper, cardboard, mount board, and other recycled shipping resources as the primary materials for the
construction of the design. Not only does the use of these materials warrant an immensely environmental-friendly and ecological
product, but it also adds an effect and edge of its own. The materials mentioned may seem limited, but these trophy designers have
optimised them by including a variety of textures and patterns that differ across the components in the trophy.
Trophy #4
American Idol’s Winner Award
Aesthetics Trophy #4
This trophy consists of three principal components: a microphone head, a microphone body, and a microphone base that supports the
entire microphone stand. An important aspect of this trophy that notably adds on to its aesthetic appeal is its contrastivity. In terms of
colours, the microphone head is grey, the microphone stand is white, and the microphone base is black, but the white streaks on the
granite base and the overall alignment of the colour spectrum (between white, grey, and black) is what makes the colours cohesive. In
terms of the forms and figures, the microphone head is a curved cuboid of medium size, the microphone stand is a long, irregular figure
that widens towards the end, and the microphone base is a short, circular stand; the cohesion and viscidity comes can be seen when the
consistent pattern of a round/organic design is discerned throughout the trophy, with no angular/geometric details.

Construction:

In terms of construction, the microphone stand looks as though it’s fastened using regular adhesive to the round microphone base of
the trophy, while the microphone head appears to be fastened to the microphone stand using two bolts and nuts visibly attached to the
conjoining sides of the microphone head. Albeit the methods of construction and conjoining elements of the trophy are different, in the
end, they do come together to form one whole design of a microphone

Customer and Function:

In terms of customer and function, I believe this trophy would rank fairly high. American Idol is a US-based reality TV show that hosts a
competition for singers and vocal performers, and the design of a microphone perfectly fits this concept, more so with the show’s name
engraved on a plaque and placed on the design. However, in terms of individuality, there is no title or credit for the winner, since the
trophy simply mentions the creators of the television show. This would mean that the same, identical trophy could be used as an award
for the winner of any season of the show, which reduces its value. Lastly, leaning towards the function, the tall, lean structure of the
microphone stand is ideal for holding the trophy and makes the design more ergonomic.
 Trophy #4
Size:

In terms of size, there are no defined measurements for the dimensions of the trophy provided, but the sizing seems appropriate. The
trophy is large enough to have detailed, define features that enhance the intent and purpose of the design, but it’s not too large, so that
it becomes a hassle to hold and carry. More so, since the trophy has been awarded to several winners and has been through the hands of
multiple people, we can be sure that the sizing must be manageable.

Environment & Material:

In terms of materials, the principal uses seen are forms of metals, like iron and steel, along with the use of granite for the base of the
trophy. These materials wouldn’t be harmful or detrimental to the environment when looking at this product. The types of metal used
in the trophy aren’t one like lead, cadmium, or mercury, that are known for producing toxic emissions and radioactive waste. If the
trophy was to be disposed, it’s likely it would decompose easily and wouldn’t interfere with ecological processes or obtrude the
biodiversity or ecosystems around us.

Safety:

In terms of safety, a strength would be that the design doesn’t contain any sharp angular/geometric sides that can injure or wound a
person. All edges and sides are round and blunt, so there isn’t any chance of getting scratches or cuts because of the design. However,
the trophy does contain three weighted components (microphone head, body, and base) and intricate designs that would make the final
product adequately heavy; this could be injurious if broken or dropped down on an object/person.
 Real Trophy
Analysing existing products
 Gold figurine/silhouette made of brass
Curved figure, yet solid,
supported structure

Two points of conjunction; components

fastened through regular adhesive

Indents made by heating the

brass until adequately soft
and malleable, and then
using a sharp instrument to
carve out lines

Plaque and three-tier base made out of glass

 Real Trophy - Analysis
Aesthetics:

The trophy has a simple, sophisticated, and clean visual. The principal components present are a round, three-tier base, a
golden silhouette figurine, and a plaque that contains the name of the organisation that presented the award. The trophy
features a contrasting set of geometric and curved constructions, with the curvature of the figurine striking against the
sharp edges of the plaque that it holds up. An eye-catching part of the aesthetic appeal is the coalition of text and graphic on
the plaque. Not only is the text (stating the name of the organisation and the year the trophy was awarded) and the graphic
(the visual of an eye) aligned and spaced out creatively and neatly in the provided space, but the principal colors used—blue
and gold—match the base and the silhouette present in the trophy. The most intriguing part of the appearance is the pop of
colour that comes through with the green border encircling the eye. Although the rest of the product is in blue and gold, this
addition of a new colour surprisingly makes the product more cohesive and is the ribbon that ties the entire aesthetic appeal
of the trophy together.

Construction:

The trophy seems to be fastened and tightened extremely well, with no loose/falling ends or inadequate presence of
adhesive. When taken apart, the three separate pieces (base, figurine, and plaque) seem like they were constructed
intricately using sharp-edged tools and machine cutters, due to the fine edges and sides to the elements. I believe an
essential part of the construction process would be evaluating the weight and size of each component and observing
whether the balance and layering in the product would be achievable, since the three components are burdened on top of
one another and would need to be able to carry and keep each other up.
 Real Trophy - Analysis
Customer:

This trophy’s attention to the customer is certainly an aspect that it lacks in. Although the trophy is awarded by a prestigious
organisation that’s known for establishing a wide base of television and media programs, there is no specific design to the
trophy that depicts this. The overall configuration of the award—consisting of a base, topped with a silhouette, and the
figurine holding up a plaque—seems generic and common. With the award being given because of one’s talent with creating
and producing television content, there could have been more forms and figures specific to the field of media and content. In
addition, there’s no name or title on the award that identifies it as belonging to a certain person, which further generalises
the award.

Environment:

The principal materials used in this trophy are metal and glass, neither of which are known to have any significant, negative
impact on the environment. The use of glass isn’t harmful to the environment directly, unless it’s melted or burnt, releasing
gaseous emissions into the air. The use of metal doesn’t impose much harm to the environment, except for when it’s
disposed, due to its inability to decompose completely.

Safety:

In terms of safety, there are two main concerns that come with the trophy. Due to its sharp edges at the top, there is the
slight chance of scratches or cuts caused by interaction with the sides of the plaque. In addition, the trophy’s nature is
adequately fragile (due to the use of glass), so its breakage may be harmful to people around.
 Real Trophy - Analysis
Size:

The size of the trophy is fairly large, with the entire height measuring more than 30 centimetres. This relatively large size
adds on to the weight of the trophy, making it heavier than most regular trophies. Although the dimensions are
comparatively greater than standard trophies, I think the trophy’s size and shape is perfect for a customer holding the
trophy in the center and getting a tight grip over the product.

Function:

As touched upon in the “customer” aspect of the ACCESS FM model, the trophy doesn’t have too much in terms of
originality and individuality in its design. Although the aesthetic of the design looks clean, sophisticated, and neat, there isn’t
any particular element that sets it aside as an award for the media and content industry. In addition, there’s no place for the
awardee/receiver’s name and title to be printed on the award, which further generalises the trophy. In all, although the
product adheres to the standard conventions of a trophy, I believe it doesn’t fulfill the function of presenting a unique and
original award to someone who achieved something different from the norm.

Material:

The two principal materials used in this trophy are metal and glass, along with the faint use of plastic imprinting/labelling
paper for the text and visuals on the plaque. I believe the selection of metal and glass, although common, was a strategic
choice due to the contrast its patterns and colors provide once put together. In addition, the use of the plastic
imprinting/labelling paper on the plaque adds variation to the product, due to the amendment of a new texture.
 Moodboards
Incomplete/unclosed sides of the
trophy add an interesting dimension to
A geometric and angular structure
the design
to the trophy provides a neat,
clean, and sophisticated finishing
to the design
The use of multiple shades within a
similar range and set of colours
complement each other

The use of one compact visual in the

A bold and eligible font is used for the
branding of the award, which instantly
makes the concept behind the trophy
stand out
design conveys the purpose and
concept behind the trophy, while
still not taking focus away from the
intricacies of this minimalistic
design
 Moodboards
The translucency and see-through effect that
the material carries creates a cohesive design
by bringing all layers together

The smooth curvature and

folding of the figure gives the
trophy a soft and elegant look,
while still being able to support
the weight of the trophy

The rich blend of colours and their smooth The gold embellishment on a
melding into one another immediately catch monochromatic white background
the audience’s attention, while still being perfectly incorporates the element of
soothing to the eye contrast into the design
 Moodboards
The variation in the heights and
thicknesses of each block, all while being
constraint in one larger container, gives
the elements of the trophy their own sense
of identity and individuality that coalesces
to create a cohesive product
The diverse mix of fonts and formatting
techniques in the text imprinted on the
trophy attracts the audience’s attention to
what’s most needed by exploring bolding,
sizing, and line spacing
The inclusion of orange and beige in a
mostly monochromatic design with
darker tones brings an eye-catching
element of contract
One of the rarer trophy designs that gives
authentic recognition to those receiving the
award by engraving their name on the
design and valuing the credit they deserve
by marking this achievement under their
title and making it individual to only them
 Material #1 - Wood
Wood is a material that’s commonly used as a part of designs and products today, since the benefits it offers are manifold. For one, wood is
known to be extremely durable and resistant under harsh circumstances and settings. Although the type of wood being used would have an
impact on this trait of the material, wood, in general, is fairly tolerant to heat, humidity, and slight cracks/breakage, so it’s an ideal material to
work with when designing a product. Continuing on the basis of the types of wood, this material offers a variety and versatility that most other
substances can’t offer. Oak, Maple, Mahogany—the vast range of solid and manufactured woods available in the market allow for a broad range
of possibilities with the material, which fits in with the individuality and singularity-centered approach of this unit. In addition, wood is also a
cost-effective material that isn’t sold for too high of a price in the market. With dozens of students working on building their trophies with a
select range of materials, the choice of purchasing wood as a principal material is an intelligent decision due to it’s inexpensiveness. A final
advantage that comes with using wood as a principal material while creating our trophies, is the very look and appeal it offers when included in
the product. Wood, as a material, has a natural and rustic appeal to it, which complements minimalistic designs effectively. In addition, when
paired with other materials—be it metal, acrylic, or silver—the simplicity of wood builds for an interesting contrast and seems to work in favour
of the design. By having wood as an alternative for creating our trophies, we have the option of including variety and originality in our trophies
by handling the material how we desire; wood can be painted, varnished, or left in its natural state, with all three creating different effects and
offering their own edge to a design.

On the other end of the spectrum, there are some negatives that accompany the use of wood for this project as well. Although working with
wood isn’t harmful in most cases, the chance of having splinters or chips of wood cutting through skin is always a possibility that’s common in the
workroom. However, this can be prevented by wearing gloves while working and being selective in picking the piece of wood to work with. In
addition, some pieces of wood are extracted from the very root of a tree, and the denser timber lines on some blocks may denote that a branch
once extended from the area. When working with blocks that contain this pattern, it’s often challenging to use the woodworking tools to create
sharp, straight cuts in the material, since the inherent lines of the wood tilt/unalign the snipping of the material.

Lastly, an imperative factor to consider when discussing the benefits and harms of using wood for this project, is its sustainability and impact on
the environment. As evident, the attaining of wood requires the cutting of trees for their barks and logs. Although wood is known to be
sustainable and has been a reliable construction staple for years, our dependence on timber increases with every coming day. Whether it’s
building houses or creating wooden cartons, millions of trees are being cut down to satisfy our need for this essential material. This persistent
usage of this material—that’s bound to increase over time—that leads to the destruction of the environment, puts into question whether wood
really is a sustainable material that we can rely on.
 Material #2 - Acrylic
Acrylic is a form of plastic that’s commonly seen in products and designs today, since it’s believed to be the best alternative for glass. While
acrylic still offers the same smooth and transparent look that glass possesses, it carries many additional benefits that glass can’t offer. Acrylic, as
a material, is extremely resistant to deterioration and UV rays, which is an effective trait to have when being used in a variety of designs. As all
students work with individualistic designs and plan out their approach to handling acrylic, it’s imperative that the material can tolerate harsh
tools and circumstances, since the trophy-creating process requires multiple revisions and changes along the way. Along with their quality of
being sturdy, acrylics are also known for being highly transparent—which makes it the closest material to glass and gives it a more elegant and
sophisticated appeal in designs. Due to its transparency, it also allows designers to explore the scientific concepts of reflection and refraction, in
order to create a more creative and intriguing design for the trophy. Acrylic is also available in a large variety of thicknesses and sizes, which
again makes it a valuable addition to a project that requires individuality and distinctiveness in each student’s product. Lastly, the most
important advantage that comes with using acrylic is its malleability and ability to be manoeuvred by the designer. In this project, we’ll be using
acrylic to design the centerpiece of our trophy, that contains the main design and expresses the very essence and idea behind its
conceptualisation. With this heavy of a burden on a material, it’s great that we can mould and transform acrylic into a desired shape or figure of
our choice. Although the laser cutter would be responsible for most of the design printed on the acrylic, some refinements and final touches to
the piece may involve manual work on the framework of the design, and that’s only possible to do with the mutable nature of acrylic.

On the other end of the spectrum, using acrylic comes with some disadvantages as well. For a first, although the overall material is endurant and
resistant to many circumstances, the surface of acrylic can easily be scratched or dented by sharp-edged materials. In order to erase any
scratches on the substance, the surface can be polished using a polishing compound designed for the material. Using sandpaper would only
make the surface worse, and add on to the scratches and marks present on the material. In addition, acrylic is also easily stained by grease and
oil, and this can lead to an irregularity on the surface of the material. However, considering that we would be working with acrylic in the
workroom, there isn’t too much of a risk concerning this factor. Another disadvantage—that’s a downside of one of the advantages—is the
possibility of distortion or disfiguration of the material, due to its increased malleability. Although the material may be easy to work with and
mould, its ability to change according to the designers wish may also lead to unintended changes or alterations being amended to the material.
Lastly, a significant disadvantage of using acrylic in large quantities is it’s high-cost purchasing. Due to the multiple benefits it offers in terms of
form and function, acrylic is known to be more expensive than other materials like PVC, MS, or glass.

In terms of sustainability, acrylic has a mixed impact on the environment. On one end, the creation and production of acrylic is extremely harmful
for the environment, due to the excessive release of harmful chemicals. However, after produced and design, products made out of acrylic are
known to be 100% recyclable and have a lifespan of numerous years.
 Material #3 - LED Lights
LED lights are a common material seen not only in designing products, but also in multiple household materials. With a large range of lights
available, many choose to work with LEDs because of the benefits they offer over the rest. In terms of efficiency, LED lights have the power to
produce more lumens per watt than regular light bulbs, therefore emitting more visible light while consuming relatively less amount of power,
which is a crucial benefit for a project that requires the constant use of these lights. Furthermore, LED lights are naturally present and available
in multiple colors, with no added filters, which would be an interesting artistic choice to make when deciding what color schemes and patterns
would best compliment one’s trophy design. In terms of size, LED lights can be sold for sizes that are smaller than 2 millimetres by 2 millimetres,
while also being sold in sizes that are equivalent to those of TV screens and billboards on the streets, and this versatility and range in sizing
complements the individuality and distinctiveness that comes with each trophy being created by the students. Next, LED lights tend to produce
cool light instead of generating an excessive amount of heat when illuminating a component. Due to the heat base attached to the bottom of an
LED light, any dispersed or extraneous waste energy can be released through the bottom and doesn’t build up on the surface of the material.
Having this as a quality of the material is effective for this project, since we will be using our hands and doing manual work to combine all the
components of the trophy (including the LED light), and having a cooler light system would make this material safer to work with and handle.
Lastly, LED lights have an extremely long lifespan, with some reports expressing upto 50,000 hours of lifetime in one burst, while other regular
light bulbs range from about 2,000 hours to 12,000 hours in one burst.

As for the disadvantages of the material, there are only two principal negatives that come with using a LED light. Firstly, LED lights are highly
dependent on an ambient temperature and environment surrounding them. Working an LED light for long hours in an overly heated
environment may lead to an overproduction of energy and an eventual short circuit, and having an environment that’s too chilled may lead to
extreme results as well. However, in order to solve this problem, companies like Toshiba are looking at creating LED lights with a wider scope for
resistance to temperatures, with the latest model having the power to function between -40°C and 100°C. A second disadvantage of using LED
lights is the initial cost that comes with purchasing the material. When looking at the price in correspondence to the rate of lumens per watt, the
pricing of LED lights was estimated to be around $6 per thousand lumens, which is comparatively higher than standard, incandescent lights.

As for the sustainability factor of LED lights, most of its qualities allow it to have a positive impact on the environment. In terms of energy
consumption, LED lights are extremely sustainable, cutting consumption by over 80%, compared to a mere 25% of a standard light. In fact, an
American study by the US Department of Energy found that installing a majority of LED lights on a yearly basis can save the country more than
$670 million on electricity production and consumption.
CAD/CAM Software
Comparison
Designing a Trophy:
Fusion 360 vs. Sketchup
 Fusion 360

Grid lines (guide measurement and scaling)

Hollow portion for the installation of a circuit

Base

Acrylic
Structure
Axis (guides perspective and scaling)
 Google Sketchup

Hollow portion with a

circuit installed

Acrylic (glass pattern/texture) Base (wood pattern/texture)

Switch on/off

Unerased etched lines

Axis (guides perspective and scaling)
 Fusion 360 Google Sketchup

Strengths ● Can be used to create intricate designs: contains
gridded panels and provides precise measurements
for all dimensions of a product
● All editing tools come with visual tutorials and guides
● Includes sharing and real-time collaboration
● Clear user interface: places all editing tools in one
place on the menu bar
● Time-saving and efficient for quick designs
● Provides a wide variety of textures, patterns, and
colours to work with

Weaknesses ● Editing tools are challenging to work with for ● Final creations aren’t as refined and realistic as
beginners to CAD/CAM designing other CAD/CAM softwares
● A wide range of features, extensions, and tools make ● Lowered accuracy and precision in designing:
the software lag/crash often doesn’t contain effective tools for measurement
● Detailed functioning and method makes for a ● Rough lines or markings etched out for planning
time-taking designing process purposes can’t be erased easily—leads to a
rudimentary-looking product

Final decision:
After evaluating the many strengths and weaknesses of these two CAD/CAM softwares, I’d like to work with
Google Sketchup to create the prototype(s) and design ideas for my trophy. Although Fusion 360 is more
detailed and precise, I believe it’s too challenging for a novice designer like me and entails the chance of making
multiple mistakes. Instead, I’d like to stick to a simpler, more comprehensible software like Google Sketchup,
that would allow me to execute what I have in mind with ease. If any detail or accuracy in measurements is
lacking with this software, I’m willing to take on the role of manually checking these boxes.
 Questionnaire
Understanding the audience’s
requirements and developing a
user-centered design
 Question 1

Do you think the trophies designed and awarded today are generic and lose value because of this?

After taking a look at the conspicuously

weighed out results for this question in
the questionnaire, we can conclude that a
large majority of people—90.9% to be
exact—believe that the trophies designed
and awarded today are generic and lose
value because of this. This statistic sets
the very basis and foundation of this unit
and the task of creating a unique trophy
that’s particular to a certain trait or
identity. The fact that over 90% of the
demographic surveyed believes that a
trophy—something that can define and
change the perception of one’s
identity—today has reduced value, is
what justifies the need for this project
and sets a certain level for us to achieve
as trophy designers.
 Question 2

Out of these materials, which one would be most effective, appropriate, and appealing on a trophy?

Looking at these results, we can conclude

that wood is the most desired material
users look for in trophies, while plastic
and steel/metal are materials that most
wouldn’t like to see in trophies. Although
glass comes next in place, following wood,
it’s a material that’s fragile and
immalleable, so the odds of glass being
incorporated into the trophy are quite
low. However, acrylic follows in close, just
at a difference of 2.1%. Since acrylic can
offer an effect and look that’s similar to
that of glass, while being more endurant
and malleable when required, it would be
a more suitable choice for the workroom.
Conclusively, the two materials I’m most
probably going to pursue for this design
are wood and acrylic.
 Question 3

Which colour schemes/patterns out of these would be most aesthetic on a trophy?

Looking at these results, we can conclude that a

great amount of users would like to see shades of
blue and purple used in trophies, while not many
clients would prefer having trophies that
incorporate shades of orange, brown, green, or
yellow. Apart from these, the two other
alternatives that ranked adequately high were
shades of red and pink, and the tones of black,
gray, and white. It seems contrastive to see that
while some users would like bright, vivid colours
such as red, pink, purple, and blue in their
trophies, a notable amount would rather have
theirs in a flatter, more monochromatic pattern
consisting of black, gray, and white. Both these
ends of the spectrum seem viable to me at the
moment; I’ll be able to lean towards one end
after looking into other stylistic preferences and
determining what works best cohesively and in
totality.
 Question 4

Would you prefer the structure and built of a trophy to be organic/round or geometric/angular?

Looking at these results, we can conclude

that the majority prefers a more
geometric/angular structure and built for
a trophy than a design that’s more
organic/round. Although the odds
weren’t tipped to an extreme on any side
and there was just a 3:2 ratio in the
answers, it’s likely that I’ll be taking my
clients’ preference into account and
developing a trophy that’s more
geometric/angular in shape. If I pursue
this type of a structure for my trophy, I
believe it’d also partner well with a
monochromatic color scheme with black,
white, and gray or complement brighter
hues of pinks, purples, reds, and blues, so
I’ll have a wider range of options to
explore for the designing process.
 Question 5

Would you prefer a trophy design that’s minimalistic/simple/natural or intricate/heavy/elaborate?

Looking at these results, we can conclude

that the majority prefers a more
minimalistic/simple/natural design for a
trophy than one that’s
intricate/heavy/elaborate in nature. With
a lead of 55.6% in votes, it’s a given that I
will be taking my clients’ preferences into
account and approaching the designing
process with a more minimalistic and
simple concept set in mind. Instead of
adding too many details that take focus
away from the essence of the trophy and
the process of ideation behind it, I’ll be
emphasising the meaning and value
behind the trophy and attempting to
incorporate more technique and skill into
the process to develop a unique and
refreshing final product.
 Question 6

Which characteristic/profession/role is underrated and deserves more recognition?

Common Responses:
Looking at these responses, I’m content with the variety I
Professions/Roles: received in the perspectives on this question. Although traces
● Teachers and educators of common themes can be linked to many of the responses
● Domestic workers and housekeepers listed alongside, all of the answers reflect differing mindsets
and beliefs concerning what deserves more recognition. We
● Parents have some professions (teachers, domestic workers, soldiers)
● Army fighters and soldiers that still deserve more credit than they receive. Some
● Fighters of drug/alcohol addiction interviewees believed that people who fought or survived
● Cancer patients/survivors and their family through a challenging time—be it a disease like cancer or an
● Students addiction to drugs/alcohol—are those who’ve really earned an
award. And the rest expressed their idea of rewarding those
(parents and students) who manage to fulfill their daily
Characteristics:
responsibilities and go through everyday life with its own set
● Humility and groundedness of problems. And as for characteristics, listed alongside are
● Determination some invaluable traits that aren’t very common and certainly
● Perseverance deserve recognition. I was glad to see the moral and principled
● Curiosity values that were reflected through these variegating,
● Kindness interesting responses, and I’d be interested in looking into
many of these ideas as potential resorts for my final product
● Empathy
 In totality, here are the important requirements for my trophy that I could
accumulate through the questionnaire’s responses:

● The trophy must be unique to a certain trait or identity and have a strong
theme/purpose that shines through its design aspects
● The trophy must comprise two principal materials for its construction purposes:
wood and acrylic
● The centerpiece of the trophy could incorporate any of the following colours:
Overall Analysis ○ Red
○ Pink
○ Purple
○ Blue
○ White
○ Black
○ Grey
● The centerpiece of the trophy must not incorporate any of the following colours:
○ Orange
○ Green
○ Yellow
○ Brown
● The trophy must have a geometric/angular form and construction instead of one
that’s organic and round
● The trophy’s design must be minimalistic, simple, and natural, instead of being
intricate, heavy, and elaborated.
 Practical
Experience
Hands-on training in the
workroom
21/01/19 Acrylic Forming

On January 21st, we were assigned our first task wherein we got the chance to work with acrylic. Since this
material would comprise the main structure and framework of our final trophies, we got the chance to see
acrylic in different states and under the pressure of different tools to explore the possibilities with this
material.
To start off, I had to ensure that I was following all the health and safety briefs for the workroom before I
began, especially concerning the appropriate attire required (hair tied, shoe laces tied, apron worn, safety
glasses worn, etc.).
The first part of the process required using a pillar drill and a curved, rectangular piece of acrylic to work
with. With this being my first time working with an electric drilling machine like the pillar drill, I was nervous
getting into the process and this translated into my actions, with my grip on the acrylic being visibly loose
and shaky. After establishing a tight, secure grip on my piece of acrylic, I used the rotating hand lever on
the right side of the machine to gradually adjust the drill and move it downwards, closer to the piece of
acrylic centered on the table.
As the drill came in contact with the acrylic, the force that the machine brought on to the material was
adequately strong and startled my grip on the acrylic. I reset my hands on the acrylic and kept its position
firm as I finished drilling a hole into the material.
 Using the pillar drill for acrylic forming

Hair tied Non-dominant hand

supporting the acrylic

Safety glasses worn

Dominant hand on the

operating handle of the
Apron worn machine to control the drilling
process
21/01/19 Acrylic Forming
After drilling a hole into the piece of acrylic, I moved to the next step of the process—moulding and bending
the acrylic into a shape of our choice.
The tools and equipment required for this process are a hot air gun, a woodworking vise, heat-protective
gloves, and a piece of acrylic.
When heating the equipment, I attempted my best at heating the material from all four sides, with special
attention to the two opposite each other that covered the most surface area. I was adamant on covering all
four sides evenly, because I wanted a consistent pattern and quality to all sides of the acrylic.
After the hot air gun had released enough heat to make the acrylic malleable and pliant, I used my hands
(with gloves on, of course) to twist the acrylic and hold it in place for a new shape and structure to the
material. I was aiming to twist the edge of the acrylic by a full circle bearing of 360° in order to land at a 90°
angle that works with the trajectory of light.
After the acrylic was twisted and held in place for around 60 - 90 seconds, I let go of the edge of the acrylic
and observed my final piece of acrylic.
There were several small issues with the acrylic—one being that the twisting wasn’t completed such that the
pliable edge of the acryling was at a 90° angle and that there were small air bubbles trapped in the material,
that indicate that the material was overheated. Nevertheless, this was a valuable and dynamic learning
experience that allowed me to work with new tools, processes, and materials.
 Using the hot air gun for acrylic forming

Dominant hand in charge of heating

the acrylic and non-dominant hand Uniformed and consistent Too many items cluttered around
away from the heat heating of the acrylic from the heating area would be
both sides harmful and should be prevented
 21/01/19
Acrylic Forming
Hazy and blurred surface, along with The hole drilled into the material looks
the presence of trapped bubbles, due Final Product clean, well-defined, and shapely
to the overheating of the acrylic
Distorted and contorted figure, due
to the uneven and incomplete
twisting of the material
21/01/19 Making a Die
On January 21st, we were assigned our first woodworking task—to create a die. Although it may sound
elementary and straightforward, there were multiple tasks within this process that had to be completed.
To start off, I had to ensure that I was following all the health and safety briefs for the workroom before I
began, especially concerning the appropriate attire required (hair tied, shoe laces tied, apron worn, safety
glasses worn, etc.).
The first part of the process involved working with a block of wood, a pencil, a g-clamp, and a 90 degree
square. Before cutting the block of wood given to us into a small cube for the die, there was an intricate
and calculative process that helped me have a clearer sight and idea of the piece of wood I was cutting. I
used a 90 degree square against the block of wood secured by the g-clamp, in order to determine what line
I’d have to cut on to obtain a figure that’s as close to a cube as possible. While the 90 degree square is
normally used for determining one face of the cube, I noticed that the edge of my wood block was uneven
from its last cutting, so I used the 90 degree square to construct a cube figure from scratch, instead of
having one side given to me.
A notable challenge I face while working with these equipments was the g-clamp’s loose grip and lack of
security. I tried to make the g-clamp tighter every time I put pressure on the wood block, but the clamp
didn’t have a force that was strong enough to keep the wood in place. For this reason, the lines I drew using
the 90 degree square were slanted a few times and had to be redone several times to reach the final
markings.
Using the 90 degree square and g-clamp for making a die

Having another person so close to you

while you’re working with machinery is
dangerous and should be prevented

The dominant hand is being used to mark

parts of the wood block that need to be
cut, while the non-dominant hand is being
used to support the 90 degree square

In order to fasten the wood block

securely and tightly, the g-clamp should
be placed closer to the centre of the
piece (i.e. having a larger area of the
wood block on the table or behind the
clamp than is shown in the picture)
21/01/19 Making a Die
After constructing rough markings for the dimensions and size of the cube, I used the tenon saw to cut out my
cube from the block of wood.
Using a tenon saw for the first time was slightly challenging in the beginning, since it wasn’t easy getting a grip
of the machine and pushing through the hard surface of wood. Instead of using blatant force, I tried making
slight cuts on the surface of the wood and in accordance to my line marking, so that I had a groove on the
wood that guided the rest of my cutting.
After stepping over this obstacle, using the tenon saw was a fairly easy and manageable task for me, and I was
able to completely cut my cube out in less than a few minutes.
After cutting out my surface for the cube, I noticed uneven layers to the wood on multiple faces of the cube
that I wanted to level out. Since these were minute details that needed to be improved, I chose to use
sandpaper to fine off any waste or extraneous parts of wood that could help smoothen the area.
After completing this part of the process, I reached the last step of creating a die: indicating the numbers on
the six faces of the cube. As my peer and I had discussed prior to creating our die, any opposite sides of a die
must have a sum of 7. Using this pattern, I used a permanent marker to create my opposing sides on the die (1
and 6, 2 and 5, 3 and 4).
Although my final product wasn’t of great quality and could’ve been much better in its cutting, levelling, and
smoothing, I believe I made several mistakes during the process that helped me learn about tools and
processes in the workroom.
Using the tenon saw to make a die Drawing dots on the die
The tenon saw isn’t held correctly;
the tool only requires the use of one’s
dominant hand, while the
non-dominant hand can be placed
elsewhere for additional support

In order to make the process of cutting While drawing the number-denoting

easier and the final product more
uniformed, a larger block of wood
should’ve been used, so there’d be more
space between the saw and the
g-clamp and more freedom to adjust
the tool when needed
dots on the die, I didn’t focus on
maintaining consistency in the sizes of
all dots being drawn, indicating that
quality control is a process that I need to
work on implementing and improving
Using sandpaper to make a die
21/01/19

Making a Die

Some of the dots created on the die seem Final Product

smudged or smeared, making the product
appear slightly messy and rushed

The dots on the die are inconsistent in size,

highlighting the low quality control in the
designing process. In addition, the surface—even
after sanding—appears rugged and uneven

The side of the die that contains two dots is

drawn incorrectly according to the
conventional features of a dice; the two dots
on a standard dice are placed diagonally
instead of being drawn in a straight line
 Final Design Brief & Conclusions
Written below is my final design brief, with revisions and additions after the research process in red:

My aim is to develop a unique and original idea for a trophy that gives recognition to an identity or trait that isn’t often acknowledged.
Not like regular trophies with common shapes/forms and a blank slate where anybody’s name can be engraved—a nuanced and distinct
design that would only apply to a select few individuals.

In order to do this, I’ll be needing a thorough understanding of trophies, their history, their contents, their process of creation, the
existing market, and my audience, which I’ll be attaining through research done in this investigative aspect of the design cycle.
Furthermore, after being clear with the workroom and tools, health and safety briefs, and the softwares and materials available for this
project, I will start developing my design for the trophy. I’ll be exploring CAD/CAM softwares like Fusion 360 and Sketchup, along with
isometric and orthographic drawings and prototypes to create the framework for the product. After evaluating the strengths and
weaknesses of Fusion 360 and Sketchup, I’ve decided to use Sketchup to design my prototype, for it strikes the right balance between
comfort/ease for me as a user and the designing features it provides. I’ll be using wood (because of its organic texture, natural
appearance, and eco-friendly nature), acrylic (because of its sophistication and simplicity, along with its comparatively higher durability
when set aside glass), LED lights, and a circuit to construct my final product, ensuring that I’m using all materials effectively and with a
clear intention to create a harmonious and cohesive trophy. Furthermore, I want to ensure that the trophy I create is safe for the
environment, by sticking to the aforementioned eco-friendly materials. I also want to ensure that the trophy I create is safe for the
client, by not having any protruding edges and keeping the product lightweight, in case it falls on or around the user. Throughout the
process, I want to make sure my trophy is suitable and pertinent to my audience, and I’ll be doing this by taking into account all the
feedback received from the questionnaire regarding colours, materials, forms, design aesthetic, and the conformity of trophies.
 Citations

- Sigman, Michael. “When Everyone Gets a Trophy, No One Wins.” The Huffington Post,
TheHuffingtonPost.com, 18 June 2012,
www.huffingtonpost.com/michael-sigman/when-everyone-gets-a-trop_b_1431319.html.
- Trophy Designs for IEFE on Behance | Awards | Pinterest | Behance, Adobe and Acrylic Trophy.”
Pinterest, 2015, www.pinterest.com/pin/316589048785951093/.

- Azure. “5 Winning Trophy Designs.” Azure Magazine, Azure Magazine, 28 Feb. 2014,
www.azuremagazine.com/article/5-winning-trophy-designs/.

- “How To Solder: A Beginner’s Guide.” Makerspaces.com, 2016,

https://www.makerspaces.com/how-to-solder/.

- “A Brief History of Awards and Trophies.” Cristaux, 31 Aug 2014,

https://www.cristaux.com/blog/history-of-awards-and-trophies/.
 Citations

- Hughes, Amy R. “The Pros and Cons of Different Types of Wood.” Real Simple, Meredith Corporation,
June 2015, www.realsimple.com/home-organizing/decorating/different-types-wood.
- Proctor, David. “Pros and Cons of Acrylic.” CutMyPlastic, 18 Aug 2017,
www.cutmyplastic.co.uk/blog/pros-cons-perspex-sheets/.
- “Pros and Cons of LED Lighting.” Shine Retrofits, Oct 2013,
www.shineretrofits.com/knowledge-base/lighting-learning-center/pros-and-cons-of-led-lighting.html.
- Kention, Will. “Quality Control.” Investopedia, 7 Aug 2018,
www.investopedia.com/terms/q/quality-control.asp.
- “User Centered Design.” Interaction Design Foundation, 26 Sep 2015,
www.interaction-design.org/literature/topics/user-centered-design.