Roffensian wrote:
Swiss movements are easy to acquire (although price becomes an issue if you want decorated movements), Swilss made dials are a little harder, and I'm not sure about Asian dials, but we'll see - there are a few other options. I have no intention of using one of the generic case manufacturers and that is currently my design focus (and yes I have been learning to use a vector graphics program). I would like to be able to find a Canadian company willing to work with me on the cases (Carlos, I love the University idea) because it gives me greater control over the process. I haven't even begun to think about sources for sapphire crystals and AR coating.
This is an awesome project – I’ve thought about it myself and reckon if you approach it with an open mind you will come up with something special.
It seems the process will be a synthesis primarily of assimilating:
1) Movement
2) Dial
3) Case
With the layout of the dial influenced by the movement – so the real creativity will be in the dial finishing and case shape and finishing. I came up with the university idea as I dabbled in mech engineering myself and knew a few birds in design before I got into the law gig, and there were expert machinists on campus who made all sorts of cool stainless steel, aluminium, brass etc. objects for engineering and design students – custom yachting gear, cooking utensils, surgical gear, whatever. It was always interesting to talk to these guys because they knew so many tricks to make solid complex shapes – with extremely fine tolerances.
I was on a project to make a device which could fit in a 300x300x300mm cube with a weight limit and which could raise a 1kg object as high as possible and keep it there. We used three series of 8 or so aluminium rods opposing each other in a triangular layout with the top of one rod connected to the bottom of the next via stretched ruber bands – when the trigger was released, the bands raised the bottom of an adjacent rod close to the top of the one next to it. It shot up and held the 1kg can like a three legged table. The arrangement called for tiny (about 40x10x10mm) and precisely machined collars to connect each adjacent rod in the series, otherwise the whole contraption would leap up all lop sided.
Anyway, this cool machinist made these amazing little collars with spring loaded latches that were a work art. I remember they had these perfect bevelled edges that locked into each other both before and after the somewhat violent “deployment” of the contraption. The design of the collars really came from the old boy who had decades of experience making such little gadgets. I think guys who actually work with metal have a lot to offer the designer. That nexus between design and manufacture is where the magic happens.
The sooner you can find a dude with access to first rate machine tools and an interest in your project, the better. It may be the scoop of the lugs, the style of crown, an interesting pattern of finishing, I don’t know – but the smell of machine tool oil and the sight of curling metal will inspire you.
Concurrently I recommend you spend a few months…
1. sketching – maybe do some basic research into design sketching techniques, talk to people who do this professionally.
2. experimenting on a suitable drawing package. Play with circles, tangents, patterns, mathematical relationships between angles etc.
3. Seeking out beautiful designs in areas outside of watchmaking – other jewellery, architecture, cars, musical instruments, tools etc. Nature is a great inspiration too.
4. For the dial, think of colour, texture – black & white/silver contrast is a common foundation, but who doesn’t like the subtle dash of red on a Navi? Perhaps a deep metallic blue dial with matt gold markers, bronze with jumbo scooped polished steel markers which play on the light…the options are endless. Multilayered dials on which the perpendicular edges catch the light when the piece is seen from an angle work nicely to add depth and detail to an otherwise mechanically simple watch and are in vogue.
5. being open to those moments when a great idea flashes up – unconscious processing can lead to wonderful connections.
All this may sound extreme, and I’m not suggesting a tetrahedron with brushed spherical lugs and giant purple hands – but the more techniques and permutations you have in your tool kit as a designer, the more likely you are to discover what it is you are looking for. At this early stage it’s healthy to not know what that is – give it time to develop, allow the cross pollination of ideas to ferment, and you just may come up with a wonderful timepiece. As a first port of call, learning about how energy is transferred to a metal blank in the machining process will open your mind to what is possible. Best of luck - I look forward to seeing how this project develops!