Design Sketching approaches sketching technIque In a unIque and inspirational way by showing sketches from all phases in the desIgn process. The broad col lect IOn contains ske tches va rying both regarding degree of dIfficulty and type of product d Isplayed. The main purpose of Design Sketchmg IS to help readers find ways to better VIsualize theIr Ideas, In a way that SUI tS their personal style. Moreover. It alms to serve as a source o f Insplratton and as a complemen t to more theoretical sketchI ng books. Twentyfour talented and creat ive students from one of Europe's best design schools, the Umea InstItute of Design. have contnbuted to the dIverse material In this book. The collection conSISts of sketches taken from authentIC course assIgnments and degree projects completed by students at the Advanced Product DeSign, Interaction DeSign, Transportation Design, and Bachelor Programmes. The book IS separated Into 5 chapters containing:

Basic Theory ThiS section covers the most important aspects of sketching theory, (such as material . perspective. shading, etc.) wit h areas speci f ically se lected for thei r relevance to industr ial des ign.

Investigative and Explorative Sketches ThiS chapter shows investigative and explorative sketches, which are se ldom shown In books and papers. despite the fact that they are normally produced in the largest quantity during a design project.

Explanatory Sketches The ability to communica te the function or form of a product is essential to a designer. Th is chapter shows sketches created in order to illustrate concepts or proposed deSign solutions, often for the purpose of presentation and discussion.

Persuasive Sketches The expressive sketches shown In thiS chapter don't stop at explaining function or form. but further convince an audience by conveying the mood and emotional values of a product.

Step-by-Step Tutorials Instructional stepbystep tutorials reveal the crea t ion process of six sketches that cover a broad range of complexi ty, from Init ial outl ines to advanced reflective surfaces.

\\'W\~ .des lsn5kc l c h ing.com ISDN 91-63 11J9~8

Including an extensive collection of inspiring sketches by 24 students at the Umeii Institute of Design

Erik Olofsson Klara Sjoh~n -

Erik Olofsson Klara Sjtih3n

Alexander Nemtsov Ene Gunnarsson Floris W,egermck Frednk NIlsson Hlrash Razagh, Ida Ristner Jarno Sundell Jens Andersson Joak.m Sallberg John Andersson . Jonas Samrel1u5 Jonathan Hicks Karl Forsberg . Karolina Rantfors Ladlslao Camarena . lmda Bagren Mana Balthammar Mlkael Lugnega rd MauricIO Bedolla Gasca Pontus Unger . Robin Hedman Slen Haggblom Sl lan Sorhe Ozgur Tazar

www.designsketching.com

Productloo, GraphiC Desisn and Publishing: Enk Ololuon and Klara SJol~n

Langua~ E01l1n8. Ahms EmZlnas Bnan Weissman

Cecilia Berhn ll~ Evans

Pnnted on env'fonmenlallnern:ny paper

)

Preface The book you are now holding 10 your hands was first envIsioned dunng our Iinal yea r at the Bachelors' program at the Umet! Institute of Design. Throughout the whole or our edllca honal period. we had looked for, but could not find. a modern book on sketching ,tech,olques that focused on Industnal Design - giVing us the idea to make a book that could InspIre and teach sketching by presen ting the large vanety of ske tches thai are useful In the design process. We could not halle been In a better poslhon to ,turn such a book into rea l it~! At t,he Umea Institu te of Design, we were surrounded by creative and talented student s skilled In sketching. The institute IS one of Europe's most prominent Industnal Design schools, pro vidlng 4 academiC programs: one Bachelor"s Programme and three Master's Programmes Within the areas of Interaction, Product and Transportation Design.

Our selections from the different areas of the Institute have resulted in a unique col lection of sketches from all phases in the deSign process, which show various degrees of d ifficulty and represent a large number of different products. Smce personal sketchmg style can vary greatly amongst different designers - and no right and wrong rea lly exist - sketches have been chosen With style vanety in mind. Furthermore, they are taken directly from real projects: the sketches Included have not been made expressly for thiS book. We wou ld have been glad to see a more even representation of the sexes among the sketch contributors for th is book though. The truth IS, the proportion of male to female contributors roughly reflects the ratio of male to female students enrolled 10 the International Master's programmes at the Institute at the present time. Nevertheless, we hope and bel ieve tha t both women and men Will feel equally addressed by the contents of this book.

A lot of time and effort is required to accomplish a thorough and we ll though t out design prolect - a designer's abIlity to sketch IS merely a small pa rt of the ski lls needed during the overall process! But the fact is, even a great design concept stilt has to be visual ized success fully In order to be both communicated and sold to others, 10 which the sketch most often plays a great part.

Design Sketchmg was wntten to serve as a source of Inspiration as well as help you improve your sketching skills and find ways to better visual ize your ideas in accordance with your personal style. We hope tha i It Will give you many valuable t ips, release your creativity and fuel your urge to sketch!

EnjOy your read!

E"k and Klara, Ume~, August 2005

Klara Sjo l~n was born In 1980 In Sundsvall. Sweden. She IS currently completing her Master's Degree (2006) In Industrial Design Engmeenng at Chalmers UniverSi ty 01 Technology, speclahzlng In Materials Science and Transportation. She has a separate Bachelor's Degree (2005) In Industrial Design from the UmeA Inshtute 01 Design. DUring Internshlp$ abroad she has developed an Interest In Pubhc Transportallon.

Erik Olol sson was born In 1978 In Umea, Sweden. He graduated With a Bachelor'S Degree In Indust"al Design from Umea Instltute 01 DeSIgn In 2005. Erik has a speCial Interest in EntertalOment Design and Conceptual Art, and IS cu rrently purSuing a number 01 differ. ent entrepreneural buslOess projec ts.

Preface _ IntroclucltOll -

I I

I

Sketching - the Designers' Visual Language The ability to sketch IS one of the most valued skills among Industnal deSigners, their co workers and clients - and It IS not WIthout reason . Sketching has proved over the years to be one of the fastest ways lor a deSigner to defme problems, ex.plore Ideas and develop form whether using paper, digital media or combined, of which you Will see many examples In thiS book.

The term sketch has generally the meaning of a rough or unfinished drawmg, and the ach vity to sketch IS to gIVe a brief account or general outline of something. The English word ongmates from the italian SCh,ZZO, In turn based on the claSSIC Greek term slchedlos signifying 'done extempore spoken or done WIthout preparation'. One of the baSIC cognitive benefits of sketchmg IS that the mere acts of formulallng a mental Image In a conc rete wayan paper makes It pOSSIble for the deSigner to reflect over the concept at once and almos t Instantly develop it further lOtO a new concept. a so called Iteration . When working In teams, sketchmg is a valuable tool for creative group activities such as bramstormlng and concept evaluati on. In professional deSign prachce, sketchmg has proven to have multitude of purposes which can be summanzed under four headlines - investigation, exploration, explanation and persuasion:

Often, the investIgative function of sketching IS lightly connected to the early research phase of a design proJect . The deSIgner IS examining the problem space, and sketching helps ana lysing the contex t while the problem and ItS components are emerging. Explorative sketching IS often used when proposals of deSign solutions are generated and evaluated. These skelches are produced 10 la rge numbers, are often very rough and do seldom make much sense for others than the people directly Involved In the design process. Explanatory sketches have to communicate a clear message to others than the deSigner and the team , in contrast to the explorat ive sketches mentioned above. These sketches descnbe and illustra te proposed concepts 10 a neutral and straightforward manner, and are often created in the later phases of a proJect , t o get valuable feedback from users, chents and extern al exper ts. Persuasive sketches are the most artist ically Impressive type of Images. often called renderi ngs and takes much more time to finish than the other types. The main purpose WIth these drawings is to 'sel l' the proposed deSIgn concept to influential stakeholders. such as CEOs or Design Managers.

Of course, many of these purposes coexist 10 the same sketches, and the dIfferent types of sketches often appear repeatedly dunng the many IteratIons of a successful deSign project , especially explorative and explanatory sketches are the most frequent types.

Enjoy th is r ich collection of sketches made by talented design students of Umea Institute of Design p resented in this book, and I hope it will Inspire and stimulate you to further explore the visuat language of design.

Niklas Andersson Director of Studies

Ume~ Institute of Design

... ____ ~ _________ ~";.;" ~h~'"~ ...;;Ih;.~O';;;."~."~.~"~ Visual Language _ IntroductIO_" ________ ~ _ _=-_====_:__:::~

,

Basic Theory n lakes a grea t deal of practICe co become good at sketchmg! Asrde from the essentral abr/rty 10 draw, a good knowledge of baSIC IllustratIon theorres Irlre perspective and shadmg rs reqUIred to create credIble and attractrve sketches. The followmg theoretICal sectron mcludes a summary of areas or subjecls deemed Important speclftcally when drawmg mduStrlal product desrgn s~e tches.

Sketching Media ThIs sectIon shows examples of materials used to create the sketches m thIS book. Experrment WIth these and other media to get a sense of theIr characteflstlCs and discover personal favoufltes. SpecIfIC brands are only mentioned as examples and should not be considered recommendatIons.

.. Ballpoint Pen The sketch to the right was drawn usmg a ball POint pen deSigned to create thin and exact lines 01 ink. Usually, pen shadings are created by Iltllng fields wllh parallel slanting hnes. Because the Ink has a tendency to bleed when marker IS added over II. marker IS sometimes combined With ballpOint pen to create shading. To avoid thiS effect when usmg markers over ballpoint pen hne art. try uSing a different mil( of marker and pen brands. (For el(ample, 8,c Orange Fine ballpoint pens do not bleed ..... Ith Caple markers.)

Coloured Pencils Many brands olfer coloured penCils In a mul tltude of colours and hardnesses. These penCils are less rellee tlve and have higher plgmenl saturation than graphite pencils. Coloured penclts are used both alone and In combination With olher media. Hard penCils glye thin and exact lines and are olten used lor 10undailOn sketches, while softer ones can creale high.

.. Mark!:!r This IS a type 01 lelt tlpped pen, ayaHable '" a Wide range of COlours. Marker can be applied In one or more ta ers' layefinS slro~es of the same Colour Will darken an area wlrh ' saturated colour. To create a smooth surface marker k ~~~I~~~~ICkIY and liberally, covermg the wh~le sUrfa~~ b~'~~~ ~t It IS a iOOd Idea to buy m.ilrkers In pairS, I.e. two of the same colour. but WIth dltfermg hghlness/ saluratlon They c b together to ColOUr the dltferent surfaces of a~ object ~~ t e us~ ~::~~t In I,he shade respect l ~ely. The most freqUentl; ua:~ II

mar ers rn thIS book IS Copic.

For more experienced readers, these pages can act as remmd. ers, while for the begmner, they can serve as an outlme of the most Important draWing techmques and also as a checkl,st of areas to gam greater knowledge of. For a fIst of l,terature that covers these areas more thoroughly, please consult the litera ture tiP Ilsc on page 104.

,

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hght and el(trapowerful outlines. Black and white colou red pencils can be useful for creating QUick planar Ylews, pOSSibly on coloured backgrounds or coloured paper. Many of the sketches in thiS book were made with Sanford P"smaco/or (salt) and Sanford Vel/thin (hard) brands 01 colou red pencils, freq uently in black. white and Indigo blue.

. ' .-~--

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... Airbrush Airbrushing creates shading With a yery smooth gradl ent To create sharp edges, It IS necessary to mask ofl (cover) areas that are not to be coloured. Masking IS used lor many me dHl. but IS espeCIally Important lor aIrbrushing, since airbrushed fields cannot be erased . There are many arrbrushlng systems ayallable, from the tradl' tlonal to the more modern ones that Involye a Simple marker pen attachment, like the COPIC or Tlla marker aIrbrUSh systems.

... Past !:!1 Pastels are often used to create gradients. or for cover ing large areas like backgrounds. They can be used to express light re flections or shiny and transparent su rfaces such as glass and d isplays. In order to achleye an eyenly filled surface. either draw pasllhe lines 01 a par I. using an eraser to remove redun dant pastel, or mask off the area before adding the pastel. To create the Impression 01 a lit or shiny surface; Simply erase the pastel from the area meant to appear lit. To enable a smooth application. pastel blocks can be scraped to obtain a powder, which IS then mixed with baby powder and ap piled to a sketch with a soft pad or cotton wool . Pastel powders of dllferent hues can be mixed to create the deslfed shade .

... Gouache This IS an opaque and water soluble coloured peunt often used lor Vibrant highlights It IS normally mixed ..... ,th 'Nater (retaining coverage) for a more eaSily controlled and lIuenl can slstency. Gouache IS apphed to a sketch ..... ,th a hne lipped brush

... Digital Software It IS also poSSIble to sketch With the aid of a computer and graphiC soltware. A dIgital pen and drawmg board IS prelerable to usmg a mouse, Since the pen allows for more accuracy and control. Many "mltatlons of tradItional media can be overcome when working digItally. lor example, a sketch can be reworked or recoloured Indeflmtety Without destrOYing It. Digital media IS olten used on scanned handdrawn hne art, to add separate layers of colours and effects. The most commonty used software for workmg digitally on sketches In thiS book are Photomap and Pamter.

Paper The paper can mfluence the performance 01 some media. A paper's gram or smoothness Will determine how frne and clear Iy lines can be drawn. and can affect the appearance 01 coloured penCIl or ballpOint pen sketches. Markers are olten used on 'bleed proal' paper. a klOd of paper that doesn' t allow marker Ink to seep through . ThIS protects underlYing surfaces from getting stained . and prolongs the hIe 01 the marker pens. When marker IS added liberally. bleed proal paper's low absorbency allows for more exact marker helds. A brand 01 marker paper commonly used for sketches III thiS book IS Letraset.

Sketching MedIa BaSIC Theory ------~----------------

Material The sAelches below show only a few of the many \Vays that matel/afs can be ,lIustrated. Rendermg skills can be Improved by observing the way that maret/als and te.\tutes reflect lIght. and by trying to replIcate these effects usmg dIfferent sketch-mg media and techntques. A general prmclple to keep In mmd. concernmg all materials, IS that an obJect'S shape IVIII also convey a mate"al. Because of the design limItatIOns of some materials. small details such as the size of edge radII reveal what II/nds of malenal the object IS made of.

.6. Matte Plast ic MaUe plashc has been Illustrated here (the green parts) uSing smooth and salt shading, wllh very vague or no rellechons. (Black and while soft pencil. marker)

.6. Metal Any hl!!hly reflective matenal should appear to mirror Its surroundmgs on Its surfaces. In thiS example (above), a rou!!h Illustrat ion of the reflection has been created using hl!!hly can. trastlng and defmed fields combined With Bradlent areas. (Black hard penCil. black and white salt pencit. marker, gouache)

.6. Varnished Surface A varnished surface has been Illustrated ht:re uSing rough reflections created With marker and a liberal apphcahon 01 highlights. Smooth Bradlents of a Slightly different

~IOUr ha.-e be

10

... K .. pl"l Proportions In Perspective DesCrIbed below IS a method used to draw the correct proportions of two or more eQually SiZed objects In perspect ive. This example shows how a second square (dashed lines In last illustration) IS drawn propor tlonally to the onglnal square

1 Mark out the centre of the first square by intersecting the tines drawn between opposing corners.

2 Find the centre of the side line by draw Ing a line from the first square's centre towards the flShl vanishing point.

4 Find the furthest corner of the new square by draWing a line from the closest corner of the first square. through the centre of the sIde (2) and reaching the Side elCtenslon (3).

5 Create the last side of the new square by drawing a line from the left perspec. tlve point. through the furthest corner (4) and to the right Side elCtenSlon (3).

( .. These rectangles were drawn to appear the same Sile an "I. ualty spaced In perspective, uSing the method above to ,.

elf proportions correct. eep Keep In mind that distortions can occur when this m thod

3 Create the sides for the second squa re by extending the sides of the firs t square towards the fight vanishing point.

r. , .........

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6 All sides of the square to be duplicated are now defined .

repealed many times tn a two point fS e IS the te'Sull should be double-checkei:lpe pectlve. In these cases. lions appear because the tWO.polnt u~~ng the eye. The dlstor lied repre-s.entahon 01 reality, whiCh;: sepecbytlve IS onry a slmph thr~ , pomt perspectrve.. en the human eye In

.. Construclion lines 51 I _ ar 109 a sketch by making some lead :In.g.p'lfspec!tve lines helps to define the space the object and

.. I erent parts Will OC Th .. deSigner sket h cupy. ese construction Itnes help the 'IniShed , I '. With greater confidence and can also make Ihe

se c more readable.

Complex Forms in Perspective It takes some effort to draw it complex symmet"cal/orm COf' rectly In pefspeCl/ve. The method described below can be practised to Imp/ove one's ability to Illustrate these forms.

1 FItSI , a perspectIVe grtd IS sel up, onto which the form ...... 11 be bUill . Next. contour lines of the Side vIew and the near half of the top view are d rawn.

Once a better understandmg of perspect IVe shapes ,s at tamed, thiS process can be simplified.

2 To create the correct shape of the top View outline. chosen pomts on the near half of the lOp vie ..... are mirrored across the centre line uSing the "keepmg proportionS m perspective -method (see page 10). The mirrored POints are then connected With a line. completing the top view contour When the entire top vie ..... contour IS defined, the perspectIVe and contour hnes are traced onto a fresh page to keep the sketch from beComtng too clut teredo

3 Front view c rosssections of the near half of the form are drawn. defining its shape.

4 The crosssectlons are mirrored across the centre line. The method for keeplng p,oportlOns In perspect,ve- IS repeated as necessary to find support pOints mirrored to the other Side of the centre.

5 All of the completed crosssectlOns make up a shapedescnbmg 'skeleton' that shows the correct form 10 perspec tIVe.

6 With the crosssectlons In place, the contours of the object In perspective can be drawn accurately.

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1' ____________ .. __________ "" ______________ .. __ ~";;~PKh~ ______ "" .. ______________________ .. _' .. _' .... ~----.. --L----------' .. L--' .... -----.:c:om~p:" ~'~Fo:'~m~'~'~'~"::" :p~I:'~:.~.~~B:.:':" ~Th .. .,_~ ____ .. _ .. __________________ .. ______ .. __ .. ""~I~I

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Ellipses Clreu/al shapes eXist In many objects. thelefOfe Il lS Important to understand how they are drawn In perspect/"e as ellipses. It IS a common mIstake to draw ellipses In an Incorrect perspecf/\'e, but they can, In fact, eas/IJ' be drawn correctly

The Ellipse An en ipse IS symmetric along two axes: the mmor aXIs (blue) and the major aXIs (gn!en). These axes are always perpendicular 10 each other.

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... t>- Values of Ellipses Ellipses of di ffering value or degrees appear on the section surfaces of the cylinder (above). The values stale how much of the circular area IS seen al that pOint. The lower Ihe value. the closer 10 perpendicular Ihe View and the shorter the minor aXIs of the ellipse Will be. The same rules apply 10 horizontally placed Circular areas (rlghl). A Circle Viewed perpendicularly from the Side appears as a line (corTesponcling to the value 0). Note Ihat both Illustrations show Ihe Circular planes as parallel, With their minor a~IS pointing In the same dlrecllOn.

when baSIC theofles dre understood. Drawmg ellipses by hand IS t"chy at fllst, but gets easier WIth practise. To achieve perfect elltpses. gUides can be used.

... A Cylinder in Perspect ive The minor axis of the ellipses al the ends 01 a cylinder musl always comclde With the central aXI s of the cylmder, and point to the same vanishing pam\.

( I ZO'

10 '

0 '

, 10'

( ) 20 '

C ___ )

T Centre 01 Ihe Ell ipse The centre 01 a circular area shown In perspective, an ellipse, does not coincide With the point of Intersec tion between the ellipses' m inor and major aXIs (blue respec!lvely black dot) This IS due to foreshortenings, smce lustlhe Circle IS shown In perspective. The centre 01 the Circular area wilt instead be found by placmg lIon a square surface. The centre of the Ci rcle IS the pomt of mtersectlon between the square's diagonals. A very Important thing here IS to draw the square so that It IS si tuated in the same plane as the circle Is!

Ellipses

"

line Weight Usmg hnes of dlffermg thickness can help clarify a form and add dynamIcs to a pIcture. lme weIgh t can be used In a vane-Iy of ways to emphaSIze chosen parts of an obJect. strengthen the perspective and create depth.

.. Basic line WeJght The upper nght hand Image shows ,\ Basic lightning The arrow next to the cube Indicates a lightsource dIrectIOn commonly used for deSign sketches. ThiS IIShtinS scheme makes the top surface of the cube the brightest . Its right side the darkest. and the left Side a shade In between. This lighllng has also been applied \0 the cylinder and sphere. Rounded forms have smooth gradient shading.

,

In the followmg fwO examples. the lIghting has been chosen to make Simple forms appear clearly. However. the pOSitioning and angle of the light sources should be cons/deled a mere recommendalJon. For objects and composItions ~/lh greater compleXIty. the Ilghtmg that creates the most SUitable shades for descrlbmg the obJect's form Will "ary

.... Core Shadow An object IS seldom ht by a Slnsle light source. but usually by several lights andl or hght reflected from surround Ing surfaces. When a curved surface IS lit Irom two opposmg Sides, a dark core shadow will appear along the radiUS of the curve. Llghtmg that creates thiS kmd of shade IS most SUitable for descnbmg rounded shapes. These objects (above) are lit uSing the 'baSIC lighting' descnb@d to the left. but are also hit by light being bounced from the sround. The cylmder shows how a core shadow IS produced vertically, bemg ht from the fight by a second light source or hSh! bounCing from the envlfonment.

Bas.c Theory 15

Cast Shadows The type of shado" that an Illummated objec t casts on anoth-er object IS called a cast shadow. It can help describe not only the form of the ob/eel castmg the shadow. but also the form of the objec t that IS hit by It. For example. a rear-VIew mmo, on a Cdr can cast a shadoll along the SIde of the car. workmg I,ke a cross-section followmg the car's form. Shadows a/so give the

... ChOOSing the Light Source The most common way to treat lighting lor cast shadol'o s IS to Imagme a light !.ource endlessly far al'o ay. resul t ing In perfectly parallel IIghl beams. In order \0 const ruct a cas! shadow. two things must be decided first

.. Shadow Cast by a Cube Here. the cube's shadow was begu n by sketching the green hnes aJong the direction 01 the shadow. Th is was followed by sketchmg the blue hnes. The out lines of the cast shadow were drawn between the mtersect lons 01 the green and the blue hnes. Note that the upper edge of the cube and the ed!Se It creates m the cast shadow converge, pomtlng towards the same vanlshmg POlOt (see their dashed extensions). E ... en cast shadows are bound by the rules of perspective, USlflg perspechve hnes and vamshlOg potnts, together With the blue or green hnes 15 another way of constructlflg the cast shadow

... The Shadow Because light naturally tends to 'bounce' It surfaces In an envirOnmen\, caSt shadows normal! am dar"er core that fades the further II falls from an:b eXh,lblt a Jec ,

CUI Sl\ado..lo --_ .....

slletch life and contribute to the realism of the pIcture. When a deSigner AnOL\S the baSIC lheofles of how shadows dIe cast, It IS possIble for him/her to draw a slmplll led. Ilme-sav_ mg cast shadow tha t sltll serves Its purpose, Posslblyaddmg an artIstIC dImenSIOn to the s~etch.

1 The angle of the hght sou rce In reiallon to the hOrIZontal plane (the direct ion of the green arrows, affectmg the d irec tiOn Ihe shadow 15 caslin). 2 The ver I/cal placement or apparent height of Ihe Ilghl SOu rce ( ... ert lcal direction of blue arrows, affectmg the length of Ihe cast shadow).

... Shadow Ca st by a SphNC To understand thiS shadow, Imagtne a cylinder - With the same d iameter as the sphere, and With ItS aXIS aligned 10 the same d irection as the light - cutt ing through the ground plane. The elliptical cutt ing area on the ground plnne comcldes With the form 01 the shadow.

.. Shadow Ca st by a Cylinder In Ihl s case, the elliptical part of the shadow IS verltcally placed between the top and boltom of the cyhnder. This Will gIVe Ihe ellipllcal par t of the ellipse 10 the cast shadow, furthest away from the observer, a value somewhere between the ... alues of the top and bottom ellipses of the cylinder .

.. Shadows on Non.planar Surfaces The illustrat ion on the left was begun by draWing the part of the shadow that hits the top surface. Next. an Ima!Slnary downward extension of the object casting the shadow was d rawn, ending at the bottom surface (dashed hnes). This made It II pOSSible to cast the shadow onto the bottom su rface. The shadow was com pleted by connecttng Ihe outlines of the top and bottom shadows. creatmg the shadow that falls over Ihe tilted plane,

Reflections T Rellectlon In Pe rs pective This .lIustrallon shows some baSIC prmclples of ref lect ion. Due to perspective, the distance between the object and the mirror 15 no longer the same as the distance between the reflec ted object and the mirror, meaning that the green pomts of ref lect ion are not placed In the middle of the blue reflection Imes. The ref lected objects also become smaller than the Originals. Their proport ions and placemenl 10 the mirror can be lound by uSing the "Keepmg proportions In pe'specfl~e" method (see page 10). Nole that the reflecllon always occurs along a line perpendicular to the ml rronng surface. The sphere 15 most eaSily mirrored by flfst mirroring Its resting POlOt and then d rawlOg the reflec ted sphere.

... Rcllcction of Surroundings in Non.planar Objects A common way to show that an oblect 15 highly reflect ive IS to place It In an Imaginary deser t environment, resulting In re flechons of blue and yellow gradient s deSC ribing Its form. The inset sketch, showing an eye 'seetng' the Side view of the cylinder, helps to explatn the distribution of the re flected scene. Light from any pomt in the environment WI \l hit the re flect ive sur,

Rellechons

... Notice that the ellipses and thelf reflections do not have the same values. The lo ..... er the ellipses are placed In the reflection. the more Circular they appear ThiS vertlcat reflection 15 created u!.mg a two'pOlnt pers~ tlve. so the mirrored object will not be smaller than the onglnal

face wl!h an angle of InCidence equal to the angle of reflection. Note the behaViour of the reflectIOns on the convex and concave shapes at the end of the cyhnder . EnVironment reflec t ions are of ten rendered In a very Simplified manner and can be shown 10 any colour, depending on the cho sen en ... .,onment (see the car sketch below).

.... Highlights Highlights are particularly strong reflections of hght. appearing on sharp corners or edges such as those of part hnes. H1!Shhghts are small detai ls that at flfst might seem Iflslgnlficant to Ihe overalilmpresslon. However, they are Important because they add a great deal of hfe and bounce to the sketch .

BilSIC Theory I -

Ie

Composition and Backgrounds Choice of Perspec.tiwe When chooSing a perspective. It IS im portant to conSider not only which viewing angle wilt beSt explain the product. but also what feellns you want the object to convey_ Usmg a "frog 's eye,YleW' (low honzon) ma ... es an object appear po...'erful and mighty. and the .. newer small. (Naturally, this effect

Di rections When draWing several objects or views of an object In the same compoSItion, their dll'Ktlons should be taken Into conSideration. Direction can refer to a course of mohon (in the case 01 a moYlnS object. such as the truck below). I' the Object has 'active faces '. or Indeed If there IS a Pl!rt:elved 'dlrect lon' distingUIshable by the object's shape (e.g. If II IS easy to Identify

-,,- -- -

foc~l Points Focal POints are used In sketches to lead the vlt!Yoer S eye 10 the most Important areas of a product or to details 10 a deSign Ihatthe deSigner chooses to POint ~u t f I pomts are created by making certain areas pu rposely nch I:

a

de!;;",', strong tn colou r Intensity or high In contrast .

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20

In the next three chapters, sketches are grouped mto families accordmg to thelf flmct/onal roles m the desIgn process. The dIfferent famIlies are: Inves/lgalnte and Explorative Sketches, Explanatory SAetches. and PersuasIVe SAelches. There are no speclilc borderlmes bet l~een Ihese groups; m fact. many skerches defy categorizatIOn. A sketch IS often created for

more than one purpose, or may have the capacl ly to be used for somethmg other than what It was Intended fOr - as you will notice. several sA etches In thiS book could have served as examples for aspects presented In more than one of the d ff I er. ent chapters.

Investigative and Explorative Sketches ThiS chapter contams sketches created m the Ideation phase of the deSign plOcess, I.e. sketches used to structure and understand a problem. as well as to generate and explore solutIOns; func/lOns or forms. These types of sketches are often drawn quickly With a loose hand and are created for rhe deSigner's use or for use wltllm a deSign team. Readable Ideation sketches can play an educa

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22

lawn Mower The marker fields do not necessarily represent realistic reflections and shadows. but can Instead be used to communicate the oblect'S form. A tiP from thiS deSigner IS to never treat your sketch as If It were sacred In Itself - the most Important thing IS to continually develop the form dUring the sketching sessIOn.

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Another useful t iP IS to start by sketching the baSIC shape. gradu. ally add ing details as the session progresses. This way. it IS pos. sible to stay focused on developing the form, rather than gett ing Involved With m inor detai ls too early In the process. (Black hard pencil, white soft penCi l. marker)

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A Orientation Tool . library Project These sketches were created to explore form. This deSigner first sketches qUick side views to discover a form worth explonng fur ther, and then shows the oblect In a perspective Il lS normally observed in (as seen above). Form is furt her defined by sketching the object m a vanety of dlf ferent perspect ives. (B lack hard penCil, soft whi te pencil. marker)

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Art iculated Dump Truck Many A3s ( 11 ~JC I 7" sheets of paper) .... ere ftUed With these Ideallon sketches. which explore the devel opment of a truck from dlHerent angles. Construction parts and techOical detail !> have been hidden In shadow In order to save l ime and to ensure ihat the level 01 detail IS kept re levant to the current development stage. The addItion of human figures gives both the deSigner and the vIewer it clearer sense of the t ruck's scale.

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A Underwater Entertainment Robot This designer used rapidly drawn famt lines to help keep these sketches in perspective. In the cluster of sketches above, a fa VOUrite deSign has been high hghted with a marker background. (Ballpomt pen. marker)

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... Ballpoll'lt pen hnes were drawn directly on a pnnted photo of a foam model . This IS a common sketching method for working through a deSign. Best used In the later stages 01 a protect. thiS method allows for elCploratlon of details such as the placement of part hnes and graphiCS. (Ballpoll'lt pen, marker)

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Goggles Hen!. Ihe designer used a centre contour hne (or crosssectlon curve) to deswbe the symmetrtCal plane of the lorm and to define the surfaces. The sketches were left vasue. leaving room for Interpretation - a Irick used at the conceptual stage to leave more options for the designer later In thc design process. Since Ihls sketch IS 01 a sports product. extra loose ness was used to add speed. movement and !lIe. The Impression 01 texture around the nose was created uSing a special textured underlay and rubbing a solt ..... hlte penCil oyer the sketch. (Black hard penCil. wMe solt pencil. marker. lextured rubbing surface)

" With Ihe aid of pronounced contour lines. the deslsner has clarlfled the surfaces of an otherwise loosely delmed Sketch (set the goggles' gln55 sect ions). Contrasts m hne ",elSht a fC used ellectlvely to emphaSize or fade parts 01 the design 'especl"'t~ (Black hard pencil)

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Truck These sketches explore and determine the Identity of a cer tam truck brand . To allow for qUick exploration of form from one consistent perspective. an underlay was used to trace over. and was sllghtty displaced lor each sketch. The background boxes behmd the windscreen add contrast. makmg the glass appear brighter. This collage 01 sketches was partly assembled usmg Pholoshop. (Black hard penci l. PhotoshOp)

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Motorcycle Ollferent parts are here made diS tinct from one another uSing contrasting cold and toner grey markers. Red secllonal lines give the sketch attitude and help to further explain the profiles of shapes. (Ballpoint pen. ted and white soli pencils. marker)

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These sketches are deliberately expressive, exploring the emotional characteristics of the motorcycle. It IS common to create a fo-cus pOint In a perspective sketch by butldlng detail ilnd contrast on the part closest to the observer. However. Wi th this method It IS also possible to draw attentIOn to a chosen area on a flat view of an object (nght). Because of the Impression created of motion and speed, Ih ls technique can be an asset when used on sketches 01 vehicles and other mobile obrects. The perspective chosen for the motorcycle sketch below gives the illUSion of II bemg observed through a Wide angle lens, and is often referred to as ~ f lsheye perspec-tive", The cu rved 8uide tines have been kept visible, revealing the choice of perspect ive. (Black hard pencil. black and white soft pen ci ls, marker refi ll, marker, ellipse guides)

Sten Haublom. Trilntpo.tllhon Des,S"

31

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... Knives Extreme perspectives can sometimes make a sketch less ObviOUS to understand - however, t hey are ollen inspir ing to work With and can help to capture the character or sense of the product being deSigned. The chromallC effect was created uSing high ctlntrasts. (Painter)

... When Ideating form, Simple pro file sketches can be qUick and efficient studies that allow for a last compar ison o f diliereni deSigns, (Pain ter)

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.., A dynamic and artistiC compositIOn was achieved uSing vana tlons In contrast and placement of the objects , (Btue soft penCil)

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l~tIBatJvt! and E~plora t lve Sketches

... Ambul anc e Stretcher When sketching objects contaming wheels or other circu lar shapes, Ihls designer suggests that you try to draw the ellipses freehand, without the use of ellipse guides. Firsl -draw" the ellipse a lew times in the air Just above the paper. and then drop the pen to the paper when the arm has found the correct shape. Also, guiding perspective lines can be drawn straighter and more subtly by uSing the mO\lon of the full arm - including the upper ann - when sketching. (Black hard pencil. fel tllp pen, marker)

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Flor iS W,egertnck, Advanced Product DeSign lf1V1!sh8atl~ and Explotlltll'f! Sketches 35

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Form Projec t The primary goal of these sketches was to generate and record form Ideas qUickly. The designer commented I hil t In this case, correct persPKII~ and overall accuracy 01 the sketch had lesser Signi ficance. (Ballpoint pen)

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a. This more detillted sketch combines Interesting elements from preylDusty drown sketches like the ones below. Beciluse this sketch IS d~loped to it more rendered level with colour, shadmg and parI lines, the design proposal IS more eaSily Cvolui'lled by both the designer and others. (Black 501t pencil, ballpOint pen, marker, cl(cle lempln les)

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" These sketches were drawn to establish an attractive Side view. Shading was added to explore undefined and/ or interesting areas. (Blue soft pencil , Circle templates)

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f orest Harvester Robot These sketches show concepts for a forest harvester. The technique used to create them can be lound In the tu torial on page 89 90. Here. showing several Views 01 the robot design helps the viewer to better understand the concepts. (Black hard penc". felt t,p pen. marker)

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... The above threequarter "'Iew sketches show the back and front of a selected Side view. The th m cross-sect ion curves were gl ... en arrows to hel p d ifferent ia te them from part lines. Marker was used to de ... elop undef ined sections. while areas that were already defined were left uncoloured to sa ... e t ime. (Blue hard penCil . ballpoint pen. marker. elhpse gUides)

Explanatory sketches are created to explain function. structure and form. They most often communicate a design In a clear and neutral manner, focusing on explammg It ra ther than trying /0 sell/I. Explanatory sketches are commonly used to

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Sports Car, Construction ThIs sketch was specIfIcally created lor use In dISCUSSIons With an engineer. Black marker was added to further detllli and Isolate parts, maklns the sketch more under . .!.tandab e (GraphIte penct!, ballpoint pen. marker, gouache)

Impart/aUy present a number of concepts for users and clients to evaluate. AddltJonally, relatively unfmished deSigns ale often Illustrated In a more explana tory way in order to faCilitate discussion of concepts wi th others.

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... These sketches IClI ture the Intenor 01 the vehicle but also show enouBh 01 the car's exterior to show context. The body 01 the car was drawn quickly USing Il printout from a 3D CAD program as an underlny. The lam I treatment of the extenor sect ion serves to emphasize the mtenor's doslsn, (Black hard penct!, marker)

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Child's Car Seat In these sketches, a carefully chosen section around the product is Included to show its functional context, making the sketch more Informatwe, light grey marker was used to deter mine perspective and the sketch was finished uSing pencils and marker. (Black hard pencil, black and white soft penci ls, marker)

Al arll1 Clock Here, the designer has used slightly crossing lines 01 marker to add li fe to the lightning In the sketch. The purpose was not 10 make a perlect Illustration or photorealistiC sketch, but rather to show the product In a clear yel artistic manner. Notice Ihe placemen t 01 the marker tines; In most of the cylindri -cal shapes. the marker lines follow their longitudinal axes 10 help describe the direction 01 the surfaces. The lines often end at an edge, Visually separating su rfaces and making gradients easier to create. Surface angles on each Side 01 the chamfers are repre-sented by the changing direction of marker lines. (Black hard pencil, black and white soft pencils, marker. ellipse gUides)

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Rally Truck These sketches show heroN high-contras t surfaces and pronounced outhnes emphaSIl:e the graphiC Impact of a product, highlighting the relalTve posItioning 01 Its parts. The contrasts are exaggerated to bnng out cer tain areas and make them easy to distinguish: the most notable example IS the red glass. Exaggerating the Size of the wheels and reducing Window size IS a commonly used deSign Inck that strengthens the character of 11 vehicle. Here, the edges 01 clear reflectIOns on shinY surfaces seM the same form-descnblng purpose as cross-sec tlons. (Blue soft pencil. ballpOint pen, marker)

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... Au tonomous Balloon Robot To give the appearance of soft and inflated forms, two yellow and four grey toned markers were used. First. thin outlines were drawn to define the forms, then a mid toned marker was used to shade. While the marker was still wet. the other "a lues were added to de"elop the soft shapes. An appealing marker gradient is easier to create when there are no pen lines in the way to smudge. For this reason, part lines across large surfaces were added as a final step In these sketches. (Black hard pencil, marker)

Karl Forsbel"8. Advanced Product DeSign

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-Furn iture, Brand ing Project The addition of planar views gives extra explanation. making the concepts more readable. The sketchy emotlonalloak was achieved by first using cool grey marker to find the right perspechves and forms. Darker grey (8 or 9) marker areas suggest sections With a different matenal than Ihat 01 the lighter ones. A black hard penCil was then used

to further defme the design and finally. a white soft penCI! helped to create highlights. The electric blue details add Impact to Ihe sketch. (Black hard penci l . white soft pencil, marker)

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Ambulance Inter ior USing a bold red line In thiS manner IS an ellectlve way to depict a sectional cut-through . To make Ihe mterlor shapes easier to read, Ihe dark pari lines hove been exaggerated by d rawmg fme white hlghhghts on either

Jonathiln HiCks, Advanced Product Oeslgn

Side of them. Translucent green areas ha~e been applied around parts that light up, Illustraling light bell'g reflected on the surrounding surfaces. (BlaCk hard pencil. Pamter)

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(xplilnll tory Sl..etches 61

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" Storage Sys tem, Ambulllnco Pr olect Th .. qU ick Shlch belo-ot descrlb 5 the usc 01 a bnckpack . Complemt'nlar)' mlor rml,on IS Si mply not~ III a ShOll wTl tten 1151. (Block hard pencil)

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Map Reader for Rally Co-drivers The concept below was drawn expressly for a nondeslgner and therefore Is as detailed and ful! of explanation as possible. Even though the sketch IS realistically rendered, cross -sechon lines were added to further explain the form. (Black hard pencil , black and white soft pencils. ballpOint pen, marker, pastel, gouache)

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Bed lor EldC!rly Care Full human ',gures. hands, heads or other body parts are often included In product sketching 10 demon stra te an object's scale or use. ThiS deSigner ad~ i ses thai practls Ing Ilgure draWing With live models IS a great way to Improve your ability to draw the human form . (Hard black pencIl. ballpOint pen. marker)

John Ander1050n. Bachelor Programme

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... Car For this one POint perspectlv,; drawing. a sketch of one Side 01 the car was used as an under la)' and then mlfrored along Its centre line to create symmetry NotICe the look of light reflecting onto the underSide of the tyres. InCluding reflecting or

bounCln~f light 'S often forgotten. but ItS use often results In a much more ~presslve sketch. These kends of details are very effective at making tightly curved shapes feel threedlmensional. adding extra depth to a sketch. (Ballpomt pen. white soft penCIl . fell liP pen, marker)

T Truck Inspired by Extrusion The Initial ballpOint pen line art of thiS sketch was scanned Into Pho toshop and printed out. to provide an underlay whose hne art wouldnt smudge when subjected to applicatfOn of marker. The lines were made lamter In Photoshop by adJustmg the Image opacity. DOing thIS gave the deSIgner an opportunIty to draw over the faint sketch lines to adjust the shape for further expJoralton . Because the mltlal sketch IS sailed dlg,t ally. It can be reprinted as often as needed to be used as an underlay for lightmg and shape explora tlon. The pleasmg gradients were accomphshed b)' keep Ing the paper wet. uSing fIrst hght then mcreasmgl)' darker markers. The full grey scale was used. from white to black. to amphfy the depth and appearance of the sketch . (BallpOint pen, felHlp pen. while soft pencil, marker. Photoshop)

Explanalory Sketches 67

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.. Portfol io Suitcase ThIs sketch shows a sUItcase from several dIfferent angles In order to describe Its funct ions and fea tures. The deslsner would li ke to pom! out that overty complicated

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shadows (and reflections) are time-consuming to complete, and seldom Improve the quali ty of a sketch more than simple shad-ows do. (Fel l l lp pen, marker, Photoshop)

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... Kitchen Workbench Adding twod imenslonal Ylews can some times explain overall d imenSions and proportions more effect ively than perspect ive sketches alone. In the sketches above. arrows are used to indicate the funct ions of moving parts. (Felt-tip pen. marker. white soft penCil . Phoi OShOp)

FlOriS WII~ierinck , Advanced Product Ot!s'in

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A scanned monochrome sketch was coloured In (using Pho toshop) to create thiS compoSitIOn, Reflect ions and other lighting effects are eaSily added to dark backgrounds uSing digital media (see the reflectIOns In the glass). In thiS case, an ai rbrush would have been needed to create a Similar effect uSing analogue tools. This deSigner focused on creating an attract rve balance In values. chOOSing low-contrast colours to avoid diViding the composition. (Feltllp pen. marker, Photoshop)

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A. irpl ane rood Supply System The sketches above explain a concept by comparing a present-day scenario to Ihe proposed Idea. USlnS lext together With key illustrations can be an mforma-tlve method to use when explaining an Idea, since It makes the presentation more Interestmg. understandable and memorable. (Slack soft pencil, marker)

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l' Airpl ane Food Supply This sketch explains several technical details of a concept. Ruled lines were used to set the perspective. (Hard and soft black pencils, m arker)

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l'arolltla R.1ntfor~. Bachelor P,osramme PerSUIISIVf! S~etchu

Goggles The transparency of the coloured glass IS emphasized by drawmB the goggle straps vaguely, to show them Iymg behind the glass, The appearance 01 a floral teKture on the leather was created usmg a Photoshop teKture brush. The deSigner chose to

JOMthan HIC~ S, ,Advitnce(l Producl Desisn

use a prmt of roses as brush teKiure to enhance the illUSion of leather and to add a ' rockn 'roll' quality to the gogBles. The technique used to create these sketches can be found m the tutonal on paBe 9697. (Black hard penCil, Pamter)

Persuasive Sketches

"

... Art iculated Dump Truck thiS sketch was ' 1OIshed fairly qUickly. laking apprOlumalely 90 minutes 10 complete. The focus of the sketch IS Ihe front 01 the truck, which was parlly drawn uSing paths 10 speed up the work. A scan 01 a hand-drawn sketch was uS@d as an underlay. (Ballpoint pen, PhOloshop)

.,. thiS qUick method 01 rendering, uSing a monochromat ic colour scheme, ellect lvely conveys a mood to the viewer. The rendering was created by flrsl laying out a l.uBe mid tone colour surface to work on. uSing marker refill and a pad. To Ihls coloured area, lighter and darker tones y,ere applied to create the ImpreSSions of tight and shadow

To create sharp highlights althls pomt (for brle:hl Windows elc.), the designer sue:sests that you cu t the deSired highlighted

,

Electric Hand Saw These ty,o deSign proposals were QUickly rendered for presentation. line art was first scanned and Imported to Photoshop where lalie brush strokes .... ere added to create Wide fields of value and colour Each slo.etch took about two hours to complete (Black hard pencil. Photoshop)

,. ToolboJ Truck This complex rendering was created In several steps uSing many un derlay. Firs!. a rough sketch was drawn and used as an underlay to create a more refined sketch. That relined sketch was In turn used as an underlay for an even further detailed and defined sketch and so on. When the deSign was finally established , a final penCil sketch was drawn, scanned and Imported Into Photoshop. Sections were further de hned uSing paths and filling them With one colour. Shading and highlights were created uSing the aI/brush and dodge tools, at low opacity. This process gradually built up the sketch With layers of warm and cool shades. (Black hurd pencil. Photoshop)

" This expenmental sketch shows an Independent pa rt of the truck In a more expressive way than 10 the sketch obove, by con Ye)'lng a sense of drama and speed . A few paths were used (see the wheels) and a roughedged Photoshop brush was employed

to create a sketchier and less ngld look. A tip from the designer: thiS roughedged brush can also be used on more defined renderings like the one above, to make them look looser and more 'sketchy' (Black hard penCil, Photoshop)

" MauriCIo B~olla Gasca. Tr;m, portiltlon~"":'~"~":"",:,-._~"':'~':".":"='~S:k:'="~':"=--___ ~ _______________ _

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Articulated Dump Truck QUick. Simple hnes provide a hmt ot en~lronment but are kept famt enough to not dl~rrt attention from the ~ehlcle Some of the sketched lines pass slightly beyond the contours 01 the vehicle. makmg the s~tpa'toltl(' 0.,.:

... Post DeHwery Vehicle The vaguely mdlcated shapes of bUild. mBS In Ihe bacio:graund 01 this sketch are enouSh to Imply thai the vtrUCre IS In an urban seIling. (Black hard pencil, Pholoshop)

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... Here, a loose and exaggerated fisheye perspective IS used to Imply movement while 51111 persuasively conveymg the vehicle's form . The deslgne(s advice here IS that smce vehicles are made for mollon. they should be given a more dynamic sketch treat menl than sialic products. (Black hard pencil, PhOloshop)

Sltf'I H.tnblom, Tr.a",ponallon On.,. ___________ ~ _____ .:::=..::..::::::=::::.::~~.:_ FW$lJI$IWt: Ske IC.""~ ____________________ -~

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.. Wris t Watch, Rendering The perspect ive Imes were added as a hnal louch to make th iS free-hand sketch look more relaKed. The hne weight Is vaned, With the heaViest lines used to con tour the shape and make the wal ch stand ou l Irom the page. (Blue hard pencil. white soft pencil. ballpOint pen. marker. gouache. ell ipse gUides)

EriC Gunnarsson. Transpor tation Design

III I

... The Sides of the linkS In the watch band below were gIVen a metalliC feel by adding marker to the back of the paper and by uSing plenty of gouache to Illustrate shine and reflectIOn . A sketched underlay was used to give the rendenns a clean appear-ance. With no Visible perspective/ gUide lines. (Black soft penCil. felt llp pen. marker. gouache, ellipse SUides)

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85

Cars. Rendering Study All four cars on these pages were created expressly to capture a mood and to show texture and hghllng. One tiP from the designer IS to fl.st pmntthe scene as matte. with only ambient light. Afterwards. light sources can be gradu ally turned on' by building layers of painted reflections of hght. By beglnmng with a mane appearance. shadows Will not have to be applied as they Will occur naturally In areas not painted as ht.

A second suggestion IS to use reference pictures from catalogues, magazines etc. for Inspiration. In order to establish a colour scheme and render components accurately. Thi s 1'1111 help to more precisely express teKlure. thereby conveying the true feeling of a design. Thlfdly, decide on the pu rpose and mood of a sketch as early as poSSible. so that you have a goal to work towards. (Photoshop, Painter)

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H' Sketcht:; 8

Step-by-step Tutorials ThIS chapter shows the lYorAmg sequence of the creatIOn of SIX desIgn slletches. The sketches shown vary In levels of com plelflty. and hIghlight some of the most commonly used media and techmques. The maIO purposes of thIs sectIon ate to Illustrate how each

Eric Gunnarsson, Dish Brush (Hard and soft blue penCils. marker)

1 The sketch was started off usmg a hard Indigo blue pencil .

2 More penCil hnes began 10 define the bristles of the brush. The contour of a cast shadow was drawn. thereby revealing the dlrec tlon of the light source.

3 The addition of a hand showed how the product IS supposed to be held. and also assured that the form and proportIOns of the handle were accurately drawn.

4 Different colou red markers defined different matenals and expressd form through shadIng. Note that the surlaces are not !>aturated wI!h colour but have sect ions left white to Indlcale areas of light reflection.

5 A Simple conlraslmg background block hfts the draWing all the page. A signature and date compleled the sketch.

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6-7 Solt white penCil was used to create hlghhghts. A simple cast shadow was constructed by drawing Imaginary verllcallines from pOints on the robot down to the horizontal plane. The designer notes that this type of sketch IS interesting because It IS not fuUy detailed. Sometimes It IS appropnate and effective 10 leave some areas undellned.

Step. by step. TutOllll lS

5 A felt tip pen was used to to create dark clean lines with enough contrast 10 slay Visible after marker application .

6 A drop shadow was added by uSing black marker, and the darkest areas Of Ihe lawn mover were shaded With dark cold grey markers. The deSigner Susgests that Ihls IS a good tune to stop drawmg II you are not pleased With the deSIgn: a sketch completed to th iS pomt will st ili show your t rain 01 thought and '"tent.

Floris Wiegerinck, Lawn Mover (Blue hard penCIl. whlt~ Kltt ~

1-4 A hard blue penCil was used to I,na the dtl:>lh!d haPE: by IlfSI blocking up baSIC forms and then success,vely add'"8 mOle detail. The iHro~ Indicate the hmetlon of mO'o',"& para within the product

" ,~~~~n-~~~~. __ ~S~I~'P~~by'!"~'~PT"~I~':"~"~'--~--------...... ----__________________ __ FloriS Wlegerlnck. Advanced ! roduct ,-,""sign

7 Sections 01 while were left on top sur laces to Indicate the rellectlon 01 light. while matker was liberally added to the Ironl and nglll Sides of the lawn mOl'oer.

9 The fmal slep was the additIOn 01 an abstracted tetraln as a background.

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8 Pastels were then used to create a smooth gradient over the top surfaces to depict a hlgh .gloss matenal. A suggestion from the deSigner IS to use paper tissues (or even better, m akeup removal pads) to apply the pastels, since uSing one's fingers gets very messy. Whi te and black pencil were drawn next to each other to add dimenSion to part hnes.

Mikael Lugnegard, Car (Black hard penci l, ma rker, marker air brush. Photoshop)

1 The perspechve lines were drawn as gUide lines marking the propor tIOns of overhangs, cab placement, walsthne, etc. The graphiC layout of light clusters, windows and trim patterns were defined and gUldehnes for the place ment 01 baSIC re flect ions and shadows are also Included In this Ime art . The designer notes that the chosen view of the sketched object should of course be the view that best descflbes the aspects of the design you are presentmg.

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2 A Ilrstlayer of 118ht marker (numbers 24 , cool grey) was ap plied Without lettmg the marker ink dry between applications. cast shadows, core shadows and reflect ions were all hinted at dunng th iS stage. The deSigner notes that l or this step, one should work fast and roughly Wllhout lear 01 destroying the sketch With misplaced line!>. This Will keep the eKploration free and flOWing.

/

"

_ ___ ______ ---'Mlkael Lugnegi'lrO. Bachelor Programme

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3 The shapes 10 the car's body were further sculpted uSing marker airbrush (numbers 2 and 3. cool grey). always With the hght source direction In mind to ensure the correct placement of shadows. Shadows, matte surfaces and reUecllons were all enhanced by combining marker and marker airbrush. Keep In mind Ihat marker apphed With an airbrush generally gives darker results than marker applied wllh a pen .

" Slap by step Tutonols _____ ~ _____ ~ ______ ~_~

..

4 The body of the car IS sculpted even lur ther uSing darker tones of marker (cool grey, numbers 5 and 7). The drop shadow IS streaked wIth black. glVmg It more welsht and visual power. Shapes behmd the glass were depicted uSing a cool grey number 5 tone.

,

6 N~ tix. ra" marloer sl

Jonathan Hicks, Goggles (Black hard pencil. Painter)

1 A Ime art sketch was created usmg a hard black pencil. The design IS stilt loose and nol fully resolved. leavmg the desisner room to explore design dlrec tlOns In Pamter

2 The preYlous sketch was Imported to Painter, where baSIC greyscale shading was apphed. To create the clean.edged shadows. brush strokes were flfst applied 'over.spraymg' the lines of the object. An eraser 1001 .... as then used to remove all unnecessary areas of shading. The deSigner mentions that no specifiC light source was used. Instead. the object's shape would be communicated Just as elleetlve uSing this mlulhve nuanced shading. In reality, so much reflecting liShl .... ould hIt th iS object that render ing It true-to-hfe .... auld be too complex .

3 A lealh~ leonure was applied around the nose The main shape of Ihf: straps Has created uSing a large brush and the Hifq tt.ture Has formed With a smaller brush. Notice thai the le.lure fades !oHard the edges of the slr.etch. addmg dynamics.

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In thiS lutorlal , no paths were used to delineate areas - Instead, the whole sketch was finished USing layers of colour where edge sharpness has been achieved With an eraser.

~tt'.&., 11,,-, M .a1lQd PrOduct Des-" -"--'-~S"I"~by step TutOrials =------------'

Jonathan Hicks. Adv;)nted Product DeslSn

4 A tactile and rubberized surlace was created USing a 'honeycomb' texture. The bright red 'mlcrOinJected ' adornment IS an Imporlant detaillhat was added to mak.e the product seem more defined and reahstlc. thiS deSigner doesn't use 100'4 opacity. In order to achieve a more painted look. For thiS reason, the rubbenzed red area was lett white In the prevIous step; had grey parts been present. they ..... ould appear through the trans lucent red . making II appear 'dlrty'

5 The look of the glass was achieved by flrSl filling the space With translucent yellow. follo ..... ed by a layer on top In a graded translucent orange.

6 Highlights are added to the glass and along the part lines: The deSigner would like to stress thai adding highlights along part lines IS very Significant \0 Ihe overall effect. since they reinforce the illUSion that the oblect 15 constructed of different parts.

Step by step Tutoflals 9-

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, " Trill porlahon Ot MauricIo Beodolla Gasca. Transportation DeslI;;"

Thanks to First of all, we want to thank the students contrlbutmg to this proJect. Many of them have devoted several years to develop their skills. but unfortunately the layout and structure of this book cannot fully do their designs Justice. Because thi s IS a book solely concerned with sketchmg technique. It offers no more than a glimpse of their incredible work. Intelligent solutions, pioneering Ideas. or all of the thoughts behind the sketches. You not only trusted us to show your work. but also supported us throughout the whole proJect. We owe you all many thanks, and Wish you the best of luck for the future !

We also want to thank all the students and personnel at the Umea Institute of Design, our families and friends. Umea University and Umlnova Innovation for the guidance and encouragement you have given us. You have been an invalu-able help and Inspiration!

Erik and Klara

Thanks to

Index and Literature Tip Index Name Alexander Nemtsov Enc Gunnarsson Erik Ololsson Floris Wlegennck Fredrik NIlsson Hlrash Razaghl Ida Ristner Jarno Sundell Jens Andersson Joaklm Saltberg John Andersson Jonathan Hicks Jonas Samreliu5 Karl Forsberg Karolina Rantfors Klara SJo'~n ladlslao Camarena linda Bagren Maria Balthammar MauricIo Bedolla Gasca Mlkael Lugnegard Pontus Unger Robin Hedman Sten Haggblom Stlan Sorlie Ozgur Tazar

Page 44-45 6 (top). 2425. 4647. 85. 88 7 (top right), 8, 9 (bottom right), 12 (bottom). 17 (bottom right) 305. 6869. 91 92 21 6 (middle right). 3637. 64, 7475 56 29. 8081 38.7071 6 (bottom). 13 (bottom), 14 (middle). 18 (bottom). 2223, 4850 65 6 (middle centre) 28. 6061. 73, 9697 57 5455 51. 72 19 (middle and bottom lett) 62.76 7 (bottom left). 20 82 15 (bottom). 18 (m,ddl ,). 3941. 6667. 7P9. 98102 3 , 17 (middle nght). 63. 8687 , 93 95 19 (top). 4243. 53. 8990 6 (1,1t). 3233 7 (bottom nght). 10 (bottom right), 14 (bottom r ight), 3031. 58. 84 52.83 26B.59

Other Ill ustratIOns by Enk Ololssan and Klara SJah~n

Literature Tip Creative Perspective for Artists and Illustrators Watson , E. W ISBN: 0486273377

Presentation Techniques Powell. D. ISBN: 0316912433

Creative Marker Techniques: In combinatton With mixed media Shimizu O. ISBN: 476610580X

Sklssteknlk: En handbok I vlsualisenng av deslgnforslag. Andersson. N. (Written 10 Swedish. available from the Umea Institute 01 Design)

Perspektlvlara: En handbok I perspekttvlara. Andersson. N. (Written 10 Swedish, available from the Umea Inslttute 01 Design) ProfeSSional TralOlOg DVDs lor Visual Effects Artists www.thegnomonworkshop.com

More IOforma tlon about the Umea Instttute of DeSign can be found on the Internet

www.dh.umu.se Info@dh.umu.se

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