What's It All About?

Sketching is the traditional way of designing. The process ofsketching facilitates the process of design. Design is a skill and asophisticated psychological activity, which means that design can belearnt only by practice, as with sketching. Due to this, sketching is notonly a way to design, but a way to learn how to design.

This guide is devoted to design students and young designers, butalso to experienced designers as a reminder, for inspiration and as amotivator. It is meant for every day use, as a reference while designing.This guide approaches design as implementation and manipulationof design knowledge Le. production processes, materials andmarketing through drawing and form giving skills. By learning to usedrawing skills strategically throughout the design process, designerswill improve themselves, especially in use of methodology, ease ofconceptualizing, form giving, and raise their creativity.

New media of expression has placed this traditional skill in anew context. Designers no longer use drawing to present theirfinal solutions. Instead, they use CAD models, rendering andanimation. Drawing is presently used more for the designer's innercommunication in order to direct one's thoughts in the design process.This has affected the importance of drawing in design. Technique andmaterials are now less important. Designers use sketch tablets, studiotools and such like. The purpose of sketching is much more important.This is the reason that this guide focuses on the strategic sketchsystem. Emphasis is put on sketching for creating the product solution,right before the presentation CAD or workshop model stage.

The conceptualization and form giving phase is run differently bydesigners so please note that it is very individual. The intention of thisguide is to summarise and give an overview of how sketching can beused in this phase.

.-=-. •

Sketchin Materials

.. ...

..

..

markers refinement it

..

....

I I

..

• •

•••

... ....

...

..

Markers

o Pantone Cool Gray palette: Cool Gray 2, Cool Gray 5, Cool Gray 8.o Pantone grey colour palette: 5507-T,452-T,5425-T.o Pantone colour palette: 180-T,541, 4505-T.o Non gradient markers: red, blue, black.

NoteMarker colours must have high monochromatic value, so it is

possible to create gradients. Colors such as light green, magenta,yellow or any fluorescent colours are not appropriate for designsketching.

Pencils and Pens

o Propelling pencil 0.5o Coloured pencils: white, black, blue, green, brown, redo White chalk pencilo Fine liners: 0.1,0.5,0.9o Erasero Eraser stick

Pastels and Equipment

-..,

Papers and Equipment

• Basic pastel palette: black, white, blue, green, red and brown• Talcum powder• Lighter fuel• Cotton wool

• Plain white paper.• Marker paper.• Coloured card (colours should be in mid tone)• Craft Knife• Masking tape• Ruler

Sketch Elements

..

••••

Content Plan

Final Layout

-~_'~/'V7Nor"

84ec"~ ~i!IoC~~

~~....r<'C-..:

1_"''''-lT"''V7W'''~"..~MtT /,_$ -r'I-orl___

s:-s-_~-~~S.,..,

""'''''''_''~oV_~l<,ry __.~~ ---...-

--~-~~

Cubic Shapes

1

_,-.-J---

\ '

\.. \

\

• Use a propelling pencil to draw perspective lines. Draw the verticalcentreline of the monitor. This line defines the symmetry axis.Perspective lines are drawn for the various parts of the product, in thiscase, the screen and the base. When drawing them, pay attentionto the proportion of the parts. Here, the screen represents 2/3 of theproduct height. The proportions define the shape and character of theproduct.

• Look at the list of partsas defined under theSteps subheading ofthis chapter, and use itto draw the shapes andtheir position. Use apropelling pencil for this.

\\\~

• Finally, use fine liner or blackcoloured pencil to create a linehierarchy. Use the thinnest fine linerfor inner lines and a thicker fineliner for outer lines. Lines that showthe interface between the productand the ground should be thickest.

• Use the propelling pencilto draw a vertical centreline.Draw horizontal lines toseparate the parts of theblender. Draw verticalperspective lines so that theblender is being viewed fromthe top. When drawing them,be aware of the proportionof the parts. In this case theblender is narrowest in themiddle.

,\\

\ +i

Revolved Shapes

• Finally, use fine liner orblack coloured pencil tocreate a line hierarchy.Use the thinnest fineliner for inner lines and athicker fine liner forouter lines. Lines thatshow the interfacebetween the productand the ground shouldbe thickest.

• Look at the list of parts asdefined under the Stepssubheading of this chapter,and use it to draw the shapesand their position. Use apropelling pencil for this.

/

/

,~tJ',I,' '

~: {I

! III {if I

I 0,

F --II1i ,;! I,

( t\ h\ \\

\

"/

Amorphic Shapes

• Construction of amorphic products starts with the base. The easiest wayis to draw a rectangle in perspective as the base.

(

• Define the centreline of the base and also the height of the object.Look at the list of parts as defined under the Steps subheading of thischapter, and use it to draw the shapes and their position.Use a propelling pencil for this.

• Finally, use fine liner or black coloured pencil to create a line hierarchy.Use the thinnest fine liner for inner lines and a thicker fine liner forouter lines. Lines that show the interface between the product and theground should be thickest.

Projections

Projections are Views that describe the product in two dimensions.It is used for defining the proportions of the product.

-

1../

(

Perspective

This View describes the shape of the product. It is used as anidea generator and as a descriptor.

...I

Netting

A Netting shows lines that describe the form of the product.It is used for shape specification and detailing.

1. Camera mode

2. Standby mode

)<:J

3. Normal use mode

Time line

This View describes two or more stages in the use of theproduct. It is used to describe the function and behaviour of theproduct and can be used to form a scenario.

Sdo/Ne>

P~~/N'4S

~kl/1ZlSe

~~ct

b1-~

-FT'l/P~

AU> tvt:W

SR1D tlsr

Cdr AU- -ro f'~

~~

C"IV"'lrT"'~ 70 ,Affrll'NET

<,11 "(A'4 ""oClr

--Star

This View describes the user interface of the product by using 'ifand then' explanations.

Explosion

Explosions show how the parts of the product fit together.

L..

Ghosting

Ghosting describes the shape and position of inner parts bymaking objects in front of them transparent.

~I

Section

Section Views show a cut-away of the product.

Detail

This is where other Views, as described previously, are mag­nified in order to describe details more fully.

• The background iscreated by applyingpastel mixed with lighterfuel. This tone representsthe natural colour of theobject. The sides in theshadow are covered bylayer of black colouredpencil and highlightsare created by erasingthe pastel.

• One layer of marker tonerepresents the natural colourof the object. Three layersrepresent shade on the rightside, and a layer of whitepastel is applied to the top toshow light hitting the object.

• This is a mixture of the twotechniques above. It givesthe impression of highlyreflective surfaces.

• •

..

Free Style

• Free Style is a mixture of allthe styles you will find in thisbook. It is the fastest andeasiest way to describe a view.

• Use pantone 5507-T to draw theobject shadows.

• Pastel dust mixed with talcum powderis used for soft shadows. Apply it withcotton wool as a gradient frombottom left to top right in straightstrokes.

• You can either use black colouredpencil or fine liner for outlining.Inner lines are always thin whilst outerlines are thicker. If using fine liner, use0.1 thickness for inner lines and 0.9 forouter lines. Eraser sticks (see SketchingMaterials) can add highlights andedges reflecting light (see Light andShadow).

Outline Drawing

• Use a fine liner to draw an outlinesilhouette of the product. Do notconstruct the shape.

• Add product elements to describethe most important parts and theirshape.

• Insert shadows in specific areasand use the thick side of a markerto draw the shadow of the objecton the ground.

-;I

Shading

/

\

• Use the propelling pencil forObject and Drawing Construction.

• Use Pantone 5507-T to drawshadows on the object and CoolGray 7 for the shadows that theobject casts.

• Use 0.1 fine liner for inner linesand 0.9 for outer lines.

Highlight

• If you choose to use coloured card, goinstantly to the next step. If using whitemarker paper, follow this procedure to makethe coloured background for the shape:Grate pastels to get a fine dust. Whatevercolour you use, add a third of black pastel soyou can have monochromatic value in orderto grade the tones. Almost soak a piece ofcotton wool with lighter fluid and then dipin pastel dust. Cover the constructiondrawing with the lighter fluid and pastelcombination using a straight stroke. Do notadd any strokes once you have done this.

• Define the lightsource in order todetermine the sidesof the product thatwill be shaded (seeLight and Shadow).Use the same colourof Pantone markeras the background tocover the shadedsides of the product.Use Cool Gray 7to draw the productshadow on theground.

• Use black coloured pencil or a fine liner to draw the construction,and also a ruler if needed. Use an eraser stick to create highlightsand white chalk pencil (see Sketching Materials) for lighter surfaces.

--...)

• Use a marker fromthe colour paletteto cover the area ofpaper surroundedby the tape. Applyone layer withstraight strokes.

\\

,,

Rubber and mat plastic

• Apply masking tape aroundthe construction drawingedges. Use a craft knife andcut the tape precisely so thatthe object is isolated from thebackground.

• Cover the side of theobject with at leasttwo layers of markerto imitate shadow.

• Completely cover selected objectelements with adarker colour. In thiscase, it is blackmarker.

• Redraw the object construction lines with blackcoloured pencil or fine liners. Use rulers ifneeded. Then, use a white chalk pencil for highlights and a white coloured pencil to coverlighter surfaces (see Light and Shadow).

Reflective materials

• Redraw the object construction lines, add highlights and erase thepastel around the drawing.

Glossy plastic

Chrome metal

Brushed metal

• When simulating Brushed Metal, thesame reflection rules are used as for otherreflective objects. The only differenceis that all of the reflections are soft andblurred because of the surface texture.This is the reason why only pastel dustshould be used for brushed metalsimulation.

• The front of the camera is a rounded surface, so the reflection of thehorizon and background will be visible. Reflections from the sky willshow up as a blue gradient from the top right corner. The top surface ofthe camera will reflect straight lines because it is flat. The straight sideof a plain sheet of paper was used as a mask to create the top front edge.Concave surfaces will reflect the ground on the upper surface and thesky on the bottom, this can be seen on the concave surface around thelens cover.

• Redraw the object construction lines with black and blue colouredpencil or fine liner. Outer lines should be thicker than inner lines.Use a ruler if needed.

• Add highlights and lighter surfaces with an eraser stick(see Light and Shadow)

Textures

• There are two ways to simulate producttextures. One is to imitate texture by drawingwith coloured pencils or pastel and cottonwool. The other way is to use the texture of anexisting object underneath the paper and usecoloured pencil strokes to leave an impressionof the surface. Here are examples of how toimitate wood and textured rubber.

• Draw a construction of the product

• Use the same cliches to show the surface lighting. In this case, thewood is matt, so pastel is used to create soft reflections(see sub-chapter Brushed Metal). I wanted to imitate glossy blackrubber, so a white stripe of blank paper was left to emphasize a strongreflection (see sub-chapter Reflective Materials)

• Use brown coloured pencil to draw the wood grain. Pay attention tothe direction and shape of the grain lines. They will always follow thedirection of the object, and will bend and twist with the shape of thepath. The rubber part is highlighted from the bottom with whitecoloured pencil. The surface was imitated by using a finely texturedfolder.

, ..

Pitchin Sketch

• •• • I ....

• •..

••

• ••

. .

..

• •

..... .....

•....

, .

·.

. • .... ..

••..••

... .. .. .... •• .. . •.

•. .. . ..

....•

• .. I • . I I I • I I I .I I I I I I

• I .I - I I

I I I

I - I I I

I - I - I

- I

dt - I I "L~-,.: ..

I I . • I - 1111 111111,.. I

I I - • I - lUI I nlr.Ullln." IUr.I ..-•• I '111,- IIII I uI.eJL -" -I •• I I I • I •

I -

.. ,....

.f'iFp~

+~8VTtJN

I.-----~c_o

.... .....• ••. ..... . ..

•• •

-

II-...

•.. ..• • . .. • •

. ..••

. .. • •• • .. ..

e<c>/E"I/77tTW/V

4J D:>~

Q ~Gtt'tS

1-:: LAN<:v~

-D 1~A-rloV

~

t;PeI2s

J'---

t; ~Au-

~ ~~

e '6fT~

~ ~-'H-

••

•• ••• •

• • ••

. .. ..

••

. ...••

••

Memo Sketch

.. . ....

.. ..• ••. ... . ..... ..

•

. ..

..

..non-functional

• •

••

..

•••

• • ••••

... ..

.. .

• ••• • • •• ..•• • •• . .

..

• •

•• •• •• ••

..• • ••

•• •

••

t>~ \""t:>~ ~qJ;;:

-~~oJ wltea-

- v~ ~tJutrT-oJ

_ ~/~/'P~

• Gathering relevant information from the internet,literature and photography ('brain food') .

•

.'

• Taking notes and sketching during meetings.

•

~~OF·- te1::>,p .-P~TC

- -=--'C-> ::. tH6# eum,..'"-t7'.,../!I~r--.e...-4~

.."." "---'I":."'.',...

• Documenting sudden ideas (brainwaves) that couldbe used and refined in the Concept Sketching phase.

•

••

• Adding notes and sketches on collected material such as photocopies, printed images or even text from selected sources e.g. theinternet, magazine cut-outs etc.

•

••

(once t sketch

.••

••

..

••

•

••.. ..

-. ...-.... .

..I I

. .••

.- .

..

...-

..

-.• •

. ..

- .... .. . ....

, .••

-Decisions:• Define all the possible scenarios of Rroduct use.• Define the functions in each of the scenarios.• Describe the behaviour that fulfils these functions.• Describe the Rarts of Rroduct that fulfils the functi• Describe the scenario in whidl tlie Rroduct will De

..

.l .... _

.. ' .....

••

........ .. ..

• ••

• •

....

..

••..

••

••

••

••

I •

• I

I I

5 ecification sketch

• • •

. .. ,

I'" ••

•••

..

. ..

....••..

..•

..I I

..•• •

·. ...••• • •••

· .

: ,

..

.. ...

......

..

•••

..

• • •••

..

..• •

• • ••

...

. ,

. , .

. ..

• • ••

. .

..

, ,

..

r 40 J A/7

I- -I FflI ~ +

I r"-iI '"=

I ~-I ~I

~~ \J

Ic:=J

~__ ~S ..__ 12.-! .

I

1

J~

1 I

I ~

i L-

--1D-TI-~ +-I

A -

~

~,

. ..

. .

•• • •

. . •

.. .......

• ••

, :

.. .• •

•••....

••

.• •

I

..~

-

iii NTNU

ISBN 82-519-2024-8

9Llmm~tapir akademisk forlag