Sketching the Basics 2011

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SK TcHl IGT H E B A S I C S


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BIS PublishersBuilding Het SieraadPostjesweg 11057 DI AmsterdamThe NetherlandsT +31 (0)20 515 02 30F +31 (0)20 515 02 39bisbispublishers.nlwww.bispublishers.nlISBN 978 90 6369 253 7Copyright 2011 Koos Eissen, Roselien Steur and BIS PublishersAll rights reserved. No part of this publication may be reproducedor transmitted in any form or by any means, electronic ormechanical, including photocopy, recording or any informationstorage and retrieval system, without permission in writing fromthe copyright owner(s).


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"What you always wanted to know but never got explained in a simple and efficient way."

Li1flrsa MwS K E T C H 1 1 M I GT H E B A S I C S

BISPUBLISHERS


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This book is aimed at people who want step-bystep guidance inlearning how to sketci. But we could not resist including examplesfrom designers and design offices around the world. By looking athow they work we link theory and everyday practice, and we hopethat these case studies inspire young designers.We wish to thank all the designers who were kind enough to findtime in their busy schedules to send us these brilliant and inspiringprojects and quotes for our book.Thanks also to R udolf, Biorida, Menno, Wim er, Sara, Eveline, Billyand Sandra, all of whom helped us to make this publication.We hope that we have succeeded in encouraging students ofindustrial design to use sketching as an effective skill in conceivingand communicating their designsAnd to our little daughters Eiske (age 3) and Keke (age 1), wepromise to not mmediately jump into another big project.Roselien and Koos, April 2011www.sketching.nlwww.SketchingForDesigners.com


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Pre face

S K E T C H I N GT H E B A S IC SSketching: Drawing Techniques for Product Designers wasfirst published in 2007. Intended as a reference guide, itwas aimed at designers and design students, and has sincebeen translated into different languages. We combinededucational drawings, photographs and case studies fromdesign practice to highlight various aspects of drawing,tips and theory, and also the position and use of freehandsketching in product design. In short, the theory as present-ed in design drawing education, and its implementation inpractice, outside education. We chose for design showcasesfrom designers educated in the Netherlands, from smallindependent practitioners to leading players in global firms,promoting 'Dutch Design' along the way.Within a short time it became a much-used book by studentsall over the world (50,000 books were sold within two years)as an extension to their drawing education. It also arguedthe necessity of learning to draw for designers, and showeda variety of way that sketching is used in the design process,and a variety of examples taken from our beloved field ofwork.This book can be regarded as the 'prequel' to our firstbook, and it is intended to be used in an integrated man-ner in drawing education as part of product design studies.It contains many step-by-step guides to how drawings areproduced. Drawing an object or idea is not a rigid processbut a lively interaction. Often it is essential to show the draw-ing when finished in relation to how it started. That's whywe chose to show a lot of step-by-step drawings. Doing soenabled us to reveal certain drawing decisions and their im-pact on the final result. We also show the impact of differentchoices made during these steps. We based the chapters inthis book on the choices and difficulties encountered by abeginning designer or student while drawing.Design drawing is embedded in a process involving manycolourful aspects. Therefore we do not wish to hand out a

recipe for 'good drawing', for such a thing does not exist.The field of sketching is both lively and changing, and theimportance of drawing in relation to the design process ismanifold. The first chapter discusses various drawing mat-ters in relation to the design process. In general, we makeno distinction between drawing on paper and drawing withthe computer using a sketch tablet. Both methods stimulatereceiving and sharing ideas, which will in many cases will aidthe further development of those ideas. To visualise an ideais to present it for discussion.The design of a product is a process in which several peoplework together and contribute to. To keep the whole processmanageable, these contributions need to be recorded.Sketching can be a major part of the documented designprocess. For a client, drawings have another relevance: theyenable him or her to stay involved with the design process,to keep an overview, and to know his or her moments ofinput and choice.Drawing is an excellent way of expressing the emotionalcharacter of a product, especially drawing by hand or tablet,using the designer's personal signature. But most of thedrawings made during the design process are at least partlyor totally based upon communicating information aboutshape. We will start our focus on this aspect of product com-munication in the following chapters. How to draw a productin a way that its shape is most clearly 'legible'.We will show examples from design professionals based onthe essence of drawing in its context. There should alwaysbe a reason behind a drawing or sketch.Our aim in making this book can be expressed thus:What you always wanted to know about sketching but hasnever yet been explained in such a simple and efficient way.


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Ira.Acs

Choosing ViewpointBird's Eye Perspective and Eye Level PerspectiveChapter 3, page 70

Material ExpressionTransparency and MetalChapter 5, pages 130 and 134

SKETCHING THE BASOS

GALLERY

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Sketching ProgressRounding

__- Chapter 4, page 90

Choosing ViewpointSide-View DrawingsChapter 3, page 61

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Fast and FearlessIntuitive SketchingChapter 6, page 162

Fast and FearlessDrawing freely, shape optimisingChapter 6, page 153

IN

INTRODUCTION / GALLER' 'GALLERY

Product ContextHands and PeopleChapter 7, page 182

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S K E T C H I N G T H E B A S I C S

C O N T E N T SPreface 5 C hapter 3 Viewpoint 54Gallery 6 3.1he Informative Viewpoint 563.2ide-View Drawings 61C hapter 1 Sketching in Design 10 3.3l l ipses and Viewpoints 641.1deation/Brainstorm 12 3.4ye Level Perspective 701.2ketching and Design Phases 15 3.4.1 From Bird's Eye Perspective to Eye Level1.3ow to Practice 18 Perspective 70

3.4.2 Central Perspective at Eye Level 74Design case Art Lebedev Studio, Russia 19 3.4.3 Drawing Directly at Eye Level 76Design case FLEX/theINNOVA TIONLAB , Netherlands 22 3.5round-Level Frog's-Eye Perspective 78Design case TurnKey Design, Netherlands 24 3.6ow to Practice 80

3.7ore Tips 81Chapter 2 Drawing Approach 26 Design case Beestudio, India 822. 1ntroduction 28 Design case Art Lebedev Studio, Russia 842.2locks 302.2.1 Perspective in Lines 302.2.2 The Viewpoint 33 Chapter 4 Sketching Progress 86

2.2.3 Shading and Cast Shadow 34 4.1tarting with a Block? 882.2.4 Marker Technique and Colour 36 4.2ingular Rounding 90

2.3llipses 38 4.3ultiple Rounding 942.4pright Cylinders 40 4.4ubes 982.5orizontal Cylinders 42 4.5lanes and Sections 1002.6lanes & Sections 44 4.6ow to Practice 1042.7pheres 462.8ow to Practice 47 Design case Idea Dao Design, China 1062.9inally 48 Design case Van der Veer Designers, Netherlands 1082.10 More Sketching Tips 49 Design case Roy Gilsing Design, Netherlands 110Design case SMOOL, Netherlands0Design case Carl Liu, China2


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INTRODUCTION / CONTENTS

Chapter 5 Expressing Co lour and Materials5.1 Suggesting Depth

5.1.1 White or Coloured Background5.2 Colour Basics5.3 Coloured Background5.4 Digital Sketching

5.4.1 Step-by-Step Digital Sketching5.5 Material Expression

5.5.1 Glossy and Matt5.5.2 Transparency5.5.3 Metal

5.6 Product Graphics5.7 How to PracticeDesign case FLEX/theINNOVATIONLA B, NetherlandsDesign case BM W Group DesignworksUSA, Singapore

Chapter 6 Fast and F earless6.1ines

6.1.1 Tracing6.1.2 Drawing freely; Shape Optimising

6.2 Marker Use / After the Line6.3 Underlay6.4 Intuitive Sketching6.5 How to PracticeDesign case Ducati Motor Holding SpA., ItalyDesign case Daimler AG, Mercedes-Benz Design, Germany

112 Chapter 7 Product Context70114.1 Adding Product Details72114.2 Scale and Size75118.3 Background Images78120.4 Tracing the Human Shape80125.4.1 Hands82126.4.2 People84128128esign case JAM visual thinking, Netherlands130134.5 Steps and Sequences90138.6 Focal Point92142.7 How to Practice96144esign case Pininfarina SpA., Italy98146 Acknowledgements00148eatured Designers01150mage Credits0215 1153156160162164166168


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w-,I_CHAPTER 2 DRAWING APPROACH / CASE: CARL LIU

CASE

rhombuscriticallient to holdid back?ll as makingace rigid.are made3luminiumlished hnisli.Thair ise stackablege and

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The ideation sketcheswere mainly made forpersonal use, to hgureout the overall look andfeel of this chair as wellas the design details.The sketches were doneby freehand sketchingin a sketchbook. Sincethe sketches were forpersonal use and not forcommunication, freehanddrawings on paper werefast and efhcient. Thesketches are 20.5 x 13cm and made with penand marker. Some of thesketches were used tocommunicate with myengineer, for surfacebuilding and structurerealisation.

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The Origami Chair was inspired by Origamiart which is a traditional Japanese folkart of paper folding. The goal of this artis to transform a flat sheet of materialinto a finished sculpture through foldingand sculpting techniques. It started as achallenge to use aluminium sheet metal tomake a lightweight but strong and durablechair. The seat and back sunnnrt arp. nnadp.of one piece of aluminiumcuts and folds, the flat shemagically transforms into acomfortable sitting element

SKETCHING THE BASICS

C A S EC A R L L I U , C H I N Arigami Chair concept, 2010


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CHAPTER 2 DRAWING APPROACH / CASE: SMOOL

CASE

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Now designs are setup in OS SolidWorks, soproduct details and shapetransitions can be workedupon with much realism.Realistic renderings arederived for presentationto the client.

.Because of my experience, it now takesfewer sketches to get to an idea. Decisionsand choices are made quicker and arebetter focussed. I do not show all thedrawings to the client; merely the designthought process. I mainly show the resultand explain the concept. I also leave outsketches as not everyone is able to read'and interpret them correctly.I now work with freelancers that transformmy sketches into computer models.Detailing is then also put into the computer.I use freehand sketches in all phases of thedesign process: for ideation but also forcommunication with the 3D-modellers...'Simon Levelt, a Dutch trading company,established in 1817, is now aninternationally known firm in roasting coffeeand selling coffee and tea. Special attentionto the environment and fair trade IS theirStrong belief. The design of this timelessyet contemporary service Set expressescraftsmanship and focuses on the joy ofdrinking coffee. An exceptional detail is thecast handle of the cups, a novelty in theproduction of porcelain.

Aftlillit,

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The sketches seenhere are made with b ackbai point pen and coiourpencil. Interesting shapesand directions are outheedwith back teit pen.

I F

I_These sketches reflect my thoughtswhen forming the 'concept'. Usually I fillseveral A3 papers with scribbles, as apersonal brainstorm, out of which one ormore interesting design directions canbe distilled. I then use Adobe Illustratorto quickly put the design in the rightproportions. An advantage of this methodis that I can now print it at actual size (1:1)and have the actual proportions at hand.Often some plain foam models are alsomade at this design stage...'SKETCHING T H E B A S C SCASESMOO L, NETHERLANDSesign of a coffee and tea service for Simon Levelt, 2010Designer: Robert B ronwasser' I 0) J;c I-550


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CHAPTER 2 DRAWING APPROACH / 2 .10 MORE SKETCHING TIPS

2 .10 M OR E SKET CH ING TIPSSketching with a fineliner or marker insteadof a pencil and eraser causes you to takedecisions, not ponder. This approach maytake some time to get used to, but it is arealistic one in product design; it is a high-speed process. While sketching, each timeyou have to take a clean sheet of paperbecause the previous one is messed up,you have actually learnt something.

Some may say that studying the work ofother people and trying to imitate sketchesof others may ruin the development of yourpersonal handwriting. We have seen thisattitude cause students to unnecessarilyreinvent the wheel again.It can be very helpful to study the work ofpeople you admire. It may actually speedup your learning, as it makes you awareof the existing level of work in your field,and points out your own strengths andweaknesses. But most of all, it can simplybe inspiring.

When you sketch digitally, it is normal tosit in front of your screen and not look at itfrom an angle. When you sketch on paper,this position is also best. Make sure youlook at your paper perpendicularly. Avoidsketching too close to your paper; youmight get lost in details that do not havesuch a big influence.

It is sometimes difficult to 'take distance'from your sketch, to take an objective lookat it. A way to look at your sketch freshagain is to look at it in the mirror!The balance of contrast can be betterassessed by looking at the sheet ofdrawing(s) upside down.

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SKETCHING THE BASI CS

2.9 FINALL YAll the theory described in this chapter ismeant to help you develop your drawingskills. Beware, however, that there arealso other drawing aspects that can havea bigger impact on perception. Aspectslike the general contrast used, size and theposition of the sketches in relation to oneanother.One of these aspects that is worthy ofmore attention is overlap. It can occurspontaneously when 'thinking on paper', asin the adjacent drawing (originally A3 size),or it can also be 'staged', as in the drawingbelow. Here each object was colouredand finished before drawing the next one.Creating overlap on purpose like this helpsyou train your ability to improvise and touse big (colour) contrast to help shift theattention of the reader from an undesiredto a desired spot on the paper. Notice alsohow overlap makes these sketches moredynamic and adds more suggestion.

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CHAPTER 2 DRAWING APPROACH / 2.8 HOW TO PRACTICE

2 .8 HO W TO P R ACTICEWhether a drawing IS made in side viewor in perspective, the sequence of thedrawing materials and related choices canbe the same.Start with long, thin sketch lines and choosea direction for the light source. Makestronger lines on the shaded side, bottomand right hand side, and of the separateparts. Apply shading using a grey marker(first try it out in relation to the colour).Apply colour marker and pastel. Makesure the pastel chalk has exactly the samecolour as the marker; otherwise the effectof material expression will be lost. Alwaysstart big' and save details and highlightswhen finishing the drawing.


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2.7 SPHER ESWhen drawing these kinds of shapes,ellipses play an important role. Theyare the sections of the spheres, andjust like before, they will determine theperpendicular perspective directions ofevery shape attached to the sphere.

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The outline of a sphere is always a circle.chematically a sphere will have aIts viewpoint is only determined by theighlight as shown here. The colour willsections. Here an informative lower and aradually darken around it. The darkest partvery high viewpoint can be seen.ill, like a cylinder, not occur at the outline,but slightly inside it, resulting in a moon-like' shape.A 7/

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CHAPTER 2 DRAWING APPROACH / 2.6 PLANES & SECTJO NS

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SKETCHING THE BASFOS

2.6 PLAN ES & SECTION S

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Wh eiplaneare dkeepiT hethe bsectilTo rna corpencishadiwith 1is nectent'sfurth


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Pastel chalk is usedon the (brightest) topsurtace. Scrape Ottsome chalk; mixing mightbe necessary as it isimportant that the chalkhas exactly the samecolour as the marker.Use a relatively bigpiece of toilet paper or atissue and apply with bigbrush-like' movements.It is applied in severallayers. This ensures asmooth gradient withoutsmudges. The chalk nextto the drawing is easilyerased.

Colour pencil is usedhere on the brownsurtace, adding agradient to emphasise thecurvature of the grip. CHAPTER 2 DRAWING APPROACH / . 5 H O R Z O N T A L C Y L N D E R SWhen creating a cast shadow of elevatedblock shapes (such as the grip), one cansee that the cast shadow becomes simpleras the object gets thinner.With relatively thin objects, a simpleprojection of the top surface or crosssection is used as cast shadow.This is called a pseudo-cast shadow or adrop shadow. This is relatively close toreality, and a great simplification in drawing,offering speed and efficiency.One still has to choose an efficient positionfor this cast shadow. In most cases thebest solution is for the shadow to bebigger on one side of the object and not besymmetrical.

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2.5 HO RIZO NTAL C YLINDER SStart with a cylinder, of which the centreaxis is drawn first as a guideline. The majoraxes of the ellipses are drawn at exactly 90degrees to this centre axis.When ellipses are drawn, a vertical linethrough its perspective centre creates boththe highest point and the connection tothe floor or a different horizontal surface.Tangents then provide for one perspectivedirection needed for the handle. Theother perspective direction is of courseconverging with the centre axes of theroller.

I ne nanaie now iioais as snown in tne siaeview.

NVertical tangents tothe etipse 'touch' it at itswidest points connectingJ these points again showsthe perspective directionof the handie.

VJ1

Arbitrarily tiltedcylinders will alsohave major axes of theellipses perpendicuiarto the centre axis of thecylinder. A tiited centreme will automaticaty beinterpreted as a declinedcyiinder. if the cylinderis orientated otherwise,a cast shadow heipsto ciarity the cyhnder'sposition and orientation.

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A tangent to theellipse determines theperspective of othershapes combined withthis cylinder.

CHAPTER 2 DRAWING APPROACH / 2.4 UPRIGHT CYLINDERS

If you want to attach something likea handle or grip to a cylindrical shape,you will want to know its position andperspective in relation to the cylinder.Therefore you can use tangents.

The lrst line is a centre line through theperspective centre (and not through thecrossing of the major and minor axes). Ifyou then draw two tangents, step by step,you will get a square around the ellipse.The two directions drawn 90 degrees inperspective to each other is the result.

Ti pWe drew in 2-point perspective. If you drawin 3-point perspective, it may becomeunclear whether you are drawing a cylinderor a cone.

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Ellipses are drawnby repeating the shapeseveral times. This willnot resuit in a perfectsymmetricai shape,but it emphasises theother main character ofeilipses: the fluency of theshape.


2 .4 UPRIGHT C YLINDER SA circle drawn in perspective isrepresented by an ellipse, a mathematicalshape. Useful rules are related to theiraxes. The major axis is the longest linepossible, while the minor axis dividesthe major axis into two equal parts. Thecrossing of those two lines is exactly90 degrees at the middle. Drawn inperspective, the perspective centre ofthe circle is of course not through thispoint, but, depending on the amount ofconvergence, somewhat behind this point,as shown in the example. If you cut agrapefruit in two equal halves you can seethis difference.

To draw a cylinder you need a centre line,two ellipses and two vertical tangents onthe outside. The base ellipse will be rounderbecause of perspective. You may compareit to a block shape but you do not need todraw a block and construct a cylinder withinthis block.


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CHAPTER 2 DRAWING APPROACH / 2.3 ELLIPSES

The cast shadow of a cylinder consistsof a projection of its top surface on theground, using the 2 lines that describe thelight direction, connected to the cylinderitself with tangents. It is here that theshading of the cylinder starts. This shadingdoes not have its darkest part at the outlineof the shape, but a little 'inside' it. This iscaused by ambient light and reflection. Itis this effect that gives a shape its roundappearance.

TipA conical shape pointed upwards or downwards will have a verydifferent shading from that of a cylinder. When these shapes aresimply combined, without a smooth rounding transition, the shadingof that object will have drastic 'jumps'.

Watch out for errorshke shading pa rallel tothe oathne of the cone,shading without differencebetween reversed coneshapes or wrongly

-onnecting shadings of._ -ones and cylinder./39


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SKETCHING THE BA

2.3EAs seen befoicombination of ----------------------- --the ellipse is taken as a starting pointfor the perspective of the block-shapedparts. Here again you see how the sameellipse can provide for add ons in variousdirections.- - - - - - - - - - - -No m atter how thecircle is orientated, whenthe ellipse representsa circle on a horizontalsurface, the orientation ofthe ellipse (long axis) willremain horizontal.

O L

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S .

_aCHAPTER 2 DRAWING APPROACH / 2.2 BLOCKS

If the stripes' of the drawn marker areasare chosen arbitrarily, a less spatial effectwill occur. If vertical surfaces are drawnwith marker vertically, and the horizontalsurfaces horizontally, the orientation ofthose surfaces is emphasised by marker,and the drawing will appear spatiallycorrect and be better understood.If an object is drawn with colour marker,a combination of colour marker with greymarker is used for the shading. The colourof an object is darkened and desaturatedon the shaded side of that object.This is achieved by applying a layer of greymarker underneath a layer of colour marker.Each colour will need a different grey for

Un a ruguly glossy object, only retlections can be seen on toe cnair,and more contrast and highlights are used. These draw ngs wereinspired by Rietveld's Zigzag Chair. 37


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In general, the direction of light is chosenin such a way that the most characteristicside of the object is the shaded side, andthe cast shadow has a continuous shape.Perhaps the best option of the three chairsis that of the largest chair. The length ofthe cast shadow should be big enough tosupport the volume of the object, but not solarge as to be dominant.22.4 Marker Technique and ColourMarker can be applied in several ways.The easiest way is to use parallel stripes'on a surface. Vertical stripes underline thevertical orientation of the surface. In themiddle drawing the wet-in-wet' method isused. Marker direction is not important;just keep the paper wet. On the right blocksome lines are added on top of a wet-in-wetsurface. This will suggest a gradient, andgive the drawing a less static appearance.

As the object and itscast shadow are fartherapart, the shadow willbecome lighter becauseof ambient light. Thisgradient in shading canbe done with white pencilor marker.36

Ti pMake sure that the flat side of the tip ofyour marker stays parallel to the borderof the surface; this will make the drawnmarker surface end in a neat line.


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Constructing a cast shadow canbe compared to projecting a shapeon a surface, which means that rulesof perspective for shading apply. Theperspective of the cast shadow and thatof its original converge toward the samevanishing point. The length of a line and thatof its shadcw are comparable in length.

The shadow of a blockmounted on a wall andthat of a block on ahorizontal sarface mayactually have the sameshape.Backlight may onlybe desired to create asuspenseful scene.

CHAPTER 2 DRAWING APPROACH / 2.2 BLOCKSi21. Choosing a light. If th e light direction,. If the slope of lightdirection that comess shown here, is thehosen is too steep, thetowards you will notame as one of theast shadow will becomeonly put a distractingbiect's perspectiveoo long and dominant.dark shape in front ofirections, a confusingthe drawing, but moreituation may occur.importantly, will leaveno room for colour andcontrast on the shapetself.5


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B

A

B

A lot of shapecharacteristics of anobject can be seen by theshape of its shading, suchas open and closed'voiumes, or edgy androunded voiumes.

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2.2.3 Shading and Cast ShadowShading is used to emphasise thevolume of an object, and to position it in itssurroundings.Shading refers to the differences indarkness of the object's sides, as related toa light source. Cast shadow is the projectedshadow onto a surface.In general, parallel light (sunlight) createsan effective cast shadow. One pointlight (lamp light) often does not show anappropriate cast shadow. It can create ashadow that is not related to the object'sperspective. It is more difficult to constructand less predictable. Cast shadow from aparallel light source is easier to predict andperceived as realistic.Choosing a direct ion of the light source isdone by two lines: the actual light directionor slope' A, and the projected light directionB. Imagine a parallel light source just overyour left shoulder. It will have a relativelysteep slope A, and B will point slightlytowards the upper right.All the actual light directions (slopes A)in a drawing can be drawn parallel, andall projected light directions will slightlyconverge.


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CHAPTER 2 DRAWING APPROACH / 2 .2 BLOCKS

2.2.2 The Viewp ointWith the first lines of the drawing,the viewpoint is chosen'. Make sure allsurfaces of the block are perceived well.These three viewpoints are dismissed owingto too much foreshortening on one of thesurfaces. Or in the case of the shape onthe right the shape is drawn symmetrically,which may turn out confusing.When drawing a typical block like this at thestart, the drawing sequence of the blockitself may differ slightly to that of a cube.Perspective rules and general sequence,however, stay the same. The basic ideabehind this sequence of drawings is toshow what to expect while drawing a littlebox. For example, to be successful indrawi...........to knWhatinforrWhiciangleEmaIlshadiof thEquick

too dull

too foreshortened\ Io interior visibletoo dull

The lid of the box rotateswithin a circle drawn inperspective. You needto know how the circle in


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SKETCHING T HE B ASIC S

To ver ify whether the cube you havedrawn is in correct perspective or not,several quick checks can be made: Compare the shortening of the top

surface with that of the ground surface;the top surface should be flatter', as it iscloser to the horizon (see A, A').

Check the two angles of the ground linewith the horizontal line; they should differ,as should the width of the two verticalsides (see B, B') .

The most foreshortened vertical side(here on the left) should be much smallerthat its opposite side (see C, C ') .

Only in the case of a cube, the corneron the most foreshortened sideshould be higher' than that of the lessforeshortened side.

l)B

Whe n the block you have drawn isincorrect, it is important to find out why,and try to avoid making the same mistakeagain. Here are some common beginners'mistakes. Starting at the top left, thereis a block shape (1) using parallel linesinstead of perspective convergence, anaxonometric image. Next to it is a shape(2) where the amount of convergence isestimated incorrectly. The vanishing pointon the left is closer, so lines in that directionshould converge more than those in theright direction, not the other way around.Block (3) shows a one-side frontal view, soit should actually be a central perspective,and not show the left side. It can easily beavoided using a horizontal guide line as yousee next to it.The last block (4) shows an incorrectperspective of the ground surface. It mayhelp to extend and use the lines alreadythere as a guide when you draw the groundsurface.

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Learning to draw a cubeat different angies willgive enough experienceto create a correct-iooking perspectivedrawing. Keep this rulein mind: never exceedthe measurement of theciosest vertical. Thewidth of the book's pagesappears much smailerand foreshortened as thepages turn.In this picture you seeperspective distortion dueto the fact that the thirdvanishing point is abovethe horizon, but alsoused incorrectly for everyvertical beiow the horizon(see 3-point perspectiverule). it is, however,subordinate to the spatialeffect due to the effectiveuse of perspectivecolouring and contrast.

As horizontal surfacesof a column get cioserto your honzon, themore foreshortened theyAs vertical surfacesget closer to thevanishing point, themore toresbortened theybecome.


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CHAPTER 2 DRAWING APPROACH / 2.2 BLOCKS

Deliberately une qualangles are chosen toavoid the front and backverticals of the cube fromoverlapping one another.

The lines to the leftconverge more than thelines to the right, owingto the shorter distance totheir vanishing point.The cube is drawn,starting with a horizontalguide line, a verticaland two lines that willdetermine the viewpoint.In an informativedrawing, a realisticamount of perspectiveconvergence is chosen.After the bottomsurface is completed,use the other perspectivelines as a guide. A backvertical and the topsurface are drawn last.

There are of coursemore ways to drawa cube; another wayis shown here. In thissequence, there isan emphasis on theplacement of theverticals. The placementof the back vertical inbased upon the principleindicated with the addedarrows. These dimensionsare of unequal size, asillustrated on the nextpage.

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S K E T C H I N G THE BASI CS

2 .2 B L O C K S2.2.1 Perspective in LinesWe start with drawing a cube. A verticalsurface can be multiplied' literally bydoubling it, as there is no vanishing point inthis direction due to the 2-point perspectiveThickness is added, and light direction ischosen from the top left. This means that alllines on the shaded side can be darkeneda bit. This will add more clarity to thedrawing, as well as spatiality and depth.

TipAdding lust a quick suggestion of surroundings to the subjectcan add context, spatiality and can 'present' the object moreattractively.

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distance between vanishing points

ewidth

Basic principles of perspective

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CHAPTER 2 DRAWING APPROACH / 2 .1 INTRODUC TION

This drawing method requires no horizonand vanishing points on the paper. Thereason for this is that in order to appear'realistic' (without distortion), the vanishingpoints of a shape need to have a distancebetween them that is approximately 5 timesthe image width. In the case of a chair, forexample, this means that the drawing willbe very small in relation to regular papersize or needs a very large piece of paper.Among the several 'kinds' of perspective,such as central perspective, 2-pointperspective with 2 vanishing points, and3-point perspective, we will mainly drawin 2 point perspective. This means thatthe vertical lines will have no vanishingpoint, no convergence, and thereforeno foreshortening. This will ease thingsdramatically, while still maintaining arealistic appearance. In reality we will moreor less perceive or notice objects having2-point perspective, but if you take apicture of a product, you can immediatelysee 3-point perspective. Seeing with yourmind instead of with your eyes explains thisdifference in perception.

Centrai perspectivepoint perspectivepoint perspective(exaggerated)

As for the actual drawing itself, the mainguidelines can be described as follows: Use long lines and draw with a definite

medium such as a fineliner. A pencil anderaser will tempt you to keep erasingthings and will not train you to be resolutein your decisions.

Draw in a 'transparent' manner; forexample, draw the lines of the main shapethat you do not see. These lines will guideyou regarding control and correction ofthe perspective and shading.

Choose an informative viewpoint (See alsoChapter 3) Start the drawing with a large basic

shape, and work your way down to thedetails; save the details till last.

Drawings are preferably in a size relatedto your hand size, preferably bigger andnot smaller.

Use guidelines; they not only enable youto draw easier, but they will also make thedrawing more comprehensible (readable)for the viewer.

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2.1 INTR O DU CTIO NWe asked several non-designers tosimply draw a chair' in perspective, with nospecific purpose for the drawing. You will ofcourse recognise a chair in all the drawings,but it is obvious that these drawings weremade by people untrained in drawing, whoare not designers. What is the strikingdifference between drawings by designersand non-designers? Non-designers ingeneral will focus on a story', an archetypeperhaps, or a history: this is a chair that Ihave, remember, know, etc.A designer's drawing, however, will alwayshave a specific purpose, and will in a lot of

cases be about communicating an idea.Like a language, different rules apply todrawings that communicate'.The designer is able to analyse, andcan make a distinction between theoverall shape and details, and will makea deliberate choice on where to put theemphasis in his drawings. In the conceptphase, just after ideation, for example,the overall shape will probably need to becommunicated in a clear way. To do so, aso-called informative' viewpoint is chosen,and aspects such as guidelines and shadingare used.

Drawing of chairs b yn o n e - d e s i g n e r s o f v a r I o u sa g e a n d g e n d e r

28

In the following chapters we will showa drawing method that will lead toinformative, shape explaining drawings. Irthis chapter a quite bold division betweenshapes (products) is made by means ofhow they are drawn: starting with a block shape starting with a cylinder or cone starting with a sphere starting with a planeIn each of the above, the necessaryaspects of lines, shading, colour anddrawing materials will be explained.

We have chosen this division for specificreasons. Of course, not every situationcan be described in such a bold way; amixture of approaches will eventually bemore realistic. But it is a simple way tostart with learning how to analyse and drawshapes. Learning how to draw spatially andimplementing it in design work are surelytwo different things at the beginning of yourstudies.


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D R A W IN G A P P R O A C HThis method is based on starting with a basic shape such asa cube, cylinder, cone, sphere or plane. In this chapter wewill use this strict division of shapes for crity, whereas inreality various situations can occur. This approach, how-ever, will encourage you to think 'spatially', and to analyseshapes, and to distinguish overall appearance from details.You will find that after a while you will draw more intuitively;you will 'estimate' more instead of 'construct', and you willbe more able to improvise and correct.

Experience has taught us that this will only lead to goodresults when these estimations are based upon a steadyknowledge of things. This cannot be rushed. Eventually itwill be all about the credibility of a drawing. It has to beconvincing, and precision is not as important. So in short,basic knowledge and precision are necessary to start with,whereas later on making estimations will become moreimportant.

'... Ha nd ske tches are rather t im eless and ap peal to one's im aginat ion .I t is the m ost d i rect way of expressing the designer 's though ts and po nder ing

and reveal the artisan's ski l ls. . . ' Ro y Gi ls ing , Des igner


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Sketch Furniture by FRO NTIs it possible to let a first sketch become an object, to design directly onto space? The four FRONT members have developed a methodto materialise freehand sketches. They make it possible by using a unique method where two advanced techniques are combined.Pen strokes made in the air are recorded with Motion Capture and become 3D digital files; these are then materialised through RapidPrototyping into real pieces of furniture.

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CHAPTER 1 SKETCHING IN DESIGN / C A S E : T U R N K E Y D E S I G N

CAS E

After Turnkeypresented the pitch, theconcept was picked upby the Chinese mothercompany. With a GO fromthe mother company,we delivered a conceptsketch. In China a CADmodel was developed.This process from pitchto concept, consisted ofcommunicative sketchesand scribbles, email,video conferences anddiscussions with ourengineers in China.

-;

The CAD model was then adapted andapproved by us, and a sample (workingprototype) was made for further judgementThis first prototype was then redesignedat Turnkey, with the final prototype as theresult. This final prototype was then testedand judged by potential customers. Alsoin this process informative sketches, withthe CAD model and photos of the sampeused as underlays, are used as a meansof communication. In the example here yousee adaptation of the curvature of the lowerframe, sketched over photos of the firstframe sample, and the compact bumperbar concept, sketched over a CAD model.The complete design from initial sketchto final sample took place at high speed,within two and a half months.


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S K E T C H I N G TH L BA SICS

C A S ET U R N K E Y D E S I G N , A compact foldable buggy 2010N E T H E R L A N D S Designer: lmre Verhoeven

The main focus of thisproject was to try tocombine a strolling buggywith the possibitty ofcarrying the buggy like abackpacker.

. For the pitch I usedmaterwls.Notoydo

Ipen and photos, I alsoused a Wacom tablet andAlias SketchBook Pro andSolid Works.

A/

1 - Pitch

2 - Concept

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CHAPTER 1 SKETCHING IN DESIGN / CASE: FLEX/EHE INNOVATFONLABCASE

Design PhaseWith Adobe Illustrator, lines are set anddesigned with respect to the internalcomponents and other details like screwbosses, hand grip sizes, logos and labels.These clean line drawings are not only goodto work with but also clearly communicatedesign aspects to the technical departmentof the client for final engineering.PresentationFinally Illustrator lines are imported toAdobe Photoshop for colouring. For extrarealism branding, parting lines and screwbosses are added. Rubber parts havesoft edges (see styling line in hammerdrill), plastic has hard edges, and metalhas subtle reflections. There is a subtlebalance between realism and illustratingconcept'; some material characteristics areexaggerated to clearly communicate theconcept. These images were created forthe marketing department of the client.

Review ImagesFirst production samples are reviewed forfinal checks of shape, details, ergonomics,etc. '...For these images we use prettymuch everything to communicate what wemean. Photoshop over a photo or sketchover a photo of a model to indicate thegoal. Also, tracing a photo of a model cancreate a quick but very clear image whendetails are at stake. Clear communication isthe key in this phase...'

No23


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/A b l

YSKETCHING THE BASICSC A S EF L E X / T HE I N NO V A T I O N L A B ,new brand language for Skil Europe B.V., implemented in a new range of powerN E T H E R L A N D Sools, 2006-2010Sketch PhaseSeveral exploratory design sketches weremade, using a simple BIC ballpoint pen, asboth 3-D sketches and side view drawings,including a study of details and shapetransitions. A second coloured BIC wasused to make some details clearer. Somedrawings were clarified with elementarycolouring in Adobe Photoshop software. These drawings are mostly used for internalcommunication; touched up (r at leastcleaned and coloured) versions are usedfor communication with the client to explainbasic concept or shape ideas. 'Pictures ofquickly handmade foam models or existingdesigns can be used as underlays to helpmake a drawing with realistic proportions.'Jr 'IY ( r 5f

3-D ModelsVolume models are extremely important forchecking shape, surface and ergonomics.Any interpretative problems of drawingscan now be resolved. Photos are perfectunderlays for any new drawings to comeand save heaps of time. Even quick modelscan be very useful if you want to get yourperspective and proportions right.Choosing ConceptsA combination of a side view are presentedto the client for concept choice. All thesehave an explanatory character.22


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A'\ \

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CHAPTER 1 SKETCHING IN DESIGN / CASE ART LEBEDEV STUDIOCASE

The design for the officecontainer

It has a cute belly and folding instructionson the front. There are several holes, sokids wouldn't have to queue, and theirsize is right for drink cartons folded flat,but small enough not to let any books in.With built-in speaker and light sensor, themonster thanks you for every receivedcarton - its belly rumbles contentedly.

Next, we exploreda variety of productiontechnology optionsand set our choice onthermotorming. Then theshape was refined andthe details elaborated.Finally, we addressed allissues related to industrialmanutacturing.

Sketching enabled usto evaluate and narrowdown the alternatives.We employ simple yeteffective sketchingtechniques. Black ink pendrawings can be donequickly to visualise ideasas they are generatedand evolve. When tocusedmore on shape, we usefelt pens to add colourand volume; it's a taut wayto bring out the shapeand give the images asexier' look. This allowsyou to go into as muchdetail about your designas you need...'It looks like a tree, ora hand, or a splash, ormaybe a shaggy head, oreven an alien. Kids love it.

i f it4 HJ&Q

c

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SKETCHING THE E3/\S!CS

CASE-'

r/IAc r

- - /: .Sketches, for us an essential part of thedesign process, are used to present, shareand develop the ideas within the team. Asa rule, we do not show these to clients.Sketches are made at every stage of theproject to help us select and refIne designs,from an overall concept to the smallestdetail.

J /\I

Here are some drawings illustratingdifferent stages of the Tetra Pak recyclingcontainer project. We started with a seriesof concept sketches and picked out thecheerful monster idea...'

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CHAPTER 1 SKETCHING IN DESIGN / CASE: ART LEBEDEV STUDIOCASE

ART LEBEDEV STUDIO, RUSSIAetra Pak recycling containers, 2010Client: Tetra PakTetra Pak strives to be eco-friendlyanc encourage recycling. They wish to- - - .? . -. _ .teach people that juice and milk cartonsshouldn't be thrown away, but collectedand reprocessed. The campaign includes- L Ilectures, flyers and posters explaining whycartons are useful and should be recycled.- -Schools and offices would need containersto hold cartons before they are takento recycling centres. We designed thecontainers, devised names and slogans forthe campaign, and created a set of logos.

':

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So when making a drawing, beware of itsrole in the design process, or what it is youwant to explore or show, and which partiesare involved. This determines a lot of thedrawing choices from start to end.In ideation it is important that sketcheskeep your flow of ideas going and inspireyou. A large amount of sketches withlittle or no detail can be more effectiveand inspiring here than a few 'beautifully'rendered products.

At other moments you may wish your clientto choose from a few possible options. Insuch a case a large number of drawingscan be confusing, whereas a few drawingsin which the different concepts areemphasised may be better suited.The various parties with whom youcommunicate are also of importance.Showing your initial ideas to an experiencedclient with knowledge of the product canbe something completely different thanshowing the same ideas to a sponsor,who may only be interested in his return ofinvestment.All these aspects determine whether thedrawing can be a quick sketch or shouldlook precise. Be aware if a drawing'scontext in design solves questions such as:Can I use an existing sketch from ideation?,Or should I make another drawing forcommunication purposes?, What is the mostimportant part of the drawing (or product(that I need to show?, Can I visualise it in onesketch, or do I need a side view or moresketches for clarity?, Do I show only theproduct or also its user context?. Moreover,the choice of drawing materials you use,the viewpoint of the drawing and even thedirection of light can be a direct result ofthe sketch's role in the design, and largelydetermine the 'look and feel' of a sketch.

1 .3 HOW TO PR ACTICEA way for you to quickly get a feel for thedifferent kinds of drawings in the designprocess yourself is to (re)design a scooterfor children. Start by drawing a scooterfrom memory. Questions like: How doesthe steering mechanism work?, and Howare the front and back wheel attached tothe chassis? call for a plan. Make quicksketches while researching; first drawdifferent solutions and then choose the bestone. After you have done that, make yourfinal perspective drawing. In this exerciseyou will use sketching with differentapplications: first as a tool to locate and

analyse problem areas in the design,second to explore solutions, and finally tochoose and communicate your solutions toothers.NB: You will need to know the directionof the ellipses of the two wheels. Keepthe wheels parallel to keep from creatinganother drawing problem. See Chapter 2for support.

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CHAPTER 1 SKETCHING IN DESIGN / 1 .2 SKETCHING AND DESIGN PHASES

Detai l ingIn this phase, all details are decided upon,such as the exact surface finish and size ofa product. Several close-up drawings maybe required, in combination with side viewsand perspectives. A variety of drawingsusually works best to visualise both detailand its impact on the product as a whole.Design and Communicat ionFrom the developed concepts, onefinal idea is chosen. This idea is furtherdeveloped for realisation. In this phasedetails are being decided upon, engineeringis done, and production is being prepared.

Problems are met, solved, optimised andcommunicated with various parties. Anideal situation would be for the designer touse the same drawings for design as forcommunication.

Des ign case chapter 1Turnkey Design

Af

cDesign c ase chapter 1Art Lebedev Studio

Shape O ptimisationSince an idea is never ready', a drawingis a good tool for developing somethingfurther in a short time, as sketches can bemade quickly and suggestively. By usinga technical drawing from engineering or aphoto of an existing product as an underlay,you can quickly generate variations inshape. Pictures taken from a (foam) modelwill do the job as well.In any case, if the proportions of the shapeallow, it is worthwhile to make an underlay,side views and perspective, and taketime to optimise the object's form, as theemotional aspect of the product is oftendependent on this.

//

Des ign case chapter 4Van der Veer Designers

Pre-EngineeringWhen communicating with constructionengineers just before the actual engineeringbegins, so called pre-engineering sketches'are made. These can be principle sketchesof (partial) technical solutions, possiblymade during an engineering meeting.Rough side view technical drawings andexploded views are commonly useddrawings in this phase. Exploded viewsshow components in relation to eachother, and can give direction in assemblymethods. Pure product information isimportant during this phase.

During the communication process, thedifferent parties require specific drawings,showing different aspects of the product.Here you will find the use of underlays suchas CAD drawings, renderings, and picturesof (foam) models very effective.

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Choosing ConceptsChoosing a concept can occur internally,with co-designers or management forexample, or externally with a client. At thispoint you should present the different ideasin similar ways. Make sure an honest choicecan be made, and not be blurred by the useof different handwriting or drawing styles.Presentations should be alike.

.. - ..

Design case chapter 4Idea Dao Design

PresentationSketches and drawings can be used forpresentation during several stages ofdesign. Presentations can be in-house,among designers that work together, orexternally. In each case different issues maybe important.A client, such as a producer outsourcingthe design of his products, has of courseknowledge of his field of products, hismarket and the technical details, and maywant to compare the design with existingproducts and production techniques.

A professional from outside the productfield or design, such as a sponsor, manageror user, requires other aspects of thedrawings. He or she is usually unaware andnot interested in the underlying technicaldetails of the design, and may wish tohave a clear and inspiring image of whatthe implications are of this product on aperson's daily life.

*Design case chapter 1FLEX/the INNOVATIONLAB

Pitch / ontestA pitch or contest requires a specific typeof presentation. During a pitch your ideashould look its very best and reveal thecontext of the design. A pitch takes placewith competitors, and your goal is to getthe assignment or win the contest. So whenpitching together with other designers,make sure your drawings tempt andconvince the viewer.

//

Design case chapter 1Turnkey Design16


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CHAPTER 1 SKETCHING IN DESIGN / 1 .2 SKETCHING AND DESIGN PHA SES

1 .2 S K E T C H IN G A N D D E S IG N P H A S E Sx ,

Concept Phase /Concept SketchingEach outcome of the ideation phase mayhave its own problem areas' that needto be solved or optimised. The problem'may involve design, ethics, environmentalimpact, choice of material, technicaloptions, assembly, safety, construction,cost effectiveness and so on. And eachproblem' will probably have severalpossible solutions. Again it is time togenerate a variety of solutions, and thenmake a selection. Drawings typical in thisdesign phase are more detailed than in theideation phase. For instance, an explodedview drawing will show parts in relationto other parts and thereby could exploretechnical solutions. The outcome of theconcept phase can result in several feasibleideas presentable to the client.

H

//

7I

This actually wassurprising; it had nothingto do with the originalcharging movement, butappeared as a reactionto the existing drawings.This key sketch wasthen picked up and usedfor further exploration,again generating severalvariations and ideas. 5tfflearly in the design, thehnal product idea is seenin the coloured drawing.

The final product ideaconsists of a combinationbetween a toy carand a small baglesshandheld vacuum cleaner.Inside the toy car is analternator which chargesa battery through themovements of the playiegchild. This is the powersource of the vacuumcleaner.

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H

rS K E T C H I N G T H E B A S I C S \p;The process of generating ideas freelyand evaluating and choosing them is arepetitive action in the design process.Visualisation plays an important role inthis iteration. Each phase starts with thegeneration of many ideas, and concludeswith one or a few end' results. Theseresults form the input for the next phase,where problem solution or optlmisatlonrequires you to again first generate manysolutions, and then evaluate them. Thefurther along in the design process, themore uncertainties will be overcome. As alogical result, this will be reflected in themore definite character of the drawings.:..14 r v.

/

2

,/

In this example thestarting point was tocreate more awarenessfor energy consumption.It was choser to comeup with a product idea inwh cb human power playsa key issue.We started with a humanpower bra nstorm; acollection of hand andarm movements thatcan be used to generate(electr cal) power. Wethen chose 3 movementswe found 'interesting' andmade a hrst invest gaf ionin cbarg ng mechan emsin terms of their shape.This generating of ideaswas done largely byassociation, and thatis how the sketch withthe toy car sudden y'popped up'.

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CHAPTER 1 SKETCHING IN DESIGN! 1.1 IDEATON/BRAINSTORM

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115 / Z ~- - 1it

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:-..i.Sketches by Robert Bronwasser, SMOO L

In the ideation phase it is important togenerate many ideas, explore severalvariations, and end up with a range ofideas. The ideation phase will concludewith a selection of these ideas with whichto continue. These are the potentiallygood ideas that may grow into a realproposal or concept. 13


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Initial brainstorm - design case FLEX/the INNOVATIONLAB

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SKETCHING THE BADCS

1.1 IDEATION/BR AINS TOR MWhether you brainstorm together, withothers or alone, it is important to keepthe flow of ideas going, fresh and free ofjudgement, with room for changes in theproposals. It is not important to presentproducts in correct perspective or withshading. It is more important that the ideasthemselves are clear and either contextrelated or context driven. This may meana lot of schematic and archetypal linedrawings in, for example, side view or apage full of line drawings as shown here.In this process of visual thinking, words onpost-its or inspiring pictures could be addedto tell a story.Some typical drawings in this phase arereferred to as 'doodles' and 'thumbnails',both quite small. Small drawings arejustified at this stage of design becausethere is no room for detail. However, we doencourage drawing larger, if possible, andusing a 'blunt' medium such as a marker,instead of a fine liner or colouring pencil, tocreate the same effect regarding details.

Some designers like tokeep a booklet in whichto sketch ideas. With thissketch book you can do -ideation whenever you -like, anytime and nearlyeverywhere. Making an "initial ideation sketch maylead to producing anothersketch, improving thefirst or drawing another -idea. One of two things .may occur with this firstsketch: either somethingcomes up that was notdetected while the ideawas still in your head,or this idea was already /there in a different sketch, 'as the sketch book workslike a visual recollection. ,!Do not criticise thesesketches yet, as it isimportant to keep the flowof ideas going; criticism ---will take place later.

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C hapte r 1

S K E T C H IN G IN D E S IG NTh i s is a book a bout dr aw i ngs i n th e c ontex t of th e des i gnp r oc es s , and w h e th e r or not a dr aw i ng is e f fec t iv e w i th i nt h is p ro c e s s . T h is m a y m e a n t h a t a p ro d u c t is s o m e t im e svisualised in a c lear way, and in other cases that the drawingi tself should be convincing or pe rsuasive. Th er e is no onecri teria for a dr aw ing to be 'good' or 'bad', and be fore youjudge, it is imp ortant to a lways know the goal and context ofa dr awing. So ma king a 'beaut iful' drawing is not the mainpurp ose of this book.We will lea ve a lot of the (pre ) design proce ss out of ourd is c us s io n . W h a t is im p o r t a n t h e re , is t h a t t h e re a re c e r t a in

recognisable mome nts En th e p rocess of design in whichd ra w in g a n d s ke t c h in g c a n p la y a m a jor ro le . T h is c h a p t e rfocus es on th e s e m om e nts only. A lth ough ev er y de s ign m ayb e d i ff e re n t , t h e re a re s o m e g e n e ra l ly re c o g n isa b le p h a s e si n ev er y des i gn p r oc es s . Th e s e v ar i ous des ign p h as es c anof course overlap, and may dif fer a l i t t le in each si tuat ion.E a c h of th es e p h a s es dem ands di ffe r ent th i ngs fr om adr aw i ng or a s k etc h .In this cha pte r we will discuss differe nt kinds of drawingswithin the de sign process.

the beauty of design; it is like music; you do not need to speak the languageto be a ble to work somewh er e. S o I could work in Italy without spe a king a wordof Italian, I could go to Ja p an without spe aking Ja p ane se. As a designer you cancommunicate th rough drawing. So you're not dep ende nt on la nguage or origin to

establish your place. La urens van de Acker, Director of Design at R enault


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C hapter 3

V I E W P O I N TThe choice of the viewpoint has a big impact on a drawing,so it's worth while to make a well-considered choice. Somechosen viewpoints make it possible to give pure shape infor-mation abou t an object (related to the human eye), whereas

a different choice can have a co mpletely different impa ct.An object could appear bigger or sm aller, but also nice,impressive or overwhelming. How do you choose and canyou predict the result of your choice?

'... ever unde rest ima te the importance of a sketch in the design process.A good sketch can of ten e mbo dy a lot of character which is an esse nt ia l referencewh en the design is translated into a 3D m ode l, esp ecial ly in car de sign... ' Doeke d e W alle, Designer at Pininfarina


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This viewpoint is all about optimisngshape information, including intendedscale information: how big is the object.A large object will be sketched with moreperspectival convergence than a smallobject. In some cases the way a product isused influences the choice (user viewpoint).

There are various kinds of viewpoints.At many stages of the design process,communication of intended proportions iscrucial. Those types of viewpoints in whichclearly communicating shape information isimportant are called informative viewpoint. .-----.4.. -----

56

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3.1 THE INFO RM ATIVE V IEW PO INT

The open matchboxes, for example, givethe optimal shape impression in terms ofboth size and usage. The boxes above havetop surfaces which are too foreshortenedor too flat. In fact, they are positioned toonear to the horizon, causing this effect. Avery flat surface gives difficulties estimatingits size, both by the viewer and thedraughtsman. The boxes further below havethe opposite effect; too high a viewpointmeans the need for a third vanishing point,that of the vertical lines, which causes toomuch distortion to 'read' the actual sizeof the vertical surfaces. The sketch at thebottom shows two perspectival directionswhich are near the 90-degree angle. At 90degrees the 2-point perspective changesinto a 1-point perspective, and no sidesurfaces can be seen.


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F

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CHAPTER 3 VIEWPOINT / 3 1 T H E I N F O R M A 1 1 V E V I E W P O I N T

B

C

Very informative viewpoints of thetoddler 's red bike are found in photo A, Band C. In photo D the bike appears nice atf irst glance, but i t does not reveal much ofthe (most informative) side view, and leavesthe back of the bike unexplained. The samecan be said about E. P hoto F is a lso quiteinformative, but no t optimal. I t is eventaken from a user 's point of view', but theviewpoint is so low that the saddle appe arstoo foreshor tened to read' i ts shape. V eryuninformative is G ; i t is almost a top viewinstead of a perspective, and therefore not

very spacious. Photo H also gives a goodoverview of the bike's shape, and photo Iemphasizes the box carr ier, but leaves therest of the bike unexplained because o foverlap.In short, i t is important that i f you we reto draw a bo x around the b ike, al l 3visible surfaces should have only a littleforeshortening, just like the ma tchbox.Be sides that, there are viewpoints of whicha part of the object over laps anothe r, andthus hides shape information.

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1SSIn these sketches various ways of foldingcarton boxes are investigated and analysedfor use in the design of a nest box.A rather high view point is chosen to keepthe emphasis on the top surface where :hefolding takes place. The overall dimensionsof the boxes are unimportant at this stage.

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CHAPTER 3 VIEWPOINT/ 3 .1 THE INF ORM A1 1 VE VIEW P OINT

After forming an idea for the design of abirdhouse, one can translate some of thefolding possibilities into birdhouses. Thedeveloping sketches here show the possibleconstruction.Now the overall dimensions of the housesare important, and a slightly lower viewpointis chosen to avoid distortion in the verticaldirection. It is important that all planesare clearly visible. The use of a smallbackground and shading are of course alsohelpful.

Blue lit and Great Tit(Cyanistes caeruleus and The plan views are used to inform on theParus major) use of material and also to communicate

even more information regarding the foldingprinciple.

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Leaving the angle of view in terms of Some remarks on the other drawings:height the same, you may still turn the drawings A and B show hardly anyobject in different positions. It is important information about the side and are notto create a good view of the two vertical generally informative. Truck B m aysurfaces. One of these vertical sides, have an excellent viewpoint for otherhowever, will in most cases represent the purposes; it has its emphasis on the frontobject best. In this example it is the side of of the toy. Drawing C, by contrast, is toothe car. Compare it with a child's drawing of foreshortened to perceive the front widtha car, who will draw it from the side; this is of the truck.the archetypal way. This most informativeside in a perspective drawing should be theless foreshortened side of the drawing, toreveal maximum information. In the examplehere, the drawing 0 at the bottom right isregarded as the result chosen with the mostoptimal viewpoint.

A



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CHAPTER 3 VIEWPOINT / .2 SiDE-VIEW DRAWWGS

3 .2 S IDE -V IEW DR AW ING SThere are many more or less 2Dproducts, such as flat screen TVs or built-incar information systems. There are alsospatial, 3D products that clearly have amore important, or dominant face', likeclock radios, microwave ovens and washingmachines.It is not always useful to draw a perspectiverepresentation of these kinds of products; itcould mean an enormous time saver to justdraw this face' in side view. Drawing in sideview in this case thus means more designefficiency.This sketch of the beamer starts with longthin and smooth lines. The light directionis chosen from the left-hand top side, soall lines on the shadow side, i.e. right andbottom of each part, can be drawn thicker.Doing so in the line drawing adds depth; thelines are called shadow lines. Where a holein the housing is located (due to a button,for example), the contour of that hole canbe thickened completely all round.When shading and cast shadow are added,a more profound sense of depth andspatiality is added. The main shape of theproduct (whether fiat, curved or hollow),and its rounding become clear. But also thespatially deeper parts or parts sticking outsuch as ribs can be well perceived now.Colour and structures are now added.Always make sure there is enough contrastin the drawing, because if you add pastelchalk, contrasts will automatically lessen.

.VD.tD . . . . . . . . . . . . . . . .

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SKETCHING T H E B A S I C S

An example of how to draw structures,with hatching in between the ribs, in steps:First draw in arbitrary direction, then asecond hatching crossing the first one at anangle (try to avoid a 90-degree angle). Thethird hatching (also slightly different to thefirst two) will finish the nonwoven structure.Even after applying pastel chalk or airbrush,small details can be added with black andwhite lines.

W-

wjil oft~

p Ti pAdding surroundings to the product, in this case a cast shadow ona back wall and a theoretical reflection on the ground surface usinglight grey marker and pastel chalk, gives the drawing a more spatialcontext.

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CHAPTER 3 VIEWPOINT / 3 .2 SDE-VEW DRAV2NGS

By scanning the drawing just before thefinishing touches, one can digitally addsome more realism in a short time. Using,for example, only black and white line tools,one can correct circles and ellipses. Whitehighlights can often be emphasised moreusing digital techniques.It can be important to maintain the sketchycharacter of the drawing, for instance atthe early stages of the design. If it startsto look like a final rendering, the designproposal will get a very definite character.A sketch, however, will be open to changesand discussion, for example customerinput.A way to keep the drawing sketchy is tokeep the sketch lines visible; in thesedrawings you can still see the guidelinesused to draw the socket, the initial lens-ellipses and the elongated lines on theright-hand side of the beamer.

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SKETCHING TH E BA SICS

3 .3 ELLIPSES AN D V IEW PO INTS

Upright cylinders are best not drawn incentral perspective, such as done above.It takes more time than drawing a sideview (such as in the top drawing), butin comparison does not add that muchinformation. A better viewpoint is the onedrawn at the bottom, where the nozzleis slightly turned towards the viewer.This drawing contains the most shapeinformation and is perceived as the mostspatial drawing.The large ellipses of the paint containerare used to determine the two perspectivalperpendicular directions. These directionsare used to draw the handle and spraynozzle.

In the case of cylinder like objects,the ellipse plays an important role indetermining the viewpoint. A sensiblechoice is not to draw ellipses very flat' (A)or with too much perspectival convergence(B). Sketch C provides the necessaryoverview and makes drawing sectionseasier.


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known (always perpendicular), and only theroundness needs to be estimated. To verifythis roundness a set square can be used.

CHAPTER 3 VIEWPOINT / 3 .3 ELLIPSES AND V IEWPOINTS


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With the same central axis, four ellipsesare drawn in this example. A vertical linethrough the centre of the ellipse crosses itat top and bottom (at this point the cylinderwould lie on a horizontal surface). Tangentsto these points reveal the perspectivalhorizontal direction. Drawing two verticaltangents to the ellipse and connectingthese points also shows this horizontaldirection.

This horizontal direction and the centralaxis are comparable with the two horizontalperspective directions of a block shape,,

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Thus a perspectival square can be drawnaround' the ellipse. When this is truly asquare (the third from the left), the ellipsehas a correct roundness.When starting a drawing, this is a usefultool to check the roundness of ellipses.Later on you can estimate the roundnessbetter, and no check will be needed.

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In some cases the original drawing can berotated slightly. This adds more dynamicsto the drawing. This is especially commonin car design.

Even in the case of tilted shapes in randomorientations, the method of tangents toellipses can be used to determine thecorresponding perspectival perpendiculardirections to an ellipse. In these shapeshere, one groove is always chosen anddrawn, the perpendicular groove can befound using tangents. The thickness ofthe shapes is of course in the directionperpendicular to the long axis of the ellipse.

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SKETCHING THE BAS iCS

This rather flat hand-held device is drawnfrom a user viewpoint, i.e. in a perspectivewith a very high viewpoint that resemblesthe way you look at it when holding it in yourhand. As a result, the top view has only alittle perspectival convergence, a deliberatechoice to create as few complicated detailas possible in perspective. The step-by-stepdrawings show different viewpoints andhave comparable details, so you may judgefor yourself which one is more convenient.All the drawings start with the top horizontalsurface, and drawing of the elliptical shapesto start the rounding. See also Chapter 4about rounding. First the bigger quartercircles in perspective (parts of the ellipse)are drawn and then, with the use of adiagonal point, the remaining two quartercircles.The next step is the smaller rounding.Beware of the perspectival foreshorteningof the quarter circles in the verticaldirection. On the left and at the top they arebarely visible.Now you may add the verticals at the startand finish of the circular parts. Theseverticals help you to decide where shadingstarts.The remaining rounding underneath theproduct is added in suggestion to finish thebasics of the hand held. Notice: no detailsyet!Shading is added to create more volumein the line sketches. A cast shadow isused to position the hand-held product toa horizontal surface. A slight drop shadowcauses the spectator to perceive the hand-held product at an angle to the surface: anice trick, but still a trick.

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Of course you couid adda digitai picture to thedrawing. it speeds up theprocess and looks evenbetter in a presentat on.

After grey markers are used for shading,colour markers are applied. Pastel chalkon top of the colour marker can refinethe surface's colour. Most of the time,details are final additions and give a slightlydifferent look to the proposals. Now youcan see the importance of the viewingangle. Details are not easy to draw inthe drawings on the right and have lessreadable information.Although rejecting a drawing and startingover again is, in general, certainly notadvisable, avoid constantly repairingmistakes you made earlier in the drawing.The choice of viewpoint is such a decisivechoice that it may be necessary whenyou first start drawing, to start over witha better viewpoint. Practice will teachyou to predict the better viewpoint. Hintsto keep in mind are the location of mostinformation about the product, and tokeep judging if that is displayed with onlylittle a foreshortening. Try it and check forexpected problems at an early stage of thedrawing. Where should the emphasis be?What is it you want to communicate? Andwhat will this viewpoint emphasise? Theseare simple but effective questions to keepin mind.

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3.4 EYE-LEVEL P ERSP ECTIVEObjects that are larger than the sizeof a person are often drawn in bird's-


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CHAPTER 3 VIEWPOINT / 3.4 EYE-LEVEL PERSPECTIVE

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This transition can be made if onerealises that we generally draw in 2-pointperspective. The lines in vertical directionare not foreshortened. Th us, the verticallines of an object drawn in bird's-eyeperspective have l i terally the same lengthwhen drawn at eye level (colour arrows).The other advan tage of this is that nomatter f rom how h igh or low we draw anobject, the width of the sha pe (and draw ing)remains the same (see the black arrows).

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Start by drawing a (red) surface throughthe object at eye height. Draw a horizon.The h orizontal distance between the verticall ines (black arrows) rema in the same ateye level. These l ines cross the horizon.Everything above the red surface wil lappear above the horizon at eye level. Whenconnecting these lines, the initial shape willappear at eye level. Length and distancecan be related to the horizon, but also toother vertical or horizontal measu rements.The roof ridge, for exam ple, can be drawnusing the h orizon, but also in relation tolines in the drawing.This me thod of transit ion of the viewpointworks relatively quickly and w il l, in mostcases, be more precise than drawingdirectly at eye level.

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The design sketches of the beach housegive a good overview and informationabout the overall shape of the house, but tovisualise the real-life perception of it, eye-level perspective is necessary. The principaltransitions of the bird's-eye drawing toeye level is the same as just explained:both horizontal and vertical measures stayintact (represented by arrows). But there issomething else. Bigger objects have moreperspectival convergence than smallerobjects. With this in mind, the drawing thatis used for the transition should have moreconvergence than usual, and the eye-leveldrawing should have enough convergence.

SKETCH I NG T H E B A S I C S

TipAlways start with the biggest dimensions. This reveals the overallshape as soon as possible.

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CHAPTER 3 VIEWPOINT / 3 .4 EYE LEVEL PERSPECTIVE

In this line drawing the shadow lines havebeen thickened. Just before that, thefirst outcome of the transition is criticallyregarded, and corrections and adjustmentsare being made. This is an important phase;let yourself be guided by both perspectiverules and your eye'. Evaluate with your"e' is one of the most important rules in

awings and other visuals.IU can choose to place the drawing in acture to add the right surrounding mood'the design, or its design context. It is of

mrse important to match the horizon ofe picture exactly with the horizon of theawing.

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SKETCHING T H E B A SIC S

3.4.2 Central Perspective atEye LevelIn a picture or drawing at eye level youcan find the horizon by elongating some ofthe perspective lines. The intersection lieson the horizon. When you know the size ofan object in that space, you can relate it tothe horizon. Here, a stool with a height of45 cm fits 2.5 times into the horizon height,which is thus 113 cm. This is much lowerthan the average human; it is the height of aseat! Thus the interior appears much higher(and more spacious) at first glance than youwould expect from a standing height. Theheight of the windows, for example, is twicethat of the horizon, which is 225 cm; muchlower than was expected at first glance.

Central perspective is often used in interiordesign, when both side walls should bevisible in relation to a back wall. It is acommon mistake to think that the vanishingpoint should be in the centre. To obtainmore information about the visual aspectsof one of the side walls or objects on thatside, you may move the vanishing point.These two interior drawings of the sameinterior give a different impression due tothe different location of the vanishing point.

In this picture you canfind drawing aspectshke vanishing point (iustoutside the photo on theright) and eye level relatedto the person in theroom. This picture showsa variation on centralperspective, it iooks hkea central perspective, butthe interior becomes a2-point perspective, asthere is also a vanishingpoint at the iett in additionto the one behind theinterior.

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CHAPTER 3 VIEWPOINT / 3 4 EYE-LEVEL PERSPECTIVE

Next to the location of the vanishing point,the cut-out of a drawing can change the feelof an interior dramatically. Here you findthree drawings of the same airplane inter ior.In drawing A, the space is not l imited. Thismakes the space feel wide, open and large.I t actually does no t feel l ike the inter ior of aplane at all.In drawing B , the border of the inter ioris emphasised like a cross-section. Thisenables you to com bine technical data inits real environment, b ut make s the inter iorappear as very small.Drawing C is the preferable one; a moreplayful border is chosen. T he character isticsha pe o f the interior is sti l l felt, but nowappears a bit bigger than in drawing B.The emphasis can thus be p laced on, forexample, the ceiling light.

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A proposal for anexhibAion stand within 10x lOx 5(h) m can startwith a drawing directly ateye level. Both exampleshere and on the next pagestarted like that.

SKETCH I NG THE BASICS

3.4.3 Drawing Directly at Eye LevelThis begins with drawing the horizon. Itsheight is body length minus 10 cm, say165 cm. A height of approximately 5 m willbe drawn 1/3 under and 2/3 above thehorizon.Start with drawing the nearest vertical;estimate a perspectival convergenceline above the horizon, and draw anothervertical line. Its length will also be 2/3above and 1/3 under the horizon. Thus awall with height 5 m but unknown length canbe drawn.Estimate and draw a square, and draw theperpendicular direction by adding a nearbyvanishing point on the left (say, just on theedge of your paper). Draw another squarein that direction, on the far left. Mind thestrong foreshortening; it will appear quitesmall.Now you can finish a cube, in this case witha beam size of 5 m. You may have to adjustthe cube before you go to the next phase:multiplying the cube.

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CHAPTER 3 VIEWPOINT / 3 .4 EYE-LEVEL PERSPECTiVE

When d iagonals are drawn through themidpoint of an outer vert ical l ine, a sq uarecan be do ubled or m ult ipl ied. Using thisprinciple in a clever wa y, one can transformthe cube into a space of 10 x 10 x 5 m;i t could be a typical convention space.This grid can now be used as an unde rlayfor a drawing at eye level such as theabove. Th e eye level is at the horizon, sothe draw n perso n in front is 1.75 m tal l.

Same steps in birds-eyeview


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3 .5 G R O U N D -L E V E L F R O G 'S -E Y E P E R S P E C T IV E

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C H A P T E R 3 V I E W P O I N T / .5 G R O U N D - L E V E L F R O G S - E Y E P E R S P L C T i V E

The drawing beginswith a horiton and A special variation of eye level is frog's-the nearest vertical eye perspect ive. Here the viewer has anline. In both directions extraordinarily low viewpoint; just above theperspectival convergence ground l ike a frog, just above or even onis drawn; one vanishing the horizon.oint nearby (just inthe drawing), the other The object is drawn almost on the horizon.further away. Left and As objects are now much bigger than theright boundaries are -vIewer, a lot of p erspectival convergenceslightly tilted to suggest athird vanishing point. This is used; both vanishing points are relativelywill make the oblect look I learby. As a resL l l t, the object wi l l appearbigger. Dividing these huge, impressive or in the case of a vehic le,verticals' in, for example, maybe even fast' .halves and quarters andconnecting these pointswill give you perspectiveguidelines. Notice theamount of perspectivein the fourth step, a bigdifference in size of thetwo trailers. 79


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3 .6 HOW TO P RA CTICEIf you examine a product by looking ata picture of it, you may wonder if youcan understand all of its shape from thatparticular viewpoint. In this example aside-view picture of a 1970's Braun Nizo8-mm camera by Dieter Rams is used as astarting point. By tracing it as shown in thetop drawing, only tracing the object's mainfeatures as they stand out in the photo, youmay expect this rather vague result: partlyin perspective (camera lens), partly in a sideview (camera body). You can see that thereis no underlying construction drawn.

A professional way of sketching is to makethe construction visible. This is shown in thesecond drawing. This is a side-view drawingof the product, showing shape informationsuch as where a surface changes fromflat to curved. Different product partsand details are grouped and ordered. Thedifferent parts of the lens, for example, aregrouped around a central axes.Adding shading makes it easier to read theproduct.

Could you reconstruct the camera inperspective only having this side-viewinformation? Think about the basic volumesand how to group them. Don't bother aboutthe details; just try to find an informativeangle of vision. Here the lower perspectivedrawing reveals most shape information.A related exercise, to do yourself, is: finda picture of a product, trace it and try toreconstruct it from a different angle ofvision than the original picture.


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CHAPTER 3 VIEWPOINT / 17 MORE TIPS

3.7 M OR E T IPS

Before you start sketching seriously, itcan be h elpful to warm up, get loose andrelaxed. This way you can also straightenyour mind and focus. One way to do this isto make several large, quick sketches. Eachof these sketches was m ade in less than 2minutes, on A3 pa per, using the broad sideof grey markers.

One of the designers we spoke with toldus they regularly hold presentations formanagem ent. At those mom ents col leaguesare actually competitors as ideas areselected. In these presentations, best ideasare fi ltered out within second s, on impulse.We subconsciously m ake selections withinonly a few seconds; perceiving informationtakes a l itt le longer. Mo re thoroughinformation that leaves you pondering takesseveral minutes to take in.

So when design proposals are presentedon a wall, the most convincing drawings aresubconsciously fi l tered in a few seconds.Take a d istance from your sketches everynow and then, literally. Now you cansee be tter whether i t works or not in aprese ntation; see if it is reada ble, attractiveand has enough co ntrast from afar, or howit relates to other sketches.

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Show your work to others to get react ions.Do n ot explain first, but ask their opinion.This way they wil l look at it without bias,and ma y be struck by something that hassl ipped your attent ion, or give m eaning toyour sketch in a different way.

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SKETCHING THE BASI CSCASE

BEESTUD IO, INDIAlectric Concept Car with a self-structured platform for a Japanese carmanufacturer, 2008 Design Director: Emanuele NicosiaThe sketches are partof the design conceptinvestigation and reflectthe process of developinga design direction whichstarted from the so calledoutboard' concept. Herethe car has a platformwhere to assemble partsupon: the suspensionsystem, drive-by-wiresteering system (whichis supposed to behomologated soon inJapan), and batterypacksll like thefairing of a woodenboat. Usually two orthree concept proposalsare introduced to thecustomer for designdirection and selection.Possible layouts andpackaging of the vehicleare investigated, followingthe requests and datagiven by the client, suchas the car class, targetusers, technical featuresand sales pointsMotors are joined by aseparate structure on therear part, in the case ofrear-wheel-drive vehicles,like outboard engines.The body, at last, couldbe assembled on theplatform.

The styling emphasises this designlanguage by optically showing theseparation between body and motor, asseen in the initial sketch.

I always sketch freehand with pencil,underlining important parts with ball penand then I import the hand made sketchinto Adobe Photoshop. I keep this layerseparate from the other work layers andI draw on top of those lines with Wacomtablet..'The initial pencil drawing was thus usedto create different variations of the sameproposal. The renderings were starteddigitally, following the old school' Cansontechnical procedure, but now UsingPhotoshop tools instead of markers,coloured pencils, soft pastels and whitewatercolour for high lights.

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CHAPTER 3 VIEWPOINT/ CASE: BEESJUDIO

C A S E

Adding someperspective in side viewsketches improves thespatial feeling. This isdone by showing parts ofthe other side of the car,like the wheels, interiordetails, headrest or sidewindows.

A path tool is used fordrawing stronger linesthat divide differentsurfaces (like window

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Sketching the Basics 2011