Design Sketching approaches sketchmg techn1que m a un1que and msp1rational way by

showtng sketches from all phases in the des1gn process. The broad collection contains
sketches varying both regardtng degree of d1ff1culty and type of product displayed.
The matn purpose of Des1gn Sketchmg IS to help readers ftnd ways to better v1sualize the1r
1deas, tn a way that su1ts their personal style. Moreover, 1t a1ms to serve as a source of
1rsp1ratton and as a complement to more theoret1cal sketchtng books.
Twentyfour talented and creat1ve students from one of Europe's best design schools, the
Umea Institute of Oes1gn, have contributed to the d1verse matenal 1n this book. The collection
cons1sts of sketches taken from authentic course ass1gnments and degree projects completed
by students at the Advanced Product Des1gn, Interaction Des1gn, Transportation Design, and
Bachelor Programmes. The book is separated mto 5 chapters containing:
Basic Theory
Th1s sectton covers the most important aspects of sketching theory, (such as
matenal, perspect1ve, shading, etc.) with areas specifically selected for their
relevance to industrial des1gn.
Investigative and Explorative Sketches
Th1s chapter shows investigative and explorative sketches, which are seldom
shown in books and papers, despite the fact that they are normally produced in
the largest quantity during a design project.
Explanatory Sketches
The ab11tty to communicate the funct1on or form of a product is essential to
a des1gner. This chapter shows sketches created in order to illustrate concepts
or proposed des1gn solutions, often for the purpose of presentation and discussion.
Persuasive Sketches
The expressive sketches shown in th1s chapter don't stop at explaining function
or form, but further convince an aud1ence by conveying the mood and emotional
values of a product.
Step-by-Step Tutorials
Instructional step-by-step tutorials reveal the creation process of six sketches
that cover a broad range of complexity, from 1n1 tial outlines to advanced
reflective surfaces.
W\\'\\,dc,tgnkcrchtng.com
ISBI 91-31-739-ll







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]

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

Erik Olofsson Klara Sjolen


Erik Olofsson Klara Sjolen
Alexander Nemtsov Enc Gunnarsson Flons W1egennck Frednk Ntlsson H1rash Razagh lda R1stner
Jarno Sundell Jens Andersson Joaktm Sallberg John Andersson Jonas Samrehus Jonathan HtcJs
Karl Forsberg Karohna Rantfors Lad1slao Camarena Ltnda Bogren Mana Balthammar M1kael Lugnegard
Mauric1o Bedolla Gasca Pontus Unger Robtn Hedman Sten Haggblom Sttan Sorlle Ozgur Tazar
www.designsketching.com
.l ngtlt$ rL-erved
Product1on. GraphiC Des1gn ind Pubhshmg
Enk Olofsson andKlara SJolen
Language Ed1llng
Alex1s Emzmas
Bnan We1ssman
C1ha Berlin
L1sa Evans
Pnnted on envronmentaJ.fnendly paper
ISBN 91 631 7394 8
Copynght 2005 KEEOS Des1gn Books AB I lo Pirt of th1s publication may be reproduced m any form. or by any menns. w1thout wntten perm1ss1on from the publisher
W.desrgnsketch1ng.com
Second Edrt1on 206 0 I 0
Pnnteo 1n Swo:en by LJlmgbergs Trycen AB, Kl1ppan. Syeden
I
I
-
Table of Contents
Intoduction
4-5
Basic Theory
6-19
Investigative and Explorative Sketches
20-45
Explanatory Sketches
46-71
Persuasive Sketches
72-87
Step-by-step Tutorials
88-102
Thanks to
103
Index and Literature Tp
104
---
4
Preface
The book you are now holdrng rn your hands was first env1s1oned dunng our final year at the
Bachelors' program at the Umea Institute of Des1gn. Throughout the whole o our edua
t1onal penod. we had looked for. but could not ftnd. a modern book on sketchmg techmques
that focused on lndustnal Des1gn-g1vtng us the 1dea to make a book that could msp1re
and teach sketching by presenting the large vanety of sketches that are useful in !he design
process. We could not have been rn a better pos1tion to
_
turn such a book tnto reaht! At he
Umea lnst1tute of Design, we were surrounded by creat1ve and talented students skilled tn
sketching. The lnst1tute 1S one of Europe's most prom1nent Industrial Design schools, pro
vid1ng 4 academ1c programs: one Bachelor's Programme
_
and thre Master's Programmes
w1thin the areas of Interaction-. Product and Transportation Des1gn.
Our selections from the different areas of the Institute have resulted 1n a unique collection
of sketches from all phases in the design process, which show various degrees of difficulty
and represent a large number of d1fferent products. Since personal sketchrng style can
vary greatly amongst different designers- and no right and wrong really exist- sketches
have been chosen w1th style variety in mind. Furthermore, they are taken directly from real
projects: the sketches tncluded have not been made expressly for this book. We would have been
glad to see a more even representation of the sexes among the sketch contributors for this
book though. The truth is. the proportion of male to female contributors roughly reflects the
rat1o of male to female students enrolled tn the International Master's programmes at the
lnst1tute at the present time. Nevertheless, we hope and believe that both women and men
will feel equally addressed by the contents of this book.
A lot of time and effort IS required to accomplish a thorough and well-thought out design
project- a designer's ab1hty to sketch IS merely a small part of the skills needed during the
overall process! But the fact is, even a great design concept still has to be visualized success
fully m order to be both communicated and sold to others, 1n which the sketch most often
plays a great part.
Des1gn Sketchmg was wntten to serve as a source of Inspiration as well as help you improve
your sketchtng sk1lls and find ways to better visualize your ideas in accordance with your
personal style. We hope that it will give you many valuable tips, release your creativity and
fuel your urge to sketch!
EnJOY your read!
Enk and Klara, Ume. August 2005
Klara Sjolen was born in 1980 1n Sundsvall.
Sweden. She IS currently completmg her Master's
Degree (20) m lndustnal Des1gn Eng1neenng at
Chalmers Un1vers1ty of Technology, specialtzmg
m Matenals Sc1ence and Transportation. She has
a sparate Bachelor's Degree (2005) In lndustnal
Des1gn from the Umea lnst1tute of Des1gn. Dunng
1nternsh1ps abroad she has developd an mterest
m Public Trnsprtation.
Erik Olofsson was born m 1978 1n Umea.
Sweden. He graduated w1th a Bachelor's Degree
1n Industrial Des1gn from Umet Institute of
Des1gn tn 2005. Ertk has a spec 1al mterest tn
Entertainment Des1gn and Conceptual Art,
and 1s currently pursuing a number of differ
ent entrepreneural business projects.
Preface Introduction
I
Sketching - the Designers' Visual Language
The abd1ty to sketch 1s one of the most valued sk1lls among 1ndustnal des1gners. the1r co
workers and clients - and 1t IS not w1thout reason Sketchtng has proved over the years to
be one of the fastest ways for a des1gner to defme problems. e>pfore 1deas and develop form
whether us1ng paper. d1g1tal media or combrned, of wh1ch you w1ll see many examples 1n th1s book.
The term sketch has generally the mean1ng of a rough or unf1n1shed draw1ng, and the
act1vity to sketch IS to give a brief account or general outline of somethrng. The English
word ongtnates from the Italian sch1zzo, rn turn based on the class1c Greek term skhedtos
signifying 'done extempore - spoken or done wtthout preparatton'. One of the basic cogn1t1ve
benefits of sketching is that the mere acts of formulatrng a mental 1mage tn a concrete
way on paper makes 1t posstble for the des1gner to reflect over the concept at once and
almost instantly develop it further into a new concept. a so called Iteration When working tn
teams, sketch1ng is a valuable tool for creattve group act1v1ties such as bra1nstorm1ng and
concept evaluat1on. In professional design pract1ce. sketch1ng has proven to have mult1tude
of purposes which can be summarized under four headl1nes- rnvest1gatton exploration.
explanation and persuasion:
Often, the investigative function of sketch1ng 1s tightly connected to the early research phase
of a design project. The des1gner IS exam1nmg the problem space, and sketchrng helps
analysing the context while the problem and its components are emergrng.
Eplorative sketching IS often used when proposals of design solutions are generated and
evaluated. These sketches are produced in large numbers, are often very rough and do
seldom make much sense for others than the people directly involved in the des1gn process.
Eplanatory sketches have to communicate a clear message to others than the des1gner and
the team, in contrast to the explorative sketches ment1oned above. These sketches descnbe
and illustrate proposed concepts in a neutral and straight-fof\ard manner, and are often
created in the later phases of a project, to get valuable feedback from users. clients and
external experts.
Persuasive sketches are the most artistically impress1ve type of 1mages, often called
renderings and takes much more t1me to finish than the other types. The matn purpose wtth
these drawings is to sell' the proposed des1gn concept to influential stakeholders. such as
CEOs or Design Managers.
Of course. many of these purposes coexist tn the same sketches, and the different types of
sketches often appear repeatedly dunng the many 1terat1ons of a successful design project.
especially explorative and explanatory sketches are the most frequent types.
Enjoy this rich collection of sketches made by talented design students of Umea I nstttute of
Design presented in this book, and I hope it will inspire and st1mulate you to further explore
the visual language of design.
Nikfas Andersson
Director of Studies
Umea lnst1tute of Design
Sketch1ng the Des1gners' Vsual Languig lntroduct1on
Basic Theory
J takes a great deal of pract1ce to become good at sketchmg!
As1de from the essential ab1lt y to dral\. a good knowledge
of bas1c 1llustrat1on theofles /1ke perspeccive and shadmg IS
requlfed to create credible and attract11e sketches.
The fol/o,.,mg theoretical sect1on mcludes a summaf) of areas
or subjects deemed 1mportanc specdlcal/1 when drawmg
mdustoaf product des1gn sketches.
Sketching Media
Thts section shows examples of matenals used to create the
sketches mth1s book. b:penment w1th these and other media
to get a sense of theIf characteflst1cs and d1scover personal
favouotes. Specl1c brands are on/) mentioned as examples
and should not be conSidered recommendations.
Ballpoint Pen The sketch to the nght was drawn usmg a ball
pomt pen des1gned to create thm and exact hnes of mk. Usually.
pen shadmgs are created by hlhng helds w1th parallel slantmg
hnes. Because the mk has a tendency to bleed when marker 1s
added over 1t, marker IS somet1mes combmed wnh ballpoint pen
to create shadmg. To avo1d thiS effect when usmg markers oer
ballpomt pen line art. try usmg a different m1x of marker and pen
brands. (Fr example. 81c Orange Fme ballpomt pens do not bleed
.1th Cop1c markers.)
Y Coloured Pencils Many brands offer coloured pencils m a mul
Illude of colours and hardnesses. These penc1ls are less reflec
t1ve and have h1gher p1gment saturation than graphite pencils.
Coloured penc1ls are used both alone and m combmat1on w1th
other med1a. Hard penc1ls g1ve thm and exact lines and are often
used for loundat1on sketches. wh1le softer ones can create high
\
Marker ThiS IS a type of felt lipped pen, available In a wide
range of colours. Marker can be applied m one or more la ers
layenng strokes of the same colour Will darken an area wlfh
,
saturated colour To create a smooth surface, marker Ink must b apphfd QUICkly and liberally, covenng the whole sur face bel t
e
has dned.
ore 1
lt Is a go Jdea to buy marlers 'n pars I e two of th
colour, bt m:h dlffenng lightness/satu ;atlo
.
n T
e me
together to colour th, different surfaces of
. ey can e used
:
;
ltg
d
h l
f
or In the shade n:spectvely The m:s

l
a
y
t
u
a
;:
d
hlt
ran o marlers m this bo IS Cop,c.
setthlng tela
For mor e\penenced readers. these pages can act as remmd
ers. h1le for the begmner, the\ can ser1 e as an out/me otthe
most 1mportant dra\\ mg techmques and also as a check/1st
of areas to gam greater Jnowledge of. For a /1st of ltterature
that co1ers these areas more thoroughly. please consult the
literature t1p l1st on page 104.

4---. --.
light and extrapowerful outlmes. Black and wh1te coloured
pencils can be useful for creating quick planar v1ews, possibly on
coloured backgrounds or coloured paper. Many of the sketches 1n
th1s book were made with Sanford Prismacolor (soft) and Sanlord
Veflthin (hard) brands of coloured pencils, frequently In blacl<,
white and 1nd1go blue.
I
\
Ba1C Theory
Y Airbrush Arbrushmg creates shad1ng w1th a very smooth grad1
ent. To create sharp edges. n IS necessary to mask ofl (cover)
areas that are not to be coloured Maskmg IS used for many me
d1a, but 1s especially 1mportant lor alfbrushmg, smce a1rbrushed
fields cannot be erased.
There are many arbrushmg systems available, from the trad1
t1onal to the more modern ones that Involve a s1mple marker pen
attachment. hke the Cop1c or Trta marker alfbrush systems
Y Pastel Pastels are often used to create grad1ents, or for cover
mg large areas like backgrounds. They can be used to express
light reflections or shmy and transparent surfaces such as glass
and displays. In order to achieve an evenly f1lled surface. e1ther
draw past the lines of a part, using an eraser to remove redun
dant pastel, or mask off the area before addmg the pastel. To
create tile impression of a lit or shmy surface; s1mply erase the
pastel from the area meant to appear lit.
To enable a smooth application, pastel blocks can be scraped to
obtain a powder, which is tllen mixed with baby powder and ap
plied to a sketch with a soft pad or cotton wool. Pastel powders
of different hues can be mixed to create the des1red shade.
Sketching Medm
Y Gouache Th1s 1s an opaque and water solubl coloured pa1nt
often used for v1brcnt h1ghhghts lt 1s normally mDed \lth v.ater
(retammg coverage) for a more eas11y controlled and fluent con
s1stency. Gouach IS <PPIed to a sketch w1th a hne lipped brush
Y Digital Software lt 1s also poss1ble to sketch w1th the a1d ot a
computer and graphiC software A d1g1tal pen and draw1ng board
1S preferable to usmg a mouse. smce the pen alloNs tor more
accuracy and control. Many hm1tat1ons of traditional med1a can
be overcome when wor"mg d1g1tally. for example, a sketch can
be reworked or recoloured indefm1tel without destroymg tt.
D1g1tal med1a IS often used on scanned handdrawn line art, to
add separate layers of colours and ellects. The most commonly
used software for workmg d1g1tally on sketches m th1s book are
Photoshop and Pamter
Paper The paper can mfluence the performance of some med1a.
A paper's gram or smoothness w1ll determme how fme and clear
ly lines can be drawn, and can affect the appearance of coloured
penc1l or ballpomt pen sketches. Markers are often used on
'bleed proof' paper. a kmd of paper that doesn't allow marker 1nk
to seep through. Th1s protects underlymg surfaces from gettmg
stamed. and prolongs the life of the marker pens. When marker
1s added liberally, bleed proof paper's low absorbency allows for
more e>act marker helds. A brand of marker paper commonly
used for sketches m th1s book tS Letraset
Bas1c Ther
B
Material
The sAetches below shOI\ on/1 a fel of the many ways that
matenals can be Illustrated. Rendermg sk1fiS can be 1mproved
b\ observmg the way that matenals and te.tures reflect light.
and b1 trmg to repl1cate these efects usmg diferent sketch
mg med1a and techntques. A general prmc1ple to keep m
nund. concermg all matenals, is that an object's shape Will
also comey a matenal. Because of the des1gn limitatiOns of
some matenals. small deta1ls such as the siZe of edge radi1
re1 ea/1\ hat Amds of matenal the objectrs made of.
Matte Plastic Matte plastrc has been Illustrated here (the green
parts) usrng smooth and soft shading. w1th very vague or no
reflectrons. (Black and whrte soft penc1l. marker)
Metal Any h1ghly reflective materral should appear to mrrror
rt surroundings on rts surfaces. Dthrs example (above), a rough
rllustratron of the reflect1on has been created usrng h1ghly con
trast1ng and defrned fields combrned w1th grad1ent areas. (Black
hard penc1l. black and wh1te soft pencil, marker, gouache)
Varnished Surface A varnished surface has been Illustrated
htre us ng rough reflections created With marker and a hberal
apphcaton of highlights. Smooth gradients of a slightly different olor DW ben made With pastels, rndrcatrng reflectrons of dlf erlnt colours rn lhe etmonment (Black hard pencil h t ft Ol, marh:r, pastel, gouache)
I e so
Matroal
. Textured Material The tchmque used here (see the black gnp
surface) 1s called frottae. and IS used to md1cate textured surfacts
11ke grrps or cloth. A dra\,mg tool (e.g. a pencrl) IS used to makt a
rubbrng" over a texturd underlay. thus transferng a textured ap.
pearance to the paper Many different sunace te. lures can be trred
to ach1eve a desued effect. for e'ample. by usmg plast1c folders,
metal screens. not1ce boards. etc. (Wh1te soft penc1l, marker)
Shiny Plastic In th1s case. a saturated blue colour has been
chosen. rn order to avo1d the risk of confusmg the plastic w1th
materrals that are typ1cally rendered rn shades of grey. such as
metal or rubber.
The more contrasts and defrned reflectrons there are on a sur
face. the shrn1er the materral wrll seem. (Black hard pencil, black
and whrte soft pencrl, marker, gouache)
Rubber Rubbery materrals are characterized by surfaces wrth
soft gradrents and very low contrasts. These effects have been
produced here usrng pastels and coloured pencils over a layer
of dark marker. (Hard and soft black pencil, white soft pencil,
marker, pastel)
A Transparent Material Trnted transparent materials have deeper
colour 1ntens1ty where the matenal is at its thickest. Clear trans
parent parts often conta1n complex refractions that can be too
trme consumrng to rllustrate 1f they're not simplifred (catalogue
photos of transparent products can be studied to get a reference
on how to make controlled and s1mphf1ed refract1ons). The 1llu
SIOn of a transparent materral rn a sketch can be enhanced by
drawrng somethrng beh1nd the object that 1s v1s1ble through the
materral. (Black hard penc1l, wh1te soft pencil, marker, PhotosDop)
Basrc 1hy@
Perspective
In order to create bel1evable sketches, 11 IS 1mperat1ve that a
designer has an understandmg of perspectiVe theory. An aud1
ence w11f mstmcllvefy know when a sketch has been drawn
out of' perspect1ve, even Without knowmg perspectiVe rules.
Correct perspective 1s a/so v1tal for the des1gner to be able to
estimate and convey the proportons of a sketched object
-
Two-point Perspective The sketch above Illustrates the rules of
twopornt perspectrve. Notrce that all vertrcal lines on the boxes
are parallel to each other, and perpendicular to the honzon line
(r.e. the horizontal hne drawn across the p1cture that rnd1cates
eye level). Parallel horizontal lines on the actual object are not
parallel in the sketch, but meet at a specrfic 'vanishrng pornt' on
the horrzon lrne (blue and green dots). These van1shrng pornts
are arbitrarrly placed by the des1gner. To better understand the
effects of vanishing pornts, the object can be drawn several t1mes
with variations in the placement of the pomts. Placrng the vanrsh

Threepoint Perspective Thrs perspectrve IS based on the same
pnnciples as the twopornt perspective, but 1ncludes a th1rd
van1shrng pornt placed above or below the Object. Vertrcal lines
(drawn parallel 1n twopornt perspectrve) now converge at th1s
Prspecltvc
-

rng pOintS too close together results rn a d1storted or ,.arped
perspect1ve. To avo1d th1s effect make sure that a perpendicular
front corner (marked here rn red) of an Object creates a substan
tral angle between the vanrsh1ng pomts. Trs angle should exceed
90 degrees.
thrrd pornt. A threepornt perspect1ve Will make a small object
appear closer t o the v1ewer's eye or a large object seem more
monumental. g1vrng a sense that the object 1S be1ng seen from
h1gh above or far belo"' (often used rn architectural sketches).
IC Dfy
U
Keeping Proportions in Perspective Descnbed below is a
method used to draw the correct proportons of two or more
eQually szed objects 10 perspectve. Ths example shows how a
second square (dashed lines 10 last illustration) IS drawn proper
t1onally to the ong10al square.
1 Mark out the centre of the f1rst square
by mtersecttng the hnes drawn between
opposmg corners.
2 Fmd the centre of the side line by draw
ing a line from the first square's centre
towards the nght vanishing point.
3 Create t
.
he sides
.
for the second square
by extendmg he Sides of the first square
towards the nght vanishing point.
.
,
.
.
, .
,
.
#

, ,
#
#
J
#
R Fmd the furthest corner of the new
square by drawing a line from the closest
corner of the frst square, through the
centre of the side (2) and reachmg the
sde extenson (3).
5 Create the last stde of the new square
by draing a line from the left perspec
ttve pomt, through the furthest corner (4)
and to the right s1de extension (3).
6 All sides of the square to be duplicated
are now defined.
/
Te retangle were drawn to appear the sa
.
l

h
quall y spaced n perspective, usmg the method ;:
e
l;
n
k
d
e1r proporttons correct.
eep
Keep'" miOd that dtstorttons can occur when this m thOd
repated many tmes 10 a two Ol
e ts
the result should b dou
ble c
h
c
kp
u
e ;,
e

tve. In these cases,

ltons appar baus the twopoiOt r
g e eye. The dlstor-
he rtresentallon of reality, which

s
=

s o
h
nly a stmpl
three pmt pers.cttve.
Y t e u
man eye 10

I
I
-
& Construction lines St t
in e
ar lOg a sketch by making some lead
ts
g
:
f
_

Uve lines helps to defme the space the ob1ect and

destgner sk
t:
t

ll occupy. These construction lines help the

ftn1shed sket h
greater confidence and can also make the
c more readable.
Baste Theory
Complex Forms in Perspective
lt takes some effort to draw a complex symmetncal form cor
tectly m perspective. The method descrtbed below can be
pract1sed to 1mprove one's ab1l1ty to tllustrate these forms.
) Ftrst, a perspect1ve gnd IS set up, onto wh1ch the form wll be
built. Next, contour llnes of the s1de v1ew and the near half of the
top vtew are drawn.
Once a better understandmg ofperspectiVe shapes IS at
tamed. this process can be Slmpltf,ed.
2 To create the correct shape of the top vtew outline, chosn
pomts on the near half of the top vew are mrrored across the
centre hne usmg the teepmg proport1ons Mperspectve"-method
(see page 10). The mrrored po1nts are then connected wtth a
hne, completmg the top vtew contour When the entire top vtew
contour IS defmed. the perspective and contour lines are traced
onto a fresh page to keep the sketch from becommg too clut
tered.
Front view cross-sections of the near
hall of the form are drawn. defimng its
shape.
4 The cross-sections are mirrored across
the centre hne. The method for keeping
proportions Mperspect1ve- s repeated as
necessary to fmd support pomts mtrrored
to the other side of the centre.
All of the completed cross-sections
make up a shape-descnbtng skeleton'
that shows the correct form n perspec
t1ve.
6 With the crosssections in place. the
contours of the object in perspective
can be drawn accurately.
'
LD0!0 0fO$ tn Prspecltve 85tCery 11
<

Ellipses
Cucular shapes eJISt m many objects. therefre tt l tmportant
t understand how the) are drawn h perspectne as ellipses.
lt 15 a common m1stale to dra1' ellipses H an mcorrect
perspectne, but they can, m fact, east/\ be drawn correctly
The Ellipse An ell1pse IS symmetnc along two axes: the mmor
a IS (blue) and the ma1or ax1s (green). These axes are ahays
perpendicular to each other
'

^
.
?s

I
I
.. Values of Ellipses Ell1pses of d1ffenng value or degrees
appear on the sect1on surfaces of the cylinder (above). The values
state how much of the ccular area 1s seen at that pomt. The
lower the value, the closer to perpend1cular the v1ew and the
shorter the mmor ax1s of the ell1pse w111 be.
The same rules apply to honzontally placed c1rcular areas (nght).
A c1rcle v1e"ed perpendicularly from the s1de appears as a hne
(correspondmg to the value 0) Note that both 1llustraltons show
the crcular planes as parallel. w1th ther mmor ax1s pomtmg 10
the same drect1on.
Llt$
>\hen baste theones are understood.
Drawmg elltpses b}hand IS tfld) at ftst, but get eas1er w1th
practtse. To achtele perfect elltpses, gutdes can be used.
/
A Cylinder i n Perspective The mmor axis of the ellipses at the
ends of a cyhnder must always coincide w1th the central ax1s of
the cylinder, and pomt to the same van1shmg point.
20"
10'
o -
-
Basle g@
Centre of the Ellipse The centre of a Circular area shown 10
perspective, an ellipse, does not comcide w1th tne point of intersec
hon between the ellipses' minor and maJor ax1s (blue respectively
black dot) This IS due to foreshortenmgs. since just the crcle IS
shown In perspective.
The centre of the circular area will mstead be found by placmg
it on a square surface. The centre of the ccle 1s the pomt of
mtersectlon between the square's d1agonals.
A very important thing here 1s to draw the square so that 11 IS
situated In the same plane as the circle Is!
Lh$
Choosing the Ellipses' Value Take a look at the three ellipses
drawn or tht rcctangul

e 1 t, the left) ObviOlSiy onl one

of them represents a c1rcle correspond1ng to the perspect1e of
the rectangl., WDll5\ the OO6f two have lDCOIIbCl v dues Wh1Je
the eye can often chose the correct value gu1des c,m be helpful
whc: n drawmg an ell1pse
A useful gUidt can be created by dramg a square the same
perspect1ve. placed on the surac on wh1ch the ell1pse SitS. n
elltpse that can be plactd w1th s1des touchmg the centre pomts
of thiS square w11111avt tht correct alue Note that hen usmg
a twopomt pcrsp.ct1ve (as opposed to a three po1nt perspec
t1ve). th1s method has 1ts restnct1ons The best gUidance square
IS placed approximately at <n equdl d1stance to the lell and nght
van1shmg pOints. However. 1f the gu1dance square IS closer to one
of the two van1shmg pomts. lOE ell1pse W\lI be too \arpd to fit
mto the guidance square
Concentnc Ellipses When two or more ellipses are placed
\lthm each other and displaced along the1r mmor a11S, concave
or convex torms are created (below).
If the ell1pses are mstead placed w1th comc1dmg centre pomts.
they are kept on the same plane
BaSICeoQ 1
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Line Weight
Usmg lines of drtfer111g thickness can help clarif a form and
add dvnamtcs to a prcture. Lme we1ght can be used H a vane
tJ of avs to emphasrze chosen parts of an obJect. strengthen
the perspect1ve and create depth.
.. Basic Line Weight The upper nght hand 1mage shows baSIC
line weght treatment The thickest lines are used for the base
lines (lines descnbeng surfaces on wh1ch the object rests-en
th1s case a ground plane), the second thickest lines are used
on edges that ha\e a1r behtnd them(note that these are not only
contour lines. but can occur wtthm an object). \\hlle the thtnnest
lmes descrrbe edges that pomt towards the vtewer.
.. Exaggerating the Contour Line Eaggeratmg contour lenes can
'pop' an object forward, pushmg the other Objects further mto
the background and addmg depth to the picture. Ths treatment
of contour lines s otten used to dstmgUtsh objects of 1mpor
tance.
There are other line \eight effects one can use to enhance the
oerall quality of the sketch as well. Two examples (not shown
here) mclude showeng lightmng by th1ckenmg shadow-s1de edges
and ustng thtnner lines on light-s1de edges, or enhanc1ng per
spectJ\' by decreasing the line we1ght as the lines stretch further
from the veer.
Cross-sections
Cross-sections and Part Lines Crosssect,ons are lines that
follow the surface of an object to help the eye read' a form
These lines are often thm or of a different colour. makmg th
.
em
eas1Jy d1scernJble. Rounded and complex shapes are more eas11y
descnbed usmg cross-sections.
RH es appear between the d1Herent parts or matenals that
a product s composed of. When placed correctly. part lines
mae an Object look more realistic, and they are often drawn 10
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sketches to serve the same funct1on as cross-sect1ons tn descnb

ng form. One common example IS the me between a battery
door and the rest of a plasllc casmg.
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Shading
Datk shadmg appears on an Object tn areas where the ltghlmg
ts blocked or mdtrect Before shadtng an object, the dtrecl1on
of the l1ghtmg should be chosen wtsely, as the shadows tt
produces can help to deswbe the object's formand/or create
a spectftc mood.
A Basic Lightning The arrow next to the cube mdcates a
light-source d1rection commonly used for des1gn sketches. Th1s
lighting scheme makes the top surface of the cube the bnghtest,
its right side the darkest. and the left side a shade 1n between.
Th1s lightng has also been appled to the cylinder and sphere.
Rounded forms have smooth gradient shadmg.
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Shading
In the fo/lowrng two e\amples, the lrghtmg has been chosen to
make srmple forms appear clear/}. Hov.ever, the pos1ttontng
and angle of the ltght sources should be consrdered a mere
recommendatton. For objeCts and composHions wt:h greater
complexay. the ltghtrng that creates the most suttable shades
for descrtbtng the Object's form wr/1 val).
& Cor Shadow An object IS seldom ht b}' a smgle light source,
but usually by several lights and or light reflected uom surround
mg surfaces. When a curved surface s ht from two opposmg
s1des. a dark core shadow will appear along the rad1us of the
curve. Ltghtmg that creates th1s kmd of shade IS most su1table
for descnbmg rounded shapes.
These objects (above) are ht usmg the 'bas1c lightmg' descnbed
to the left, but are also hn by ltght bemg 'bounced trom the
ground. The cylinder shows ho\ a core shadO\ IS produced
vertically, bemg lit from the nght by a second hght source or light
bouncmg from the envronment.
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Cast Shadows
T1e type of shadol\ that an 1llummated obJeCt casts on anoth
er obJect ts called a cast shadOI. 11 can help descrtbe not on I}
the frm of the ObJect castmg the shado'' but also the form of
the object that IS h1t b1 1t. Fo1 e.ample. a rearvtew mmor on a
car can cast a shado11 along the s1de of the car. workmg l1ke a
cross-sect ton followmg the car's form Shadows also g1l' e the
Choosing the Light Source The most common way to treat
llghtmg for cast shadows IS to 1magme a light source endlessly
far a.ay, resulting 1n perectly parallel light beams.
In order to construct a cast shadow. two thmgs must be dec1ded
first:
A Shadow Cast by a Cube Here. the cube's shadow was begun by
sketchmg the green ltnes along the dtectton of the shadow. Th1s
was followed by sketching the blue hnes. The outlmes of the cast
shadow were drawn between the mtersecttons of the green and
the blue hnes.
Note that the upper edge of the cube and the edge 1t creates m
the cast shadow converge. po1nt1ng towards the same vansh1ng
pomt (see thetr dashed extens1ons) Even cast shadows are
bound by the rules of perspect1ve. Us1ng perspect1ve lines and
vantshtng pomts, together w1th the blue or green lines IS another
way of constructmg the cast shadow.
.. The Shadow Because light naturally tends to 'bounce' f
UO W an trtmonment. cast shadows normal! exhibl
om
darer core that fades the further 1t falls from an :b t
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sketch ltf and contrtbute to the realtsm of the p1cture.
When a destgner kno11s the baste theones of hOI\ shado11, a1e
cas!, 1t 1s poss1bfe for htmlhel to dral\ a S1mpltf1ed, tune sa1
mg cast shadOI\ that st1ll senes 1ts purpose. poss1bl> addmg
an arttst1c d1mens1on to the sketch.
1 The angle of the light source 1n relat1on to the homontal plane
(the dlfeCl1on of the green arrows. affectmg the drecllon the
shadow IS cast m).
2 The vert1cal placement or apparent height of the l1ght source
(verttcal d1rcllon of blue arrows, affectmg the length of the cast
shadow)
&Shadow Cast by a Sphere To understand this shadow, 1mag1ne
a cylinder- w1th the same d1ameter as the sphere, and w1th 1ts
ax1s aligned m the same direction as the l1ght- culling through
the ground plane. The elliptical cult1ng area on the ground plane
comc1des w1t1 the form of the shadow.
&Shadow Cast by a Clinder In th1s case, the ellipltcal part of
the shadow IS vert1cally placed between the top and bottom of
the cylinder. Th1s w1ll g1ve the elliptical part of the ellipse 1n the
cast shadow. furthest away from the observer. a value somewhere
between the values of the top and bottom ellipses of the cylmder.
Shadows on Non-planar Surfaces The dlustrat1on on the left
was begun by drawmg the part of the shadow that htts the top
surface Next. an tmagmary downward extens1on of the obJect
castmg the shadow was drawn. endmg at the bottom surface
(dashed lines). Thts made 1t tt poss1ble to cast the shadow onto
the bottom surface The shadow was completed by connectmg
the outlmes of the top and bottom shadows. creating the shadow
that falls over the t1lted plane.
8;s1c Theory
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Reflections
Reflection in Perspective T1: 111ustrat10n shows some bas1c
pnnc1ples of refh:ct10n Due to perspect1ve, the diStance betwen
the ObJect and the m1rror IS no longtr the Sdme as the d1s!unce
between the reflected ObJeCt and the m1rror meanmg that the
green pomts of reflection are not placed 1n the m1ddle of the blue
reflection hnes The reflected objects also become smaller than
the ongmals. Thelf proport1ons and placement m the mlfror can
be lound by us1ng the "Keepmg proporttons tn perSp8ie" mtthod
(see page 1 0). Note that the reflect1on always occurs along a hne
perpendicular to the mtrronng surface.
The sphere IS most eas1Jy mlfrored by frst mlfronng 1ts rstmg
pomt and then drawing the reflected sphere.
Reflection of Surroundings in Non-planar Objects A common
way to show that an obJect 1S highly reflect1ve IS to place tt m an
1mag1nary desert environment. resultmg m reflect1ons of blue
and yellow gradients describing 1ts form.
The inset sketch. showing an eye 'seeing' the s1de v1ew of the
cylinder, helps to explain the distribution of the reflected scene.
Light from any point in the environment will h1l the reflective sur
Rtllectlons
Not1ce that the ell1pss and ther relect1ons do not have the
same values The lo.er the elltpses are placed 1n the reflect1on.
the more ctrcular they appear
Th1s vert1cal reflect1on 1s created usmg a two pomt perspec!lh:,
so the mlfrored ob,ect .1ll not be smaller than the ougmal
face w1th an angle of mctdence equal to the angle of reflection.
Note the behav1our of the reflect1ons on the convex and concave
shapes at the end of the cylinder
Env1ronment rellecllons are often rendered m a very s1mpllf1ed
manner and can be shown m any colour, dependmg on the cho
sen env1ronment (see the car sketch below).
Highlights Htghhghts are parllcularly strong reflect1ons of
ltght, appeanng on sharp corners or edges such as those of
part ltnes. Highlights are small deta1ls that at first m1ght seem
insignificant to the overall 1mpress1on However, they are tmportant
because they add a great deal of hfe and bounce to the sketch .
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U0mp08|I|00a00Uaukg|00008
Choice of Perspective When choostng a perspective. I ts tm
portant to constder not only whtch vtewmg angle wll best eplatn
the product. but also what feeltng you want the Object to convey
Usmg < trog's eye-vtev.' (low hom:on) mahes an ObJeCt appear
pov.erul and mtght} _ and the vtewer small. (Natural!. thiS effect
Dection When dra'"ng several ObJects or v1ews of an object
tn the same compostt1on. thetr d1recuons should be taken tnto
constderauon. D1rectton can refer to a course of mouon (in the
case of a mov1ng object. such as the truck below). 1f the object
has achve faces'. or mdeed tf there IS a perceived 'dtrecton'
dtSttngu1shable by the object's shape (e.g. 1f l 1s easy to tdentafy


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l Points Focal pomts are used IH sketches to lead the
vteter s eye to the most 1mprtant areas of a product or to
detals an a des1gn that the des1gner chooses to pomt ut Focal
p1nts are created by maktng certa1n areas purposely nc||n
detatl, strong n colour intens1ty or htgh 10 contrast.
.. Background Box A background box IS often used to 'tighten
up a sletch by covenng old ske!ch|nlanes and colour fields
dra "'" outside the lines of the ObJect The box can I
bacround. addtng more contrast ad maktng th
a so
d
serve as a
out
e pro uct stand
flotace that when thl bttom edge of a background box ends
oan ObJect, the obltt appears to float Converse! h
the bttom edg s aligned wtth the restmg plane as s
w en
Im sJtch to the nght, 11 can be tnterpreted as toe edg
ow10
sur.Ce or a :able top.
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ComnnnardS=mnds

depends on how the spec1f1c product 1s normally seen)

.
Ustng a 'btrd's eye-v1ew' (h1gh honzon) places the obJect below
the observer. g1vmg the v1ewer a sense of survey and control.
One way to make a sketch more dynamtc and mterest1ng 1s to use
an obltque honzon.
one part of the object as 1ts front').
Objects pomtmg outward near the edge of a page can somet1mes
feel uncomfortable and having all objects tn a compos1taon
a1mmg towards the same pomt makes the sketch feel staff. A
balanced compostlion can be achteved by varymg the dtrectaons
of the objects, as well as their s1zes and perspecltves.
Basc Theory
Tying the Composition Together A few mtnutes of extra work
can create a more composd and 'ftntshed' sketch. Expenment
wtth d1lferent ways to t1e a compos1t1on together, ustng colour or
just a few lines.
Frammg the composttlon can also be used m an tllustratve way.
as m the sketch of the shampoo bottles (nght) where the bubbles
suggest the product's envronment.
Explaining a Course of Events A senes of events-such as
how someth1ng collapsible folds or what happens when a button
on a product 1s pushed - can be explamed by usmg step-by-step
1llustrat1ons. Sketchmg a product tn th1s explanatory way ts often
an etfecttve way to give the audence a qutck understanding of a
product's functions.
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#Exploded Views Exploded v1ews hke the one above show
a product's components. offset from each other and spread
from the centre. These v1ews serve to demonstrate a product's
component parts, explatn a product's assembly and also help to
clanfy form and functon.
Ccmoclcnand Backgrounds

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Logotypes Whenever a real logotype s used tn a sketch on a
product or as part of a compostl1on/presentat1on. 1t should be
reproduced m a way that does not offend the comm1ss1oner. The
logotype ts an mportant symbol for a company and should not
contain careless spelling m1stakes or have 1ls tdtom changed. If
applicable, use an underlay of the logo for a sketch or rendenng.
Any corporate logotypes have been removed d1g1tally from all
sketches tn th1s book (th1s was done to present the sketches
tn a more neutral way and to prevent any chance of trademark
Infringements).
SastcTheory 1
In the ne"t three chapters. sketc1es are grouped mto fam1/Jes
accordmg to thetr funct1onal roles m the destgn process. The
d1ferent tam11tes are: lnvest1gat1ve and &pforat1ve Sketches.
&planatof} Setches. and Persuas1ve Sketches. There are
no spec1fc borderlmes bet\een these groups; m fact, many
sketches def categorizat1on. sketch I often created for
mote than one purpose, or may have the capac1t)' to be used
for somethmg other than what 1t was m tended for-as you
wtfl nottce. several sketches H thts book could have served as
e"amples for aspects presented H more than one of the diff er.
ent chapters.
Investigative and Explorative Sket
ches
Th1s chapter contams sketches created tn the tdeattOn phase
of the destgn process, 1.e. sketches used to structure and
understand a problem. as well as to generate and explore
soluttons; functions or forms.
These types of sketches are often draL quickly wtth a loose
hand and are created for the des1gner's use or for use Lwthm a
des1gn team. Readable tdeatton sketches can play an educa-

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Poe!ry in MoIionA rapd Ideation sk h
shfuotlons (Black soft penc I b
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c made to explore and
a pomt pen)
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tional role later m the destgn process because they illustrate

the basis on whteh decistons have been made and explain a
sequence of work to others.
The often quick nature of these sketches makes 1t poss1ble to
generate a large quantity of drawings, allowing for many solu
tions to be tried out and evaluated.
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lnveshgahve and Eplorahve Sketches

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Iron, Universal Design In Ideation sketches, 1t is often useful to
add smill text notes to ensure that new thoughts and ideas that
arose during the sketching process are not forgotten. Objects
that serve as formmsp1rat10n, such as the fish and the Cterpillat U
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Fredrk N1lsson. Bachelor Progrmme

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the example below, may also be 1ncluded H the sketch as small

remdefs of the exploration process. The sketches thereby
become more characteristic and enjoyble to look at. (Blue soft
penil]

Investigative Jnd E(ploratove SketchtS <1
Lawn Mower The marker f1elds do not necessanly represent
realistic reflections and shadows. but can mstead be used to
commun1cate the ob)ect"s form. A up from rh1s des1gner 1s to
never treat your sketch as 1f 1t were sacred m Itself -the most
1mportant thmg IS to contmually develop the form dunng the
sketchmg sess1on.
Jolm Sahbrg, Banelor Programme
Another useful tip I5 to start by sketching the basic shape, gradu
ally add1ng deta1ls as the sess1on progresses. Th1s way, it 1s pos
sible to stay focused on developmg the form. rather than getting
mvolved w1th mmor details too early N the process. (Black hard
penc1l, wh1te soft pencil. marker)
ln.estgathc and Ewplor;lle Sketches
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Orientation Tool, Library Project These sketches were created

to explore form. Th1s des1gner flfst sketches qu1ck s1de v1ews
to discover a form worth explonng further, and then shows the
obrect in a perspective it 1s normally observed m (as seen above).
Form > further defined by sketchmg the ob1ect m a vanety of d1f
ferent perspect1ves. (Black hard penc1l. soft wh1te penc1l, marker)
J
Joak1m Sallberg, Bachelor Progr:mme
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Hand Drill The senes of sketches below explore the obrect's
form from d1fferent pomts of v1ew. (Black sott penc1l)
lnvstlgattve and [l<plorah\e Sketches Zd
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ArticuIa!ed Dump Truck Many A3s (ll"xl Y sheets of paper)
\ere filled w1th these 1deat1on sketches. wh1ch explore the devel
opment of a truck from d1tferent angles. Construchon parts and
technical details have been h1dden m shadow m order to save
t1me and to ensure that the le'<el of detail 1s kept relevant to the
current development stage. The add1t1on of human figures g1ves
both the des1gner and the v1ewer a clearer sense of the truck's
scale.

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Trar>Prlallon Design

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These sketches were created initially with ballpoint pen. followed
by marker and then f1mshed w1th another heav1er layer of ball
point pen to sharpen and define lines. Heavy ballpomt lines have
a tendency to smear when marker 1s applied over them, hence
thetr application after the marker for these sketches. (Ballpomt
pen. marker)
ln\SIIgatle and Eploraltv t

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& Dish Brush Elaborations have been made m the sketches w1th
the a1d of text and by enlargmg a sect1on, shown encircled bes1de
the ongmal. An arrow lmks the enlarged part to 1ts pos1t1on on
the ObJeCt. A hand serves as scale reference, simultaneously
showmg how the brush 1S to be handled. (Hard and sort blue
penc1ls, feltlip pen, marker)
LncGunnarsson. Transportation Oes1gn (sketches from Bche|ot)
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Rough sketches can help to defme the bas1c concept for a
product. When th1s has been acheved. sketches w1th a h1gher
level of deta1l are needed to clearly commun1cate and defme de
ta1ls such as part hnes. matenals. textures etc ThiS h1gher level
of deta1l makes 1t eas1er to evaluate the proposed des1gn both as
a whole and m deta1l. (Hard and soft blue pencils. ballpomt pen.
marker)
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Underwater Entertainment Robot Th1s des1gner used rap1dly
drawn famt lmes to help keep these sketches in perspect1ve. In
the cluster of sketches above, a favounte design has been h1gh
lighted w1th a marker background. (Ballpo1nt pen, marker)

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Shadows were used to lift these objects from a ground plane,
creatmg the impression that they are floating. The marker fields
add contrast and separate surfaces of differing materials from
each other. (Ballpomt pen, marker)
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Pl8VW0 Lxl0t8m Sketches

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The designer found one line art sketch of the robot particularly
1nteresting, and used Pl1otoshop to quickly explore further shape
and colour possibilities. (Ballpoint pen, Photoshop)
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7
Ballpomt pen lines were drawn d1rectly on a pnnted photo of
a foam model. This a common sketch1ng method for worktng
through a des1gn. Best used m the later stages of a proJect, thts
method allows for explorat1on of deta1ls such as the placement
of part lines and graph1cs. (Ballpomt pen, marker)
Goggles Here, the des1gner used a centre contour hne (or
crossseclton cul"e) t0 descHbe the symmtOcal plane of the
form and to dehnE the surfaces The sketches were left vague,
leavtng room for mterpretat1on -a fck used at the conceptual
stoge to leave more opt1ons for the destgnEr laer U the desgn
proess. Smce \D\5sketch I5 of a spCrt5 0ro0uc!.extro loose
ness was use to add speed. movement and life. The 1mpresslon
of !EtufE arcund the nose was created us1ng a spec1ol textured
undeflay and rubbmg a soft \hlte penctl over !h8 sketch.(Black
DH penctl. whtte soft penctl, marker. textured rUbbug surface)

Wtth !h8aId of pronounced contour ltne!, th d0stgneI has

clalfled the surfaces or an othorwse loOsely d0ftn0d6k0!th(10t
the goggles' gloss sccttons). Contrasts t n line Y01ght ruW
effect1vely !0 emphastze or fade par t5 of the des1gn repctod>
(Black hard pencil)
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Truck These sketches explore aOd determne the ldent1ty of a cer

tain truck brand. To allow for quick CXploratton of form from one
cons1stent perspective, an underlay was used to trace over. and
was slightly displaced for each sketch. The background boxes
beh1nd the wmdscreen add contrast, maktng the glass appear
bIgh!er. Thts collage of sketches was partly assembled us1ng
|ho\oSh0p. (Black ard penctl. PhotoShOp)

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Motorcycle Dflerent parts are here made d1S
hnct fromone another usmg contrastmg cold
and toner gry markers. Red sectional lines giVe
the sketch att1tude and help to further explam
the prohles of shapes. (Ballpomt pen. red and
white soft penc1ls, marker)

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lrtslrgatv and EPioratt Setches

These sketches are deliberately expressve,
explonng the emollonal charactenstcs of
the motorcycle. lt 1s common to create a fo
cus pomt 10 a perspecllve sketch by bulldmg
detail and contrast on the part closest to the
observer. However. w1th th1s method ls also
poss1ble to draw attent1on to a chosen area
on a flat v1ew of an obJect (nght). Because or
the 1mpresson created of mot1on and speed,
this techmque can be an asset when used
on sketches of vehicles and other mob1le
obJects. The perspective chosen for the
motorcycle sketch below g1ves the 1lluson of
it bemg observed through a w1de angle lens,
and is often referred to as "fsheye perspec
t1ve". The curved guide l1nes t1ave been kept
visible, revealing the choce of perspectve.
(Black hard pencil, black and white soft pen
cils, marker refll, marker. ellipse gu1des)
Stcn Haggblom. Tr<nsportahon Desgn
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& Knives Extreme perspecta1es can sometames make a sketch
less obvaous to understand -however, they are often anspmng to
work wath and can help to capture the character or sense of the
product beang desagned The chromatic effect was created usmg
h1gh contrasts. (Paanter)
Rob n Hcdman Bachelor Protramme
T When 1deatang form. sample profile sketches can be qu1ck and
efiac1ent stud1es that allow for a fast companson of dafferent
desagns. (Paanter)
^
ln.estagahve nnd Exploralt\e Setches
#Hand Tanng Tool for Disabled Children When descnb1ng the
envaronment around a sketched obJect. at IS helpful to use shad
ows or contrasting boxes. Above. the shadows dropped beneath
the hands show that they each rest upon a surface, whale the box
behind the hand on the far left suggests that at is being held in
the air. (Blue soft pencil)
Rob an Htdman. B<chelor Pa ogr am me
TA dynamac and art1st1c composauon was achae1ed usang 1ana
t1ons an contrast and placement of the obJects (Blue soft penc1l)
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lftgat and Exploratve Setches 33

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Water Tap These sketches use pronounced gradients to create

the appearance of metallic surfaces. Directional arrows and txts
eHectively communicate the function. (Blue hard pencil, feltIIP
pen, marker)
lnvasugatov and Eplorat1Ve $ketches
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& Ambulance Stretcher When sketch1ng ob1ects contaming

wheels or other Circular shapes, this des1gner suggests that
you try to draw the ellipses freehand, w1thout the use of ellipse
guides. First "draw the ell1pse a few times in the a1r just above
the paper, and then drop the pen to the paper when the arm has
found the correct sl1ape. Also. guiding perspective lines can be
drawn stra1ghter and more subtly by ustng the mo\lon of the full
arm -mcludmg the upper arm -when sketching. (Black hard
penc1l. feltlip pen, marker)
Flons Woegeronck. Advanced Product Des1gn
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FubIic Seating Changmg the hue of a sketch can affect the

Impression that 1t makes. The sketch below was orrgmally created
rn grey marker and adjusted tonally m Photoshop. (Black hard
pencrl, felt-trp pen. marker. Photoshop)
M
lnvest1gat1ve and Exploratt\o Sketches ob

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Form Project The pnmary goal of these sketches was to generate

and rcord form 1deas qu1ckly. The des1gner commented that m
th1s case. correct perspechte and overall accuracy of the sketch
had lesser Stgn1hcance (Ballpomt pen)
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Ths mort detatlcd sketch combmes mteresltng elements from

prc-1ously dmwn sketches ltke the ones below. Because thiS
sletch 1s dc.,eloped to a more rcndured ltwcl w1th colour. shad1ng
nnd pr! ltnts. the des1gn proposal IS more cas1ly evaluated by
bth the des1gner and others (Black soft penc1l, ballpomt pen,
marer, c1rcl templates)

T These sketches were drawn to establish an attracltve s1de

v1ew. Shadmg was added to explore undefined and/or mteresttng
areas. (Blue soft penc1l. c1rcle templates)
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sketch page. The creat1on date noted 1n the top left corner makes
I easier for the des1gner to keep a record of the chronological
steps taken to complete a project. (Ballpoint pen. marker)
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directly on a printed photo of a threedimensional foam model to
effectively explore more detailed ideas and formsolulions. (Black
hard pencil, marker)

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Fuel Cell Car Dunng the initial sketch phase of a pro1ect. small
'thumbnail' sketches can be used to quckly explore 1deas. Th1s
qucck sketching techmque was used these examples to f1ll
sheets of low.quality paper. Arrows were added to mark out
--

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sketches deservmg further explorat1on. and centre lines were
drawn to note planes of symmetry. The 'thumbnail sketches
below are shown m actual s1ze (Ballpomt pen)
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Fuel el f These sketches fE UfREf OfH development
based on the sketches f0H the prev1ous Q@E. Nouce D only
some selected fS of RE extenor are shaded and that sources
of hght are placed 1n such a way that core shadows are created,

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further defrntng the CfS SDQE. This technique takes lOfH
development from flat sketchmg to the DEX level Ol definlt1on.
(Blue soft pencil. ellipse gu1des)
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CC1E. fHD@ Project This des1gner commented that when
creative EDEf@ is being focused on the exploration of form, 1t 1s
SOHE1DES difficult to cons1der the sketch's overall layout at the
same ttme. If there 1s a chance that the sketch w1ll be used
a lUUfE presentat1on, UOWEVEf, 1t may be w1se to g1ve the layout
some CODS1DEflOD.
As SDOWD OOVE. 1t S helpful to note the values of elltpses used
m order to save time if \DE same perspect1ve IS used agatn. (Blue
soft penctl, EIQSE guides)

OODOI Truck At th1S stage tn tht d:s1gn process, parts of the

fUCK that have been roughly des1gned are a!sembled. The oerall
IOES are exam1ned from d1tferent pomts of v1ev
To allov for m1stakes a spec1al techn1que IS used where mark: r
blender 1s applied w1th pads to more or less EfSEthe penc1l
lines. Th1s offers the opportunty to detail a OfD. but SOto
create OfCIVE blendtng or shadmg S1nce marker bltnder IS
EXQEDS1vE ODEfsolvents can be explored to ach1eve the SHE
effect.
+EX notat1ons graphically enhanct the OvEf OU\O the
sketches by ftlltng tn wh1te space. The added text also shows a
non-designer aud1ence that these are not 'JuSt pretty ptclures'
but that EEDED\S and funct1ons have actually been thought out.
(Blue soft QEOT|, marker blender. ell1pse gu1des)
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meant to be shown or presented. V1sualizmg thoughts may 1m
prove a des1gner's focus and prove helpful when deciding how to
proceed maproJect. (Ballpomt pen)
NOO1OI1SQ1B Small thumbnail sketches are suff1c1ent to
explam simple ideas. They are quick to produce and easy to
understand. The cluster of sketches below was assembled using
Photoshop. (Felttip pen, marker, Photoshop)
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O1BS1 MBIV0SIB1 OOOI These sketches show concepts
for a forest harvester. The techmque used to create
them can be found the tutorial on page B99U. Here,
showing several views of the robot design helps the
v1ewer to better understand the concepts. (Black hard
pencil, felt-lip pen. marker)

0n!u5Ungr, Adv8nc8d t0d0! ES:D VES1tUVE and E xC1Uv8bclCH5

Sports Car HerB an almost flat perspective was chosen ror l\S
rIJllt :l\ uncomplicated nature. wh1ch all01\ed ror qu1ck sketching.
EH1pses
-
on the srde of the car have been drawn to measure and
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control the wheel base (Blue and brown hard pencil ballpomt
pen, marker. elltpse gu1des)

%5l@&tran Explorativ Sketches

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The s1dev1ew sketches at the top of the page were created to
defme the car's silhouette before startmg on a clay model. The
prof1les also serve to explore and analyse the graphiC effects of
d1fferent part lines and chamfers. (Blue hard pencil, marker, el
hpse gu1des)
Alexander NemtsC Transprtabon Dn


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The above three-quarter v1ew sketches show the back and front
of a selected s1de v1ew. The thm cross sect1on curves were g1ven
arrows to help differentiate them from part lines. Marker was
used to develop undefmed sect1ons, whrle areas that were already
defmed were left uncoloured to save trme (Blue hard pencil,
ballpoint pen. marker, ellipse gUJdes)
lnstlpttve 0 Eaplortiw H
Explanaton sketches are created to e\plam functton. structure
and form. The) most ofen commumcate a destgn m a clear
and neutral manner, focusmg on e\plammg tt rather than
tmng to sell tt. E\planaton sketches are common/} used to
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1mparttally present a number of concepts for users and cltents
to evaluate. Addtttonal/y, relattvely unftntshed destgns are
often tllustrated H a more e>planatory way in order to facilitate
dtscussion of concepts wtth others.


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Sports Car, Construclon -hs sketch wa88petl|caI|ycreated for
l .us.,on, w1 h engmetr. Black marker was :dded t
!r:t.r del< and |scla!eparts, maktng lht sketch or under
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sQme (GraMitepncl, ballp1nt pen, marker gouache)
2 1 r nsprtatton Dstgn Eplanatory Skdches
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These sketches leatur the mtenor of the veh1cle but also show
enough of tho car's cxtenor to show context. The body of the car
was drawn qu1ckly usmg a pnntout from a 3D CAD program as
an underlay. The fa1nt treatment of the exlenor sect10n serves to
umphastze the mtenor's des1gn. (Black hard pencil, marker)

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When an object features a movmg part. m th1s case the sun
roof. the whole Object can be drawn two or more times to clearly
descnbe that part's tunctton and dtfferent positions.
Reflections drawn beneath the car imply that 1t l5 sttuated on a
surface. (Black hard penctl, marker)

|anatoqSketches
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Chld'sCar Seat In these sketches, a carefully
chosen sect1on around the product i$mcluded to
show 1ts funct1onal context, makmg the sketch more
informat1ve. Light grey marker was used to deter
mine perspective and the sketch was finished using
pencils and marker. (Black hard pencil, black and
white soft pencils. marker)
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Alarm Clock Here, the des1gner 11as used slightly cross1ng lines
of marke1 to add |i!e to the llghtn1ng 1n the sketch. The purpose
was not to make a perfect IllustratiOn or photorealst1c sketch.
but rather to show the product m a clear yet arhst1c manner
Not1ce the placement of the marker lines: in most of the cyllndn
cal shapes. the marker lines follow thelf 1ong1tudmal a}es to help
describe the dlfect10n of the surfaces. The lines often end at an
edge, v1sually separating surfaces and makmg grad1ents eas1er \U
create. Surface angles on each s1de of the chamfers are repre
sented by the chang1ng dlfect1on of marker lines. (Black hard
pencil, black and white soft pencils. marker. ell1pse gu1des)

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Lawn Mower In these W0 sketches marker rs applied rn drfferent
manner. to descnbe specrflc types of surfaces; convex
sur:aces and radu hae little or no marker applied. to descnbe
light rellecllons (Black hard penc1l. black and wh1te soft pencrls.
marker)

M Self-watering Flower Pot Usrng e.ploded vres makes I\ pos

s1ble to show all the parts of a product, as well as therr relat1ve
positrons and assembly. Bendrng an apparently horr.ontal hne to
deprct the effect of refract1on 1nd1cates that the pot 1s made ol a
transparent materral (Black and wh1te soft penc1IS, marker)
In order to ensure that the pot IS the marn focus of th1s sketch,
the plant and background have been drawn us1ng low-contrast
colours. Agatn. the hnear edge between the wall and the tloor ap
pears refracted through the glass. (Black and white soft penc1ls,
marker)
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Rally Truck These sketches show how h1gh-contrast
sunaces and pronounced outlines emphas1ze the graph1c
ampact of a product, h1gDUghhDg the relatwe pos1honmg
of 1ts parts. The contrasts are exaggerated to bnng out
certatn areas and make them easy to disungu1sh: the
most notable example l5the redglass.
U.aggeratmg the s1ze of the wheels and reducmg window
saze 1s a commonly used design tnck that strengthens
the character of a VBDCB.
Here. the edges of clear reflections on shmysuraces
serve the same form descnbmg purpose as cross-sec
liOns. (Blue soft penc1l, ballpomt pen, marker)
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areas treated with the highest contrast while parts drawn only
n pen take on a secondary or supporting role. Both warm and
cool greys have been used to isolate obJects from one another
and to make the overall composition more anteresling. These

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adding marker, and finally applyang soft black and while pencilS
along part lines. (Black hard pencil. black and while soft pencils,
marker)
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Autonomous Balloon Robot To give the appearance of soft

and inflated forms, two yellow and four grey toned markers were
used. F1rst. thin outlines were drawn to define the forms, then
a mid-toned marker was used to shade. Wh1le the marker was
still wet, the other values were added to develop the soft shapes .
An appealing marker gradient is easier to create when there
are no pen lines in the way to smudge. For this reason, part
lines across large surfaces were added as a final step in these
sketches . (Black hard pencil. marker)
Af0t$D6t@, 00CEU t0UUC\ 5t@D
@ Digital Camera Th1s sketch was created M order to explam a
concept to a non-des1gner aud1ence. w1th focus on describmg
mov1ng parts. funct1onahty and other details. The placement of
the smaller sketches fills 1n space and creates a balanced layout.
(Hard and soft black pencils, marker)
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the concepts and make them easier to remember.
the
Red marker ts used to accentuate the penc1l lines and make
sketches stand out from the page. (Blue soft pencil, marker)
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Sailing Kayak Notice the cast shadow from the mast 1n the
sketch above: th1s l5 a type of small deta1l that makes a sketch
seem more realistic and polished. (Black hard pencil, Painter)
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In the sketch below, elastiC and free crosssect1on l1nes help to
descnbe the kayak's form. The shadmg l5 qu1ckly la1d down usmg
only a few nuances. applied as deuned f1elds rather than by grad
mg the tones mto each other. (Black hard penctl. Patnter)
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Furniture, Branding Project The addition of planar views g1ves

extra explanation. mak10g the concepts more readable.
The sketchy emot1ona1 look was achieved by first us1ng cool grey
marker to hnd the nght perspect1ves and forms. Darker grey (B
or 9) marker areas suggest sect1ons w1th a different matenal
than that of the lighter ones A black hard penc1l was then used
Jratllan iiic, fdtancea Prouct Desogn
to further define the design and finally, a white soft pencil helped
to create highlights. The electric blue details add 1mpact to the
sketch. (Black hard pencil, white soft pencil, marker)
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Explanatory Sketches
Ambulance Interior Ustng a bold red line 1n th1s manner I5 an
effct1ve way to dep1ct a sectional cut through
To make the tntenor shapes eas1er to read, the darl part lines
have been exaggerated by drawtng f1ne wh1te h1ghlights on eother
Jonilhan Hltls. Advanced Product Desogn

sode of them.
Translucent green areas h<JIC been applied around parts that
light up. 11lustrattng light bemg refiC{ted on the surrounding
surfaces. (Black hard pencil. Patnter)
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an early stage tn the des1gn pro1cct Knomnethu s tch vld
be used later rn a prc.untntron, the dutmlc W0l0mndo |n Jg
clear (Photoshop)
StorgeSystom, Ambulnnco Project Th1s qutc s tch le-
describes the use of 0 backp.tck C:mplcmnt< tnforrmt O!
Simply noted H !hor wtten 11\ (Block hnrd pnctl)
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Cars Usmg alue and contrast to descnbe depth and focal
Prnts r s especeally rmportant rn a grey seal sketch, smce
Ooe1g thrs by ustng colour saturateon I5 not an optron.
Parts of the cars that appear closer havt been drawn 10
hrgher contrast, whrle areas of the car that are further
away are drawn fa1ntty. (Hard and soil black pencrls)
MekaellugnaArd Bachelor Programm
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& Ergonomic Hand Saw Th1s S1de view of the linal form was cre
ated to prec1sely illustrate 1ts design before beginning work on
a phys1cal model. (Black and wh1te soft pencils, ballpoint pen,
marker)
Map Reader for Rally Co-d rivers The concept below was drawn
expressly for a non-destgner and therefore is as detailed and full
oi explanat1on as poss1ble. Even though the sketch is reahst1cally
rendered. cross-sect1on lines were added to further expla1n the
form. (Black hard pencil, black and white soft pencils, ballpomt
pen. marker. pastel, gouache)
Explanatory Sketches
Bed for Elderly Care Full human f1gures, hands, heads or other
body parts are often mcluded m product sketching to demon
strate an object's scale or use. Th1s designer adv1ses that practtS
mg f1gure drawmg w1th live models IS a great way to 1mprove your
ab1hty to draw the human form. (Hard black penc1l, ballpomt pen.
marker)

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Toolbox Truck, Construction These sketches were created to be
used m d1scuss1on w1th eng1neers. They pnmanly serve to define
volumes that mrluence the bas1c shape of the des1gn The black
marker was added to h1de 1rrelevant aspects of the des1gn, as
well as to represent reflectrons or radii on surfaces. (Ballpo1nt
pen, felt-tip pen. marker)
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Car For th1s one po1nt perspeCtiVe dravmg a
skt\Ch of one Side of the car was used as an under
lay and then m1rrored along 1ts centre hnr to create
symmetry Notice the loo" ot light retlec\lng onto
the unders1de of the tyres lncludmg reflect1ng or
'bouncmg light s often lorg 1tten, but 1ts use often
results m a much more express1ve sketch.
These kmds of details are vrry elfec11ve at makmg
t1ghtly curved shapes feel thrtedlmenslonal. addmg
extra depth to a sketch (Ballpomt pen, while sort
pencil. felt \1p pen, marker)
Truck Inspired by Extrusion The 1nl11al ballpomt
pen line art of th1s sketch was scanned mto Pho
toshop and pnnted out to prov1de an underlay
whose line art wouldn smudge when subJected to
applicat1on of marker. The lines were madt lamter
m Photoshop by ad1ustmg the 1mage opac1ty. Domg
th1s gave the des1gner an opportumt) to draw over
the fa1nt sketch lines to adJust the shape for further
exploraton Because the m1t1al sketch |S saved d1g1t
ally, 1t can be repnnted as often as needed to be
used as an underlay for lightmg and shape explora
t1on
The pleasmg gradients were accomplished by keep
1ng the paper wet. us1ng flfst light then mcreasrngly
darker markers The full grey scale was used. from
white to black, to amplify the depth and appearance
of the sketch (Ballpomt ptm, felt tip pen. white soft
penc1l marker, Photoshop)
ExplaniiOIY Sktthes
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AAirplane Food Supply System The sketches above explatn a

concept by companng a presentday scenano to the proposed
oea. Usmg text together wrth key llustratons can be an mforma
trve method to use when explarntng an tdea, srnce rt makes the
presenlaton more rnterestrng. understandable and memorable.
(Black soft pencrl. marker)
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detarls of a concept. Ruled lines were used to set the perspective.
(Hard and soft black penctls, marker)
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Etplanatory Sketches
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Jens Andersson. Advanced Product Oesgn

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A Rescue Project This sketch was created dunng the research
phase of a project and depicts a record of rnterestrng ftndrngs
and ideas. (Ballpotnt pen. marker)
Airplane Food Supply The use of three-potnt perspecttve
makes thrs sketch more expresstve. The same krnd of bas1c
ltghtntng as described on page ! was used to gtve the ob1ects a
three-drmensronal feel (Hard and soft blue penctls. marker)
t
)

/
Eplanatory Sketches
'1
lrolm< P.ntfors. Bachelor Progr<mme Persuas1ve Sketches
Goggles The transparency of the coloured glass IS emphas1zed
by drawmg the goggle straps vaguely, to show them lymg beh1nd
the glass. The appearance of a floral texture on the leather was
created usmg a Photoshop texture brush. The des1gner chose to
Jonathan Hicks. Advinced Product Des1gn

use a pnnt of roses as brush texture to enhance the lllus1on of

leather and to add a 'rock'n'roll' quality to the goggles.
The techn1que used to create these sketches can be found m the
tutonal on page . (Biacl hard pencil, Pamter)
Persuas1ve Sketches
!
4
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Persuaswt Sketches
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HfKEf. E11lDSE@UlOES, OO1OSOOD)

@ B lthammar. Transportntoon Design

mOu8$IWSlotchcs

St'' Sorl!c Transportotoon Des1gn WCUO

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LOC Gunnor!SOn. Tran!tpOtlitiOn Des1gn
l

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I 8

PersuasiVe Sl.etches
b
Cars, EOOEf1@ Study PJ1 1OUf CBfS OO 1OESE B@ES WEfE CfEB1EO
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HB@B2OES E1C. 1Of IOS1fB11OO, O O1OE1 1O ESBOl1SO B COlOU!
SCJEDEBfO fE!OEf CODO!EJS BCC1fBE1. T1S W11J OE1 1O DOfE
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B OES1@O. OIfO1, CEC1CE OO OE UfOSE BJO DOOO O1 B SKEICO
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[OO1OSOO, BW1Ef} 1
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*
M1ke1 Lug06fD. 80D6l0fPfogr mme rsuas \ Sko:che:

Step-by-step Tutorials
Th1s chapter shows the workmg sequence of the creation of bIA
des1gn sketches. The sketches shown var m levels of com
plexttv. and h1ghltght some of the most commonly used medta
and techmques.
The mam purposes of thts sect1on are to 11/ustrate how each
Eric Gunnarsson, Dish Brush
(MBfO BOO 5O!1 O\UE EOC115, DBfKEf)
J JOE 5KE1CO WB5 51BfEO OU U5W@ B OBfO O1@O O1UE EOC1.
ZNOfE EOC1 11OE5 DE@BO 1O OE!WE 1OE DO511E5 O1 1OE DfU5O. JHE
COO1OUf O! B CB5 5OBOOW WB5 O1BWO, 1OEfED 1EVEB11@OEO11EC
11OO O! 1PE 1@O 5OUfCE.
3JOEBOO11\OO O1 B OBOO 5OOWEO OOw 1OE fOOUC 5 5UO5EO O
OE OE1O. BOO B15O B55UfEO 1OB1 1OE 1O1D BO fOOf11OO5 O1 1JE
OBOO1E WEfE BCCUfB1E! OfBWO.
4 !!EfEO1 CO1OUfEODBfKEf5 OE!WEO O111EfE1 DB1Ef1B5 BDO
EXfE55O !OfD 1O1OU@O 5OBO1O@. NO1E OB1 1JE 5U1!BCE5 BfE OO
5B1UfB1EO WO CO1OUf OU\ JBVE 5EC11OO5 E11 WO11E 1O BO1CB1E
BfEB5 O1 1I@O1 fE11EC1OO.
5P 5D1E COO1fB51W@ OBCK@1OUOOO1OCK h115OE OfW1@O!1 1OE
B@E. P51@OB1UfE BOO OB1E COD1E1EO 1OE 5KE1CH.
P T

sketch I created. and to break down a seemmgly mt1011.

datmg and complex sketch mto steps that are more eas1ly
understood. There are often several ways to achteve the same
efects. so constder the steps shown m these tutonals merely
as opttons or e'amples.
.

LftC D 1t _ $DrU\I0 Oes1gn btep by step Tutonals

Pontus Unger, Forest Harvester Robot
(NBfKEf, O1BCK BOO WOl1E 5O!1 EOC\5. 1E11 11 EO}
I
1PE 5KE1CO WB5 OE@HU O OfBW1P@ OB5C Ef5EC\VE !1OE5 W11O B
1J1@fE DBfKEf.
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BfK 1E11-1EO 1lOE5 BOOEO OE11O111OO 1O 5EC111C
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2 LUOUO5 W1O CEO11E 11OE5 OE1WEO 1OE VO1UDE5 1JB1 WOU\O EVEO
1UB11 DBKE U 1OE 0O]EC1
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U@O1 5OE5 O! 1OECEO1tE hOE OE1EO 1O KEE fOE! fOOf1OO5.
I
Pontus Ug01,PUvDCBU FfOdu01 Oes1gn Stepby-step Tutorals
V
Pntu\ Ung.r. Ad1anced Product Oesogn

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SOBOOW WBS COfSIfUCIEO D OfBW1O_ 1DB_1OBf_ VEfI1CB1 l1OES 1fOD
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OE OES1@OEf OOIES IOBI \O1S \E O1 SKEICO \S 1OIEfESI1O@ DECBUSE
II 1S OOI1U\1 OEIB1EQ. bODEI1DES 1I 1S BfO11BIEBOO E11EC1IVE IO
EBVE SODE BfEBS UOOE1WEO.
Step by Sttp Tutonals
0A 1E!1 I1 [EO WBS USEO IO 1O CfEBIE OBfK C1EBO 11OES W1IO EOOU@D
COIfBSI IO S1B V1S1O1E B1IEf GBfKEf B11CB11OO.

7
6AO!O[ SOBOOW WBS BOOEO O US1O@
C\BCK DBfKEf. BOO IOE OBfKESI BfEBS
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OBfK CO1O @fE DBfKEfS. JOE OES1@OE!
Su@@ESIS IOBI IOlS 1S B @OOO I1DE IO SIO
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w11l SI111 S)OW OU1 IfB1O O1 IOOU@OI BOO
WIEI.
/
Flom. \oegenncl<. Advanced 1Odutl Desgn
Floris Wiegerinck, Lawn Mover
( UE BOE WD E O t + V BSI01)
14 A DBfO OUE EDC11 WBS USEOIO 11DO IOE O S1IEOSHBE O
1f5 1OC 1O@ U OBS1C 1O1DS BOO IOBH $ucccsStw|yBOOW@ ROtE
OEB1 OE B11OwS WO1CB1EIOE UOCI1OD O1 0OVW@ BfIS 1IDW
IO fOOUCI

/
b8DDy$6[Tutonals

1
Sectrons of \hrte "ere left on top sur
tacs to rnorc;ll e the reflectron of light.
"hrle marker "as hberally added to the
front ana nght sdes of the la1n mower
The fmal step was the addrtron of an
abstracted terrarn as a background

/
S Pastels were then used to create a smooth gradrent over the
top surfaces to deprct a hrghgloss matenal. P suggestron from
the desrgner rs to use paper trssues (or even better, make-up
removal pads) to apply the pastels. srnce usrng one's frngers gets
very messy. Whrte and black pencil were drawn next to each other
to add dimension to part lines.
Mikael Lugnegard, Car
(Black hard pencrl, marker. marker arr brush. Photoshop)
1 The perspective hnes were drawn as gurde hnes markrng
the proportrons of overhangs. cab placement, waistline,
etc. The graphrc layout of light clusters, windows and
trrn patterns were defined and gurdelrnes for the place
men! of basrc refleclrons and shadows are also rncluded
1n this lrne art.
The des1gner notes that the chosen vrew of the sketched
objeCt should of course be the vrew that best descrrbes
the aspects of the desrgn you are presentrng.
ZP first loyer of hght marker (numbers 24. cool grey) was ap
plied wrthout lettrng the marker rnk dry between applications.
Cast shadows. core shadows and reflectrons were oil hrnted at
dunng thrs singe.
The desrgner notes that for thiS step, one should work fast and
roughly without fear of destroymg the sketch wrth mrsplnced
hnes This wtll keep the exploration free und flowrng.
lkael Lugnegard. Bilchelor Programme

3 The shapes H the car's body were further sculpted usrng

marker arrbrush (numbers 2 and 3. cool grey). always wrth the
hght source drrectron rn mrnd to ensure the correct placement
of shadows. Shadows. matte suraces and reflectrons were all
enhanced by combrmng marker and marker arrbrush. Keep rn
mrnd that marker applied wrth an arrbrush generally grves darker
results than marker applied with a pen.
Step by sttp Tulo I05
@
V4
P The body ot the car rs sculpted even further usrng darker
tones of marker (cool grey. numbers and 7).The drop shadow
I S streaked w1th black. giVmg rt more we1ght and vrsual power.
Shapes behmd the glass were depicted usmg a cool grey number
btone.
6 W DCra" 0Bff 5CD \iS lm1shoo, 11 was rmprte
o.oshop tor 0 drglli1 adjustments. t.lisks were used
to man DUICI! 5mI0D5 such s wtwcls, YmdoNs and ma.t als ScriIIa,rs "ere used to twca contrast hue and saurat on ol d fferent aroas Paths were used and stro|ed to
0 Thrs was the last handrendered step. The desrgner's arm was
to create the hrghest contrasts possrble wrth areas of white ap.
pearrng close to dark greys, 1n order to g1ve the sketch max1mum
vrsual 1mpact and clarrty.
1
create sharply defrned part lines.
The desrgner comments that at th1s stage. any and all types of
drgrtal mantpulatron can and should be used m order to further
e .. press the concept to the clrent
Proramme Step by step Tutonals
7n1e process described here I S more of a total
make over" of an already completed sketch
rather than a step. The sketch from step bwas
flattened, and several cop1es were madt of the
resulting unage Thi S made 1t poss1ble to com
pose several proposals of the final sketch, 1n
creasmg the freedom to play around, adJUSting
curves, bnglllnesslcontrast, hue/saturation etc
Huelsaturatron (w1th the "colour" box checked),
was used to see how the colours change when
adJusting the hue (a tinted warm sep1a grey1sh
tone was chosen for the vers1on shown here) In
order to make the background look more hke a
sheet of grey toned coloured paper, the bnght
ness was lowered.
w1th the base palette of the entire sketch set,
the next step was to add some h1ghllght streaks
along the metallic surface of the car. The im
age was taken mto Painter, where the FX/glow
brush w1th the default settings (except for a
small tweak on the space settmg) was used.
Selected areas were carefully lit wh1lst keepmg
the focal pomts 1n mmd to make sure that fight
was placed to emphas1ze pomts of Interest to
the v1ewer.
The sketch was taken back mto Photoshop, and
placed tn a layer above the one contammg the
sketch pnor to the applicallon of highlights.
Masks were created and some of the top layer
was ernsed to sho.,, the layer underneath, thus
sharpening edges and makmg the l1ght streal{s
more controlled.
The lifeless and ortrf1cally perfect look devoid
of defects was 1mproved by flfst adding a m1d
grey layer, cnd then man1pulatmg it a number
of limes P 4UUNorse filter, a brush st1okes
or ptltu frlter. and finally a blur filter were ap
plied The blend mode of the layer was set to
01etiJ)', Jnd the opac1ty was reduced to 35%.
Thl! removed the flawless appearlnce, and
.ddtd J non d1g1lal fimsh to the 1mage.
The des1gner commented that followmg step
by!>tep tutorials may very well help you acqurre
many skills ind grve helpful t1ps, but the only
way to excel rn sketchmg I5 to practise diligently
and dovolop your own unique style!
Mrkael lugnegird, Bachelor Programme
SI p by step Tutorrals

Jonathan Hicks, Goggles

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Thanks to
Frst of all, we want to thank the students contnbuttng to thts protect. Many of
them have devoted several years to develop thetr sk1lls, but unfortunately the
layout and structure of th1s book cannot fully do the1r destgns JUStice. Because
th1s tS a book solely concerned wtth sketch1ng techntque. 1t offers no more than
a gltmpse of the1r 1ncred1ble work, Intelligent soluttons, p1oneenng 1deas. or all
of the thoughts behmd the sketches.
You not only trusted us to show your work, but also supported us throughout
the whole project. We owe you all many thanks, and w1sh you the best of luck
for the future!
We also want to thank all t.,e students and personnel at the Umea lnst1tute of
Design, our fam1l1es and fnends, Umea Un1vers1ty and Ummova Innovation tor
the guidance and encouragement you have g1ven us. You have been an mvalu
able help and msp1rat1on1
Enk and Klara
nK5 10

Index and Literature Tip

|000x
Name
Alexander Nemtsov
Enc Gunnarsson
Enk Ololsson
Flons Wregennck
Frednk Nlfsson
Hrrash Razagh1
lda R1stner
Jarno Sundell
Jens Andersson
Joakrm Sallberg
John Andersson
Jonathan H1cks
Jonas Samreflus
Karl Forsberg
Karolina Rantfors
Klara S1olen
Lad1slao Camarena
L1nda Bogren
Maria Balthammar
Maunc1o Bedolla Gasca
M1kael Lugnegard
Pontus Unger
Robin Hedman
Sten Haggblom
St1an Sorlle
Ozgur Tazar
Page
44-45
6 (top), 2425, 46 47,85,88
.
7 (top right). 8, 9 (bottom nght). 12 (bottom), !7 (bottom nght)
34-35. 68-69, 9192
21
6 (middle nght), 36-37, 64, 74-75
56
29, 8081
38, 70-71
6 (bottom), 13 (bottom), 14 (middle), 18 (bottom), 2223, 4850
65
6 (m1ddle centre) 28, 60-61. 7 3, 96-97
57
54-55
51. 72
19 (m1ddle and bottom left)
62. 76
7 (bottom left), 20
82
15 (bottom), 18 (m1ddle), 3941. 66-67, 77-79, 98-102
3. 17 (m1ddle nght), 63, 86-87, 93-95
19 (top). 42-43, 53. 89-90
6 (left). 32-33
7 (bottom nght), 10 (bottom nghl), 14 (bottom right), 3031. 58, 84
52,83
2627, 59
Other 1llustratrons by Enk Olofsson and Klara SJolen
L|I0rIur01|
Creat1ve Perspect1ve for Arl1sts and Illustrators
Watson. E. W ISBN 0486273377
Presentalton Techn1ques
Powell. D. ISBN 0316912433
Creat1ve Marker Techntques. In combtnatton w1th m1xed med1a
Shtm1zu ISBN. 476610580X
Sktsstekn1k En handbok 1 v1suahsenng av des1gnforslag, Andersson. N.
(Wntten 1n Swedish, available from the Umea lnst1tute of Desrgn)
Perspektrvlara En handbok 1 perspekttvlara. Andersson. N.
(Wntten 1n Swed1sh, available from the Umea lnstrlule of Des1gn)
Profess1onal Trarnrng DVDs for Visual Effects Artrsls
,., thegnomonworkshop.com
More rnformallon about the Umet Institute of Design can be found on the Internet
www.dh umu se
mfo@dh.umu.se
ImexDULl8r8uf8 1 1p