ei) (Ry UB! ie) i} (BF (cc NENAD PAVEL | a ee DESIGNER'S GUIDE TO SKETCHING Strategic use of sketching in the design processWhy was it written? TS AUR Ue er Ac McA ct meme: Meg it is important because this is the way they establish inner and outer communication in the design process. My vision is to put a powerful and suitable source of helpful tips and inspiration on every designer's table. This edition is a result of efforts to teach product design engineering students how to sketch and use these techniques in the design process of form and colour classes. Until now, sketching guides were focused on drawing techniques. They were illustrator-orientated and had nothing to do with the design process or methodology. This guide introduces a new CU ee re UM Re ee A ee I wanted to make the book material easy to follow by using examples Por Guinean c: laa aS MUS ACh ees reconstructed design process drawings of ‘iconic’ products that everyone Mion Reet arteele Tatts Mae ESC 8 I want to thank the Institute for Product Design of NTNU for making Freee Ame MMe elma lace ede (oh Core aR SeL el ue sal ae eure elute MCAS PACs Tate UC RCO AL eel OMT s ods ee CLR OM SUC for the good atmosphere and constant source of inspiration, and especially Alex Mitchell for tutoring in English. Nelle pre eases Is Sa ie erWhat's It All About? Sketching is the traditional way of designing. The process of sketching facilitates the process of design. Design is a skill anda sophisticated psychological activity, which means that design can be clan aon a a cla eee ANT ocean PL Reon UI ORS ocean neg only a way to design, but a way to learn how to design. This guide is devoted to design students and young designers, but also to arte} ele as a reminder, for inspiration and as a MCCA Tee Nsi es ome CNA EC n-Ce McCrae N an keri aah I eMelCelaey ocerren axel [ae ul uted and manipulation of design knowledge i.e. production eres materials and DCTs Uc ele Ne eTOCs RC drawing skills strategically throughout the design process, designers TUM once onus RSV in use of methodology, ease of eore elmo RULER Meg 7 1S New media of expression has placed this traditional skill in a new context. Designers no longer use drawing to present their final solutions. Instead, they use CAD models, rendering and animation. eS presently used more for the designer's inner Co Te oN cel most acon eR Ue nar eda This has affected the importance of drawing in design. Technique and Rrcueeelcn aes important. Designers use sketch tablets, studio tools and such like. The purpose of sketching is much more important. AUN oor Te lwo Tre CR Cole OMe 186 (arc) system. Emphasis is put on sketching for creating the product solution, Fee lnte tol Rate Sera LRM MLO ite) unter STC oy The conceptualization and form giving phase is run differently by designers so please note that it is very individual. The intention of this guide is to summarise and give an overview Oa how sketching can be etn aT ey aE | !de = = J =I = = J =) a = el NEV Ac enema Lume mec yar lem nel Te hor MOM Tel Piters A eel te Ie Wp AEM UNe Colac MeL CHUCK (oil oes and clay is very useful when form giving. Some designers like to use oO erat ice) NTU Riess ee ASC LCI PONeecnake stile ence reL) ence and Gene Make ie AN Alle oc ote ea Wavefront's ‘Studio Tools’. This software has a special sketching Orel n od UEC Ria RC lo clea oot Me (Hi0s se bilareMialaV useful to design a rough model with 3D software in order to trace the printout when drawing. So! would recommend the use of CAD Me ROMS D elmo ci Ree ee Murs utere Rel ceed feo 07 9 OUR ac oN] Tile AUC MMR Lee eC aos recommending sketching as the only way to design. The real intention of this guide is to show how to navigate the design process by sketching and this means the focus is not on Bacon Canale sea aU RoR Ree OUa Cah Lo A) this book demonstrate that you can achieve satisfactory results in just a short time with few materials. In fact, all the drawings in the Styles or ene Nemisr ae AACN anise Return or order to show that this is possible. MlarKelice -Meonnecura te Reo Lael Rea legate COM Ua Lecco LAE As) whilst designing. So I strongly recommend that you familiarise yourself PLURK inate ORC UE TSAS Sa Seley the content organisation. bySketching Materials DEL Cle pencils and pens pastels and equipment Papers and equipmentbeer ae Designer's sketching materials differ a lot from that of artists and Meenas crema ai cae eo Tree Ue without losing track of the design process. This means that design sketching demands precision and clarity, which depend a lot on the materials used. Wrong material choice or wrong use of materials will act as a barrier between the designer and his idea. By developing your sketching skills, you will develop a sense of materials and the purposes NMR Une cS RU ur cur ae eeu uae Coy this guide. Irae (orem area teers RU Le cen Le DN EM Cesc ure erm Cu etka ACME CUr CMe TIE Ie Reece Ng selected choice of nine markers and five pastels will suffice. This guide shows carefully selected combinations in order to use materials cleverly EliteR onal a9 Un Vee AU heon ie lke Cc lacclte dome e ces ag Arar te-m a oe cee eh olereie irc ta ceni rm @el eli cae! pencils and fine liners are used to outline the shape. According to sketching material properties, best results are achieved if Pee M nec AE em eee oles uel aru uae tote oemarkers, pencils, pens Markers + Pantone Cool Gray palette: Cool Gray 2, Cool Gray 5, Cool Gray 8. + Pantone grey colour palette: 5507-T,452-T,5425-T. + Pantone colour palette: 180-T,541, 4505-T. + Non gradient markers: red, blue, black. Note Marker colours must have high monochromatic value, so it is possible to create gradients. Colors such as light green, magenta, yellow or any fluorescent colours are not appropriate for design sketching. Pencils and Pens + Propelling pencil 0.5 + Coloured pencils: white, black, blue, green, brown, red + White chalk pencil + Fine liners: 0.1, 0.5, 0.9 + Eraser + Eraser stick gE ep aspeiniiatte a a lllyouduedn Be Wags + 29 Pastels and Equipment + Basic pastel palette : black, white, blue, green, red and brown + Talcum powder + Lighter fuel + Cotton wool Papers and Equipment + Plain white paper. + Marker paper. + Coloured card (colours should be in mid tone) + Craft Knife + Masking tape + Ruler Bleedproof MarSketch Elements RCE tg PCE UT Wnt once) DT istryTiers Ua) -To explain sketching throughout the design process, four elements. Ete dts ey eel ee eon gb + Object and drawing construction; shape building. PCa ieee seem uC Crs thas Sadie One me OWE UCR eee ur Recut ROR ua eer eee US Se MU en So kur LCr neil) 4 of the product construction and Heperbt the required view would be an UME his Mace a ee eles) Cua acon PRUE RAL Ne bis RU Rea Clune oo LilSketch Ce day bee ae CEU ecto Lia ree cota ae Roly presented in some form of a document. This form is used in the design eos MIUC Le ECT aetna tts lee a mied irae Me RL Clune et a Typical marker paper formats yau will face are A3 and A4. Usually the 43 format is the most useful because drawings can be bigger and more er Meee eure ea a oe teh ceca ey nt ee A design sketch always tries to describe design aspects of the product {see the views; page 23). Before starting to fill the paper, it is important to MMe set ho Men Cer ee a yeh Come Ue Melte Rute uM cun alee nS Deo erates eure CRC Uo DRS Che een helene EL cca) layout. We from left to right and from top to bottom, so our eyes EU Lacls Asics [oiT Beye tats Coloma) aOR RUM LRU Cee cd lO RUA een CE of the layout, which will naturally take the centre of the sheet and text Pe eu deta ree meee oes frames will help the organisation of the sheet in terms of grouping and emphasising content. To start your sketch layout, make a small plan of the content no bigger PCP eteuMe ReMi Runa ott steele te ono Ere) er onal re aur k a ela tt eesti n Rune R noe CCT em Cem ret Neher Roa Ui ue eg bet Lica aOR celica Pg ee hs po dpretes rk and rubber component on the POC mC uc omed teen hae keh Rac aSy eer Pee ty ec Final Layout Content Plan TR RR RRR RPPObject and Sketch Construction SUEY Cm elie) fe) ae Rech u eee a nat RN Ca ont eur SR ac ue RU ee ro A design sketch is supposed to describe the product appeal to the user. This means that it slightly exaggerates the form in order RR uaa eam cee MAUR a Rte RUS Reamer RC yak ely ae Ee aren Ce) saad Cocaarll Cae aL len loll lea bigger CUR ee au acd pi ll Pe RU mute teers hd Selo rhe Virsa) hie the product, the appropriate view should explain its size, character CiliaBot eee Ue og Se UCU ee SCA sk) pert tia Oe ae rr UE UR hue cee tad aera a Ce tere cetera paaprbaialias fires Ves rawing process because you can put Pana cu Rls CRG ur ss ma) Rod Reimer eo eee au LL Ce Being el . This step is very important because it OLR ECU Rie CMC kel aimee eegers|llae es Cease eee ks Clg ais Peso uer Alea uM eee oe oke lsc lca Bla: es. + Use the typical projection view. Take care of the product proportion, fire We Rue et Deke cme A ees eel + Draw a perspective view. On the following pages, you will see examples RRs erage ua es teh ea ume (ie ol complete this perspective view. | oe aCubic Shapes ® "ue + Use a propelling pencil to draw perspective lines. Draw the vertical centreline of the monitor. This line defines the symmetry axis. Perspective lines are drawn for the various parts of the product, in this case, the screen and the base. When drawing them, pay attention to the proportion of the parts. Here, the screen represents 2/3 of the product height. The proportions define the shape and character of the product. cubic shapes a = = = = = = :\ + Look at the list of parts \ : \ as defined under the as C4 \ Steps subheading of a “ this chapter, and use it \ to draw the shapes and their position. Use a propelling pencil for this. Finally, use fine liner or black coloured pencil to create a line = | hierarchy. Use the thinnest fine liner for inner lines and a thicker fine a liner for outer lines. Lines that show | _ al the interface between the product and the ground should be thickest.Revolved Shapes 7 1 H + Use the propelling pencil } to drawa vertical centreline. i Draw horizontal lines to separate the parts of the blender. Draw vertical eotten ts \ perspective lines so that the \ blender is being viewed from the top. When drawing them, be aware of the proportion of the parts. In this case the blender is narrowest in the = middle. DamMmRRMR RRR RRR hati hake Medi Tor-by a 18z = _ + Look at the list of parts as jee defined under the Steps 3 subheading of this chapter, and use it to draw the shapes | v and their position. Use a - propelling pencil for this. =| a a -a | = ff) = NL "a = | = | + Finally, use fine liner or = black coloured pencil to create a line hierarchy. aj Use the thinnest fine liner for inner lines and a = thicker fine liner for outer lines. Lines that =| show the interface between the product =| and the ground should be thickest. a a revolved shapes oAmorphic Shapes fo if = r f - : WV 7 = = ze = = mm ame amorphic shapes ola + Construction of amorphic products starts with the base. The easiest way is to draw a rectangle in perspective as the base.+ Define the centreline of the base and also the height of the object. Look at the list of parts as defined under the Steps subheading of this | chapter, and use it to draw the shapes and their position. Use a propelling pencil for this. a a = | =| a a =| | a =| a a ri it : a = 3 a a ~ A a es = ; ; 5 aT 5 + Finally, use fine liner or black coloured pencil to create a line hierarchy. = a Use the thinnest fine liner for inner lines and a thicker fine liner for = ~ outer lines. Lines that show the interface between the product and the 3 ground should be thickest.22 The Views Te Us ace aude ag blige rptane eae tical hiner a faba lm eae Pa eee Melua ike Lea skeet IEE) URC ui eee Uke ag ccc eeee Projections Projections are Views that describe the product in two dimensions. It is used for defining the proportions of the product. projections ia Ne irRR RRR Perspective E- This View describes the shape of the product. It is used as an Ee: idea generator and as a descriptor. perspective we Prhed eeee oe a “ a Netting A Netting shows lines that describe the form of the product. It is used for shape specification and detailing. astm ist tah i oy— \ A © 1, Camera mode 3. Normal use mode CURR RBRAR RRO Time line This View describes two or more stages in the use of the product. It is used to describe the function and behaviour of the product and can be used to form a scenario. = [=a id a a = | a Menges AL becreve inl nee soe % AOD NiBa) ‘Mone TT Ales id SRD sr i BY hth TO Pie NM TMERE SEE | Fete Hee Cate A- | CALENDAR ons CownerNd 0. MCRNET AMena more Star This View describes the user interface of the product by using ‘if and then’ explanations. explosion . SExplosion Explosions show how the parts of the product fit together. cubic shapespesGhosting Ghosting describes the shape and position of inner parts by making objects in front of them transparent. fig ada aPeer Section Views show a cut-away of the product. Section sadsadeys 91qn2 ¢i wu ivi Tee Detail ao This is where other Views, as described previously, are mag- nified in order to describe details more fully.Burs ‘Techniques to Render Views POULT Cl] Design drawing is based on shading surfaces of the product. This Birr en eerie eR Rue oe alae mm ERR er Uh eee ee a eee a eee Tae Light tonal areas are always for where light hits the product; dark tones CeCe ge) ager Be nti Cn ric aa eau CULT) pe jues to show how colour and light may affect the surface of the PIU RU eee eeu el nme ULC nd nr box will have the darkest tone, The left side will be the next OU UCR CR UCU lS taid ae e UR eee eT Te) ee eee RU eset om a meee ena ead will reflect light on their left side and the right side will be in shadow. The concave domed surfaces will a the ite, This principle is also We Reet eo AEST “pl oa iar sa rein anuienicenite ie ihn Xt e shaded side will be thicker then those on the light ane.ee The background is =a created by applying pastel mixed with lighter | fuel. This tone represents r the natural colour of the a object. The sides in the shadow are covered by . layer of black coloured = pencil and highlights a are created by erasing the pastel. + One layer of marker tone represents the natural colour of the object. Three layers represent shade on the right side, and a layer of white pastel is applied to the top to show light hitting the object. + This is a mixture of the two techniques above. It gives the impression of highly reflective surfaces.er Bey Cn MMe UC aogier ree lo ha eco Ret are used as a method to communicate the shape, texture, material and colour of a product. It is not only the final rendering that is a cliché, but also how the materials are used to produce the rendering. Therefore, ec untuke se aus koe Vin cut ule Raltat ck OR Nad quickly in order to concentrate on the design process. Lice sd) outline drawing BT) highlight rubber and matt plastic Path ur CuL Ly PT tule Aa Tt(edad ee im Tt | i Free Style + Free Style is a mixture of all the styles you will find in this book. It is the fastest and easiest way to describe a view. Use pantone 5507-T to draw the object shadows. Pastel dust mixed with talcum powder is used for soft shadows. Apply it with cotton wool as a gradient from bottom left to top right in straight strokes. + You can either use black coloured pencil or fine liner for outlining. Inner lines are always thin whilst outer lines are thicker. If using fine liner, use 0.1 thickness for inner lines and 0.9 for outer lines. Eraser sticks (see Sketching Materials) can add highlights and edges reflecting light (see Light and Shadow).Outline Drawing k = LY \ N + i + Use a fine liner to draw an outline a silhouette of the product. Do not construct the shape. + Add product elements to describe the most important parts and their shape. Bm . + Insert shadows in specific areas and use the thick side of a marker to draw the shadow of the object ‘on the ground. outline drawing PRP &aed edi a ee | oo ‘a ee | Shading a ~ \ + Use the propelling pencil for Object and Drawing Construction. + Use Pantone 5507-T to draw shadows on the object and Cool \ Gray 7 for the shadows that the | object casts. + Use 0.1 fine liner for inner lines ——___ Pp» and 0.9 for outer lines. Sere inane!lightening + If you choose to use coloured card, go instantly to the next step. If using white marker paper, follow this procedure to make the coloured background for the shape: Grate pastels to get a fine dust. Whatever colour you use, add a third of black pastel so you can have monochromatic value in order to grade the tones. Almost soak a piece of cotton wool with lighter fluid and then dip in pastel dust. Cover the construction drawing with the lighter fluid and pastel combination using a straight stroke. Do not add any strokes once you have done this.eee ee eee | Bye ee a ee + Use black coloured pencil or a fine liner to draw the construction, + Define the light source in order to determine the sides of the product that will be shaded (see Light and Shadow). Use the same colour of Pantone marker as the background to cover the shaded sides of the product. Use Cool Gray 7 to draw the product shadow on the ground. and also a ruler if needed. Use an eraser stick to create highlights and white chalk pencil (see Sketching Materials) for lighter surfaces, lighteniRubber and mat plastic + Apply masking tape around the construction drawing edges. Use a craft knife and cut the tape precisely so that the object is isolated from the background. + Use a marker from the colour palette to cover the area of paper surrounded by the tape. Apply one layer with straight strokes.a + Cover the side of the =| object with at least two layers of marker S to imitate shadow. = + Completely cover se lected object =| elements with a darker colour. In this =| case, it is black marker. a al = = ay + Redraw the object construction lines with black coloured pencil or fine liners. Use rulers if = needed. Then, use a white chalk pencil for high lights and a white coloured pencil to cover a lighter surfaces (see Light and Shadow). = | al il “i =— =— | aoReflective materials + The key to success when simulating Reflective Materials is planning where to place reflections. It is usual J to draw the reflection of the horizon on any rounded surfaces, such as the camera front. Straight lines are used to simulate flat surfaces, such as the camera top. reflections on the product surface. If you want to simulate chrome metal, Cool Gray 7 and black are best to emphasize reflections. For glossy > plastic, any colour from the Pantone _ B colour palette will do. Pastel dust mixed with talcum powder is used for soft, blurred reflections. Rounded surfaces should be coloured in a gradient from top to bottom. If simulating chrome, it is best to use pure blue mixed with talcum powder to emphasize the sky. If simulating glossy plastic, it is best to use the same colour as the previously used marker, mixed with a third of black pastel and talcum powder. Black is very important because of the contrast. Zé | | + Markers are used for simulating high wale gh cna er Es+ Redraw the object construction lines, add highlights and erase the pastel around the drawing. Glossy plastic Bu © WW ee ee ee oe Oo oD eo tk Chrome metalBrushed metal + When simulating Brushed Metal, the same reflection rules are used as for other reflective objects. The only difference is that all of the reflections are soft and blurred because of the surface texture. This is the reason why only pastel dust should be used for brushed metal simulation. + The front of the camera is a rounded surface, so the reflection of the horizon and background will be visible. Reflections from the sky will show up asa blue gradient from the top right corner. The top surface of the camera will reflect straight lines because it is flat. The straight side of a plain sheet of paper was used as a mask to create the top front edge. Concave surfaces will reflect the ground on the upper surface and the sky on the bottom, this can be seen on the concave surface around the lens cover.+ Redraw the object construction lines with black and blue coloured pencil or fine liner. Outer lines should be thicker than inner lines. Use a ruler if needed. Yee eee eee brushed metal + Add highlights and lighter surfaces with an eraser stick (see Light and Shadow) ri nsTextures » There are two ways to simulate product textures. One is to imitate texture by drawing with coloured pencils or pastel and cotton wool. The other way is to use the texture of an existing object underneath the paper and use coloured pencil strokes to leave an impression of the surface. Here are examples of how to imitate wood and textured rubber. + Draw a construction of the product textures Ps mR+ Use the same clichés to show the surface lighting. In this case, the wood is matt, so pastel is used to create soft reflections (see sub-chapter Brushed Metal). | wanted to imitate glossy black rubber, so a white stripe of blank paper was left to emphasize a strong reflection (see sub-chapter Reflective Materials) BWW OW eo a a oe aa a ae + Use brown coloured pencil to draw the wood grain. Pay attention to the direction and shape of the grain lines. They will always follow the direction of the object, and will bend and twist with the shape of the path. The rubber part is highlighted from the bottom with white coloured pencil. The surface was imitated by using a finely textured folder.Pitching SketchWeary The Pitching Sketch is a designer's brief of the project in sketch form. It ERE Moke RI AC mete hee OR elem Ulm n ut i.e. clients, other departments, engineers, managers and product developers. The main characteristics of this type of sketch are speed, small POC aR ee RM uC Screg It is used in two ways. Firstly, it is a designer's visualisation response to a discussion within a design group. Also, the designer uses it as a tool to express ideas from other members in the design group; the designer is a communication bridge. It is very effective during meetings and briefings because it facilitates discussion by idea visualization. Once an idea is visualized on the paper, it is much easier to add, modify and manipulate design elements. ATC rers| The Pitching Sketch process is principally about the design group furore MeO ate on i Tel HM tae MC or eta Laer Ma aioe) much about perfect drawing, but about asking the right questions. ce)oor helt chu cuulrs re uit ML Be) ee el ULM oc ee Re eck b og ci rl competitors and the aoe alititg + Whatis the history and background of the company? + What is their existing portfolio of products? PM irie Ruralis sais ed ee Rca op) + What market segments will use your product? + How will the user perceive the product and what MU SVU hore ea CA oa Colla or look at existing products as a basis for redesign + What characteristics of the product do competitors focus on e.g. CA feli Ma craaiCelle\e NRCan ed er Care uree ec a Coler Reel Nrom ue lle aac a Reh change in the future?In the design group meeting, you are concerned with finding out about four design aspects. These four aspects are: Product Appeal; how does the product appeal to the user? Product Use; how will the product behave? The Interface; how will the product communicate with the user? aide Wad tola mn a Re cle ad ur ue Based on these questions, you can formulate concepts. These concepts will then be based on the demands of your environment and you will have defined the constraints of the design problem. A design group meeting will demand a series of Pitching Sketches. These sketches will define the different aspects of the product. However, not all BUC raaeliet eM Mitac UOT eRe ielaiae te Ce aS MR RCs Miso ae Le) a ee OM SRC arte Cauley ese Lelia Mae Mol lela te Melee eMC iielel RRC lal elma design process. The Pitching Sketch is acting as a set of guidelines for the designer and as a set of questions for the design group. Due to discussions within a design group meeting moving rapidly, the designer will not find the time to draw proper constructions of the product. ato NO VL ER CoMe CWE RS i Mecieceicn arlene RLU) Bale core VU ees lle MMe coc mL aT Late Coa uLael (e Oe aa Outline Drawing style as discussed in the Sketch Elements chapter. 51Drs es aac ag yy Sse tat Me eel eee eB ue Ce ARCA ne a et Lh Lorri Celat mel eel eke aan eerste ake eel on + Who is the user of our product? + What is the semiotic term that describes our product? a + How could the product possibly be branded? | + What are the external design elements e.g. buttons, eT ENCE -Once the answers are obtained, try to: | PMG atte Ma ary Me ne aero mola] bs Pm Ga R a ueed Me les ulema itive (ele Melmae) ole: + Define the external elements of the product. x ee Me oom Mee acre a ele aoe RTL felted] heel ken NVA Bi Figures: projection, perspective Nomejeadde janpoid 8 PROP PPR RPP RRR Recy} Design Aspect: Product Use RUMI AT aR) LM maa ace agi arated Eur aa emt -Questions you should ask the design group: + What are the functions of our product? + What is the behaviour that fulfils these functions? + What does the behaviour consist of e.g. preparing, use and rela ced Figures: timeline, projection BVM els 11asn y3npoid ba TRAPP PP OPPOPSCC ama am carta SE WE MT uremia RUr eo ae are elma ar re Rene -Questions you should ask the design group: + What is the interface behaviour that will fulfil the functions OTe museca re iat ed SARUM cle ees aol ed + Is there any need for additional graphic design? ] ae UC Styles: outline style e ETESTO LB a iis ey if oven |: Mammy PRP PPP PRR RPP PRR RRRDesign Aspect: Product Structure Y -Draw the inner and outer structure of the product [ -Questions you should ask the design group: SOI asy Rea c Mele eyes Wagar lee hel melon tT Eta (ues L Peace lel el EC Ron -Td + Which production methods will you use? a Figures: ghosting, explosion, sections, detail icon r SMC Cela 3 eT)91nj3n43s yInpoid PA ee ce ee' ms ‘aad yQ ees ea Memo Sketch oe gathering information BOUT Mitel cny documenting ideas nae AAP ee 60aaa The Purpose BU es CEE Canice CR Omir UE Rede a eRe} Cla UAE en ele ieee Ur ae Cee tt technique also allows the designer to form ‘provocations’ about design aspects and release their creativity. Due to this, Memo Sketching ideally Rua teu ewe LM ym SOME LaLa Brel mL CCR MM ec Ube cole eete ke Cie MULL Ren Teele EM BUM Mom ee RC p eC Amu eee ccaal le) PEER RU escola al Lae aa aCe Lae] ie cide eR Ce) oka BUT Uke e un eRe mune Cre st eR Cg with small sketches, and few materials used. The designer draws or constructs the shape, and uses text or specific Views in order to describe CCN ec Mee eRe Re Oli Roles aC RETR BSB 2) (-F oN ele SMe Ree Me ae CM On) ene NATE eR) the design studio, but also in your daily routine i.e. whilst travelling, in a café or in bed. Memo Sketching is nota typical design activity, but more a design habit. 61iy} aT Cy.) SO MU UC Came aL aol Nee Oh et ae) See emu reer uC e lee ed oe Oa + Definition of the user group and user profile. See Ue ree Reel teil Rene a arse lgeys laa See IC Molee acne ae teehee + Definition of the identity of the product and the elements that create a fulfilling user experience (the ‘X-factor’), Se MCR am ol cee og ce Cole aol eat tt Pe ae + Imagine how the product could look in the future, Will the need still SR UC UnCut ia ie ate een arts tele + Create new user needs. Try to predict the future needs of certain ee Olt) Peel ORM CIO SCCM Cea e le alc ted ea eee Ce ome Meu Uta e See Eur eel eVects marti Wasekacr cy Rae mame t cu uren mee late) details such as smell, colour, materials, texture, and visual identity. DU eames eee cad uae oes iectine mculit re eM oR nae ee tte aur caren ea) relate the product to the company ethos. OP PRR RRRBe WW ee a Bases ue eC Gur acl ice) ae RRR UT els aa ea LiL5 Pua Mel uss dLs a nes ee RI ORCA Ue Lore tae x mec OLTy mouse Peer er Meek cise UMUC CUE EE cel Roh dette (elaa ers iniey scr: Maaco Ge Med ere edo Leer recycling if possible. a Oe ees ua eeu eke Se (el Zan co the individual. Some designers like to use fine liners because it forces eres le eg er) meres ie reac RC oC ce eee eres aun eee a yao Ue Ree La two dimensional. ea Mucus a a cua anu on only one aspect of the design. This reduces misunderstandings and ME ore eeu ct Cea Mren Cire Sere tg too detailed but can be of an iconic style, one projection or ghosting WOM OeinCn an CCR Uiur elt Cnn Cut ROLL Pee aE eae SO CU Own | sketching. 63memo sketch me z + Gathering relevant information from the internet, literature and photography (‘brain food’).VPS Cy mel ay + Taking notes and sketching during meetings. FRM MRURRRrM PRP PR eRe eee“6 memo sketch + Documenting sudden ideas (brainwaves) that could be used and refined in the Concept Sketching phase. ry reSey eee eee eee eo Oe + Adding notes and sketches on collected material such as photo copies, printed images or even text from selected sources e.g. the internet, magazine cut-outs etc.product function shape of the product Mala product partseh! aida aaa bai eit Het rai BUR Sy ery oe CC COEUR eae le) Cla TR COR etsy themselves. They use it to understand problems and investigate a broad diversity of solutions, through the process of visualization and ele MCU Tes aL Ciceal Lue ERC RON reelce k-Le| support creative thinking. It is also a facilitator because it enables spontaneity and creates the possibility to change direction in the See olla The purpose of a Concept Sketch is to generate ideas from provocations, give the product a shape, decide upon production SACU UCR Sela our aa Ramee) bela iN tg by mastering it, you are enabled to communicate with the design problem through drawing. Madly BURG es nes ocean Rete Rol T eS Lemuel ele Leh al user want from the product. Here are some things to think about when planning the process: + Establish your personal goals for the product according to the client’s own goals, suggestions and capacities. + Research the market for existing products, and establish a communication network with institutions or individuals connected with the product development area. Communication with emcee M CTU MMe (0100 a Peg CUNo lea cep Col meee emcee Mur Cac aie leKe ug yy ola PNG Tesla ca rel meme Mem eucl elke) cele Meer CUE mel mat eMule lec I image of the product, but rather explain design aspects of the Fe Cols (CeO ap eC oles Les Cae eR Ree earl a) rough physical models e.g. clay, foam or wood. A Concept Sketch should describe the four different Design Aspects that demand attention during the design process. Please note that the aspects presented in this and the Pitching Sketch fare eS um Lee Me iCal e eC Rel ce ea Lette Ta ote ey cee ua: Ste ore a 1 the priority order is not set in stone, but just a reference in order to S| Nt molePSS a a a ey -Define the use of the product: Peete ere Sm Marlena it Ce Cod a SUeiacelt (Ri enema eee 1 Exerc eM Cette Eee LCC = SUE Tae) (oR Rents Uae 5 + How could the behaviour be developed to satisfy the user experience? -Decisions: is + Define all the possible scenarios of product use. I Pee Reuter aa ke Re oe a Pea Rue mura e Uae + Describe the parts of product that fulfils the function. Peyronie urn NUR ULE cere aaa Le -Technique: + Use a propelling pencil to draw a Perspective View of the product PEE meneame oleae Mure aCe RULy rele aah ke Te) PaO Brink me mele tla aired are-e Mvmt aa Perm e re Meee: (CaN EON eRe col laa es rah Use a propelling pencil for the construction drawing. Seay MO CLS} Figures: timeline USMC RTS MIEC Te]uol}.unj yINpoid = i PRR MRRP RRR RRR RR RRRvp) Design Aspect: Product Appeal -Use collected research material to define your Product Appeal: + Whatis the user profile for this product? + What is the semiotic term that describes the product? SM irvaeColscMar essai ereh eS Zn le3) F428 + Whatis the size and proportion of the product? Sacra Teoma uN eae om nemo Reet rete Le mounted flat panels, textiles -Decisions PMG Teter Ret eed ele ere Relate + Choose the shape style: Amorphic, Revolved, Cubic, or a hybrid. PPR UCR tear RC Kom Le yore [aa Pe Pad CRMC e Cure MMe aL me colt eae otal Cen ola a + Illustrate joints between the parts of your product -Technique PU rie ye 1 te Ce ee ea that explain the object shape and the external appeal of the product. Use Perspective and Projection Views. PG ole Muries ees Keil Rom se 1c e To) e- eke Lae} a larger scale. If necessary, sketch several different Views of the product. Make a new Perspective drawing to describe the product if it changes shape during use. + Use the Net View and Shading style to describe the form of the object Figures: perspective, netting perspective Styles: free style, lightening, shading, materialization \| Rkeke tae elit Lee: Mag PRAM RP RRP RP PRR RRRDesign Aspect: Product Interface -Use collected research material to define your Product Interface: Camco Rumi are etd Oe RUT Mt Ula RUC ua Cee PA iae Leute ule nee rinicel ey Plea uence clecmicre cea me ce) sll ene (ord ¢ a Ed Beeson ORL Loo ST eta Uroh tue ea Marla eT ae aed + Define the external appeal Pra ma Relea ed pKsrealilte (os + Use marker paper and a propelling pencil to draw the interface shape Ele R UCR ana (Oe Wace) (cre aed (Ne Oe Oi Re Mua eesti em ae oder Re iC Wala Co! larger scale + Drawa Star View to explain ‘if and then’ functions of the interface, and render in a Highlight or Shading Style. Figures: the star Styles: lightening, shading rz)“(eee ote [ton rescert/ Perec rte! A-nte/ neste /SHAPUE FOLDER, product interface Be ee eee ee ee a a a oo i a a76 Design Aspect: Product Structure -Use collected research material to define your parts, assembly and iG + What structure and parts does the product have? Pe eae ere Rue eR CR UCOLES Pe Trea m cer racer na Le ne Prana essed Ce yeele ae mutate he Kec col kel Sry rd Se Pra (o ROTC Parsi N emesis + Define the material of each part and possible production methods. Peas eh ssl ROC RLS a BIE enn ie Mur icuc Rees Utes cee et urred complement each other. + If the product has moving parts during use, then define the PACHA UE LSU eae -Technique + Use marker paper and a propelling pencil to draw the product parts Rukia icc Orck uieea soc UCN m oe eratl oa clea Ce Te(e] Detail Views to explain joints and mechanisms. If the product shape is Pen eCem ei Meu ME Mat ast) View to focus on the idea. PRG rome cee Rem Ur cee Se Rc aay PORN Cle eel + Draw an Explosion View to explain the product parts in a Highlight or SUC Tel Le isco ate C CMe te CCE ST HCE CREUC CLL |EPP ETP eC ely Xep Ke | LS PRA Pw MMRPRRPRPRR RHR eee eR eepecification sketch = = = = = = = product shape PO ee Lek fe) Ptr Cee MLLT:)aoe By igre A Specification Sketch uses technical drawings and precise renderings to specify different aspects of the product and will prepare you for the physical or CAD modelling stage. It is a process of synthesis, which revises all the previous concepts and evaluates the suitability of the product Design Aspects. The Specification Sketch will allow you to see if it is possible to implement the concept in three dimensions. A Specification Sketch puts some physical boundaries on the concept idea and the Design Aspects. This phase is used to revise the concepts in order to make it physically possible to produce them. The Method -In the Specification Sketch phase, there are five things to concentrate on: BM alelStek- Relate cio) 9 + Design a hybrid concept « Product Shape + Proportion and Detail Saullo)Cee Reiley g NS eT ele MEA NOR Tel Melee Ke tao LTe Rp ate) Katee a ROR UR ure Rue ae Ret of all the good and bad sides of your design, It is important to not only use common sense, but also intuition in order to consider all the product factors, especially those from the client and product developer. Also, it is Cololol Roe e cme ele UREA However, there are many methods for design evaluation. The intention of this book was not to describe these methods. Instead, the intention was to propose a possible system for you to establish your personal values, and make your own choice from a designer's viewpoint. Here are some tips to make your choice: + Sort your concept sketches by dividing them into groups and give them reference names. Divide the concept names into groups and subgroups on a sheet of plain paper in order to get a better view of the situation. + Ifit is not possible to choose a concept by simple elimination, use a matrix ranking method with the four Design Aspects described in the Concept and Pitching Sketch chapters: + Function and behaviour of the product + Product shape and appeal + Interface and usability + Parts, assembly, production and materials nies PRR RR RRR RRR |wouwude A) Usea ranking of 1-4 to describe the Design Aspect importance = Mt guna ere Miser cee aac eg oe C) Multiply together the concept rating and the Design Aspect importance. al OP Nelo R ele (tama ie) oleae aon (a Role MCHC Roe a PTT b eC Me eg a = At this stage, it is still possible to generate new ideas. Try designing a Hybrid Concept by combining existing concepts to create a better a solution. Be careful not to destroy the core idea. + Use tips from the Concept Sketch chapter to design and describe the Hybrid Concept. + Place marker paper on the existing drawings and use it as a source for new drawings ake wee ee eoProduct Shape + Draw rectangles to represent the product dimensions. These will act as a reference for the Projection View. Use a propelling pencil ENCHANT mca Cr TCR UTC Ca + Draw the product shapes within the reference rectangles. + Refine the shape and dimensions so that the product keeps its faite (acs en Plein coe eel ate etn ArT TUL rel v maT much you can change them. + Use a Ghosting View and draw reference rectangles to represent the inner elements of the product. Sketch each of them with different coloured pencils. Try to fit them into the product shape. » Mark the dimensions of the product, including all its inner and eer cy + Usea new sheet of marker paper on top of the plan, and redraw the projections. Draw only the external elements, ignoring Ghosting. + Render the drawing in a Highlighting or Shading Style. Figures: projection, ghosting RUC CRra Ett mC LST |adeys yonpoid a PRUE ORR RP eReProportion and Detail ee Mellel aed ute enh umee ig eke eters cea different Perspective Views of the product. Take care that the tlhe Ta Coa Coy esto MER Cae R NTT A settee Fe EY Wh Cla a ace Solent pele team BOVE urlicd elrined leery top of the plan and trace the sketches in pencil. Redesign the Batya ana CAC eel iat om le either ia een redesign details and the interface to better fit the Product Appeal. At this stage, we want to see how the product will appear when manufactured from various different materials. In order to explore this, you should Laur Wa iucoardiascer ad ilk acuta cael) Bie el NUS earl sackman act Viel Reflective Materials or Textures. + Repeat this procedure until the result is EE cla cena Figures: perspective ASME Ler PETC) MHaPRMORMh ORR ORR eoUCT LEZ} + Use plain paper of necessary size and the propelling pencil to draw rel ae AU Creme CY lcs Use Earl eMail lc) elated possible. + List the parts and create a step by step plan fora future CAD or PTs Mlle Muro selected ca Enea rence ectlon tte fora ‘solid’ manufacturing. Only in the case of prototype production Cea) Wer eaTe tot 1a SIC eLre nut p asic) h RUT e ieee are Uo tele armel Me tired] (ase) aC- Meat E Te} draw a Net View and use it as a reference for modelling. Figures: projection Styles: outline, shading POP eee RRR 86Hurmeip japow = 3 peace Peon aa ORR RRP RR RRR RRRMET ean Cc eg This is the end of the guide; however it is only just the beginning. Now your ideas are ready to be transformed into a ‘AD Lael cielo} model. All of the sketches you have been drawing will be MeO) Reals MaTaKer ene Re UN Ca NOC en Ten tale ae Ce (Lite ruin your form or main idea. Scan your Model Drawing or Product Shape Specification sketch. Use these scans as a background in the projection windows of your CAD program in order to accurately trace the shape. TAN tel tut ear ae Com DU RR Te Nl ea ee uM uP OMEN OL LM S51e a CciCe Penne] output will dictate the choice of 3D software. Solid based programs such as Inventor, Pro Engineer or TEN Mord sacacanouel ae euen (eT) oTfobs ToL SAL RU Clea leer Le eS aa EA aL aoe teLs onl Kolo Ce Ne Meche Unle Nrerle netsh K es Date a for design of production tools such as moulds, solid based software is Pcie lalcm When creating a workshop model, pay attention to your parts and production plan. A realistic timetable and plan is crucial for success. Do not allow the choice of workshop tools or materials to simplify or destroy RU Reolc Ketel eC Once again, the choice of material will be determined by the nature of your design, sketch precision and the purpose of the model. Solid materials such as foam or wood will fit Revolved and Cubic Shapes better, whilst clay material will work better with Amorphic Shapes. MeN ooh Uy lee CoA Ue eae CeCe el ai C] oC aa ce) (tt (0lA) Views from the Model Drawing. For some more complicated shapes, Des (ool RUN Moen UTS el Rec Soa Uc rex alco) curs material. If you deal with Amorphic shapes in clay material, it is good to have templates for the characteristic sections, such as the top and front yee oe wii Fe vo ee ee B= = Re: Ee: —In Closing As it was said at the beginning, design is a skill and it Cerny PYELa CMe te cue AC RC ANC NAC ® fol ON MWC sketches for designing. Therefore, | recommend that you use it when working on design projects. However, this guide is not a tutorial book and you should not aim to eer RUC MU RUC aC Soul BUS Len ele] eRe the methods presented in your own way. Pav neler Ruston sp Colt oe Coe EL p Teo Do not worry if the sketching style that you are trying to achieve does not work first time. Try to focus on describing the shape and concept fresco Mirae aces epee RCN clea aie Roe ica aL Le ool ree ae Ne cea ML Se enue IMT Coe MU UCU NCCU ls Nee een tle ( role vol Ron) fe C Meno) BC ANCL G LUST Te wath Lawson B, 1997: How designers think; Rent Mel-cite fa ol colackeae (uve aCe Re iTe(Ola De Bono, E, 1996: Serious creativity, London oT eM PA ATT meen Le http://www.dmu.ac.uk/In/4dd/synd4e.html LU Tire a Cla Meso) Tare (1c ZT Product Design and DevelopmentSSN ee ee ee© Tapir Academic Press, Trondheim 2005 NEEL Ey Pree ie ce eMC uCeacud transmitted in any form or by any means; electronic, electrostatic, magnetic tape, mechanical, photo-copying, recording or otherwise, without permission. Layout: Nenad Pavel Pent aac uy BU et Cua ac rs LSrAu tea Chee EEE) iz +4773 593204 Seema raey sat) RT Carat)cen CL UTC UE) er Rome ak a establishment of hybrid educational programs which merge design and Neue MURR aeeeae Cuts MaLe elisa) Ee AC eee type of education, instruction in studio-based drawing must be intensified and communicated more efficiently. Two additional factors have redefined the need for conventional drawing skills as well: the domination of CAD- rendered drawings for detailed product depiction and the increased focus Pubes axe (ava ursiiee) Fea aero La URC Ley communication and visual thinking through industrial design drawing have been hard to find until now. Nenad Pavel’s book assumes that a student has prior knowledge of the basics of form, perspective and shading. He presents a toolbox of techniques and instructions for how industrial designers can improve their hand-sketched visual communication. He also addresses diverse issues which a designer often confronts: product conception, esthetics, evant ct a eMC M Scares BIKe ea elec MEUC MeN] Tecra OMSL eee RON ue el Tem aU RUT Lag will be of interest to many related disciplines, including architecture and engineering, as well as being appropriate for the general public with an alacant Ree MeL LW Lae Molo NCR Te TR gg Assistant Dean, Industrial Design Engineering Neral UNUM Varis eter Mem en lureee) ISBN 82-519-2024-8 ‘iii 788251 i Stapir akademisk forlag