Getting started An underlay has several advantages for getting started. It speeds up the drawing process and gives a realistic sense of proportion, volume and size. When redesigning 2 handheld domestic food mixer, using a photo of an existing product, a 1:1 scale is most convenient because you can actually compare hand size and grip. Ergonomics and a realistic appearance can thus be integrated easily. By drawing archetypal mixer tools, the design proposal gains legibility and scale. Z lina brainstorming session you don’t immediately evaluate the results. I's important to just keep your freedom and stay open-minded about ideas, looking for other visual stimu chat offer new challenges. ‘Aline drawing leaves room for many interpretations, so shading is added to express volume, Choosing an appropriate light direction (coming from the top left, slightly away from you and going towards the object) makes volumes and shape transitions recognizable When adding volume and colour to a line drawing, decisions abour the look and feel have to be raken immediately. Clearly, shading is of paramount importance. Knowledge about light and shading will bea key issue throughout this book. Accontour in side view can represent various 3D forms. Successive actions in sketching Start drawing freely; the inderay is only a size reference, Gradations in tine thickness are added.Ic is import 2 sketch freely, to look for p This can erlap of dr ideation, When this occurs it can Here, overlap is used to emphasi them to the front. It g lore dept value to the sket Basic principles pf shading asa reference gfide. In all complex situatipns, a variety of basic shading situations can be found14 Side views are often used in Footwear Design because shoes are commonly displayed this way in a store to catch the consumer's eye. The drawings shown here cover the initial design process, from concept sketches to final renderings. Drawings are not only used to explore design solutions or to represent a wr a. product realistically; their emotional aspect is also very important. They serve co get people excited about a project within the company. Some are also presented to athletes and consumers for feedback.‘Agidas AG, Germany - Sonny Lim ee FoomiearDengrers syle ae aiferen for every Sacer vsined (eign and ewryone wees Scenral Designer. armature ofercmque. Goce hecare “his creates a rears Sees imber of Fancoonsl endronmene fe Sessersvon nd Media changing viuelaton See Thediawing snd shechngteteiques, “The ble and red Football boots ware drawn by hand, serge pera ‘maths, Fliers and = Pantnae mrkeraitnth “The drings were reared inand the fghlighe Sd in Potochon. The Compute endings were certly danein Photosneg. Sra Pane sthough = tan sarc was often Sioa sean unaerayso igeetheproperathouete. ieretete vest Sttzhes ware crn lee oe apa Imports ne Photorhop hope 5 Side view sketches 18Light and shading Just like in photography, choosing the most informative viewpoint and a suitable light direction is essential in creating an optimal 3D illusion. By adding tonal values (light and shading}, one can express volume. A cylinder should look round, a flat surface far. Analyzing objects and light conditions is very helpful in understanding the relations beoween shapes and shadings, and offers basic information suggesting the volumes and combinations needed for creating depth in a two-dimensional sketch. Some products, like clock radios, microwave ovens, and washing machines, clearly have a side that is most informative In other cases, one has to decide which viewpoint contains the most ofa product's (shape) character- isties.whee celour peri canbe Baied for higher ones She highighes, and back ou the darker towards the objec, not only results in disinerion beeween the two shaded (and highlighted) in other words ransaing [paper 3 usafil ecercsein eating shading effects. This stimulates you to make ‘visual library of shading stations and wil nti you to apply shading without hay18 Different designers worked together on this project. Visual language and handwriting should be ‘compatible. In addition to drawings, 1:1 models ‘were made to carry out specific ergonomic studies These madels then served as a starting point for more elaborated drawings. Although most drawings are in side view, three-dimensional approaches are also necessary to determine shape transitions and connections that would otherwise stay hidden.sek industrial design Faemeseecd npc ei (2005) she sees are prot ine ate Seas ihrshape a soft rps were applies in secordance wth ee Ski ‘orporaze ery, Nok davtlopedche housing, rmocicups and produ piphies cher Sideviewsetches 19_ PasTex OR PENG Details ‘Adding some details to a sketch can give ita far more realistic appearance, Details can also indicate the overall size of an object. Studying pictures of product details will reveal the basic principles of shading, 20os USA - Laurens van den Acker ise view give the Fest impression rarced simpli and power. Every Fa me undetine these aspects With = Ta cach asa car, cary sterches inside eee ee design process and visualize a clesr es tery Simple bumpers ar box section aden frame Ie tumed out be popular ser nthe 208 concep Foe eed smith ‘pis, bur ace acanced powervaincecnaloges Cheptr 1 Side view sketches 2422 SMOOL Designstudio For designer Robert Bronwasser, handmade sketches are the basis of each design. Sketching stimulates creativity and offers a very quick way to explore design possibilities, study proportions and try out details. By varying the sketches in size, viewpoint, perspective and colour, the design opportunities become clearer. Sketching and designing in side view requires imagination and knowledge of how to visvalize in 3D.smool For period of ime. Robert Bronasse shemed scvernead Copter Side view sketches 2324 Drop shadows Cast shadow can be needed for other reasons chan expressing depth In this case itis used to suggest the transparency of parts of the coffee machine. This shadow is simplified; the contour ofthe product is the outline of this ‘drop shadow’, which is cast onan imaginary surface behind the product. It is far easier to manage than constructing a perspec- tively correct one Notice char the light and that a mare or less direction has been realistic distance from chosen for an effect of the background surface is ‘optimal transparency suggested.26 WelLL Design ‘When asked by the Princess corporation to perform a study on their personal care products, WeL| came up with the idea of adding glamour, symbolized by Swarovski crystals. To obtain maximum effect at reasonable price, existing Princess hairdryer models were taken as the starting point. Subsequently the Crystal Hairdryer, che Royal Bling Hairdryer (photo) and the Super Bling Hairdryer were introduced. Potential skecches were selected and used as an underlay for line drawings. These were then scanned into the computer and finished in Photoshop. Designers: Glanni Orsini and Mathis Hele Product Photogrepiy: PrincessPerspective drawing Xeowledge of basic perspective rules is oF course needed to start drawing in prspecive. But the sare ‘object can be presented in various ways: ask ‘an communizate information about the shape oF & product as leary as posible. A sketch ean also beused to emphasize an object as being tiny o big and impresive- The visual information conveyed by sketching i highly infuenced by the chee of viewpoint, setle cements ang use of perspective ues Managing these effects allows various suggestions of realyScale Scale is a very influential factor. Human size is familiar surrounding objects. These ‘scale elements’ regarded as the standard in scale elements. Everything can make something look relatively small or big, Cats, can be related to hurman size and perception. people, hands or matches representa predictable size, Something above the horizon, for example, is above _so they can explain the size of a product next to them. normal eye-level, and must be bigger than human The clothespins at the right, for example, scale down height (if perceived while standing). Another way to _the size of the kit. estimate size, or scale an object, is to compare ie with Scale is always related to what we know and what we sense by comparison. Aremarkable visual effect, to be perceived as vertical the third vanishing point (of Taking this effect inco the vertical lines), canbe account, vertical lines seen in pictures of buildings. are genevally kept vertical The buildings seem to be in drawings. However, falling backwards. Itis more introducing the third difficult to see this effece vanishing point ar slightly in real life, for our minds curved lines can give more correct our perception- dramatic expression to a vertical shapes are supposed drawing,Perspective convergence ‘arent size of an abject is enced by the amount of nce. In the top right picture aid kit, the use of too much e causes a misrepresentation it appears to be huge. less convergence is used, the isco loak more natural Chapter 2 Perspective drawing 2s30 Distortion ‘The amount of convergence is influenced by its relative distance from the observer; the closer we get to an object, the more convergence is seen. It is important to find a balance between viewpoint and the amount of perspective convergence, © much convergence is used, the representation of an object will become distorted. But although the terior angle of the Apple Powerbook is less than 90°, ch is in fact impossible to see with the human eye, we do not immediately reject this picture, Up to a ain point, we ‘correct’ the image in our minds, OF ‘course the recognition of shapes helps, too.bove ellipses is also the resule nce. Even the horizontal surface re standing seems to curve, be seen in the huge difference in ren and pink bowls. ve is represented by an ellipse, shape. Chapter 2 Perspective drawing 3132 Foreshortening When looking perpendicular at a surface, the relative dimensions of that surface stay intact. IFsurfaces are angled away, foreshortening effects can be perceived. Focusing on the distance ‘ between the red lines, size \ ais smaller than b, as ies \ surface is more angled away. Asa result, size b appears bigger although ic is further away. Detail, Functional Bathroom Ties - ‘Amu Visser, EkJan Kwaklel and Petr JagVisser, At each orientation, the tiles’ dimensions are seen as different in size, but perceived as equal in size. Different viewpoints show that a higher point of view makes a surface less foreshortened. A circle in perspective then looks rounder.34 WeLL Design For Etna Vending Technologies, a series of fully automatic espresso ‘machines was developed by designers Gianni Orsini and Mathis Heller. After a thorough strategic Wik analysis of the market, the conceptual phase was carried out in competition with two other major Dutch design studios The aim was a more luxurious design than dozens of other machines at the same price level. Another challenge was to come up with designs that would suit their own brand and two unspecified global brands, Finally, it should be possible to fit three different structural components within the same housing design,Numerous sketches were made to explore and visualize product ideas, not only to generate a flow of ideas, but also to be able to discuss them later or be stimulated to react to thern with another drawing, Emphasizing potential ideas in sketches also maps the design process. Chapter 2 Perspective drawing 35Viewpoint Finding the best angle of view for a complete and informative representation of an object is sometimes difficult. One can look at an object from different heights, and from different directions. The choice of viewpoint causes certain parts and details to be hidden or revealed. Objects usually have a side view that is most informative, In general, a drawing will be more charac teristic (and informative) when this side view is only slightly foreshorcened. “The more foreshortened a surface is, the less information it ean display. A design proposal usually reeds more than one drawing to give enough information, 36ferences in visual information about the Both the overall curved shape and the += emphasized in the bottom picture. ewpoint will normally be more viewpoint chat resembles che user's point of view, also loring shapes, because it creates enables the viewer co relate to the object. formative overview. Choosing a Chapter 2 Perspective drawing 37BMW Group, Germany ~ Adriaan van Hooydonk This sketch for the BMW-Z9 concept car is drawn from an interesting angle. The choice of viewpoint highly influences the feeling of the vehicle, adding power. This viewpoint best shows the influence of the wheel arches in relation to the body of the car 38 Actually, every aspect of this drawing is aimed at achieving this feeling, by using strong lines and the effect of highly polished surfaces. The sleek look of the BMW Z9, a show car sport coupé, hints at future automotive designet eencight construction, the interior ee es = inceresting new philosophy abour ilie etemesication and driving comfort, Two sketches by Adriaan yan Hooydonk showing different angles of view: a sketch of the BMW 6-series and an impression of a Roadster. Both sketches are made by starting with a pencil, adding marker and, in the ease of the drawing below, pastel on both sides of Vellum. Chapter 2 Perspective drawing 39DAF Trucks NV DAF Trucks is pare of PACCAR, a leading company in the transpar- tation industry. The DAF Design Centeris located in Eindhoven, the Netherlands, and is responsible for the design of all DAF Trucks. In 2006, DAF launched its new flagship, the XF105, and was awarded as International Truck ofthe year 2007” Comparing the actual DAF XF105 to the drawings shows a remarkable coherence in feel and character. In each drawing, viewpoint and perspective are carefully chosen fora specific reason. An extreme low angle of vision provides an even more dramatic feeling of the impressive DAE APaceAR COMPANY length ofthis long-range cruck. A tied drawing can give a more dynamic sensation. Extreme perspective can produce ‘feces such as these eee particular details, such as rooftop lights Designer: Bare van Latrnge, Rik de Reuver‘andhelds, a very high viewpoint is ssembles the user's point of view. ced with che top surface, which pective convergence. That also sce graphics or add derails such as PASTING oRAPhids Chapter 2 Perspective drawing 41Eye-level perspective Whereas bird's-eye perspective can create an overview and enriches shape information, eye-level perspective suggests human-related size, Of course, one can directly sketch in eye-level perspective with the aid of the horizon. But it can also be easily derived from a drawing in bird’s-eye perspective. A surface is drawn horizon at eye-level surface at eye-level 42 at eye-level, intersecting the object. Lines above this surface will be above the horizon, All vertical lengths stay intact, as does their horizontal position, eg. the width of the drawing; lines are only rearranged vertically.seme perspective sists of an unusual viewpoint eration of perspective. A very ere the surface of the ground » (Frogeeye perspective), can make essive. A third vanishing point, 's introduced together with a lot Chapter 2 Perspective drawing 43FLEX/the| NNOVATIONLAB® Portable hard disk for Freecom, 2004. The product has a clear identity, and serves as a design flagship for the entire Freecom product range. The use of extreme viewpoints and the accent on material reflection and light effects creates a clear idea of the design concepts,Pe Siesta, sketches were used to explore the es oF new design language for Freecom. Tee Sep was to define three different concepts See = Se unicate the look & feel of the products Chapter 2 Perspective drawing 4546 In exereme perspective, the object is deliberately distorted. The expression of the drawings is more important than the exact shape of che objects. Iris generally used to impress, to underline a feel of drama, speed, or power. In the suitcase sketches, extreme Perspective was chosen to communicate strength and durability ‘These airships appear big, as they are dravm in frog ye view. Besides using a low viewpoint and much convergence, adding smal suggestive dezals can suggest thelr huge size even moreChapter 2 Perspective drawing 4748 DAF A PACEAR COMPANY ro DAF Trucks NV DAF XF1DS / CF / LF Truck interior, 2006, In drawing. interiors, choosing an appropriate viewpoint is crucial To give an overview of che interior and at the same time create a feeling of being inside a truck, the perspective is sometimes exaggerated. Designer: Bar van Loving, Rik de Re9 from, or near to, the driver's cory sketches of the position and handles were necessary layout of the cockpic itself were drawn separately and emphasize the precision look of the instrument panel ‘A transparent circle visualizes the driver's reach. Pictures taken afterwards are used to analyze the design process, so as to learn from it and look for new challenges. Chapter 2 Perspective drawing 49waem FULL Coton, PesarugateD color Aerial perspective In order to suggest depth, colour values are important, Nearby objects are seen as having more contrast and more saturated colours. As the distance of an object increases, its colour and shading will be perceived with less contrast and less saturation. Eventually, objects will appear bluish. As a result, rich and warm colours are generally perceived as being closer than cool colours. ‘Objects with much contrast tend to appear closer than objects with little contrast. ‘When drawing large products, the phenomenon known as aerial perspective can emphasize their size. But a feeling of depth can also be added in a drawing of smaller objects. Letting an object ‘fade ‘out’ cowards the back can be a combination of several effects, resembling aerial perspective but also the ‘out of focus’ effect seen in photography. At the same time, light reffections on shiny surfaces also cause a whitening of the object towards the back. 50Chapter 2 Perspective drawing $152 Guerrilla Games “This young but rapidly expanding studio has a growing reputation as one of Europe's leading game developers. As a result ofits successful release of Killzone, the company was acquired by Sony Computer Entertainment in 2005. Guerrilla produces its games in-house and designs them from the ground up. Its relatively large concept art department designs and visualizes the different surroundings, characters and vehicles in its games. In comparison to other game studios, Guerrilla puts extra effort into creating ‘concepts that have functional credibility. Because of the virtual nature of the games, itis not necessaryimpression, adding to immersion in environment. These pages show ept work created for the trailer of illa’s game for Sony's Playstation 3. products of the gaming industry are rated realities, a large amount of the fe Angel Marinez visuals in their development is drawn by hand not only in the early stages of preproduction, but also later, con in the design process, where shape optimizing and detailing, for example digital sketching techniques, are applied Chapter 2 Perspective drawing $334 ‘One of the gaming industry’s goals is to render with a minimum amount of memory use but with a maximum suggestion of realisi. Before making the final in-game models, visuals like the ones above are used to find the optimal utilization of textures. These drawings are digitally painted, using 3D models and photos as reference. They are utilized to show both the design and its placement within the game environment. Based on these types of paintings, concepts are evaluated as to whether or not they it the overall mood and style of the game. The use of exaggerated aerial perspective can also be seen in the previous drawings. In the gaming industry aerial perspective is regarded as a tool. It creates more depth and realism, and requires less computer memory for rendering.ctively draw complex shapes has bility to simplify. When drawing 2 ading the underlying structure of a | appearance is as important as ox perspective cons are closely related to the ability to which is also a common approach dded in various design methods sermcce. Learning to see or analyze helps you to ‘ex situations into understandable, straightforward steps. Every product can be structurally analyzed: What is its basic shape or shapes, how are parts connected and what are the relevant details? Making a plan by deciding what is essential and what is not shows you how to start, what to do next and how to finish a drawing. This analysis defines your drawing approach. An effective analysis results in an effective drawing. In this chapter, complex and simple drawings are compared to emphasize this effective approach to drawing, =e 5536 Analyzing Having an effective plan will greatly simplify and speed up the drawing process. Finding efficient ways to make a simple representation of a complex shape by analyzing its shape and characteristics can be a helpful exercise. Spatial effects in general can be taken into consideration in the same way, for various reasons. A simplified surrounding, for example, can emphasize a sketch, as seen above. It can also add more depth, or influence overall aspects of the layout, such as contrast or composition.Se of this Honda outboard engine can “cover is wrapped around the hardware “Tre shape transitions are smooth and ‘can see these transitions better ifthe eis and graphics are left out. “The rectangular background and causes the sketches to ge 2s block shape and a vertical plane or here is based upon the principle of overlap. It adds more depth co the drawing by representing ‘further diseance away stand out more, especially when a cool or desaturated colourris used, In this case, itis also a way to group sketches together Chapter 3 Simplifying shape 57In this example, the Canon EOS camera can also be regarded as basically being a combination of a block shape and a cylinder, onto which smaller parts are added. Adding a background in the shape of a technical side view can explain about shape ratio or measurement,= drawing approach wing approach, the ysis is the starting drawings all begin block shape and an ails are added last Circles in perspective are drawn here on vertical and horizontal surfaces. The most common requirement is to draws the major axis ata 90? angle to the central axis. The orientation of the minor axis ofthe ellipses is the same as that of the central axis, and is perpendicular to its surface. Note haw the ellipses differ in orientation and roundness. The more a surface is angled away, the flatter che ellipse will Become Mason AKis = ORIENTATION Chapter 3 Simplifying shape 59All of the drawings here start with a transparent. basic shape. This is helpful in determining cast shadow, either constructed or as estimation, and forms the basis for the nexc phase of the drawing The lids of the boxes, for example, are drawn using the transparency of the block shape. Drawing with transparency and guidelines will also improve communication of shape information. The exact position ofthe boxes can be seen, for example, and sometimes product information about a side that is not visible can be indicated. A surface that matches the perspective of the object can either be part of the drawing or suggest depth 60> 2n overall approach for the most sa characteristics of the shape, and work down to the details. Pre ste background is “gee e=phical in approach. ees combine some “sees and presene them eres 2 different order Suerte ocher sketches: Derails will give drawings ‘a more vivid and realistic appearance. Details surrounding the object, ike a strap or cords, can also have great impact con the layout. Chapter 3 Simplifying shape 61Guidelines used to ‘construct’ a shape will also be helpfill to the ‘reader’ of your drawing, as they provide extra visual information about shape. Both the open and closed lid are drawn and Atangentto the curve at connected with a curve. An this location determines the appropriate positon for the perpendicular direction, its cover can be chosen along thickness. this path. 62ee Seng of a marker refill bottle was started setesshieg 2 block shape and tilting the front en. Tee age grinder was started by drawing a Positioned cylinder and attaching a seats staze to it. Two cylindrical parts were added. ding and detail finished the drawing. nrceres Chapter 3 Simplifying shape 63‘The drawing approach for these wheelbarrowsThe ability to simplify is essential, not only for finding an approach to a product shape that is complex in itself, but also for drawing effectively. When a shape or product is simplified effectively, even a very basic version can capture the nature of the product.Rou mer “TAN'srAMARTE SS Foie ZvIGeAFPEN Yoon, BeREMCWC Va FE Loupe, Ban HET ScHe mI, en S YaM by De LaF Top | 66 WAACS - Screen Sketching Foil Column by Joost Alferink for Vrij Nederland, 2006 New products in our surroundings always produce a reaction. Nowadays every office desk sports a flat screen, Whereas once a chunky monitor did the job, now liquid crystals race around! Apare from obvious plusses like taking up less space and reduced flickering, this development has other advantages. More and more often in our studio, we see two people drawing on the flat screen with @ pen or pencil during the design process, rapidly reworking details in life-size computer visualizations of new products. And then we have to go to work with aggressive cleansing agents in order to remove traces of ink and graphite from the screen. Obvious! the screens are not designed with this in mind, so” it is time for an altemative - screen sketching foil! A protective role of transparent fil lies in a holder behind the screen. A layer of foil always hangs over the screen, ready for use. We have even discussed the possibility of turning the information on the foil directly inco digital information. The inclination to draw by hand only strengthens the contrast between analogue and digital - and in this age dominated by zeros and ones, we are more and more in need of this!Elementary shapes and shading The immediate spatial impact ofa drawing is largely determined by its shading (related to the incidence of light), as shading is used to create depth. Cast shadows can emphasize an object's shape, and can clarify the position of the product and its parts in relation to a surface or plane. Shading might look difficult, but just as most objects can be reduced to combinations of elementary geometrical shapes, so can shading. In general, a block, cylinder and sphere are the basic starting volumes ucld thers jug for Alsi, 1993-200168 Line weight already causes a suggestion of depth in a line drawing. Lines on the shaded side (in this case, on the right-hand side) and underneath are made heavier. Usually, a shadow cast on the floors drawn darker than its casting. ona wall. This reflects the traditionally darker floor and lighter wall ofa room. Thereisno one tonal value; all is relative. In most cases, cast shadow will be the darkest or one of she darkest tones in a drawing (Casechadow emphasizes the differene rocations of he shapes Here, cast shadow is added later, suggesting an elevation ofthe shapes in a manipulative way.Block shapes + direction is chosen to create the riate contrast and size of shadows. Every pe has a characteristic cast shadow. A cast ow should be large enough to emphasize the ss of an object. It should support the abject, 2 sa large as to disturb the layout of the Detail, Functionel Bathroom Ties Arnout Vise, Eikjan Koel and Pacer Jae “The cast shadow of an object can be found using ‘wo guidelines: the angle and direction of light. The laccer isa projection of the OF LigHT Light DIRECTION ~ Chepter 4 Elementary shapes and shading 6970 Asshaded surface appears darker ifit is angled more away from the light source. So under the influence of light, an object will be a different shade of colour on each of is visible sides, One side is represented by ‘full colour’ and has the highest saturation. The shaded side is darker and less saturated, mixed towards black, and the top surface contains more white and is brighter than the full-colour side. Brice sp} DAREER AND DesaruRaTeD ‘Sunlight (parallel rays of light) isa preferable source of light in drawings, for it creates predictable and reliable cast shadows. Lamplight creates shadows that differ in shape, depending con the position of the light source ‘When the depth of a box-like shape inereases, ambient light is less likely to enter. In cheory, interior ronal values are darker. The rays oflight stay parallel throughout the “UK _ CONVERGENT drawing. The projected ght direction slightly converges.A cast shadow can effectively indicate an object’s elevation. A projection of the top surface can be seen on the left. It does not differ too much from the constructed shadow above, and is used as a fast and easy approximation. Sometimes you will see drawings in which lamp light, such as on the right, produces a ‘wide’ cast shadow. Mixing a cast shadow with some reflections could result in a more vivid surface. Notice the different tones ; of rey combines wth he eB colours. Chapter-4 Elementary shapes and shading 71 color MARKERIn these three sketches, a similarity can be seen in the drawing approach to shading,ota light source in itself, but Due to the influence of ambient light, je out as they get further away from ese gradients in shading often make a sion more realistic. The open character sadow on the floor emphasizes the open Leaning Miror, Chapter 4 Elementary shapes and shading 7374 Cylinders, spheres and cones The navigation buoys here can be regarded as a combination of cylinders, cones and spheres. Analyzing and simplifying can be done in the same way as with block shapes. The abrupt changes in shading are remarkable; an upright cone will be more lit han a cylinder, and thus has a larger lighted area. Cast shadows, again, can show differences in depthCENTRAL AXIS. rical shape starts with choosing s. The orientation of the ellipses, the perpendicular to this central of the central axis of horizontal juences the rounding of the ellipses. to the ellipses complete the shape. Chapter 4 Elementary shapes and shading 78The cast shadow of a cylinder is determined by a projection of its top surface. Due to perspective, the roundness of this ellipse differs only slightly. from that of the bottom ellipse of the cylinder. ‘The cast shadow of the skittle is constructed using horizontal cross sections at strategic places, marking the transitions in width. Due to perspective, thes ellipses become fatter upwards. When they are projected on the ground surface and connected, the result is a cast shadow. Ambient light causes the darkest area of shading to appear not at the contour, but just inside ieovations, reeling in “The orentevon ofthe clipses = perpendicular the cence ais cf che cinder Te elise become Natt a5 he hinderis angled mere ‘when aqvinderke abject orenced harizonally, is ease shadow i ese predictable. In this ease, one can draw a square plane around the riginalelipse, then derermine che cast shadow of this square, ard draw an elise init CCoptor$Elementary shapes and shading 77Instead of combining straight cylindrical and conical parts, a slightly curved contour can make quite a difference in the appearance of an object. This relatively simple approach can be an exciting exploration. A search for unconventional shapes can quickly have 2 surprising outcome.| CUBE sana A623 = The basic principles in this chapter should be regarded as background knowledge for estimating, Eventually it will not be hard to guess the cast shadow of, for example, tilted perspective circles by sketching various connected ellipses that are also slightly angled. Estimating cast shadow is more related to effective sketching then constructing cast shadows. Chapter 4 Elementary shapes and shading 7982jesical (upright) cylinders through the centre of the top ellipse. + differences in orientation and 1 blocks, a variety of shapes can be All sketches here are made by first drawing a cylinder. Is ellipses have horizontally criented major axes, Chapter § Special attention for ellipses 83‘An axial line crosses the ellipse at two places. “Tangents to these points pperspeccively perpendicu! to the axial line, and sho: converge slight. Make sure the elipses are not soo fat/ foreshortened, as this makes estimating tangents very dificule The elipse is now perspectively divided into four equal parts, and surrounded by a square. ‘When blocks and cylinders are combined into one object, these shapes have to match in terms of perspective. Sometimes it is easier to start with an ellipse and derive 2 perspective square from it, than the other way around ‘The centre of rele in perspective is located beehind’ the intersection of the major and minor axes.the direction in which an ellipse is is done independently of the major axes of the ellipse. These axes remain | and vertical. Each direction of the axial sin different tangents. Fh, the object is ently, for each have a preferable Mix and Measure by Jan Hoekstra Industrial Design Services for Royal VKB, 2008. This design allows you to both mix and ‘measure in the same bow. Marc Lowrmane Chapter § Special atvention for ellipses 8586 StudioMOM shows its workflow, making a large amount of quick sketches to research potential designs. Later on also, during CAD, hand sketches are simultaneously used asa more intuitive and active or natural design tool.> and playful, durable look. Because the collection =eaoMOM is designed “for every age’, different themes are explored during idea development. Teese dinnerware is designed for Widget The collection consists of plates, bowls and cups 8 = =eemational supplier of quality home _and will be extended with newly designed accessories — for serving and drinking, such as salad cutlery, a pe Sements are bright colours, clearshapes serving tray and jug. Se Alfa van Eland Mare Holvends.Phorogrphy: idee Chapter 5 Special attention for ellipses 8788 Ford Motor Company, USA - Laurens van den Acker With the general design of the Model U (2003), ‘As seen here, the designer prefers to keep a log of there was an opportunity to develop a new profile _the design process. Design decisions can then later with Goodyear tires. It completed the concept and _be put into context and related to the end result. added to a more ‘racetrack’ appearance. Photography: Fors Motor Company: UDraw an axial line, and divide one radiusin two. A J ‘angent is then moved to — the midpoint of this radius, Jinders are also effective starting drawing some less obvious shapes, such ral triangle or a pentagon, for example ellipses is particularly handy when several dd objects are positioned together. an start with an axial line through the see = any direction, the result will be a series of msezzed objects. ‘The same cechnique can be used to draw a pentagon. First draw an axial line, divide one radius in three, and the other in four equal parts, Use tangents again and move them in position Chapter § Special attention for ellipses 89Two of a kind, by Studio Frederik Roije, isa double ring made of porcelain. In breaking che ring an engagement with each o: will exist, 2004. Dutchtub, by Floris Schoonderbeek, is a ‘new way of 2 outdoor bathing’. It requires no electricity, plumbing ‘or hot water. After itis filled, the water is heated by natural fire. Dutchtub has been selected for the Dutch Design Awards 2004, Phorosraphy: Dureeu USA, Produc photogrpy, Steven van Keation of ewo ar mare cylindrical or arts can best be drawn by multiplying jinder or cone in the chosen direction ve. A storage box for lenses can cha shape, with two compartments 10 each other. _——< a + -on-horizontal Jrs in a more spacial ive drawing, to which be more easily added Chopter § Special attention for ellipses 91To add a vertical grip, che vertical cross section of the ellipse is excended “Thickness is added in che same direction as the horizoncal tangents 92 Horizontal cylinders With horizontal cylinders, additions such as a grip are also drawn using centre lines and cross sections in this case, horizontal and vertical ones.ip of the hairdryer e horizontal surface, its = is drawn using a tangent ose For the horizontal ‘floating’ grip, the horizontal cross section of the ellipse is extended. Its thickness is vertical in this case. This situation is not realistic, but easier to draw and more explanatory. Chapter § Special attention for ellipses 93Binoculars basically consist of two connected cylinders. The drawings are started by positioning two cylinders parallel to ane another and connecting them. ‘The oriencation and roundness of the first ellipse greatly influences the position of the second cylinder Using the nearest ellipse as a starting point, perspec= tively horizontal guidelines can be positioned. The next cylinder is cenered within ches lines. Aborizontal surface can also be used ta locate the final ellipse. 94Bench, part of the interior of VROM canteen in The Hague by Remy & Veenhuizen ontwerpers, 2002. of a circle is located ‘behind! the on of its axes. A vertical line through this =e show the top and bottom of the ellipse through the top and bottom of the ellipse verge slightly. The horizontal cross vertical tangents at both ends. MGENT VERTICAE TANGENTS Chapter 5 Special attention for ellipses 9596 Shape combinations When shapes are basically a combination of cylinders with different orientations, the drawing strategy is the same as before: start with ellipses and cylinders, and then make a connection berwee them. Choosing the roundness of the ellipses is crucial heres the various cross sections, perpen~ dicular or otherwise, should match in terms of perspectiveshape is more black-like than cylinder- more obvious to start the drawing with a ad add parts of cylinders later, so-called Notice how the ellipse is cut into ewo equal halves, and then moved apart ina perpendicular direction. Drawing these roundings, ‘one should keep in mind that, tsken together, they should form an ellipse again. Chapter S Special attention for ellipses 9798 springtime ® Springtime For the UPGRADE! Football Campaign for Nike is one of them, An interaction between sketching EMEA 2005, Wieden+Kennedy's Amsterdam office and rendering can be seen here. In this process, created a campaign showcasing the benefits of ‘sketches were made over rough 3D renderings and Nike football products. Springtime designed 5 screenshots, exploring details and questioning futuristic machines representing five core Nike decisions made earlier in the 3D modelling. football products to illustrate the campaign. This Designer: Michiel Kroppert, Camputerrendarng: Michiel van Ipern, Photography: Pau DS= sng a rendering in a presentation, the next ses would again start with sketching, with the Seal sketches being input for a new rendering Chapter § Special atteJoining cylinders Another well-known combination of shapes seen = 2 lot of products is 2 joining of cylindrical shapes Ellipses and cross sections are used to determine « connections between them, ‘When two equal tubes intersect at an angle of their connection is ellip: i Horizontal and vertical cross sections of the small: eylinder are projected o the bigger one, resulting = the height and width ofthe 100102 WAACS. In 2002, Velda introduced the |-Tronic to permanently eliminate the algae problem that many pond owners suffer from. Not with destructive chemicals, bur with a microprocessor-controlled electronic core that generates electric pulses and emits positive copper ions. These ions are the natural extinguishers of both fibrous and slimy algae. ide view drawings with shading provide a quick spatial impression of a possible solution. In this case, a more simple representation of complex cub= joints. A combination of shaded side view drawingsMAMBKE PIS. A POMP + iemisaToR \ INEEN \ weree TERUC } J ER ge Seseactive sketches is sometimes needed in pee = ex better view of shape implications. fe Sse estimation of both cross sections and “Sep= Seesitions can be seen in these sketches. moos Chapter S Special attention for ellipses 103Tubes with curvature Besides straight tubes, there are curved ones. A specific kind of curved tube is @ torus, or donut Understanding this shape will provide guidelines for drawing curved tubes in general, A torus can be analyzed as a round shape with infinite cross sections of circles in perspective; their orientation is, perpendicular to the curvature, A quick estimation is drawn by using only a few strategic ones. Cross- secting the donut in the direction of the major and minor axes results in two circles and two lines. Halfway, the cross section is represented by a 30° ellipse 104mples of 90° curves can be seen here. In === viewpoints, this curve is drawn at an angle The fluent ongoing shape is suggested fic extended contour line inside the zen in the torus. To determine this line, g similar points (top and outer points) on Chapter Special attention for ellipses 105106 AS Syscedeur phaser ‘Outlines are sketched over photos of technical prototypes to determine ergonomic prope’ Important design details are communicated through combinations of partly detailed visuals and textual explanations. AS coe ie op De jase weeare used to om entrapped SSeinstance Sgned an range of shat basically peformance and cather than con specifications. Special attention was given to mobility and speed of action. Their design has the best weight/performance ratio on the market, A new brand image was developed to communicate these properties VANBERLO VanBerlo Strategy + Design Branding and design of hydraulic rescue tools, for RESQTEC, 2005. iF Gold Award 2006. Red Dot ‘Best ofthe Best’ Award 2006. Dutch Design Award, 2006. Industrial Design Excellence Award (IDEA) Gold 2006. 107108 Success is a result of passion, and there’s no methodology of the heart (thankfully). Every new product begins with a certain motivation, For example, a coffee machine must be designed in order to reinvigorate the consumer market and increase profit margins. The idea phase follows, and this is where passion plays a critical role. WAACS’ passion for che assignment was met with enthusias= by those responsible for production - namely, Douwe Egberts/Sara Lee and Philips. Shortly after its launch in 2002, it took Europe and the USA by storm, surpassing all expectations. Consumers cal it ‘Senseo’, They call the frothy brew Senseo, too ‘That's also passion. Consumer passion.Rounding Nearly every industrial product has rounding its shape. These roundings, which can be re to manufacturing processes or derive from have a big impact on the appearance of 2 pr: There are only a few basic roundings variations, however: from singular roundin: direction to multiple, curved rounding in di directions,ox basic roundings are parts of an ellipse. arly counded object is made out ofa seSeation of parts of blocks and cylinders, its Sez will be made the same way. == =race gets more foreshortened, the “gesed oundings will differ more in shape. “aeeeeng the shapes of the remaining space can See match curves; these have to feel similar. eeseson of a curve with the diagonal may also efor the opposed rounding Fabrique ~ Metal cabinets / Rotterdam Droogdok furniture, part of the interior design of the new office for the development corporation CityPorts Rotterdam, 2005, Chapter 6 Rounding ar[MNO (Jan Mis and Ben Oosirum) - Easy Chir Notice how the rounding highlighted, Singular rounding ‘An object has ‘singular rounding’ when its rounding is curved in one direction only. In its simplest form, this will result in extrusion-like shapes. A good way to learn about rounding is to analyze and draw existing shapes. First the objects can be drawn as block shapes, then roundings are ‘subtracted’. Richaré Huron Seusio ~ Sey Relax, 200%12 In this situation, che rounded edges should form hollow cylinder when united again “The Pharaoh furniture line can be used both outdoor and indoors, Selected f Dutch Design Awards:ir ELL, 2006, Sovere wien wo fe “ee = munding is not cylindrical but curved in “gunte way, the use of guiding lines such as a cross “see becomes more essential in order to achieve me ‘As che cross-sectional surfaces were placed on the ground floor, they were also handy in drawing cast shadow. Chapter6 Rounding 113114 Early sketches are used to document che initial idea, and to visualize the first step as to what the shape should look like, After that, various media are used to develop the concept towards materialization, varying from small hand-drawn paper models to: more precise Adobe Illustrator try-outs, Employes such a delicate ratio-based principle, the final sta determination was largely done by computer.Seedio Jan Melis nn Ratio, also known as the divine ‘on, isa universal proportion related to at is revealed in nature and in artefacts us. This phenomenon is used as inspiration modular shapes that can be combined in endless ways. During the Luctor et emergo exhibition at the CBK Zeeland in Middelburg, it has taken shape as a self-adhesive wall decoration and a modular bench, 2006. Chapter 6 Rounding 5116 Pilots Product Design Tabletop phone for Philips, 2005. This on-board telephone was designed for use on American cruise ships being re-furbished. Initial concepts took into account the high quality minimalistic styling of the ships’ interiors. A clear indication ofthe look and feel can already seen in these early drawings, The use of toxt in th drawings helps communicate concepts with over clients and interior designers. Designers: Stanly Sie and Juriaan Bor> ano days a presentation was sent by mail, after see = conference call was set up. After mutually es the basic design, the shape of the buttons gee cher details was determined. By using Painter, == cuiekly make variations based on one aeerg, W7118 Most products, however, have multiple rofind The kind, size and combination of roundipgscombinations ing rounding is knowing how and where delines. Taking the time to draw the various surfaces within a shape (flat, ded) gives one clear insight into the ‘ape and will simplify the next phases g, lke shading or adding details. The Ives are not the main goal, This wever, supports decisions about shape 0 be of use as a design tool to help and evaluate the design. Notice that there obviously isa preference in the order of building up chese roundings; itis better to draw bigger sized curves First. Chapter 6 Rounding 119120 MMID Logic-M, Ligtvoet Products BV, 2006, In close collaboration with the client, the focus was mainly the overall styling of the electric scooter. The development of the technical, metal parts of the scooter was done by Ligtvoet. The first sketches, the renderings and the mock-ups were made by using different combination of tools, like Painter. Photoshop and Rhino-3D.= KKetching techniques were used during === Our first drawings were ballpoint with ee exches. After that we used the foam mock- for sketching over, and for the detailing = Sng we used the Rhino CAD model as 2 Seem sketch on This combination of techniques helps us to givea good impression of the product at any stage and makes us able to fine- tune al stying aspects of the scooter on different levels, Using the Rhino CAD model also makes it possible to use perspective as you like, in any view you want.” Chapter’6 Rounding 121122 The balance bene shading and refi depends on the obje: Both shading and highlights in rounded objects are surface (mat or shin related to light direction as well as reflections. The ‘Therefore there is no brightest area of a rounding is dependent of light MY rethod of express direction. A highlight is a compressed, intense light rounding, but bear reflection, and can occur independent that shading keeps th 4 shape recognizable. I= section we will mainly © on shading. of the light direction Notice the shape ofthe highligh when roundings of different sizes are combined.‘The most elementary mubiple rounding occurs when singular roundings of equal sizes are combined. Literally, three quarcer parts ofan ellipse are drawn to construct each rounding. contour is Faet oF «a ciecle ”" ne its shading, similar to thac of a contour is part Chapter 6 Rounding 123124 IAC Gruppe, Germany - Huib Seegers ‘These concept drawings explore dashboard and centre console shapes, which had to tie in with a typical OEM (specifications) styling, and at the same time visualize certain innovative manufacturing processes (2005). The starting point pencil sketches that w finalized in a ‘cartoor- manner with black fn fon paper, and quick’y collared with Phot The next step was 3D concept modelling and rendering in Alias sofSee Se carinterior sketches and renderings were suse = an early stage of the project. The main pes 10 show OEM the level of component Session, part split lines and functional properties ‘ =Sedual components. The media used were “elleeet on paper, and a Wacom computer tablet Se PSrcer software for colouring, Chapter 6 Rounding 125126 Multiple rounding can also consist of singular roundings that are not equal in size. A multiple rounding with two equal circular cross sections and one large curve can be analyzed as shownSom srawing approaches are possible. The first is s-sset with a block shape and ‘remove! material. Secsuse this often involves a lot of lines, the area. ee rounding itself can unintentionally get ‘es, stile in reality these roundings are usually mgraigreed, secid his problem, one can start with a ‘thin’, seguerty rounded shape, in which the large seeing 's placed first, and smaller rounding is sete ster. In this way, you will have a minimum sermur of lines. The only lines seen are the ones eet 2s guidelines for shading. Chapter § Rounding 127Although these objects differ a lot in shape '- comparison to the objects shown earlier, still see the same drawing approach as bet drawings start with a flat surface, on which rounding is drawn, Smaller rounding is adde: An occasional cross section is added to emp’ the transformation of the surface. Reinforcem== ribs are also helpful in this, 128Scerting at the surface ape is not clearly spatial or voluminous, stance is very flat, approaching it as a eve may not be very efficient. This object is ocoes starting with the top surface, at which a slight civess is added downwards. lent the top ‘she floor is done eeeximation of Chapter 6 Rounding 129When rounding is relatively small, it will not > to be constructed; it can also be ‘suggested drawing two lines and keeping the stroke bi them brighter. In these examples, the starti is the top surface, which can be slightly cu Cross sections or seams that follow the shag rounding can help indicate or emphasize it. Derails are added afte colour and shading. 130‘Se=rk Design Engineering Seisse proof level gauges, 2006 Se measurement devices are used in storage Ss = the oil and gas industry, safory is a key set out to develop the line of gauges so and reinforce the client’s brand image oncessions to safety or product cost. By spark defining a set of modular components, a complete portfolio of products can be made using few parts. In a previous project phase, Spark had defined the desired perception of the product and brand positioning, This allowed the designers to make early sketches using the chosen colour scheme, The way in which colour is used can actually drive the styling and shape development of the product. Chapter Rounding 131Estimating Knowledge and skills will eventually enable you 0 predict what a rounding will look like from a particular point of view. The resulris a fast skeiching approach in which predicting and ‘stimating are the key words. 132Planes / cross sections Another approach to spatial drawing oriented. Up to this point, an abject regarded as a combination of basi bur it may also be drawn using planes. The commonly used plane is the cross section Cross sections are used in ‘building up’ an o! and also in determining shape transitions‘At the start of the design process, numerous pictures were taken of scale models using industrial wire netting. On several optional pictures, the structure was traced in order to get a clear understanding of the shape transition, and to intensify the original character of the idea. These drawings were used later as 2 starting point for renderings. “Usually, (scale) mod an important rote in stage of our design pSo & Veenhuizen ontwerpers come a place to meet, hang out and sonal fence at the Noorderlicht n Dordrecht has been transformed ng area. 9 of the existing rigid rhythm into cture has created places to hang 005, Designers: Tojo Re sn Rene Vestn, Phosoarapiy: Herbert Wr cout on both sides of the fence. This bent structure is connected at each end to the previously existing industrial Heras fence. Although the first sketches were drawn freely and the final shape was bound by technical and budget limitations, their resemblance can be clearly seen. Chapter 7 Planes /cross sections 135136 Curving a surface Cross sections can be draw= a surface to explain or emp its curvature. They play am role in determining how as perceived. One can draw estimations curved cross sections, or u more precise approach, st: a flat surface and partly el: ‘or push it down. When the sections of the flat surface visible, the final curvature of plane can be perceived in to these.Chapter 7 Planes cross sections 137138 Cross-secting a volume In these sketches, a sphere is used as the starting point. All che modifications and details are positioned with the use of cross sections. Starting ‘with the circular contour of a sphere, the horizontal cross section is drawn first. The foreshortening (roundness) of this cross section is related to the angle of vision of the sketch. In general, a higher viewpoint makes construction easier.Chapter 7 Planes /cros140 ‘The complexity of the object can already be seen = an early stage. Due to che complex curvature transitions, cross sections are added to clarify the intended shape == keep ie symmetrical.sek industrial design Pe seon Kids family itis released The powerful “gee SrHamax (2007) brake also strengthens the Se = mw0 persons: product’s construction eer one adultand Iisa simple product, “es newfeatureis hardly needing assembly. Seei chat automatically Its compacc packaging wllerape when reduces transport costs, After choosing the concept, complex shape implications in terms of packaging and shipping were cone on the computer. Ghaptsr7 Planes /eross sections 141142 “To make the Cinderella table we used @ high-tech method as our new modern ‘craft’, putting skotches of old furniture into a computer which translated them into digital drawings.” Drawing curved shapes When cross sections are used in constructing a shape, they should be positioned in a logical mannier, which is usually perpendicular. This drawing approach has much in common with the way in Which certain computer programs require input for 3D rendering. Cinderela cable ~ Jeroen So studio DEMAKERSVAN, Phocography: Raoul Krames Cross sections can also be drawn later stage to explain a shape betters to emphasize an area. This way, cross sections can also be used to explore different curvatures or to optimizCross sections can explain transitions in shape; in this ‘case, round-to-flat. A drawing can also scart with a cross section to make sure symmetry is preserved. ‘This is ike drawing from the inside our. Chopter 7 Planes cross sections 143144 Spark Design Engineering The Desktop Video table, an object can be Magnifier, 2005, isparcaF put beneath che camera aproduct range that helps and magnified up to SO the visually impaired read times on the display. Pare printed text, see photos, of the process of creating do fine handwork, er. this product was the With the sliding reading development of a new lighting solution. This required, and inspired, a new approach to the product's sing, Using skesches and foam ‘models, Spark investigated the option of adding aluminium parts that add lighting design styling celemencs, improve bes dissipation from the light sources and vises! separate the wings fom the camera arm, Cros sections were addea ‘emphasize changes shape of the surface‘created during ideation must be by every member of the design team and 2550 must be suitable for interaction with ‘text helps in pointing out technical ‘possibilities or requirements. The research = 2nd colour in relation to the poor eyesight of users of the video magnifier is clearly evident in these sketches, User interface solutions: have been visualized, taking size, shape, position, movement, graphics and contrast into account. Chopter 7 Planes/cross sections 148Estimating ‘Ava more advanced level, one uses fewer guidelines and makes more estimations. Sometimes a contour can be ‘predicted’, with eross sections being added later to explain more about the shape. As one's skill increases, organic shapes or less geometric Shapes cai be suggested by estimated cross sections, Usually a combitvation of approaches is applied if one sketch. 146ation of handheld sesewater cameras shows Fe portance of cross sens. In each sketch, Sess sections are used to ser construce the grip Se main shape, or to se a shape. Chopter7 Planes/ cross sections 147Audi AG, Germ ‘he Audie Wane) ‘concept was presented Senenber 200eaE the / Frankfunbmocdr show. pH Pulne rae eae oetiews ‘of the Audi brand. This yp Wouter Kets // vesulved in a rear engine ‘two-seater sports car with a VI0 engine. The car was designed and built within 6 months, fully functional ‘The car received a lor of positive feedback at the show and in the press; especially the incetior was well appreciated by the public This prototype was then developed into the production version, the ‘Audi RB super sports car. The seats in this ear are lightweight carbon fibre pucker seats, with the possibilty of folding == to gain more luggage space. (Chief designer Wale 2Pee aemary sketches for the character of the eee were done in black and white, The colour seers: presented to the Audi management shape changes. The line work of this drawing was sical drawings using only pen, markerand done by hand, the colouring in Photoshop, using “= = paper. The exploded view helped the team only few colours and avoiding gradients in order to rsand modellers discuss the different get a clean, easy to read drawing. This drawing was aspects of the seat at an early stage. the basis for the CAD engineering and later also for There is no clear start or end to a project; rath drawing process is a continuous flow of drawn ‘out of which various projects arise.Sites good storyteller ie erty getting started, awe > ob Smeets and Hem zee!) adds a new eee each season to thelr seat grim tale thot ee sunded humorous em & characteristic “Studio Job’ infectious, caricatural design, which ae devoid of scle, have caused considerable uproar in the international world af design, Their works of art provide a commentary an usuahinterprearions about finctionaiy, mas production and style by purposely playing with elements such a8 unity, outonomy and figuration in their designs.” (Sue-an van der Zipp) Chapter 8 Ideation 189Rack Furncure, 2008 “Studio Jeb is well-known for a refined play of visual clues, ‘and elements have been embedded in their work which sometimes seemed to have been restricted to visual arts. ‘Their work balances between design and autonomous art.” (Sue-an van der Zijgp) 160Chapter 8 Ideation 161In the preliminary sketches, the resemblance to in materials is often done gradually. Skesching: existing camerasis still quite clear; the evolution _ printouts of renderings thus combines com towards the new, more friendly, camera can be and ‘form-safe’ underlays with free and intuise= seen as the drawings become more characteristic or expression. Rendering dictates a more rations) ‘animal-ike’. approach (more distance) and can result in There usually is no one particular moment when _ spontaneous actions, whereas freehand di handmade sketching is abandoned and only allows quick and suggestive adaptations. computer renderings are made. Instead, this shift 162Febrique =sSeque was commissioned by Hacousto to develop “== sunveillance cameras for Dutch Railways (NS), sc fitin better with the railway’s look and take = she ‘Big Brother’ feel. By giving the cameras = Sc almost literally - they now have an affable vests Korver and Eland Bakers FAIRIQUE image: a friendly eye helping to keep watch. The former tangle of cables has been eliminated; the cable is now hidden in the bracket, creating a tidier image. The cameras are highly visible and are placed in ‘bunches’ for optimum range, Eye-on-you has been nominated for the Dutch Design Awards, 2006. Chapter 8 Ideation 163studioMOM Several accessories for serving and drinking, from the melamine dinnerware collection for Widget, 2006. “During sketching you react directly to the drawing ‘paper, whereas with CAD you execute a designated react to the outcome later. These two ways of visual different moments of reaction and decision-making, ~ Designers: rud.oltOM, Alfred van Elk and or166 (© 2007 NIKE, Incl Fit Springtime Part of the UPGRADE! Football Campaign by ‘Wieden+Kennedy for Nike EMEA, 2005. Designer: Michie! Knoppert; Computer rendering: Michiel var Iperen; Photography Pas =‘Sketching can be used to visualize the thinking. process, and in this case, as a means of shape exploration. In this selection of numerous sketches, the evolution of the design can be clearly seen. Chapter 8 ideation 167168, Ford Motor Company, USA - Laurens van den Acker ‘The Model U 2003 concept cars seen as the and ongoing upgrades provide an array Model T Ford of the 21st century, equipped adaptations. Model U features pre-crash s with upgradeable technologies and powered by adaptive front headlights and an advanced the world’s first supercharged hybrid hydrogen vision system to help the driver avoid ac powertrain with electric transmission, Modularity before they occur. Photography: Ford Motor Comserzes van den Acker, chief project was very far us," says sr for the Model U. “embody the spirit of the hhad to design vemely ingenious car ‘needs and mest an incredible packaging challenge. Mode! U doesn’t compromise Interior space forthe accupants or cargo despite the storage space reeded for the hydrogen tanks and the hybrid powertrain.” A combination of inspirations: pictures of cars to emphasis certain aspects and evaluating sketches are glued together to explore and map design directions. Two pages out of the designer's sketchbook show progress in week 19. Notice that at this stage the layout of the taillights and headlights is already visible. Chapter 8 Ideation 169170 Each design process starts with exploring possibilities shrough handmade skesches. The final design is modelled in SolidWorks, and rendered in Cinema 40. “t generally make a deliberate choice in adwoma on how to communicate = design to a client.”SOOL Designstudio Pe multimedia TV also is part of the series of “SS sned existing products with which Robert “Semeasser showcases his design vision. Here, all == =edia functionality has been integrated ina ss==endly design, adjusted to the consumer’s seox ltems/S, Sept/Oct. 2006 Chapter 8 I 1IAC Group, Germany ~ Huib Seegers ‘Sketches out of one of Huib Seegers’s sketchbooks for IAC exploring shapes of a door panel, researching probable flowing curves, 2006. In the next stage, drawings were much more precise and) in perspective, looking at possible incompatibviee= between armrest and door handle and remainine stowage space for roadmaps and bottles,Seat, Spain - Wouter Kets eck explorative drawings for a seat design for = Se2t Leon Prototype, 2005. Quick sketches of ‘sent viewpoints are set up in pen; interesting sesstes serve as an underlay for the next sketches, S==5y improving the design. The main cross sors are drawn in for symmetry and to make the drawing easier to read. Finally, marker is added to emphasize potential designs. Ata later stage, such drawings are used as the start of tape-drawings and a CAD model. Normally this level of detailing and materializing is good enough to communicate first ideas within the design team and design management. Chapter 8 Ideation 173,174 Pininfarina, Italy - Lowie Vermeersch {At the Paris Motor Show of 2004, Pininfarina Nido, a safety research prototype, was presented in a ‘world preview and won the Most Beautiful Car of the Year award in the Prototype and Concept Car category. The Nido project is based on the study, design and prototyping of new solutions that involve structural aspects and the design ofa two-seater car. The possible use of available spac between the inner and outer shell is explored wits the goal of increasing both internal safety, which affeces the occupants directly, and external safer designed to limit any damage to pedestrians in == event of a collision.emerous sketches were made to explore and ide on structure and shape definition, Lowie’s book shows some of those brainstorming176 N70 smartphone for Nokia, 2005 Feiz Design Studio Working in close collaboration with Nokia design, the objective of this project was to create a distinct identity and character for a family of mobile multimedia products, This activity led to final products such as the N70 and N&O smartphones. ‘The formal language of these products is based on a sculptural approach, which is highly controlles (a transition between a soft triangular form inz> a flat lozenge shape). This form is both reflective of the technology inside and the human outsid= ‘creating a form which cradles and compleme: hand? Careful attention has been paid to the ¢ of materials, such as the stainless steel front pa-== creating a qualitative and distinct image“De meal sketches clearly capture the designer's ss==n= point. The sketches are used to explore form “seSens, also in details, and reflect the quest for SeSing his design approach with the necessary “Seal and functional aspects of the product. The “see sketches were transformed into actual foam ‘see's for further exploration and review. The shape ee alized using CAD. Chapter 8 ideation 177178 Khodi Feiz “Like most designers, | also keep a small sketchbook with me at all times to jot down my ideas wherever they ‘may come... | use sketching ‘more or less as an iterative thinking peacess which 1 can later translate into three dimensions. Sketches are generated to explore the formal qualities of my design. Wich me, they are very seldom used as a presen- tation to); they don’t need 10 look sleek or polished, anly explorative ard in turn communicative. Sketching Js not precious tome, itis Justa recording ofa thought process.”Explanatory drawings © =2Scion to ideation and presentation, drawings general, a more schematic way of drawing is applied 2 be used to ‘explain’ to others. This has in explanatory drawings. That way, pure information specific kinds of drawings like exploded can be isolated for clarity. Archetype or icon-like d side view drawings, especially in communi- drawings can ensure neutral or non-judgmental pecific technical information. We have communication. Several drawings together can seen a crossover between presentation and forma storyline, like a visual script, a manual or a drawing in the chapter on side view. In storyboard. 179Guam | Coe 180 itt Richard Hutten Studio ‘The ‘One of a Kind’ project originally started out to pay homage to the Dutch architect Gerrit Rietveld, who in 1942 constructed a chair out of one sheet of aluminium, which became a great classic. The “One of a Kind’ chair is made of Alucarbon®. Later on other, related, designs also came about, and in 2000 chis collection became known under = brand name ‘Hidden’. After the initial sketch == ‘embodies the basic product idea, the drawinz= = used, for example, to visualize the basic imph=anom= of different technical solutions and as 2 way s= communicate with engineering,Final shape optimization is done by computer and 21:1 model. The ‘One of a Kind? project eventually resulted in six objects: 2 chair, table, dining rable and chair, cabinet and stow chest. Sreogrsphy: Richard Huttn Studio, Computer rendering: Grenno Vier Chopter9 Explanatory drawings 181; | | ; 182 Exploded views These explanatory drawings represent a wid method of arranging parts of @ product. Th the relationship between separate interior = exterior parts. They also serve well as pre-en sketches when exploring aspects of assem! potential manufacturing problems. The sep: product parts are literally ‘exploded? in a di logically associated with their assembly. By ‘overlap and guidelines, the coherence betw parts becomes visible, while at the same time product as a whole stays recognizable. Too much perspective can cause distortion 2-2 recognizable product parts.Overlap is a very practical way to position objects relative to each other. Guidelines can help under- stand the relationship between parts. Without both of these methods, relative positions will not be clear at a critical distance. In the example below, you can perceive the objects both above and behind each other. “The distance between parts and whether or not to Used ovedap varies thas t0 be balanced by taking into consideration the layout ofthe drawing, the information chat is revealed, and the coherence ofthe drawing u a oe ae a ay SS>gonly a litle perspective ssnvergence in bird's-eye sex generally results in sSemative drawings. Chapter 9 Explanatory drawings 183