Product Sketching workbook

Product Sketching Workbook Semester A | Unit 1-3

Industrial Design Engineering The Hague University of Applied Sciences

Assignment overview

Unit 1

Unit 2

Week 2 | Lines

sA.u1.w2-I | Straight lines

sA.u1.w2-II | Diagonal lines | Muscles

sA.u1.w2-IV | Connect the dots

sA.u1.w2-V | Current skill level

sA.u1.w2-VI | Reverse pictionairy

sA.u1.w2-VII | Self portrait Week 3 |

sA.u1.w3-I | |

sA.u1.w3-III |

sA.u1.w3-IV |

sA.u1.w3-V |

Perspectives Squares Spatial shapes Boxes Thinking inside the box Pencil sharpener

Week 4 | Cubes

sA.u1.w4-I | Planes in space | Order of Cubes

sA.u1.w4-III | Cubes

sA.u1.w4-IV | Quick cubes

sA.u1.w4-V | Perception | Dividing cubes

sA.u1.w4-VII | Letter cube

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Unit 3

Week 6

sA.u2.w6-I

sA.u2.w6-II sA.u2.w6-III

sA.u2.w6-IV

sA.u2.w6-V

sA.u2.w6-VI

| Circles | Spirals | Ellipses | Circle in perspective | Circles in squares | Vertical cylinders | Bottles and glasses

Week 7

sA.u1.w7-I

sA.u1.w7-II

sA.u1.w7-III

sA.u1.w7-IV

sA.u1.w7-V

sA.u1.w7-VI

| Cylinders | Coils | Vertical cylinders | Horizontal cylinder | Toilet rolls | Circles on squares | Photo cameras

Week 8 | Ideation

sA.u1.w8-I | Cylinders and cubes

sA.u1.w8-II | Subtract and add

sA.u1.w8-III | Wooden toys

sA.u1.w8-IV | Ideation tricks sA.u1.w8-V | Ideation

Week 9 | Idea development

sA.u1.w9-I | Mix-up sA.u1.w9-II | Idea development

sA.u1.w9-III | Markers

sA.u1.w9-IV | Basic shading sA.u1.w9-V | Idea presentation

Week 11

sA.u3.w11-I

sA.u3.w11-II

sA.u3.w11-III

sA.u3.w11-IV

| Connecting shapes | Snakes | Attach to cylinders | Connecting cylinders | Tubes

Week 12

sA.u3.w12-I

sA.u3.w12-II

sA.u3.w12-III

sA.u3.w12-IV

| Parallel cross sections | Sketching from memory | Parallel cross sections | Double curved surfaces I | Apply parallel sections

Week 13

sA.u3.w13-I

sA.u3.w13-II

sA.u3.w13-III

| | | |

Intersecting cross sections Sketching from side views Intersecting cross sections Double curved surfaces II

Introduction Welcome to Product Sketching! As an industrial designer drawing is the best way to generate and express your ideas.

Everyone can learn how to sketch. Of course it will be easier if you have a talent for it and more challenging if you lack any drawing talent. But sketching is ultimately about communicating and not about beauty. The goal is to be able to put your ideas onto paper and to communicate them to others (colleagues, teachers and clients).

Sketching can be used in all stages of the design process and is not only limited for the idea generation. Your sketching abilities are one of your most valuable skills as a designer.

Print this book on A3 paper and you will be ready to follow all assignments.

Week 2 Tools • Fine liners: black.

• Markers: you can buy a set of Promarkers or Copic markers (with multiple point-widths).

If you want to start with just a few colors, choose: • black, • light and medium grey, • light color and a midrange color.

• A3 printer paper.

• A3 marker paper.

Lines

Forbidden During this course we will mainly draw with fine-liners. They supply you with constant results when drawing. Some tool might be enticing to use, but are banned if you want to be comfortable drawing anywhere at any time.

• No pencils.

• No erasers.

• No rulers.

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Straight lines sA.u1.w2-I Drawing straight lines might seem like an easy task, but it's arguably one of the most difficult exercises in this workbook.

The following 4 exercises are for drawing straight lines. Keep your paper horizontal during the exercises. Don't rotate the paper to increase your abilities to draw in any direction.

Horizontal - Vertical Fill this page with horizontal and vertical lines. Make lines in one go from side to side across the whole page.

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Diagonal lines sA.u1.w2-II Diagonal lines are still straight, the only difference is that they are on an angle instead of horizontal or vertical.

Fill this page with diagonal lines across the whole page. Make lines in one go across the whole page. The first two lines will intersect somewhere on the page. Try to get all the other lines to go through the same point.

Remember to keep your paper horizontal during this exercise.

Don't rotate the paper to increase your abilities to draw in any direction.

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Muscles You need your body in order to draw. A lot happens in your hand and wrist, but don't forget the rest of your arm or your back.

Drawing is almost a full body experience. You might think it's all in the wrist, but than you're not doing it right.

Your posture is important. Sitting up straight gives you full control of your body, especially your arm. Drawing doesn't happen at the wrist, but you need to use your whole arm; wrist, elbow and shoulder all together to be able to draw freely.

Using a fine-liner will help you to have full control of your materials. A fine-liner draws more consistent that ball point pens. To have full control you will need to practice tilting the fineliner and changing the pressure with which you draw.

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Connect the dots sA.u1.w2-IV Often you will try to draw a line from one point to the other. Hitting the point from a longer distance requires practice.

Put two dots on the paper. Have at least half of the page between the two dots. Connect the dots with a straight line going from one edge of the paper all the way to the other side. Continue this at least 20 times.

Remember to keep your paper horizontal during this exercise.

Don't rotate the paper to increase your abilities to draw in any direction.

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Current skill level sA.u1.w2-V You might already have some drawing skills, or maybe even had some art classes in the past, or a complete newbie.

Either way is fine. If you have some drawing experience in the past that can be beneficial and you might pick up the techniques quicker. Having done some art classes can even be a disadvantage, because the techniques quite different.

For a complete newbie the drawing classes might be daunting, but you have nothing to worry about. As you have seen in the previous assignments we will really start at the beginning. I believe that everybody can learn how to draw by following and applying the techniques offered in this course throughout your first year at IDE. The following exercise is to see the level of skills you currently process. This is your benchmark; I will see where you stand and you can see at the end of the year how much you have progressed.

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Reverse pictionairy sA.u1.w2-VI Drawing objects might seem hard after the last exercise, but the essence of this course is being able to communicate.

That means you don't necessarily need to be very good at drawing, but you need to understand how to use your skills in a way, that others can understand you.

This exercise is a good example of that. On this page you will visualize fifteen words/objects/ notions. Each row will be more abstract and difficult. You will get 15 minutes in total, that's one minute per word. That doesn't leave with much time to worry about making things beautiful.

Key is to draw the first thing that comes to mind and to keep it simple. You don't want to make intricate drawings at this moment , but you want to be fast and communicative.

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Self portrait sA.u1.w2-VII

Draw a portrait of yourself.

I know what you're thinking: "Wow, that's hard! We're not in art school, are we?

Don't worry, this should not be a classic depiction of your face.

Of course it can be part of it, because it an important part by which people recognize you. But you are so much more than just your face.

Make a self portrait by visualizing who you are in all its facets. For example think of this and more: • Where are you from?

• What is your family like?

• What sports/hobbies do you like/do?

• Do you have (medical) conditions which influence your life?

• Etcetera...

Try to capture yourself as a complete person.

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Week 3 Perspectives

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Squares sA.u1.w3-I

Squares are different from rectangles. With squares all sides are equal.

Each week we will start with a warm-up exercise to get the blood flowing and the muscles loose.

This exercise is about practicing your straight lines and about proportions. Fill this place with squares of different sizes, from small to page filling. Make them overlap or intersect.

Afterwards use your marker to shade some intersections of the squares.

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Spatial shapes There are several techniques to represent 3-dimensional objects in two dimensions.

The main two are projections and perspective.

Projections have the advantage that they are easier to create.

Lines are parallel to each other and that makes things clear.

The down side with projections is that the drawn objects do not correspond to any actual obtainable view.

Because that is the goal when we are making product sketches; creating a realistic view of a product as we would view it as people.

Perspective on the other hand is a technique perfect for depicting 3-dimensional volumes and spatial relationships in two dimensions, as if from the viewpoint of the observer. The main characteristic of perspective is that objects appear smaller the further they are from the observer.

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Boxes sA.u1.w3-III

Draw boxes is a two point perspective.

Practice makes perfect. Fill these two pages with boxes, between 20 and 25 should be doable.

Change the view point for each box, that means that each one will be in another perspective with different vanishing points.

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more Boxes sA.u1.w3-III

Keep drawing more boxes.

Also fill this page with boxes.

Can't get enough boxes.

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Thinking inside the box sA.u1.w3-IV

An assignment in order to combine creativity with technique.

Thinking "Out of the box" is associated with creativity. Today we will put this to the test, but this time we will purposefully start with the box.

Start by drawing a box in perspective. Use that box to create a product out of it. You can add to, subtract off or change parts of the boxes. Or add multiple boxes or even other shapes. All in order to create products out of the boxes. Let your creativity run wild and see where it gets you.

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generate more ideas sA.u1.w3-IV

Keep drawing more ideas.

When it comes to ideas: you can never have enough.

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Pencil sharpener sA.u1.w3-V Analysis

This is a small design assignment, ironically about pencil sharpeners.

This design assignment will take you through 3 steps of the design process: 1. Analysis 2. Idea generation 3. Idea presentation Start with analyzing an existing pencil sharpener. Get one in front of you and draw it. Add names to all the components is has.

Next write down all the questions you can think of in relation to the pencil sharpener. One of them will definitely be: How does it work?

Find out the answers to all the questions you have asked yourself. Now visualize those answers on this page. In this way you are creating an visual overview of the research you have done and the insights you received.

The underlying purpose of this assignment is of course to get you to practice boxes in perspective.

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Pencil sharpener sA.u1.w3-V Ideation

Time to have startconcluded generating Now you your ideas. research it is time to create a

lot of ideas for potential pencil sharpeners. You can focus on the aesthetics, but feel free to came up with other ways to sharpen pencils. Try to fit 15 ideas on this page.

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Pencil sharpener sA.u1.w3-IV Idea presentation

Pick the best out of your ideas and make a presentation page of it.

Show how it looks and explain how it works. Think about the composition before hand so that your presentation makes the most impact.

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Week 4 Cubes

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Planes in space sA.u1.w4-I

Squares are different from rectangles. With squares all sides are equal.

Each week we will start with a warm-up exercise to get the blood flowing and the muscles loose.

This exercise is about practicing your straight lines and about proportions. Fill this place with squares of different sizes, from small to page filling. Make them overlap or intersect.

Afterwards use your marker to shade some intersections of the squares.

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Order of cubes You can draw a cube in any random order. But as a starter there is an order that is the easiest to apply.

At first you can follow these twelve steps to draw boxes and cubes. Later on in this course you will combine multiple shapes.

For doing that you will need to be able to draw them in other orders as well.

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Cubes sA.u1.w4-III

Draw cubes in a two point perspective.

Cubes differ from boxes, like squares differ from rectangles.

All sides of the cube are equal. Fill this page with cubes, between 12 and 15 should be doable. Change the view point for each cube, that means that each one will be in another perspective with different vanishing points.

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Quick cubes sA.u1.w4-IV

Picking up speed.

Take 10 minutes to draw 10 cubes. You might have to speed up your drawing, but be careful not to lose control and make it messy. Put each cube in a different perspective.

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Perception sA.u1.w4-V

The point of view gives (implicitly) communication about the relation between object and viewer.

A frog-eye perspective for example can make the object appear impressive, dominant or outstanding. Each perspective in combination with the composition can create a separate perception.

Explore the effect by the use of perspective and composition by sketching a milk carton from different angles. What impressions and perceptions can you achieve by playing around with these simple elements in drawing a milk carton?

Use a separate A4-size paper for each sketch. Add a background/ floor if needed to support a balanced composition.

Collect all your sketches here, between these two pages, when you are done for safe keeping.

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Dividing cubes Cubes will not just stay cubes. They will be divided and added to in order to become a product.

There are some simple tricks to be able to divide a cube or square evenly while considering the perspective. The theory behind it is simple, but you might need to draw a lot of lines. Therefor you want to make sure to use thin construction lines, because they will be less noticeable once your sketch is ready.

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Letter cube sA.u1.w4-VII

Construction lines on a complete other level.

A lot of construction is needed in order to complete the letter cube. That means a large amount of lines to get lost in. And if you don't draw very lightly how will you ever make the right lines stick out?

You will draw a cube where parts are cut away to create two different letters on adjoining sides.

Design 2 letters based on a square. Make sure to only use straight lines: vertical, horizontal and diagonal. Consider one letter as front view, the other as side view.

Construct a cube, using thin construction lines. Use an informative point of view with a realistic amount of perspective convergence.

Transfer the front/side view to the cube and "extrude" the shape to the opposite plane. Start with the letter that cuts away most material from the cube.

Transfer the he other view to the cube and "extrude" the shape to the opposite plane. Find the shape that both letters share and use different line weights and marker to make it stand out.

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Week 6 Circles

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Spirals sA.u2.w6-I

Some practice of round shapes after all those square shapes.

Spirals will get you to warm-up to the round shapes we will start drawing from this week on. The continuous curves will help in making flowing lines and curves.

Try all different sizes: big, small, wide and tall. Also try out different orientations: from top to bottom, from bottom to top, clockwise and counter clockwise.

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Ellipses sA.u2.w6-II

The ellipse is a mathematical figure which can be calculated and constructed.

Ellipses have a short and long axis. The ellipse can be mirrored on both these axes; horizontal and vertical.

Fill this page with ellipses; big and small, flat and round. Use your whole arm when drawing ellipses and apply the ghost drawing technique. Add the horizontal and vertical axes after drawing the ellipse.

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more ellipses sA.u2.w6-II

Finally no more boxes.

Also fill this page with ellipses, but this time start with the axes and draw the ellipse around them.

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Circle in perspective

The ellipse is used to draw a circle in perspective.

An ellipse as we've drawn it so far is a mathematical shape. If you think of it being actually a circle than it is a shape in perspective.

These shapes will look the same, but some of the rules will be different.

See what happens when you translate this orthographic view of a circle in a square into a one point perspective.

Follow the steps on the right of the page to place a square around an ellipse in any derection or perspective.

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Circles in squares sA.u2.w6-IV

Now lets practice that in diverse two point perspectives.

Start with drawing an ellipse and construct a square around it. Try it in reverse order as well; first draw a square in a two point perspective and fit an ellipse in it.

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Vertical cylinders sA.u2.w6-V

From a circle in perspective it is a small step towards drawing a cylinder.

A vertical cylinder is standing on one of the circles. Than it has a circle for both the top and the bottom of the cylinder.

Draw two ellipses directly above each other (use a central axis as a guide). Make sure to give the ellipses different roundness/ flatness to indicate perspective correctly. Connect both ellipses with vertical lines to finish the cylinder.

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Bottles and glasses sA.u2.w6-VI Ideation

Design a bottle and glass that fit in the same family.

This is a short design assignment which will take you through only two steps of the design process: 1. Idea generation 2. Idea presentation Start with sketching right away.

You can first try out some existing bottles and glasses as a warmup. But quickly start creating your own ideas. Alternate ideas fr the glasses with ideas of the bottles. Feel free to let separate ideas overlap, this creates a more interesting composition.

The underlying purpose of this assignment is of course to get you to practice ellipses and vertical cylinders in perspective.

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more bottles and glasses sA.u2.w6-VI Ideation

Create more ideas.

Make 25 to 30 ideas spread over these two pages.

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Bottles and glasses sA.u2.w6-VI Idea presentation

Pick the best out of your ideas and make a presentation page of it.

Pick a bottle or a glass you're proud of and make a family of it.

So if you pick a glass, design the bottle to go with it and vice versa.

Show how our pair looks and what it is used for. Think about the composition before hand so that your presentation makes the most impact.

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Week 7 Cylinders

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Coils sA.u2.w7-I

Some practice of round shapes in order to draw a lot of cylinders today.

Coils will get you to warm-up to the cylinders we will be drawing this week. The continuous curves will help in making flowing lines and curves.

Try all different sizes: big, small, wide and tall. Also try out different orientations: inside out, outside in, clockwise and counter clockwise.

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Vertical cylinders sA.u2.w7-II

More vertical cylinders to continue where we left of last week.

A vertical cylinder is standing on one of the circles. Than it has a circle for both the top and the bottom of the cylinder.

Draw two ellipses directly above each other (use a central axis as a guide). Make sure to give the ellipses different roundness/ flatness to indicate perspective correctly. Connect both ellipses with vertical lines to finish the cylinder.

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Horizontal cylinders sA.u2w7-III

Vertical and horizontal cylinders are very similar, with some essential differences.

A horizontal cylinder is lying on its side. Th circles have become the sides of the cylinder.

Draw two ellipses directly above each other (use a central axis as a guide). Make sure to give the ellipses different roundness/ flatness to indicate perspective correctly. Connect both ellipses with vertical lines to finish the cylinder.

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Toilet rolls sA.u2.w7-IV

Toilet rolls are perfect for practicing cylinders. Each toilet roll exists out of two cylinders in perspective.

Toilet rolls might not be the most exiting product, but they are perfect for practicing cylinders. The difficulty with this assignment is to place the two cylinders a toilet roll consists of in proportion and relation to each other.

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Circles on squares

A small check to see if you understand the theory.

You will be making these boxes into Lego blocks. You only need to add the studs on the blocks.

On block is sitting up right and the other is on its side.

Try to place the studs by using the lessons of this and last week.

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Photo cameras sA.u2.w7-VI

Now lets practice that in sketching photo cameras.

Fill this page with sketches from 7 existing cameras. Start by drawing a box for the base of the camera. Connect a cylinder for the lens of the camera. Once the basic shapes are there start adding other parts, elements and details.

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more cameras sA.u2.w7-VI

Design your own cameras.

Use this page to design a new photo camera. Use the same structure to draw them as before.

Make 7 sketches of the same camera or make multiple designs.

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Week 8 Ideation

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Cylinders and cubes sA.u2.w8-I

Connect cylinders to boxes.

Draw cubes in different perspectives and add one or more cylinders to (or in) it.

Mix it up by using vertical and horizontal cylinders.

You can also try it the other way around and start with a cylinder and connect a cube to it.

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Subtract and add

How to draw something that is not a cube nor a cylinder.

Cubes and cylinders can be used in order to draw a whole range of shapes. A lot of shapes can be drawn by using a cube/box or cylinder as a base.

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Wooden toys sA.u2.w8-III

Draw existing wooden toys.

All the techniques of the previous weeks come together in the following assignments.

The following assignments are a mini design project; designing wooden toys. This first step is doing analysis, in this case by drawing existing products.

Fill this page with circa 8 existing wooden toys.

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Ideation tricks

How to make the sketches more dynamic.

You can make your pages with sketches more interesting by using some tricks. These trick can emphasize, explain, give your idea a place in space and make your idea pop from the paper.

Multiple can also be combined in the same sketch.

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Ideation sA.u2.w8-V

Use your creativity to come up with your own designs of wooden toys.

Fill these 3 pages with ideas of wooden toys. Wooden toys are made of simple shapes; a combination of box-like and cylindrical shapes. This fits with the lessons so far. One added requirement for the toys is that it needs wheels.

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more ideas sA.u2.w8-V

Create more ideas.

Make 25 to 30 ideas spread over the three pages.

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more, more ideas sA.u2.w8-V

Create more ideas.

Next week we will continue with one of your ideas. You can pick one and make it stand out from the others.

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Week 9 Idea development

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Mix-up sA.u2.w9-I

Surprising combinations can spark creativity.

Draw one product with a light grey marker in the centre of the page. Don't make it too detailed.

Than rotate the paper 90 degrees, left or right. Draw a second product again in the centre of the page. The two drawings will intersect/overlap.

From the two overlapping products make a new product by combining elemants from both drawings. Use your fineliner for this part.

Lastly emphasize the new product with your black marker.

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Idea development sA.u2.w9-II

Explore your idea further.

Change, improve, detail it.

Develop the idea you chose from last weeks excersize. Use it as the starting point and develop it further. Add, replace, remove, change to your idea and keep building upon your new ideas. Fill these three pages to transfer the initial idea into the ultime toy it could be.

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more development sA.u2.w9-II

Create more variations Make 25 to 30 variations on the idea spread over these three pages.

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more development sA.u2.w9-II

Create more variations.

Play around with adding and removing details and the level of detail.

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Markers sA.u2.w9-III

Using markers in drawing takes guts.

your

Using markers in your drawing can be nurf wrecking. "What if I ruin my drawing?"

This exercize is the first step in using your markers. Fill the shapes with vertical or horizontal bands. Use the wide side of the marker. Don't worry too much about getting a perfect evenly colored surface. It is alright if there are some small parts of white peeking through or that you don't end up perfectly on all the lines.

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Basic shading sA.u2.w9-IV

Now use the markers on these basic shapes.

Pick where the light is coming from to deside which side is darker and which is lighter.

Usually the side which is more directed to the viewer will be the lighter side.

Start by adding shading on the objects itself by using two tones of grey markers. These Markers need to be from the same color family and are preferably two tones apart.

Create a simple drop shadow and fill the visible part of the shadow with a black marker.

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Idea presentation sA.u2.w9-V

Present your wooden toy.

Now bring everything together.

Show your product proposal on this page. Decide from the idea development which idea or part of ideas you want to use.

Show the product proposal and explain how it works.

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Week 11 Cylindrical

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Snakes sA.u3.w11-I

Some practice with snakes in order to draw a lot of cylinders and tubes today.

Snakes will get you to warm-up to the cylinders and tubes we will be drawing this week. The continuous curves will help in making flowing lines and curves.

Try all different sizes: big, small, wide and tall. Also try out different curves.

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Attach to cylinders

You know how to connect cylinders to boxes, now lets turn that around.

Important in connecting boxes to cylinders is the surface of where the two shapes meet. This might be a simple square or rectangle, but because it is on a curved object this shape will deform.

This deformed square/rectangle is the basis of the box you will be attching.

Start by drawing a cylinder. And draw two ellipses in the cylinder; they will represent the top and bottom om the box. Make sure that all your ellipses are slightly different, taking the perspective into consideration. The top ellips is the flattest and the bottom ellipse is the roundest.

Now draw a square on the side of the cylinder in between the ellipses. Add a vertical and horizontal (also an ellipse) centre to the square. Use the centre of the square and the perspective centre of the last ellips to indicate the perspective of the box you are about to add. Draw a line towards the vanishing point from each corner of the square.

Lastly decide how long the box needs to be and look at the other vanishing point to create the front of the box.

This process work in any direction.

The place where the square is positioned changes the direction of the box automatically.

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Attach to cylinders sA.u3.w11-II

Time to put it into practice.

Draw 3 products where a square/ rectangular shape is attached to a cylinder.

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Connecting cylinders

The next step is to connect a cylinder, instead of a box, to an other cylinder.

Also here the important part is the surface of where the two shapes meet. This might be a simple circle, but because it is on a curved object this shape will deform as well.

The start is the same as with connecting a box to a cylinder; Draw a cylinder with two additional ellipses and draw a square inbetween the ellipses.

Add the centres of the square and indicate the direction of the vanishing point.

Now draw a deformed circle in the square. The deformation of the square is an indication of the deformation of the circle. It can vary between the shape of an egg and an eightlike shape. Use the outer edges of the circle to create the sides of the cylinder.

Use an axis perpendicular to the vanishing point to draw an ellipse for the front of the cylinder.

This process work in any direction.

The place where the circle is positioned changes the direction of the cylinder automatically.

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Connecting cylinders sA.u3.w11-III

Time to put it into practice.

Draw 3 products where two or more cylinders are connected to each other.

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Tubes

The ellipse is used to draw a circle in perspective.

An ellipse as we've drawn it so far is a mathematical shape. If you think of it being actually a circle than it is a shape in perspective.

These shapes will look the same, but some of the rules will be different.

See what happens when you translate this orthographic view of a circle in a square into a one point perspective.

Follow the steps on the right of the page to place a square around an ellipse in any derection or perspective.

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Tubes sA.u3.w11-IV

Time to put it into practice.

Draw 3 products which (partly) consist out of tubes. Focus on details of products to be able to show the construction of the tubes.

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Week 12 Parallel cross sections

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Sketching from memory sA.u3.w12-I

Time to put it into practice.

Draw 3 products where a square/ rectangular shape is attached to a cylinder.

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Parallel cross sections

The ellipse is used to draw a circle in perspective.

An ellipse as we've drawn it so far is a mathematical shape. If you think of it being actually a circle than it is a shape in perspective.

These shapes will look the same, but some of the rules will be different.

See what happens when you translate this orthographic view of a circle in a square into a one point perspective.

Follow the steps on the right of the page to place a square around an ellipse in any derection or perspective.

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Double curved surfaces I sA.u3.w12-III

Create more variations Make 25 to 30 variations on the idea spread over these three pages.

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Double curved surfaces I sA.u3.w12-III

Create more variations.

Play around with adding and removing details and the level of detail.

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75

Apply parallel sections sA.u3.w12-IV

Time to put it into practice.

Draw 3 products which (partly) consist out of tubes.

Student name:

76

Week 13 Intersecting cross sections

77

Sketching from side views

sA.u3.w13-I

Time to put it into practice.

Draw 3 products where a square/ rectangular shape is attached to a cylinder.

Student name:

78

Intersecting cross sections

The ellipse is used to draw a circle in perspective.

An ellipse as we've drawn it so far is a mathematical shape. If you think of it being actually a circle than it is a shape in perspective.

These shapes will look the same, but some of the rules will be different.

See what happens when you translate this orthographic view of a circle in a square into a one point perspective.

Follow the steps on the right of the page to place a square around an ellipse in any derection or perspective.

Student name:

79

Double curved surfaces II

sA.u3.w13-III

Create more variations Make 25 to 30 variations on the idea spread over these three pages.

Student name:

80

Double curved surfaces II

sA.u3.w13-III

Create more variations.

Play around with adding and removing details and the level of detail.

Student name:

81

by Senko Kabbes 2020