ional nal way b y prat ratio msp ue ad ms un1qu 1que ue m a un1q ecn cn1q hmg e ketch ches sketc ppoa oac ketch hing app Desiig Sketc Des tans ans cot n co leco con ad co cole e bro broad ss.. T Te proce ocess es1g 1g pr te e des es t ases al p as es fro fro al g g sk skec ece sow ow layed. yed. isla o duc dis pro e o pr ype lty y nd yp e o d1 d1fcu fcult egee d g d ege egard ches es va ryig both r egar sketch sket 1r e1r aize e e ter v1s v1saiz better ys o bet ways ers fnd wa help lp read r eaders g I S to he Skecm cmg es1gn 1gn Ske se of Des The a pu purpo rpose soce of e as a soce seve er 1t am ams o sev Moreover ersonall style. Moreov hei persona ta t su1ts hei w ay tat 1deas 1dea s, a way
g books bo oks.. al skech skechg teoretc etcal eet o moe teor compl pleet ton ad ad as a com sp1raton sp1ra scoos, s, te desig scoo pe's best best desig urope's a1ve sde sdents nts rom oe o E uro d and cre crea1ve aeed wety·forr aee T wety·fo o he collect collecto book. T he teal 1 1 this this book. mateal ed to the the d1verse d1verse ma corb bed ave cor ttue o o Oes1gn, ave Ue U e Ins Insttue pleed copleed d degee dege e pojects p ojects co mets a ad tic co urse ass1g ass1gmets atetic course es ake ake fro fro ate cossts cosst s o sketc sketces
Design n ad aio Desig es1gn n Traspor Trasporaio Iteraction es1g Advaced ced Pro duc Des1g Des1g,, Iteraction the e Adva Produc by studets studets at th Bacelor Pogrammes. The book s sepaaed to chapters cotag:
Instte Des U me Ins dents ts at e Ume stden cluding ing an ex ske ches ches by 24 st Includ In nsprng prng ske exesv esvee co eton on of ns coet
Basi Theory o sketchg teoy (such as as Th1s secto covers te os portat aspects o mateal perspect1ve sadg etc) wh areas speccally seleced or her reevace to dsral des1g
Invesigaive and Exploraive Skeces Th1s chaper shows ivesgative ad explorave seces ae sedo sown ooks ad papers despe e act hat tey are ormally produced he agest quay durg a desgn project
Expanaory Sketes he abty o comca e e uct1o or om o a product is essea o a des1ge Ths caper sows setces ceated order to llstrae coceps or popose poposed d des1g soltios, ofte or e prpose o presetaton ad dscsso
Persuasve Setches Te expressve skeces skeces show t1s capter do't stop at expag uco or orm bt urer covce a aud1ece by coveyg e ood ad eotoal vales o a podct
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Sep-by-Sep uoras Inst nstrciona rciona ste step-byste p-byste ut utorials orials reveal reveal e ceaion ceaion process of si sixx sketches at cover cover a broad ra rage ge of com complexity, from from 1 tial ou outlies tlies to ad advaced vaced relectve saces
W \'\ ,dc ,dctg tg�kcr �kcrc ch h.o .om m ISB 91• 3-7 3-79 9l·
Erik Olofsson
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Kla larra S jo jollen
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Erik Olofsson
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Klara Sje
Alexander Nemsov Ec Gunasso • Fs W1gk ed Ntsso Hrash Razagh• lda Rs Ja Sudl • s Adssn • ak Sallg oh Adsso oas Sas • aha H.s Kar orsbeg • Kaoa afs Lasla Caaea • La B Maa Balaa ael Lgegad ari edlla Gasa • Pons Uer Hea • Se Haggl • Sa Sl Ozg Taza
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www.designsketchigom
Table of Contents Inoductin 4-
Basic Theo 619
Invesgve and Eplratve Skeces 4
Eplanao Skees 671
Persasve Seches 787
Se-bysteTtals 81
Thanks to 13
nex nd Lerare p 14
Prduct1on. GapiC Des1gn nd Pbhsmg· Ek Olfssn andKr SJn Lang u ua ag e E d1 g g A lex1s lex1s E mzmas Ban We Ban We1ss 1ssma ma C1h 1ha a B e erli rlin n
Lsa E v va s
nte n env�refenly paper
IS BN BN 91 63 63 7 79 94 8
Cpy py g ht � 2005 KE OS D e .l g lt lt $ L L-- e errv ess1g n B v Ilo P h1s p u o oks A B ub b ic a ma r ep epro ro e e m a yy
frr. or a e f e s w h h e e lssh e 1s the err 1sss1 he pl 1 r t
. e essg nsk k h1ng c m
W
S e ec c o on nd E 1 1 n 26 I 0 Pnt o n Sw: e en n y LJmg br brg s T ryc ryc�e �e A B , Kl1 1p pa. S e ed d e en n
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Basic Theory J kes gre de of good a secmg! of 1e o beoe beoe good
Asde o e essei bt o d. good oedge oedge sh ad m g IS nd d sh ive ve n spe ei pesp eoe oess /k e pe the str 1on th llustr of bs b sc llu
s. etches. 1·e sk etche t 1·e nd t ib le n ete c ed ib le o cr cr ete ued d o eque eq es o es es a su su ) o ud d es a se ct1on mu retc c sec heo oret ,m g he fo l/o, Te fo l/o dram dra m g hen n al/ al / w whe pe tan spe s 1po po tan ed ed 1 s dee dee jecs or sub sub jec mds rod desg sees
Fo or� e\eeed reders ese ges n c s emd e s o/e o e ers �e fo e begmer, e c se see os o drmg drmg eqes d so s ce/s oedge of o /s o er ere e o res o gm geer Joedge oes oes ese res ore orougy lese ons e lite r au re t1 s o ge 104.
Y Absh A�rbrusg creates shadng w1t a very smoot grad1 et. o create shap edges n S necessay to ask of (cov) areas that are not not to be cooured askg I used for many many me d1a but 1s esecaly 1mpotant or abrushg, sce arbrushed feds cannot be eased ee are may a�rbrusg systems avalable, fom the trad1 t1onal to the more modern ones that Involve a s1ple marker pen attachment ke he Cop1c or T marker abrush systems
pat colou pat solub� � colou water solub ad water Y Gae Ths 1s a o paqe a ter mD \t .ater ormally mD hghts s t 1s orma 1ghght v1brnt 1g used for v1brnt o ten te n used fuett co co an d fue eas y contr oed and age) fo fo a mo r eas y covr age) reta g covr (reta rsh p b wt ne lip li sketch h a •ed to a sketc < PP•ed ouach� h� IS
Sketching Media s seo sos expes o aes sed o ree ree e skees m s book :ee w ese ad ohe ed o ge sese o e If ress ad dsove erso oes Se bds e o) eoed s ees d sod o be odered eoedos te ght was drawn sg a ball ball • Balint Pen Te sketc to te pot n des1gn to to create th and exact nes nes of k Usa ly pe shadg shadgss are creaed by lg elds wth parlle le slantg es Bease te k has a tendency to beed we arer s adde over t arker IS soet1es cobed w aloint pen to create shadg o avo1d thS efet when us arke er balot balo t pe line art ty usg a dferet 1x of aker ad en bnds (Fr exape 8c Oe Fe ballpot ens do not blee blee 1th 1th 1 markers)
Y Co Colo lore re Pe Pecs cs Many b ands ands offer offer colo colore red d penci pencils ls a m ml l Id de e o o olou lou an and d hardn hardnesse esses. s. These These pe penc1ls nc1ls ar e ls e elec· lec·
t1 e an and d have h1gher h1gher 1g 1gent sara saraion tha tha gahite gahite e encils. C olored olore d enc enc11ls are used o oth alone alone ad coa1 coa1o o w1t
other med eda. a. Har d penc penc1ls 1ls g1v g1ve e h an and d e xa e xact ct line lines s andare of ofen en used o o on ondat dato o sk sketc etche hes s wh1l w h1le e sof sofer er one ones s ca c a cr eate eate high·
a ake ker r ThS I a y ye e of of fe fellt i i ed en, av ava alla able I a wd de e ang o coo an oou urs rs.. Mar er er c can e p p lie ied d on one e or or or e la ers rs·,· y en eng st stro roke kess of th the e sae col olo ou Wl Wlll da ake ken n an are rea a w tr ate ate co oo o o cea eate te a sooth s sf fa ace mar ke ke n nk k mst be ap QUIC ICk kl y a y and lib ibe er all y y c v ve eng the whoe s face beore 1t has dned. t s a g Jd Jde ea to bu y mar e r s 'n pa�r s e o of t e me coo o , t m:h df fffeng lig igh htness/sat ;ato . Te y ca e sed toge to ge e e to c t df fffer ent ent su su aces of a t a ht the sad :sect• ve vel y y Te m s l y u d o marl rle es s th is
igh ightt and an d e xt· e xt·ow oweu eull o utlm utlmes es Black Black d w w1e 1e colo colore red d pencis pe ncis ca can n be us usefu efu for cre crea ag g q uic uickk aa aar r v1e v1ews, ws, po possi ssily ly o n colou co loured red ba backgr ckgr onds onds or or colo colou ued ed pap p aper. er. Man an y y o f the sk sketc etces es 1n h1s book were made made wi with S o Pco Pcoo o (sof) (sof) and San lo rd rd Veffthin (h Ve (had) ad) br br ands ands o colo coloued pecil pecils, s, fequey fequey In la< la< whi hite te an a nd 1nd 1 nd1go 1go blu blue. e.
Y ate astes are often used to create grad1ents or for cover· g arge areas like backgrounds They ca be used to eress ligh reflectons or shy and tnsparent suaces such as gass and dislays n order to acheve a evenly 1lled surface e1ther draw as e lines of a at usng an eraser to remove redun dant pastel or mas off the area before addg the pastel To create e imresso of a lit or shy suface; s1mply erase the asel rom e are mea o aper lit o enable a sm plicao patel blocks can be scraed to otai a owder wich is tlen mixed w aby powder and a· lied to a sec wth sof pad or coton coton wool asel owdes o dfere hues can be mxed to crea creae e the des1red sade
Y Dta oftwae lt 1s also possbe to sketch w1t the a1d o a computer and gapC software A dgtal pen and draw1ng board S preferable to sg a ouse sce te pen aoNs or mo accuracy and control any m1tatons of tradtional ed1a can be veoe whe wor"g dg1taly fo eampe, a sketchcan sketch can be reworked or re·coloued indetel wthot destroyg t g1ta mea I often se on scanned anddaw anddaw e art to add seate ayes of colours and eects The most commony use sote for wog dg1tally on sketches t1s book ae Phoshop ad er
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bo� IS Co p ,c. ,c.
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ae The pape can flence the peformance of some med1a how fe and clear A pae's gr or smootness w1ll deteme how ly lines can be drawn, and can aect te appearance o coloured enc1l or ballpot pen sketches Markers a often sed o bleed proof paper a kd of paper tat doesnt aow marer nk to seep through Ths protects underyg sufaces from gettg staed and proongs the fe of the make pens When marker s added libeally, bleed proof papers low absobency allows or moe e>act marker elds A brand of marker paper comony sed for sketces m th1s book Le Lee e
Complex Forms in Perspective Y Keeping Poporos erspctve Descbed beow is a
method usd to daw he corrct propor•ons of two o mor eQaly szed objects 10 perpect•ve Ths exampe shows how a eod sare (dashed is 10 ast ilutrato) IS draw pro· toaly to the og0a suare
F te centre of he side lne b daw
Mak o te cetre of te r uare
ig a lie fro he fi sua's cenre owa the gh vanihng pont.
y erecng he e draw beween oppog coer
t takes soe eot to daw a coex yetca o oect m erectve. The ethod descbed beow can be act1sed to ove oe' ab1t to state thee os
Once a better undestandmg of espectVe haes IS at· tamed this rocess can be l,ed
Frs, a persectve gd e u oo wh1ch the orm w be bult Next contour nes of the de vew and he near half of the top vew are draw
o create the cort hae of he top vew outne, cho� ot o the near half of he top v•ew are m•rord acro the cetre ne sg the eeg ooo m ee"-method see page . The m•rored po1ns are then oneced wth a ne completg the op ew conor When the enre top vew coor I defed the pepecve and contour ne are traced onto a fresh page to eep the sketc fom ecomg oo clt ered.
3 Create t .he ie for he econ quare o e firs uare by extendg e Sde towards the ght vanihig point
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3 Front view croection of the near hal o the form are drawn defing it hape 4 Fd the frthet coe o te ew
sare by drawing a line fro the closet core of he •rst sqare hrough he cete of the ide () and reachg he s•de eens•o
5 reate he at sde of te new quare
daing a lne from te let perspe e pot hrough he furhes corner andt o he right 1de exenion
6 ll se of the are to be duplcaed
are now defied
6 th the croection in pace the contous of he obect n pespective can be drawn accrately
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wer e dr awn to appear the sa e nd spaced • pec tive, usg themethod�; : l keep
rtangl
e1r p oortos cor rect K' " Od that dstortos can occur w hen ths
meh d s In these cases,
r pad many •mes 10 a two
he r u sould b doble
ons par baus te w o·pot he r t o of lity, whc r e t v .
e eye . The dsto -
r �=�s only a smp· s
h
Y t e uman eye 10
Cstrucio li nes St ar t Og a ketch by making some lead· i g:ef� hv line to defme he pace the ob1ect ad •ts f :�t lhelps occupy. Tese concon lines hep the desger k gr eater confidence and ca n also make the A
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fshed kech moe r eadable
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4 he cosections are mirrored acros he centre ne he method or kp pp m eece •s epeated as
necessary to fd sppot pots rrored to the other ide o he centr
5 All of the completed cossection mae u a shapedecg eleton ha show the correct form • perspec 1ve
Ellipe Cuclr hpes eJISt m an y objet. t e efe t IS pt t undertand ow the) ae d awn m pe pect·e as el i pe . lt 5 a tae t da1' eipes m a mcret pepecte, but tey c m fat, ea/\ be et
>e ba thee ae ndeood. Dawmg epe b} and IS t) at t bt et� eae wt pacte T ahee perect e pe de a be ed
• Te se An elpse syec along two aes: the or a IS (ue) and the aor a1s (green) Tese aes ae aays pependlar to each othe
• A ider i Persecve The mo axis o e ellipses a he ends of a nde s always coincde w1t the entral ax1sof the cyinder and pot to the sae an1shmg oint
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• V ales f lise El1pses o dfeng vaue o degrees appea on he se 1on saces o the cylinder (abo e). Te aues stae how uh o the c�uar area 1s seen a tha pom The
owe te vae, he closer to perend1clar the 1ew and the shote the mo ax1s of the elpse w be Te sae ues apl y to hoz otaly laed crcua areas (ght). A c1rce v" d perpendicuay fro te s1de apeas as a e (corr spodg to the ale 0) Note that both 1lustra os show the c�rcula p laes as pa ale. w1th te� mor ax1s p otg 0 the s ae drect1on
dawn ot h tangul e 1, the lef) Ovy on one of the eesents a cle oespong to the pespet1e o the etangl w the r two have n: vues WhJe the eye a oten hose the corret alue gu1ds c e eful whn rawmg a epse A useful gUd an be eated by dramga sqae 1n the sae pespectve. placed on the suac on whh the elpse St n ellpse that an bplacd wth sdes touhmg the cente ots of tS sqae w1av th orret ale Note t hat hen umg a two·pomt pspt1ve as opposed to a thee pont pese tve th1s ethod has 1ts estctons The est gdance suare S lace appoately at
Centre of he Ellise he cere o a ular area shown 10
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Choosing the Eipses' Value Take a oo at the the elpses
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perspctie an ellpse does not ocide wh te oit o inere o between he elises' inor and aor ax1s blue respectvely ba dot) his I due to foeshortenmgs snce just te �cle IS shown n pespective The ente of the irula area wl stead be ound by pacg it on a squae surfae he cente of the cle s the pot o mtersecton beeen the squares d1agonals A very ipotant thing here 1s to draw the square sotha 1 I situated n he sae plane as the cile s!
oncent pses hen two o oe epses are plaed \thm each other and dspaced aong the1r o a1S oncae o con ors ae created elow f the ell1pses are mstead plaed w1th comc1dmg centre pomts they ae kept on the sae plane
Line Weight
Shadig
Usmgli nes of dr e11g thcknes can hep clarif a fo and to a prt ue. Lme we1gh can be sd m a vae· add to em phas ze chosen par of a o bect. stengthen tJ of the per spet1ve and create de pth.
Dak hadmg apea on an Obje tn area whee he lghg oed or mde Before shadtng an oje, he drec1o of he ghmg shod e hosen wtsey as he hadows t produce a hep o dese he obec's for and/or reae a spect ood
In he foong wo e\ape he lghg ha een choe o ae pe fors appear ear} Hoeve he posotng ad ange of he tgh oures shoud e odere a ee reoendaon. For oeCs ad oposion :h geae opex he ghng ha eae he o utae hade for descng he jecs fo va)
A asc gg The arow net to e cube d•cates a
A Co aow An obect I seldo t b} a sgle lgt soue,
ghtsource decon comonly used o des1gn sketches h1s ghtig sceme akes te op sace o the cbe e bghes, ts righ sde he dakest and the eft sde a sade 1 ewee. h1s ligh•g has also been ap•ed o he cylinde and sphee ouded fos hae sooth gadient sadg
b usualy by seeral lights and or light reflcted o surod· g suaces he a cued sace •s om to opposg s1des a dak coe shado will appea along he adus o the cue Lgtg tha ceaes 1s kd o shade IS os su1table fo descbg ounded shapes. hese obect (abo) ae t sg te basc gtg descbd to the left but are also by lght beg buc o te gound. The cylinde shows o a coe sad IS poduced etcay beg lit fro the gt by a second ght soue or light boncg fo e envonen
Basc Le Wegt Te ppe gh had mage shows < aSIC lie we•ght reatment Te hkest lines ae usedfo te base· ies (lines descbg sfaces on whc he obje ests- th1s case a goud plae the secondthcest ie ae sed o edges that ha\e a1 behd them ote that ese ar ntoly conto lines but can occ wth a object) hle the thnnes les descbe edgs tat pot towards te vewer Eaggerag te Cur L aggeatg tou es can 'pop an objec foad psg heoher Obes futher o e bakgound and addg depth to te pcure. h•s treamet of cotou ies •s ote used to d•sgUs objes o 1mpor tance Tere a oter lne eght efcs oe can use to enhace the o�eral qaity of the sketch as wel Two exaples not sown ere clude showg ligtg t1ckeng shadowsdeedges and usg thnne lines o lights1de edges r enhancng pe spectJ by dereasig te line wegt as he lnes stretch frther ro he ee
Cross-sections • r-ct d Prt es Cross·sect,on are lines that
olow the srface o a object to hep the eye red a fo These es are oten h or of a dfeent coou makg them eas1y d1scenble Rounded ad complex shapes re more eas1y descbed usg crossscos P les appea betwee the d1Herent pats or maeals that a pdc •s composed o hen placed coectly pat lnes ae a bct ook moe ealistc and tey are ofte daw 10
sketches to seve the s ame funct1o n as cross-sectos descb·
•ng for. One coon example IS he Ie beween a batey door and the es o f a plasc casmg.
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Composition and Backgrounds a perspecti ve. tl s m • Choie f Perspctive When coosng best e�pla ptant to cosde not onl y wch vewg angle w•ll to con ve y the product t aso what feelng you wat te Objt appea Ct ObJe . an Usg J ·og's e ye- ve (ow ho:on) maes effect p o eu ad mght }_ and the vewer smal (Natual!�. tiS
Ty te Compoitio ogether A few mnutes of eta wok can create a moe compos�:d and 'fnshed sketch Expement wth d1feent ways to t1e a compos1t1on togethe, usng coour o jst a few les Framg the composton can also be used m an llustrat•ve wa y. as m te sketch of the shampoo bottles (ght) where the bubbes
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depends onow the spec1fc poduct 1s normally see Usng a bds eye-v1ew 1gh ozon) places te obJect below the obseve g1vg te v1ewer a s ese o s urey a nd contol ne way to make a sketch moe dyac and teest1ng 1s to use an obque hozo
suggest the poduct's env�oment.
Ea a Coure of Events A sees of e vents- suc as ow someth1g co llapsible folds or w hat happens w e a button on a prodct 1 s pushed - ca be explamed by usmg stepbystep 1llustatons Sketchg a product n t1s explanatory wa y s often an efectve way to gve the audence a qck understandig of a products functions
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• D i re ctios Wen da"ng seveal Obts o vews of an object n the same composto ther d1ron s should be taken nto consdeon D1eton ca refe to a ouse of moo ( te case of a mv1ng objt such as the truck below) f the object has acve faces. o dd f thee I a peevd dt•o dStngusable by the objts sape (eg 1f 1 s easy to detfy
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one pat of te object as 1ts ·front' Objects potg outwad ear the ede of a page can somet1mes feel uncomortabe and havng all obects n a compos1ton a1mg towads the same pot makes the sketc fee stf A balanced composon can be acheved by vayg the drectos of the bjects as wel as teir szes and pespecves
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A 'o cal Poits F ocal pots are used tn sketces to lead te ve e _s e ye to the most 1mrtant areas of a poduct o to deta•ls n a es1g that te des1gne cooses to pot �ut Foca 1nts are created b y makng certa1 areas rposely ch an deta, strong n colo intes1t y or gh 10 contrast.
. Bakgrod Box A background box IS oten used to 'tighten up a setc b y c veng old sketchang nes and color fields da" outsde the les of the Ob Ject The bo can a as a bac�ound. addng oe contrast a�d makng the uct stand
t otce that hen th tto edge o a backgo ud o x ens bo an ObJ t, the ob t appeas to float Co vee! w en te to dg •s aigd wt te restmg pane as s ow 10 me s�tch to the ght 1 n be ntepetd as the edge o a suCe o a
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:abe top .
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Logotypes heeve a rea logoype s used n a sketc on a product o as part of a comos1o/presentaton t sould be repoduce a way that does no ofend the com1ss1one e ogotype s an •potant symbol for a company ad should not contan careess speg m1stakes or have 1s dom changed f applicable se an uderlay of the logo for a sketch or endeg ny copoate logoypes have been remoed d1g1tay from a sketches th1s book (th1s was done to pesent the sketches n a more neutal way and to pevent any chance o tademak nfrngements)
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xpoed Vews Epoded v1ews ke te one above show a poduct's components. offset from each othe and spead fom the centre hese v1ews sere to demonstate a poduct's componet pats expan a poduct's assembly and also elp to cafy form and functo
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In the ne"t th chapes. skt1es a e ouped mo fa/Jes aod g to he nctonal oles the d es gn p rocess The d 1eren am1 es are: lnvestgave and & pfo at1ve Skeches. planao} S �ches and P suas1ve S keches. Thee are no s pe1c brderles b\een these groups; fact, many setches categorizat1on. A skech IS o en cr eaed fo
moe han one prpose, o ma y have the ca pa c1)' to be used fo somethg othe than what 1t as ended f or- as you
wfl note. seeal sketches m ths b oo oul hav served as
e"amples f o aspes pesene m mo e than one of he d r. ent cha pters.
Investigative and Explorati Sketches Ths hap onas setches ceaed n the deaOn phase of the desn pocess, 1e skeches sed o sure and ndestand a poblem as well as to enea and exploe solons; fncions o fors. hese ypes o skeches a on da qickly h a oos hand and ae ceated fo the desne's se o fo se Lh a desgn tea Readable deaon skeches can play an eda-
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ional ole later m he d esgn p ocess because hey llusta the basis on wh h decsons have be en mae an explan a seence of wo o ohes T he o en quick natu e of thes e ske hes makes 1 possb e to
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gener ae a are quant ty of draings, allowin for man y solions o be ied o an evalae
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Iron, verl De Iei ee, i fen uefu d ll ex e eue ew hgh i h re duri g h eg pre re rgt b h r r p1r10 h h d e crpil
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Poetry i Moion A rai d Idat o ktch• lr sh futo (Blac t d pen I• b l p
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La M h aker f1elds do not ncessay reprsn ralisi rfltions ad sadow bu a stead e sed o com1cat te o"s orm A p hs es1ger 1s o nvr tat o sketh as f 1t ere sard Itslf -te ost 1prtan thg IS to contualy develop th formdug the setcg ssso
Anothr useful tip IS to stat y sketchng the basic shap, grad· aly add1ng dta1ls as the sess1on progresses. Th1s way it 1s pos sible to stay focused on developg the form. a ther than gttig volvd w1th mor etails too arly m the process. (Back hard pen wh1te soft pnil marker)
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Tool, irary Pjet Ts sketes ee ratd to explore form. h1s desgnr fst sketchs qu1k sd v1es to disove a form wort explong urhr and thn shos th obct in a perspetive t 1s norally obsrved (as see above) Form IS futher defned by sktchg th obet a vaety of d1f· fee perspet1ves lak hard pen1l soft hte pn1l markr)
Ha Dill he ses of skthes blo elor the obect's form fom d1frent pos of v1 Bak sot pen1l
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ese etche were create intiay ith alpnt pen. le y arer and hen fshe w1th anther heaver laye all pint pen sharpen and dene line Heavy allpt line e a edency t smear when mae 1 applied ver he ee the applicatin afte the marer fr thee setches Ballp pe aer
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the a1d text and y enlargg a sect1 shwn encirced es1de
prdt When th1 ha een ach•eved etche w1 a h1gher eve detal ae needed t clealy cmmn1cate and defe de ta1l ch a part ne matels eres etc ThiS ger level f deal mae t easer evlate the prpsed des1gn th a a whle and deta Ha and ft le pencil allpt pen arer
te gal An arrw ls te elarged art t 1t 1t n te OJet A hand eves as sae refeene, smltanely shwg hw t rh 1 t e handed Hard and t le pec1ls felti en marer)
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T allp p ls 1rly p
m l Ts S mm sk1g m r rkg rgh s1g. s s h lar sgs pr s mh ls plra1 1s s s h plm p ls grph1s Bllp p arkr)
ruk Tee sketche exploe and detem•ne the tdent1t y of a cer· ain truck and. T o allow for qick explorato of fom fom ne cons1stent espectve an uderla was use d ce o ver. and ws slhly dislacd for e ch sc The b cg ond box beh1d he wmcreen add contrast, akn te g l s s app e ar b ng te. s oage of sketche was partly assebled usng otoshp. (Black har d penctl. Photo sop)
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n as use t d vmn lif. Th 1msso of exure rud o a creted us1ng sec1 exured ud l a y ug sof \e penc ve h eh . (Bck pencl. wh of penc arker. xu umg surface)
W h a d of ononcd cono ne!, � dge h c l f d e urfe o n ohw•e lo e efn set ( the gogges' lss scons onss li igh a� ffvy mtz r f ar o h e 1 d> (Bck hrd penci)
Tese sketes ae delbeately express•ve epong te emooal chaatestcs o the otocycle lt 1s como to reate a fo us pot 10 a pespeve sketch by bldg detal and cotast on the pat closest to te obsever Howeve w1t t1s etho •s also possble to daw attento to a hosen aea on a flat v1ew of an obJet ght Because o the 1pess•on eated of mot1on and spee hs tehque an be an asset when used on sethes of vehles and othe mob1le obJets. e perspetve hosen o he mtorcyle seth elow g1ves he 1lus•on of beg obseved thugh a w1de agle les, and is ofte efered to as "f•sheye pespe t1ve The ve guide 1ns ave bee kept vsble evealng the ho•e of pespeve (la hard peil bla ad whie sof pen cs marker ef maer epse gudes)
Mtr D•feret parts ae here made d1S· t fo one note sg cotstg old ad tone g�y akes Re sectona lines gVe te setc att1tude a help to fther xpla te proes of shpes allpot pe ed ad tesoft pen1s ae •
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desb1ng the envronment aroud a skethed oJet IS hefu to se shados or onasting bxes Above he shados droed beneath e hands show tha ey each res uon a suae, hle the o behid e han on the far ef suggests tha is eing held in e ai (lue s enil)
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Exreme erspte n sometme me seth lss obvous to unerstand -howeer, they are ofte nspmng to work wth cn elp to tre the rte or sense of the rdu beg desgnd Te homati efet was created usg h1gh ontrasts. (Pner)
T hen 1deatng or smle profile sethes an e q1 a ef1ent sudes tha allo or a fas oson o dffere desgns. Panter
T dnamc and art1st omoson as ahee sg aa· t1ons ontras ad laement o he oects Bu e soft en1l
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Pbli ti h h h sh n f h pssin 1 s Th sth bl ws lly d n y nd dustd ly htshp ( hd pnl ttp pn. . hsh)
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Form Prjet pay goal f ts st cs was t grat a rd fr 1as qckly d1gnr contd tat ts cas. coct prpc a rall accurac of th sktch ad lssr g1cac (alp p)
Th•s dtad tch cmbs trsng nts ro pr-osy dw stcs lk th os bow Bcaus thi stch 1s dopd to a mor rnrd ll t colour shad1g n part ns. th s1g poposal IS r asy valuat y t th dsg an thrs (Bac sot pc1l, b allpt pn, mar�, crcl tplats)
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T s sktc r rawn to stablsh an attracv s1d v1 ag as ad to xpl or undn and/or trstng aas Bu sot pncl. c1r tpats)
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F C Dung th inital sktch phas of poct sall 'thumnal sktchs cn b usd to u•ckly plr das T1s uck stching tchqe ws usd m ths xapls to f shts of owuaty pper Aos wr addd to mak ou
"' Ru P jt T h1s IS typcal xmpe of n stgve skth pg. T h t1on da notd 1n h op t orr s 1t si for h d s1g to kp ecord o h ronologia stps akn o comlt a projt (Ballpoit pen. arr)
W1th t asic dsig alad s mkr n pec use drctly o rntd oto o a r·dnsionl o t fvly xo mo daild ides and fom·solions. (Bl hd nil, mark Y
sktchs des vmg fur xplo1n. a cntr lines w dwn to ot plans f symmtry. Th 'thubnai sketchs
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furer defng he ' pe hs ehne akes m deveope fro fl a skehmg o e e level de1on Be sof pen epse g1des)
Biye Brdig Poje hs des1gner oened ha when reave ee s ben fosed on he epoaon of for 1 1s mee dffl o onsder he skehs veral layo a he sae e f here 1s a ane ha he skeh w1ll be sed m a e presena1on wee ay be w1se o gve e layo soe e As e 1 s helpfl o noe he vales of ellpses sed m order o save e f e sae perspe1ve IS sed agan (Ble sofpenl epe des) �
Tlbx Tuck A h1S sage tn h d�:sg proess, pars of he ck ha ave been rogly desged ae a!sebled. he erall 1e are ea1ed ro d1feren poms o ve o ao for 1sakes a spe1al eh1qe I sed where arkr blender 1s apped wh pads o ore or less ee he pen lnes h1s ofes he opporn•y o eai a f. b l o reae nre bendg or shadg e aker bnder 1 epeVe e sovens an be explored o aeve e me effe et noa1ons grapally enhan he vell he skehes y fng n w he spae he added e also sows a non-desner adene ha hese are o 'JS prey pres ha eees and n1ons have aally been hogh o (Ble so pel, ake lender ell1pse g1des) '
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Fs Hs Rb hese sketches sho cocepts o a oest harveste The tecue use to create hem ca e foud 1n the uoa o pae 89-90. Here shog several es o e ro desg helps e ewe to ette udesta the cocepts. ac had pecl felt-p pe. marker
ve was c ose o liS Spots Ca Hero an almost lat perspect skec g . ,
r q1k nc plicate natue c all0 \ed o easre a o the sde of the ca ave been awn to
contol he wheel base (Blue and ow had pencl ballpo pen, marker . eltpse g u1des)
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! he s1de·v1ew setches a he op of the page wee ceated o dee he ca's slhete efore satg on a clay moel The pofes aso seve o explore and anayse te gaphC effects of 1ffeent par lines and hmes. (lue ha pencil, marke e pse gudes)
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aove thee-quate v1ew skeches show the back and fon of a selected s1e v1ew The h coss sect1on ces were g1ve arrows to help dfeentiate them fom pa lines Marker was use to deelop undeed sect1ons, le aeas tha were already efed wee et ncooed to sae tme Bue had penc alpont pen ake epse gUJdes
1mpay peent nube of cocet fo uses nd clent to evluate Addtonl/y, reatey nnshe degns e oen lutted m a moe e>ltoy wy in ode to fcltt dscusson of concet th othes.
st uctur E xpl anto sk etches are creted to e \pam fncton. cea and f or. Te ) o st oen coucte de gn than n ne t nne , foc g on e \pla m g rater } used to tn g to sell t. E \p anto sketches r e co mon/
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Tese skethes eatur� the teo o the veh1le u also show enugh f th car's eor to show contet The body f the a was drawn quly sg a pntout from a 3D CA program as n underla The ant treatme o the exer set1n sees to mphasze the teor's des1gn. (Ba ard penil, arker)
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an oje feares a mog pa. h1s as the sn roo. the whole Oect an e drawn wo r re tmes to lear desbe that ats cton ad dfferen ostons Refectons draw beneath the car my that 1t IS stated on a srface Black ard encl marker
Alam lok Here, the des1ge as used sghty crss1ng nes f ae add life t h gh1g 1 e seth. Te rpse was t t ae a eet lstaiO r htea•s seh b athe t shw he d a ea ye ast1 ae Nte the aee f the ae es: st the yd a shaes the ae es w the gta a}es t he dese the det10 f te saes he es te ed at a edge vsay seaatg saes ad ag gadets eas1e eate. Sfae ages eah s1de f the hafes ae ee seted y te hag1g et f ae es (Ba had e a ad whte sf es ae el1se g1des)
Chd' Ca ea I these sethes a aey chosen sect1on arond the product is mcluded to show ts func1oal cotex, akmg the setc or infoma1ve. Light g ey ak was use to deter·
e esetve ad e set s fshed using es ad ae Bla had el a te st els are)
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applied n d ferent Lw Mowe I t ese t0 sketches marker conv x mane to descbe spec t ypes of suaces; to des be appied maker s:aces ad ad ha�e tte or o soft pecs g lc os (Black ha pec1l. black ad wh1te maker)
<1 ef-waeg Fowe Pt Us eploded ve�s makes l pos s1ble to show all te pats o a poduct as well as the rlat1e positons and asebly. Bendn an apparenty hoota ne to depct te effec o react1on 1d1cates tat the pot 1s made o a trapare nt materal (lack and whte sot pencIS, make)
n oder to ese ta t the pot S the man focus of ths sketch the pat and acound hae een draw us1n lowcontast coous. Aan the ea ede ew the wall ad the oor ap· pears eracted thoh the lass (Back and white sot penc1s �
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Jalt's Tool In these skethes the eye Is dawn to the areas teated wth the hghest onast whe pats dawn ony •n en take on a secoda ry o sppong oe Both warm and cool geys ve ee used o solae oes o one another ad to ae he ovral cooson ore eesg hese
sketches wee deeoed y f�t ceatng a lne dawg ten addng arke and ally ayg ot black and whie peiS along pa lnes. (lack had penil. black and whie sot pencils, arke)
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concep to ones1gner 1ee 1th os on descrb mov1 pt nct1onty n oter e The plceme o the slle sketches ill n spce n cetes blnced lyo (Hd d so blck peci mrker)
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Funite, Branding jet he addion ana ves g1ves exta explanaon ak0g e coceps e readable Te sketcy etna lok was aceved by rs s1ng col grey are nd e gh perspectesa r Darker grey (8 or 9) arer area gges sec1ons wth a dferen mateal an hat te ligte e A lack had pen1l as ten sed
to fute deine the desg and a y a hte st en lp t create hghlights The elecic blue etils ad 1pact o ketch Black hard enc, ite ft encil arke
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Ma Ra fr Rally Co ie Th cncp bl as da xpssly fo a no-sgn a hfo is as aild fl xpana1on as possbl v oug h skch is ras1cally drd crosssco lins w addd o fh pla h fo (Black had pc, ack a h sof pncils ballo p. ar. as gouach
B f Ely Ca Full huan 1gus hands ads ohr ody pats ar ofn cludd prduc sktchng dn·
sate a objec's scae or use. Th1s esiner adses h pacS· g fgre draw 1h ve odels IS a g rea ay mpre you
a1y o da h uman form ard ack pnc1l, balpo pn.
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symetry Notie the loo" o light reeng onto he uders1de of e yes udg efe1g o 'boung lght •s oten rgtte, but 1ts use often results muh moe expess1ve sket These kds o deails re vy efeve at makg t1ghtly uved shapes feel thre·mensona addg extra depth to sketh Ballpot pen whe sot pen el \p e marker)
rk Isie y Extr Te 1n1 bapot en lie art of t1s sketh was sned to ho toshop and pnted out to prov1de an uderay whose ne rt woudn smudge we subJete to aplion o marker e lines were mad aer Photoshop y astg the 1mage oa1ty Dog ths gave the desgner opportut to drw ver the at sketh les o dust the she for further explorton Beuse e 1t1a sketh IS save dgt· ly 1t n be repted as often as eeded to be used as a unelay fo lightg ad shape exora· t1on e plesg grdents ee omplshed y eep g e pper e us1n fst ight then reasngy darker markes The full grey sae was sed. fro whte to blak to ampiy te depth and appearane of e sketh llpt p el p en whte so pen mker hotoshop
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rker was added to 1de 1relevant aspets of the desn as el s o rerese refetons o dii o surfaes Ballpo1 pen elt-tip pen make
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' ,.r "
Gogles The transpaency f e clured gla IS emha1ze by aw he ggle sas vauey, he lyg eh1 tegas. e aeaance a la exure n e leather was ceate sg a Ph exture bruh he desner hse t
ue a n re a bh ere enace the ll1n leaher a a a 'rcknrll qaly he ge he ehue ue reate hese eces can e u he ual ae 96·7. (Biac ar enc ae)
V e e , F o Proje ct The p urp ose o ts the des1gn f ina rende ng w as to dsp lay
w ith max 1mum car1ty . aste s w e e se d
sk y re f lect1on to qu1ck y re der a smoot
( se e the w 1te p a t of the v e hcle ) T em
t p late s w e e used to g enerate the sha p e s lies p oss1b le. d Not1ce w he e the w he es mee t the g rou
and how the y ap p e ar o ·me t' tog e the
T hS tck of the trade s e quently seen m trasp ortaton draw 1ng s. (Black and wh1te c•ls. ma ker, p aste s g ouache so p en e llipse gu•de s)
�Articlate D rck T1s sketch was f1shed a1y qu1cky takg approx•mately 90 mtes to coplete The focus o the seh S te font o the trck. w1ch was patly dwn usg pats to seed up the work A scan o a hand·drawn sketch was used as an udela (Ballpot pen Photoshop
� Th•s qu1ck ehod o renden g sg a onocromatc colour sceme eHec•ely coneys a ood to he vewe Te redeng was ceated y 1st ayg ot a large doe color surface to work o usg marke rel ad a ad To t•s coloured aea lghter ad darer tones \ ee ppled o create he 1mpessons of light ad shadow.
To create sharp h1gh1ghts his po (for bgh wdows etc te designer suggests tha you cu the des1red ghlighted ars ou and le te rendering oe a fesh white she o paper lue back and whte so pencils, marker mare ref1ll e1ps gu1des)
7
Eetri Han aw These tw esign prpsls were q1c enee r peset Le ws f1s scnne 1mpre Phshp wee ge rush sres \ere e re w1ees lue n lur ch sech tw hurs mple (Blc h penc1 shp)
u TiS plex reeng s cee 10 seerl seps usg y u ely F�st rugh seh ws rwn use s unely ree mre refie sech Tht refe seh ws ur se s uney fr n eve furher e1le efe seh n s n Whe he es1gn ws fly esblishe f1nl pen1l setch ws rwn snne n 1mprte 1nt Phshp Se1ns were furher e 1e usg phs n fig hem w1h ne lur hng n hghlights were ree sg the aubrsh n ge ls l p1y. h1s pess grully uil up the setch w1th lyes f w n l ses. l hr penil hshp)
•
T T 1s e x pe me nal sk e th sho ws n 1 de p end en p ar o he uck a mo e e x pr e ss 1v e y h n he s ke c h bo v y e, co n ' y g se s e o d ram and sp e ed. A f ew p ahs we r e use d (s e e he w hee ls) nd a oug e d ge d P ho o sho p b r us h w as emplo yed
t rete sech1er ess g1 l p frm the es1gner · h1s rugh·ege brush n ls be use mre ee renengs lie he ne be me hem l lser n mre 'sehy (l h penc1 Phtshp
T b• f. "b !. t r• N T tl cn �edC gM m ai
SUV These ae three of many rendengs drwn fom dferentperspectves order to explan all aspects of the Mn suv des1gn The sketc tha shows the vehcle fully open s drwn roa pespecve that allows as much formon s ossle bed sp yed one mage. Basc skeches ballpo pe
and gre y mark er w ere mp ote d t o P hooshop f or c olourng P hotoshop tools w ere use d nsead of pste ls to c rete g dents and to re nde r hghghts nd e d e1ls. ( Ballpont p e n, mak er P hoto shop )
> doh' m
1 p1 doO9'
F ml .
A Srts C oue T hese c oncep s were presente d md·w ay thog h desgn projec t They descre the for w1thout excess1e deta1 d re ap prop ate o show t th1 s stg e development, where the de s1gn IS st not se t. lt 1 1mportat to keep sk etche s at a eel whe re the deta1s re no too h1g hly defne d, o the aud e e or cent may e pemature ly ed to be ieve that the f1shed prodc w f look c era wy. Th1s c ould estc the de s1gne r s
ee dom to exp lor f or w hen pro cee dg w1h he des gn pro cess.
A rge hotoshop bush was used o crete the colored felds wh1le a wh1e brush was used to erae some of the mage addg conts and h1ghlghts - trck th cnot be done usg mark· ers The getest d1fference cots as gen to the eements consdered most mportat to show here: the ea ights Aout one workg day was spent competng three setcheso ths eel (8alpo1nt pe, Photoshop)
At D
8
B ltha
T
t
A Writ Wat Reei e perspective lines ee added as a a ouch to ae •s fee-and sketch oo more relaxed. The eeg s varie wth e eav1eslines sed to conour the sape ad ae the wach sad ou fom the page. (ue had ecl whe sot pencil bpot pen, mal
The s1des of he links he atch bad belo ere ge a etaC ee y add marker to he back o the pape and y us pley of ouache o Illusae se and relecion sece ndelay was used o 1ve he renden a clean appea· ace ih no v1sble perspect1vegu1de lies Black so penci elp pe marker gouache elipse gu1des T
I
! P ost D elver Ve T he vaguely 1nd1cated s ap e s o f b Uild· ,, •he � e
•: m
o f th1s k etc a e eo ugh to mply tha an u a settng . (B ack hard pec, P ot os ho p)
S
A Here, a lo ose and exag geated f1s h -ey e p e sp ectiv e s us ed to Imply mov eent w h1le s t1l pers uas 1v ely cnv eyg the veice's fo . The desg ner' s adv1ce hee IS that s v e1cles are made ce f o mo o n. they s ou ld b e g1v en a mo e dynamc sketch treat men! han s tat1c pro ducs {B lack h ad penci, P o t os hop )
Cars, Rdrig Study l four ar on th ag atd ry to aur a mood ad o o xtr ad lgh ng . O ! fo d1gnr 1 o at t n a a 1th ony abt g Afad ligt our an grad ally urn on' by buld�ng ay of antd fton of ligh By bg10n1ng h a matt aan adow w1ll no hav o b ald a hy w1ll or natuay 10 aea not a�td a l
A ond ggton IS o fn i o atalog agazn t. for Iniration n od to aih a oou ad dr oo aaly il hl to or ry xr ttr hrby ovying h tru ng o a dgn. hdly, on h ro ad ood o a h a arly a o1bl o hat you ha a goal to or oard (Photoho Patr)
S tep-by-s tep T u torials Th1s cha pte shos the workm g sequence of the ceati o o SI des1g sketches. T he setches shown var leel of com· pextv . and h1ghlght some of the most commoly used meda ad techques. The ma p urposes of ths secton ae to 1/ustrate how each
Pont us Unger , For est Har vester Robot
t nc•s. felt t1p pe n) (M rke r, b lack and whte so pe
sketch IS created. and to break ow a seem gly t10 d atg and complex sketch to stes that are moe eas1y undestood . T here ae ofen seveal wa ys to achee the same efets so onsde the steps shown these ttoals merey as o ptons or e'amples.
w as be u y drawg b as c p e spe c• ve line s w 1th a . l i ht g re y ma ke
1 Te sk et h
2 u ds wh ente lines defed the olumes tat woud eve tally make up the ObJeCt 3 A numer 2 cool grey make was used to expementaly wok owards the desred o Altenately draw•ng on the lef ad ght sdes o the cente ne helped to keep pope propoions
Eric Gunnarsson, Dsh Brush (Had and sot bue pen1ls make) 1
The sketch was stared o usg a hard d1go blue penl
2 More pen•l
lnes egan to dee the stles of the rush Te ontour o a cas shadow was dawn therey eeali he die· t1on o te igh soure 3 The additon of a hand showed ho the produc •s supposed o be held and also assued that the fom ad propot1ons o te handle were accuatey dawn. 4 Derent coloued markers deed dfferet mateias ad epressd orm though shading Note ha te saes ae no saturated w•h olou but ae sections et wh1te to d1cate areas o lght efect•on 5
A s•mple contrastg back gound blo ck fts he drw of the
page. s1gnatue and date completed the sketc
gadually inceased the areas ta the designer wished to daw attetion to. Dark f el tt•p pen nes added definiton to specf eg1os of the sketc
-5 ontast was
Floris Wiegerinck, Lawn Mover rB Ul
d
pe •I " �JT
·
astl)
1-4 A ard bue pl was use to d the d se sae by 1 r! lng up bas1 oms and th succeSt\ly addg oe dea1 h aos d1ae the nt1 o g arts t th� prout
67 Soft whe pen was s to rat hglis. A sml ast shadow was ostrute y drawn anar verial ns rom ponts on the root down o h orizoa plane he des1gnr notes tha h1s ype o skth s intrsting eause t is not uly detale Sommes it 1s appropat and ece to eae some areas ndeed
an lns w1t h noug 5 A fe tip n was s d to r a d ark c l oras t to say v isb le afer mark r app lcaon.
'
A do shadow was added y using ak markr, and th darkst aras o t lawn mor were shaded wth dar old grey markers The ds1g n sggests that ths s a good tm to stop drawg you are no pleased wth th des; a sth ompltd to th1s pot l stll sow you tran o thought and tet.
Mikael L ugnegr d , Car
(Black ad pencrl, ae. mae a bus Photosop) 7 Sectrons \re "ee le p s· acs rc; e e eer f igh re mae as beay added e a s•des e a mwe
Te eecve es wee daw as rde es ar
he oporons of oveags. ab pacement, waistlne, etc. Te grap layout of light clustes, windows and tr pattens wee define and gurderes fo the place·
men! of basr elecrons a shadows ae aso nluded 1n
his lne art.
e des1e es a e cse rew e skeced jeC sd cse e e ew a bes desrbes the aspects of the desg you ae pesetrng.
8 Pastels wee then used o creae a smooth gradent ove the top sufaes to deprct a hgh·gloss ateal. A sggeston fom
e dese rs se ae rsses ( ee bee ake-
emova pads) to apply the pasels. snce usrng one's frnges gets vey messy . W hrte and black pencil wee dawn nxt to eah othe
add desi a ies
9 The fmal step was the addrtron o an absrated terran as a background
A s ye ake bes 24. c ey) was a i wr e e ake r dy ewee aiais as sadws e sadws ad eecs wee ed a rs se Te desre es a se, e sd wk as ad y w ea desy e sec wr rsce es Ts w kee e exai ee d wr
3 Te saes
m e ca's bdy wee ue sced usr ae arbs bes 2 ad . c ey aways w e sce decr r rd ese e cec acee sadws adws ae saces ad eecs wee a eaced by cbr ake ad ake arbs Kee r d a ake aied wr a abs eeay res dae ess a ae ap ie w a pe
Jonathan Hicks, Goggles (Blac h< pnc Pantr)
1 . I n a s k h was reat d us.g a hard black penc1. Th ds1g 1s stil loos and no fuy rsolv d a\mg h d sgn r room to por d s g d1r· ons 10 Pa[ 2 T he p e v1ou s s ketch as mpor ed o P a er. where bas1 gre ys ae s adg w as app lied o cre a e the clan-dged shadow. b ush s troks w e f�rs appied '0e-s p ayng the ines o he ob ec. An e raser tool "as then us e d to e move all unece s sa a eas of
shading h dsgn mn1os ha no spc g sorc was usd sad. obs shap would b communcd ust as 1 usg hs nU nuand shadg n aliy so uc elcg lgh \Ud h ths obc ha rdg u-to would b oo omplex
4 A tat and rubbzd sura was cad usg a onyomb e Th bght rd 'mcon! adonmnt •s an Importan dtal that was addd to ma th podu sm mo dfnd and ras. hs ds1gnr dosn s lOO opa1ty ordr to ahee a moe pated oo Fr hs rasonth ubbed rd aa was wh1 m th pvous sp; had gy pas bn prsn hy wo uld appa thogh h ans· lun rd mag 1t appar d1ry 5 Th oo of t gass was ahvd by frst iing h spa wth ransuc yllow oowd by a ay�r on top a gradd ransu orang
6 Hghghts ar addd to h glass ad along th part lns dsgn woud lik o strss tha addg highlighs along pa ls I vry S1g1a to h ovall ffct smce hy fo h llus1on ha h obc I onsutd o drn as
3t
e a;her ttue was ap pl i a o nd the nose. T he a ;h v aPS as crated us g a a ge b sh and
�a �1 ur e 'S lo•ed mth a smale brush. Noce hathe
t he
te r ad s to' a d e d s of the s :tc, addm g dy a 1cs .
h1s utoa no paths w usd o dlnat aas instad, th whol sktch was fm1shed sg ayrs of olour whr dg shapss has n ahd wth an rasr
/
1
oB
Thanks to
F�st of al, we want to thank the students cotbutng o ths proect. Many of them have devoed several years o develop ther s1ls but forunately the layout and strucure o h1s book c annot fuly do the1r desgns JUStice. Becase h1s a book soely conerned wh sketh1ng echnque offes no more ha a lmpse of her ncredble work, Inteligent soluons, poneen deas. or al of the houghts behmd the skeces. You ot oy used us to show you wok but also suppoted s houghou he whole ojec We owe you all many hanks, and w1s you the bes f uck fo e fute! We also want o hank al t,e sudets and personnel a he Umea lst1tute of Design, our am1l1es and fends Umea n1ves1y ad Uova Inovaton o he guidace and enouraeme yo have 1en us. You have been an alu· abe hep and spat1on
E and Klaa
