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Sketch like an Industrial Designer

Lesson 4 of 16

How to Create Quick Orthographic Views

 

Sketch like an Industrial Designer

Lesson 4 of 16

How to Create Quick Orthographic Views

 

Lesson Info

How to Create Quick Orthographic Views

all right in this face, we're going to be covering how to create quick Ortho graphic views, Um, on great paper to support the concept that you have been working on. So I have some sketches here, but I'd like to trace my step packs for a second men before I kind of show you more of these sketches. I'd like to introduce you to the idea off using great paper. Great paper is just a regular paper that you have to remember. This non photo blue pencil that we have mentioned before is the same type of blue. If you photocopy it, these lines will not show. But these offers a great opportunity for you to get a sense of proportion. Um, how wide, how tall. And you have your 90 degrees, no matter where you go. All right, so this is great. Two years at the very beginning. All right. So what I have over here is a member of the sketches that I had worked on. I developed them a bit further, and these are just from preliminary sketches, and I want to stress out the importance off just Okay, so I started ...

working again. Non photo blue pencil some ideas. And this time it's very important than when you work with to jump from here to here. Well, you would have to do is have the sketch that you like most. Put it there, maybe go to the copier machine or scan it and blow it up larger at home. And then what you can do, slighted under and then trace your shapes roughly. And then you can just clean up your shapes. At this point, what I like to do when I work with my non photo blue pencil is toe Keep it sharp in normal times. And then I would just work very lightly with my lines. But just making sure that I cover my main points. All right, remember my ankle points that I had done using my black pencils? I still do them using non photo blue. All right, so I say here used many construction lines with non photo blue. Many lines don't stick with Just want to your lines to your homework. But be inquisitive. Don't look yourself out just yet. I know this is second stage, but still be playful. All right. So non photo blue this time around I switched from regular printer paper or newsprint to marker paper. So another step up when you get this lines. If you feel that you need to have better control of your lines, this is when you would be using your French rulers. These are your French rulers. They come in different shapes, and they really do a good job. They can really help you do a good job cleaning up your shapes. You don't have to do that. Use them for all the outlines for just on a few outlines. It's like when you go to a party, Do I look good? You know, you look at your face, so I look good. Same thing with your sketch that it look good. The only thing that you have to check it's mainly the outlines, the outlines, the perimeter. Is this good? This is good. The the corners that would define your shape better for those curse if you don't have a good, steady hand and you can use your French curves to clean your shapes. All right, So, um, I did a bunch off these sketches. Hopefully the cameras speaking them nicely. You see, I'm going all wild. I started over here and then moved over here and then here, Like a win a minute. I have another space over here. I can finish this catch further, so I would just draw another one over here. Hey, wait a minute. I don't know if I love this top part of her here. Maybe I can do another one there. I can just continue sketching and do a bigger one. Um, I don't love this handle. That's just too, um, to be expected, right? Yeah. Then I do do, like a little close up off this one over here. So you are the master and commander off your sketch, and you can certainly do whatever you want in your pages. Work with your own compositions. All right. Anything goes at this point, you don't have to show these stages just yet to your client, but this is more for you. All right, So once you have a set of sketches going on, you can if you want it some point, you can clean one up and do, for example, a test on chrome. How would it look like, You know, you can do, for example, some crumbs over here and just to test what it would be like. Remember, if you miss up, nothing really happens, right? We're just testing things out. This is still on this catching stage. You can do something quick coloring, all right. Similar to what I did over there just to get some sense of materials going. And then you see how I added some thick black lines. We can do the same thing here just to clean up my shapes. You see, the interesting thing about juicing markers of black pence is that once we use them, we start defining the shapes better. Um, but up to that point still is a very loose sketch, all right? And I can go further from here. You can see how I went to that stage. I worked with even darker grace over here to enhance the chrome's, but still would be a very loose sketch. Okay, if we have my outlines here, we can just continue sketching it. We feel like it. So this would be kind off step 1.5 almost into the two into the second stage. This is just to give you an overview of what we would be doing. But if you want. If you wanna work faster, you would still work with non photo blue. All right, we're not at the rendering stage just yet. One thing that I want to mention before I move on to the next face would be working using Contour Lines and Finn loft lines, a contour line you see marked overhearing. Think it's a line that defines my shape. Sometimes in product design, we have to do those lines. Products sometimes hard design, while quite often are designed with very soft, full upto a shapes. And, uh, we don't have sharp edges, so it's very hard to define the inside of that volume if we don't have a contour line that would define how that shape goes. And this is what I have marked here in think, and I can do it again here in red. The main thing here would be to mark whether you have a convicts or concave shape, so you see the camera speaking it up. You see, we go from convex to concave in your Audi, you can use different words, but really tell me how the shape really works. Is it going this way or this way? It's like, almost as if you were holding a spoon, he said. On the outside, on the inside, right? So sometimes drawing very thin contour lines as well as Finn loft lines will help you define your shapes. Better car designers use that all the time to define their shapes. All right, so all that to go to my Ortho graphic views once we pick up design that we like in this case, let me trace my steps back. I have this design that I thought was a winner. So now we are officially on face three, which is creating Ortho graphic views in product design. All right, when we have already a design that has been defined, we want to dio variations of that design. And you can see here that it's the same outline that I repeated over here, but then I placed it. I placed this under. You can see the nice thing about using marker paper graphics three sixties that you can see through quite nicely. So you would just sliced this drawing, slide this drawing under, and then you use that as a reference. But with your non photo blue, you re do your lines a bunch of times. This it's important. This is what will get you. Far as a designer. You have to Let's go back to stage one. I mean, when I started introducing this course, right, Remember these drawings? You do hundreds of them, right? If you have one direction. Did you like this is what you do? You put it under and you develop many ideas over and over. You know the words. If you have a one point of view that you like, you don't need to reinvent the wheel, use that same point of view and then modify your shapes. All right. The way not to go is to develop one idea only if you do hundreds. Okay, we got that. It's very important. And you just you just work with your the same techniques that we have covered before. Some gray markers. If you want to define better your shapes and then you're black outlines working fast over here. But you have seen already some examples. At this stage, steel is very loose. But you can now this is when you have to breathe. Do you have a good pulse? Yes. You can do it. No. Then you grab your, um, French rulers and then get your clean lines with the help of a ruler on it doesn't make you a lesser of a designer. OK, Very important. You still do. Great. Um, and then you just define your shapes. And yes, it is okay to move the paper around just to get the right curvature, the right angle. I am left handed. So I rather war kind of sideways. Whatever it would work for you. And yes, you can modify your design as you go. Okay? Remember what I said about being fast and furious, right? I don't get here. Still keep it very fresh and loose. Very important. Did you do that? Otherwise, you don't want to constrain your drawing too soon. All right, so we go to these face. But you see, these are my Ortho breath views on North. A graphic view slightly different. It's a few of the object. Instead of seeing it in three d, you see the top one side and another side. We've seen an Ortho graphic projection, which is just the front directly on. This is my pencil sharpener. Decide on the top, right? Pencil shavings don't fall off You know, we get the three views, but you don't see the top of when you look at the front because it's flat or the bottom for that matter. It's flat. You see the difference between this rescue of these drawing for a second? Oh, here. You see a difference between this thesis perspective. You. This is a north a graphic view. You don't see the top. You see a Libyan of the bottom in this case, but only because my design has a little dome on the top. So you see a little bit of that dog. But the top, I mean, we would you rest your cup. Your mug has to be flat. Otherwise he would topple over. Right? So it has to be flat. You don't see the top of that stage. What you dio can move on to the next page. Here is this is my perspective. You you define your three views, or at least to that you want to work on in your design. What would be your front view side view on your top view? The front view will be in order to make the drawing more interesting. Visually, you wanna have the front view as the view named the front view the view that will better define your shape. In this case, I think it is more iconic, more interesting. What we would consider the side view would be my front view because it has a better shape. So you draw your front view first, and then you put your left via on the left on the top view on the top. Okay, In different countries that don't follow the norms that we have in the States, you might put for different reasons that I will not discuss here. You put the left view on the right on the top, you on the bottom. That would be the metric system, right? So but always, you have to label your views and that will get you for far. Then I have here a template done in great paper, and I This is how I did it. I put it under. This is just a very generic shape that I don't really like, But I put it over, and then I just trace over my outline. And I can just define different shapes if I want to. This is your chance to really modify your original design from the front from the top and from from the site from all three years. So this is what I did here. And trace and great paper will get you moving a lot faster, all right, because the lines kind of match up. All right, So I'm going to do, like, a quick tracing off this outline that I have worked on this is had a hard time deciding what I like best. But finally, I had to really settle into these one. Let's use a ruler here, and then I would draw the top over here to the best of my abilities sometimes. See, if you are curbs could be very difficult to use. This is when you would have to use This is my next for a moment. Um, you have to have in your arsenal off tools. You have templates again. It does not make you lesser of a designer. If you have templates, I have lots off a lips and circle templates. Use them. All right. Everybody does. And it's just they are great. Um, help. So you see how wobbly these shapes are. You can get better shaves by just using just the right template. You put it over, and then you clean up your shapes of it. See, it looks a lot nicer. And he took me two seconds. And over here, I'm not too sure. Um, all right, templates. I know they can be pricey, but once you buy them, you keep them forever. So this is an investment in your career, and you use them for decades to come. Thes are more than 20 years old, and I still use them every day. One thing that I have to mention about your, um, templates. I'm going off the tension slightly. This is alcohol prep pads. You would have Teoh after a while. You would have to, especially if you're planning to use light markers. After using black, for example, you would have toe kind of open one, and then you clean your edges so that if you use your yellow marker, it wouldn't pick up the black that would have dried on the inside. So this for just put them on your we're gonna say dishwasher on the top rack, they might curl with the heat. Better to use these, but, um, just take care of your mom materials All right. So once we have, we're still on the Ortho graphic views. Once we have ah, collection of photographic deals that we are exploring. We choose one idea still on great paper, and we make it larger. Top needs to line up bottom, needs to line up the bottoms, and then you label them front view, half scale, right view. Have scale, half scale. What does it mean? That this distance in the rial life is twice as big? All right. So you can work with whatever scale you have quarter scale or half scale, depending on the product or even an eighth of scale if you want to make it even smaller. So that's a good thing to know. You know, you can working your drawings a bit smaller. You see this bottom line, stops of front view, or in this case, I changed that. I named it front view and right view. You know, the buttons lineup, they slides up with that. You get the idea, right? Everything lines up. And once you have that, then you put your better paper on top. You're better. Paper would be your graphics. 3 60 paper. Um, you put it on top, and then you clean up your shapes and you start the same way. You see, there is a lot of clean up going on here, one on top of another layer after layer. You clean up your shapes. All right, starting with non photo blue. You get a good outline that you really enjoy, because this is it. Once you get this, you know you can go far with this design. You would need to have the approval of your, um, your client. But this is when you would really have your chance to clean up your shape. And this is when you do your last adjustments. All right, So you're like this. You would define everything. Once you have that, then you can start adding some extra extra street. So to finish to wrap up this section, I'm going to show you this is a front view about what I did over here. ISS. I got a big Japanese wart on that. Cut it in half. I'm kidding, but it's more like a section. This is a section view, but it's the same the same us a front view. The only thing is, this is a hair dryer just to make it more interesting, I sliced in half so that we could see everything inside where we have the heat coils. Then I added none realistic colors meaning purple and purple on the inside. We really paint this in purple, right? But just to show the different materials what I'm trying to say here, sometimes we use our Ortho graphic views to show the inside, too. This is the same outline. So these are two experiments that I did in the past that worked well, I This is for a show for a student, a demo. And then I actually took my time. And then I added all the labels to label all the parts. So this is one using, not using marker paper, everything on the front. I didn't do anything on the back. And this is an interesting experiment. I did the same thing over unexposed. Overexposed for a copy paper, right? And then I worked toward lighter colors years, um, my china marker pencil to create highlights. So you can do that to, um if you want to go. If you want to render something fast without really having, um, much time to figure out perspective. So this is your first way to render right front view or tub view or side view You render it. I know this is just the inside, but it can get you very far, very quickly.

Class Description

Product renderings help prove concepts, provide insights, and sell ideas. In Sketch like an Industrial Designer, Jorge Paricio will teach you the art and science of drawing products by-hand.

Despite the proliferation of rendering software, there is still a place in the market for freehand designs. In this class, Jorge will teach you techniques for drawing products for professional use. 


You’ll learn how to: 

  • Render objects from multiple perspectives
  • Simulate reflections and materials
  • Sketch with different tools
  • Create orthographic views
Jorge will demonstrate the process for using a variety of common drafting tools and discuss the importance of your early doodles and sketches for developing a polished final product.

In Sketch like an Industrial Designer, you’ll learn how to create professional, comprehensive product visualizations that you’ll be proud to deliver to clients.

Reviews

Mike
 

I thought this was a well rounded introduction to this subject. Really liked the teachers attitude as well - very inspiring!