Gmay3's Sketching Journey

Here’s some more example’s I followed along with this weekend. My focus here was to work a little bit on basic marker shading to clean it up a bit.




I had a line weight question for you guys. What materials do you use for your different line weights? Right now I’m using a Staedtler Triplus Fineliner for the initial sketch, a thicker black gel pen for the secondary/darker edges, and a fine point (normal round tapered tip) black sharpie for the outline of the object.

When I use the sharpie to outline my sketch things get a little wobbly and I’m wondering if my technique (slowly tracing along lines using my mainly my wrist) or my material is to blame.

I also struggled with that very question when I started out. So I’m glad you asked it!

I usually do a bit of both as Keno suggested. The less drag the better as to have a smoother line coming from your shoulder…however I like to have some support from my pinky to assure that I get the line weight consistency I am looking for. Proper line weight is HUGE.

-Pb

Thanks Pb! I’m also finding that some support from the pinky is helpful.

I know I haven’t posted anything that is very complicated yet, but I’d love some feedback on my current line weight. I see that my closest to the viewer lines could be more faint, I just can’t seem to get the fineliner to draw lighter. Are there any other issues I’m missing? Thanks!

Here’s a few more examples I copied from ‘Sketching the Basics’ from this morning.



Gmay3,

A couple of things I notice:

  1. You’ll need to clean up your linework. This will come with practice but once you fix your linework it will look less “sloppy”…remember continuous lines are more appealing than short choppy ones. A “sketchy” or loose style is excellent, and great to strive for in early concept generation. However, you rarely see a loose style with definitive outlines…they kind of negate each other
  2. When you sketch in perspective you are now drawing in 3D…so thickness matters. Your handle specifically on your kettle is actually one of those Impossible Shapes you learn about in Psychology :wink: …Where did the thickness from the top edge lead to? I’m assuming it should bent down the back edge and then back in on the bottom edge. Also, your buttons do not have any thickness…maybe they should be flush with the form? Even so, they would have parting lines which would have a darker line weight in the back than in the front. Little things like that go a LONG way in making your sketch make sense, thus giving it pop.

Keep going!
-Pb

Thanks for the feedback Pb! That’s really helpful. Do you mean that with a loose sketch, the outer dark boarder is out of place? Would I only add the dark outline if I’m also planning on doing some basic marker color and shadow?

HA! I had a great laugh with your comment. I didn’t mean to M.C. Escher it! :laughing: I was looking at it this morning when I finished it around 6:30am and I knew something was wrong but couldn’t put my finger on what. I guess I should make coffee BEFORE starting to sketch.

I’ll will do an overlay tomorrow morning and redo the pitcher and correct the things you’re mentioning.

Don’t get me wrong…you will still need to have dark edges in back to show depth and have proper lineweight. However, what I am referring to is that you should know what you’re trying to convey when you sketch.

Are you in the conceptual phase of design where loose sketches can benefit from inspiring new ideas…or are you sketching linework for a rendering underlay where you need to point out specifics in the products form or mechanical/material aspects. I wouldn’t do both. One is saying to the reader “I’m thinking something like this, but am open to changes.” the other is saying “This is how it is.” Which will drive clarity in meetings with clients/marketing/colleagues.

Here is an example of a loose ideation sketch that I am assuming was in the conceptual phase of design.

Hope it helps!
-Pb

Ok so here’s a fixed version of the kettle sketch from yesterday. I was going to overlay my sketch, but I thought it would be better practice to redo it completely since had some dimensional things I wanted to fix. I went easier on the line weight of the outline and just used fineliner for this sketch instead of adding any sharpie.

Here it is!

Pb, thanks for the clarification. I see your point about how the purpose of the sketch drives the level of detail and techniques used. That’s something I wouldn’t have noticed before so thanks for pointing it out with your example.

I’ll work on defining the purpose of the sketch before starting. Learning about the purpose, process, and the different levels of visual communication is something I’ll work on.

For the record…you absolutely can have a heavy background line like a thick sharpie. This technique totally works (and is necessary for sketches at the more established ideation phase). It adds line weight depth to have your sketch pop. I originally got on this topic to encourage you to “clean up” your sketchy style if that was your intent.

Loosen up. Don;t sketch 1 kettle. Sketch 100 kettles in 4 hours.

Thanks yo! I hear what you’re saying. Thanks for the shot of motivation.

Here’s 22 kettles in 2 hours, 5 sheets of printer paper. I was shooting for a loose concept sketch style but I’m not sure how I did. I’m guessing I put too much detail in it and could have been looser so I’ll keep going! Either way I’m having a blast.


Ok here’s 20 more kettles in 1 hour. 3 sheets this time.



already a huge improvement. Getting much looser!

Now imagine if you did exercises like this everyday for a few months. You would see huge gains. Just like going to the gym, got to put in the hours.

Thanks yo! I really needed this exercise. I’m embarrassed to say that this is the most iterations of one thing I’ve ever drawn. I thought I would run out of ideas but then I just kept drawing stuff and the ideas came as I sketched. This was a ‘design aha moment’ for me so thank you for that!

Great idea, I’m going to do just that and I’ll be sure to post them here! flex

  1. It feels like you’re drawing like an engineer. You place your geometric shapes and then you merge them. Try to loosen up and do more organic shapes where the handle merges with the pot.
  2. Don’t try to make every single iteration different than the others, this often leads to crazy shapes. What’s wrong with exploring a single form direction but focusing on the details. Often great designs are tweaks to existing forms.
  3. Try drawings parts of the kettle only. Handle, lip, top, bottom…this may lead to more ideas and will give you a break from exploring the whole kettle.
  4. Try drawing existing kettles. This will allow you to focus on the sketch aspect and not on the radical innovation goal. You will also see how they treat partlines, buttons, etc.
    Good luck.

I always find that by the time I get to the 4th or 5th I start to run out of ideas but then I force myself to gopast it and once I get to the 15th-20th the better stuff starts coming.

I used to do little mental exercises to help channel concepts like:
What if Charles Eames designed this?
What if it could only be made of wood?
What if it was designed 50 years ago?
What if I could do whatever I wanted?
What if someone asked me to make it as crazy as possible?
What if it looked like it came from the sea?
What if it was inspired by lobster shells?

The more random the better. It pushes you into a new space.

When I was at Evo Design we were doing some early work on a project called “Foot Pod” for the Explorer Group, a now defunct advanced design group. A lot of that work went to the Nike Innovation Kitchen and informed projects like Nike Free. Anyway, the key concept evolved from “What if it flexed like a metal watch band”… go back and look at the bottom of a Nike Free shoe and it bears resemblance to a the links in a watch band.

FH13, thanks for the feedback. I took your advice and studied this existing kettle and did some iterations on the parts. I definitely struggled on the handle portion. Drawing a curved cylinder in perspective was a challenge for me!



Thanks for those ideas yo! Thinking of different design lenses to look through when you get stuck or want to push the boundaries is a great idea, I’ll definitely try that out. Wow, thanks for the sneak peek on how the Nike Free came about! I was always wondering where the idea came from and now that I look back, the similarity to a watch band really makes sense. I think that’s the part of industrial design that excites me the most, allowing out of the box thinking to grow into a totally new idea.

I’ll keep sketching with these things in mind, thank you guys!

I’m a music gear nerd so I wanted to switch it up today and try out some portable synthesizer concept sketches. I felt like communicating synths naturally required extra details so these took about an hour for only one sheet. I was able to simplify them a little by using sharpie to line in the black keys in 2D so I didn’t have to waste time sketching a 3D keyboard.


I had a lot of fun with these but I definitely struggled on the perspective for the middle right concept. I couldn’t figure out where the ellipse minor axis should be for the knobs. I tried to work on this a little on a separate sheet, but I’m not sure if I did it correctly or not.

How big are you drawing? These feel really small and like they’re being drawn from your fingers. Make sure your posture is good, sit up straight and sketch from your shoulder. If you’re sketching on say 8.5 x 11 I would aim for 2-3 sketches per page (for an idea on a good size to start).

Sketching this small is great for thumb-nailing and finding an overall aesthetic or direction you like. Then it’s best to get to larger sketches so that you can explore the detail and figure out how that thumbnail actually translates. A good exercise might be to do 40 thumbnails, pick 10 out of the thumbnails to draw larger with more detail, and then pick 1 to finalize.