DESIGN JOURNEY #3
The many exercises and design projects of the past few weeks
Hello everyone. This issue of design journey is about all of the work I have been doing, on the past few weeks of my course. My first module will be coming to an end now, with the second not far behind. I wish I could've shared this work sooner, but the course has been very intensive and I haven't had to the available to post more regular basis. This a long article, but I hope you enjoy reading it.
One Point Perspective
For this exercise, the aimi was to sketch a car, using one point perspective. The design of the car itself was irrelevant, as the exercise was purely focused on learning and understanding the perspective view. I would sketch a two lines, with one near the bottom of the page and the second near the top. A point is put in the middle of the top line to help form the perspective view, along with vertical lines. That are sketched towards the middle and the two ends of the bottom line. The combination of the lines, allows you to sketch your design within a safe and secure formula. That can help show a strong sense of shape and perspective, and can help enhance the look of the design. The final sketch was successful. I felt that after I completed the design, I understood how the formula for one point perspective worked through the method and execution of the sketch. And that I could use it in the future for my own design work. It's a perspective I don't use often, but I believe through more practice. I can further improve my execution of one point perspective.
This exercise is about correctly drawing an alloy wheel. The design of the wheel we had to draw was a five spoke design from a Volkswagen Up! Which relates to an exercise we had to do later. To draw the wheel as accurately as possible, I'd sketched multiple lines, horizontally and vertically, across the left, right and middle of page. Next I then measured using a ruler. And put points in the middle of the lines that I sketched, to help shape and place the base of the wheel itself. After drawing the base of the wheel. I used the measurements from a ruler and the points I made earlier as reference, to draw the inner sections and centre of the wheel. Once I completed those parts, I then moved onto drawing the spokes. This involved using the reference points I made earlier. Along with five additional lines I sketched in middle of the wheel (to achieve the five spoke design). Afterwards I sketched square shapes around these lines to achieve the shape of the spokes. And than sketched smaller squared inside the larger ones, to create the gaps in the middle of the specific spoke design. After laying down the main features of the wheel, I than went over the each area and feature of that been drawn previously. To apply a varied amount of line weighting, and tone to help cement the design. I than draw a background to make the design standout more. Overall I felt the final design that came out was ok, but could have been done more accaurately. I believe I made a mistake with the measurements on the centre of the wheel, which affected the way the spokes were produced. To stop this mistake in the future, I should be more careful with the measurements I make when drawing specific features. Although despite the mistake, I feel that I have learned and understood the formula. And can use it in the future for my other designs. I will make sure to keep practicing, to create more accurate wheel designs.
Two Point Perspective
For this exercise. The aim is two draw a Volkswagen Up! In two point perspective. The drawing are meant to be done inside a grid box, that is used as underlay. For the first drawings, I focused on the 2D angles with the side, front and rear profiles. This was because I had never drawn a car with the restrictions of the grid box before. And wanted to start with more simpler views and angles, whilst learning a new formula to a perspective I'm quite comfortable with. To start off with, I sketched the grid box from the underlay in pencil. To give a foundation for the car itself to be based around. I then moved onto drawing the car itself, using the grid box as a measurement and reference to specific areas of the car. Afterwards I went over the drawing again, to apply line weighting to enhance the drawing of car in terms of accuracy and proportion. I felt the final the drawings of 2D two point perspective drawings were successful. Achieving the right proportions and accuracy of the car itself. I felt that I had good idea of how the formula worked, and continued onwards to the next drawing.
The next two point perspective drawings that I done, focused on a 3D angle with the front 3/4 view. For this drawing I followed a similar method to the last few, were I would draw the grid box in pencil first as a foundation for the car. And than moved onto drawing the car within the grid box. Using the grid box as reference and measurement. I than went over the drawing again to add line weighting, with the same desired effect with accuracy and proportion. Overall, I felt the final drawing came out ok but not perfect. I made a mistake on the proportions and angles of the front end of the car, which came out longer and more shallow than it should have. To stop this in future, I'll be more carefull when working with the grid box for referencing. And probably draw the grid box in a less complex way. I felt the grid box I done came out looking too complicated, which possibly caused me to make the mistake I made with the front of the car. I am open to using a less complicated box method in the future for my designs, as I believe they can improve the preportions and accuracy of my work. And will be experimenting with more unique ways to form two point perspective, in 2D and 3D angles.
Ugly Car Redesign
For the first project of the course, we had to redesign two cars that are widely considered ugly and controversial. We weren't allowed to change the windscreen, wheelbase or the position of the headlights. We were given a selection of cars to choose from. For my two redesigns, I choose the Nissan Juke and Pontiac Aztec. I choose these cars because of their horrific looks and shapes, which represent a strong opportunity and platform to make much nicer redesigns. The first car I worked on was the Pontiac Aztec. To create my redesign, I used a picture of the Aztec as underlay, and then put my design on top. So that I could work more easily with the restrictions that were given. With my redesign, I wanted to change SUV Coupe body style into a more traditional SUV body. To achieve this I gave the Aztec a longer roofline and more vertical rear, which helped give the car a more pleasant-looking silhouette. I also removed the controversial split headlights and grilles. I turned the headlights into a more chunky and solid design, and incorporated laser LEDs into the design, to give it a more eye-catching and modern look. The grill is turned into a larger, simpler, more traditional design that is much more attractive. The large plastic bumpers and abnormal lines are massively toned done. With the front bumper incorporating extra air intakes and side lights. There is also a small air outtake and indicator, built into the feature line of the redesigned Aztec. As well as square-shaped buttons for the passenger and driver doors, and a square-shaped fuel filler cap. fuel. The mirrors are slimed down for a more attractive look, along with pillerless windows round the side profile of the car. Whilst the rear lights are made longer and slimmer, whilst being positioned as the rear pillars of the Aztec's roofline. The wheels are replaced with a five spoke diamond-shaped design, that appears more eye-catching than the previous standard five spoke design. Overall I believe the Pontiac Aztec redesign is a success. I feel the car appears to be much more pleasing to the eye, and appears more to be much more up to date with the current generation of cars than the previous car.
I continued onwards to my next redesign, which was the Nissan Juke. I followed the same method as when I done the Aztec redesign, and used a picture of the current Nissan Juke as an underlay. And done my redesign on top. For my version of the Juke, I decided to keep the same SUV/Hatchback body style as the original, as I believed there was nothing wrong visually with the silhouette of the car. I decided I wanted to completely redesign the front of the Juke, because I believe that its front of the car the causes the Juke to look so ugly and controversial. To redesign the front into a much more attractive and pleasing area, I made the grill larger, wider and more rounded. And built in strips of laser LED headlights and side lights, with the lower intakes below the grill are replaced with an angular, triangle design These features along with a more slender and taller version of Nissan's V-grill shape, have created a more near futuristic look. That I believe is much more attractive and pleasing than the original Juke. I designed the bonnet with dipped area that would follow off from the Nissan V-grill, and then run over the roofline through a double-bubble roof. The result of this area of the design has helped add a more striking and unique look to the front of the car. Round the side profile of the car, I added pillerless windows to increase visibility and add to continue adding a striking effect to the car. I also added a more distinct and eye-catching feature line to the car, with the addition of a built-in outtake and indicator. The addition of more distinct line at the bottom front of the side skirt, and over the rear wheel. Along with a multiple spoke wheel design that contains sharp, triangle spokes. Has added more of aggressiveness to the design of the Juke, along with the smaller, angular mirrors. At the back of the Juke, the rear is made more slender, along wjth the rear lights that are positioned as the rear pillers for the roofline. This along with the new tail fin coming of the roofline, has helped create a more pleasing and attractive rear design to the Juke. Overall I believe the Nissan Juke redesign is very successful. I feel that the redesign is a very futuristic, aggressive yet attractive, espicially when compared to the original. And that in terms of looks, appeares much more pleasing and eye-catching compared to the current generation of cars in its class. I believe I have learned and understood how turn an ugly car into a nice, attractive looking car.
For our next project, we were given the brief to design two kei cars that weren't sports cars. They are a very small city car, usually designed for the Japanese marketplace. They consist of a wide range of body style and car types, containing engines no bigger than 660cc. And are only 3 metres long in length. Specifically we had to do one kai car in front and rear 3/4 view for men, or more traditionally nicknamed "the lonesome cowboy". And also a kei car in front and rear 3/4 view for women. For the Kei car for men, I decided I wanted to do a two door, four seater coupe. I wanted to do this because of the issues around insurance and lack of variety in cars, available for the younger drivers on the road. Who can only afford to buy and insure themselves on small hatchbacks and city cars. A car with a small engine, and sporty, attractive, pleasing looks would appeal to young people, their parents and insurers. I feel as a young driver myself, this is something that should be addressed and used as a good opportunity for design.
For the shape of the car. I wanted to create something that would standout, and be recognisable amongst the average car of recent generations, and echo a small, sporty and youthful look and appeal. So I went for a more boxy and angular look, that used a triangular-shaped design language that is not so common with the current generation of cars. I believe this has helped make the car its own thing, and shows something more unique and exciting for a car, available to a younger audience. I then decided to give the front, a very unique and exciting front end that would follow the youthful, sporty look and appeal of the shape. To achieve this I gave the car a wide, simple, happy looking front grill, along with laser LED headlights with air intakes for cooling. This along with smaller air intakes with side lights, helped create the desired youthful, sporty look. But also added a near futuristic and striking look, to help the car to stand out and be unique. To continue the stand out effect of car, I decided to make all windows including the windscreen, passenger windows and wrap-around rear windscreen, completely pillerless. This concept of pillerless all round, create near perfect visibility, that's great for city driving and in busy areas. Whilst helping to create a striking and unique look. For the side profile, I wanted a simplistic, yet striking style. To create this I designed the feature line to start from the front headlight, and make its way over the front wheel and then raise above the waistline at edge between the passenger window and the wrap-around rear windscreen. And then downwards meeting vertically into the rear lights. A triangular air outtake with indicator is built into the front half of the feature line. This along with the angular mirror and large side skirts, helped make the side profile simple yet very striking and unique. Another striking feature of the side profile is the triangle 3 spoke wheels. Which combine style and function. With the inside of the spokes containing fan-shaped slots, that collects cool air as they turn to cool the brakes. For the rear of the car, I wanted to create something that was sporty yet striking and unique. To achieve this, I used a connected, one-piece rear headlight design that has air outtakes intergrated into the design. This combined with a triangle shaped exhaust design, has helped create the striking, unique and sporty look that I was aiming on acheiving. Overall I believe the kei car for men design has been a succsess. With the final design achieving a sporty, youthful yet striking and futuristic look. That stands out amoungst the current generation of cars, that are available to a younger driver auidience.
For the kei car for women, I decided to create a small city car. This is because small city cars are some of the most trendy and favoured cars amoungst women drivers. I wanted to do this as a response to the current competition of city cars, but would standout and be unique. Bringing with it the kei car style and features. I feel that kei cars across a variety of bodystyles and car types, can prove highly beneficial to the motoring world. With the small 660cc engines providing better emissions and fuel economy, but has the potential to still provide good performance and usability. Along with the small dimensions and scales being perfect for city driving and in busy areas, in large, crowded world. Cars getting smaller would also prove relevant to recent trends in technology. Were products such as phones, games consoles, tablets, T.Vs and laptops have gotten smarter, smaller, slimmer and lighter, compared to the products of the past.
For the shape of the car. I wanted to create something that was elegant and attractive, yet striking and eye-catching. To achieve this, I decided to go with a smooth and curvy shape, that would reflect a fashionable and feminine style that is modern and trendy. I than proceeded to the front of car. Were I wanted something that was smooth and eye-catching, that would reflect the aims of the overall shape. To achieve this, I designed a small but wide grill across the front of the car. With the laser LED headlights integrated into and around the grill. Lower at the bottom of the front, I designed small air intakes with built-in sidelights. I believe these features have helped achieved a striking and futuristic contrast. But when combined with the smooth and curvy shape. A unique, modern and fashionable style is achieved. Continuing onwards towards the side of the car, I wanted to form a flowing, energetic look that would match with the curvy, smooth shape of the car itself. To achieve this, I made the front windscreen and passenger windows completely pillerless, with a smooth, elegant roofline with a tail fin at the rear. I made the addition a curvy feature line that flows from the front grill of the car. And merges into the waistline and over the rear wheels. There is also additional lines coming of the headlights and front wheels, and also one that runs over the rear wheels and through the rear headlights. Along with these features, there are also a deep side skirts, and 7 triangle spoke wheels. The line coming of the front wheel contains an integrated air outtake and indicator. I believe with the different features of the side profile combined, the overall style that is created is both attractive, eye-catching and feminine, yet striking, futuristic and trendy. Moving onto the rear of the car, I wanted to move towards the more striking and futuristic side of the overall style. Whilst keeping towards the original curvy, smooth syle of the overall shape. To achieve this ideal style, I designed long, vertical laser LED rear headlights. Which starts from the middle of the rear wheel, and up to the tail fin of the roofline. Serving as the rear piller between the rear windscreen and the passenger windows. There is also an additional line across the licence plate, and a long, horizontal, elipses-shaped single exhaust. I believe the combined features along with the overall shape, have helped add further towards creating the striking and futuristic style to the shape. Overall I feel that the kei car for women has been a success. Achieving the idea of creating something that is elegant and attractive, yet striking and eye-catching. I believe the car could do well against competition in its class, with its elegant yet striking looks and kei car ideas.
Grey Marker Exercise
For this exercise, we were tasked with colouring shapes and Suzuki concept car, using grey tone marker pens and marker paper pads. The idea of this exercise, is to learn and understand the use of marker pens and the use of light and tone. To start off with, I sketched the shapes in pencil using an underlay. I done the sketches of the shapes in pencil, because if they were done in biro pen. It would cause the marker pen to bleed and blend into the biro pen. The marker pads have to be used when drawing with marker pens, instead of regular card or cartridge paper. Because the ink from the pens bleeds through the paper. After sketching the shapes, I than moved onto colouring them with the marker pens. I started of using the lightest of the grey markers, and than went over a section of the area I already coloured in. This is because ink layed down by the markers. Darken more when more layers of the ink is applied, to an area that is already inked in. I would than apply slightly darker shades of marker pens to complete the shapes, and add shadow. This helps create the light and tone, and when combined with the shadow. It creates a realistic 3D look, that bring the shapes off the page. I feel that after practising with the shapes, I got the hang of using the marker pens. And understood the process of creating a drawing, involving marker pads and drawings. I was more confident, I wanted to continue practising using the pens more to further improve myself, so I continued onwards to working on the Suzuki concept car. I followed the same steps to creating the car drawing. Using underlay to draw the car in pencil on a marker pad, and then using the marker pens to colour the car. Building the layers and the use of darker grey colours to add tone, light and shadow. I believe the work I have done for the excersise has been successful, and feel that I have learned and understood the process of marker drawing.
For our next exercise, we had do a series of reflection drawings. The idea of this exercise is to demonstrate the use of reflections, amongst traditional light, tone and shadow. We had to do a total of 8 drawings, copying line drawings of different front 3/4 angles of cars. With the option of drawing cars using underlay, or by drawing directly onto the existing line drawings. The drawings we would do, would involve using a combination of marker pens, white pencil, chalk pastel and black biro pen. This is to help further practise the use of marker pens.
For the first three drawings. I wanted to draw them myself. I started off drawing the cars in pencil, using the original line drawings of the cars of underlay. But would later mixed in a series of drawings, were I would just colour over the original line drawings. The reason I done the exercise like this, was because I wanted to challenge myself with the task of drawing the car itself, with the combination of various techniques. After drawing the car or deciding to use the original line drawing. I would first add a layer of blue chalk pastel, that would lay down a foundation of the car's reflection across specific areas of the car. Which are most commonly the front windscreen, passenger windscreen, bonnet, front bumper and the side profile beneath the feature line and above the side skirts and sills. The idea behind using the blue chalk pastel, is that the car was reflecting the sky of a horizon at daytime. After laying down the foundations of the reflections, I than proceeded onwards and started applying layers of coloured marker pens. The layers in marker pen would help provide the tone to the car, and help to show the lines and surfaces of the car in a more realistic and 3D effect. When using the colour markers, I wanted to experiment with different colours. This was because I wanted to see how certain colours reacted with light, tone, shadow and reflection. And also allow myself to use various colours in my work, further my abilities with marker pens. I would also apply darker grey marker pens, to specific areas of the car. This was to distinguish certain features of a car. The specific areas would include the non-reflected areas of the windows (the exterior is the focus so the interior is blacked out, or represented in a vague, hidden yet subtle way), the grills, intakes, outtakes, tires, the wheel arches (including the area between the spokes) and shadow. When using the greys on these areas, I would use different shades of grey. This is to distinguish certain areas amount each other, to prevent confusion in the design. And to help reflect the tone and use of shadow. To finish off the drawings, I would than add a mixture of white pencil and black biro pen. The combination of the two is meant to bring a sense of sharpness to the design with use of the biro pen, and through the introduction of light elements through the use of white pencil.
Overall, after consistant practice of doing the drawings. I believe the work I produced is successful. And that I have learned and understood the process of using reflections through the various techniques, into my own design work. I feel that I could improve my execution of the process by toning down the use of blue chalk pastel, because overuse of the chalk pastel can create an unrealestic amount of reflection, and can also mix with the ink of the coloured marker pens. Creating colours that can spoil the look of the design work. I also feel that I can also improve by using the biro in a more creative and subtle way. Like when dealing with shadow and less over more obvious areas of the car, such as feature lines and the edges of the car itself. I believe with further practise will make my design work even better.
For our next project. We were tasked with the job of redesigning the Chevrolet Corvette. With at least 2 designs, across 10 drawings and 5 angles each. Demonstrating the front, rear and side profile, as well as the front and rear at 3/4 angles. Whilst doing the project, we would use marker pens and chalk pastel when drawing the design. This is to demonstrate the skills learnt in previous exercises, and continue further learning and understanding of these skills. For my interpretation of the Chevrolet Corvette, I wanted to combine the traditional and stylish, muscular Corvette styling of the past. With a blend of futuristic and striking features. I believe this design direction would make the Corvette stand out amoungst cars of a similar type, but still be trendy enough to hold its own amongst its competition. Despite only needing to do 2 designs with 5 angles each and 10 drawings. I decided to do 4 designs with 5 angles each with 20 drawings. This is because I wanted to challenge myself by designing a full range of one model, rather than making completly different designs. I feel this would increase my own creativity and my overall design ability. When drawing the designs with coloured marker pens, I wanted to use different colours and at least one greyscale design. This was because I wanted to experiment with different colour and trim ideas, that would bring more realism into the design work. After deciding how to approach to the project, I than moved onwards to the first drawings.
For the first two versions of the Corvette, I decided to do a coupe made up of two varients. Doing a combination a regular Z06 version, and a hardcore ZR1 version. To achieve the aims of my intended design direction, I decided to use the 1963 Chevrolet Corvette Stingray as inspiration. This is because I personally think and feel, that this member of the Corvette family is the most stylish and desirable of all Corvettes. With its distinct features such as the splitscreen window, overall muscular shape and profile, and the wide, open, agressive front grill. To start of with, I used the last generation of the Corvette as an underlay. And than built in my own design on top. I started of by working on the front views of the car, with the front angle and front 3/4 angle. To make the design direction work, I gave the front a large, wide, open grill that is signiture to the Corvette family. But the grill is given a downward, angle in the middle to give an increased muscular look. And give this version of the Corvette a sense of individualism amongst its family. Other features to increase this design idea include laser LED headlights and sidelights with intergrated air intakes, and a long, dipped bonnet. Which add a more futuristic and striking element to the muscular design. Round towards the side profile of the car, I merged the feature line into the waistline to continue the muscular aims of the design direction. This is balanced out by additional lines that run over the wheels and door release button. An air outtake with intergrated indicator is positioned near towards the top of the front wheels, along with deep side skirts with built in air outtakes near the sills of the car. To add a further striking element into the muscular design. To finish of this effect, I created a square-based 4 spoke wheel design. I decided to choose this wheel design, because I wanted to create a more unique design that. Compared to the more common 5 or 7 spoke designs that are seen more regularly. I continued onwards to the rear of the car, were I decided give the car the signature feature of my choice of inspiration. Which was the splitscreen rear window. I feel that its the best looking and recognisable part of the car, and that it serves as a key part of the Corvette Stingray's image. I designed the car's splitscreen rear window to work into the double--bubble roof, because I wanted to continue more striking elements of the car towards the rear of the car. To further increase this effect in the design, I gave the rear laser LED tail lights with integrated air outtakes for cooling, as well as two large rectangular exhausts to add a further muscle element. After feeling satisfied with the Z06, I moved onto the ZR1. I wanted to create something that was hardcore, lightweight and extreme. To achieve this I gave the car a more aggressive and muscular stance, with the addition of bonnet and wheel arch vents, a high, angular kahm tail that split in the middle. To reflect the design of the splitscreen rear window and double-bubble roof. Whilst round the rear of the car, I designed larger exhausts and large rear diffuser. These features designed are meant to gave the car a more hardcore style. Inspired by the GTE cars in Corvette's WEC programme. An extra feature to the ZR1, are a complicated fan spoke design for the wheels. These wheels are designed to catch passing air to cool the brakes like a fan with scoops. But then take hot, dirty air out through the middle of the wheel. I than moved onto there next drawing.
For the next version of the Corvette. I decided to do a shooting brake version, that would work as a softer, more practical, GT version of the car. The car is meant to share certain design elements from the coupe varients, but mix on its own. For example. The use of a double-bubble roof that is split across the roofline, is designed to reach out to two tail fins. Front elements that a shared with the coupe varients, include the wide front grill, dipped bonnet, headlights and side lights. Whilst the side profile shares the feature and additional lines, air outtakes and intakes, and the deep side skirts. These particular features remain, as they help to identify the car as a member of the Corvette range. To reflect the softer, GT feel of the shooting brake. I gave the car a simple, angular 8 spoke wheel design. This is to add more variety into the Corvette design through, and introduce and experiment with different design options. I than moved onto the final design.
For the final version of the Corvette. I decided to do a targa convertible version of the car. This is because convertibles are a popular choice, for those looking for a sportscar. And that a targa convertible is a cheaper, easier to produce, and inherantly stronger than a regular hard or soft top convertible. The car would follow the similar style of the coupe varients, with the use of specific features like the splitscreen rear window. Whilst features from the rest of the Corvette range are brought into the targe convertible. Such as the wide front grill, headlights and side lights, feature line, air intakes and outtakes, and deep side skirts. I continued experimenting with different wheel designs to add further variety to the Corvette family. Giving the targa convertible an 8 arrow spoke design.
Overall, I believe the Corvette range designs have been a success. Giving the Corvette family a wider variety than ever before. Introducing new ideas and concepts through unique features and styling. I believe this version of the Corvette acheives its design direction of a muscular and agressive look, that feels striking and futuristic. I feel that I have managed to accomplish my challenge of creating a range of cars, rather than seperate designs. And that I have been able to be more creative in my design work, exploring different ideas in styling and innovative features. I believe that I can continue to improve and build upon my own skills and knowledge, through continues practise of designing a range of one model.
As apart of our work. We were tasked with producing at least one copycat drawing a week. For this I wanted to experiment with different drawing styles. The last time I worked on copycat drawings, I focused on a more conservative drawing style. So to challenge myself, I decided to draw one copycat in a wilder, more artistic style. The existing design I choose to do was an intial design of the Jaguar F-Pace. This is because I wanted to try and replicate the style the car was drawn in, and that its a car I personally like. I feel that I would have more success replicating a car I liked, rather than one I didn't. To challenge myself further, I also wanted to do the drawing in only a black biro pen. This is because I think the practice of drawing with just pen, can help improve my accuracy and decrease my chances of making mistakes in my drawings. I wanted to draw the car from observation, because I didn't want to rely to much on underlay. Once I decided on how to approach the drawing, I procceded to work on the drawing. Whilst doing the drawing, I made a mistake on the front wheel of the car with the overall shape. This was the risk I accepted when I decided to draw with only the pen. Despite this I feel I was successful with the drawing, in recreating the overall design style. But looking back at the drawing. I feel that I shouldn't use the wilder, artistic style. Because it distracts from the overall design of the car. I do feel it add an extra bit of drama and flair to the design, I that I should persue a balance of the conservative style with the more artisic and wild style.
For the next drawing I done. I decided to balance the drawing styles I experimented with, whilst introducing new techniques through marker pens, chalk pastel, white pencil and black biro pen. I wanted to introduce these particular techniques, because I feel I should practise them more to increase my own skills and knowledge. The drawing I choose to replicate was a development drawing of the Mazda Furai Concept. I choose this drawing because of the drawing style used, is similar to the balanced style I am wanting to use. I continued the use of observation rather than underlay, to further practise my observation skills in proportion. After deciding my approach, I started working on the drawing. I done the drawing in pencil first, and than built the blue chalk pastel and grey marker pens on top in layers. This is than completed through the use of white pencil and black pen. Overall after completing the drawing, I felt that it was a success. I felt that I was able to replicate the drawing style, and find a strong balance between the conservative and the artistic, wild styles I previously experimented with.
For our next exercise, we had to draw a series of component drawings. Creating 14 drawings of exterior and interior components, including 4 drawings in marker pens. To further challenge ourselves, each drawing had to be done within the span of 10 minutes. Before carrying out the drawings, I decided to do four smaller drawings in grey marker pen. This was because of the time constraits, and because most components are made in grey colours.
Once I started producing the drawings, I was able to quickly pick up confidence and gain speed in my drawing ability. Focusing on getting the silhoutte and shapes down, within the 10 minutes time frame. When I done the drawings, I wanted to focus on interior components. This is because interiors are made up of a large variety components, that require extensive design work. And form a huge visual representation of the design of an interior.
Overall, I feel that the drawings were successful. Because I was able to translate the components onto paper, in a quick and efficient manner. Within the time constraints allowed. I believe in using the drawings of components alongside the actual design, and will want to continue using it in my design work.
In our next exercise, we were tasked with creating exploded drawings of a plug socket and an electric dirt bike. I decided earlier on that I should draw the compenent and its exploded view in pencil first. Because this was the first time I had done an exploded view, and didn't want to take any potential risks with mistakes by using black biro pen. Since I was relatively inexperianced, I choose to draw the plug socket first. To start of with, I created a drawing of the plug socket in pencil. And later finished with black biro pen. I then analysed and observed the drawing of the plug, and created a silhoutte drawing of the plug in pencil in the middle of the page. I than seperated the silhoutte drawing, and added in the inner componants of the plug. After adding the inner components, I than went over the pencil in black biro pen to complete the drawing. Overall, I was happy with the final plug socket drawing and felt confident enough to move onto the next drawing. I then moved onto drawing the electric dirt bike, were I followed the same process I used when drawing the plug. With the use of a second, silhoutte drawing that is seperated. With addition inner componets placed in between the seperated areas. Overall feel happy with the work produced, and believe that I have developed a good understanding of exploded views.
For our next design project, we were tasked with creating interior designs. We were to produce 8 drawings, featuring 2 different designs, and 2 concepts sketches. The designs we would produce are based of the Porsche Panamara. With the Panamara interior being used as an underlay. I wanted to explore the use of angular shapes. This is because I wanted to create something unique and futuristic, that would feel special to sit in.I started of by drawing a series of different components, including a steering wheel, gear shift paddles, digital dashboard, aircon vents, engine start/stop button and a semi-automatic gear stick (changes between automatic and manual driving). I feel that after creating these components, I had given myself a clearer vision on how to design the interior and what design philosophy to use.
I started working on the concept drawings. Whilst doing the drawings, I used the blue pencil in most areas, and a fine drawing pencil in smaller sections. This is because focus of these drawing, was to establish the shape of the interior, rather than the details and the finished designs. The significant features of the design include a large centre console that runs down the middle of the car, a large digital dashboard, and a consistent flow of the angular shapes that reflect the design philosophy. I felt that after putting the design on paper, that the design philosophy I choose had potential. But could be improved upon, and that I should look into and experiment with another design philosophy. That was more traditional and less risky.
After experimenting with the concept drawings. I continued onwards towards the initial designs. Were I decided to continue onwards with the angular shape concept in one design, whilst the second design would focus on more a traditional curve shape design. I started first on the angular shape concept. Were I also wanted to add a layer colour. This was because of the importance in considering colour and trim, and to also add an extra sense of drama and flair to the design. The colours I choose to use were white and sky blue, because of the bright, vibrant, colourful contrast the two colours create when mixed together. I feel that it's visually pleasing to the eye, and that it creates the additional flair and I drama I wanted in the design. To not confuse the viewer, I put in more jaggered lines in areas the of designs that would replicate stitching. Areas using these lines include the seats and seactions of the centre console.
I than moved onto the next design, were my idea was to use more traditional curve shapes in the design philosophy. I made this work by replacing every shape and feature in the original concept drawing, with more circular and rounded shaped. Most noticible in the design of the centre console, seats and dashboard. Because I was designing with a new idsa in mind, I used only white and greys in the colours. Overall after creating the seperate designs. I feel that my original concept with the use of angular shapes, is the stronger design. I feel that it appears more special, and more unique in comparison to the second, more traditional design. Overall, I am very happy with the work produced. And that I feel that my undersranding and execution of interior design is stronger, and more creative. I plan to approach interior design with further creativity and development, in the future.
For our next exercise, we were tasked with creating at least one canson drawing. The paper we used could be any colour, based on any design that we wanted. Because I had never produced a canson drawing before, I wanted to produce up to 5 drawings across a variety of different colours. The colours I choose to use were black, red, blue, yellow and grey. I felt that to understand canson drawing, I should explore using a mix of colours that are bright, vibrant and eye catching, as well as dark colours like black and grey. As they would increase my visual understanding and my creative thinking. The cars I choose to draw were based of existing designs. This is because I personally wanted to see these designs come alive in a more realistic fashion, compared to the way they were originally designed. They also rank amoungst my favourite designs, that I feel have a close personal connection to myself. Overall I am bery happy with the work produced. And would love to continue canson drawing in the future.
For our final project for our first module. We were tasked with producing two seprate truck designs, across 4 different perspective angles and 8 drawings. The truck would be based off an exististing Scania truck, with underlays of line drawings of the existing Scania being used. We had to use a number of the techniques learnt in the designs. I wanted to continue the challenge I set myself in the Corvette redesign project, and create two varients of the same model. Because I had never design a truck before, I decided to create a series of quick sketches, whilst looking up different truck types and models. Considering rival truck models, and what different truck companies were offering. After looking into the commercial vehicle industry, I came to the conclusion of designing an artic truck, and an offroad truck designed to work in tougher, more enduring environments. But following recent trends of the industry. The trucks will be given a more stylish and eye catching design, that would give a premium feel and look. I would also use yellow and red in colour, to add a sense of brightness and vibrancy to the premium look.
My first design was the arctic truck. To achieve the aim of creating a more premium truck, I decided to design a wrap-around front windscreen that was merged into a black metal section. The black metal is also intergrated with the front grill to create a subtle yet striking effect. That is complimented by a wide lower grill, with built in headlights/side lights and indicator. To add a further futuristic look, to an already striking design. At the side profile, I continued the striking, futuristic visuals with a tail fin that go up verticaly towards the rear of the cabin, with a hidden, folding later and door button near the bottom of the cabin. Whilst the wrap-around front windscreen meet towards the passenger windows in a traingle shape, that ends at the top of the tail fin. With a set of large, thin rectangle mirror at the front of the cabin. Round towards the rear, there is a large horizontal tail fin that serves as in extension of the roofline. This is complimented with a large black metal design that dominates the rear of the cabin, and contains a large rear windscreen to add increased visability alongside the wrap-around front windscreen. At the end of the truck, there is a large, one-piece rear light design with indicators, that surrounds an extra section of black metal.
My final truck design was an offroad version of the last truck design. I would maintain the premium, futuristic and striking look, whilst adding a layer of rugged toughness to the overall design. To add the rugged toughness, I raised the ride height, and gave the front of the truck an offroad bumber with intergrated light, a steering gaurd and a large roof light with limp risers. Whilst round the sound profile I added larger mudflaps and a snorkel. The rear is given an offroad rear bumper. None of the origimal styling features have been changed, meaning the truck still has the premium, striking, futuristic look of the artic truck. Whilst having its own layer of rugged toughness. Overall, I am very happy with the truck designs. I feel they have achieved its design philosophy of a premium, striking and futuristic look. And believe they could add something unique amoungst rival trucks, and fit in with the recent trends of the commercial vehicle industry.
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