Industrial Design Sketching: Learn to Sketch Products in Perspective & Boost Your Creativity | Marouane Bembli | Skillshare

Industrial Design Sketching: Learn to Sketch Products in Perspective & Boost Your Creativity

Marouane Bembli, Design Professional & Online Teacher

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12 Lessons (1h 1m)
    • 1. Introduction - Welcome!

      1:47
    • 2. How to unblock your sketchers block

      3:54
    • 3. Use straight lines for creative exploration

      1:19
    • 4. Still stuck in your sketching? Think of it like this

      2:16
    • 5. The FUN & EASY way to sketch anything in perspective

      7:02
    • 6. Using my "cloud sketching" technique to design a vacuum cleaner. Try it out!

      9:13
    • 7. Messed some lines up? No worries, adjust as you go

      5:00
    • 8. Guidelines on how to sketch a car in 3:4 rear view and get it right every time

      8:56
    • 9. Moving on to sketching the 3:4 front view of the car What to think about

      8:56
    • 10. Car sketching in side view using the cloud sketching technique

      10:57
    • 11. Class assignement

      0:57
    • 12. How to upload your project + quick reminder before we say goodbye for now

      0:49
30 students are watching this class

About This Class

Hi, I'm Marouane, industrial designer originally from Stockholm, Sweden, now living and working in South Florida.

What's the class about? 

Many of us have seen the conventional way of sketching in perspective. Whether it's 2-point or 3 point perspective, they ALL follow certain rules. Industrial design sketching can look complicated but in this class, I'm going to show you a completely different way of perspective sketching that I think you will like. We are also going to cover how to unblock a sketchers block and boost your creativity.

The problem?

I like to get to the point as quickly as possible and when it comes to sketching. I like to jump right into sketching the product or object instead of setting up an entire grid system of perspective guidelines. 

The solution!

I want to show you a technique I've been using for years now. Something I call "Cloud sketching". It's about turning your sketches and designs into "clouds" on the paper, capture the proportions and perspective with the help of ellipses and simple geometries. No grid system necessary. 

Once this is done, we can start to add the details and really design our "cloud" into whatever we intended it to be. Sounds strange? It will all make sense inside the course, I promise.

Who is this class for?

This class is for anyone interested in drawing or sketching. It suits beginners who are just starting out with drawing as well as experienced designers and artists. I think there's something in this class for everyone, if you keep an open mind.

Thank you for taking interest in my course, I hope to see you inside.

Your instructor,

Marouane

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Transcripts

1. Introduction - Welcome!: Hey, my name is Martin Dumbly. I'm an industrial designer, and I'm gonna be your teacher in this course I've been sketching ever since I was old enough to hold a pen. And this is a passion of mine that I really love to share with. So what is this course all about? Well, first of all, it's about perspective. Sketch. Now, if you look up perspective sketching tutorials in any book or on YouTube or something like that, you're gonna find the same basic type off sketching. You put out the two point perspective, you draw all the lines so we make a grid system and then you start to design your product. Whatever it is you're sketching now, I was looking for an alternative to this years ago, and I came up with something I call clown sketching. Now I think this technique it's much more fun to sketch than you. If you put up a grid system and it's way easier to, it doesn't complicate things. I try to simplify everything in my sketching and I can I want to show you how I do. That might sound crazy right now. Sure, trust Mel this once you get inside the course and you see what it's all about. I'm sure it's gonna make sense to you. We're also gonna talk about Skechers Block and how to overcome that. Everybody has something. Walk every now and then. We have writers. They have something called Writer's block. I like to call when I have a blogger. Call it Skechers, because sketch, it's to make sense. We're gonna talk about how to overcome Skechers Block and how to get the creativity back with some exercises that always worked for me, especially in the morning. Sometimes even before I had my first cup of coffee, which is amazing. So we're gonna talk about that inside the course, and I hope to see you there and thank you so much. We're checking out this video. 2. How to unblock your sketchers block: all right, so I hope everybody have their coffee ready and are excited to jump into let your one. So in this lecture, we're gonna talk about Skechers Block and how to overcome that because it's a pain. When you have it, you it might be usually for me. That happens in the mornings when my brain is not really fully awake yet, and I need to come up with something creative or shapes or something like that. Eso what I do. First of all, I grab a cup of coffee because that seems to solve half of the problem, at least for the second half of the problem. I start with a blank sheet of paper like this. Now it's might seem intimidating with a blank sheet of paper, because you feel the pressure to fill it with something cool, right with something creative or whatever. But that's the that's the wrong 1 10 of the wrong way of thinking off this particular problem. When you have it, you don't want to think of it as you need to feel that paper, basically what you you don't want to think at all. You want to keep your hand moving all the time without even thinking what it is you're doing that way your your hand, it's always one step ahead off your thinking, and you don't really sketch what you think. But you sketch just what you feel. So for example, I can store down like this. Okay, So what we have here now? Obviously, this does not make sense to anybody, Not even yourself. Probably. It doesn't make sense to me right now, but the cool thing is that we're starting to see some shapes in here now, and we starting to see that Maybe out of this we can start to connect some of these thoughts here, some of these edges, and start to connect these to make something that eventually is gonna be something really cool. And the crazy thing about this is, while you're doing this, you automatically start. You know, you start your brain up by doing this, even if you don't really think about it. But your brain is starting to wake up, so to speak, and come up with with ideas that you can continue to develop through this method. And if you're still, if you fill a paper like this, a sheet of paper like this with random shapes, and you still feel like, man, this is not working out for me. I got nothing. You don't have to worry. Just make another sheet of paper like this. And if you see that on the previous sheet of paper you made a lot of circles, for example, you might want to think about making another a sheet of paper doing Let's say, cubes, Why not in perspective or or not? Doesn't matter. So what? The point here is just to start getting your hand to move? That's that's the whole idea with this exercise. And I tell you, it helps me almost every single time when I have a sketchers block and I feel like nothing is coming out and it gets frustrating. I start doing this, so try it out, and I think it's gonna work for you, too. I really hope so. If it doesn't just keep doing a few sheets like this, and I can almost guarantee that after the third sheet, your sketches block is going to be unblocked 3. Use straight lines for creative exploration: Okay, so let's move ahead and make the same exercise we just did. But this time, instead of using organic shapes like what you did in the first exercise, we're gonna start by using lines so we can do the same exercise sketching a bunch of lines like this and see if your brain picks up on any shape here that you might want to continue to work on. Okay. So, for example, for example, here, I'm starting to see something interesting here. This shape, I kind of like this shape. And it's nothing that I thought about before, you know, beforehand. This just came up right now as I was doing this exercise. So what I want to do now, I start to explore to see if there's really something there with absolutely no pressure at all. If it's nothing, you know, if you feel like, uh, it doesn't really give you anything, that's totally fine. Just move on with continued to do these lines 4. Still stuck in your sketching? Think of it like this: So we get store to maybe try and get some shapes features inside of this this tool shape here, something like this. You can start to maybe shade this part here and see if that gives us something. Could be a different material than the rest of this shape. Maybe make something like this down here. The thing right now is that, uh the more of the more I do this the the faster I will get back on track with sketching whatever it is, whatever it is I'm supposed to be sketching, it depends on if you have an assignment or something like that or you're working on a project of something like it's a specific product. Then it might be a good idea to start off not sketching that those kind of products at all to start with, because that's gonna kind of block your mind into thinking a certain way. And that's why I love this extra sites so much because it really opens up the creative part off of your brain. And it helps you come up with ideas and shape that maybe you you can even combine with the shape that your card were working on. So this is just a NY idea with with the lines on how to really unblock your sketches book. It works with any any kind of shapes or any organic or, you know, sharp shapes. You can do whatever you want, as long as you feel at least one paper. And if it doesn't work for you, I would I would love to hear about it and and just hear your thoughts on why you think it doesn't work for you. You can write it in the discussions in the discussions of this course or the community. So, yeah, I worked with both sharp sharp shapes and lines and circles. As long as you just combine combined these and try different, try whatever you feel is cool for you and just see what you come up with. 5. The FUN & EASY way to sketch anything in perspective: Okay, so let's move ahead with perspective, basics and how I prefer to sketch. Whenever a sketch in perspective, you can read about the normal way, I guess, to sketching perspective, you can find that everywhere in every single sketching book on every video on YouTube that if you start perspective sketching, you're gonna get you're gonna get this, uh, this version right here, where you have a horizon line, you make you make a grid line something like this, right? And then once you have all these lines that in place, you can start five sketching your cube here, for example, to me, I mean, don't get me wrong. This probably works great. If you're just starting out with sketching, then it's probably I mean, it is probably the best way to start like this if you're just starting out with sketching and learning the basic basics off expected sketching. But for me, I'm a bit impatient. So setting up a grid line like this in a grid system it takes for me. It just takes too long to I just want to get into the product sketching as soon as possible or whatever it is. I'm sketching it doesn't have to be products. It can be faces or something like that on how I do that. So here's Here's the version. How I do it So you want to start by thinking off? First of all, what is it that you're going to sketch? Get that clear? That's the That's the first step. Let's say I want to sketch a coffee cup, OK, it's I have one here on my desk and it just popped up in my head. Eso we want to first try to think of it as a as an as a silhouette or an outline. What are the main features off a coffee cup and I almost every single time I start with an ellipse. I don't know why it just works. Ellipses are easy to mold once you get them down, once you get to proportions down. So let's start with A with an egg like this doesn't have to be perfect at all whatsoever. And if we want this in perspective, we want to put out some guidelines for us that will help us to realize where things are gonna go, like the handle and so on. So I'm gonna make another leaps here. Now we start to see what kind of perspective this is is tilted slightly from the top so we can look into the cup a little bit. This is inside of the cup. So what does that mean? If we go down here to the base, it means that this civil it right here should be slightly wider than this one. Because it's in perspective, right? So if we go, I can I can show you what I mean by doing so, you go larger and larger and all the way to the bottom. What we have, that's Ah, I think that's a good radius for this bottom. The lips don't here. So what do we want to do now? We want to connect these edges to create our cup. So simply make two lines like this and we might want to find the bottom line a bit more. Looks a bit messy, but that's totally fine. And and some thickness to it. I do that by adding a second ellipse only inside here, and I want to visualize that these are radius is here. So make too to, uh, carves like this. Just visualize that these edges are not sharp. They have radius is on them. So what would have wanted? We want to keep it simple here. So we want to add a handle that goes from here. Two down here And we can do that by just creating liken here and and some thickness to it. So this is the edge. I'm sketching the edge of my handle now, and this is the side. I hope this makes sense. This just this side off. Healthy handle. Now a handle usually is not sharp. It'll that has around us to it. And it's usually very smooth and soft hold. No, it's It's one of those designer cups from which I know they could be whatever you never really know. But to visualize that we want to put out Let's do it this way. Same thing as we did here with the Radius is here. We want to do the same thing here. So and self section allies, because this will help your eyes. And especially if you're working with engineers on a project, these small sexualized will help them understand what it is you're sketching. Because if I don't put these out, it can mean anything it could mean that this line right here is a sharp edge. And you have a a shadow down here. So now we don't know if this is a round or sharp, or maybe it's round or glossy, which makes this a which create thes sharp reflections here. But we want we want for ourselves or for everybody that's looking at this. We want them to know that this is a round, uh, handle or great. And from here, we can start to if we want, we can go into shading. And, as I say in all my courses, we want toe always keep in line with the light sources. And by that I mean, where is light coming from right now? Light is coming from here. A little sun right there. So we have a coffee cup here. So what if we want to sketch one of these cubes? That perspective, but we don't want to set up a grid line. We're gonna talk about that next 6. Using my "cloud sketching" technique to design a vacuum cleaner. Try it out!: So I hope we're not moving way too fast right now because I want you to get everything that we're talking about in this course. And if something is unclear, make sure you, uh you post a question or a discussion in the in the course discussions or the community, and I'll be happy to to try and answer those for you. So in this lecture, we're gonna talk about sketching with the, uh perspective cloud sketching as I call it, which I just showed you in the previous videos and how to use that to sketch a bit more complex shapes than a coffee cup and a cube. So for this exercise, I want to show you how how I would approach sketching. Let's a vacuum cleaner, one of those small, hand held vacuum cleaners. Same thing here. We want to First of all, try to think of the product as a silhouette or as a as a unit. How one of the main features off a hand health vacuum clear. So what do we need? We need the handle, and most of the handles look kind of similar. We need some way where the dust comes and collect some something that usually you can take off like a cult, richer or similar to that. And we also need somewhere to put the suction engine or the section of the motor and the section all the mechanics inside of it. So those are the three parts that we need. And if we may, if we've done the research with kind of have an idea off how all how they all look like right now so we can use that as a guide and move forward? All right, so let's get started. As always, I'm starting with on the list, So this will be our main body. It doesn't look like much right now, but after this, I want to put out a center line for this. Something like that. And I want to start to try to figure out where to. Where the handle goes. Usually goes somewhere up here, Right. So this is the section part in front. Then we have the main body down here, this whole thing and out from the main body comes the handles. And that's this part sticking out back here. We can see that, and then we want to define the end points off this product. So my endpoint back here is going to be somewhere around here. So I just cut it off right there and in the front is going to be right here, and I mostly keeping these in perspective, they go to a vanishing point that's outside up in that corner. So these lines are a bit they are tilted or angled towards a line that that's up here somewhere. Now, from here, we have a We have a good guide now on where to put the different features of this design because we kind of see the shape of it, and we have an understanding of the proportions of it. So now we need to connect the dots and start to design and put it features. And how do we do that? Well, we want one thing to you can do right now is to put in section allies just to help your mind, to figure out what is going on here. Basically, put this in in the in three D. Maybe something like this. This can all change later, so it's no big deal if it's if it's coming up it wrong or weird right now, And we also need to put out the cartridge for the dust collection area and cut that off from the plastic or the main part of the body. So I'm telling that off right around here. Now we need to define the We bought the baseline off this design, and it looks like this could probably work. We have a sharper corner down here, and if it ends up not working, you can always adjust as you go. That's That's an important thing to keep in mind that whatever you do if you get something wrong, it's not the end of the world. You can always adjust as you move ahead, move along off. So I'm gonna make a mouth here where the dust comes in. Look something like this. Interesting. And just connect these dots this corner with this right here. And I'm not sure about this handle. I want to make it more economical, so I'm gonna make, uh, a slide stopper or whatever some sort of bulge at the at the end of this So that, uh so that your hand doesn't slide. That makes up make a small radius back there as well. And from here we basically have or design ready right now. I mean, the proportions are there. All we need to do now from here is to add all the details that goes in a vacuum cleaner such as you need to have. Maybe you have an on off button up here. We can make that if you want to. So when you hold it with your with your thumb, you can turn it on off by pushing it or pressing it and we can make Maybe we can make this if way, if we're using markers or whatever, we can make this transparent so that you see what's going on inside of this little thing right here. We could do that or we want. We also want to add line weight to all off our sketches. And the line weight is simply, uh, the how thick your making each lines and the way to think about the line. Wait, it's too. Uh, the way to think of on line and wait is that the baseline that's closest to the ground should always be thicker than the rest of the lights off sketch. So right now I'm putting in the baseline, and that's the line that's on the table or sitting on the surface off. Whatever this vacuum is sitting on might be the floor of the table, whatever. But you see, I'm making that line a bit thicker than all the rest of the lines because I give gives a sketch is sort off. It gives them wait to the sketch, which which you need to make it look like, uh, like a product. We don't want it to be floating all the paper like it doesn't have a purpose, and it doesn't sitting anywhere. We need to add some some weight to the product that we do that by using light weights. And if we want, we can answer reflections in here something like this. Basically do whatever we want from here can have some thickness to this mouth down here. So that's one way of sketching, using, um, cloud sketching, as I call it, to sketch in perspective, fast, faster than setting up a grid line and also, as I mentioned earlier, way more fun, which is which is why we do all of this, right, because we're having fun, So try it out, and if you want to copy this sketch. That's fine. Try it out and let me know what you think about the concept of cloud sketching, and I hope it helps you out. 7. Messed some lines up? No worries, adjust as you go: Okay, so I'm gonna use the same piece of paper because we still have some space here, and I don't want to waste any more trees that we already are wasting. So what we're gonna talk about now is how to sketch this A for any cube without having to set up this perspective horizon line with vanishing points and all of that. Still something here, as we did with cupped. We want to think of the cube as a think of the outlines of the cube first. And what in what perspective you want to visualize it in? So let's. And then after that, we kind of want to put down what we know now. So we know that a cube has a a plane on top, right? That's to talk. This this part right here. So from here, we know that if it goes in perspective down, that means that it goes to a vanishing point that's down here somewhere. Let's down here outside of the paper and thes two points from here and here should point to this point down here. And what does that mean? It means that it will go something like this. The lines So the thing here is that it does not have to be perfect. We're just putting them. We're putting the lines out very gently. So if we haven't to make a mistake for this example, this looks more like a curve. We can always go back and fix it up later on, and no one is ever gonna notice. But you still save a lot of time doing this way, putting it down this way, then you would setting up in entire grid line. And from here we want to create the base. And as we know these two lines, go see a vanishing point somewhere here up in the sun. So that means that they're gonna be tilted this way and saying for this these ones, they're gonna be tilted that way. So they end up in a vanishing point. That's up here somewhere. So if this has if this top line has that angle, the bottom line here needs to tilt a bit more upwards towards this corner to get it right in perspective. And that's about it. That's how that's how I prefer discussion perspective. Even though it does not get perfect, you would get a more perfect result If you use this technique and a ruler every single time , But, I mean, how how fun is it to sketch like that? I don't I don't think it's intuitive. And, uh, it looks kind of like a uh uh what? It what it was called like a three d cad Roy with no life to it. So the sketch ends up being looking kind Ah, almost lifeless. And I like to have some some life in my sketches. And they doesn't. They don't definitely have to be perfect. As long as you know, you can communicate what it is you're sketching, you're fine. And if there are any imperfection, so that's just makes the sketch more beautiful, in my opinion, because if something is too perfect, it just gets boring because it's too predictable. So we want to make some mistakes, and then you can start to shade. I mean, if you want to. Now we have the sun apparently coming from here. I didn't think of it because we have I already started to shake this, So this should be surface number one and let's put number to their and number three here, and this is the brightest area. And then we have number two, which I can shade as well just to show you guys. And now, if we need number three to be a bit darker than number two, we can cross shade unless would have markers. Of course, if we're markets, we can just doodles a marker, Cool, great air cooled over here and over there. So that's my way of sketching in perspective. I think it's more fun. It's not as academical whatever as this version, although this version is great. As I said, if you're just starting out is perfect to start with this. Once you get a hang of this, it would be cool if you just tried this technique out because you might think like me that it's way more fun discussed like this. Who knows? I just wanted to show you guys this technique anyway. So now let's talk about sketching some more complex shapes in perspective. Using this technique 8. Guidelines on how to sketch a car in 3:4 rear view and get it right every time: so I can't leave a course without having at least one coarse sketch in it. So that's what we're gonna do right now, because I know a lot of you guys love to sketch course Justus, much as I do. So we're gonna use the concept of cloud sketching to sketch a couple. Of course, in let's say, 3/4 rear view, we could make a 3/4 front view. And why not decide you? So let's start with the 3/4 rear view. I'm gonna put all of these on one sheet of paper, so it looks It looks nice. So what? We want to dio Same thing here, Get the outlines in the proportions. Correct. First, here's our select. This is going to be the main body over a car. Now I want to put out a sick a central line for this and some sort of back wing or something like that. And from here, we want to start to put out the wheels off this car, and we do that by putting the first just making half circles like this. So that's the front wheel, and we can kind of see where the rear wheel is going to end up around here somewhere and obviously this is going to be a bit bigger than the front half circle because it's in perspective and it's coming towards us. And from here we want to add the front fender, something like this and about half between in between these two in between this point and this point, we want to start the greenhouse. If it's a sports car, of course, So you want to start somewhere around this point right there and keep in mind that there is supposed to be two people inside of the car, which means that this point needs to be a bit straightened out here so that we can actually fit two people in there and then we start to go back down. And as you can see now, I need to adjust this wing here as I go because it ended up in the wrong place. But it's no big deal. He's gonna make it like that and then we wanted end point for this. So let's make let's make it something like, uh like that maybe and let's at a beautiful bumper in there and let's also a center line that goes straight through here, which gives us a bit more of a guidance of where things are going and what we're doing. So we can Maybe now, from here we can see the proportions of the car. Right? Let's put out there were well on this side as well. So from here, we need to design the corner because the proportions are there. We have the wheelbase and the wheels, and we have the end point right here and the end point right here. So from here, we need to is basically up to you to decide how you want to design this car. We can maybe make something like this also thinking about the line. Wait here. So I want to keep the lines that are a shadow a bit thicker than the rest of the lines that I'm assuming that the sun is coming out from the top here and we need to define the rear. We large right here. So in adding a window, side window and a rear window as well, since we have our center line, we kind of have a guide here how we should design it. And keep in mind that this obviously I mean, you can use this technique on any type off product, not just cars and vacuum cleaners. It works for pretty much anything. As long as you have an idea off what it is you want to sketch. Now that's the important. That's that. That's the important part. If you don't know I want to sketch, then you might want to go back to the one of the first videos that were posted. How to unblock your sketches block and just start. Start doing those exercises before you jump into the actual product sketching. And now I'm just putting out the wheels. Let's make up. We're view mirror here as well, and I'm going in now to start to define the lions and the line weight of each line, keeping in mind that the light is coming from from the top and we might need some exhausts here is well, so let's put Ah, let's put a center big exhaust Lambeau style right here because I always sketched them. Like to exhaust like this, which is kinda boring trying to mix it up a little bit here, and if you want, you can add as much detail as you want on the sketch. I'm just gonna keep it really simple and put out a five spoke well and connect the spokes by just making a curve in between the spokes at the base. That's probably the fastest way to sketch wheels, I think. And it still looks good. So 12345 and connected Work a bit more on the line weights to give the car bid off weight on the ground. And I want a diffuser here. I'm gonna make that so to one of these few or to diffusers wings or whatever you wanna call it on each side, actually make it three, because it looks empty here. There we go. And and I love won out here, so we have three on both sides. If you want, you can go in and and some reflections that such as the Horizon line, for example, right here. These are just details. We could call this sketch done if we wanted to, but I just want to add a few basic reflections in here to make it a bit more interesting. So that that was our 3/4 review right here. I hope it made sense. Now we're gonna jump into the 3/4 front view and hopefully is gonna end up okay. Wish me luck and we shall see how it goes. 9. Moving on to sketching the 3:4 front view of the car What to think about: so to create the front view here, 3/4 where you start the exact same way by making and lifts and put out the endpoint off the front, which is going to be somewhere around here. I use this line as a center line right now, and what we want to do next is put out the wheels just as we did right here. So I'm putting out there were, well, first and then I'm putting out the front wheel. Not perfect role, but it doesn't. It doesn't really matter. And from here, we want to connect. We want to create the hood and I'm using. I'm using this ellipse now as like guide to everything I'm doing and same thing here We have the Ellipse here at the base and the hood is sticking out of it, and one of them the same thing here. So from here we want to add the greenhouse, which is going to start somewhere here. We want a long hood because it's a sports car and want a low hood that's going to end somewhere around here. So we need to connect those deaths. And as I said before, if you make enemy steaks. You can always adjust as you go. Justus. I did right here because I I saw that this window is not wide enough, so I needed to make it wider. And now we want to connect this line, this dark top off the wheel with, with the end off the car with the rear of the car. From here, we want to create the other part of the hood, the our side of the hood. There's going to look something like that and create a window as well. So here. Now we have the basic proportions of the car, and we can use this as a guide to continue to design or car. For example. Make the front facia. We want it to look like we could make it baseline. First, the baseline is gonna be somewhere around here and create the headlights, for example. And I'm starting to think about the line weight already and make the headlight in perspective on this side. And from here we can create the center point again, or centerline, just just to help us control this sketch and help us understand where everything is going to go, because it can be quite difficult after a while. And from here we decide ourselves how we want this car to be designed and what what we wanted to look like. Because everything else is in place. We have the proportions of the car. We have the wheel, we'll base. And when we got to do now is just put out the wheels. You might sound easy. It is easy. Once you've done it a few times and you practice this, it becomes really easy to get the basic proportions down. And ah, then we can start with after that. I mean, you start with the fun part, which is to design the corner, put out the different kind of aspects off the design it features that you want to put on there. So some rear lights rear bears. Sorry. And I'm going to define the front bit more. Maybe this could be an air intake down here. Looks pretty cool. Okay, let's make your white robe one of these H i d. With some led is in here because every single core seems to have them nowadays. I think, uh, out he's howdy, I think with the 1st 1 who started the whole led craziness with her or eight, which back then was insane. It was really cool. Ever been. The first time I saw the all right blew my mind with those lights, but now it seems like every single Cardiss has I'm playing in the front. We can put out the door line here, the coupling for the door because that's gonna help understand the shape of the side because we made it go out here and then down, which means that there is a shoulder here and the shoulder line hands right here. Same thing here shoulder. Now I understand if if this is going up too fast, I totally understand that. And if there's something that's not clear, just ask me the question or the time in the lecture just right right down the Bennetts, and I can explain exactly what it is I mean in that specific time, because it can be a bit much just learning all of this at once. We could make some, uh, some black pork plastic part down here to find the wheels a bit more or the wheel arches, I should say. And right now I'm just playing around with the line weight and defining the the final design is I wanted to be because everything else is already done. I want to put out the horizon line just as we did with the rear view. Can't shave that really fast and some line way to this part down here to give it some. So wait on the paper. So, yeah, that's ah, that's one way of sketching chorus using and what I call cloud sketching, which, uh, which helps. It helps out a lot. It's It's a simple, simple, uh, technique, which is, basically, you get the proportions down first. That's the only thing you should focus on. First, their proportions of your product, the, uh, the geometries off the product and then you put those down isn't the simplest form. This could even be. Yeah, this started as a as an ellipse. It could even be you could probably make two cubes in perspective. If you want to as well. Teoh visualize. The main body right here is a Cuban. You can make another small cube sticking out here and then start to define the design and the outline off, the off the car or product you're sketching, and from there when you have the proportions down, that's the hard part. That's the That's the part where either you get it right or if you continue from there, the sketch might look a bit weird if it's if the proportions are are off. But if you have the proportions down getting the details, that's the easy part. So let's continue with one final car sketch, and now let's do it inside of you. 10. Car sketching in side view using the cloud sketching technique: All right. So let's complete this sheet of paper and make it perfect with one final side of your down here. So what do we want to think about when we start the side view? Well, same thing. As with these two, we want to start with the basic proportions of the car off the side view. So we might want to start with an Ellipse. I know there's ellipses everywhere, which we will always start with. The lips seems like, and from here we want to put out the wheels. So let's start with there, rear wheel and put three wheel distance something like that. And then we put out the front wheel. Uh, I got messed up, but it's fine. Just make this a bit bigger. So now we I mean for me, I've done this so many times. So right now I can I can already see where their roof line is, because if the roof is gonna go right here with Ellipse is and we're just gonna change the curvature off this roof line to make it fit or car. So from this point here of the lips and back, it basically doing it's going to look like? Like that Follow their lips. Almost two to the to the exact points. But we need a windscreen. So we're gonna make the curve go a bit down here and says it's a front engine car. We need to create a hood as well. Give us something like that. And let's also define the rear end of the car. So we're gonna cut it off right there and make some sort of bumper. Maybe right here. And I'm not too happy with the proportions off this for so I'm gonna try and adjust as I go and see if we can fix it to something. I want a bit more, uh, one a bit more overhang at the back. Something like that. It looks better. And also the windshield or windscreen, it's curved. Which means we means we're gonna We're still gonna see. See it If we're looking at it from the side view, we're gonna add that here as well. Just like like we did just now. And then we could started to find the front view as well. Could make some Aaron takes right here. And this wheel is way too big. And then connect the wheels with a baseline. Maybe make it line like this. You can do whatever you feel You feel like here. There are really no rules when you're sketching, because this car is never gonna go into production anyway. So or job is just to make it look cool. And I like that. That's that's my kind of my kind of sketchy just to make stuff look cool. And now I want to define the side window here, keep it something like that looks cool. Let's define this the the, uh, shoulder line here. Maybe it can go something like that. And now I'm going in with the line weights I want to start with. I always keep in mind that the light source is coming from the top, which means that all surfaces and all lines facing down towards the ground is going to be darker than the rest of the lines. Especially this baseline down here. It's definitely gonna be darker than all of the other lights. Same thing with this land and this line right here. We can make the door and we can make some remiss if we want to do that. I think I'm just gonna keep it. Five spoke, some putting the center of the wheel a bit towards this way, because this car is still in perspective. Even though we see Trump side view, it's still a vanishing point that goes somewhere far beyond behind this car. And these lines all are angled towards that specific point. You make some cool rooms here, one of trying to encourage with this type of sketching is to ah, do not try to take it too seriously. And definitely don't I think too much about all the rules out there on how to sketch because I think that's gonna at least that's it, Did it? I mean, it locked me in to thinking that that was, you know, kind of the only way to sketch if you want to work as a designer, which, well, which, uh, which was what I wanted to do. And I was reading all these books and pretty much every single books told the same thing, which is putting out the great line and doing all of this and all of that vanishing point, which is, I said, I said it before, which is really cool when you're just starting out. But then, when you grow when you grow, when you're sketching is always good Teoh to test different techniques that Just just remember to always have fun when you're doing this test. If you if you're not having fun, then it's not worth doing at all. I think have, you know, have fun doing doing whatever it is you're doing. So right now I'm putting in the visualizing the interior through the window. Since the window is, let's say it's did you can still see some major features like the the inside ceiling here on the back, stuff like that. You can still see that through the window. This front is kind of messed up. Well, it's not a big deal. I got the I think I got the point across about sketching with with ellipsis and cloud sketching the whole light deal with it now just making same horizon lines. I've been doing all my sketches. Keep trying to keep it for this for this course. I'm trying to keep this as basic as possible because I don't want to confuse you too much and go into to advanced shapes and designs before you've I cannot take this in this part about cloud sketching because it can be, could be quite a lot to learn in just one short course. And I'm gonna continue to make these courses. So if you have requests off what you want to see once you want to learn in the future, please let me know in the community or the common section, and I'll be happy to help you out if you have any specific requests off courses or sketching or design or yeah, anything. Aiken, anything. I can help you with them always happy to do to help you with that. So that's about it, guys. That was the concept off. First of all, on walking your Skechers book because that's the first step of getting your creativity going right, you need to you need to unblock that and just get your hand moving, not even thinking about stuff. Just get your hand moving and get some clear, clean sheets of paper and just start to doodle do it so crazy stuff on there. That's the first step off this course, and then we went through clouds, sketching the basics with cubes and simple geometries, and we continued with sketching these cars here using the same kind off technique, basically, is the same basics which is starting with ellipses and going from there and get the proportions down right? First and from the proportions you go into all the details off the products, such as, in this case, these headlights here or these where you put the the shoulder line and so on. So I hope you enjoy this course. And if you did, I would really appreciate it if you could take one minute to leave a short review just to let me and people looking at the course and know what you think about about the course. Thank you so much for joining me in this course. I hope it was useful to you. My name is Tamara one family, and I hope to see you next time. Until then, take it easy and keep sketching 11. Class assignement: First of all, congratulations on finishing this class. I hope you found it useful. Now I want to talk to you about the class assignment. So for this class, I would love to see you sketch a coffee cup using the cloud sketching technique. Now, remember that the cloud sketching technique is all about adjusting as you go. So don't worry if you get the lines wrong or the perspective doesn't look good, We're here to help you. And this class is all about practicing. So it doesn't matter if you feel like it's not the most perfect sketch. And if you don't feel like sketching a coffee cup, you could pick whatever object that's around you right now on the table or wherever you are and try to just use the cloud sketching technique to get that light in perspective. Look forward to seeing you work there. Thank you again So much for taking this class. I hope to see you next time. Take it easy. 12. How to upload your project + quick reminder before we say goodbye for now: Hey, it's one run here again. And just before we leave, I just want to make a quick reminder off how you post your projects in this class. So once you've gone through all the lectures or lessons here on the right side, you're going down to the class assignment and done the class assignment you want upload. It only have to do is click on, Start a project down here, and this will allow you to upload your your sketch and your file into the Projects gallery , which is right here. I really look forward to seeing your work in here. I hope you you decide to share it because it's always fun for me to see the student working here. And also, if you like the class, please don't forget to give it a short review. That would really make my day. I really appreciate it and thank you so much once again for taking this class. I'll see you next time