Industrial Design Sketching Like a Pro - Hair Dryer Project | Marouane Bembli | Skillshare

Industrial Design Sketching Like a Pro - Hair Dryer Project

Marouane Bembli, Design Professional & Online Teacher

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11 Lessons (45m)
    • 1. Introduction - Welcome!

      0:55
    • 2. Let's start with some warm-up sketching!

      4:21
    • 3. Simple geometry sketching to create forms

      7:12
    • 4. Freestyle sketching to create forms

      5:44
    • 5. Adding the 1st layer of markers

      3:12
    • 6. 2nd layer of marker to create depth

      3:03
    • 7. 3rd layer of markers - speed reflections

      2:15
    • 8. Glossy vs matte material reflections

      4:55
    • 9. Do this to add volume & definition to your sketch

      4:48
    • 10. Refining your sketch with a BiC pen

      2:39
    • 11. Add highlights & burn points to make your sketch shine

      5:35

About This Class

Hey there and welcome to my class! I'm Marouane and I'm going to be your teacher.

In this class we're going to be designing hair dryers from scratch using analog tools such as pen, paper and 3-4 markers. 

I'll walk you through each step of the way from the warm up sheet to the final touches on our design.

Can't wait to get started! See you inside :)

Marouane

Transcripts

1. Introduction - Welcome!: Hey, my name is Maram family. I'm a designer and Oreste in this class, we're going to sketch hair dryers. So we're gonna focus on starting out doing two different concepts, using two different styles, sketching. Then we're gonna jump into markers, show you a few different ways to sketch different kind of materials such as glossy and math materials, and to finish this project off were adding highlights using a white ink Penn. Now, even if you don't have all these tools, you can still follow along, even if you just have a pen and paper. This classes for you who just starting out sketching and want to learn how to shade and how to come up with new concepts. It's also good for you if you're a designer or maybe a product designer, industrial designer or maybe even a mechanical engineer who wants to start learning how to sketch. Now I'm done talking and I'm ready to start sketching, so let's jump in 2. Let's start with some warm-up sketching!: all right, I'm excited to start this class before we start. Let's go through the tools that we're gonna be using in this class that I mentioned it in the intro video, but I want to show it here again. So what I'm using is just simple printing paper, which is this right here? I'm not using marker paper. And the reason for that is I like how the printing paper sucks up the markers better than if you're using marker paper. Because if you're using market paper, it's kind of like the Marquis gliding almost too well on the paper. And it doesn't really suck up the markers as well. And another good thing is that this is way cheaper. So you can pick whatever paper you have available and just go with it and also love to use this pen to start doodling with its a regular big pen. So none of this that we're gonna be using today is expensive. And let's see if you can see right there. I think you got the focus now. So none of this is really expensive, and anybody can follow along in this class. That's the whole point. Also don't forget your coffee. I'm almost out here, but I think I'll manage. So what I like to start with for before I start sketching renderings and stuff like that. I like to make one sheet of paper. I always do this one sheet of paper that is just filled up with with circles and ellipses and random shapes. Not really thinking about what? What it is exactly. I'm sketching now. I haven't sketched. That's gonna be interesting because I have taken a long break from sketching, at least by my standards are usually sketch every day. But now I haven't sketched in in about almost three weeks, I think. And it feels really good to be back, uh, sketching some stuff. So that's that makes it even more important to just start with a sheet off just a random shapes like this and doodles. You don't have to think about lying weight and stuff like that. Although I liked it had added anyway to to some shapes one great exercises doing these ellipses from so starting from really narrow to a bit wide, whiter and go all the way down to all. You can go down to a circle if you want to, and if we connect these, you see that it's going to be a cylinder in perspective. So that's pretty cool and very easy to do so when you sketch, this is a completely different class, but I can show you I can talk about a little bit about how to sketch with the hand, how you should hold the hand to make it easy for yourself. So I like to keep it very loose. That's the distance from the bottom. I mean nothing. You can hold it here if you like to, but I like to keep it someone around there and I keep my wrist locked when I sketch and I move my elbow and wrist. So that's kind of that's it. I don't really like to. If if I start using my wrist, that means that my lines are going to get blurry. And if I go to slow as well, I want to keep the speed up because if I go too slow, you can see these are all smooth. But if I go slower, you see that he gets these these Ah, the slower I get, the less smooth the love, the Linus and this all comes with practice. So start up with making a sheet like this and just have fun. This video was just supposed to be less than a minute, and I can see that I'm up to four minutes now already. I'm gonna cut this video, uh, soon, but, uh, have fun with it. If you haven't sketched for a while. It's even more important to do this. Asai said I do this every single time with sketch, even though I sketch every single day. Even when I sketch every day, I always start with doing this. So that's the first step off this project. 3. Simple geometry sketching to create forms: All right, so now that we're all warmed up and we feel ready to start sketching our hair dryer, which we're going to do in this project, we want to start with a new sheet of paper, Obviously. And what I like to do is, if you watched my classes earlier my previous classes, you know that I like to keep things very, very simple and basic, especially when you start out with a brand new design. So we can think about the main, the main shapes off a hair dryer. What are those? Well, first of all, I would say we have a cylinder or even in the lips, so we can start by making the lips so we can make to two different shapes on this sheet of paper. Let's start with an the lips and then we have a handle, and the handle for me is a rectangle, and it goes, Start some Somewhere around here we can just make a simple rectangle like this. So these are our main arse are simple geometries for this object from here, we kind of have the report that the idea here is to get the proportions right. So we wanna step, take a step back and look at it. Doesn't look right in proportions that the handle looked like. It could be this size in comparison to this the main body and obviously different hand. Reuters have different shapes, but this looks like it could actually work. So we're gonna keep it like this, and then what we wanna do We want to start to design this. And obviously, you can do this however you want. I'm gonna try to keep it really basic. And he looks something like this a hand dryer when we go. So still keeping very, very simple, simple geometries. And I'm starting to add some shading to this just to help, uh, help myself to understand what the what the shapes looks like and that now for the handle, we kind of wanna ah, make it more economic than this because this is not economic at all. You can think of it as holding a brick. It's not very comfortable. So we can do some research on the Web, for example, look at different handles or we can just, you know, try to figure out ourselves on the fly how to do this. So We want to make some, make it a bit thinner, maybe and have some Some base here do to help the to prevent the hand from sliding out something like that. And then we also need a a button for this. So I'm gonna add a a simple button to this design here. Very standard stuff. Usually this goes up and down and you have, like, three different modes. If you want a tornado, wind in your hair if you wanna have it like God warm or cold and stuff like that And we also need to cut it at the back here so we can see that from the front. We have a slight slight perspective on this or for side of you. I'm in front were front view. We can see the front off this design, so that means that it's tilted a bit towards us. It's not straight from the side. So that means that we have to do the same view all this handle and that the button is gonna go on top of this front surface as well. And we're also going to see a part of part of the front of the button here so I'm gonna add that. And this is all basic perspective sketching something like this and also cut it up at the back here. And I do that about just making in the lips like that. So from here, we basically have our first idea off off a hair dryer and we can start. We can add, like different, uh, materials. You can add some, maybe some rubberized grip here that goes in something like this. It's gonna make the whole thing a bit more expensive. And the engineers, they're not gonna like that. If it's, uh, if it was a proper project, I always have. When I was working as a designer, I always had issues with the engineers all the time because I wanted to make, like, I wanted to make cool stuff. I want to make things look cool and look nice and have them have some cool shapes and and curves in there. And then you showed your, uh, your idea to the engineers and they go crazy, like, how do you think we're gonna be able to afford this crazy shape that you're making? So I like to say that I designed things I make them look cool, but then, unfortunately, they have to be engineered as well. So everything gets lost there. But that's part of being a designer, I guess. And that's part of why I don't really like it anymore. I just like to sketch cool things basically, because it gives me the freedom to do whatever I want. And I have to think about manufacturing stuff like that. So now I'm just filling in these lines that the key lines of this design, we're gonna make a second design down here in just a minute. Just want to finish these lines here. So what I'm thinking about right now is ah, the line. Wait. And the lion weight is all about your light sources. So you want to keep in mind where where your light source is coming from, and I'd like to keep it simple, as I said earlier. So I always have the light source at the same spot which is coming from here. So that store light source up here I am. All right. Let's jump into the second design 4. Freestyle sketching to create forms: So for the second design, I'm gonna make something different. I'm not really a fan of off how this front and turned out right here, I can It looks It looks weird. It doesn't look like it's flowing together with the with the rest of the body here. So we're gonna make something mawr stylish. Let's say stylish and just just go crazy with some cool designs. I'm gonna start by. Just let's say that this is the static way off sketching a product. You just you know, you have your simple geometries. You put out two shapes and you start to add some details to it. But now I'm just gonna go free. I'm just gonna not have any rules and just go crazy and you can do the same. You can. You can do the same. But just, uh, starting with one single geometry. And I always like to start in 99%. I'd like to start with a lifts. That's what I'm gonna do right now. Actually, make it big white or like that, and then I want to make this flow together nicely. So let's see if we can make something cool here. So what I'm doing right now is I'm trying to figure out how to connect all these curves in a nice way. And as I said, I don't like this part here. So what I'm gonna do for this design, I'm just gonna cut this off right there and make it easy for myself. It also looks better way better than that. There's, like a duck duck mouth or something like that. And we are going to add some markers, too, to both of these just because it's it's fun to do in. We have these sketches here, but that's gonna be the next video eso right now I'm going to try and see if we can make sense of this shape and not mess it up too much. But these are basically the two way ways off sketching that I like to do. I definitely prefer the the second Way, which I'm doing right now, which is, um, which is basically, uh, just do whatever you want with the with the design and have fun with it. I think, uh, sometimes you over, I overthink stuff, and I know a lot of people do that as well when it comes to sketching and shapes and stuff like that. And it's really it can really be be, uh, you know, you're blocked your creativity when you start to over, think stuff and you go to slow if you keep your speed up and just puts of lines down. Um, usually the result, it's much more interesting here we have. I'm thinking of having some some sort off different material here compared to the rest of the body. Let's make a reflection here. Want to keep this surface shiny? And I gotta visualize that by making a reflection like that and same thing here we have the light source coming from here. That means that it's shining here, and why I need the light sources to depend is to deter, been want lines I'm going to make thicker, and all the lines that are facing away from the light source are going to I'm gonna go over them one more time like I'm doing right now and just go over the thickness and add some depth to this sketch by just using the big pen. And you do that by controlling your your line. Wait, So this is the bottom here, too. I'm gonna add something some weight to this. I hope this all makes sense if it doesn't make sense, Uh, just leave a comment in the community off this class, and I'll be more than happy to try Teoh. Explain what it is I'm doing right here. But the main idea is to just go crazy with your with your designs and have fun with it, that's all. And if you want to learn the basics off design, sketching such us how to get clean lines and so on, I have a bunch of classes on here on skill share that you can check out that will help you with all of that. So let's see if we can make some some vents at the back of this lets you know that's gonna look like, Yeah, I think it might work. Why not? Let's just keep that. Actually, we have to keep it because it's a big fence. I can't really raise it. So no, I have to make it work, but it's all good. All right, So in the next video, we're going to start by adding some shading to this by using a few markers 5. Adding the 1st layer of markers: All right. So when it comes to markers for this specific project, I'm gonna I'm feeling a red, so I'm gonna use the red for this. On the markers I'm using are the touch new, which are my main markers right now. And you can get them at born to sketch dot com. If you use code sketch 10 you get 10% off your water. And I also like to makes whatever, Marcus, I have some of these pro markets are great complex, obviously are really good. Um, but what I like to do this is usually when I get really like I used to get really nervous when it comes to markers, because I knew I would mess it up years back. But then I practiced more and more, and now I'm pretty comfortable with it. So what I'd like to do is just start with the lightest shade off whatever color you using. And I'm guessing that this is going to be the lightest one. I'm gonna have my Pillette color palette up here. Maybe that's even lighter. I think so. Let's start with this one and we have the light source here. Still same light source and right here as well. So we're gonna keep that in mind when we sketching and think about how these shapes are formed on get to the shadings of this. So I want to start with to shade the surfaces that are facing away from the light source. And since I'm using the lightest marker here, I can go a bit higher than than I normally would if I used a lighter, a darker marker, because this is not gonna get lighter than this. So this is as high as I'm going to go with the markers. I'm still gonna leave this white reflection here, since it's a glossy surface and we can do this simultaneously? I guess. So, let's do this one as well. Feels great. It feels great to be back sketching again. Sometimes you just need a creative break, I guess, to just, uh, recharge and then you come back and it's way more fun than it ever was before some. Right now I'm doing the same thing. I'm keeping in mind where the light sources and I'm also thinking about what different materials I wanna have on my, uh, dryers here. So that I think is the first layer. Let's actually fill this in as well the handle of this one. And remember, we're gonna keep this as sort of a rubberized material. So we're gonna make that gray or, um, maybe Black even. We'll see. We'll figure something out. All right, so that was the first layer. Now let's move on to the second layer of markers. 6. 2nd layer of marker to create depth: for the second layer. Want to find the next step in darkness off. That's pretty dark. So the next step in darkness off the red. I think that's the one we actually started with. So we're not going to use that again. That might work, but it's still too too similar to that. Wants it. Let's try another one. No, this one is almost almost dry. I've had these since 2007 so can't believe they're still actually working. Um, I would say so many markers. You know, this is that looks good. So what I want to do now is just fill in the shading that I already have and just add another layer to it. So I'm starting at the bottom, too. Quote Drake. But I'm starting down here, and, uh, I'm also gonna fill in the top as well. Just a little bit like that. You can see that we get this this cool looking Grady and here and saving at the for the handle. I'm gonna keep in mind where the light sources and this, uh, inch or face here is facing away from this light source, which is back here. So that means I'm adding some thickness to it and we can play around with the rest of the handle is Well, since this is a cylinder on the handle is sitting below the cylinder. We could make like something like this so that it looks like the cylinder is casting a shadow Onley handle something like this. Small details and the same for this, uh, this, uh, designed on here. We're gonna do the exact same thing. So one thing that's important with markers, I think is to keep your speed up. That goes for the big pen as well. Uh, just the faster you go, the smoother, smoother the lions and the smoother the the blending is going to be. I'm gonna make the same kind of shadow here way, Dio make it up it smooth there like that. I think I think we're done with the 2nd 2nd layer of these markers. Pretty basic basic stuff. What I'm gonna do now is I think I'm gonna add 1/3 layer to this because I like some more depth. So I'm gonna take pick something that's really red and just go in with one last layer of red marker before you jump into the all the details 7. 3rd layer of markers - speed reflections: so to save you some time already found this marker and this is the one I'm gonna use. And it looks like this beautiful rent deep breath, almost a bit purple, which is cool. So what I'm gonna do now is doing the same thing that I just did with previous marker. But I'm gonna keep the field of where I'm sketching much narrower. So I'm gonna make some just inside of this already darker shade. That's where I'm gonna put this darkest, the darkest of from reds. And I can make the outline of the top two. Something like that. And I think we could add some to this shadow here as well. Sure, why not? There we go. And then we're going to do the same thing on this one right here. You can see that we're getting some cool, cool death to these, uh, designs now. And don't worry about these that the lines are going outside of the sketch. It doesn't really matter at this point. We're gonna We can always come back and clean that up later. It's nothing to worry about right now. And let's at this shadow Here is well on this design keep it consistent. So there we go. We have the red is done, uh, used three different kinds of red. You basically need three different kinds of markers to to do this to get these kind of shadings. I think three is probably the minimum markets. You can always go like five can go crazy. Five steps and get it. Really, You know, gets a real depth in there, but I'm happy with this three level marker. And now we're gonna go into adding some details to the front of this, for example, and they handles down here. 8. Glossy vs matte material reflections: All right. So I'm gonna start doing the same thing, the same procedure as we did with the red. I'm going to start with the light of straight of gray to just add this in here. That's cool. Under the same in the front here. This could be like almost chrome chrome. Finish on this front part here, the duck duck style front end on this. And I'm gonna do the same thing on this handle down here, filling in with the This is a cool, great four. Let's see, Let's see how we're gonna do this. I think this marker is starting to go dry as well. I like to use a lot of cool grace because it's ah, uh, he just looks nice. And it's very easy to sketch with gonna keep this highlight down here. Why, Enough. I'm gonna keep a white line there. Maybe it's a cut line or something like that. Looks cool. Eso Let's jump into the next level off. This, uh, these cool grace have a cool breeze. Six year, which seems to be perfect. So I started with the four. No, I'm jumping into the Cougars six, which seems to be very dark. But that's probably because it's wet that once this drives is going to look a lot less unlike a lot brighter than what it is right now. And also, I kind of wanted to look almost blacks. It's all good. Oops. I went over the line there. That's not good. That's really annoying. Actually. See if we can fix it. Let's fill in this front part with same cool gray as well. And since it's chrome, I'm gonna add a cool gray six to the middle of this just to give it some crazy reflections in there because chrome obviously have some serious reflections going on. And, uh, you might want to add, like the horizon line. Make it stand out more than what we did here with Red. That's why I added this Kuwait six in the middle there. I hope that makes sense. Sometimes I do this classes and I I listen to myself when I edit the video, and I think what, what am I talking about? Like, how is this kind of make sense to people if I don't understand it myself, So I totally get if you don't understand everything, and that's why we have the the community community off this class, you can ask questions, and I'm more than happy to answer them before you. So let's had cool grated this. I think I want to keep some cool. Great Four right there. Let's see how that looks. We're going to do all these cool grace or the details. I think I'm gonna do them in one take. Let's go back to the coup before because I forgot about this part Here. There we have. You see this highlight here on the front? It's It's Ah, it's following the same highlight here. So I kept the white in the front there. So we have the means that the light source is the same all over this sketch. So for the for the final touches of this, I'm gonna add some great to this as well. For the final touches of these Teoh hairdryers. Here we go. We're gonna add some black, obviously, to feel in the outlines and stuff like that. Just clean everything up, and we're also going to add some really sweet reflections with with my white ink pen. So that's coming up next 9. Do this to add volume & definition to your sketch: All right. So I'm gonna go back to the big pen. I'll be using that. We're gonna be using a black marker, and we're also going to be using this white in Kipen, which we need to shake before use it. The black. I'm gonna start with that because I'm gonna feeling the outlines of this of these two designs and same thing here. I want to think about the light sources, always French, that will make this whole right there. So the light source is coming from here. So all the edges that are facing down, basically the baselines are the ones that I want to fill out with a solid black line. So that's what I'm gonna do right now. And let's see if we can and a cut line to this button here. I think I'm just gonna leave it at that because it's covering over the other one and just start. But by starting over here, So since this is a different material and it sits inside of the plastic of the other of the handle there, that means that there has to be a cut line here. So that's what I'm gonna do. I think I'm gonna do it with a big pendulum, because this brush seems to be a bit thicker than I wanted to be. Well, I guess it worked out flying and also continue the the baseline through the end of this design. So why do we add a baseline to these? Well, first of all, he makes the sketch cleaner because we clean up the edges of this sketch. And second, we give some depth to this sketch. Having a baseline gives it some weight. And he tells whoever is looking at this sketch what What's up and what's down. What's down? Basically, So it gives an idea off, uh, off this, uh, products sitting on something. And you can even emphasize that more by adding a shadow down here if you want to do that. But keeping this baseline black is the first step, and sometimes it's it's sufficient, I guess you don't always need to add a at a shadow to it unless you want to. Oh, so not happy with his front end, but who cares? I'm gonna keep it there anyway. Let's do the same thing for this Zion down here. And to make it easy for yourself. It's really good idea to rotate the paper to give you the the most comfortable way of sketching the Lions You're going to sketch. I don't think we're gonna add some weight here with this, though, because it's tilted too much towards the the light source. So it's actually, it doesn't have to be all black down there. But we do have to put black here, though, since it's a hole in the front and you can obviously go as detailed as you want with all these sketches, that's totally up to you. So you can add some like you can make the couple on Super nice Recon adds. This doesn't even have some buttons. Let's say that it's touch. Uh, let's say that it's touch handle here. You just touch it and you adjust the settings on it, but you can go Asti villas you want. But for this class, I want to keep it simple. Also, fill in these events right here, There we dio All right, so the last stop of this is to add. Actually, we're gonna have some big first, so we're gonna go back to the big pen and touch ups a few things before we finish off with the white highlighter 10. Refining your sketch with a BiC pen: All right, so the big pen is ready to go. So what I want to do with this is to clean up the lions because, uh, most of the times when using markers on top off big lines I know, I I'm sure you've had this problem before. The lines start to bleed and they look all messy. You can see this button here. It's all messy and best because I'm using printing paper. But to me it doesn't matter because I always go back like this. And this essentially one of my favorite steps. Just clean up the lines. But if you don't want to do this step and if you wanna, you know, get get it done faster or something like that, you can always you can always strive Marker paper see, See if you like it or not. I guess most people like it says Ah, lot of people use marker paper with markers, but it's definitely going to prevent the bleeding off the big, big pen a lot, and also depending on what markers should use as well. Just clean up these cut lines, for example. Oops, I went a bit wrong there so good and there's a cut line here for this front part, adding that and also want to clean up these events. Actually, they look pretty good to me with just the markers. I don't think I have to do a lot there. What I do want to do, though, is adding this cut line here because I thought the the fine tip of the marker was too thick . So it's gonna give me a to think of a black line. And in those cases, I like to go in with the big pen like I'm doing right now just to finish this both like that and the last step, but not least hace adding highlights to the east to to your designs. Whatever it is, you're sketchy. So that's what we got to do with this pasta penne. 11. Add highlights & burn points to make your sketch shine: So this one we have to shake before we start to use it. Yes, we have to get a lot. I think that's enough. Let's see. Let's see what happens. Bam! We got a white ink right there. So what we want to do with this is think about what The surfaces are shiny and those are obviously the ones that you want to add. The the highlight two. And it also depends on your light source where this white goes and we can even add, like the outlines of, you know, interrupt the outlines of this to make it look even more realistic just to show that it's actually a cut there, something like that. If we want, we can add some highlight that just goes in the middle of this. Well, maybe we can, because this is going dry. I also have a bigger one somewhere here, which is this one right here, which gives a massive black white line like that. We can try it and see what happens actually works pretty cool. It looks cool. Well, let's add one right here and see just to see what happens. I might destroy the whole sketch by doing this. But you know, you go, you gotta make some mistakes to learn stuff. So I think it turned out Freedy Okay. And let's say that the button is a shiny object as well. I'm gonna add some highlight did this and we can add some to thes cut lines here. You see how big of a different that difference that makes just a tiny bit of white Ken really make it pop the whole sketch, especially if it's not a dry pen like this is I think it's coming alive now, though, as I said, it haven't been sketching for such a long time, so it's probably clogged clogged up or something. I'm gonna do the same thing here. This is a shiny material and some highlight to it maybe even a burn point here. So a burnt point is where were the highlight? It's the strongest. It's kind of make makes a small ball onto the the highlight itself, and I'm gonna add. Obviously, these intakes need some highlighting sweet, and we can add something. This handle is well, and obviously the moment I don't need full on white. That's when dependent comes a life for real cell I just got really way more way wider here than I expected it to be. I'm gonna try and faded out some something like that. Sketching is all about trial and error. So make a lot of mistakes and you just try new things and then you apply what you learned in the next sketch some there, then we go. I think we're done. I don't think we need any more highlighting on this. As I said, if you have any questions about this, if something wasn't clear or ah, I'm just, uh You don't understand what I'm talking about, which is pretty common than just asking the community, and I'm more than happy to help you out. Also, I really look forward to your project. That's the most fun of these classes, is to to see the projects that comes out from these classes. So make sure you upload those you follow along in this in the class with the tools you have . If you don't have all the tools, that's totally fine. You can just use a big pan if that's all you have as well. But I really look forward to seeing your sketches on there and Thank you so much for taking this class with me. I will see you next time. Take it easy, guys.