Transcripts
1. Intro: hi. Everyone and stereos been an industrial designer promise to take a run. A product design consultancy helps brands big and strong design and develop their ideas and get them ready for market. My specializations, our concept, generation and visual communication and the tools that I use most happened to generate my design work are is that appropriate? In this class, I'm gonna teach you all the techniques that picked up over the years. In order for you to develop, refined and render your own design ideas using an FM broke appropriate, we'll go over the right tools and brushes, how to warm up correctly, how to pick the right sketch fidelity for your audience and how to sketch for speed and efficiency. We'll talk about iterating on your idea and how to pick the right concept to render how to create near perfect Ortho graphic projections of your design and then envisioning from all angles how to use those projections to create a really compelling three d perspective you that really sells the idea. Then we'll talk about composition techniques to show your concept in the most compelling and persuasive way. We'll also look at some tips on how to visually explain your concept. I'll go into the correct uses for vignettes, action arrows and key feature call outs. And lastly, I'll show you how I get my final concept writing toe export and share. Whether that's where a client presentation an internal discussion with your team or to publish and share on social media. Here's a look at what will be creating bythe by the end of this class. I hope to see your work in the discussion below police posted so that I could give you some feedback and hopefully healthy improve along the way. Now you're ready. Let's go get started.
2. Tools Needed: All right. So for this lesson, you're gonna need an IPAD pro the latest version of procreate. Think it's five at the moment, an apple pencil, and hopefully you have a anti glare screen protector Sweet here. This will add an extra grit to your screen and make the drawing process a little bit nicer as well as a predetermined set of brushes, which you can find here. Uh, this is the brushes that I've created. If you'd like to follow along with the specific brushes, I'll put a link in the description to where you can go download them and you can use the same tools. I like to keep my drawing palette very, very simple on these air, pretty much all the tools that I use. I'll go through them right now. So first I have an anchor, which is basically the equivalent of a technical pen or a ballpoint pen or a gel pen. Um, this is what I do my writing in That's well us, you know, technical clouds. It's a very good sharp. In Kington, I have a rough drawing pencil, which gives me very nice flying variation, depending on how hard or how soft I press you can see the difference there as well as really nice tapering stroke stores the end. So I get a really nice fade for some energetic strokes when things start to fall off. This gives me a really nice line quality control as well as a great texture. Hopefully you can see it there. Next. I have a hard airbrush which is a uniform 100% of Pake filling brush which I use to get, you know, big blacks of color quickly. Then I have a medium hard airbrush which mimics the effects off a semi worn out marker. So I get over laying strokes. Sometimes this is a cool effect that I like to use, but if I press harder, it does get a little bit more filled in this one. I like to use more like this with lighter strokes and then I get the effect of overlapping Inc like that. And then lastly, I just have a very soft airbrush to filling large fields. Those are pretty much all the tools that I use Now that you have all your tools ready. The next thing I like to do IHS too warm up My hand, I do a 50 minute warm of routine with a pen every day. I usually do these lips exercises just to get a little bad lines out of the way. Shook off the cobwebs and make sure you establish a really good brain hand connection, which would allow you to concepts to come out exactly the way you envision them in your head. So you're not familiar with the warm up routine. I have it in detail in my other video. Please go on, Watch that first and then I'll wait for you here. So again, if you'd like to follow along with these exact brushes, uh, find them in the leg below, install them and procreate and let's move on to the next lesson.
3. Sketch Fidelity: Okay. Once you have a clear vision in your mind of what your concept will be and what it will do , you have to make a decision on how to present it. Visually communicated, this brings us to the topic of sketch fidelity, or how much time, effort and polish you want to dedicate your concept sketch in order to communicate efficiently and quickly. Lo fidelity Sketching is the fastest method and can be done with whatever you have in hand even sticking out or the famous napkin sketch. These were usually quick and have just the right amount of detail in order to communicate your idea. Usually no time is spent on things like color material or proper lighting and shading. He's a great to use when working on brainstorming sessions, for example, or when collaborating with other designers to spark discussion. Medium fidelity sketching is more detailed and can include variations and color, heart break out or simple descriptions and call outs to communicate features. These will take a little bit more time and effort to refine a complete and are usually employed during the product development process or when explaining a design internally, whether to co workers in other fields like engineering, for example, or marketing, or when taking your idea to someone who will help you develop it like process engineers, factory partners or marketing, for example. And lastly, there's high fidelity sketching, which takes the most time and effort to complete but done well. These Condell the most impressive results. These are also known. Sometimes it's persuasive sketches, renderings and usually include full color material and finished considerations. With a realistic light source and accurate shading, they usually contain a high level of realism to fully define the product appearance. They are often presented in a compelling perspective you and can be very persuasive and the useful and decision making by non designers. The's steps of presentation renderings could be employed and marketing efforts and crowdfunding campaigns. For example, we're having a positive and emotional visual of the product. Concept can go a long way in helping you sell the idea so in order could choose which level of fidelity to commit your concepts catches. It's really important to consider your audience. Are you using the sketch to show your fellow designer and get their input? Consider a low fidelity sketch for that, maybe to someone that's a non designer that's not so visual and needs to know what your product does and how it will work. Consider a medium fidelity sketch for that. Or are you presenting it to a potential investor in order to secure funding or using it as an ad to reach and convince potential customers? Consider a high fidelity or persuasive sketch for that purpose. Once you know your audience, you should be able to decide what level of fidelity to deploy and how much time and effort to dedicate to making a single image. This class will focus on high fidelity, persuasive sketches that are compelling, realistic and console your idea without you even having to be there to explain.
4. Ideation and Iterations: All right, let's get started with our design concept iteration and ideation. For the purpose of this class, we're going to be designing a portable Bluetooth speaker. All right, so first thing I'm gonna do is open. Procreate. Have it here. So, gallery of some previous work, um, heading the plus sign will allow you to start a new canvas. And I'm gonna make it screen size so that it fills the intact area. Um, you can pinch to zoom, moving around, rotate on pinch and to get it back to regular size. So how do you know which version of your idea is the best design? Well, the only way to be sure this through reiteration or trying several different versions of your design and then comparing them against each other in an equal playing field. Luckily for that, it helps to know what you're after and to have certain specific constraints so that your federations could be based on the same thing. For the purpose of this exercise, let's say that I have some engineering drawings with some constraints of some dimensions that they've sent me for all the internal electron ICS and internal Pakistan of this thing . So the first thing I would do for something like that IHS going to my photos app moved it over to the side. I have a folder called Skill Share here and there is an engineering drying that they sent me. So I'm gonna add that to my canvas of the society. Get rid of that and you can see here I have a certain set of dimensions and constraints. The only one that I'm going to be worrying about today is the side of you or front view. In order, Teoh judge all of my operations against the same thing. So I'm going to mask that area. I'm using a three fingers down sway going to cut and paste it into a new layer and just covered of the other one by hiding it so she can see I only have the part of my design that I'm worried about at the moment, which is a side view. This will be the one common element or characteristic that all of my iterations will have. That way I can judge him fairly and we'll know which one will be the best to move forward with. So once I have that establish a technique. I like to use this to set up a great using that one common element and arranged it and a rectangular pattern for this one. I'm gonna go and start doing that. Smooth it over. Duplicate that layer that over duplicated again. As you can see there I have three under lease that are exactly with San aligned with each other. Um, I'm going to group these together and then flatten that group that way, it's a single image that I can manipulate by itself. I'm gonna do the same thing and create a second row by duplicating that on booming at right below. All right, So for the purpose of this class, I have six equal under lace that will be using going to flatten that again, merge it down so that it's a single layer. You can see that and to lower the capacity until they're just verily visible. But I can still use them as an under early for my concepts. Next thing you need to do is start a new layer, get your rough pencil and I like to use a deep contrast in color. At this point, either blue or red. I'm gonna go with the red and a fat, too, so that you can do really fast concept adoration. On top of that, it's important to know that this should be drawn roughly with clients using your sketching pencil to capture the essence of that operation, not worrying about specific details. He just want o work fast, catcher the just of the idea and move on. So let's get started. All right. The first thing I'm gonna do here is established some sort of centerline. This first concept I have in my head is going to be some sort of apology cylinder going to make sure, knowing that those were the internals that the housing ISS kind of rough around the edges. We'll have a sturdy base so that it doesn't tip over. Notice how I'm just here working fast. That's what I'm really focused on with this first layer, and it'll have two caps. So a few other things that all of my concepts need tohave will be a plus minus button for volume control, some kind of Bluetooth or pairing button, a audio jack or a mic jack. And then, let's say, a USB C charger plug. So I'm gonna make sure maintained that in mind on use it in every single iteration. Uh, I'm going to take that again by swiping down three fingers, cut it and paste it into in your layer, and then I can move it down for now. All right? Going back to my adoration here. This will be kind of pudgy. I'm thinking it'll have a champ for top on bottom and maybe the buttons connected that top calf. With this pill shaped that comes down, they will be some kind of depression in the center. And there's my plus and minus buttons. This will be some kind of rocker switch s. I'm going to keep that in mind here. Alright, What I'm trying to do with this one is make sure that all the internals fit within that packaging, and that is my first concept. Now that's going to import my next one. And I'm just going to speed through the rest of these. - Okay , this last to see every single one of concepts thanks to each other, we're gonna dio you really only have your concept show next. One more level over. Right? So, layer, that's numbers. Take this one on lower the capacity to about half way. So they still see everything but its prominent. And then I will take a contrast in color. What's good about this from create new person is go to different palates and make a complimentary. So here you can see you pick a color for me That's the complete opposite of our I waas. I'm gonna do that So that this point I see Deep Blue And that's gonna show, Really? Actually, on top of what we drawn before, as you can see there, Right. So at this point, I'm going to be one more level of fidelity and carefulness when I to my dries and I'm just going to speed through the rest of these, - All right, Now that you have six equal concepts that all fed the internals correctly, let's pick one. I'm gonna go with the one on the bottom in the middle. They get over is the most innovation in the most unique form factor for this kind of product. For this next lesson, just make sure you have this one on its own layer, and I'll see you there
5. Orthographic Views: right now, there you have your chosen concept direction. The most important step is to get the product dimensions right in Ortho, graphic or flat views. This is usually considered a flat front view, flat side view and a flat top view. Again, I'm gonna take that layer and make it a little bit less dark. I do this by setting up production lines in order to extrapolated at least two more views. Since here we have a side of you, then I'm going to get a front view and attack view out of it after I turned on my grid. The technique here is to pull straight lines in a separate layer, usually underneath. And then imagine your product concept rotating 90 degrees. And then how each one of those features would look like in this new view. So make sure you pull a line from each product feature that you can think of and you can conceive of here. So I'm doing the buttons. I'm gonna do every part line and every part break out as well. So once you have straight lines pulled in two directions, we're going to use the blue pencil again. Too rough in the other two views rough in the forms. First with a blue pen and a decline weight and fast trucks. This will allow you to get the gesture first and explore and embrace these happy accidents these air harder to come to if you are just very careful with your line work, then, like we did before, lower the A pass ity of this layer and refined the line work with thinner weight in a contrast in color using a black and finer pen this time just making sure that I have all the correct details on top. - So once I have my views established and my proportions correct, I'm going to establish a common light source for Elise and capture a very simple low light . I do this by selecting a very light, neutral gray color and just adding a very simple shade on. But all of these, okay, once you have all these two reviews, you know how what is called a layout rendering and can define this product proposal with precise lions and part breakouts. Okay. And these are your Ortho graphic views for your concept. Now that you have all three of, least you should be able to extrapolated a three D view from any angle that's going to give you the most compelling view of this product. In the next lesson, I'm gonna take thes and pull two different three D views that really show how this product works and how it's used. See you there.
6. Perspective View: Once we have a layout rendering of all the key Ortho graphic views, it's so much easier to define a perspective you. The key here is to pick a perspective you that it's most compelling and that will show without obstruction and highlight the key features that make your design stand out. We'll start by roughing in the basic shapes again, with a thick rough language and fast strokes consulting back to the proportions that you established by all of the Ortho. Graphic views in the layout rendering that we just finished. This will make the process much easier and ensure that you're on the right track. Remember to use confident fast strokes and a love for happy accidents to happen. Lower the capacity of this layer and then on a new layer, refined the line work with a contrast in color like we did before, bearing on 1/3 layer I would do the final lines wouldn't even smaller, sharper and darker color. This time I'll use black. - Next thing we'll do is to color luck, which is used to establish the different parts and components that make the whole of the product. - Next thing, it's to pick a light source and do another layer set to multiply. Shiny and hard materials will have more contrast and therefore have harder and sharper shadows and softer materials will have softer shadows. So used the corresponding brushes and remember, it's good to have to contrast ing materials up against each other to add visual interest. - The next thing we need to do is set up a highlights layer, so get another layer in there and said that to screen using the same brush, you had us multiply and that neutral gray color with screen instead this time will make it so that any time you pain over a color the sultan culturally a lighter shade. Next thing we need to do is that a ground shadow projected used in the same light direction as the light source, and it's the name states. This will ground your object in space and give the viewer a better perspective on your design. - After this, we can simulate some simple textures. I don't like to spend too much time on this step, but just enough to imply that there are different textures that the audience might be familiar with, and their memory will fill in the rest of the gaps. You can use a procreate, preset brush like this. Great brush here, for example, to simulate cloth holes or perforations, etcetera. Or you can bring in a photo of your prefer texture as well, and use a layer mask to make a fit the desired component. Now all that's left to do is refined the part lines. And maybe you will find some external line work with spoons about 10 and do the hot spots around the part lines. - So hot spots air concentrations of light where the light sirs will pool and become the brightest. This will usually concentrate closest to the part lines, which are areas of rapid surface change. Reason. Let's take a look at an example. This will be the last step on our perspective and compelling to you adding the sites. Five. Steer design will be the jewel on top and really makes them pop. - And now we have a layered rendering of all key Ortho graphic views and a few perspective views and the most compelling angles. So for the next lesson, it's time together, composition right for maximum effect
7. Composition: so you have your layout. Renderings of all the key Ortho graphic views on very nice perspective views in the most compelling angles. So let's talk about some composition basics. In order to get an effective composition, you must always be aware of the following the sign elements. The easiest way to remember them. It's with the following acronym Contrast. Repetition, alignment, proximity or crack. Always keep cracking. My first. This contrast you want lightest against darkest, busy against cone small against large. This elemental focus the viewer's attention on will highlight the most important parts of your design. Next, his repetition. It ties elements together. If you have elements that repeat, make sure that they're close and it will solidify an image and bring it together. Then we have alignment. It allowed organization, polish and strength your composition. Make sure elements on the page always aligned with one another in some kind of coherent way , and lastly, you have proximity. This creates relationships within objects inside an image, placing objects together, shows their connection and focuses the audiences attention place elements that relate to one another closer together, like we're doing with the key or photographic views of time We also have to worry about foreground versus background. This one is simple but essential. It's important to establish foreground element or a primary element In our case. It would be the most important view. Place that one in the front towards the viewer, which usually means making it bigger and lower, and then recede all other elements to the background. To be secondary reads, this usually means making them smaller and higher up, which would mean closer to the horizon or vanishing point of your page. What we're doing here is playing with visual perception. Receiving objects tend to be closer to the horizon, and the vanishing points and foreground objects tend to be closer to the reader. Doing this will create the illusion of death. So let's arrange are compositional objects accordingly? Now that we have a good and effective composition based on those design principles, let's discuss a few other tools that really make your design Pot would have been yet, which are geometric elements, so two squares rectangles circles that helped to unify different elements on a page as well a separate them from the background. These will make her composition more interesting, dynamic and lead the viewer's eye where you want them to go. Sometimes it helps to allude to a grand plane to place your object on the surface and make it sure doesn't look like it's displaying in space. This could be done with just a simple horizontal line, a simple Grady in or the illusion of a tabletop. Go take a look at a photo shoot, backgrounds or a tabletop displaced that photographers used for reference and inspiration. And the last thing to make sure of is that you have a constant light source and cash at us . You want to allude to all objects in the page being part of the same scene. All right, now let's move on to the supporting details that will really make your concept shine.
8. Supporting Details: to further explain your designs. Focus on at least one key feature that differentiates it from the competition, and let's visually highlight it. We can do that by using a vignette element to point to it on the design, pull it out and then call attention to it off. If you're object, test any moving parts. Arrows can really help to simulate that motion, so that's going to a few rules needed to make sure that they ate your design instead of distracting it. All right, arrow should be flat, have no thickness, or instead that would look just like another floating object on your scene. That should definitely be avoided. Pero should be semi translucent and not be a solid shade again to show that they have no volume and are not just another element on the page. Industrial design arrows, in order to not be too distracting, have certain proportions. Let's explore those right here, I found over the years said the tip of the arrow should be about half the length as the width of the era. Most importantly, Eros demoting action should be in the same perspective as your object. That way they'll blame them then becomes supporting actors instead of dis confusing the audience. The last thing that will sell your concept without you being there is to add important call outs. I do this by keeping the right and simple, eligible and straight so it's not to distract from the competition and then just simply connect them to the element of referring to with a straight line and you're done. In the next lesson, we'll talk about how to save export and share your designs.
9. Saving, Exporting and Sharing: another. Your design is finished. Appropriated makes it really simple to save export and share your work. First thing you need to do is save the image. You can choose any of this formats depending on your intended use. Simplistic which format hit OK and then save it in your desire location. Another great thing about appropriate is that it records every stroke that you have done in your entire composition, and it gives you the ability to play that back, but also assume into any area and review your work. This could be an awesome way to learn about your own process and improve quickly. Think of it is watching the tapes. This will definitely help you get better. This process video can also be exported, and procreate lets you choose between a full length recording or a 32nd convince version, which is great to share of the social media. Pick which version you want to save and save it to the same location as before, and then we'll go on review it. This is what the video of my session looks like right here, and we're done just like that. At this point, you should have a beautiful, compelling and effective image that explains your design concept effectively as well as an entire video of the whole process. I hope you enjoy this class and got something meaningful out of it. Please don't forget to post your work in the discussion below, and I will try my best to give you some feedback. If you don't already, you can follow me on Instagram at Fed Rios design right here or for collaborations or to look at my entire portfolio. You can go to my website at Rio's design dot com, and that's it for me. I really hope you enjoyed this class and I'll see you in the next one goodbye.
Fed Rios, Industrial Designer
