Sketching koos eissen pdf

Besides that, many well known dutch product design agencies and designers have contributed to the … In , following the phenomenal global success ofSketching, which has sold over ninety thousand copies to date, authors Koos Eissen and Roselien Steur debut the sequel entitledSketching: The Basics. Sketching — The Basics Koos Eissen and Roselien Steur This book explains the rudiments of learning to draw, using step-by-step illustrations, examples, and strategies.

You will learn to use and master the different techniques and also how to apply sketches in the design process. Digital sketching, sketch worskop, cursus handtekenen, cursus product … Tweet TweetThis is the long awaited successor to the international besteller Sketching by Koos Eissen and Roselien Steur.

In , following the phenomenal global success of Sketching, which has sold over sixty thousand copies in two years, authors Koos Eissen and Roselien Steur debut the sequel entitled Sketching: The Basics.

Sketching is an incredibly broad and practical survey of sketching techniques for product designers. The writer choose deep world to utter what he or she will be delivered to thereader. Reader may want to shed tear when read this book.

Besides, the reader also will get great passion to … Why is Drawing Important? It is a potentially fast means of communicating an idea The Strumbone A guitar with a rolling capo that moves up and down the In , following the phenomenal global success of Sketching, which has sold over sixty thousand copies in two years, authors Koos Eissen and Roselien Steur debut the sequel entitled Sketching: The Basics.

In fact, prequel would be a better word for this new book, since it is aimed towards the Sketching The Basics Industrial Designers Society of Sketching Product Design Presentation by Koos Eissen sketching the basics 7. Sketching by Koos Eissen, , available at Book Depository with free delivery worldwide. Design Designers Industrial Interview Sketches.

To ask other readers questions about Sketchingplease sign up. You joined TUDelft faculty of Architecture as a lecturer and then an Associate Professor, so have you always wanted to be a Teacher or is it something that came later in your life? Books by Koos Eissen. After the worldwide success of their books Sketching The Basics and Sketching Drawing Techniques for Product Designers, the authors now shift their focus from how to sketch to why you sketch.

Nikola Novak marked it as to-read Aug 22, Know all about the publications by Prof. It was fun to be able to visit lectures from designers and well-known architects and to learn a lot more about architecture and industrial design. Hanseong Kim added it Dec 02, You can sketch to brainstorm, find or articulate ideas, or to present a project to team members, technical producers, and, of course, to c After the worldwide success of their books Sketching The Basics and Sketching Drawing Techniques for Product Designers, the authors now shift their focus from how to sketch to why you sketch.

This idea changed over time, because society changes. Open Preview See a Problem? What is that one thing would you say that Design schools are lacking on or possibly have to improve on? In fact, prequel would be a better word for this new book, since it is aimed towards the novice designer.

There are no discussion topics on this book yet. Their first book for BIS called Sketching is now an international bestseller with over Check out the top books of the year on our page Best Books of The Delft Skeetching of Technology scouted me and wanted to have me as their youngest lecturer. It was fun to be able to visit lectures from designers and well-known architects and to learn a lot more about architecture and industrial design. Looking for beautiful books? All these goals require different sketching techniques sketchinv presentations.

Qiqunbo marked it as to-read Dec 22, Books by Koos Eissen. Sketching can be a major part of the documented design process. For a client, drawings have another relevance: they enable him or her to stay involved with the design process, to keep an overview, and to know his or her moments of input and choice. Drawing is an excellent way of expressing the emotional character of a product, especially drawing by hand or tablet, using the designer's personal signature.

But most of the drawings made during the design process are at least partly or totally based upon communicating information about shape. We will start our focus on this aspect of product communication in the following chapters. How to draw a product in a way that its shape is most clearly 'legible'.

We will show examples from design professionals based on the essence of drawing in its context. There should always be a reason behind a drawing or sketch. Our aim in making this book can be expressed thus: What you always wanted to know about sketching but has never yet been explained in such a simple and efficient way.

Chapter 2 Drawing Approach 2. Chapter 4 Sketching Progress 4. Chapter 5 Expressing Colour and Materials 5. Chapter 7 Product Context 7. Chapter 6 Fast and Fearless 6. Thair is e stackable ge and 1. The ideation sketches were mainly made for personal use, to hgure out the overall look and feel of this chair as well as the design details.

The sketches were done by freehand sketching in a sketchbook. Since the sketches were for personal use and not for communication, freehand drawings on paper were fast and efhcient. The sketches are Some of the sketches were used to communicate with my engineer, for surface building and structure realisation. The Origami Chair was inspired by Origami art which is a traditional Japanese folk art of paper folding. The goal of this art is to transform a flat sheet of material into a finished sculpture through folding and sculpting techniques.

It started as a challenge to use aluminium sheet metal to make a lightweight but strong and durable chair. The seat and back sunnnrt arp. Now designs are set up in OS SolidWorks, so product details and shape transitions can be worked upon with much realism.

Realistic renderings are derived for presentation to the client. Because of my experience, it now takes fewer sketches to get to an idea. Decisions and choices are made quicker and are better focussed.

I do not show all the drawings to the client; merely the design thought process. I mainly show the result and explain the concept. I also leave out sketches as not everyone is able to read' and interpret them correctly. I now work with freelancers that transform my sketches into computer models.

Detailing is then also put into the computer. I use freehand sketches in all phases of the design process: for ideation but also for communication with the 3D-modellers Special attention to the environment and fair trade IS their Strong belief. The design of this timeless yet contemporary service Set expresses craftsmanship and focuses on the joy of drinking coffee.

An exceptional detail is the cast handle of the cups, a novelty in the production of porcelain. These sketches reflect my thoughts when forming the 'concept'. Usually I fill several A3 papers with scribbles, as a personal brainstorm, out of which one or more interesting design directions can be distilled.

I then use Adobe Illustrator to quickly put the design in the right proportions. An advantage of this method is that I can now print it at actual size and have the actual proportions at hand. Often some plain foam models are also made at this design stage The sketches seen here are made with b ack bai point pen and coiour pencil. Interesting shapes and directions are outheed with back teit pen. This approach may take some time to get used to, but it is a realistic one in product design; it is a highspeed process.

While sketching, each time you have to take a clean sheet of paper because the previous one is messed up, you have actually learnt something. Some may say that studying the work of other people and trying to imitate sketches of others may ruin the development of your personal handwriting.

We have seen this attitude cause students to unnecessarily reinvent the wheel again. It can be very helpful to study the work of people you admire. It may actually speed up your learning, as it makes you aware of the existing level of work in your field, and points out your own strengths and weaknesses.

But most of all, it can simply be inspiring. When you sketch digitally, it is normal to sit in front of your screen and not look at it from an angle. When you sketch on paper, this position is also best. Make sure you look at your paper perpendicularly. Avoid sketching too close to your paper; you might get lost in details that do not have such a big influence. It is sometimes difficult to 'take distance' from your sketch, to take an objective look at it.

A way to look at your sketch fresh again is to look at it in the mirror! The balance of contrast can be better assessed by looking at the sheet of drawing s upside down. Beware, however, that there are also other drawing aspects that can have a bigger impact on perception.

Aspects like the general contrast used, size and the position of the sketches in relation to one another. One of these aspects that is worthy of more attention is overlap.

It can occur spontaneously when 'thinking on paper', as in the adjacent drawing originally A3 size , or it can also be 'staged', as in the drawing below. Here each object was coloured and finished before drawing the next one. Creating overlap on purpose like this helps you train your ability to improvise and to use big colour contrast to help shift the attention of the reader from an undesired to a desired spot on the paper.

Notice also how overlap makes these sketches more dynamic and adds more suggestion. Start with long, thin sketch lines and choose a direction for the light source.

Make stronger lines on the shaded side, bottom and right hand side, and of the separate parts. Apply shading using a grey marker first try it out in relation to the colour. Apply colour marker and pastel. Make sure the pastel chalk has exactly the same colour as the marker; otherwise the effect of material expression will be lost.

Always start big' and save details and highlights when finishing the drawing. They are the sections of the spheres, and just like before, they will determine the perpendicular perspective directions of every shape attached to the sphere. The outline of a sphere is always a circle. Its viewpoint is only determined by the sections. Here an informative lower and a very high viewpoint can be seen. Schematically a sphere will have a highlight as shown here. The colour will gradually darken around it.

The darkest part will, like a cylinder, not occur at the outline, but slightly inside it, resulting in a moonlike' shape. When creating a cast shadow of elevated block shapes such as the grip , one can see that the cast shadow becomes simpler as the object gets thinner. With relatively thin objects, a simple projection of the top surface or cross section is used as cast shadow. This is called a pseudo-cast shadow or a drop shadow. This is relatively close to reality, and a great simplification in drawing, offering speed and efficiency.

One still has to choose an efficient position for this cast shadow. In most cases the best solution is for the shadow to be bigger on one side of the object and not be symmetrical. Pastel chalk is used on the brightest top surtace. Scrape Ott some chalk; mixing might be necessary as it is important that the chalk has exactly the same colour as the marker.

Use a relatively big piece of toilet paper or a tissue and apply with big brush-like' movements. It is applied in several layers. This ensures a smooth gradient without smudges. The chalk next to the drawing is easily erased. Colour pencil is used here on the brown surtace, adding a gradient to emphasise the curvature of the grip. The major axes of the ellipses are drawn at exactly 90 degrees to this centre axis. When ellipses are drawn, a vertical line through its perspective centre creates both the highest point and the connection to the floor or a different horizontal surface.

Tangents then provide for one perspective direction needed for the handle. The other perspective direction is of course converging with the centre axes of the roller. I ne nanaie now iioais as snown in tne siae view. N Vertical tangents to the etipse 'touch' it at its widest points connecting these points again shows the perspective direction of the handie.

V J1 Arbitrarily tilted cylinders will also have major axes of the ellipses perpendicuiar to the centre axis of the cylinder. A tiited centre me will automaticaty be interpreted as a declined cyiinder. If you want to attach something like a handle or grip to a cylindrical shape, you will want to know its position and perspective in relation to the cylinder. Therefore you can use tangents.

The lrst line is a centre line through the perspective centre and not through the crossing of the major and minor axes. If you then draw two tangents, step by step, you will get a square around the ellipse. The two directions drawn 90 degrees in perspective to each other is the result. Tip We drew in 2-point perspective. If you draw in 3-point perspective, it may become unclear whether you are drawing a cylinder or a cone.

Useful rules are related to their axes. The major axis is the longest line possible, while the minor axis divides the major axis into two equal parts. The crossing of those two lines is exactly 90 degrees at the middle. Drawn in perspective, the perspective centre of the circle is of course not through this point, but, depending on the amount of convergence, somewhat behind this point, as shown in the example.

If you cut a grapefruit in two equal halves you can see this difference. I To draw a cylinder you need a centre line, two ellipses and two vertical tangents on the outside. The base ellipse will be rounder because of perspective.

You may compare it to a block shape but you do not need to draw a block and construct a cylinder within this block. Ellipses are drawn by repeating the shape several times. This will not resuit in a perfect symmetricai shape, but it emphasises the other main character of eilipses: the fluency of the shape. The cast shadow of a cylinder consists of a projection of its top surface on the ground, using the 2 lines that describe the light direction, connected to the cylinder itself with tangents.

It is here that the shading of the cylinder starts. This shading does not have its darkest part at the outline of the shape, but a little 'inside' it. This is caused by ambient light and reflection.

It is this effect that gives a shape its round appearance. Watch out for errors hke shading parallel to the oathne of the cone, shading without difference between reversed cone shapes or wrongly connecting shadings of cones and cylinder. Tip A conical shape pointed upwards or downwards will have a very different shading from that of a cylinder.

When these shapes are simply combined, without a smooth rounding transition, the shading of that object will have drastic 'jumps'. Here again you see how the same ellipse can provide for add ons in various directions.

No matter how the circle is orientated, when the ellipse represents a circle on a horizontal surface, the orientation of the ellipse long axis will remain horizontal. If the stripes' of the drawn marker areas are chosen arbitrarily, a less spatial effect will occur. If vertical surfaces are drawn with marker vertically, and the horizontal surfaces horizontally, the orientation of those surfaces is emphasised by marker, and the drawing will appear spatially correct and be better understood.

If an object is drawn with colour marker, a combination of colour marker with grey marker is used for the shading. The colour of an object is darkened and desaturated on the shaded side of that object. This is achieved by applying a layer of grey marker underneath a layer of colour marker. Each colour will need a different grey for. Un a ruguly glossy object, only retlections can be seen on toe cnair, and more contrast and highlights are used. These draw ngs were inspired by Rietveld's Zigzag Chair.

In general, the direction of light is chosen in such a way that the most characteristic side of the object is the shaded side, and the cast shadow has a continuous shape.

Perhaps the best option of the three chairs is that of the largest chair. The length of the cast shadow should be big enough to support the volume of the object, but not so large as to be dominant. The easiest way is to use parallel stripes' on a surface. Vertical stripes underline the vertical orientation of the surface. In the middle drawing the wet-in-wet' method is used. Marker direction is not important; just keep the paper wet. On the right block some lines are added on top of a wet-in-wet surface.

This will suggest a gradient, and give the drawing a less static appearance. As the object and its cast shadow are farther apart, the shadow will become lighter because of ambient light.

This gradient in shading can be done with white pencil or marker. Tip Make sure that the flat side of the tip of your marker stays parallel to the border of the surface; this will make the drawn marker surface end in a neat line. Constructing a cast shadow can be compared to projecting a shape on a surface, which means that rules of perspective for shading apply.

The perspective of the cast shadow and that of its original converge toward the same vanishing point. The length of a line and that of its shadcw are comparable in length. The shadow of a block mounted on a wall and that of a block on a horizontal sarface may actually have the same shape.

Choosing a light direction that comes towards you will not only put a distracting dark shape in front of the drawing, but more importantly, will leave no room for colour and contrast on the shape tself. If the light direction, as shown here, is the same as one of the obiect's perspective directions, a confusing situation may occur.

Shading refers to the differences in darkness of the object's sides, as related to a light source. Cast shadow is the projected shadow onto a surface. In general, parallel light sunlight creates an effective cast shadow. One point light lamp light often does not show an appropriate cast shadow. It can create a shadow that is not related to the object's perspective. It is more difficult to construct and less predictable. Cast shadow from a parallel light source is easier to predict and perceived as realistic.

Choosing a direction of the light source is done by two lines: the actual light direction or slope' A, and the projected light direction B.

Imagine a parallel light source just over your left shoulder. It will have a relatively steep slope A, and B will point slightly towards the upper right. All the actual light directions slopes A in a drawing can be drawn parallel, and all projected light directions will slightly converge. A lot of shape characteristics of an object can be seen by the shape of its shading, such as open and closed' voiumes, or edgy and rounded voiumes.

Make sure all surfaces of the block are perceived well. These three viewpoints are dismissed owing to too much foreshortening on one of the surfaces. Or in the case of the shape on the right the shape is drawn symmetrically, which may turn out confusing.

When drawing a typical block like this at the start, the drawing sequence of the block itself may differ slightly to that of a cube. Perspective rules and general sequence, however, stay the same. The basic idea behind this sequence of drawings is to show what to expect while drawing a little box. For example, to be successful in To verify whether the cube you have drawn is in correct perspective or not, several quick checks can be made: Compare the shortening of the top surface with that of the ground surface; the top surface should be flatter', as it is closer to the horizon see A, A'.

Check the two angles of the ground line with the horizontal line; they should differ, as should the width of the two vertical sides see B, B'. The most foreshortened vertical side here on the left should be much smaller that its opposite side see C, C'. Only in the case of a cube, the corner on the most foreshortened side should be higher' than that of the less foreshortened side.

When the block you have drawn is incorrect, it is important to find out why, and try to avoid making the same mistake again.

Here are some common beginners' mistakes. Starting at the top left, there is a block shape 1 using parallel lines instead of perspective convergence, an axonometric image. Next to it is a shape 2 where the amount of convergence is estimated incorrectly. The vanishing point on the left is closer, so lines in that direction should converge more than those in the right direction, not the other way around.

Block 3 shows a one-side frontal view, so it should actually be a central perspective, and not show the left side. It can easily be avoided using a horizontal guide line as you see next to it.

The last block 4 shows an incorrect perspective of the ground surface. It may help to extend and use the lines already there as a guide when you draw the ground surface. As horizontal surfaces of a column get cioser to your honzon, the more foreshortened they As vertical surfaces get closer to the vanishing point, the more toresbortened they become.

Learning to draw a cube at different angies will give enough experience to create a correctiooking perspective drawing. Keep this rule in mind: never exceed the measurement of the ciosest vertical.

The width of the book's pages appears much smailer and foreshortened as the pages turn. In this picture you see perspective distortion due to the fact that the third vanishing point is above the horizon, but also used incorrectly for every vertical beiow the horizon see 3-point perspective rule.

Deliberately unequal angles are chosen to avoid the front and back verticals of the cube from overlapping one another. The lines to the left converge more than the lines to the right, owing to the shorter distance to their vanishing point. The cube is drawn, starting with a horizontal guide line, a vertical and two lines that will determine the viewpoint. After the bottom surface is completed, use the other perspective lines as a guide.

A back vertical and the top surface are drawn last. There are of course more ways to draw a cube; another way is shown here. In this sequence, there is an emphasis on the placement of the verticals. The placement of the back vertical in based upon the principle indicated with the added arrows.

These dimensions are of unequal size, as illustrated on the next page. A vertical surface can be multiplied' literally by doubling it, as there is no vanishing point in this direction due to the 2-point perspective Thickness is added, and light direction is chosen from the top left.

This means that all lines on the shaded side can be darkened a bit. This will add more clarity to the drawing, as well as spatiality and depth. Tip Adding lust a quick suggestion of surroundings to the subject can add context, spatiality and can 'present' the object more attractively.

The reason for this is that in order to appear 'realistic' without distortion , the vanishing points of a shape need to have a distance between them that is approximately 5 times the image width. In the case of a chair, for example, this means that the drawing will be very small in relation to regular paper size or needs a very large piece of paper.

Among the several 'kinds' of perspective, such as central perspective, 2-point perspective with 2 vanishing points, and 3-point perspective, we will mainly draw in 2 point perspective. This means that the vertical lines will have no vanishing point, no convergence, and therefore no foreshortening. This will ease things dramatically, while still maintaining a realistic appearance. In reality we will more or less perceive or notice objects having 2-point perspective, but if you take a picture of a product, you can immediately see 3-point perspective.

Seeing with your mind instead of with your eyes explains this difference in perception. As for the actual drawing itself, the main guidelines can be described as follows: Use long lines and draw with a definite medium such as a fineliner. A pencil and eraser will tempt you to keep erasing things and will not train you to be resolute in your decisions. Draw in a 'transparent' manner; for example, draw the lines of the main shape that you do not see. These lines will guide you regarding control and correction of the perspective and shading.

Choose an informative viewpoint See also Chapter 3 Start the drawing with a large basic shape, and work your way down to the details; save the details till last. Drawings are preferably in a size related to your hand size, preferably bigger and not smaller.

Use guidelines; they not only enable you to draw easier, but they will also make the drawing more comprehensible readable for the viewer. You will of course recognise a chair in all the drawings, but it is obvious that these drawings were made by people untrained in drawing, who are not designers. What is the striking difference between drawings by designers and non-designers?

Non-designers in general will focus on a story', an archetype perhaps, or a history: this is a chair that I have, remember, know, etc. A designer's drawing, however, will always have a specific purpose, and will in a lot of cases be about communicating an idea. Like a language, different rules apply to drawings that communicate'. The designer is able to analyse, and can make a distinction between the overall shape and details, and will make a deliberate choice on where to put the emphasis in his drawings.

In the concept phase, just after ideation, for example, the overall shape will probably need to be communicated in a clear way. To do so, a so-called informative' viewpoint is chosen, and aspects such as guidelines and shading are used. In the following chapters we will show a drawing method that will lead to informative, shape explaining drawings. Ir this chapter a quite bold division between shapes products is made by means of how they are drawn: starting with a block shape starting with a cylinder or cone starting with a sphere starting with a plane In each of the above, the necessary aspects of lines, shading, colour and drawing materials will be explained.

We have chosen this division for specific reasons. Of course, not every situation can be described in such a bold way; a mixture of approaches will eventually be more realistic. But it is a simple way to start with learning how to analyse and draw shapes.

Learning how to draw spatially and implementing it in design work are surely two different things at the beginning of your studies.

In this chapter we will use this strict division of shapes for crity, whereas in reality various situations can occur. This approach, however, will encourage you to think 'spatially', and to analyse shapes, and to distinguish overall appearance from details. You will find that after a while you will draw more intuitively; you will 'estimate' more instead of 'construct', and you will be more able to improvise and correct.

Experience has taught us that this will only lead to good results when these estimations are based upon a steady knowledge of things. This cannot be rushed. Eventually it will be all about the credibility of a drawing.

It has to be convincing, and precision is not as important. So in short, basic knowledge and precision are necessary to start with, whereas later on making estimations will become more important. Hand sketches are rather timeless and appeal to one's imagination.

It is the most direct way of expressing the designer's thoughts and pondering and reveal the artisan's skills They make it possible by using a unique method where two advanced techniques are combined. Pen strokes made in the air are recorded with Motion Capture and become 3D digital files; these are then materialised through Rapid Prototyping into real pieces of furniture.

After Turnkey presented the pitch, the concept was picked up by the Chinese mother company. With a GO from the mother company, we delivered a concept sketch. In China a CAD model was developed. This process from pitch to concept, consisted of communicative sketches and scribbles, email, video conferences and discussions with our engineers in China.

The CAD model was then adapted and approved by us, and a sample working prototype was made for further judgement This first prototype was then redesigned at Turnkey, with the final prototype as the result.

This final prototype was then tested and judged by potential customers. Also in this process informative sketches, with the CAD model and photos of the sampe used as underlays, are used as a means of communication. In the example here you see adaptation of the curvature of the lower frame, sketched over photos of the first frame sample, and the compact bumper bar concept, sketched over a CAD model.