DIGITAL
SKETCHING & GRAPHICAL PRESENTATIONS
[…] Beñat Garay
BOOK
Contents + + + + + + + + + + + + + + + +
T1
photomontage (I)
4
T2
photomontage (II)
8
T3
colour & texture
10
T4
from paper sketch
12
T5
‘materializing’
14
T6
quickness tricks
16
T7
sketch & montage
18
T8
vector drawing (I)
20
T9
vector drawing (II)
22
T10
views & quick coloring
25
T11
smart objects
27
T12
vector 3D
29
T13
sketch-CAD-vector
31
T14
quick shading
34
T15
typeface showcase
36
T16
sketching process
38
[…]
4
photomontage (I) SUBJECT IN BACKGROUND
task guidelines
+ Choose pictures that with similar
perspective and acceptable lighting match
+ Crop 3 subjects into new backgrounds + At least one subject with complex edges + Refine edges and modify light and colours to achieve realistic image fitting
+ Show raw material [within montages]
[‌]
5
The orange [light] and blue [shadow] coloring over the subject play a crucial role in the credibility of the blend.
6
The cropping and shading of the cable in detail makes a big difference in the whole fitting.
7
Adjusting the cast shadows of the subject and blending the blurriness of the sand and colour balance of both images highly determines the result.
8
photomontage (II)
task guidelines
+ Use various pictures of oneself as a model to create an extravagant illusion
+ Inspire on Martin De Pascale’s art
[exaggerated scale, deformations‌]
+ At least one subject with complex edges
+ Refine edges and modify light and colours to achieve realistic image fitting
+ Show raw material
RAW MATERIAL
ILLUSION WITH ONESELF
9
Coordinating the picture sharpness is essential to overcome the huge scale gap. The reflections of the wiper in the glass are also key for the fitting, as all the attention is also directed to that point.
10
colour & texture ON ORGANIC SHAPES
task guidelines
+ Draw 4 organic, abstract simple shapes + Shade and colour them: brush and eraser + Overlay material textures to the surface + Add a non-organic button per shape [different material]
[‌]
11
12
from paper sketch
task guidelines
+ Sketch a smartphone in front and perspective views
+ Scan the sketches and clean them digitally + Make and save selections + Shade it in monochrome considering material characteristics
+ Present the product’s features
RAW MATERIAL
SMARTPHONE
13
14
‘materialiing’
task guidelines
+ Add materials with blending modes + Paste a logo in relief fitting the perspective + Add a pattern texture + Include a themed background
RAW MATERIAL
SMARTPHONE
15
16
quickness tricks SMARTPHONE IN AN HOUR
task guidelines
+ Copy the smartphone from the tutorial [screenshots shown on the right]
+ Follow the tricks used in the tutorial
[reusing elements and the main sketch, straight lines for front view‌]
+ Reflect upon a comparison with previous task: time vs. result.
17
Although the current object is simpler in geometry and detailing, the first impression of the result is quite close to the previous task’s, which implied as five to ten times more time to complete.
18
sketch & montage
task guidelines
+ Manipulate an existing product in details, shape, colour, structures‌ etc.
+ Mix own sketching and pasted images from the net.
+ Add buttons or similar interaction elements.
+ Create a presentation page explaining function, features and context of use.
+ Show original material separately
RAW MATERIAL
MODIFIED PRODUCT
19
Creating an homogeneous dome from a plane top view of the umbrella is certainly the biggest challenge within this combined photomontage.
20
vector drawing (I) GLOSSY BUTTON
task guidelines
+ Draw a glossy button with highlights and shadows like in the two examples shown om the right side
21
The fine adjustment of the different parameters of the gradients [position, opacity, direction, colour choice‌] is the distinctive element for the achieved effect: a backlit and sleek button.
22
vector drawing (II)
task guidelines
+ By interpreting the visual brand identity of Volvo [chosen] or IBM, give their new racing vessel a look of 2016
+ Start generating a summary of the graphical guide.
+ Be creative within visual guidelines,
generating an appealing & sporty result that still could be accepted by the brand.
+ The lower part of the lower flap and of the contiguous sail should be transparent for practical and safety reasons.
RAW MATERIAL
VISUAL DESIGN: RACE VESSEL
23
SHAPE
COLOUR
The distinctive shape of Volvo car’s rear lights inspired the central silhouette containing the logo and the year of the competition.
Despite Volvo’s relaxed tones, a sporty and appealing result is carried by blue/orange contrast, transparencies, and gradients directed to a focal point in the prow.
24
PAN AND WARP Considering logo trimming limitations, the sporty result is pursued by cropping zoomed and warped text [other than the logo] around the front end of the vessel.
25
GAS MASK
INSPIRATION
T10
views & quick coloring
task guidelines
+ After a brief form and function gas mask design creative search, sketch the own design in four views.
+ Colour it in quick coloring mode and
RAW MATERIAL
present it with function and material explanations and arrows.
26
27
T11
smart objects
task guidelines
+ Sketch 4 different shampoo bottles + Use simple shading and coloring + Create a label with graphics/text in
illustrator and copy it to the sketch as smart object.
+ Show colour variations through the
smart object function. Learn how to warp the smart objects.
+ Feel free to be inspired by the given pictures [shown on the right side]
INSPIRATION
SHAMPOO BOTTLES
28
29
T12
vector 3D TORCH LIGHT
task guidelines
+ Vector draw a torch lamp in front view with an on/off switch
+ Use Illustrator’s extrusion/revolution to generate a 3D shape.
+ Present the lamp in 3D perspective and with a closeup of the button function, also including lighting effects in Photoshop [torch ON, other glowing]
[‌]
30
The fog effect helps achieving believable light ray visibility without having to illuminate other objects.
31
T13
sketch-CAD-vector WATCH DESIGN
task guidelines
+ Make 5 different sketches/styles of a watch [front view] and chose one
+ Proceed with side and top views to explore the ideas fully
+ Use a picture of the own arm as
underlay in a suitable perspective and basic CAD geometry as a reference
+ Draw the dial with vectors + Implement all in a presentation,
including materials and explanations
[‌]
32
The underlay arm image is diffused by the given frame [next page] so that the focus stays on the watch. The cad model ensures the sensitive geometry will stay within the proper perspective.
33
34
T14
quick shading
task guidelines
+ Create a 3D-feeling from 2D from 10
line sketches [given pictures and own]
+ Make quick shades over these both
using black and white brushes and brightness variations in HSB [Hue Saturation Brightness] colour tuning.
RAW MATERIAL
MULTIPLE OBJECTS
35
Slight variations in the technique are practiced within the fast black and white shading. Some examples show how few strokes can communicate a rather complex 3D shape.
36
POSTER [choice: COURIER]
task guidelines
+ Make a presentation of a typeface in a poster format.
+ Base the poster in an own written
report that considers the history, DNA, famous users and suitable contexts of the typeface.
REPORT SUMMARY FOR POSTER
T15
typeface showcase
37
The DNA, past and the present of the typeface are merged in a single poster with historical references to the author and context in a transition to as current uses [programming, ASCII] which is done by defragmenting the referenced typewriter into ASCII art with a smooth gradient.
38
T16
sketch process
task guidelines
+ Sketch ten backpack thumbnails [multiple views, pen and paper]
+ Draw two variants of one of the ideas [front, side & perspective] and shade them digitally in monochrome
+ Chose a final one and include it in a
presentation page with materials, fine shading and underlay user silhouette
INSPIRATION
BACKPACK DESIGN
39
40
Some freer sketches are done since sometimes starting from the front view feels limiting to explore realistic geometries in an object like a backpack where the volume distribution is crucial. The CAD orientative model aided to finalize the shaping of the geometrically sensitive idea.
41
42
43
44
THANK
YOU!
+46 700065737 beinatgaray@gmail.com
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