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104 PERSPECTIVE SKETCHING
These color renderings are completed
using black pens with some color
markers added on top, done on marker
paper. Notice how the white reflections
on the body paint were obtained by
simply leaving some white reserves.
Note: During the phase of adding color
marker tones, it is important to avoid
smudging our color over the black lines.
It is important to test on the side first if
that would actually happen, but the results
will vary greatly depending on the type of
markers and paper we are using. The safest
route is always to work first on our color
markers over thinly applied pencil lines
and then apply our black lines. On the
other hand, if we have already done our
black lines, we would have to be extremely
careful in applying color around them.
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CHAPTER 2 – DYNAMIC VIEWS 105
The key moment for many
designers to overcome is the initial
hesitation—some might call it
fear—of sitting down and starting
to sketch freely. Once we have read
the project brief and we understand
the premises clearly, it all comes
down to picking up your favorite
drawing utensil and substrate,
digital or physical, and jotting down
ideas. Many designers like to draw
on newsprint paper, because it’s
cheap and coarse with a great tooth
to draw loose lines with a No.2
pencil, while some others might
draw loose sketches on napkins.
The techniques vary from person to
person. The important moment in all
of these scenarios is we have to have
something to say. In this example,
I wanted to pursue the idea of using
a CNC machine to carve a complex
table top out of wood and make it
look as if I had laid down a piece of
heavy cloth, bunching up at the
front corners. I started with a loose
sketch on tracing paper (above) and
cleaned the drawing further adding
a second layer on top (on the right).
CoNCEPT SKETCHING:
SKETCHING FRom ImaGINaTIoN
aNd HaVING SomETHING To Say
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106 PERSPECTIVE SKETCHING
The final two stages came easily, as I had
a clear direction and had something to
say with substance. On the left side of
the drawing, I opened all drawers and
moving parts, just to give me an idea
of how I would have to work with the
internal structure. After I was done,
I realized I had drawn the clocks
sideways and did yet another drawing
(on the right) with the clocks as they
should be and with the board ready
to be used.
Right after I sketched this, I didn’t like
it and I wasn’t going to use my time
adding color, but that led me to the next
step. I thought I could still keep the four
legs and draw the internal structure,
just for the fun of it. I started adding
more lines (on the left) and started liking
the overall design, with the addition of
an angled front and two drawers, one
on the front and another on the back.
The moment of inspiration came then,
when I thought I could design a chess
table with some built-in storage and two
clocks (on the right).
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CHAPTER 2 – CONCEPT SKETCHING 107
To complete the concept, I added some
color strokes to indicate the tone of
wood (and metal) I wanted to use.
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