Critiquing YOUR Designs! Committing A Design CRIME Using A RULER! Ep. 6

welcome back everybody we're here with another episode they seem to be very successful on critiquing your designs i really enjoyed doing them i can remember when i was in your spot needing as much advice as i could glad to be spending some of the time doing these we're bringing them out about once a month i'd like to fit in more time is tight but as many as i can do i will be doing and in this episode we're going to be critiquing three designs hopefully one of yours is one of these keep giving me your feedback and i'll keep giving you the critiques now the first one today is going to be from alfonso ferreiras pretty good from the beginning from the first impression for 16 year old design you've got some new things happening on here i'm glad to see that level of thinking that you're thinking about the future about electrics and based on that let's get into what your design contributes or adds to the world of electric vehicles so judging on that from a proportion point of view it looks very interesting i would say that for a four-seater comfortable four-seater sedan it probably is a little bit tight in terms of wheelbase when you design a sedan think three and a half wheels distance between the front and the back in other words how far to space the wheels when you first start your sketch now i would almost guarantee you're running around three and i think three and a half like i said is the better one so start by planting your first wheel lightly put in your second your third so for a four-seater sedan i would tend to go to three and a half wheels between the main wheels for your wheelbase so stretch that last wheel out a little bit further on your wheelbase and now we're looking at about the right proportion for a comfortable four-seater sedan you have an extremely short overhang in the front that might be your intention but what it does mean is that there's no plan view or very little planned view to the front of the vehicle it means it goes out slightly from the front wheel and then straight across so the proportions are interesting that you have the base of your of your windscreen almost directly over the center of your center of your front wheel but what i see here as a problem is that your a-pillar and the center line of your windscreen come almost to a point again that means you have no curvature in the top of the windscreen it would just be a straight line straight through the vehicle that is not good you want to have curvature in the glass if only for good aerodynamics you don't show an a-pillar which means that the a-pillars perhaps behind the glass that's a nice thing like architecture a lot of times the modern architecture will not show the structure on the outside of the building but rather instead have the supports the pillars everything behind the glass gives it a very modern feeling so good for you on doing that then you have a nice sloping roof line perfect a nice line shoulder line that goes through the body it has a lot of that bow to it it gives it tension so that's also very nicely done on your sketch here you've gone dark just below the feature line here which is great because it's rolling underneath catching a lot less light and that means that the volume is actually wrapping underneath the car i can see that very nicely how you're doing that here again by stretching the wheelbase it means that your door shut line could be a lot easier a lot more flowing than what you have with this zigzag your rear end is very interesting it's chopped off now what you probably want to do here show the wheels on the other side of the vehicle just to give you that feeling of vanishing points working behind the vehicle that will give the car a feeling that it's in perspective so darken this up like you've got through here then another factor i would do here is you've got what we call a horizon line horizon reflection through the glass now you've carried it all the way to the front of the windscreen to the center of the windscreen in the front and you've stopped it at the rear here remember that you can sort of start from this point here where the base of the a-pillar is at and you can usually come back into the c-pillar area give it a nice bit of curvature like that play around with it be very very loose with it so in that respect you're starting to get a view on the side of the car that really represents uh the proportion the actual shape of the car and the car has a lot of character on phone so i like it it's new it's fresh you can do it it's electric so you can have a lot more packaging space inside the vehicle between here and here so you're able to fit more people in or let's say put them in more comfortably that's a good thing with an electric package thanks so much alfonso for submitting this again a lot of courage when you're that young to send something in that you know it's going to get ripped apart i haven't really ripped it apart but again doesn't need to be ripped apart just needs to be taken up a few notches and then you'll have something almost professional and probably able to get you into a university with it in your portfolio cheers [Music] next up is fazil hanafi facili is 21 years old he's from uttar pradesh india hello fazil [Music] whoa fasil you've used a ruler whenever you're doing something in design you have to start out loose in other words plant your elbow and just try doing this all the time just like that you'll be amazed how beautiful your lines can start to become you're doing curvatures once you can do curvatures like that start to weight the front of the line and you get faster lines in other words the curvature is not consistent it curves more at the beginning and straightens out slightly as it gets to the rear those are accelerated lines your side view it looks a bit i'm a big fan of lego i like lego i love lego it's a bit lego-ish there's very little line flow so this design here as i look at it it's going to take me all day to look at it from here to here because there's so much happening so many different elements so many movements of line that that interrupt the flow of my vision so as i go up i go back i go down i go back i go up i go back down you want something that flows and not to say that you can't have breaks and lines obviously you can but this is almost like a maze in terms of how many lines you've got going in different directions so what i'm saying here is to start making from the front curvature to your design the windscreen the roof the big problem with having very flat lines is that when you go from a flat line to reality that flat line in reality will never look straight in fact it will always look hollow so a flat line doesn't look like it's got any tension to it it will start to sag visually sag not scientifically or mathematically but visually you will have no tension in that line and so it will look like that so add some weight add some curvature pump it up a little bit and you'll go away from that that that that i don't know how to explain it it just looks like the air got sapped out of it you've got something strange going on here with the bumpers sort of falling off the vehicle maybe it's after the accident but i don't think you would design the car like that you need to go in the right direction which is that way your front door interesting to have it sort of like that and down like that and in like that but it's not very practical from an opening point of view because when you open a door that is basically on a slant like that you're gonna have trouble with the hinges so to make it open properly so what you want to do is typically the front where you will have the hinges keep it more or less vertical the rear one obviously because it's not attached to the hinges you can sort of do that if it's a four-door like you have here you probably tend to flatten out the rear line of the front door a little bit more too the rear one you try to bring it back as much as possible to keep enough open space to get into the back seat so that's good now again moving to the rear and the front view like i said orthographic views are fine if you want to design a car like that it's a good starting progress to try to make the car look like the same car in all views so it's a good practice it's a very industrial way less designery way of showing the car the next stage obviously will be to put the car into perspective which is a lot more difficult we'll be coming out with a course soon that will show you how to draw in perspective cards that you first establish like you have here but that's a that's another thing that we'll talk about your drawing is good but like i said it's a mechanical drawing it's not a designer drawing everything is too precise too exact and too defined good on you for doing the drawings here just like i said last message loosen up [Music] fossil [Music] next one for today is from zai hansda [Music] zai is not expecting this and so zai hello i know the intensity that you have put into communicating to me about please reviewing your designs and i'm not picking out zai just because he's been persistent obviously persistence is better than resistance but i'm looking at his design from the point of view okay i will review it because there's a lot to critique about it that a lot of you will probably get some benefit from getting into his drawings i um congratulations on being persistent it does pay off zai has designed a futuristic gto now i think he's talking about a ferrari type gto if it is it doesn't really look like a like a ferrari right it's a bit over the top at the same time i can understand you being young and wanting to do something that sets a new direction for ferrari there's a good amount of creativity within your design a new fresh direction let's call it when i look at your sketch zai my first impression is that you've sent me three different cars and that's okay i've always said that designers never draw the same car twice if we get into the top sketch you've gone to a lot of trouble we call it a worm's eye view so that's very unnormal for a human band as designers we're not limited to drawing cars from the eye height of a typical viewer we can exaggerate the proportions we can exaggerate the viewing angles to give it a little bit of interestingness it's not a machine that's drawing the car it's you and you can choose whatever angle you want it's just for me a little bit complicated what you've designed here it's it's a mishmash and i don't like that word it's maybe a papri if you want to be more sensitive with the words but for line flow for carrying a single theme through the vehicle that is consistent from from the back this is a zero out of ten not trying to criticize you from a hard point of view that way but there is no consistency of the design from front to back it's interesting in every little aspect but in terms of car design you will not have this car in your memory say 50 years from now because it's not communicating a single message and with design communicate one message one clear message and you will be doing the right thing so like i said try to calm it down give it a bit of xanax or whatever you need but calm that design down and when you get to the rear of the car your rear view is like i said it's a different car it says eat dust be b i t we're not going to say that word but you have a car that is super aggressive in the back i love your diffuser where you have that dramatic change in in height from the bottom of the car up to the base of the uh the number plate where you have that very dramatic action going on on the diffuser very aggressive i bet that works really well lights very dramatic i don't think on a typical track day car you're going to need such dramatic tail lights fat wheels always look good they're aggressive they work very well on a performance car it's a concept obviously wheels like that you probably would never ever see in production you've got what we call in the design world rubber band tires so basically it's a rubber band stretched over a wheel your profile is probably only a about a 10 or a 15 on here which is good for sketching but remember in production it's gonna be a hard ride so let's move down side to the next view which is your typical side view of a vehicle now this looks not too bad you've got things going on here that are fairly accurate the least accurate thing you have here zai is your ground clearance now this can really ruin your drawing if you have a professional looking at it who's trying to understand what you're trying to communicate you need to be realistic in certain ways and what happens here is it communicates directly immediately that it's not a professional sketch as in the previous drawing you need to sort out your ramp angle so get something going on here that reflects the idea behind it as well as in the rear get some lift up there i mean the car is sitting on the road basically get it up in the air i know it looks nice and even on the ground we tend to like very low cars but in that respect you have to be realistic that the car even though you can lift it we have lifters and things for speed bumps get it looking at least realistic in that sense that will help quite a bit i like the way you have your fender line it's probably slightly off i tend to try to put at least the front center line of the fender directly over the center line of the wheel in other words the highest point of the fender is typically right directly over the center line of the front wheel so get it right around in there like that same way with the rear if you go down the center line vertical center line of the wheel that's typically the high point of the rear fender everything else drops away from there you can at times if you want to give a little bit of a shove to the front is to slightly move it forward the high point of the rear fender off the center line that gives it a little bit of that shove movement to it so what i would never do on the rear is to put it behind the high point of the rear fender behind the center line of the wheel that that does tend to make it look a little bit wrong your shot lines on the door zai are interesting if you're going to do a shot line that is basically tilted like that so dramatically front and rear be interesting to see what kind of concept you have if it's a konigsegg type style door if it's a gold wing type door if it's a dihedral type door if it's a suicide type door very interesting to see what you have thought about on the door opening concept all in all i think your best view on here is the worm's eye view as i mentioned before just because it's so dramatic but definitely get that design calmed down so that it's one language one theme runs equally from front to back and you don't bring in so many different elements of design your rear one is exciting to look at as a track car get the lines right get the proportions right and after that it's a piece of cake to walk in the park to get it to look absolutely professional good deal thanks c [Music] so that's a wrap for this episode there's a lot to critique and it's very hard to compress it in such a short time but i think it's a great uh lesson for those who are starting out to sketch we're always trying to introduce different levels of sketching so that everybody gets a little bit but it's a lot funner to critique or try to to suggest improvements to a very younger generation who are just starting to get into it because let's face it if you start out on the wrong foot it's going to be hard once you learn uh the you know to break bad habits so let's try to get everybody working from a very young age with good habits with knowledge and with some advice that you can actually use uh productively on your sketches to bring it to another level so i hope you've learned a little bit i've enjoyed talking about your designs and let me know in your comments below what are your questions what do you want me to specifically address be it line quality be it perspective be it shady good on you guys thanks very much leave your comments below like i said let me know and i'll look forward to seeing you in the next episode you

Channel: Frank Stephenson

Views: 242,915

Keywords: frank Stephenson, design, how to design, subscribers, critique, how to sketch, perspective, car design, how to draw, critiquing your designs, pink Floyd, watch, porsche, honda s2000, ferrari concept

Id: t8MbGbkEQbg

Length: 18min 10sec (1090 seconds)

Published: Thu Apr 15 2021