traduza o ducumento para portugues melhorando pontuação,acentuação:hey everybody so for the assignment this week uh we're going to be getting three random objects so basically very much like the examples we just previously looked at we're going to be turning them into designs of something completely unrelated I'm going with part of my uh vacuum accessories uh a DeWalt uh retractable knife and a uh an iron so this works better of course if you can physically tangibly hold the objects you can flip them around you can study them you can get a feel for their shapes and their forms of course if you don't have access to your own uh camera or a phone just get something on uh you get a JPEG from Google that you're fairly familiar with but I like to really rotate these around get fresh and different perspectives and let my imagination really really start to cut loose for what these potentially could be and yeah basically when you're done that just get whatever photos that you're going to have line them up on you know your document like uh you see here I grabbed a few of my favorite shots that really explored the shapes and the designs so I'm going to give three demonstrations for all three of these objects and they're going to be in the order of easy medium and advanced so you can really when when you're break breaking your objects down and you want to create them into a design potentially think about how difficult they or may they may or may not be and so there's something for everybody now the time is going to vary greatly of course on these difficulties so the first one this is very easy I'm looking at these shapes and that this is the first part of the assignment is to just really try to freeform sketch different shapes in different forms that you can kind of pull out from your object they don't have to be literal parts of it but just something you would imagine that it go would go into the you know the form design of that are basically are they squares are they beveled edges are they more angular and in triangular are they boxy um or are they ellipse based you know try to ask those few basic shape questions um and then basically uh approach it from that AB ract sort of design standpoint so see now I like okay I tried a few drawing shapes now I'm going to get in here and just use a a shape brusher or whatever brush you'd like to just kind of sketch Silhouettes that uses the same language so for my language on these is that they're basically all kind of a bit of uh triangles plus cylinders right which is an extension of the circle and basically from there I can just go in and I can either do a one little pass of shading to give these form or I could leave them abstract as they are either way these are supposed to warm our mind up and get us kind of thinking in the language that is making up of you know our given objects so see I just kind of quickly come in here with a very kind of one two pass just to show a little bit of trying to make it appear a little quasi 3D or three or dimensional not supposed to spend a long time on on this portion I think this was for me the the the sketching portion took about five five minutes in uh real time and yeah they're supposed to be kind of non-committal loose and and warm up in nature so basically once we get through this kind of portion and aspect I want to basically really like he what can I build with these pieces and so since I'm keeping this one simple and easy I'm going to try to create a trash receptacle out of the language of the this uh object which is not such a far stretch considering it's a vacuum and it it's more all about kind of management of waste so thematically I'm staying very close to what it is you can go as crazy as you want you could turn this vacuum in I can see a submarine I could see a spaceship it could be like a race car again those would be quite a bit more difficult to to draw and so I'm since I'm kind of keeping this a bit simple I'm trying to think of the function right of what this erased recepticle could look like and I'm like yeah it's going to have one of those little foot handles so you don't have to put your hands on the lid and you know get those all dirty so I'm trying to think of what some of these basic parts first are right it's going to have a um a pedal or you know a step that's going to basically cuz I have one of these um I have one of these bins upstairs and now I'm just trying to basically adapt the language of the object to the um to the trash recepticle itself so it's kind of working in tandem you know what is this function for and what is the aesthetic what are the building blocks you know that I'm using to make it up so of course I feel this is a little bit too short uh short and stocky maybe that would be a little bit more um appropriate for something like in an office but I want to make it like a little bit more of a was it like an eight uh a 13 gon uh trash receptacle so need a kitchen size a little bit larger so see I'm trying to just constantly go back to that week one mindset where we're adding and subtracting these shapes and trying to figure out how potentially they could intersect and of course these shapes are derived from our object our reference images that we compiled so really with just those we have all the information that we need on something simple like this maybe if you do want to convert it to something like you know a trash bin in my case if you don't have a specific uh you know idea of what that could look like you could go grab one additional reference but the idea is really just to use basically your your imagination and and one object for this week's uh exercise and or assignment whatever you want to call it so finally I'm just adding like the hinges and the lid right mechanically this is a very simple object and that's kind of the idea with this is like I don't want to just come in here overwhelming myself with this uh assignment based off all the functionalities and and features of it obviously the the more difficult you go the more things you'd have to consider but this is just basically a trash lid and in of course in real time th this one uh took about 15 minutes maybe you know start to finish just kind of drawing this up and working up these shapes and trying to just keep it at a at a level where it's fairly cleanly presented I'm not trying to make perfect lines obviously but I'm not trying to be a perfectionist with them either um so then it as I go on with these they'll start to slightly take a little bit more time all right so next up right we have my uh iron hand iron so this is cool I'm I could go again a number of things with this but just to kind of switch up the objects and I want you to switch up the types of objects that you do whe maybe it's a prop maybe it's a vehicle maybe it's a building maybe it's a character but don't I don't for instance I i' I'd rather not see three different buildings from three different objects or I would not want to see three different spaceships uh or try to vary it up is all I'm saying if you get stuck then you just go with what you can manage so with this I'm going with architecture so I'm I'm looking at the of course shapes in forms again and I'm just kind of quickly kind of sketching out what these could be in terms of like a modern sort of uh architectural building the other thing I I should note too at this point I'm kind of sticking with the um the type of form that it is so these are all hard surface designs you know they're more or less geometric they're not really organic even though some of them do have organic features like the iron it has a lot of soft and really smooth edges but it's more or less a hard surface Edge whereas if I chose like a banana as my language right that's very organic uh so I try to probably adapt an organic idea to to it like a banana inspired phaser gun or a race car you know like you could you could keep it the same but just be mindful you know am I doing something organic you know based in design am I making a banana creature or am I you know creating something that's more geometric and hard surface right there's it can only be in really like one camp or the other but kind of just knowing and understanding that from the onset will kind of help make some decisions uh so see like I I have a clean enough lines on the first kind of ideation of this idea or these shapes so I could I kind of quickly just did a little cheat I I just kit bashed my own drawing I took it I copy pasted it I rotated you know just kind of transformed it a little I'm repurposing my own idea all right so I added a few pipes or Stacks you know inspired by the buttons and everything and I try to imply what could be Windows um of course these aren't the most techn te technically sound uh structured but they're enough to get us started on these you know ideations so this one I'm going to do what I'd call a little bit more of a 2.5d perspective you know just a a little bit more of a challenge trying to add a little bit of form into the initial sketch here so you know very much like week one I'm trying to think of how these kind of simple shapes that are you know kind of angular but also a little soft on the edges kind of fit and intersect uh with each other to make some kind of corporate building so remember if if you take into account the lessons learned from week two you know am I designing a building what kind of label could I put on it is it something for corporate is it something evil or intimidating looking is it a building that's supposed to look silly or is it a in this case is it a is it a building that um you know is supposed to look stiff and sturdy or is it a building that looks you know kind of weak and humble if you take these kind of characteristics into you know into account when doing Your Design phase that in addition to the forms you can really kind of create something you know unique and that has a a function and a bit of a sense of a personality yeah yeah these designs are admittedly a little bit dry but it's just kind of more along the lines of the technical things and I want to just get you guys into the right headp space to kind of prep you uh for taking on this uh this week's assignment so you know in my head space at at this stage what I'm constantly just trying to juggle is you know adding and subtracting these various pieces and shapes to kind of create something quasi representational for a modern sort of architectural building these are I you could if I were to directly relate them to anything I guess in the real world it would probably be you know some kind of Refinery maybe some buildings from Dubai or you something fairly uh you know artistic and modern I wouldn't think this represents anything like a mum or a kind of typical kind of Civic building like a library or a post office this just doesn't come off as post off but no but maybe a bit of a Refinery maybe a factory again maybe some kind of corporate uh building or something along those lines so I'm trying to of course always think of the purpose and function of what these could do but yeah here's a little bit of like how to approach shapes and forms with uh a 2.5d kind of perspective so that means it's not really like true two-point perspective but there is a little bit of like this this goes to a vanishing point somewhere that way this side goes to a vanishing point that way so this is kind of like my medium design uh Challenge and of course I'm trying to break this down into large medium and small shapes I I don't think I've emphasized that large enough um but see like a building is quite a a little bit more complicated in in this example than a trash recepticle now for the hard one and I'd say in real time the whole design and stuff took somewhere between 45 minutes and an hour so this one's taking about three times the length you know of the of the previous two which I kept kind of simple so right I'm going right into kind of sketching the those 2.5d or kind of 3D style forms that I am just getting inspired by by looking at the different angles of this box cutter right what are the patterns you know what are the shapes what is the rhythms and really it I can't emphasize enough how much just physically holding this object and flipping it around it got me so much more familiar and and acquainted with how this thing could possibly be constructed and made and just to emphasize again I'm not literally trying to draw different parts and shapes of this with know potentially the the exception of that button you know the there the adjustable button right there on the bottom left but I'm just really exploring this and what I'm aiming for on this one is is basically a ship it's going to be a vehicle design I've decided that it's going to be a modest sort of freighter so con basically think of it as like a uh a SciFi U-Haul or UPS truck I I don't think I kind of convey that enough I think I get a little too crazy with the design I could definitely approach it a lot more of an easier way but I got into the zone and I just kind of went with it so you know with that said if I were to iterate on this design and if I were to do multiple versions of it because I really only kind of do like two versions um if I were to kind of streamline it and push it toward what I think would be a little bit more focused yeah I would actually simplify the thing make it actually a little bit more boxy and truck like but yeah for the sake of just let's do a ship I think this will make for a little bit more of an interesting demo so yeah this is like the main body of it and this is kind of like my first quasi attempt at actually constructing what the shape of this could look like so see constantly erasing little lines where they would obviously overlap or obscure and it just keep the forms clean and I'm not I guess comparatively to like the the the demonstrations in in week two where I did a little bit more of a light looser sketchier approach I'm trying to be a lot more deliberate in this example and in this approach than that week I'm really trying to think about how these lines create shapes how these shapes therefore make forms and how these forms can lend to the function of their design so you know why would this be a little bit more complex because compared to like a trash receptacle well there's a lot more going on right there there's the cockpit there's thrusters there's various types of engines there's all the hatches in the Bas to or uh cargo um maybe there's different types of wings maybe there's retractable landing gear maybe if it's going through a hostile territory maybe it has potentially some light defensive uh Weaponry or mechanics or armor even so see like the the crazier the design gets or the more um complex the purpose could potentially be there's a lot more things basically to con consider and so I'm uh completely guessing you know my perspective at this point as well and we'll address that uh momentarily but it is funny like no matter how when I like start something like this I'm like I'm not going to go overboard with it I I if I get into the Zone I tend to go overboard so what I'm drawing here is again just kind of being inspired by some of these shapes and I'm trying to make some paneling or or maybe basically kind of basic cut lines you know on the wing just to make that breaking up that shape but that Wing itself that you that's a large shape the body itself that's a large shape the um like the area where I just put all those hatches or Bays you know on the upper end in between the wings right those would be small shapes those would be medium shapes so I am constantly trying to juggle a a solid variety of those so again right for the assignment try to stick as close as you can as a singular object imagine what it could be ask yourself whether it's organic or geometric and then try to use a contrast of big medium and large shapes and forms that are unified so that means in this case I'm not going to go stick some uh giant Square on this this isn't that that square or blocky or major ellipses on it there is like various little small circle circular elements on this but they're more tertiary so I'm trying to keep keep that consistent language and of course if you do apply a label to it like we did in week two uh it'll be even more focused so and what I did here on this version I I thought the the hole on that one was simple and it it was kind of good being simple so I combined that random sketch I did up there it's like yeah how could I use this for um you know part of the design so I'm just kind of sticking that up there for now I'm going to enlarge this a little bit so I can get in here and basically refine this so what I'm doing here is I'm adding a little bit of a quasi perspective grid so these are just vertical and horizontal lines right on a singular layer so if you wanted to add perspective to these you just need to adjust and warp it to your you know desired perspective choice I think this is a little bit of a simple layout I'm going to go with that so see now I can make that a little bit bigger and I can basically lower it so now I'm kind of primed and set to either correct the perspective on this and basically kind of finalize the design quite a bit more so remember that that first pass really was just um if if you're looking to really perfect things is was intended to just kind of figure out um a lot of the language and the the core design but obviously it was marred with you know perspective errors and lots of other little inconsistencies so now is my chance right to revise at least on a first revision and and really fine-tune this design right nothing if anything we learned so far nothing in in a design sense is ever the best or the perfect on the first go so we we must embrace our mistakes right we must learn them from them and try to correct and improve Pro on each iteration on a lot of the even like the simple and basic design jobs I do often the minimum iterations is like eight yeah there's just there's always they even if they like a design or a client will typically like a design on the second or even first go they want to see what else you can kind of uh crank out uh just to see and explore the other possibilities and sometimes you know in a very common case a client will not know what they even want until they can see enough of what they don't want not always the ideal situation but it does happen so technique wise what I'm doing here is I made a new layer I have a brush with zero transfer or opacity setting so it's just a hard round circle brush and I'm painting white and I went into my layer styles to add a one to two point black stroke to it and so basically what I can do is just paint the outsides of things around the the brush setting again if this is something you uh think you'd want to try out in in order to draw and uh you're not sure how to do it just absolutely make sure to make a message or contact me and I will help you further on this I wouldn't say it's Advanced but if you're not entirely familiar with Photoshop you may have got a little lost but basically there's a little button in Photoshop it's it's called layer Styles it's in the layer palletes and you can enable it and you can basically do drop Shadows bevels you can stroke it and that's what I did so I'm just painting white but let's say if you're painting on a a a toned background or different color background and you paint white it's just not going to work and that's why I planning ahead I knew I was going to do a technique like this so I had to stick with a white uh background so see it actually kind of completely covers up the lines so this is perfectly great uh for different patterns mechanical things or something like uh hoses any line that runs in tandem or parallel with another line it's actually pretty useful for and you'll see me kind of come back and uh approach uh the design elements that basically I'm using it in a lot of these little areas like on those hatches and those Bays that have like a little bit more information on them so like it lets me imply lots of detail fairly quickly and so in terms of design how I'm keeping this or trying to maintain balance with it is I'm remember there's big medium small pieces but there's also coming back to the cake Theory example there's some that are areas that are a little bit plain and simple some areas that are kind of normally dense with details and some that are more complex and so I'd rather have lots of smaller areas that are complex in wider larger areas that are kind of simple to really kind of help uh you know maintain balance throughout the design I'm not trying to be a perfectionist with the lines on this but since this is my second go at this design I'm slightly making an effort to to keep it fairly clean but I'm not being you know absolutely per kind of per uh a perfectionist in regards I'm I'm just making a little bit more of an effort so see I am kind of facing lines and I'm making sure they're clean and they're direct now if you are using a newer version of Photoshop they do have a line smoothing option I using that and it's at about 20% and I'm using the very default hard round brush like these are not fancy Advanced brushes or techniques or features they're these are all kind of built-in stock in Photoshop if you have another another uh software that you like to use or even if you're sticking to paper that works as well I think there's an alternative external plugin some people like called lazy nazumi maybe a lot of like line artists that draw like manga characters and stuff like that I think but for the most part um yeah this is just kind of simple stuff so see some areas right that just look you know too simple for their good I'm going in here to try to add interest so around this cockpit window for example I'm trying to design this up so it doesn't look so Bland and boring so I'm kind of trying to sticking to these language you know languages of like not extremely sharp angles but a little bit you know they have a little bit of you they're angular basically they're not all kind of square and blocky so I'm imagining different shapes cut away and revealing other shapes and that's why I really just um I I I said this a couple times but like just if you're bored and you want to practice design or you want to work on sketching just draw those shapes you know the Primitive shapes squares circles cylinders uh triangles or pyramids and try just cutting away and adding to them in a very abstract way just so you can try to really wrap your mind around how you can manipulate forms and shapes you could do that almost indefinitely and always get something out of it and it's very simple and you don't need reference to do it either a basic understanding of perspective though that will go a long way all right moving forward to add a little bit more density of these designs I like uh how the grooves on that knife you know where you slide your thumb up I like some of the patterns and rhythms down there so again I'm trying to I am trying to keep the flow of these lines and how they lead to other lines it's not like my big thing with something like this but I am trying to be at least a little mindful of it but I'm more focused on the shapes the Simplicity or density of details and the Rhythm and pattern of those details th those are like my main kind of three things that I'm uh working with in uh Unison to try to make this first kind of stage work so see I'm trying out a few different lines here and there I'm trying some like retractable fins you know that a ship like may have if it's changing a direction somewhere like in an atmosphere obviously really wouldn't need something like this if it was just in space but yeah for now I'm just imagining like that'll have some little like fin little little robots lots of robots have these sort of things if even they have eyebrows but it's something simple helicopters have them more appropriately and more relatably and of course they're on the back of like jet wings and stuff like that so like I said if you drawing a spaceship or some kind of jet or car from whatever object you choose and you've never drawn that thing before take you know an extra detour and yeah I wouldn't say build a reference page but try to study what are the parts of it what do they do what does it need to function at a basic level that way you can at least use your imagination to kind of fill in the blanks and and that's kind of what we'll be looking for now if you need some ideas for objects like you just absolutely don't know what to choose musical instruments they're a great place to start anything from the kitchen whether it's food or tools and utensils those are perfect shower Goods things like deodorant sticks bars of soaps mechanical toothbrushes great sources of inspiration go to the garage you know it do you do you have tools what's in your toolbox do you have a garden what you know what kind of you uh garden tools do you have like these all work really great for this assignment um and they really work to d uh derive creativity your children's toys maybe they might be a little too representational but sometimes kids have weird things um if do you are you know if do you have a lot of jewelry go to the jewelry box what kind of shapes can you get out of those um shoes even that that could be an option literally you can choose anything so see I I made a little bit layer for this secondary flap up here that's got a little bit more purpose and power than the little guys but um I had to erase underneath it to make sure that it it reads well and just to the spirit of the function of this kind of like traditional airplanes and some sort of uh distribution trucks like I know like a Coca-Cola you know a soda beverage truck they have like all these sides and retractable doors that open up that they just load it up with product so I'm in in this design I'm going to put that in between the wings those are all expansion Bays as well as these ones up on top of the wing a lot of mistakes I do see with these sort of designs as everything is overdesigned has has panels or decals or or cuts you know like all out the design but it is good like anything to have some areas for the eye to rest some larger shapes and some smaller shapes in that regard um and so that that's what I'm just trying to do and what I encourage you guys to to aim for regardless of what you're drawing whether it's again something as simple as uh a trash receptacle or as complex as a space station again anything's possible so yeah just use your you know imagination this week try some things out um um you don't have to be overly precious with it we are here to make mistakes and learn so just embrace it and above all just have fun uh with the assignment just think of it as like a slightly more focused version of the week 2 one all right so see I'm trying out a few different uh techniques with these uh with the um stroke method that I me mentioned earlier for some pipes and exhausts and stuff like it's really perfect for that if you're using a hard round brush but yeah it's basically getting there some things that I haven't finished uh discussing would be like let's say if I wanted to add a major shape to this ship at this stage that can be a bit difficult right this is very busy uh in some areas to do that so what I did is add a new layer over like most of it and I lower the opacity so I can basically draw over it and kind of see what I'm doing on a different layer just a bit easier so basically I'm trying to again come back to the aditing uh additive and subtract Ive method of introducing a new form you know on this portion of the front I just think it would it was kind of overly busy and I wanted to add something a little bit more streamlined here so see I'm drawing over this and I'm trying to imagine how this shape here is intersecting with my existing uh geometry and this just allows me having that extra layer that I ghosted out the drawing allows me to really see uh how that can work and and of course it'll make it easier when I go back and erase the layer below it um it allow me to do that very easily as well so this is just another little trick if your Design's getting fairly complex and you're doing a late stage adjustment as I am here so see I don't want this piece too big but it it will simplify and Bridge a lot of these designs and flow I feel it looks a little bit more ship-like so I I kind of like this overall aesthetic so see I just make that selection and delete everything below it on the previous layer since I do have a couple layers of lines now and now I see it's very cleanly uh uh presented so that's a very uh efficient way to do some editing I'm just adding a few additional lines and I'm going to open up a panel on the side there to show uh just some extra cool pipes or like I'm I'm trying to simulate a little bit something more of like an engine and so I'm looking at the rivets and the grooves on that knife for this inspiration as well right so I'm just kind of changing that shape a little bit opening up that piece and then I can get in there I love to like you know that cutaway method of like okay if I rip this panel off or take this chunk of this shape out you know what can I stick inside of it it doesn't all make sense I don't have an engineering degree but you know I'm aiming for something that visually functions the rule of cool does matter uh is a thing and you know if your design does look cool lots of people can um you know Overlook maybe some of like the more serious design flaws like functionality or the technical aspects of things cuz a lot of people particularly for like something like uh games and film like stuff that look cool and of course that does matter in our designs so in most cases if you can you know objectively make something that like looks cool then then yeah you can get away with a lot more all right so just doing the last minute cleanup so what did I leave out at this point well I don't have any kind of figure imp ifications here for scale I have to address that in the next part and we could maybe add some landing gear but I'll see you then and we'll talk about finalizing these