Perspective sketching Freehand and Digital Drawing Techniques for Artists Designers by Paricio Jorge (z-lib.org)

This final step shows the sketches
with the two red tones, the front metal
grills, and the shadows behind the room
heaters; this suggests the supposed
light source was located in front of
these objects.

CHAPTER 3 – PHoTosHoP PAinTing 199

The design for these cleats was
developed by RISD student Jacob
Amrhein. These preliminary sketches
were done with pencil on bond paper.

200 PERSPECTIVE SKETCHING

Jacob visited The Edna Lawrence
Nature Lab at RISD, which has a large
natural history collection on display
to serve as inspiration for students.
He sketched the head of a snake,
focusing on the texture of the scales.
This helped him choose the color
combination and define the shape
and texture of the cleats.

CHAPTER 3 – PHoTosHoP PAinTing 201

Jacob continued working on the
initial concept, switching to Photoshop
to explore a variety of textures.
To simplify the process, he worked
with orthographic projections, so that
the textures would not have to be
formed around a curving surface.

202 PERSPECTIVE SKETCHING

Jacob switched back to the three-
quarter view from the first sketch,
because it showed the hexagonal texture
on the side of the shoe and on the front.
But that switch made the process a bit
more challenging, as the texture looked
fake as a flat image.
After deciding on the final size of the
hexagonal cells, Jacob added some
Bevel and Emboss effects and worked
with the Displace filter. The edges finally
were masked to fit the area designated
for this texture.

CHAPTER 3 – PHoTosHoP PAinTing 203

RISD student Elizabeth Connolley drew The process is shown at the bottom
a chair that would convert into a bench. of the illustration. First, she drew a
This chair is to be made of laminated large ochre rectangle, which was later
wood, and that needed to be shown modified choosing Texture > Grain >
unequivocally. Grain Type > Horizontal direction.
The last two steps involved choosing
The rendering itself was created with the Edit > Transform > Distort, to place the
mixing of freehand and digital rendering best direction for the grain, and finally
techniques. While the outline was done the ochre color was masked out to fit
by hand using two different line weights, inside the chosen areas.
the color was applied in Photoshop. The
texture depicts birch plywood, and it was
done utilizing the Filter Gallery, under
the Filter tab in the main window.

204 PERSPECTIVE SKETCHING

Here, I am showing how to add textures
to a hand rendering to increase the level
of realism. The wooden floors in this
space look good, but need more texture.
To the right, we have a rectangle of
approximately the same size that we
need to cover in the space. We applied
a Horizontal Grain with an intensity of
thirty-three and a contrast of three.
In this next image, we worked with the
Liquify filter, found under the filter
menu. This option will bring a new
window over your original image, and
with some care you can add burls and
wood knots by playing with different
brush sizes and options. The one that
has given me better results is the Bloat
tool (marked in red).

CHAPTER 3 – PHoTosHoP PAinTing 205

The Distort tool, found under File >
Transform, allows us to pick each
individual corner of the texture
and situate it right where it belongs.
This image shows the layer all stretched
out to match our floor perspective.
Note that in order to stretch it to fit
it in the perspective, we reduced the
opacity to 50 percent.
We repeated the same process of
distorting an image for the red carpet
in front of the entry door, but reducing
the opacity to 30 percent.

206 PERSPECTIVE SKETCHING

RISD student Kegan Tawney, depicted
a series of concepts that were developed
for a slip casting class. Kegan worked in
parallel, learning the technique in the
ceramic studios, and developed a series
of sketches to define the shapes that he
wanted to pursue further. While Kegan’s
precision with his line work is notable, he
still needed to add shadows and color to
define the shapes with more precision.

Kegan scanned his sketches and added
color and shadows digitally to obtain a
better sense of volume. He also needed
to depict the right color choices and
surface treatment, to mark clearly if
certain designs were going to receive
glaze or not. On top of that, some of
his designs had to show textures or line
art in the surface. The cup with the
wooden handle was done in Photoshop,
and later it was deformed to make the
wood grain wrap around the handle.
The two white cups with the blue
background have two different motifs
that were done in a two-stage process.
First, he created his line art in Illustrator
and imported that as a Working Path
into Photoshop. Then he distorted the
path to fit to the curves, and finally
picked a color to fill them in.

CHAPTER 3 – PHoTosHoP PAinTing 207

RISD student Hanna Oh sketched
a concept for a pair of sport shoes.
First, she concentrated on developing
as many ideas as possible, with an
emphasis on the transition from one
material to the next. These sketches
are done with a thin line brick-red pen.

208 PERSPECTIVE SKETCHING

Once one concept was chosen, she A
explored one idea, using all freehand B
techniques. She started with very thin
pencil lines and later added marker DC
tones in red and gray. Then she added
black lines, very thin to show texture
and stitch lines; intermediate lines
show changes of materials, and a thicker
line to mark the perimeter of the shoe.
The bottom edge of the shoe got an
even thicker line to make it be more
grounded.

Note: If we want to reduce the intensity
of our saturated markers, we can always
apply them on the back of the paper.
This would only work if we use either vellum
or any other lighter type of marker paper.

A: Shading on the edge done with a soft
black pencil over a red marker tone.

B: Stitch marks done with a thin black
pen.

C: Texture done rubbing black pastel
over a metal grill placed underneath.

D: Texture done rubbing white pastel
over a metal grill placed underneath.

Hannah scanned her sketch into A
Photoshop and added different colors B
progressively in layers, one on top of
another.

A: Photoshop Mesh, masked to
appear only on the shaded side
of the gray area.

B: Stitch lines done with a custom-
made stitch brush, done in light gray.
Stitch lines are also masked to appear
stronger on the shaded side.

CHAPTER 3 – PHoTosHoP PAinTing 209

RISD student Emily Fang developed
these athletic shoe concepts with a
breathable mesh. This is apparent in
the different shading on some of these
sketches.

210 PERSPECTIVE SKETCHING

This Photoshop rendering shows how
the mesh became the focal point.
Emily scanned a piece of fabric that
had the right texture, and then masked
it to fit the final shape. Then she worked
with the Dodge/Burn tool to increase
the highlights and dark edges, thus
avoiding the impression that the
scanned mesh would appear too flat.

CHAPTER 3 – PHoTosHoP PAinTing 211

GloSSaRy

Axonometric view Callout Contour, contour line (see
An axonometric view is a type of A callout is a written note added to a perimeter)
representation of an object or in the drawing to specify a particular feature
space where all the lines are drawn as that needs to be highlighted. These Cutter (see frame)
parallel lines, without converging into notes are accompanied by a callout
a point. The lines that define the three arrow that points to the specific area Dimension
directions in space, x, y, and z are drawn being described. When adding For an artist or designer, accurately
with a specific angle from each other. numerous callouts to a drawing, a recording a dimension is quite
designer would have to consider aligning important, as it has to exactly represent
Background (see foreground and them to create a balanced composition the distance between two points.
mid-ground) in the page. The distance is usually recorded on
A background relates to the an orthographic view. When placing
atmospheric elements that are placed Chamfer a dimension in the drawing, we would
around an object when we represent A chamfer is a flat edge that divides have to first draw two leader lines,
it. If we are drawing a product, the the two planes that define an edge. parallel to each other to define from
background could just be a color where to where we are dimensioning.
rectangle that is placed behind the Cone of vision Then we would draw our dimension line
object to give the illusion that there The cone of vision represents the range until we touch the two leader lines.
is some depth behind it. During a of vision that we have in a particular The dimension line would be redrawn
perspective, the background would perspective. If we imagine ourselves with two arrows at either end and
relate to the elements that are placed seen from above, the cone of vision would show the dimension, either
far away in the scene. Those elements would be the maximum aperture that above the line or in the middle of it.
are usually drawn with a lesser amount we can capture from a specific station Sometimes the dimension line is drawn
of detail. point. Typically, that range covers with dots or diagonal tick marks at the
from 60 to 90 degrees. It would be end instead. When dimensioning an
Brief entirely possible that one (or both) object, we always start with the three
A brief, or project brief, is a written of our vanishing points in a two-point basic measurements: the width, height,
description of a project. This is normally perspective rendering would fall outside and depth.
produced by the client and handed out the cone of vision.
to the designer or artist, establishing the Exploded view
specific terms of the project. It can be Construction lines The exploded view is a rendition of a
as short as half-page or as long as a In the process of getting a drawing product where all the parts are displayed
booklet. The difference between a completed, often designers work in a certain distance apart from each other.
contract and a brief is that the latter stages, evolving the work with different This allows the designer to quickly see
might include a description of the types of lines. Construction lines would the number of parts, or clusters of parts,
existing client profile, references to appear after having added some involved in the design. An exploded
previous research done, description preliminary lines (see underline) to view would normally be drawn to
of technological equipment or internal the drawing surface. These lines tend indicate how parts are assembled
architecture, references to color, to be more geometric as they would together. These types of drawings
textures, emotions that the new design be capturing the main volume of the are done as axonometric views, as they
might evoke, or inspiration drawn from object or series of volumes in a scene. are easier to draw and allow the designer
other disciplines. These lines are often drawn with to wedge other parts in the layout, if
crisscrossed edges to speed up they had forgotten to include them in
the process. a preliminary layout.

212 PERSPECTIVE SKETCHING

Fin loft (see mid-plane contour Foreshortening Gradation
curve) In perspective drawing, foreshortening The gradation is a smooth transition
describes objects, or parts of objects, from one color or shade to another.
Floor plan (see orthographic views) that would be drawn with a certain Gradations are often used to represent
A floor plan represents an orthographic amount of distortion. This situation is objects or surfaces that have clean,
view, or a scene, as seen from above. quite common in perspective drawing uninterrupted surfaces. Properly
For example, if we are representing and it might occur when we see objects cropped gradations can also be used
the first floor of a two-story structure, that are at close range—any detail that effectively as background shapes
we would have to first consider an would be drawn on the side would be behind rendered objects.
imaginary cutting plane that would slice barely showing. Also, objects that are
it at a height of four feet. This particular situated at the periphery of our range Hairline (see underline)
height will allow us to represent with of vision would appear foreshortened. A hairline can be interpreted as the
clarity outside walls, doors and windows, For example, an office building with very thin lines usually added to a
interior partitions, furniture layout, and many windows would be drawn with drawing to emphasize materials in
the materials chosen for the floor. foreshortened windows on the side a scene, texture, or graphics applied
facade. Regardless of the range of on the surface of an object.
Focal point foreshortening, more or less acute, all
In a perspective, the focal point will be the lines that are parallel to each other Hatching (see shading, shading
the specific area in the drawing where would still converge into their lines)
we would want to center our efforts and appropriate vanishing points.
attention. The designer would have to Highlight
choose whether it would be situated in Frame In the rendering process, a highlight is
the foreground or background, although A frame is a rectangular border added a bright spot that is added to represent
most often it would be in the front. onto some drawings to trim the amount a sheen or a reflection in the surface.
When drawing an object, the focal point of information that we want to include. Highlights are usually completed toward
usually shows an important feature that This border can be set off the edge of the end of the process when most of
defines its character. our page by 1 inch (2.5 cm), or any other the color has already been applied.
distance. If preparing illustrations for a Highlights are usually added with a white
Foreground (see mid-ground and story board for a television commercial, pencil, or with an opaque whiteout pen
background) for instance, we could probably consider if we need to achieve a much brighter
The foreground relates to the object the proportion or screen ratio of most spot. Sometimes highlights can follow
or cluster of objects that are situated screens of 16:9 (the screen ratio is the up a contour, if a strong light is directed
in a scene closest to the station point. relationship between the width and the to a corner.
Usually, objects in the foreground height of the screen). On the other
receive a thicker outline to define their hand, if we are preparing a series of
perimeter and are drawn with more cutters for the cinematography industry,
detail or color. Objects placed the the frame size will have to consider a
foreground usually become the focal screen ratio of 1:2.35. Often we want
point of our perspective. to draw lager than what can fit in the
frame we have set up and then lay the
cutter or frame on top to find the best
cropping area.

GLOSSARY 213

Horizon line Line weight Mid-plane contour curve
The horizon line represents the viewing Artists and designers need to have a A mid-plane contour curve is a curve
height of the person who is standing in good range of line weights at their that delineates a particular curvature
a scene or looking at an object. In a disposal when drawing scenes or objects. that appears in an object, usually
perspective drawing that is capturing a Showing a collection of at least three following a straight path, as if we were
scene, the most common viewing height different line weights in a drawing is cutting the object with a laser beam.
would be considered at a height of 5 advisable. In product design, the thickest The technique of drawing mid-plane
feet, 6 inches (1.7 m). In product design line usually represents the perimeter of contour curves is quite effective to
drawing, the horizon line would not an object. An intermediate line weight define the nuances of certain shapes,
necessarily be situated that high and would represent a parting line or a such as in transportation design. It is
will vary depending on the point of transition from one material to another. very common to draw quite a few
view chosen. In a two-point perspective A thin line would show textural notes, mid-plane contour curves on a single
drawing, the line that results from graphic elements placed in the surface, object, if the shape is particularly
joining the left and right vanishing points and/or dimensions. challenging. These curves are often
would give us the horizon line. drawn parallel or perpendicular to the
When drawing a scene, a thick line main axis of an object.
Isometric view would be used to define the perimeter
An isometric view is a specific type of of the objects situated on the Mid-ground (see foreground and
axonometric view where the space in foreground only. Intermediate line background)
between the three existing space (x, y, weights would be used to define the When drawing a perspective of a scene,
and z) is creating a 120-degree grid. inside lines of objects in the foreground the mid-ground relates to the objects
as well as all the lines that define the or architectural features that are
Layer other objects in the scene. A thin black situated not too close or not too far
In the context of freehand drawing, line would represent the textural from the viewer. Usually, objects placed
a layer would represent the different nuances of the different materials used. at this range of depth help designers
pieces of translucent paper that would define a larger context of use and the
be added progressively on top of one Logo atmosphere and personality of the
another as a concept is defined in its A logo, or logotype, is a graphic space. When drawing a product, the
entirety. During the early stages of representation of a commercial name mid-ground would relate to the other
defining the concept, designers often employed to allow users to recognize objects or elements that are surrounding
would work with very thin pencil lines the brand across different platforms. the object, which we are drawing, to help
(normally a 2H or 3H) or would use a The logo needs to be designed us create a context of use.
non-photo blue pencil to create some consistently so that it reads equally well
preliminary directional lines on the first across different media and substrates, Mid-tone
layers, often done with very gestural whether it is printed on a surface of an In rendering, the mid-tones would be
and loose strokes. object, on a business card, or placed in the tonal values that would be situated
front of a corporate building. in the center of a gray or colorscale
In the context of digital drawing, a layer range. They are used in conjunction
does not necessarily have to represent Medallion with highlights and shadows.
a progression in the developing of the A medallion is an architectural feature—
shape, but rather it can hold just a round or oval—that carries a particular Mullion
specific amount of information separate design on it. It can have a geometric A mullion is a vertical element that
from the rest. Layers are stacked one design, a floral design or even a bas- divides a window. Mullions can be
on top of another, just like we would do relief carving on it. Depending on the structural, to support the weight of a
with normal paper, but the opacity (as use, they can be made of plaster for heavy window opening, or decorative.
well as other filters) can be applied at indoor use, or carved wood, stone, or In the case of the latter, they are
will to show or hide all the layers that composite materials for outdoor use. thinner, made with molding and situated
are placed underneath. in front of a window pane. The horizontal
elements on a window are called
transoms.

214 PERSPECTIVE SKETCHING

Mylar paper Palette Perspective
Mylar paper is a type of paper, or film, In drawing and rendering, a palette Perspective is a representation of an
that is used in certain types of refers to the range of colors (or object, or a scene, in space, as it relates
renderings. It is a paper that is not textures) that we have available to to a particular position in space and a
coming from cellulose and offers great work with. When preparing a rendering specific viewing height. All the elements
vibrancy and tonal qualities to a color for an interior or an object, we usually that are represented in the perspective
rendering done with markers, pastels, work with a set of colors or materials are drawn to represent depth in relation
and pencils. It can be purchased as a swatches that would have been to the position of the eyes. In a
single- or double-sided paper, and it previously defined, thus dictating the perspective drawing, two parallel lines
is usually a more costly substrate as end result. will converge at a point in the infinite.
compared to more traditional papers,
such as vellum or marker paper. In a Parting line Picture plane
single-sided mylar paper, the usable side A parting line can define either the The picture plane refers to the plane
would be the matte side. In a double- transition between two materials in that captures the scene that we are
sided mylar paper (and since this paper an object or the barely visible seam drawing. If we imagine a person standing
is translucent) designers would use the resulting in a shape that is made of two at a particular station point, the picture
back for wet media (markers), leaving or more parts (usually coming out of plane would be the representation of the
the front for dry media (pastels, a mold). Sometimes parting lines are canvas or piece of paper that we are
pencils), thus avoiding smear strokes disguised in an object and are barely holding vertically. The picture plane is
or clogging the felt tip of the markers. visible, but other times the parting where we draw the scene that we see.
lines have a small radius on the edge. If we want to represent a dot in space,
Operational sequence boards (see That edge would be often highlighted that point will be drawn as the
shooting boards) in the rendering process (see highlight). intersection in between the picture
plane and the imaginary line that
Orthographic view/representation Pattern connects our eyes to that particular
An orthographic view is a specific In the rendering process, a pattern is spot in space.
representation of one object, or a scene, often referred to as a repetitive texture
where the different points that define that is present on certain surfaces. Pixel
each face it would be protected That pattern can be 3D or it can be A pixel is the unit used to reference a
perpendicularly through the object printed on a flat surface. Patterns can single position in a digital screen, when
into a virtual plane. If we imagine that be geometric or can represent a describing a raster image—an image
an object is placed inside a clear box, figurative element, such as flowers, made of pixels. Each pixel carries
the points and lines that define each leaves, or animal prints. information about its position and color.
of the six faces would be projected to The larger the resolution of an image,
each of the six faces of the cube, giving Perimeter the larger the amount of pixels it will
us the different orthographic views: A perimeter refers to the outermost line carry to describe it.
front, left , right, top, and bottom. that defines an object. In perspective
This technique is widely used by drawing, that line is quite useful to Plain
designers to place accurate dimensions separate that object from the A plain is a flat surface in an object or
on each of the views. In product design, background, and it would usually be in a scene. Objects that are complex in
the front view is usually chosen to be represented with a thicker line weight. shape can be simplified into a variety
the one that best describes the object. If the object has a hole that cuts of planes. Each plane would receive a
In architecture, the orthographic through its mass entirely, the resulting different tonal value in the rendering
representation of the front, left, or negative space would also be drawn process, depending on the location of
right views would be called an elevation. with a thick line. the light source set up for the scene.

Outline (see perimeter) Point of view (see station point)

Profile (see perimeter)

GLOSSARY 215

Reflection Shooting boards Storyboard (see shooting boards)
A reflection would be shown on the Shooting boards are a specific type of
floor directly under an object, if the drawing where the designer or artist Stroke
surface the object is placed on is shiny. produces a series of frames, or cutters, In drawing and rendering, a stroke is
Some other times the object itself might to represent an action that needs to be the resulting line from using a drawing
be shiny or specular (think of a vehicle), performed in a specific set of steps: utensil over a drawing surface. Strokes
and a reflection of the sky might be a scene that needs to be described in can be well delineated with the help of
rendered on the hood or on the top half successive stages; how a user operates a ruler or a drafting aid or can be
of the side. Reflections might pick up on a product; or a motion that is carried free-handed resulting in a more gestural
the colors they are reflecting, but also by a product in sequential order. In a line. When rendering with markers over
will be blended with the color of the few frames the designer represents— marker paper, the strokes need to be
receiving surface. For example, a red car visually—the motions that will describe a applied quickly and in parallel strokes,
might pick up some sky tones on some series of steps, using a minimum amount so that the resulting color will blend
surfaces. Consider what color you would of information, usually with black pens without leaving strikes across the area
pick to render the resulting reflections. or pencils and a limited tonal range. that we are filling out.

Rendering Sketch Texture
For the artist and designer, a rendering A sketch is a quick representation of In a rendering or drawing, the texture
refers to a sketch that has been an object, a scene, or any other motif, of an object, or an interior, refers to
developed further, by creating the done with a drawing utensil over a 2D the quality of the surface that is
lines that define its volume and by surface. It can be done by hand or using represented, and it can range from
adding color, textural notes, and shading digital techniques. It is an effective way matte or coarse to shiny or specular.
to define the different materials it is to quickly communicate a concept to Designers would have to represent a
made of. A rendering typically would other designers or to a client. It is often particular surface quality with darker
be drawn larger than a sketch, covering produced with a limited range of tools: color tones or thin lines, and that is
an entire page. a pad of paper, pencil or black pen, especially important when two or more
and some colors to give some contrast adjacent materials are present.
Shading, shading lines or give an accent to a particular area.
In the process of rendering, an object, A sketch is often accompanied with Three-point perspective
or a scene, would need to receive a series of quick callouts added on the A three-point perspective drawing
shading, or different tonal values (of side to explain certain features. considers the two vanishing points
gray or color), according to the light that we would have gathered in a
sources that we have. Shading would Station point two-point perspective, and all vertical
appear on the surfaces in the opposite Refers to the specific point in space lines would also converge into a third
direction of the light source. In the where we are standing to look at a view point in space. If we imagine that we
rendering process, the designer or artist in perspective. That point unequivocally are standing on top of a tower looking
will decide what type of shading will be places a viewer in the scene, marking a down, the vanishing point that results
most appropriate—whether that means unique distance from the floor to the from converging all the vertical lines
using darker tones in color or using eyes, and the distance from this point into a single point, it would be called
very thin parallel lines. This term is also and each of the vanishing points present a nadir. Likewise, if we are at the base
referred to as hatching or crosshatching in the scene. of the tower looking up, the vertical
if the lines intersect each other, forming lines above us would converge into
a tight grid. a point called a zenith.

216 PERSPECTIVE SKETCHING

Thumbnails Vanishing point
Thumbnails are “thumb-sized” quick The vanishing point is the point in
sketches that artists and designers often space where two or more parallel lines
create during the process of concept converge. If the lines are on the ground
ideation—usually before sketches or or parallel to the ground, they will
renderings. Drawing with thumbnails is converge into a specific point in the
an effective way to quickly explore horizon. Parallel lines that are situated
different concepts without having to in an incline will also converge into the
worry about specific details. Often, vanishing point, although it will not be
dozens of thumbnails can fit onto a situated in the horizon line.
single page. In the very early stages of
the project, the goal is to produce as Vantage point (see station point)
many thumbnails as possible and usually
there is no color or shading involved. Vignette (see frame)

Two-point perspective Vellum paper
In a two-point perspective drawing, Vellum paper is often used to sketch
we would situate objects in the space and render. Its translucency offers the
parallel or perpendicular to each other, possibility of developing concepts in
and that would give us two different layers. It accepts marker, ink, and pencil
converging points or vanishing points, tones well, and it comes in pads of
one on the right and one on the left. different sizes or even in rolls.
As a convention, all vertical lines would
be kept vertical without converging Wireframe
into another point in space. A wireframe is a representation of
a structure, or an object, exclusively
Underlay (see underline) using thin lines, as if the subject was
made of thin wire. Sometimes this
Underline representation is showing hidden lines
In the process of creating a rendering, to give the designer the opportunity
designers and artists sometimes work to see how the lines touch the floor
with an underline, which is a preliminary or how they affect other surfaces or
drawing that they can place under the objects (see underline). Often these
piece of paper they’re working with to wireframe renditions are produced
give them a base with which to work. digitally and printed out to be used
Often, designers would produce a as underlays to help designers draw
rudimentary layout showing just main accurate perspective views.
perspective lines or a skeletal structure.
Then, they work on top of that first
layout on a new piece of paper.
Sometimes, this technique gives them a
much needed foundation (and freedom)
to create believable perspective views.
Other times, this term refers to the very
loose lines that would first apply be
applied to the page, often done with
deliberate gestural strokes.

GLOSSARY 217

CoNTRIbuToR DIRECToRy

Amrhein, Jacob Morgan, Daniel Snell, Benjamin
P.200, 201, 202, 203 P.127 P.132
Rhode Island School of Design (RISD) RISD student, industrial design Brown University student. Exploded
student, industrial design department. department. Transitional running shoe. view of Timeless Clock.
Color drawings of cleat designs.
Napurano, Joe Tawney, Kegan
Cogle, Laurie P.17, 20 P.207
P.60 Concept layout drawings by Napurano RISD student, industrial design
The Art Institute of Pittsburgh, online Akilez Design Consultants, Inc. department. Photoshop sketches/
division, student, interior design drawings of product concepts.
department. Renderings in perspective. Ouchterlouy, Elliott
P.9, 41, 42, 43, 44 Willemsen, Stephanie
Connolley, Elizabeth RISD student, industrial design P.131
P. 135, 204 department. Tilt rotor shipping RISD student. Industrial Design
RISD student, industrial design container crane. department. Exploded vintage alarm
department. Packaging sketches and clock.
furniture design renderings. Oh, Hanna
P.136, 208, 209 Yining Shao, Mary
Fang, Emily RISD student, industrial design P.74, 75
P.210, 211 department. Shoe design and RISD student, industrial design
RISD student, industrial design packaging drawings produced for department. Sneaker rendering.
department. Shoe design and rendering Drawing for Design.
produced for Drawing for Design class.
Peer, Anthony
Harwood, Molly P.101
P.183 RISD student, industrial design
RISD student, industrial design department. Vending machine
department. Point of Purchase illustration.
Display Drawing.
Sager, John (Tate)
Lopez, Gabriel P.66
P.102, 103 RISD student, industrial design
RISD student, industrial design department. Elevation of maple syrup
department. Visual design and bottle concept.
concept design.

218 PERSPECTIVE SKETCHING

ACKNOWLEDGMENTS

To all the mentors that I have had Also, thank you to all the students from And finally big thanks to Emily, John,
through my professional life, Andres the Istituto Europeo di Design, Pratt Anne, and Cora from Rockport
Canovas, Joe Moya, Jay Crawford, Institute, The Art Institute of Colorado, Publishers who helped make this
Fred Blumlein, John Ciciora, Dr. Mitra Parsons School of Design, The Art publication a reality.
Watts, Jan Jacobson, Leslie Fontana, Institute of Pittsburgh Online Division
Adam Smith, Soojung Ham and to and Rhode Island School of Design,
the students that generously have because they pushed me with their
contributed their examples for this book. questions to be a better at sketching.

AbOuT ThE AuThOr

Jorge Paricio, M.I.D., Ph.D., was born He has taught perspective drawing and
in Madrid, Spain, but lives with his rendering for industrial design and
family outside Providence, Rhode Island. interior design at many institutions
After completing his bachelor’s degree on both sides of the Atlantic, including
in fine arts, in Madrid, with the highest the Istituto Europeo di Design,
GPA in the nation, he moved to in Madrid; Pratt Institute and Parson’s
New York City where he obtained a School of Design in New York;
masters’ degree in industrial design The Art Institute of Colorado, in
at Pratt Institute. Later, he obtained Denver; The Art Institute of Pittsburgh,
his Ph.D. in fine arts, also in Madrid. online division; and the Rhode Island
He has worked as a freelance designer School of Design, in Providence.
for various product and exhibit design
companies in Madrid, Arizona, Denver, He maintains two websites dedicated
New York, and Providence. to showing tips and tricks for industrial
design students and interior design
students: www.idrender.com and
www.renderinginteriors.com.
He also paints marine landscapes and
accepts commissions to paint house
portraits using watercolors. His work
can be seen at www.jparicio.com.

219

INDEx

A upright vacuum sketch, 92 exhibit design sketches, 140, 188, 189, 194
vending machine sketch, 101 finger pen sketch, 126
action symbols Warren, Rhode Island sketch, 81 house remodel sketch, 123
alarm clock sketch, 131 backhoe sketch, 87–90 interior design sketch, 98
clock sketch, 132 backpack sketch, 53–54 lunch box sketch, 164, 168
lunch box sketch, 168 bathroom faucet sketch, 63–64 materials and, 61
glove compartment sketch, 133 battery-operated saw sketch, 127 Newport, Rhode Island sketch, 81
packaging concepts sketch, 135 belt sander sketch, 138–139 paper and, 60
refrigerator sketch, 128–130 binoculars sketch, 116 park proposal sketch, 108
black pepper packaging sketch, 135 park sketch, 39
acute foreshortening, 14 boat sketch, 67 Pomham Rocks Lighthouse sketch, 80
airport sketch, 82 Brown University, 132 reflections of, 70
alarm clock sketch, 131 refrigerator sketch, 129
Amrhein, Jacob, 200–203 C rendering in different colors, 186
athletic shoe sketches RISD Museum sofa sketch, 83
camera angles shadows and, 176
Photoshop sketches, 201–203, 208–209, belt sander sketch, 138–139 shooting boards, 137
210–211 exhibit design sketch, 140 slip casting sketch, 207
scale, 17, 20 sofa sketch, 27–28
texture, 20, 60–62, 74–75, 201–203, car dashboard sketch, 133 street sweeper sketch, 156
210–211 cargo plane sketch, 41–44 stroke blending with, 60
automobile sketches, 102–104, 133, 178–182 cat carrier sketch, 76–77 table top sketch, 107
axonometric view, 12 center of vision, 30 trigger bottle sketch, 174, 177
chair-bench sketch, 204 upright vacuum sketch, 92–93
B chair sketch, 30–32 Waterman Building sketch, 86
Chippendale chair. See chair sketch. concept sketching
backgrounds circles, as ellipses, 144 coffee maker sketch, 117–121
alarm clock sketch, 131 cleats sketch, 200–203 concept car sketch, 178–182
bathroom faucet sketch, 64 clock design sketch, 132 exhibit design sketch, 140
battery-operated saw sketch, 127 coffee machine sketch, 184–185 house remodel sketch, 122–123
color and, 114 coffee maker sketch, 117–121 kiosk sketch, 112
cropping with Photoshop, 172 coffee service sketch, 84–85 live demonstration sketches, 113, 114
downtown sketch, 94, 95 Cogle, Laurie, 40 magnifying glass sketch, 137
exhibit design sketch, 187, 188, 192 color. See also tone. overlays, 117–123
gradations, 115 package concept sketch, 136
hand drills sketch, 114 alarm clock sketch, 131 park proposal sketch, 108–111
house remodel sketch, 123 athletic shoe sketches, 60–62, 209 pin-up sessions, 113
lunch box sketch, 163–165, 172–173 automobile sketches, 102–104 table top sketch, 105–107
package concept sketch, 136 backgrounds and, 114 cone of vision, 21
park proposal sketch, 109 backhoe sketch, 90 Connolley, Elizabeth, 135, 204
park sketch, 38, 39 black line smudging, 104, 120 contour line drawing
pitcher and glasses sketch, 69 cargo plane sketch, 43 backpack sketch, 53–54
point of purchase (POP) display sketch, 183 chair-bench sketch, 204 curve dimensions, 19
Pomham Rocks Lighthouse sketch, 80 coffee machine sketch, 184 Diode Laser Treatment System sketch,
Providence building sketch, 153 coffee maker sketch, 120 55–57
side table sketch, 73 coffee service sketch, 85 materials sketch, 51–52
slip casting sketch, 207 concept car sketch, 179–182
sofa sketch, 25 Diode Laser Treatment System sketch, 57
street mall sketch, 45, 46, 47, 48 dump truck sketch, 145
trigger bottles sketch, 175, 176

220 PERSPECTIVE SKETCHING

mid-plane contour curves, 58 Diode Laser Treatment System sketch, 56 street mall sketch, 48
room heater sketch, 58 exhibit design sketch, 140 three-dimensional perspective and, 39
shop vacuum sketch, 49–50 finger pen sketch, 126 vanishing points and, 22
contrast park sketch, 37, 38 house remodel sketch, 122–123
automobile sketches, 102, 179, 180 Providence alley sketch, 96 human figures
backpack sketch, 54 room heater sketch, 195 battery-operated saw sketch, 127
concept car sketch, 179 sofa sketch, 41 cargo plane sketch, 42
downtown sketch, 94, 95, 96 footwear sketches horizon line and, 48
dump truck sketch, 145 athletic shoe sketches, 17, 20, 60–62, park sketch, 37, 38, 39
lunch box sketch, 166 208–209, 210–211 sofa sketch, 25
pitcher and glasses sketch, 69 cleats sketch, 200–203 street mall sketch, 48
Providence alley sketch, 95–96 orthographic perspective, 17
side table sketch, 72 orthographic projection, 20 I
trigger bottle sketch, 176 sneakers sketch, 74–75
cube sketch, 51–52 training shoes sketch, 127 idrender.com sketch, 116
cutters. See frames. foreshortening, 14, 98 Illustrator software, 20, 195, 207
forklift sketch, 10–16, 18–19 interior design sketch, 98
D frames Internet hot spot sketch, 134
downtown sketch, 94–95
DCW (Dining Chair Wood) sketch, 99–100 interior design sketch, 98 K
dining room sketch, 146–148 Providence alley sketch, 95–97
Diode Laser Treatment System sketch, 55–57 freehand sketching kiosk sketch, 112
downtown sketch, 94–95 cat carrier sketch, 76–77
drawing tablets, 174 chair-bench sketch, 204 L
dump truck sketch, 143–145 imagination sketching, 105–116
dynamic views location sketching, 78–83 leg splint sketch, 100
lunch box sketch, 159–173 line patterns
automobile sketch, 102–104 observation sketching, 84–86
DCW (Dining Chair Wood) sketch, 99–100 retouching in Photoshop, 159–173 athletic shoes sketch, 60–62
leg splint sketch, 100 furniture sketch, 22 room heater sketch, 58–59
vending machine sketch, 101 line weights
G athletic shoe sketch, 209
E backhoe sketch, 89
geometric construction backpack sketch, 53–54
Eames, Charles, 99, 100 backhoe sketch, 87–90 bathroom faucet sketch, 63
Eames, Ray, 99, 100 upright vacuum sketch, 91–93 black line smudging, 104, 120
Edna Lawrence Nature Lab, 201 cargo plane sketch, 41
ellipses, circles as, 144 Gorham Manufacturing Company, 84 coffee maker sketch, 121
enclosure studies sketch, 135 cube sketch, 51
exhibit design sketches, 140, 187–194 H Diode Laser Treatment System sketch, 56
exploded view format, 116, 132 line variations and, 53
hair dryer sketch, 116 lunch box sketch, 167
F hand drills sketch, 114 material representation with, 51–52, 54
Harwood, Molly, 183 object separation and, 72
Fang, Emily, 210–211 Hepplewhite chair. See chair sketch. park sketch, 37
finger pen sketch, 125–126 horizon line Photoshop and, 167, 175
fin lofts. See mid-line plane contour curves. Providence building sketch, 152
focal point establishing, 21, 24 shop vacuum sketch, 49–50
exhibit design sketch, 140 street mall sketch, 45, 46
athletic shoe sketch, 211 human figures and, 48 surface representation with, 51–52
car dashboard sketch, 133

INDEX 221

trigger bottles sketch, 175 boat sketch, 67 Oh, Hanna, 136, 208–209
upright vacuum sketch, 92 brick, 46, 94, 95, 97, 115 oil heater sketch, 157–158
liquid container sketch, 66 chrome, 51, 66, 116 operational sketches
living room sketches, 33–35, 40 color and, 61
location sketching concrete, 38, 46 alarm clock sketch, 131
airport sketch, 82 diminishing intensity of, 74–75 clock design sketch, 132
Newport, Rhode Island sketch, 81 glass, 23, 51, 52, 67, 68–70, 71–73, 89, 90, magnifying glass sketch, 137
Pomham Rocks Lighthouse sketch, 80 115, 123, 152 refrigerator sketch, 128–130
Santa Fe Plaza sketch, 78–79 grass, 38, 39, 80, 115 training shoes sketch, 127
sofa sketch, 83 laminated wood, 204 orthographic projections
Warren, Rhode Island sketch, 81 line weights and, 51–52 athletic shoe sketch, 17, 20
Lopez, Gabriel, 103–104 liquid container sketch, 66 cleats sketch, 202
lunch box sketch metal, 63–64, 66, 71–73, 107, 196, 199 container sketch, 66
action symbols, 168 opaque, 69 forklift sketch, 15–16, 18–19
backgrounds, 163–165, 172–173 pewter, 65 Illustrator and, 20
colors, 164, 168 pitcher and glasses sketch, 68–70 vending machine sketch, 101
contrast, 166 plastic, 52, 92, 93, 185 Ouchterlouy, Elliott, 41–44
line saturation adjustments, 162 polished metal, 63–64
line tone adjustments, 160–161 rubber, 54, 61, 62, 70, 100, 179 P
line weights, 167 side table sketch, 71–73
scanning, 159 sketch descriptions of, 134 package concept sketch, 136
shadows, 169–170 sneakers sketch, 74–75 park proposal sketch, 108–111
tones, 171 stone, 45, 115 park sketch, 36–39
upholstery, 29, 32, 52, 83 Partnership for Providence Parks, 36
M veneer layers, 99 Peer, Anthony, 101
wood, 28, 32, 51, 67, 83, 99, 100, 105, 107, pewter teapot sketch, 65
magnifying glass sketch, 137 110, 115, 123, 147, 148, 204, 205–206, 207 photographs, as guide, 141, 149
markers meeting room sketch, 186 Photoshop
mid-plane contour curves, 58
athletic shoe sketches, 60, 61, 209 Montalbano, Jonathan, 36 Add Noise filter, 190, 198
automobile sketch, 104 Morgan, Daniel, 127 airbrush, 165, 179, 180, 181, 183, 184, 185
backhoe sketch, 90 alarm clock sketch, 131
battery-operated saw sketch, 127 N athletic shoe sketches, 208–209, 210–211
cargo plane sketch, 41, 43 background cropping with, 172
chair sketch, 32 Napurano, Joe, 17, 20 Background layer, 163–165
coffee service sketch, 84–85 narrative sketching Bevel effect, 203
dining room sketch, 148 Bloat tool, 205
lunch box sketch, 167 action symbols, 128–130, 133–135 Brush Preset panel, 174
package concept sketch, 136 alarm clock sketch, 131 Brush tool, 167, 168
paper and, 27, 50, 60, 65, 71, 83, 103, 104, battery-operated saw sketch, 127 Burn tool, 186, 192
120, 136 car dashboard sketch, 133 chair-bench sketch, 204
park proposal sketch, 108 clock design sketch, 132 cleats sketch, 200–203
park sketch, 39 enclosure studies sketch, 135 Cloud texture, 183
point of purchase (POP) display sketch, 183 finger pen sketch, 125–126 coffee machine sketch, 184–185
Providence alley sketch, 95 Internet hot spot sketch, 134 concept car sketch, 178–182
Providence building sketch, 153 operational sketch, 127, 128–132 Difference mode, 183
reflections and, 71 refrigerator sketch, 128–130 Displace tool, 195, 196, 197, 203
RISD Museum sofa sketch, 83 sequential views, 124–127 Distort tool, 206
side table sketch, 71, 72 tape dispenser/mud applicator sketch, 124 Dodge tool, 193
street mall sketch, 47 training shoes sketch, 127 drawing tablets for, 174
street sweeper sketch, 154, 156 Newport, Rhode Island sketch, 81 dump truck sketch, 144
stroke blending, 60 Emboss effect, 203
texture additions with, 61 O exhibit design sketch, 187–194
vending machine sketch, 101 Filter Gallery, 204
Waterman Building sketch, 86 observation sketching finger pen sketch, 126
materials. See also textures. coffee service sketch, 84–85 Gaussian effect, 190
bathroom faucet sketch, 63–64 Waterman Building sketch, 86 Gradient tool, 126, 187
hidden selections, 176
office sketch, 186

222 PERSPECTIVE SKETCHING

Horizontal Grain filter, 205 coffee service sketch, 84, 85 coffee maker sketch, 119
house remodel sketch, 122 cube sketch, 51 Diode Laser Treatment System sketch, 56
Hue/Saturation adjustments, 162, 166, 177, pewter teapot sketch, 65 shop vacuum sketch, 51
185, 190 pitcher and glasses sketch, 70 sofa sketch, 28, 29
importing multiple pattern layers in, 195 point of purchase (POP) display sketch, 183 shadows
Input Levels graph, 161 room heater sketch, 59 automobile sketches, 102, 179, 180
Lasso tool, 126, 166, 169, 177, 191, 193 side table sketch, 71, 72 backhoe sketch, 89
Layers panel, 163–164, 169, 175, 188, 189, street mall sketch, 47 backpack sketch, 54
191, 192, 193, 195, 197, 198 tea kettle sketch, 116 chair sketch, 32
Levels panel, 160 trigger bottles sketch, 175 coffee machine sketch, 184
light effects, 193, 199 upright vacuum sketch, 92 colors and, 176
line tone adjustments, 160–161 refrigerator sketch, 128–130 cube sketch, 52
line weights, 167, 175 renderinginteriors.com sketch, 115 dining room sketch, 148
Line Work in Multiply mode, 188 repeated objects Diode Laser Treatment System sketch, 56
Liquify filter, 205 linear perspective and, 23 dump truck sketch, 144
lunch box sketch, 159–173 SketchUp Components as, 157 exhibit design sketch, 188, 191, 192, 194
Magic Wand tool, 188 Rhode Island School of Design (RISD) finger pen sketch, 126
mask creation, 198 alarm clock sketch, 131 leg splint sketch, 100
Mask tool, 178 athletic shoe sketches, 74–75, 200–203, liquid container sketch, 66
meeting room sketch, 186 208–209, 210–211 lunch box sketch, 167, 169–170
Mesh, 209 automobile sketches, 103–104 office sketch, 186
Noise filter, 186 chair-bench sketch, 204 park design sketch, 38, 39
office sketch, 186 Edna Lawrence Nature Lab, 201 pitcher and glasses sketch, 70
Pencil tool, 174 liquid container sketch, 66 Providence building sketch, 153
point of purchase (POP) display sketch, 183 Museum sofa sketch, 83 RISD Museum sofa sketch, 83
Polygonal Lasso tool, 193 packaging concept sketches, 135, 136 room heater sketch, 196, 198, 199
Polygonal tool, 191 point of purchase (POP) display, 183 shapes of, 191–192
Rectangular Marquee tool, 172 slip casting sketch, 207 side table, 72
retouching freehand sketches in, 159–173 vending machine sketch, 101 slip casting sketch, 207
room heater sketch, 195–199 Waterman Building sketch, 86 sneakers sketch, 74–75
Rounded Rectangle tool, 195 room heater sketches, 59, 157–158, 195–199 sofa sketch, 28
shadows, 169–170, 176, 188, 191–192, 196, soft edges for, 191
198 S tape dispenser/mud applicator sketch, 124
slip casting sketch, 207 trigger bottles sketch, 176
texture additions to hand renderings, Sager, John (Tate), 66 upright vacuum sketch, 92
205–206 Santa Fe Plaza sketch, 78–79 shooting boards
trigger bottles sketch, 175–177 scale drawing belt sander sketch, 138–139
vending machine sketch, 101 camera angles, 138–140
wooden floors sketch, 205–206 axonometric view, 12 colors, 137
picture planes, 21 cone of vision, 21 definition of, 137
pitcher and glasses sketch, 68–70 forklift sketch, 10–16, 18–19 exhibit design sketch, 140
point of purchase (POP) display sketch, 183 isometric perspective, 12 magnifying glass sketch, 137
point of view (POV). See station points. orthographic projection, 15–16, 17, 18–19 package concept sketch, 136
point projection, 21 point projection, 21 storytelling, 136–137
Pomham Rocks Lighthouse sketch, 80 station points, 21 shop vacuum sketch, 49–50
preliminary ideations. See thumbnails. two-point perspective, 10, 11, 12 side table sketch, 71–73
Providence alley sketch, 95–97 three-point perspective, 12, 13–14 SketchUp
Providence building sketch, 149–153 school park sketch, 141–142 angle lenses, 146–147
sequential views Charcoal Loose style, 143
R battery-operated saw sketch, 127 Components, 157–158
finger pen sketch, 125–126 dining room sketch, 146–148
reflections operational sequence sketch, 127 dump truck sketch, 143–145
automobile sketch, 102, 104, 180, 181 training shoes sketch, 127 environment development, 141–142
backhoe sketch, 89 shading Match Photo tool, 149, 154, 155
bathroom faucet sketch, 64 athletic shoe sketch, 209, 210 object development, 141–142
coffee maker sketch, 119 cargo plane sketch, 41
chair sketch, 32

INDEX 223

oil heater sketch, 157–158 background gradations, 115 distortion and, 14
Orbit tool, 150 backhoe sketch, 90 forklift sketch, 11, 12, 13–14
photo tracing, 141 bathroom faucet sketch, 63–64 furniture sketch, 22
points of view in, 143 battery-operated saw sketch, 127 linear perspective and, 22
Providence building sketch, 149–153 boat sketch, 67 living room sketch, 33–35
Scene tab, 149 cargo plane sketch, 41, 43 oil heater sketch, 157
school park sketch, 141–142 cat carrier sketch, 77 sofa sketch, 24
Sketchy Edges style, 146 chair sketch, 32 two-point perspective, 24
Sketchy Style, 151, 155 clock sketch, 132 vending machine sketch, 101
street sweeper sketch, 154–156 coffee machine sketch, 184, 185
texture projection, 150 coffee maker sketch, 120 W
time limits for, 147 coffee service sketch, 84, 85
website, 141 dining room sketch, 148 Warren, Rhode Island sketch, 81
white models, 143–156 downtown sketch, 94 Waterman Building sketch, 86
wire frames, 144 dump truck sketch, 145 websites
slip casting sketch, 207 exhibit design sketch, 187–190, 194
sneakers sketch, 74–75 hand drill sketch, 114 idrender.com, 116
Snell, Benjamin, 132 house remodel sketch, 123 renderinginteriors.com, 115
sofa sketch, 24–29, 83 leg splint sketch, 100 SketchUp, 141
sport shoes sketches. See athletic shoe lunch box sketch, 160, 162, 163, 165, 166, white models
sketches. 167, 168, 171, 172 dining room sketch, 146–148
station points, 21 magnifying glass sketch, 137 dump truck sketch, 143–145
stitch lines, 62, 75, 209 park design sketch, 39 Providence building sketch, 149–153
storyboards. See shooting boards. pewter teapot sketch, 65 street sweeper sketch, 154–156
street mall sketch, 45–48 pitcher and glasses sketch, 69, 70 Willemsen, Stephanie, 131
street sweeper sketch, 154–156 Providence alley sketch, 95, 96 wooden floors sketch, 205–206
Providence building sketch, 153
T RISD Museum sofa sketch, 83 Y
room heater sketch, 197, 198, 199
table top sketch, 105–107 side table sketch, 72, 73 Yining Shao, Mary, 74–75
tape dispenser/mud applicator sketch, 124 sofa sketch, 28
Tawney, Kegan, 207 street mall sketch, 47
tea kettle sketch, 116 street sweeper sketch, 154, 156
textures. See also materials. table top sketch, 107
trigger bottles sketch, 174, 175, 176, 177
athletic shoe sketches, 17, 20, 61, 74, upright vacuum sketch, 92, 93
208–209, 201, 202, 203, 209, 210–211 Waterman Building sketch, 86
background textures, 183 trade show sketch, 140
chair-bench sketch, 204 training shoes sketch, 127
cleats sketch, 200–203 trigger bottles sketch, 175–177
Diode Laser Treatment System sketch, 57 two-point perspective
exhibit design sketch, 190 forklift sketch, 10, 11, 12
gradations as, 115 furniture sketch, 22
meeting room sketch, 186 oil heater sketch, 157
Providence building sketch, 150, 152 sofa sketch, 24
room heater sketches, 58–59, 157–158, vanishing points, 24
195–199
shop vacuum sketch, 50 U
SketchUp software and, 150
slip casting sketch, 207 upright vacuum sketch, 91–93
wooden floors sketch, 205–206
three-point perspective, 12, 13–14 V
thumbnails, 36, 49
tone vanishing points
automobile sketches, 102, 104, 179, 180, 181, acute foreshortening and, 14
182 closeness of, 14
athletic shoes sketches, 60–62, 74–75, 127, dining room sketch, 146
209

224 PERSPECTIVE SKETCHING