thoughts on hand rendering in industrial design
DESCRIPTION
This was a slide presentation supporting a speach about the shifted importance and role of hand rendering in industrial design. For full speach text please contact Oliver Neuland from Massey Univeristy, Auckland, NZTRANSCRIPT
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Auckland School of Design Oliver Neuland 20071
Hand rendering as important part of the design process
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2Auckland School of Design Oliver Neuland 2007
“Even in our modern era, the first expression of an idea for a new car, or more in general for a new product, is a hand made sketch, drawn with pencils or pens.” www.carbodydesign.com “Digital Technologies in Car Design - Part 1”
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3Auckland School of Design Oliver Neuland 2007
Design sketches and renderings are not fine art!
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4Auckland School of Design Oliver Neuland 2007
They are a non-verbal language.
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5Auckland School of Design Oliver Neuland 2007
The semantic core of both is: to depict possibilities for potential industrial produced objects.
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6Auckland School of Design Oliver Neuland 2007
If something, than what is falling off the assembly line is the work of art!
Jeff Koons „New Hoover“
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7Auckland School of Design Oliver Neuland 2007
It is the purpose we produce it for which makes the difference .
Joseph Kosuth „One and three chairs“
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8Auckland School of Design Oliver Neuland 2007
Whereas in fine art, the drawing or painting is
already the object itself, in product design this
is just a stage towards it.
Mathias Weischer „Wohnwagen“
Oliver Neuland „Bikers Home“Concept sketch
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9Auckland School of Design Oliver Neuland 2007
The obvious, public noticed sign of the work
and effort invested in design processes is the
industrial product itself.
Philips LCD TV „Azrea“
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10Auckland School of Design Oliver Neuland 2007
Fine Art? – Freie Kunst?
Slawonir Elsner - Installation
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11Auckland School of Design Oliver Neuland 2007
Creative expression is a strong force. It forms
to a wide stream, caving our marks deep into
the environment and our actions.
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12Auckland School of Design Oliver Neuland 2007
For the longest time this stream was undivided.
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13Auckland School of Design Oliver Neuland 2007
Than the stream of creative expression was split.
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14Auckland School of Design Oliver Neuland 2007
“Fine arts” started to build a artificial channel
with watergates and sluices, trying to force its
part of the stream and content go up the hill.
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15Auckland School of Design Oliver Neuland 2007
Each sluice seems protected. Offering only
limited access to the secret signs, which
open the gates to the carried content.
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16Auckland School of Design Oliver Neuland 2007
The rest of the audience is not always able to
cope with the multilayered signs and evolved
aesthetic language used in modern “fine art”.
Andreas Gehlen - InstalationAnke Grams „wenn sie nicht gestorben sind“
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17Auckland School of Design Oliver Neuland 2007
The “fine arts” stream has itself immured –
looking over the wall towards the stream in order
to reflect on what is happening in the real world.
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18Auckland School of Design Oliver Neuland 2007
The creative stream will always remain.
The artificial separation “fine art” will sooner
or later disappear or run dry.
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19Auckland School of Design Oliver Neuland 2007
Designers render and sketch to describe and
visualize a future object. Therefore this is one
of several tools on the way from idea to reality.
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20Auckland School of Design Oliver Neuland 2007
Try to think of sketching and rendering as a
sand casting mold or the cocoon of a butterfly.
A stage of transition.
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21Auckland School of Design Oliver Neuland 2007
Without cast no bell.
Without cocoon no butterfly.
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22Auckland School of Design Oliver Neuland 2007
Why pointing out that renderings for itself are so irrelevant ?
Because…
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23Auckland School of Design Oliver Neuland 2007
Every way to fulfill the purpose will be used
and will compete.
Approach: Get the message across and forget it!
Got on to the next idea.
So, No time for romantic moaning!
Time for analyzing the strengths.
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24Auckland School of Design Oliver Neuland 2007
“It is difficult to think that in the future a new digital technique will replace the traditional media, anyway the digital painting techniques are more and more used from the first phases of the design process.”www.carbodydesign.com “Digital Technologies in Car Design - Part 1”
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25Auckland School of Design Oliver Neuland 2007
It is important to separate:
+ Sketching and quick rendering
+ Presentation rendering and final visualization.
Honda Inhouse design CBROliver Neuland Aprilia „Automatic bike“
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26Auckland School of Design Oliver Neuland 2007
Sketching and quick rendering
+ A internal tool, therefore rough and unfinished
+ Lines are more important than surfaces
+ Rather symbolic and overdrawn in proportion
Oliver Neuland Hörmann SenderOliver Neuland Aprilia „Automatic bike“
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27Auckland School of Design Oliver Neuland 2007
Foundation for interpreting simple lines and give them a meaning are:
+ Gestalt rule of “Invariance”,
+ Gestalt rule of “law of closure”
+ Ability to imagine a tree-dimensional object
Oliver Neuland Hörmann SenderOliver Neuland Aprilia „Automatic bike“
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28Auckland School of Design Oliver Neuland 2007
Oliver Neuland Traktor for Russia Honda Inhouse design CBR
Presentation rendering and final visualization
+ A tool to communicate to the outside world
+ Easy to read for untrained to make decisions
+ Surfaces, color and materials become important
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29Auckland School of Design Oliver Neuland 2007
Importance will be different in future with todays
pace of design processes and 3D modeling.
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30Auckland School of Design Oliver Neuland 2007
Don´t blank out the human factor in the
creative process and in decision making!
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31Auckland School of Design Oliver Neuland 2007
“Every car you see out there is sculptured by
hand (…) computers just reproduce them.”Chris Bangle TED Talk: “Cars are art” 2002; www.ted.com
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32Auckland School of Design Oliver Neuland 2007
“If you need to ask what computer programs
make nice shapes because the ones you draw
look ugly, then do yourself a favour and take the
fishmonger option.” ( twowheels 06/07, p.38-39
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33Auckland School of Design Oliver Neuland 2007
Planning ahead is the key to overcome the time
shortage. First step for this is to sketch.
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34Auckland School of Design Oliver Neuland 2007
Sometimes things seem so clear, that it feels
like a waste of time to draw it up first. -
Than you spend more time than you expected.
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35Auckland School of Design Oliver Neuland 2007
You tried to shortcut the birth of an idea.
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36Auckland School of Design Oliver Neuland 2007
According to Platon there is an eternal idea of
things (archetype) and an imperfect projection of
them which we see in the real world. (Platonic idealism).
Projection/ Form in real world Archetype/ idea
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37Auckland School of Design Oliver Neuland 2007
Scribbling and Sketching can be seen as the
birth hour of the form into the physical world;
as its first visual appearance.
Gottfried Marta „Lepa Zena“
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38Auckland School of Design Oliver Neuland 2007
“Design is like an explosion in reverse” Dick Powell, founder of Seymour and Powell London
In this analogy a stack of thumb nails is like a particle cloud of notions which starts to become solid.
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39Auckland School of Design Oliver Neuland 2007
Hands, pencil and paper, hard to beat!
+ Fast;
+ Easy to use;
+ Common understood;
+ Self-sufficient from any infrastructure;
+ Tangible;+ Can be illogic and fragmental. (See: Gestalt rules)
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40Auckland School of Design Oliver Neuland 2007
“Wer schreibt der bleibt.” “Who writes remains.”
The ability to visualize ideas is a strong tool to
control a discussion and push own interests.
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41Auckland School of Design Oliver Neuland 2007
Quick renderings: Designers appreciate these
loose illustrations because the renderer needs to
master the art to omit and expresses that the
work is in progress.
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42Auckland School of Design Oliver Neuland 2007
Looking at practicality, efficiency and pace - are
computer input-devices meant to displace the
accurate, elaborate depiction by hand?
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43Auckland School of Design Oliver Neuland 2007
Now think of the successful brand and the
products of Harley Davidson – they do not
stand for even one of those attributes.
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44Auckland School of Design Oliver Neuland 2007
A Harley promises to be tangible with several
senses. It roars, it vibrates, it smells, it even
glows sometimes and its basic function is easy
to understand.
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45Auckland School of Design Oliver Neuland 2007
Products which offer this kind of values are
considered as “honest”. The way they work and
are produced seem obvious and makes a direct
connection to classic craftsmanship.
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46Auckland School of Design Oliver Neuland 2007
Producing things by hand reminds the viewer
instantly of the producer as a creative mind.
It establishes respect.
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47Auckland School of Design Oliver Neuland 2007
“Kunst kommt von können.” (Art comes from mastership.)
A common aesthetic understanding in society.
In this, someone who can draw is an artist.
Even thought that’s no true, you can utilize it
with hand renderings!
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48Auckland School of Design Oliver Neuland 2007
An disadvantage turns into an advantage.
The illustration by hand transports personality
and character.
Imperfections make it authentic and real.
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49Auckland School of Design Oliver Neuland 2007
Renderings are open for interpretations.
The client sees the solution which fits in his world
of production, marketing and style.
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50Auckland School of Design Oliver Neuland 2007
Producing a rendering by hand is a welcome relief
from the computer work. Using real pencils and
markers as well as touching paper is a sensual
experience.
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51Auckland School of Design Oliver Neuland 2007
Hand rendering is:
+ One of several options;
+ Underlines you position as creative mind; and master of your craft;
+ Transports personality and character;
+ Open for interpretation;
+ Low tech -no technical equipment needed;
+ Multi-sensual.
+ Fun.
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52Auckland School of Design Oliver Neuland 2007
A rendering sometimes remains, when the
product has already died.
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53Auckland School of Design Oliver Neuland 2007
Thank you for your attention!