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Sketching – Themed Entertainment SSS #2


So, Cool Jacob Plocher ND: Um, so, with that, I'll introduce our presenters for today

Jacob Plocher ND: Sam Beckwith from UCF and all 100 words Jacob Plocher ND: From Notre Dame Both of them have really cool experience in sketching and rapid visualization and kind of bringing pencil and paper into really cool ideas and designs Jacob Plocher ND: Both outside of the themed entertainment industry and for projects in Themed Entertainment So I'll pass it off to Sam here, feel free to share your screen, Sam

Sam Beckwith: I sure person want to say hello Oh girl doing great I'm as I'm sure you guys are all taking zoom classes Right now, it's actually you guys stay muted Sam Beckwith: While you per se presentations

Please don't mess up the audio Sam Beckwith: Sides that let's start going Sam Beckwith: Let me just share a little screen here Sam Beckwith: Cool Can you guys see a slideshow in front of you, hope you do Sam Beckwith: Awesome

Alright guys, welcome to sketching one on one rapid visualization I'm Sam Beckwith I mean, I'm a graphic design major here at UCF, I'm a driving drone on on my life Alejandro Edwards (TEA@ND): I'm all 100 words I am a rising senior at university ordain and I'm an industrial design major Alejandro Edwards (TEA@ND): Just actually a more recent stuff started to drawing, but I've been loving it ever since I started Sam Beckwith: Alright, cool

So today, we're going to go over some basic drunk techniques and talk about what makes them so important Sam Beckwith: Starting off, um, they went to tell me what rabbit visualization is with like blow reactions button Raise your hand if we can unmute you Sam Beckwith: I shall not the host down by Sam Beckwith: Everyone has their hand raised You're gonna mute them that the type, just what is wrapped visualization wrong answers are

Okay Cameron Clark (TEA@UCF): So when I hear rapid visualization I think you're trying to communicate, an idea to somebody, very quickly, just with a quick sketch to get your idea across Sam Beckwith: A plus or absolutely right Sam Beckwith: I think visualization just a way to get your ideas on paper and way the others can understand So on the top right here we have a cuckoo arm right vehicle design battle hydro for a recent competition and for a separate competition on the bottom is a room in a haunted house I designed Sam Beckwith: Simple lines that represent a lot Sam Beckwith: Much larger idea

Sam Beckwith: So let's talk about rabbit visualization Nothing that theme park design Sam Beckwith: So when it comes to theme parks, the rough sketches and early concept art or the first glimpses of what the land will actually look and feel like, let's see what this example from early Jungle Cruise concept art but not exactly representations more Sam Beckwith: Just rough designs may change over time We don't typically mirror the final product Sam Beckwith: More into that unless we have some unused designs for the original Dumbo Ryan Disneyland

As you can see, this isn't some sort of elaborate drying just simple line work and shading to represent a larger concept Sam Beckwith: On the other hand, though concept are like this from galaxy judge So just how influential concept art can be on the final product Sam Beckwith: Looks something like this piece of art can be daunting, especially for new drawing it starts off just a few rough sketches, just like in the last slide Sam Beckwith: However, this is pulled from the very end of the design process and shows aren't exactly what to expect, without leaving much up to the imagination

Sam Beckwith: Of course concept darn design goes a long ways beyond the world The theme parks nearly everything use on a day to day basis, like your laptop lamp or chair you're sitting in mostly you started off Sam Beckwith: Most likely start off as a quick sketch from someone's head Sam Beckwith: On that sketch was probably handed off to someone else who could further develop the design to confound be produced in the US, that's intended the ability to draw something from your head really helps in a collaborative setting because sometimes we're just can't get the idea across Sam Beckwith: So over here, this is a product designed by Alejandro It's called a secure it attaches like the size of a wheelchair and like cleans the wheel

I'd spent It's pretty cool Sam Beckwith: As you see on the left It starts off as a couple quick lines and later towards the right becomes a more polished finished product This is a great example of how the first few sketches can evolve over time influence a more efficient product

Sam Beckwith: Is another example And so when I did of how I'm larger pieces of art electrician art Sam Beckwith: Are usually at the very end of a long process that the audience doesn't really get to see this process involves many using unused discard sketches that helped form the final outcome Sam Beckwith: So we're on the right we have the early schedule The Haunted Mansion super iconic building by Ken Anderson

Sam Beckwith: And I want to show you that building just says iconic iconic as this started off as a few quick simple sketches just line shape perspective and talk about all three of those things a little bit, um, hadn't stopped Alexandra Right Alejandro Edwards (TEA@ND): So, Sam Beckwith: Let me stop sharing my screen, though Alejandro Edwards (TEA@ND): Alright, so this is the part of the Alejandro Edwards (TEA@ND): Summer School session that you all want to do, get your pens your paper Paper your pencils are going tablets whatever have you

Because we are now going to begin the fantastic Alejandro Edwards (TEA@ND): Journey into learning how to grow So like I said earlier, Alejandro Edwards (TEA@ND): He fundamentals of drawing our line shape and perspective Alejandro Edwards (TEA@ND): In Alejandro Edwards (TEA@ND): Creating drones Alejandro Edwards (TEA@ND): It's just the simple Alejandro Edwards (TEA@ND): Just the simple concepts are allow you to take such massive designs from the simplest of phone phone demonstrations, all the way up to Alejandro Edwards (TEA@ND): Most gargantuan things like the Haunted Mansion behind me So we're going to start off by learning how to draw lines in rapid visualization sense Alejandro Edwards (TEA@ND): When you're drawing lines or in the industry need to be able to draw concepts really quickly and get them out to your superiors really fast because people want to expect quick Alejandro Edwards (TEA@ND): Quick results from imagine people

So to begin, let us start with the line Alejandro Edwards (TEA@ND): So can you take your Piece of paper out Alejandro Edwards (TEA@ND): When to start by drawing two dots at the top of the page Alejandro Edwards (TEA@ND): You see those Alejandro Edwards (TEA@ND): Now going to be connecting the two dots with the line, you're going to be going from one dot straight up to the other Make sure that you don't freak out like this Alejandro Edwards (TEA@ND): Because then you have this little bit of a tail end at the end and Alejandro Edwards (TEA@ND): That's, the showing that you're trying to rush through your process

Alejandro Edwards (TEA@ND): And you don't want to be doing that So you should go from one end to the other draw two separate lines in the same variation So when here Alejandro Edwards (TEA@ND): Line line Alejandro Edwards (TEA@ND): The first the first few attempts are probably going to be really crummy but that's okay because all art starts at the basics and at the basics

Everyone is not the greatest Alejandro Edwards (TEA@ND): This is only after like myself a couple of years of trying to perfect my designs So if your art doesn't look Alejandro Edwards (TEA@ND): Just like mind Don't worry Alejandro Edwards (TEA@ND): As you practice it up throughout the years, you'll be able to more effectively create these lines Alejandro Edwards (TEA@ND): I'll see you have any questions for me, just raise your hand

Alejandro Edwards (TEA@ND): Or unmute yourself and I will answer as best we can Alejandro Edwards (TEA@ND): We're just going to do this for a couple of minutes Alejandro Edwards (TEA@ND): Making sure that you have the ability to go from point A to point B Alejandro Edwards (TEA@ND): If you feel confident enough that you can draw between the two dots, get rid of the dots and then just start drawing from one side to pitch the other Alejandro Edwards (TEA@ND): And try to make sure that you keep the lines together Jessica G (TPED@Purdue): Your lines to look soon

Jessica G (TPED@Purdue): My screen Alejandro Edwards (TEA@ND): Um, it really helps with the two dots, you'll be it so Alejandro Edwards (TEA@ND): Just try imagining that the two dots are on the same plane and try to follow that internal plane that you have in your head Alejandro Edwards (TEA@ND): But might help a little bit also try burying your speed that you're trying to make the lines So some people take no time at all to make the two lines together Some people might take a little bit longer to make sure that they're able to connect it cleanly

Alejandro Edwards (TEA@ND): So it just depends Try very your speed also very your pressure of how hard you put your pencil or pen on paper Alejandro Edwards (TEA@ND): That might help streamline ones Alejandro Edwards (TEA@ND): So I'm sorry if you can't see your if I can't see your screens But if a good amount of people are done, go on to the circles

If you are not, do not worry Alejandro Edwards (TEA@ND): Keep making sure that your lines are getting straight and straighter If you feel confident that you want to move on Then you go into the next section, which is the shape that we're gonna be doing, which is the circle Alejandro Edwards (TEA@ND): Now the circle

Alejandro Edwards (TEA@ND): Is a lot more complicated one dimensional form line because you're trying to create a whole 360 degree shape that's consistently round Alejandro Edwards (TEA@ND): It hasn't fluttered between So what I would recommend is that you don't have your elbow on your drawing surface, make sure that's raised a little bit and that you're kind of hovering with your drawing utensil Alejandro Edwards (TEA@ND): A little bit over the page So for instance say that this is my piece of paper right here

Alejandro Edwards (TEA@ND): The back virtual background is kind of making this Alejandro Edwards (TEA@ND): So I'm going to turn that off first Alejandro Edwards (TEA@ND): So if I have my paper right here Alejandro Edwards (TEA@ND): I probably have my hand, probably about this high and making sure that the elbow does not actually touch the Alejandro Edwards (TEA@ND): Touch the writing service Alejandro Edwards (TEA@ND): What you're going to do is have that position and Alejandro Edwards (TEA@ND): Start making the circle Alejandro Edwards (TEA@ND): Yes, it's going to be a little awkward

I know Alejandro Edwards (TEA@ND): But for myself over the past couple months that I did this when I first started out, I was able to get those circles were looking like something like that Alejandro Edwards (TEA@ND): To really nice Alejandro Edwards (TEA@ND): Consistent Alejandro Edwards (TEA@ND): Little booze Alejandro Edwards (TEA@ND): Also you can vary the size to try and see if you can get smaller ones are bigger ones

Alejandro Edwards (TEA@ND): So you can start developing on that Alejandro Edwards (TEA@ND): Like the old adage from Monsters Inc tall kid says to get kids to climb on rocks Alejandro Edwards (TEA@ND): Just try all of them out Alejandro Edwards (TEA@ND): See what you get a feel for also if you have questions, just Alejandro Edwards (TEA@ND): Raise your hand up, or do you need to mute yourself Jacob Plocher ND: So I'll handle on some of these

I'm fine It's kind of tough to connect like the, you know, like the starting point with like the second pass through, if that makes sense You have any advice on how to sort of, like, make sure you're connecting those Alejandro Edwards (TEA@ND): I would say I keep your eye on the end Alejandro Edwards (TEA@ND): So as you're drawing the circle Make sure that you know where you started

Alejandro Edwards (TEA@ND): It's just going to turn into muscle memory as you develop your skills So the more times you're able to effectively gets towards that end point Alejandro Edwards (TEA@ND): The easier it will be to make up Alejandro Edwards (TEA@ND): Perfect circle Alejandro Edwards (TEA@ND): If you also want you can start making a circle, not touching the paper just Alejandro Edwards (TEA@ND): Do a circular motion with your hand gripping the writing utensil just hovering above the page and then slowly put up put pressure on to it, though Alejandro Edwards (TEA@ND): Get your muscle memory emotionally

Okay, so this is the shape I want to make And you'll be able to more effectively make circles If you start off covering Alejandro Edwards (TEA@ND): Don't have any questions so far Katelyn Wyatt (TEA@ND): Yes

Should we have our hands off the paper, as well as the elbow or just the elbow Alejandro Edwards (TEA@ND): I'm Alejandro Edwards (TEA@ND): Just, just the elbow for now Alejandro Edwards (TEA@ND): If you you can put your Paul the bottom part of your hand on it Alejandro Edwards (TEA@ND): If you want to have a little bit more control or you can have a sauteing as well It's really dependent on the girl

Katelyn Wyatt (TEA@ND): Thanks Alejandro Edwards (TEA@ND): Take about another minute Alejandro Edwards (TEA@ND): The section and if everyone is decently far ahead, then you can go on Alejandro Edwards (TEA@ND): If you're, if you're still working on the lines or in the circles Do not worry, this is all just very chill session

Alejandro Edwards (TEA@ND): No one's gonna not gonna judge you, if you're following Alejandro Edwards (TEA@ND): Alright, last checkup this before we go into the next one Everyone's good Alejandro Edwards (TEA@ND): All right, now we're going to Chris on to the perspective section of the fundamentals If you're still working the other ones Don't worry Alejandro Edwards (TEA@ND): Just, just come up to perspective when you can Alejandro Edwards (TEA@ND): But other than that, let's get started

So I'd recommend that everyone get fresh sheet of paper or clear out your tablet, etc Alejandro Edwards (TEA@ND): So, Alejandro Edwards (TEA@ND): I want you to begin by drawing a horizontal line on the long side of your paper Alejandro Edwards (TEA@ND): Through the middle Alejandro Edwards (TEA@ND): Everyone's got that down Alejandro Edwards (TEA@ND): I want you to mark on the ends of the line To the naysayers

Alejandro Edwards (TEA@ND): Is my screen not engine Ella: And I don't know about everybody else but I'm still seeing you Jared Walker: working fine for me Jessica G (TPED@Purdue): Check and see if it's showing up in a different screen because I can see him in the corner of his own shared screen Alejandro Edwards (TEA@ND): Sharing ratio

Alejandro Edwards (TEA@ND): So like I said before, make a line down the middle and put two little dots on the edges Alejandro Edwards (TEA@ND): These are which are going to be calling your vanishing points So our perspective drawings require the use of vanishing points in order for one dimensional one dimensional shapes like we've been doing with the lines in the circles to go into two dimensions, which includes for Alejandro Edwards (TEA@ND): Orbs of volume Alejandro Edwards (TEA@ND): So make the line two little dots and underneath the line, you're going to make a vertical line Alejandro Edwards (TEA@ND): So, Alejandro Edwards (TEA@ND): We're going to be drawing a simple box using perspective

So this is going to be one of the edges of the box If you can visualize a box on its side and you're looking right at the edge of it Alejandro Edwards (TEA@ND): Then going to take the Alejandro Edwards (TEA@ND): bottom and top of this line and draw two lines towards the right to mention Alejandro Edwards (TEA@ND): There's a lot of inside the box Alejandro Edwards (TEA@ND): When you're gonna do the same thing on the other side Alejandro Edwards (TEA@ND): There's your seconds I Alejandro Edwards (TEA@ND): Can make the two lines, you're going to make Alejandro Edwards (TEA@ND): Two more vertical lines a little far a little farther away from this first one

Alejandro Edwards (TEA@ND): So it's going to be right here Right Jack Irwin Miller: Hey Alan hunter Yeah So those two lines of a supposed to like connect or are they supposed to be a little bit of part Alejandro Edwards (TEA@ND): Of the two sidelines

Alejandro Edwards (TEA@ND): Yeah, I'm you hear me yes they're supposed to connect, but Alejandro Edwards (TEA@ND): In this instance, since we're just trying to learn rapid visualization They don't necessarily need to, you just want a good baseline for you to be able to Alejandro Edwards (TEA@ND): Connect the two sides together Jack Irwin Miller: Gotcha Thank you Alejandro Edwards (TEA@ND): Then after you make the two lines

The two vertical lines, you're going to take the tops of these two vertical lines here and here and draw them to the to the opposite vanishing point take this one right here and go to that venture points Alejandro Edwards (TEA@ND): one to the other and Alejandro Edwards (TEA@ND): Then, in essence, you have your basic perspective square Alejandro Edwards (TEA@ND): In deep dark in the lines a little bit by going back over them Alejandro Edwards (TEA@ND): Of the newly formed square Alejandro Edwards (TEA@ND): And you can erase the vanishing line and the Alejandro Edwards (TEA@ND): connecting points if you want Alejandro Edwards (TEA@ND): There you go Alejandro Edwards (TEA@ND): That's a basic perspective Alejandro Edwards (TEA@ND): When you tell drawing this I'm here

If you need me Alejandro Edwards (TEA@ND): If y'all want I can also show you how to do a version of this box but up here on the top So this is what's called a bird's eye view, you're looking down onto the box If we were to do it in this section of the Alejandro Edwards (TEA@ND): Of the paper, it'd be called a worm's eye view So you'd be looking up to it

Alejandro Edwards (TEA@ND): So either the box is being thrown beneath you, or it's coming into your head Alejandro Edwards (TEA@ND): This is the process So essentially, you are going to be inverting what you've been doing on the bottom So your first gonna make a line down the center of the top area Alejandro Edwards (TEA@ND): You can make your connecting points towards advantage of the engine

Alejandro Edwards (TEA@ND): Two little lines going off to the sides of it Alejandro Edwards (TEA@ND): Just like before, will take the top the now bottoms of the two new ones and drive into the opposite nationals Alejandro Edwards (TEA@ND): Edges Alejandro Edwards (TEA@ND): The box coming at your head Alejandro Edwards (TEA@ND): Eventually With enough practice doing these vanishing lines will be able to actually make these prospective drawings without the use of having to draw out the Alejandro Edwards (TEA@ND): The horizon line which is the line to the middle invention points, you'll be able to just do this

Alejandro Edwards (TEA@ND): Using muscle memory alone Something was Alejandro Edwards (TEA@ND): Box sands vanishing lines Alejandro Edwards (TEA@ND): If you feel confident you can try doing this, but if you want to stick with the vanishing vanishing lines that I could understand Alejandro Edwards (TEA@ND): Probably take another two minutes Alejandro Edwards (TEA@ND): Unless Does anyone have any questions

Jack Irwin Miller: I have question Jack Irwin Miller: Yesterday, so I don't know what kind of like are you do, but is this kind of something where, like, if you wanted to start doing like concept art it like a building like some kind of big like you could start with kind of a 3D box and just kind of keep building on Is that like a technique Alejandro Edwards (TEA@ND): That is actually what we're going to be talking about in about two minutes Jack Irwin Miller: Max those, like, it seems like this kind of good building block untended but like, yeah

Alejandro Edwards (TEA@ND): Oh yes, it's totally useful for building blocks in terms of that concept art style I'm coming from a more industrial backgrounds So not so much of a concept art idea So I usually like to draw things are Alejandro Edwards (TEA@ND): A little masters like phones Alejandro Edwards (TEA@ND): Say things like hockey arenas

Alejandro Edwards (TEA@ND): Like they have their handheld to find forums, so I'm able to use these perspective tools that I learned here and translate that into the forums, I'm working with concept artist Alejandro Edwards (TEA@ND): Takes references from other for other things and puts it into their drawings Alejandro Edwards (TEA@ND): I've actually been trying to learn that a little bit myself But for now, yes perspective is some of the building blocks for my my background Jessica G (TPED@Purdue): When I try making cubes My top always ends up or my bottom always ends up looking really fat

Do you have any way to combat that Alejandro Edwards (TEA@ND): Um, Alejandro Edwards (TEA@ND): Can you share your screen, so I can see what's coming Jessica G (TPED@Purdue): I'm writing on my top what but I can Jessica G (TPED@Purdue): Run the virtual background off and just Jessica G (TPED@Purdue): Hold it up I always get really fat at the bottom or top right Alejandro Edwards (TEA@ND): So, Jessica G (TPED@Purdue): I'm trying to point out it from yeah yeah Jessica G (TPED@Purdue): Yeah

Alejandro Edwards (TEA@ND): I'm so like the front line as little as little fatter than the other two lines And besides that So it's making it to the bottom looks a little bit better than the top Alejandro Edwards (TEA@ND): Yeah alright so Jessica G (TPED@Purdue): Looks like it's kind of funky angle Alejandro Edwards (TEA@ND): Like this section right here is a little bit better than the top right Jessica G (TPED@Purdue): I'm saying that like when you make the top Jessica G (TPED@Purdue): Of the box when you have the closing lines going to the vanishing points

My big problem always seems to be that it doesn't look Jessica G (TPED@Purdue): I don't know how realistic it looks like it's at Jessica G (TPED@Purdue): Different angles and it should be Jessica G (TPED@Purdue): No Ella: Justice I think the problem you might be having is just the placement of those side Line

Ella: Making your sides longer so just trying it seems like you tend to do the right one further away Just try and make it closer to that center line Yeah, because Alejandro Edwards (TEA@ND): Because that Alejandro Edwards (TEA@ND): That Ranger kind of working with more of a rectangular prison but an actual cube, like this one that I just drew It's more of a prism The National queue, because I put the right one more too far away

Alejandro Edwards (TEA@ND): So trying to make sure that they're equally spaced from the edge line at the very center that help make sure that the Q looks like Jacob Plocher ND: And I think part of it too is like vanishing points in the room Jacob Plocher ND: I'm like four inches away in a sense Right Jacob Plocher ND: So you can see how all hundreds, sometimes like curve

And that'll make things look like really sharpened drastic almost as if you were like, you know, zoomed in right next to the box if you Jacob Plocher ND: kind of imagine your vanishing points like a mile away and Jacob Plocher ND: Those might look a little less like Alejandro Edwards (TEA@ND): Alright, if everyone is good with that if even if you're not, don't worry about it We are going to be going on to the next section Alejandro Edwards (TEA@ND): So you've essentially learned all the very basic fundamentals Alejandro Edwards (TEA@ND): Of creating, creating ideas from your head onto the page, it does take a long time from you Going from basic line work and basic perspective, that might be a little Genki to actually Alejandro Edwards (TEA@ND): Going to really crisp designs that looking that look like the real thing

So don't really worry if your designs Don't look up to scratch right now if you keep practicing at it Then they definitely will Alejandro Edwards (TEA@ND): Look like a professionally done done things But for now, we're going to go on to the second section

Alejandro Edwards (TEA@ND): So if you get a new piece of paper out I want you to draw the horizon line way at the top Alejandro Edwards (TEA@ND): So, Alejandro Edwards (TEA@ND): Mentioned earlier Alejandro Edwards (TEA@ND): These perspective blocks can actually be used to create things sort of like Legos and building blocks So for this section

Alejandro Edwards (TEA@ND): I want you to take the perspective skills that you've been that you've just learned and expanded out into draw something Alejandro Edwards (TEA@ND): Similar to something that's in real life And we've chosen this beautiful thing right here The Haunted Mansion It's a pretty simplistic design in terms of overall shape It's basically a box with a triangle in the middle and pillars

Alejandro Edwards (TEA@ND): So what I want you to do is take your spirit perspective building blocks and try and create a haunted mansion I'll be doing this, along with you Alejandro Edwards (TEA@ND): So you can see the process of how I would construct the Haunted Mansion Alejandro Edwards (TEA@ND): And if you want to have Alejandro Edwards (TEA@ND): A reference picture of Haunted Mansion I have mine back up here, although my head's in the way

So I don't know how much use that might be Alejandro Edwards (TEA@ND): So if you want to also take a look at a separate image on either your phone or if you have a picture of the Haunted Mansion somewhere in your house because that's awesome You can look at that, too Alejandro Edwards (TEA@ND): But first we're going to make the edge of the house We're just going to be this section right here Alejandro Edwards (TEA@ND): So we're going to take a long line

Alejandro Edwards (TEA@ND): down this way Alejandro Edwards (TEA@ND): And we're going to kind of take that concept of extending out the eventually lines It's not going to be at these at the end of the page, the page is too small Alejandro Edwards (TEA@ND): Because if I did that the vanishing will be so like Winky that it looks like that, you're kind of going into ludicrous Steve from Spaceballs Alejandro Edwards (TEA@ND): And we don't want this because we want to have something that looks a little bit more realistic So the vanishing points are going to be kind of outside of the picture frame

Alejandro Edwards (TEA@ND): It's a little weird to think of But just try to imagine the page extending farther than the bounds of watching house Alejandro Edwards (TEA@ND): And trying to visualize that vanishing point further along So Alejandro Edwards (TEA@ND): So this is a much more realistic sense of what the automation might look like Alejandro Edwards (TEA@ND): Because instead of cramming everything down into the one vanishing point that ends right at the page you're able to extend the view a little bit longer so that it doesn't look like you're working space and time

Alejandro Edwards (TEA@ND): Next up is no said Alejandro Edwards (TEA@ND): Now we're going to take the Alejandro Edwards (TEA@ND): One edge of the Haunted Mansion the far end right here Alejandro Edwards (TEA@ND): So that's workspace for the front of the mentioned So this area right here is going to be the front side with the pillars Alejandro Edwards (TEA@ND): And then imagine vanishing point out on the side of your page Alejandro Edwards (TEA@ND): Try to visualize connecting towards that mentioned point Alejandro Edwards (TEA@ND): Everybody to do the backside robots

Alejandro Edwards (TEA@ND): Not terribly much because we're concerned mainly with the front view Alejandro Edwards (TEA@ND): An extreme angle from this Alejandro Edwards (TEA@ND): So I'm noticing myself that the initial line that I made is a little bit, a little bit too long because now it looks like that the only nation building itself is stretched at the very front So I'm going to make a little alteration Let's Alejandro Edwards (TEA@ND): Start with the top being here Alejandro Edwards (TEA@ND): So I do apologize in advance if anyone was caught Alejandro Edwards (TEA@ND): Up in the first one

Alejandro Edwards (TEA@ND): It's It is hard to do perspective drones So does it does take you realizing that some things are not weekend and you reduce Alejandro Edwards (TEA@ND): Here in there Alejandro Edwards (TEA@ND): Once you finally create your box you can highly in the Alejandro Edwards (TEA@ND): So that is the base for the automation Now we're going to add the most prominent feature of it

The triangle at the top Alejandro Edwards (TEA@ND): So I like to do here is to actually x out one of the sides So this is your Alejandro Edwards (TEA@ND): Corner corner Alejandro Edwards (TEA@ND): The separate your box their side of the box into forecasting those Alejandro Edwards (TEA@ND): You're going to take what's called the midpoint right here Alejandro Edwards (TEA@ND): That's the middle from the top to bottom

Alejandro Edwards (TEA@ND): One, I can see we're Alejandro Edwards (TEA@ND): Going to Alejandro Edwards (TEA@ND): Drop the actually draw the midline between the two zones Alejandro Edwards (TEA@ND): And go just a little bit higher Alejandro Edwards (TEA@ND): Here Here Alejandro Edwards (TEA@ND): It will be the two points

The end Alejandro Edwards (TEA@ND): Looks like a ground Alejandro Edwards (TEA@ND): You're gonna take the midline here, just go straight up Alejandro Edwards (TEA@ND): A little dot right here Alejandro Edwards (TEA@ND): Connect them up

Jessica G (TPED@Purdue): Repeat that real quick Alejandro Edwards (TEA@ND): Which which section Jessica G (TPED@Purdue): The ending parts of the triangle Alejandro Edwards (TEA@ND): So from from the, from the zone, making Alejandro Edwards (TEA@ND): Yeah, so you'll be Alejandro Edwards (TEA@ND): Creating these two axes here Sunday midnight drawing through the center Alejandro Edwards (TEA@ND): Well, little above the midline right here I'll be your first point to the assembly

Other side Second point, Alejandro Edwards (TEA@ND): And draw straight line from the midpoint itself up to the top of the box Great little dot Alejandro Edwards (TEA@ND): That Alejandro Edwards (TEA@ND): There's often Alejandro Edwards (TEA@ND): We're going to make sort of an imaginary Alejandro Edwards (TEA@ND): Imaginary but you're going to create some extra space Alejandro Edwards (TEA@ND): By Alejandro Edwards (TEA@ND): Perspective it out to be triangle So right now it looks like with the triangle is directly on the face of the box

But we had some perspective lines that are going to the vanishing points, way down that way Alejandro Edwards (TEA@ND): Going to add a little bit of Alejandro Edwards (TEA@ND): Just, just need to Alejandro Edwards (TEA@ND): Connect Alejandro Edwards (TEA@ND): Then Alejandro Edwards (TEA@ND): That's the top Alejandro Edwards (TEA@ND): Now we're going to have the very famous columns If anyone's having trouble still just unmute yourself and I'll try Alejandro Edwards (TEA@ND): Now circular calms me down is a bit tricky

Alejandro Edwards (TEA@ND): Because you're wanting to outline Alejandro Edwards (TEA@ND): When you want to outline the edges of the summer Alejandro Edwards (TEA@ND): So it's, it's a little harder Now, just to show you Alejandro Edwards (TEA@ND): The edge of the cylinder here because Alejandro Edwards (TEA@ND): They draw a line straight down to the bottom That's where Alejandro Edwards (TEA@ND): You're going to find the other edge of that cylinder And Alejandro Edwards (TEA@ND): Then going to make a small round at the bottom Alejandro Edwards (TEA@ND): To connect to the other side

Alejandro Edwards (TEA@ND): They're going to do that again But since these flows, a little bit close together, we're going to actually only draw one line Alejandro Edwards (TEA@ND): That's a little farther out over Here Alejandro Edwards (TEA@ND): And then make a curve that goes behind the first Alejandro Edwards (TEA@ND): Me do that again Two more times

Alejandro Edwards (TEA@ND): It's like we said before, rapid visualization is kind of crude in its own right Alejandro Edwards (TEA@ND): So this is definitely not in vitro in vitro of what the actual image looks like But that's a basic idea of the front Alejandro Edwards (TEA@ND): You can show that So I was like, oh, that's columns coming from Alejandro Edwards (TEA@ND): A pyramid, you Alejandro Edwards (TEA@ND): Can easily came Alejandro Edwards (TEA@ND): Now, Alejandro Edwards (TEA@ND): We're going to draw the Alejandro Edwards (TEA@ND): chimneys Alejandro Edwards (TEA@ND): And the Alejandro Edwards (TEA@ND): The center

Alejandro Edwards (TEA@ND): Image Alejandro Edwards (TEA@ND): I can never remember Alejandro Edwards (TEA@ND): It's the thing in the middle of the top of the roof, whatever that is called some again Satan shatters out really nice Alejandro Edwards (TEA@ND): So we're going to do is make to chilis on the side here, here, and we're going to have the spire the middle be about Alejandro Edwards (TEA@ND): So first we're going to Alejandro Edwards (TEA@ND): Fellow lineup Alejandro Edwards (TEA@ND): Things that are farther back Alejandro Edwards (TEA@ND): Are going to be a little bit longer at the top bit shorter at the bottom Alejandro Edwards (TEA@ND): And connected to over Alejandro Edwards (TEA@ND): That's genuine Alejandro Edwards (TEA@ND): Do the same thing again little further Alejandro Edwards (TEA@ND): That's the basic to children's Alejandro Edwards (TEA@ND): essentially doing is making of building blocks on top of each other

Alejandro Edwards (TEA@ND): Make the missile Alejandro Edwards (TEA@ND): Tower that goes in this Alejandro Edwards (TEA@ND): One last thing Alejandro Edwards (TEA@ND): For this little section because we are moving quickly through the township Alejandro Edwards (TEA@ND): We're just going to a little bit of Alejandro Edwards (TEA@ND): A design tool So as you can see on the side here There's a lot of openings for openings

There's no make those things on the second second and first floors and that will give us very basic representation of the Haunted Mansion within about Alejandro Edwards (TEA@ND): Like two arches on the side Alejandro Edwards (TEA@ND): You left on the left end of the arts is going to be a little bit lower than the right end Alejandro Edwards (TEA@ND): Because you're still going to be using the same vanishing point and connecting the two Alejandro Edwards (TEA@ND): And then it happens Alejandro Edwards (TEA@ND): A couple times on the side we'll probably just going through this time the right one is going to be lower because the vanishing point is on the left side Alejandro Edwards (TEA@ND): That's basically Alejandro Edwards (TEA@ND): A very quick, rapid visualization of the Haunted Mansion Sam Beckwith: Anyone who's following along Spanish want to like throw up your drawing to the camera

You sure everyone Sam Beckwith: Here at that point in Sam Beckwith: It's perfect Sam Beckwith: Sick All right, looking clean Jackie Alejandro Edwards (TEA@ND): Pretty good Spencer

Sam Beckwith: Oh, Alejandro Edwards (TEA@ND): My gosh Looks pretty good Alejandro Edwards (TEA@ND): Yes And here's Sam Beckwith: What's coming What's behind you That's done Alejandro Edwards (TEA@ND): So yeah, that is a basic perspective about put into a little bit more complex efforts in order to create something that we all know love and recognize Alejandro Edwards (TEA@ND): If you had definitely had more time, you know, you would be refining these forms constantly making sure that you are consistently improving them to make sure that it looks a little more like this

But overall, that is a basic foray into perspective revenue Awesome Sam Beckwith: Alright, cool Um, Sam Beckwith: si la guys, I'm still finishing up Sam Beckwith: What time is it Alejandro Edwards (TEA@ND): 657 Sam Beckwith: Alright, cool So, um, Sam Beckwith: Hmm

Am I still pushing to the next activity that's cool too Yes Sam Beckwith: Um, so I think here in South Sudan, an email before this whole thing regarding this little drawing right here Sam Beckwith: Um, Sam Beckwith: Yeah, of yes printed out or anything or have it downloaded on an iPad, something like that Well, if you do, though, you take out a little, little car line work

Sam Beckwith: Alright, so the basis of this is that check it out or epic universe or the people universal like hybrid dark ride with fast and furious because, you know, last one Sam Beckwith: A little not too exciting Do you want to up the ante with this one So they sent out the grub using these sort of vibe vehicles and asking you guys to redesign them Sam Beckwith: With this basic shape

You can add track to everyone, but your creative freedom He wants to eat You guys can come up with, with this Sam Beckwith: If you haven't printed If you haven't drawn it out, or sorry, I'm download or anything like that

It's fine You just kind of make your own sketch or couple what we got here But yeah, just to give you a little bit of time to create your own car theme right vehicle Sam Beckwith: And yeah Sam Beckwith: I think me now

I'll be sharing our screens Sam Beckwith: Coming in from my phone So you can see my thing to be drawing long to have any questions about how to do something If you're not sure what something looks like anything like that Feel free to unmute yourself and ask Alejandro Edwards (TEA@ND): This is your, your creative freedom time so Alejandro Edwards (TEA@ND): Take, take care

Take the time that you need Just go crazy with whatever you have in your head and check back and listen Exactly Jacob Plocher ND: One thing about this too, when you have your finished product If you like proud of it and you want to share it more

Just take a picture or scan it Jacob Plocher ND: And then we'll post it to the summer school session when they were building so like a collage with, you know, all 40 of your cars So if you can do that will have an email at the end Jacob Plocher ND: Caitlin, can you just put that in the chat Also, your email for people to send it into So if you have to dip early or if you want to spend more time than the third like 1520 minutes we have here, feel free to do that and then send it in

Caitlin My cool Sam Beckwith: I think got another email pop up in the last slide Sam Beckwith: So remember, this is a rough concepts, not have to be a perfect polished piece of art Sam Beckwith: Good try to use on the paper So I do Sam Beckwith: Cool Tim give out five more minutes

Finish up your designs to to work with Alejandro Edwards (TEA@ND): Don't worry if you don't finish these right now, you'll have you can keep designing them for a little while longer Just make sure you get the email for Caitlyn Alejandro Edwards (TEA@ND): On the community Sam Beckwith: Just wrap up real quick here another another minute, saying, you know, Sam Beckwith: I cool I'm just called out on time, of course, you can work on this more later

Not gonna stop you from drawing, but um yeah if you're proud of it, love you to get a picture of it, send over Caitlyn or email raving stir up to the camera Real quick, so it's what you got Sam Beckwith: Looks pretty sick Sam Beckwith: Also looking pretty cool All right

Alejandro Edwards (TEA@ND): Yeah Sam Beckwith: I haven't seen many Fast and Furious movies I just, I'm inspired mine on those are ridiculous cards you see Sam Beckwith: All right Alejandro Edwards (TEA@ND): Jack jack jack is bomb Sam Beckwith: Jet packs on Alejandro Edwards (TEA@ND): Just you might want to do your background

Jessica G (TPED@Purdue): I think I started trying to turn that into like a rip off of cars My Jack Irwin Miller: Jet engines, the back because I kind of just imagined Vin Diesel being like Jack Irwin Miller: To make Jack Irwin Miller: Sure we keep it rocket engine Sam Beckwith: Nuclear fusion and everything Alejandro Edwards (TEA@ND): Voice Michael McNaught: Um, I didn't end up working on the car don't have the portrait, but I ended up spending a lot more time on Alejandro Edwards (TEA@ND): That looks gorgeous Jessica G (TPED@Purdue): Oh, that looks so good

Jessica G (TPED@Purdue): Thanks, really Alejandro Edwards (TEA@ND): Good really good job Jessica G (TPED@Purdue): With a triangle on it is yours looks so good Michael McNaught: I'm a practice I'm also an industrial design

So that's part of it Alejandro Edwards (TEA@ND): Let's go Yeah Sam Beckwith: I was really, really good Sam Beckwith: Changing the workspace on you know Alejandro Edwards (TEA@ND): You guys took this like fish out of water

Sam Beckwith: Alright, cool So wrap everything up I'm going to pull up another PowerPoint Spencer McMillin: Is Sam I'm sorry I came into this call kind of late Is there a picture that we were referring to, well, drawing or Sam Beckwith: Yeah, so, um, I think, Helen, send one out

It was like I do a remind because basically I'm just low PNG have a car, you might have been in the email loopy for with tea and stuff Sam Beckwith: If you're not the US always asked by email me or something afterwards I'll email want to if you want it Spencer McMillin: Okay, I don't know if I am but I'll take a look I'm sure Sam Beckwith: Her without her on there, huh Okay Sam Beckwith: Everyone see my screen

Sam Beckwith: Awesome So this is the thing I gave you guys a little while ago Basic car And if you're in the theme parks, which I'm sure a lot of you are because you're here My actually recognize it

Sam Beckwith: Is from test track So as you can see I'm on the left, there's some really cool concept hard done by imagine years and they all start off as little sketches, like we just did and they got turned to a real thing, like here on the right Sam Beckwith: And I don't know, it's been Epcot recently because you know it's closed, whatever we've been since 2012 Sam Beckwith: Actually got to redesign It's all in blue And again, start off as concept art start off, it's actually sketched like what we just did, and got turned into a real concept is same thing we just did

Sam Beckwith: If you've been to California over and California Adventure Sam Beckwith: They got cars land and the same exact thing happened They start off with some sketches on a base model They did some more concept art and they actually built it Sam Beckwith: And I wanted to use this model of the the car to show you that this starts, just like with what you're doing

You may not be a concept artist or a or may not even want to go into this field but simple as what you're doing You know, Sam Beckwith: Helps Sam Beckwith: Alright, cool So now we've gone over some of the sketching basics and importance of rapid visualization as one wrap this up by saying thank you Sam Beckwith: To all of you for logging on here and we'll be guys say they can be Kayla and Jake or friend out notre DOM for you know saying this whole thing up Thanks Joe for doing this with me Sam Beckwith: Do you wanna say thank you

Alejandro Edwards (TEA@ND): Absolutely Thanks Sam for a green green to Alejandro Edwards (TEA@ND): Be part of this, you are absolutely fantastic and doing this Thank you all for joining us on this Thursday to just draw some stuff like Alejandro Edwards (TEA@ND): This something you can do Just read your home So pick a book

This paper Think of a pen or pencil good tablet Just get on it Alejandro Edwards (TEA@ND): This is really, it's really rewarding to be able to practice your heart and soul into it and then a couple of couple of years of trial and error able to create something as monumental or as impressive as any Jacob Plocher ND: Cool Well thank you both of you

Let's give them a zoom Round of applause for awesome session Thank you for putting that together That was a lot of fun Jacob Plocher ND: Just a reminder to send in either your Haunted Mansion or your car If you're proud of it to either the discord chat or to Kaitlyn

Jacob Plocher ND: Also, if you weren't on an email list Like if you found this through Instagram or some other way Jacob Plocher ND: Just also shoot a message to Kaitlyn, and we'll make sure to add you to the email list so you see all of these in Jacob Plocher ND: Future weeks and then just as a heads up next Thursday will be having Jacob Plocher ND: A career building session with Paul Auster help from Disney Imagineering was actually over in Beijing right now And he'll be Jacob Plocher ND: walking us through sort of like how to present yourself, especially in this coronavirus time and then on the Friday after we're going to have like a networking night It's like a mixer for all students

Jacob Plocher ND: In Themed Entertainment So all of you are welcome to join It'll just be a chance to meet a bunch of other students interested in the industry and to put into practice some of those things we learn at Thursday's session Jacob Plocher ND: And then the one other one to call out We don't have the date exactly determine there will be a sketching like two point O session with a Disney Imagineer Jacob Plocher ND: Concept designer so he'll help us take the like foundation skills we learned here and apply them more directly to the industry that I assume most of us are interested in working in Jacob Plocher ND: With that, I'll send the discord link in the chat and are there any other last questions

Jessica G (TPED@Purdue): It when could you send your email in the discord chat one last time, really quick Jacob Plocher ND: And so, find the group Katelyn Wyatt (TEA@ND): chat right now the zoom chat Jacob Plocher ND: To Jeff, thank you Jack Irwin Miller: Hey, I'm gonna get offer for me a few minutes because the next session is like I think an eight minutes

Jacob Plocher ND: And that's what I was gonna say eat Jack Irwin Miller: For eight minutes Alejandro Edwards (TEA@ND): Before that, so thank you very much Jacob Plocher ND: I've got on Jacob Plocher ND: The internet yeah UCSD is hosting another meeting with doing Imagineering in a box

So feel free I think the link is on the discord, which, you know, the link to Jacob Plocher ND: Pop on there that will start at 630 so if you have the time, another chance to learn from some more thing that entertainment stuff Jacob Plocher ND: That I'm gonna head out You guys have a great day Sam Beckwith: All right, later

Thanks Everyone

Source: Youtube

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