Design communication

A designer must generate and communicate concepts for a new kettle. Explain how sketching would be used from first ideas to a developed proposal.

1. 01Diverge with thumbnails

   Produce many quick 2D thumbnails to explore different forms, handle positions and proportions rapidly, valuing quantity and variety over neatness at this stage.

2. 02Develop selected ideas in 3D

   Take the strongest concepts and draw them in 3D using crating to get the form and proportion right, adding more detail of features such as the spout, lid and handle.

3. 03Render and annotate

   Render the developed sketch with tone, highlights and colour so it reads as a real object in its material, and annotate it with materials, key dimensions and functional notes so others can understand and give feedback without the designer present.

Result: Sketching moves the kettle from many quick thumbnails, through 3D developed drawings, to a rendered and annotated proposal - fast and cheap exploration that communicates form, material and reasoning for feedback.

A designer must communicate a machined aluminium bracket both to the client (what it looks like) and to the workshop (to make it). Explain the drawings to use and the conventions the manufacturing drawing needs.

1. 01Drawing for the client

   Produce an isometric or perspective view, perhaps rendered, so the client sees the bracket as a clear 3D object - a pictorial view communicates appearance quickly.

2. 02Drawing for manufacture

   Produce a fully-dimensioned third-angle orthographic drawing with front, plan and end views to scale, so the workshop has the exact sizes and features to machine the part.

3. 03Apply the conventions

   On the manufacturing drawing use solid lines for visible edges and dashed for hidden detail, add centre lines, dimension every feature with proper dimension and extension lines and figures, state the scale (for example 1:1) and show the third-angle symbol - so any workshop reads it unambiguously.

Result: An isometric or perspective view communicates the bracket's appearance to the client; a fully-dimensioned third-angle orthographic drawing, following the line, dimensioning and scale conventions, communicates it precisely to the workshop for manufacture.

A designer is developing a handheld games controller that must feel comfortable. Explain how modelling would be used from early form to a tested prototype.

1. 01Block models for form and feel

   Make quick block models in foam or clay to test the size, shape and feel of the controller in different hands - something only a physical object can reveal - and gather user feedback on comfort.

2. 02Developmental models for features

   Model the button and stick positions in card or 3D print to test reach and ergonomics for a range of hand sizes, refining the layout with user trials.

3. 03A working prototype to test function

   Build a resolved prototype with working controls to test that it actually functions and meets the specification, and to communicate the finished design convincingly to the client and further test users.

Result: Foam block models test form and comfort, developmental models test control layout with users, and a working prototype tests function and communicates the resolved design - each model answering a specific question and giving richer feedback than any drawing.

A designer needs to communicate a new lamp to investors deciding whether to fund it and, separately, to the workshop that will make the prototype. Explain the methods for each.

1. 01For the investors

   Use rendered presentation drawings or photorealistic CAD visuals, a mood and materials board and perhaps a model, showing the lamp attractively in context - investors need to grasp the appeal, style and market, not technical detail.

2. 02For the workshop

   Use fully-dimensioned third-angle orthographic drawings with material and finish specifications, tolerances and an assembly (exploded) view - the workshop needs precise instructions to make it correctly.

3. 03Justify the difference

   The investors decide on appeal and viability, so persuasive, appearance-led communication suits them; the workshop must manufacture accurately, so precise, convention-following technical drawings suit it - the same product, communicated differently for each audience.

Result: Rendered presentation visuals, a mood board and a model persuade the investors; dimensioned orthographic and exploded drawings with specifications instruct the workshop - the communication method is chosen to fit each audience's needs and decision.