Lesson video

Hello, and welcome to your core design skills unit with me Mr.Telfer, Mr. T.

Just call me whatever you like, but just be nice, okay? Now, what we're going to do for this unit, we're going to go on a little journey.

We're going to explore all the key fundamentals, good starting points you know the foundations.

Well, for what we do in product design or engineering, graphic design, and how we start building up certain skills so that we can develop and start generating creative ideas as well, okay? So, hold fast and I hope you enjoy, and I'll see you in the lesson.

So in today's lesson, what we're going to be exploring is the idea of graphic communication.

And what I mean by this is how we visually get our ideas down on paper and make someone else understand what's going on in our head, okay? So it's a chance for us to explore our creativity, a chance for us to start doing some sketch work, and there's a chance for us to start developing the skills in order for us to communicate our ideas and present our work neatly.

Yeah, make sense? Wicked.

So, in today's lesson, all you're going to need is your exercise book if you want to jot down some notes, and you'll need quite a bit of paper for us to do some sketch work on.

If you haven't got plain paper, you got lined paper, you can still do sketch work on that it's not a problem.

You're going to need your pen, something to write with.

You're going to need a pencil to do your drawing.

Sorry.

And you very well may need some colouring crayons, pencil crayons, whatever you call them, I don't know.

Yeah, but we'll need those as well for we're going to do our rendering.

We'll talk about that in a moment.

Now, looking in today's lesson, what I've got planned for us to do, we're going to explore freehand perspective sketching.

Could be fun.

We're going to learn what annotation is and understand how to do it and why we need to do it.

And then I'm going to set you.

I say a small design challenge.

I'm going to set you a design challenge, okay? Now, the keywords for today's lesson, iterative design now, that is something that we're going to be doing from the beginning of this unit to the end, okay? And it's a cycle where we use, we design something, and then we evaluate and come back to it, and then design and redesign.

It's a process for us to continually improve a product, okay? So, we'll look into that in a moment.

Now, perspective drawing is what we're going to be doing today, and it's a technique that we use to draw 3D images, and it gives that illusion of depth so obviously things are closer to us or further away, that's what I mean by depth, okay? And render, so I mentioned it earlier, rendering is what we're going to be using our pencils for, our colouring crayons.

I always get that word wrong I don't know what you call it.

But it's how we apply colour to our work to give it the idea of shape or shade or a certain material or a texture, okay, so our image looks realistic and not just flat or a black unrealistic colour, okay? Makes sense? Excellente.

So before we do any learning today, I've got a little two minute activity that I want us to all take part in, okay? So what you're going to need is a sheet of paper, plain or lined, it doesn't matter, something to write with, okay, and what we're going to do, watch this video, and then it's over to you.

It's just a chance for you to get a bit creative, think outside the box, get your brain warmed up, and get your wrist all warmed up as all and loosened 'cause it's important for when we sketch, a warm, loose wrist, okay? So, watch this video, follow the instructions, and I'll see you when you get back.

So for this task, what I'd like us to do now is just take a blank page and start drawing random circles, different sizes all over the page.

We want to get at least 15, but you can always add more to it as we go through the task, okay? Now, it doesn't matter if they're touching, and these don't have to be perfect circles.

Then what I need you to do is set yourself a two-minute timer.

I'll need two minutes as well.

And then what you've got to do in that time is let your brain be creative, and you need to turn these circles into recognisable objects.

So if I started my timer now, you can see that I'm going to start drawing a planet.

Now, you can add to the circle, and also you can add things around it.

You could use two circles and join them together to create something.

I don't know.

I'm not going to give you any answers right now.

And you can draw inside the circle as well.

So, you know like this one, for example, I'm going to turn it into a firework, okay? So get yourself ready, and all I want you to do is be creative.

Two minutes, and let's see how many answers you can get.

Enjoy, and I'll see you in a moment.

Stop that's your time up.

That's your two minutes.

Pens down, pencils down, whatever it is that you're drawing with down, okay? So let's see how you've done.

Did you beat me? now, I managed to get 21 images.

And remember this was just a warm-up activity.

It's just a chance to get our creativity flowing, our wrist, bit of exercise for the wrist, get it loose.

We just like it loose.

But you might've got some of the same answers as me.

Like I said, you could join them together.

I created a snowman and my car at the top, and I thought about the wheels and the tyres.

I designed a ring, added something to it.

I anticipated us all got a eyeball, but a meteor, handcuffs.

I think I was quite creative, but how was you? Was you more creative than me? Did you get better answers than me? Did you get more answers than me, hmm? Definitely worth us looking at, and this is probably something I'd like to see you share on Twitter later on.

Could even do it at home.

You know what you could do, actually you could do this as a little activity with your family.

How about that? Hmm, okay.

We're going to move on now.

Now we're going to have a quick question, true or false.

Sketching and drawing are the same thing.

What do you think? Shout out your answers.

Oh, is that what you said really? Shout your answers.

Now sketching is what we're going to be doing today you'll see this as well.

The sketching tends to be quite quick and we don't put in too much detail but when you do a drawing it seems to be a bit more detailed in know taking a bit more time with it.

It might make things a lot more accurate and precise and the quality of the finish is going to be different as well.

So hope that makes sense to you, but you're going to see that later on in today's lesson anyway.

So now we're going to move on and we're going to look at sketching and perspective.

Now, just going to show you a flow explain a few key things to you about sketching a bit talkie.

I apologise, but let's keep it moving.

So when we're looking at sketching, but the thing I needed to know is that it's a rapid process.

You know, it's a rapid pause part of the design process.

So initially when I want people to sketch like my students we don't spend forever on sketches.

I could sit them five, 10 minute time slot to sketch down some ideas and we just got to get them out.

So it's a bit like speedy.

And it's a way of visually thinking.

So whatever's going on in your head we're just trying to get it down on the page real quick, or we're not scribbling.

There's got to be some kind of form and decency to it.

It needs to be clear enough to make sense to somebody.

It looks great but first communicate an idea of a shape or whatever it is that we find to do.

Now, one thing I do say to my students as well that'll vouch, I tell them not to robot out their work or do it in a way cause you know, sketch is the preliminary stage and you might come back to them and they'll always say, sir, but this is not looking right.

And that's absolutely fine.

Okay, it's perfectly fine to have a bad sketch.

You are supposed to have some bad sketches.

I always have bad sketches, always terrible but is a learning curve, you know, it's the beginning part of our design process you see that.

And sketching is a great chance for us to experiment.

Now, when we start thinking about shapes and form and how things are trying to look, sketching is a great way of just getting ideas down, 'cause you know straight away that's not going to work and you can try another idea.

So it's quite, brain-dump that's the word I'm looking for brain-bump okay? Now I just want you to have a quick moment.

What do you think the purpose is and the benefits of sketching is, sketching up is, okay? Now I've already gone through some of these already.

I've just set them maybe too fast.

Oops! Okay.

Now I told you it's you turn to be creative.

Now we get to explore a range of ideas.

Now I told my students on every page I want to see at least eight design ideas.

Eight sketches at least usually I put about 12 or 15 which is perfect, but I don't expect that from everybody.

And like I said, it's a quick way for us to dump our ideas on the page.

Let's get it quickly to start the circles.

We have two minutes and how many ideas you came up with.

Now sketching can be fun as well because there's no real constraints.

So we don't have to be accurate, we don't have to draw it to scale, we don't have to take our time.

We can be as wild as we want and then refine that stage.

And because we can just make, you know a range of ideas and just dump it, it's efficient rather than just trying to calculate it we can just literally go on a page.

I call this fantastic because it's a great way for us to visually communicate our ideas.

Sometimes I know what I want to draw.

And if I told somebody it wouldn't make any sense but once I start sketching it down, it's great.

And also I'm a visual learner and a visual thinker.

So sometimes I have to start sketching and drawing to make people understand what I'm thinking, feeling, seeing all sort of stuff.

And it's fine.

People like me in the world and sketch also gives insight into the thought behind the designs as well.

So if I've done one sketch and I've done another sketch and you can see the process or how they're interlinked or whatever like that, it gives you some thoughts.

Now see where the train of thought is going.

Does that make sense to everyone? I hope so because we're going to use all of this when we're looking at our next task.

So when we start going into the sketching work you're going to need to think about these things.

Okay? Well but I want to introduce us to perspective drawing so enjoy the little video.

So this is an example of perspective drawing.

You can see that it's a 3D sketching technique I have used and designers use it all the time in order for us to try and create realistic and believable images, you know this awkward proportion and that perspective where things are closer at the front.

And as I go into the distance, they get smaller.

The three types of perspective that I know probably more but there's definitely three that we use in industry or in design.

The first is more, the more simple one which is a one point perspective.

And you'll see that all these lines from the face converge to one point, which is the banishing point over that.

So it looks like we're large in front of it or go into the distance where I can see.

Here we've got a two point perspective.

Now this one is used more commonly in pro design is what I expect my students to use.

And it's way faster to do a two point perspective than a three point perspective or 100%.

But you can see that rather than the lines going to one point like, so it has two points.

So we've got a vanishing point over there and then a vanishing point over here.

And I'm going to do those in a moment.

This is what we call a three point perspective.

And in terms of a real life situation, a building this one's actually, the more realised situation is more realistic because if I was to stand here and as it goes up it gets smaller away from me.

It gets better and smaller.

And as I look to the left or the right, it's going to actually get smaller as well as it goes into the distance.

So this one's technically more factual than the others but it's a little bit more tricky to draw.

So we've got to do an exercise now, what I needed to do is pause the video and make sure you've got your paper, your pencils, pens.

Remember we are not using rulers.

This is going to be a freehand assignment.

Okay, so pause, make sure you've got all your things.

Then we're going to come back and we're going to look at a one point perspective drawing, sketch.

So for this first task I'd like to do, just get a page make sure you've got a sharp pencil.

And what we're going to be doing is looking at one point perspective drawing, okay.

Now you can either write notes as I'm doing this or you can try and follow along at the same time it's up to you, but there's going to be a task that follows.

So the first thing you're going to draw is your horizon line okay, and I going to label that HL.

So you know what I'm talking about.

Now that would be the furthest point in the distance where the ground and the sky meet.

Now, I remember doing a one point perspective drawing which means I either going to focus at this point and we'll put that spot on the line and that's called our vanishing point.

So everything that we draw is going to be drawn towards that point there.

So what we're going to start by doing is just drawing us into square shape, right? So we draw the 2D face and I'm going to draw one on the horizon line as well.

I don't want to draw one above the horizon line.

You'll see why I remember this is free hand.

So we're not using the rulers but do try and keep your work neat, okay? Layout is still important.

Now all I'm going to do is take my pencil from these corners and I'm going to draw in the lines that kind of converge to the vanishing point we call these construction lines.

And as you can see that we do them nice and light 'cause they're going to construct our shape.

So again, just from the space there, I can see how when need them two on that side because there's only two sides that I can see from that position.

And again, from looking up that's three.

The next thing I'm going to do is put in the back of the shape.

So I'm going to keep those lines parallel to the front and want to simple cube, okay.

That's all I want us to do in the first instance to create our one point perspective origins.

Now, at this point, you might feel like all our lines are the same and the shapes aren't easily visible, easily visible.

They're not easily visible, which is fine.

So all you can do then just take a marker or something that pencil that's going to be dark or even a biro, if you wish.

And honestly, you can just go outside the shape.

You want to give it a better definition, make it jump off the page and make those lines be actually separate from the construction lines.

So the focus is now on the shape and not the construction line.

Do you see how that works? Excellent.

So again, just going around the actual shape that's going to be the solid three dimensional shape.

And we're excused in the construction lines that are still there but remember in real life you would never see the construction lines.

They're just there for us to guide our eyes in that point of perspective.

Now I hope you've been taking down notes on how we're doing this, or even better still.

You could have actually followed me and thought about doing it yourself because right now I'm going to set you a task.

Okay? So what I'd like you to do, get yourself a sheet of paper and do yourself a one point perspective sketches of some squares or some shapes, a book on and below the horizon.

And if you want to get creative with it, you can do letters.

You know, you can do different kinds of shapes you can do hallows or latices we're not using any rulers.

I want it to be free hand.

And I just want us to get use uncomfortable to using the technique and using our eyes as an Irish.

So pause the video.

Now, have a go and I'll see you when you get back.

So for this demonstration, what I'm going to show you is how we do two point perspective drawing.

And it's very similar in terms of the stages to a one point perspective drawing, just a few changes.

So we're going to start with the horizon line back in the same way, but instead of having one vanishing point how many we're going to have? There you go two, 'cause it's a two point perspective.

And what I like to do is put those vanishing points right at the purpose end of the horizon line try to keep horizon line central as well.

You're going to need to do that for your task.

Now, unlike a one point perspective.

When I draw across his face with a two-point perspective we're going to draw our process edge, just like that.

And again, we're just going to join that up to our vanishing points.

Remember our construction lines we want to keep them fairly light now just about visible but we're not going to move them out.

We're just going to keep them there and the guide we're going to keep it light inside our construction lines that's where we're going to start building our shape.

So I put in on opposite edges and then what I'm going to do next.

Oops! That's right.

We just want to take it from that edge and we're going to bring it across to the vanishing point like so, and putting it across like so.

Now you might say I've made a mistake there slightly, you really want to get your lines all converged into exactly the same point.

Mine is slightly off.

Remember this is freehand.

This is a sketchy work.

It's just practise.

So if I just outline my shape you can see how it's clearly jumping off the page.

You can see a clear difference between that and my construction lines.

Beautiful.

Now let me just give you a hint but knowledge if you're looking down on the shape here.

So we were above the horizon looking down because we're above the horizon, but if I turn this upside down, now below the horizon and we'll call this lines eye view.

So we're looking up just like, look away in the grass.

We'll look it up.

Now here is an overview that if he was looking at something on the horizon so if I'm to sketch this out for you quickly.

This is another view.

Now I'm not going to tell you what it is.

What I would like to do though is a little bit of research in your own time and find out the view or find out the name of this view.

Sorry, okay.

So remember I've got beds eye and It you to find out another part.

Now your task that I want you to do is to go away and create a page just to simple shapes in two point perspective try and get some on the horizon below and above and make sure your lines are clearly visible and different to your construction lines.

Enjoy I'll see you in a moment.

So now I'm just going to demonstrate the thick and thin line technique.

Something that we use to enhance our work, define the shapes and make an image of the page.

I was definitely going to separate it from our construction lines where it can look a little bit messy at times.

So I'm going to take this L first.

And if I take the front edge of the L hashtag learning book, no if I take this spawn a chair, you can see that I can see a face to the left of it and I can see it a face on the right side of it.

So, because I can see these two faces of this edge that is going to remain as thin line.

So where I can see two faces all times they are going to be in lines whereas where I've got my outside of the shape, well that base I can see the right but I can't see the left.

So therefore that is going to become thick line it's part of my drawing.

There we go.

So best way I can explain it a way that it was explained to me by my DT teacher Mr. Woodley, many years ago.

Hello, Mr. Woodley are you listening is that if there was an insect crawling on the shape, if you could see him on the fixed next space then that will be a thin line.

But if he disappears, once it's crawled past face then it becomes a thick line.

So essentially the whole outline of this is going to be a thick line because any face that it turns over from them I'm not going to be able to see him, but if it's on the main face of the shape, it's going to be a thin line and I can see where he's going.

Does that make sense to everybody? I hope so because you are going to now use this on your next task.

So what I'd really like you to do is to get another page, set your horizon line again, I'd now like to draw a mixture of one and two-point perspective drawings on that page.

But this time I want you to make sure that you are including or using the thick and thin line technique okay? I'll see when you get back it.

So pause the video now and when you come back, I will see your thick and thin line technique drawing I made a mistake there I'm sorry.

Once you've done that, I will show you the next task also.

Okay, see you when you get back.

So hopefully at this point you should have a page that looks something like this.

We have a mixture of one point perspective drawings, two point perspective drawings and you demonstrating your thick and thin ability.

Okay.

Now what I want us to do is start thinking about how we're going to apply colour to these shapes to make them look more three dimensional.

No, am I going to think about different shades and tones and thinking about how light hits the shape okay? If I just took the top of a page to this corner and think about that where my light source is coming from put a few arrows just to demonstrate that now the face closest to that light and most visible is going to be the top one and that's going to get most lights.

So I would just apply my colour really light you know, colours is there is really, really faint.

Now my light is going to hit my side of my shape.

Not as much, you know the light's not going to remember light doesn't bend.

It just goes straight through.

So the lights still go here but it's going to be a little bit darker.

Now at this point, you do want to make sure you're trying to render quite neatly.

Now I'm thinking about my front face is not going to get any of the light.

So that's going to be the darkest face.

I'm doing this quite quick as a demonstration for your purposes.

What I do want you to do is make sure you are keeping your records you know, try and keep your lines or go in the same direction.

There we go.

Now at this point, if you want it to you could actually try and add textures to it.

So you might want to make it look like a piece of wood or a piece of plastic and think about how the light reflects and shines.

You could use it a razor it's totally up to you but I'm just happy if we can get the shading to show the difference between the light, the medium and the dark.

Let me use another colour as well just to make it a bit more visible.

So now I'm going to use another colour just to help you demonstrate, you know I'm going to use the same light source.

So again, my top is going to get the most of the light.

'Cause that's where the light's coming from.

This space is going to be the medium one.

So, you know, you can see the difference.

It's a bit more visible with this colour.

And again, I'm just doing this need for your purpose.

You're going to make sure yours is very nice and neat.

And then this space is going to be the darkest one where it's not at any of the light.

So now what I'd like you to do is go away and complete your page, thinking about your light source and adding your light, medium and dark basis.

I'll see you when you get back because you want to use these skills in a design task that's coming, see you in a moment.

So at this point we've already looked at one point perspective, two point perspective, thick and thin line techniques and rendered a lot of new knowledge a lot of new skills that you've taken on board.

So well done.

Well now what I want us to do all of this new knowledge this learning into an art project here.

So we're going to do some sketch work designing a new Bluetooth speaker is minor kind of the day.

So yeah, just a little portable Bluetooth speaker that we could use in and around the house.

We are going to go and design one.

Now, remember this is going to be sketch work essentially in the beginning.

So we're not going to use any rulers.

It's just going to be freehand, sketching, creating and user perspective drawings.

Okay.

So follow me.

I'm back.

So what I'd like us to do now is just watch this two minute video and what I'm going to do is demonstrate to you exactly how I want you to produce the next task.

Okay.

So sit back, enjoy once you finished the video, press pause and complete the task.

So for this next task, your initial designs, sketching ideas, what I'd like you to do is think about the two point perspective that we've done and use that stop creating crates.

Now, what I mean by crates is just like a construction lines want to create a really faint box.

And when we have that box, we know they're going to start constructing our shape inside of it like so.

Now you can't see my crate because it was so faint.

But as you can see as I'm developing the shape of my product inside the crate I'm trying to keep it three dimensional.

Well, I am keeping it three dimensional and I'm trying to keep it in perspective.

So the closest parts ideally are meant to be a bit larger and like a smaller is going to go away.

I would like to try and keep in two point perspective, you know, but if you want to do it in one perspective I'm happy with that as well.

So we're just going to create our shapes and then when we've finished we should have a page that looks like this.

So our initial ideas, our sketch page, should we busy.

We should have a range of different ideas, you know a variety of shapes and sizes and layouts of how I believe my speaker could look, you know I've got some that are a bit more geometric and square of some view curves.

I've got some that might not even work but it was an idea I had in my head.

Okay? So this is just what I'd like us to go and do now.

Fill the page with some initial sketches.

You know, we don't have to have them put in detailed I'd like to see a creating technique as well.

If you look around my shape, you'll see this.

The crates, you know, closely I really likely to start using that technique as well.

It can add a tint of quality don't waste any time trying to create nice puzzle pieces that are 40 detailed and fully drawn.

Okay that's how we're going to develop the stage.

So pause the video now and let's complete a busy page that looks something like this.

I'll see you when you get back.

So now we have the number of initial designs.

Now we've done our initial sketches.

We've thought about different shapes in different forms. Now it's time for us to start developing our design ideas by this simply all, I mean is we're going to take our ideas and we're going to improve on them make them better and better still, you know, as a designer you go through this process where you have a design idea, you're rejig it, rethink it and you're making it even better.

No designer ever had a perfect idea straight away.

Now with designing development obviously we've done initial sketches first.

We kept it quite rough and did it quite quickly.

I'd like to believe or we would do our development or design development is definitely going to take more time, you know 'cause we're going to use colour.

We're going to try and make out more detailed and we're going to give more information visually and we're going to make it a lot more accurate.

Now at some stage you could do some working drawings.

And by that it's a drawing that gives you more information.

So we may be demonstrating movement.

It might be a sectional drawings.

They can show how it looks like chopped in half.

You might do an orthographic drawing.

So you could see different pages of distortion at the same time.

Well, we definitely want to look at these things in another lesson at another stage, but just so you have an understanding.

And one thing we also do with working drawings is that we have to annotate them.

No, you don't have to, it's a great idea that we annotate them.

Okay, and I've said here that we annotate using elements of ACCESSFM.

Now ACCESSFM is a fantastic, fantastic, fantastic acronym that I like us to use in DT and we're going to talk about in a moment, okay? ACCESSFM remember that.

So now we're looking at annotation.

What I want you to do, just pause the video quickly, have a quick conversation amongst yourselves or write down what you believe annotation is.

Well welcome back.

Now obviously I can't hear your answers and I can't read them.

So I'm just going to tell you my inventions or my answers even.

Okay.

So I'm going to say to you, I'll explain to you that annotation is a crucial element of the design process whether that's, you know, in your seven, or do this in a couple of years A levels, or even through industry.

Now, it is a very, very important part.

I'd almost say it's more important than the ability to draw.

And I'll tell you why.

There's people in the industry where up there, you have fantastic ideas, but they can not draw.

What they can do is sketch and annotate.

They can get their ideas down on paper and they give it to their designers or their artists within and do all the brilliant work and then they are like ah and they're like, yeah, that's my idea.

Okay.

So the ability to annotate is important.

It's more than just labelling it's justified notes.

Okay.

Now my question to you is what do you think our annotations should include to make it effective? So pause the video, have a conversation write down some ideas if you wish.

And then when you're on pause, it will come back and we'll carry on.

So, welcome back again, I can't hear your answers.

So I'm just going to give you some real quickly.

I advise you make note of these other word freedom.

Okay.

So the first thing we should be making sure we're annotating or could be included in our annotation I should say is this things about the aesthetics.

What is aesthetics it means the beauty look that word.

Well, what we should be doing is explaining why our product looks like it looks so why have you got a certain colour or shape or pattern? So rather than just labelling it as red it explained why it's going to be red or so on and so forth.

Why we're using a certain pattern, et cetera, et cetera.

Now we should also over quote.

Shouldn't say should we don't have to over quote.

We could identify how much this product is going to cost to make or how much it's going to cost to buy or how much it would even cost to maintain it.

Okay.

Now, why do you think it's important for us to think about the cost? Someone answered it.

Because obviously we've got to think about the customer as well.

So there's no point of designing something and identifying that it's going to be costing so much money if our client is somebody who doesn't want them or can't afford that budget.

So if I was to design the speak, for example arrange a 200 pound it's aimed for a teenager, 11, 12, 13 year old.

It's not realistic, is it? Okay? So you've got to consider who your clients is as well to start evaluating everything else.

Now the environment there's two things I'd like to talk about the environmental annotating.

We could annotate whether it's good or bad for the environment.

Okay.

So we could talk about if it's the materials in that cases or the energy source, et cetera, et cetera or we could also talk about where it is used.

So if this product is supposed to be used in my bedroom the bedroom is my environment whereas if it's supposed to be used in the kitchen or the bathroom, they are the environments as well.

So that might have some impact on your design whether it's waterproof or grease proof et cetera, et cetera.

Okay keep that in your mind.

Now, the next thing we'll go into talk about size or annotate about the size, whether it's big, whether it's small, whether it's comfortable now why do you think it needs to tell them about the size of a product? I'm not going to give you the answer I want you to think about that for yourself but just think about it realistically.

Okay, why is the size important? Now safety of a product we need to talk about how safe a product would be.

Could it be hurt? It used to be hurt.

So if I was talking about this, for example as a speaker, I could talk about the safety features that got no sharp edges, knows quiet around it and it's got a bevel on the side there.

So it's not surrounded, no sharp edges, no dangerous materials.

You know, can't really do looking to myself.

So that's what I'm talking about safety.

The function, well the function of it, you know the purposes to play sound, plays, music that I like but has it got any other functions? Maybe it has maybe the disco lights maybe there isn't, you know, that would also be a function.

And we talk about the materials as well.

So why is it being made out of a certain material? You know what's it made out of and why? Is there any benefits? What are the properties of the material? Well, that looks quite hard.

Still kind of metal couldn't tell you which one.

Probably eliminate, but yeah.

So did you mention any of those points? Yeah, no.

You should have and if you wrote them down, you'll notice that the acronym is at the front and that is ACCESSFM.

So when I mentioned it earlier, there you go.

So, now, you know, if you didn't write them down please pause the video and write them down now and if you did excellent work we can move on to the next task.

You're going to need ACCESSFM for it okay? So for your next task when you do a small annotation task, okay.

It shouldn't take us too long.

So all I want us to do is annotate this speaker here with elements of ACCESSFM.

Now what I didn't say earlier which I probably should have said is when you are annotating you don't have to force it in use every part of ACCESSFM.

Just take the parts that are most relevant to your drawing or your part of at the time.

So for this exercise, I only want us to choose from aesthetics, cost, customer, safety, function and materials.

Okay.

So two quick examples you could say something like it's a simple shape.

You know, it's a simple rectangle shape.

It can blend in any room it goes into, the colours match.

So if it's a dark room we can match a dark room.

We got light room like this, we're still blending.

We're still matched 'cause we'll have that contrast.

So it could still stand out as a feature, something so simple or we could talk about the fact that it's designed in a way, so it's naked.

So the speakers are on display, you know making a bit of a design feature itself.

Does that make sense? So what I'd like to do now is pause the video, annotate your speakers, and then when you come back I'll show you your next task.

So before we go into actually doing the design work I just want to give you another tool.

The SCAMPER is another acronym that I like to use.

You know, I really think it helps you with your design development and thinking outside the box.

So we're probably not going to know what SCAMPER stands for.

So let me just tell you well the S is what we're going to substitute something.

So maybe you could replace the materials or you could replace the shapes that you used already or based the function of the product that we're designing.

And obviously the function is meant to be a Bluetooth speaker.

So you're probably not going to change that too much, okay? The second thing we could do is combine.

We could combine ideas.

So maybe two or three of our products that we've already sketched, we could combine elements of them to make a new product or maybe if you've got two different functions you could combine them, make it more practical something of the sort.

Now adapting, you know could we adapt change, could we adapt parts and change them or also it could be adapted an existing idea.

So if you've done something in a previous sketch that didn't quite work how could you adapt that to make it work, know an existing idea or make it solve the problem.

Now modifying, you know that is just, you know, changing your product essentially.

So we've looked at the word modified before another unit.

So it's about changing.

So could we changed the shape? Could we change the texture? Could we change the feature of a product as well? You know, see it gives a new value to the product.

Now, the next thing we do is put to another use.

So it's designed for a specific purpose or could it do something else or would it be used for something else as well? So as opposed to just being a speaker could it be used as a hands-free who knows and eliminate this is my favourite part is for us to start taking away parts of our design so we can keep it simple and we can keep it effective and we can start identifying what's the most important parts.

Last but not least we have the art, which is reverse.

So we could either reverse or swap the way that this product looks turn it upside down on its head, you know move things around, reposition things, change the orientation or even the way that it works.

You know, so it's a bit of creativity.

It's a bit of thinking outside the box and it's a tool that I really like to use.

So as I'm trying to develop my design I've taken an idea from my initial sketches.

So you can see that shape there.

Took the same idea to have thought about how I could develop.

So now upside to add arrows to my work.

And as you can see these arrows depict what it is that I want this product to do in terms of functional movement.

So whoever wants to be pushed down or in the speakers protected and covered inside or if I look at this stick shape, how it developed it modify the shape using SCAMPER kept the same functions and the same style.

But now I've thought about twisted lead.

So I put twist on speaker and you can protect the inside the actual mesh or netting the product.

We look at this one as well I've then kept the same idea of what I've changed the shape not something more of axon of a shape, so on and so forth.

But you see all my drawings is still three dimensional.

Now to combine my ideas I'll add some annotation to my work.

So I'm just going to explain that this twist movement what it's going to do and I'll put the annotate the best of my work, talking about the push and pull movements where the speakers are or if there's any LEDs et cetera, et cetera.

So this is what my design development should look like.

And again, it could be a series of drawings, three, four, five different ideas.

Okay? Now, once you have done that you've developed your ideas.

You will have a page that looks something like this.

This is where we are working towards our final stage.

Now this isn't necessarily going to be my final idea but I think I'm going in the right direction.

You know, I've got a lot of annotation on my work explaining why things are the way they are.

I've started to add colour.

So I've started to render it, I started to thinking about shade and the material ones look like and identify in different functions.

So these aspects of ACCESSFM.

I've used access SCAMPER to create my final piece.

Now I don't want you to spend the whole day doing this work but you know, you should spend a considerable amount of time making sure your work is to a high standard.

So while I'm going to ask you to do now is pause the video complete task, A essentially which is your design development and then complete task B which is going to be your final idea.

You will also need this final design in your next lesson.

We're going to talk about that in a moment.

So you'll probably be glad to know you finally made it to the end of the lesson.

I know it was a big one and there's a lot of content but it's worth it.

You know, it might even start directing you into a career choice who knows, now I've got two things I need you to do.

The first thing that I needed to make sure you bring your final design to your next lesson 'cause we're going to need it.

And the second thing I need to see your work I really really want to see it but the only way I can do that if you ask your parents or your responsible legal guardians to share your work online.

So will say to them, say, Mr Telfer says that you have to do it okay? So try to reach out @OakNational on the Twitter and #LWO, LearnwithOak and I'll be there to see your work, give it a like I might even give it a share who knows.

Well, yeah, well done for today I'm proper proud and I will see you in the next lesson.