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VEHICLE AND PROPS DESIGN [ EXERCISES ]

    22.04.26 - 14.06.26 / Week 1 - Week 8

Kim Abin 0365392
Bachelor of Design (Hons) in Creative Media / Vehicle and Props Design / Taylor's University
Exercises


OUTLINE

Instruction

Feedback

  • WEEK 1
  • WEEK 2
  • WEEK 3
  • WEEK 4
  • WEEK 5
  • WEEK 7
  • WEEK 8

Reflection

Quick Links


    INSTRUCTION



    Module Information Booklet (MIB) of Vehicle and Props Design


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    Exercise 1: Perspective Study

    The first exercise required me to draw three objects from five different angles using correct perspective. First, I reviewed the example drawings uploaded by the lecturer to understand how the drawings should be approached.


    Fig. 1.1 Examples (Week 1 / 22.4.2026)


    I wanted to avoid choosing objects that were too easy. Therefore, I selected a small coin purse, but drawing the irregular fabric bag took longer than expected, so I chose a simpler nail polish bottle next.


    Fig. 1.2 Process 1 (Week 1 / 22.4.2026)


    Fig. 1.3 Process 2 (Week 1 / 22.4.2026)


    I should have photographed the process of drawing the bag in greater detail. If it had been a digital drawing, taking screenshots would have been quick, but because I needed to concentrate while drawing with a pen, I was unable to document the entire process.


    Fig. 1.4 Process 3 (Week 1 / 22.4.2026)


    Fig. 1.5 Process 4 (Week 1 / 22.4.2026)


    Next, I drew a phone battery. Since its form was simpler than the rectangular fabric bag, I completed it more quickly. Drawing the initial sketch was not easy because I was using a pen, so I struggled slightly at first, but I gradually became more comfortable with it.


    Fig. 1.6 Process 5 (Week 1 / 22.4.2026)


    Fig. 1.7 Final Exercise 1 (Week 1 / 22.4.2026)



    Exercise 2: Vehicle Reference Study

    The next exercise was to select a vehicle and draw it from five different angles. However, I misunderstood the task and drew a car because I did not realise that I needed to choose a vehicle that suited my project concept.


    Fig. 2.1 Process 6 (Week 1 / 26.4.2026)


    Fig. 2.2 Exercise 2 car sketch (Week 1 / 26.4.2026)


    After understanding the assignment more clearly, I selected three vehicles that seemed suitable for my concept, choosing one each for land, water, and sky. Since I thought a carriage would suit my concept best, I selected it and drew it from five different angles.


    Fig. 2.3 Process 7 (Week 3 / 5.5.2026)


    Fig. 2.4 Final Exercise 2 - Carriage (5 angles) (Week 3 / 5.5.2026)


    Next, I selected a hot-air balloon because I did not think vehicles such as aeroplanes or helicopters suited my concept. I also thought that if I later chose this vehicle instead of the carriage, I could add mechanical components to make it fit the concept.


    Fig. 2.5 Process 8 (Week 7 / 3.6.2026)


    Fig. 2.6 Final Exercise 2 - Hot air balloon (5 angles) (Week 7 / 3.6.2026)


    While drawing the hot-air balloon, I felt slightly embarrassed because I wondered whether I had chosen a vehicle that was too easy. Next, I needed to choose a vehicle for water, but no particular vehicle came to mind. I considered what might suit my concept and decided that a sailboat could be distinctive, so I selected it and drew it from five different angles.


    Fig. 2.7 Process 9 (Week 8 / 13.6.2026)


    Fig. 2.8 Final Exercise 2 - Sailboat (5 angles) (Week 8 / 13.6.2026)



    Exercise 3: Silhouette studies

    For Exercise 3, I studied the ibex for my idea. I first drew its face in detail and also explored the overall silhouette of the animal. I then drew the carriage silhouette from the side, rear, and three-quarter angles. These were rough studies intended to help me imagine the overall design.


    Fig. 3.1 Process 10 (Week 4 / 16.5.2026)


    Fig. 3.2 Process 11 (Week 8 / 13.6.2026)


    Fig. 3.3 Final Exercise 3 - Carriage Study (Week 8 / 13.6.2026)


    Fig. 3.4 Final Exercise 3 - Ibex Study (Week 8 / 13.6.2026)



    Exercise 4: Thumbnail sketches

    Although I began this stage slightly late, I started expressing my ideas more fully through sketches. To add greater functionality to the idea, I followed the lecturer’s feedback and incorporated an animal. I selected an ibex because the building was located at the top of a mountain, and I thought an animal suited to mountainous environments and capable of climbing well would fit the concept.


    Fig. 4.1 W2 Project 1 proposal (Week 2 / 30.4.2026)


    Fig. 4.2 Moodboard (Week 3 / 6.5.2026)


    Based on the ideas developed through the moodboard and proposal, I continued producing sketches. I began with an ordinary carriage and gradually developed it to reflect my concept. Initially, I wanted to create a circular carriage, but after considering how it would operate, I decided that a spherical cabin would be too complicated and abandoned the idea. However, I still needed to determine how the cabin would move, so I studied existing machinery found online to develop a possible mechanism.


    Fig. 4.3 Process 12 (Week 3 / 6.5.2026)


    Fig. 4.4 Sketch (Week 3 / 6.5.2026)


    Because the exercises required me to submit more sketches, I almost forced myself to generate additional ideas while drawing. However, I was unsure whether the functionality had been considered properly. The designs could move in my imagination, but I thought the lecturer might not agree that they would function, which made the process feel increasingly difficult.


    Fig. 4.5 Process 13 (Week 8 / 8.6.2026)


    Fig. 4.6 Final Exercise 4-1 (Week 8 / 8.6.2026)


    Fig. 4.7 Final Exercise 4-2 (Week 8 / 8.6.2026)



    Exercise 5: Line Weight

    For Exercise 5, I focused on producing cleaner lines and applying line weight more carefully. Since I enjoy line work, I was able to complete this part quickly. I selected one of the sketches from Exercise 4 and developed it by adding line weight.


    Fig. 5.1 Process 14 (Week 8 / 8.6.2026)


    Fig. 5.2 Final Exercise 5 (Week 8 / 8.6.2026)



    Exercise 6: Colour

    For the colour stage, I was able to work quickly because I had already decided on the main palette. I experimented with different arrangements of gold, representing the constellations; light blue, which suited the concepts of the sky and celestial bodies; and white, which could communicate a religious and sacred atmosphere. Since different designs could be created through colour alone, I thought these experiments would also be useful references for the final project.


    Fig. 6.1 Process 15 (Week 8 / 8.6.2026)


    Fig. 6.2 Final Exercise 6 (Week 8 / 8.6.2026)



    Exercise 7:  Texturing

    For Exercise 7, I divided the process into two stages: studying the textures of materials that could be used on the vehicle and applying those textures to the vehicle through photobashing.

    The materials I selected were brass, steel, iron, bronze, and gold. I originally wanted to explore other materials, such as lapis lazuli, which could produce some of the colours I had already selected. However, this would have created too many options, and I did not have enough time, so I limited the study to these materials.


    Fig. 7.1 Process 16 (Week 5 / 23.5.2026)


    Fig. 7.2 Process 17 (Week 7 / 3.6.2026)


    Fig. 7.3 Final Exercise 7-1 (Week 7 / 3.6.2026)


    After painting the material textures, I used photobashing to apply images of the relevant materials to the vehicle.


    Fig. 7.4 Process 18 (Week 8 / 8.6.2026)


    Fig. 7.5 Final Exercise 7-2 (Week 8 / 8.6.2026)



    Exercise 8: Ambiance

    Finally, I used ambiance to present the vehicle’s atmosphere across three different times of day. Since I found adding light and shadow and strengthening the atmosphere to be the most enjoyable part, I was able to complete this stage quickly.


    Fig. 8.1 Process 19 (Week 8 / 8.6.2026)


    Fig. 8.2 Final Exercise 8 (Week 8 / 8.6.2026)



    Final Exercises: Fundamentals of Vehicle Design

    Final Exercises: Fundamentals of Vehicle Design


    FEEDBACK


    WEEK 1

    Specific Feedback: No Feedback

    General Feedback: 
    -     Begin the exercises from the first day. Select one or two objects and practise sketching them in a sketchbook using a ballpoint pen. Complete studies of these objects from multiple angles this week. Concept ideas do not necessarily need to be presented from every angle, but observational object studies should be explored from all sides.

    - Keep the main focus on vehicle design. Creature design may be included if it is properly balanced with the vehicle component, as focusing too heavily on creatures could move the project away from the purpose of the subject. Mecha design is also acceptable. Look at films, animations and games such as Mad Max, Star Wars, Minority Report and Dune for inspiration.

    - Study different types of vehicles designed for water, air and land. Produce some initial sketches, establish a general direction and prepare a simple proposal. Consider developing a theme that can also connect with the Environment Design project. A cartoon style is acceptable, but avoid making the design overly complicated or excessively simple at this stage. Focus on communicating the core idea through elements such as functionality and user accessibility.

    - Organise the reference images that inspire the project, combine relevant elements from them and use these references to develop the sketches. Upgrade the computer’s RAM to at least 32 GB to support the required work.


    WEEK 2

    Specific Feedback: Study perspective more thoroughly. Continue with the current concept and explore it further by developing the carriage design, possibly incorporating a creature. Produce more sketches to test and expand these ideas.

    General Feedback on Exercises: 
    -     Simple geometric forms may be blocked out in Blender before drawing, but avoid relying too heavily on 3D. Clearly establish the ground plane when constructing each drawing, as this is important for both the exercises and the development of the project concept.

    - Select a vehicle that suits Project 1 and consider how the exercises can support the project. Complete value and lighting studies alongside the perspective and design exercises.

    General Feedback on Project 1: 
    -     Establish a clear theme and timeline for the project. Consider developing a character and their background, as this can help guide the design of relevant props. Complete the silhouettes and initial sketches as quickly as possible. Study shape language before adding details, then consider anatomy, form and colour during the later rendering stage.

    - If the design includes organic elements, study and draw their real-world forms before developing the concept. For example, research insect anatomy when designing something similar to the insect-like vehicles in Dune. Conduct extensive research and observational studies before drawing. References do not have to come exclusively from films and may be gathered from any relevant source.

    - If a real animal is incorporated, create a clear visual or functional connection between the animal and the vehicle. Mechanical designs are also acceptable, but they do not need to be excessively complicated, particularly if that level of complexity cannot realistically be produced in 3D.

    - Focus this week on silhouette exploration and the process of developing the concept. Even if the design involves magic, it should still move believably and demonstrate clear usability and functionality. The initial idea may be complex, but it should gradually be simplified and refined into something technically feasible and reasonable. Produce at least twenty exploratory sketches rather than presenting only three options


    WEEK 3

    Specific Feedback: 
    - Clearly define the type of character who will use the vehicle. Determine the appearance of the mountain goat, how it will be harnessed to the carriage and how the overall system will function. Prioritise sketching and decide what the carriage will transport, including how much space should be allocated to passengers and cargo.

    - Narrow down the theme, as fantasy alone is too broad. It may be combined with science fiction or steampunk, but the direction must be clearly established. Identify the key component that will drive the design, develop at least one concept that incorporates a creature and begin by studying the creature’s anatomy, movement and behaviour.

    General Feedback: 
    -     Begin vehicle modelling by starting with basic shapes to establish the overall silhouette, maintaining symmetry by using a centre line and Mirror modifier. Introduce asymmetry only when purposeful. Organise the Blender file with clear names for each asset as complexity grows. Utilise camera views and multiple viewports for alignment. 

    - Understand vertices, edges, faces, and clean topology, employing tools like loop cuts, insets, extrusions, and Boolean operations as needed. Regularly check the wireframe and use X-ray mode for accuracy. Experiment with different modelling techniques to find the most effective workflow.

    - Keep modifiers editable during development; apply them after confirming the model's quality. Avoid excessive active modifiers to limit processing load. Keep subdivision unapplied for smoothness adjustments and use material previews selectively, testing Eevee and Cycles based on quality needs and system performance.


    WEEK 4

    Specific Feedback: The mountain goat can serve as the vehicle’s main source of propulsion if the carriage uses wheels. Without wheels, the entire vehicle may move too slowly, so consider adding retractable rollers beneath the goat’s feet. These rollers could extend while the vehicle is moving and retract when braking, allowing the legs to make contact with the ground. The idea is promising, but it should be refined further. Remember and apply the feedback that has been given.

    General Feedback: Begin the value and material study with a simple form and a mid-grey base, then establish the direction of the light, shadows, highlights and ground shadow before adding colour. Build the metal surface using a desaturated cool base together with warm and cool reflected colours influenced by the light source and surrounding environment. Use masks, layers, suitable brushes, blending modes and opacity adjustments to develop the material, and create contrast between dark areas and highlights so that scratches and textures remain visible. Practise this lighting and material-rendering process for the following week.


    WEEK 5

    Specific Feedback: The tyre currently resembles a shield rather than a functional wheel, and the lower section looks too much like a pair of legs. The idea and drawings are strong, but the vehicle’s functionality still needs significant improvement. Refine how its components operate and consider whether the goat could be robotic. Develop a colour palette and present the design from multiple angles.

    General Feedback: Number every drawing clearly and begin introducing colour into the concepts. Consider what objects or cargo may be carried on the exterior of the vehicle. After establishing an idea, continue studying the vehicle and refining it independently rather than waiting for someone else to provide feedback. Iteration remains important even when pursuing a hyper-realistic design. Show how the driver sits inside the vehicle so that its scale, ergonomics and functionality can be understood.


    WEEK 7

    Specific Feedback: The design has improved since the previous version, but it would benefit from stronger robotic elements. Show how the character sits in the cockpit and controls the mountain goat. Create a simple 3D blockout to examine the front section more clearly, then begin adding further details. Refine the remaining vehicle components so that they visually correspond with the robotic mountain goat at the front.

    General Feedback: 
    - The purpose of the assignment is not simply to produce attractive drawings. Every design element, including colour, should have a clear function and a reason connected to the story. Use photobashing and lighting to establish the intended mood, and explain why each moodboard image was selected. Sketches and silhouettes should meaningfully explore ideas rather than merely fulfil a numerical requirement. Value studies should improve readability by using light and shadow to clarify the important forms. Add more detail if aiming for a higher mark.

    - Do not rely entirely on feedback or wait for further instructions before developing the work. Retain the existing concept and use quick sketches and simple blockouts to visualise and refine improvements instead of unnecessarily starting again. When using demanding software such as Substance Painter, close other applications to maintain stable computer performance.


    WEEK 8

    Specific Feedback: The basic functionality of the vehicle is already established, so focus on refining its design and presentation. Add more robotic, clockpunk-inspired frames and ornamental details to the carriage, using further visual research to guide the design. Correct the value structure and apply gradients to create clearer volume, separation and readability. Redraw the mechanical goats so that their bodies and legs follow the perspective and ground plane of the carriage correctly.

    General Feedback: Project 2 will focus on designing an interior environment.


    REFLECTION


    Experience

    These exercises guided me through the main stages of vehicle design, beginning with observational perspective studies and vehicle references before progressing to silhouettes, thumbnail sketches, line weight, colour, materials, and ambiance. At first, I misunderstood the vehicle reference exercise and drew a car that was unrelated to my project. After understanding the task more clearly, I selected land, water, and air vehicles and gradually focused on developing the carriage for my clockpunk and astronomical concept. I also incorporated an ibex and explored how the animal could be connected to the carriage.


    Observations

    I observed that drawing objects and vehicles from multiple angles helped me understand their forms and perspective more clearly. Silhouette and thumbnail studies also helped me explore the overall shape before adding details, while colour, materials, and lighting made the concept’s identity more visible. However, some of my early ideas focused more on their visual appearance than on believable functionality. The feedback repeatedly highlighted the need to consider the ground plane, the driver’s position, accessibility, mechanical movement, and the connection between the ibex and the carriage. I also realised that producing a large number of sketches was not useful unless each sketch tested a meaningful design solution.


    Findings

    I learned that the vehicle’s user, purpose, cargo, scale, and movement system should be established before refining its visual details. In future projects, I should use quick thumbnail sketches and simple 3D blockouts earlier to test perspective, ergonomics, and functionality. Each colour, ornament, and material should also have a clear reason connected to the concept and story. I should plan weekly targets more carefully, document each stage consistently, and allow enough time to revise the vehicle’s functionality before beginning the final rendering.


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