D&T Awards 2013 Invitation for Submission

Dear Students,

Many of you have worked hard and well with me through this year. And I am sure you are proud of the works you produced. So why not take a little step forward and submit yours for D&T Awards 2013?

The following is an excerpt from an email sent to me:

"I would like to invite you to enter your lower and upper secondary pupils' D&T projects from this year for D&T Awards 2013.  The submission requires a write-up of not more than 100 words and images/videos that show well the intent of the project."

Other details required/instructions for submission  can be found in the 'Contact Daniel Lim'  heading above or here: http://db.tt/TheySW0C

The timeline for the award is as follows:

• 2013 Feb 25 to 27        Window period for submission
• 2013 Mar 5                   Announcement of shortlisted entries
• 2013 Mar 18                 Pitching session for shortlisted entries
• 2013 Jun 5                    Awards presentation ceremony cum exhibition

Informal After-School Hour Revision & Consultations

The session is opened to all 'N' or 'O' Level D&T Students 2012
You can start to gather your own study group (around 4-5 people) and make an afternoon appointment with me for a 2-3 hrs D&T informal revision and/or consultation session.

'Informal' means the format can be very serious do-past-year-paper type, or just talking over topics in a discussion format. The latter should be quite fun.

Important:
Please make your appointment at least a day in advance for me to plan my time as well as to avoid disappointment. There is no limit to the number of times of consultations.

How to make an appointment:
1) Via Facebook
2) Via email : mrdanielsos@yahoo.com.sg
3) Look for me at my office.

How to Use S.C.A.M.P.E.R. for Combining Ideas and Further Refinements

The  S.C.A.M.P.E.R. Technique in a Nutshell

A little recap on what S.C.A.M.P.E.R. is all about:

 S.C.A.M.P.E.R. is an idea generation technique. The function of a technique is to assist the user to perform a tasks more efficiently. Similarly, the  S.C.A.M.P.E.R. technique is for assisting the idea generator to generate more ideas quickly and more efficiently.

However, simplistically using the  S.C.A.M.P.E.R. technique does not yield 'meaningful' outcomes. Ideas may turn up to be a variety of hybrids but not really practical for use. Nevertheless, the  S.C.A.M.P.E.R. is useful for idea starters where a varieties of ideas can be created freely for later consideration, evaluation, modifications, and so on.

As with all other techniques and tips, the person using it will not be able to generate freely if there isn't enough practice (or interest or motivation) in doing so. Practice is required.

The points hightlighted above are steps for my student to move on from their previous attempt at 'Concept Borrowing' as a starter for Idea Generation. Click 'HERE' for a review on "Concept Borrowing".

Once a variety of alternative ideas are generated, the ideas are ready to be 'harvested' (like a farmer) to be further fine-tuned. Taking the ideas generated a little futher, we can make use of  S.C.A.M.P.E.R. again to create more 'Hybrids' of ideas. We can 'Combine' 2-3 ideas into one and then followed by some 'Modifications'to its features and functionalities, etc. See below for examples.

 

For demonstration purposes, I reproduced two drawings from my student from his 'Concept Borrow' idea generation page. The first one is a cCube' drawing practice which he uses as a warm up for drawing, and the second one is a candle light holder that is 'borrowed' to become a straw holder.

Use 'C' = Combine' from  S.C.A.M.P.E.R. you can see a range of modifications that follows, which in turn making use of other acronyms from  S.C.A.M.P.E.R. (e,g, Eliminate, Modification, Rearrange, and some others not recorded) to create more hybrids.

Follow the "broad arrow" and see how ideas evolved from one to the next. Below are brief notes on how the idea evolves...

1. The first modification is simply a direct Combination. I added the 'arms' to the side of the wireframe cube and turned it to be a 'Cube Straw Holder'.
2. Next I Combined a ball and place it within the cube,
3. Rearrange the 'arms' and stick them on the ball.  I now have a ball within a cube structure with straws sticking out. This idea looked no only strange, but may not be so practical for use.
4. Next even after another attempt at Modifying the angles of the 'arms', I decided to summon 'Elimination', to take away the cube frame instead.
5. Left with the ball like structure and the arms sticking out, does it look somewhat like a 'Spider'?
6. Rearrage the 'arms' and Modify them by bending them at one point, I know have a structure that really resembles a 'Spider'.
7. Plan a few 'holes' along the top hemisphere for the straws, now I have a "Top-Hairy Spider Straw Holder".

Notice earlier on when I mentioned '...simplistically using the  S.C.A.M.P.E.R. technique does not yield 'meaningful' outcomes', in my own attempt shown above, I have taken a step further by also working on the practicality of the idea as I continue working on them. It will be great that after a while along the idea generation phase you should start making the ideas make sense.

It will be a great help when you arrive at the Development stage.



TEN Points Common Mistakes in Design Journal (2012)

for Part A - The Design Journal

1.     P&M lacked realistic timed stages and evidence of on-going evaluation and monitoring of time.

2.     Lack of 'feel' on the theme. Presentation of what the theme is and the identified problem is unclear.

3.     Majority of researched facts, data, images and annotations are meaningless, i.e. they do not have any 'follow-up' and do not lead to further investigations or decisions being made after they are being 'researched'. Much of the research contents did not have any impact or any influence on Ideation & Development (I&D) to meet the Needs (or Problems) identified.

4.     Decisions and important points may be present but not obvious. They do not stand out.  They are difficult to spot within the pages that are full of writings.  

5.     Contents presented in I&D do not have clear (sub-) headings to represent the I&D being attempted. That makes understanding the intention difficult.

6.     Most I&D attempts throughout shows ONLY the product but hardly shows the corresponding props or the users or the environment being integrated-in to 'test' or 'evaluate' if the solution meets the List of Specification (LoS).

7.     Most (if not all) I&D are attempted as if the LoS never existed. Most I&D are not 'evaluated' against the LoS. Many (if not most) also lose touch with the Needs (or Problems) highlighted in the Design Need (or Situation) and Brief as I&D progresses.

8.     Idea Generation lacked comprehensive exploration and on-going evaluations to surface the most desirable concept for development. Most attempted as if the LoS never existed (see Point 7).

9.     Weak Development. Lacked evidence to show how material, jointing, color and finishing choices, jointing methods, final dimensions, production methods and sequences, etc. are explored, evaluated and decided.

10.   Overall lack of flow of information from section to section. It is as if reading a book compiled with random chapters from various books. Note: The lack of (sub-) headings may also have contributed to this. See Point 5).

The journal should not contain information only you can understand. It’s about how the marker can understand without a question being asked. To do this you must anticipate vague contents and make them idiot proof.

The compositions and contents herein are not to be copied, reproduced, printed, published, posted, displayed, incorporated, stored in or scanned into a retrieval system or database, transmitted, broadcast, bartered or sold, in whole or in part without the prior express written permission of the sole author, who is, unless otherwise denoted, Daniel Lim. Unauthorized duplication is strictly prohibited and is an infringement of National and International Copyright Laws.

Presentation Board | Presentation Drawing | Working Drawing Overall (Planning) Starter Kit (2012)

 Once again it is the time of the year when you need to tidy up and present your ideas in the form of Presentation Boards. I won't write too much about the components you need here because those information can be found in your coursework instructions and your teacher would have reminded you enough of what is required.

I have a similar Presentation Boards Draft Layout post last year, this year I demonstrated in class again how I would draft and plan the layout of my stuffs in the three A2 sized presentation boards. The difference between last year's example and this is an additional draft step before the actual drawings are being placed according to the initial layout.

Note that the drafts below are all sketched on A4 sized paper.

How to read the rest of this post: 

All the 'Fig. _ a's are the first-cut draft

All the 'Fig. _b's are the second-cut draft (that shows more details and information)

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Fig. 1a: Draft for First Board - 

Design Need, Design Brief, Design Specifications, Presentation Drawing.

The Design Need, Brief and Specifications should be a direct extraction from your Design Journal. So not much needed to be said here. On how to write and ensure a good design need/situation, click "here".

Please make sure you grammer is checked.

In Fig. 1a you see a draft layout on where I want to place the informtion.

Fig. 1b: Fine-Tuned Draft for First Board - 

Presentation Drawing

 Fig. 1b shows a draft layout of the contextual presentation drawing. So when it is time for me to put things together, I will use this draft as a guide. The end product may look slightly different as you twitch or modify the details but at least I have a starter and that sort of forced me to think through what I wanted. It is not a good thing to be thinking from scratch when you are actually working on the final piece. That is no planning and do not expect a good piece of work for that kind of effort.

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Fig. 2a: Draft for Second Board - 

Working Drawing Components

Fig. 2b: Fine-Tuned Draft for Second Board - 

Working Drawing Components

Fig. 2a shows a draft layout for all my working drawing components. Note that it is cricitcally important that you KNOW exactly what type and what number of drawings you have related to working drawing that you want to show in your Presentation Board. Otherwise there is no way you can plan a layout like in Fig. 2. You will find yourself adding parts of drawings which you did not plan for (or vice versa) and you end up with lack of space, or too much white space. Know what you have and intended to present also helps you to plan the size of each drawings to be place within the A2 (or A3) space.

In the end, all working drawing components must look balance relative to each other. i.e. you do not want to end up with a humongous Isometric Presentation of the product with a tiny Orthographic Presentation in a little corner, or a GIANT sized Material List in the mist of tightly packed and tiny Part Drawings, etc. In order to avoid this situaton, you got to plan.

That is what the drafts are for. Do it.

Fig. 2b shows a slightly more detailed presentation where I begin drawing very quicky (doodling if you may like) the product, the parts and components as it is on a new paper. This level of details enable me to gauge the relative sizes of each drawings to the others. And if I need to resize or rearrange some of them, I will continue to draw drafts on a new piece of paper or I may choose to modify directly on this second draft until I get the balance and arrangement right.

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Fig. 3a: Draft for Third Board - 

Remainder of Working and Presentation Drawing Components

  



Fig. 3b: Fine-Tuned Draft for Third Board - 

Remainder of Working and Presentation Drawing Components

This last draft as shown in Fig. 3a contains notes about what to include for the remaining of the working and presentation drawings. This final bit will ensure I present my project as comprehensive as possible by maximizing what space was available. But that does not mean you take up every white space. (Note: It is not necessary to cover up every inch of space. Rather it is better to be able to 'plan' space in your presentation boards so that it does not look cluttered).

In Fig. 3b (the last board), I have selectively planned to show different views or perspectives of my product, show the product in other contextual usages, show the product rendered in different colors or tones, or even show the product in different usage stages, etc. You may also choose to show some steps and proceduces when the product is being used or before and after use, etc.

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Conclusion

It might be timely to note now that there is no right or wrong or standard way to present your ideas in your Presentation Drawings or the Presentation Board as a whole. 

Your Presentation Board should be fine as long as the components are presented neatly, clearly and correctly (eps. the drawings, and for example drawings standards adhered to in working drawings), the information presented is clear and easy to understand and does not invite questions due to vagueness in presentation. Finally, do not forget to refer back to the criterion for submission and make sure you have all the components in and well done.

Tissue Dispenser Standard Project (Part 2): 'LID' Design Development + Working Drawing + (Simple) Presentation Drawing

Fig. 1: Developement (Page 1)

Borrowing the shape and from from the (most popular vote) selected concept, the next stage after Idea Generation is the Development Stage. Here once again I make use of my two stage process, i.e. dealing first the Functionality part, and then later the Aesthetical aspect of the design.

First I 'copy' the chosen concept (See Fig. 1 above) , draw it over the dispenser, then assign parts to be seperately developed and combined later. In Fig. 1 you will see the functional development of the 'Lid' part. I had a hole drilled at the back of the dispenser, so at the back of the lid I must make sure it is not covered. In the lower section of Fig. 1 you see that I am beginning to develop the 'face' - the Aesthetical aspect.

Fig. 2: Developement (Page 2)

Fig. 2 (above) shows a somewhat developed 'face' that has become the face of a cute dog. Notice there is also some refinement on the 'ear' to make it a little curvy rather than straight down. The nose is now a solid wood part to be pasted on the face.

Within Fig. 2 you also find the second phase of development on the 'tray'. The tray will be used to store a wallet. The shape and form is now modified into the form of a 'crown'.

Thus the project is named 'KING DOG' as a result.

Fig. 3 (below) shows a very quick paper model cut and place on top of the tissue box dispenser. From the paper or cardboard model, the design and refinement decsions can be further fine-tuned and re-iterated until the most convincing shape, form and functionality is achieved.

Fig. 3

Now, the devepment phase is far from completed. There are still many other aspects that needed to be worked out. For example, the finalized size, dimension and making methods for each parts. The color choice. The overall proportion to the product as a whole needed to be accounted for - from which the final dimensions may change again. There will be several rounds of iterations between overall sizes, material usages. making methods, etc before the final decisions of the final product is reached.

Once decisions are made for the number of parts required, the sizes and dimensions for each part and its materials and color choices, details for marking out and the making methods, the project is now ready for 1) Working Drawing and 2) Production Planning and 3) Realisation.

Fig. 4: Working Drawing for the Lid and Tray Design

Assuming the project is now developed and the necessary critical decisions are already being made. Fig. 4 (above) shows a sample of how the working drawing fror the Lid and the Tray design may look like.

Fig. 6: Simple Presentation of the Completed Product

Nothing beats a final rendering of the product in use and showing how it could be used. Fig. 6 shows a very simplified presentation of the Tissue Dispenser in its Front View, followed by a 3D drawing showing how it might be used: Where the tissue paper packet is going to come out, and where the wallet and the phone is going to be placed. Short of how to replenish the tissue paper packets when supply runs low. But that one I hope you will be able to manage. Right?

Coursework PRELIM 2012 Grading Submission Brief



Note:

1. First date represents Journal component ONLY. Second date represents Presentation Board components ONLY.
2. Presentation Board contents hand-in only. No need to be on full board.
3. D.Day = Deadline for Official Submission by 1800hrs. Late submissions will not be entertained.
4. "B.O.Y.P." = "Bring your Own Props" means you will bring along your 'props' to be submitted together with your product. e.g. Toothpick Holder Design: Bring some toothpicks and put them in.
5. Tips: Hand-in completed work one week before D.Day.

Tissue Dispenser Standard Project (Part 1): 'LID' Design Exercise - Tasks 1 to 3

Tissue Packet Dispenser 'Lid' Design Tasks

The Tasks (Explained)

The secondary 3 express class will be doing two standard projects this second semester. The first one is a Acrylic Tissue Packet Dispenser (See below for the Working Drawing). The second one (if time permits) shall be a cool 'Scotch-Tape' Dispenser (not shown in this post).

(Partial) Working Drawing for the Tissue Packet Dispenser Project

Completing the whole project without modification can be quite dry. So I had my students learn the beginning processes of marking out, shaping the acrylic, and finish the main body of the Tissue Dispenser minus the 'Lid'.

In today's lesson, I had my students to work in 3 groups to design (modify) and propose an alternative 'lid' design using the original one as a starter.

Students make use of the S.C.A.M.P.E.R. technique to come out with various possibilities (See Task 1).

Then time is given for each group to select the best idea and work on some development before selecting an 'ultimate' one for presentation (See Task 2). So each group presented their idea. Group 1 happened to have three very promising idea so we ended up with 5 ideas presentations.

In the final 5 minutes, potential ideas were pinned up on the board and students started to vote. And the winner goes to Eileen Lim's lid design combined with a tray storage for holding wallets (See Task 3). The rationale is simple: The wallet is placed right on top of the dispenser. When you take your wallet, the user will be reminded about taking a tissue packet along. So the user will minimize situations where he/she goes out for a meal and do not have tissue paper with him/her.

The Most Popular by VOTE

Conclusion

A good design is simple, practical and useful. Of course aesthetics play a very big role too in a product. Eileen's idea was a simple extension to the original design with value-added features to help users be reminded to bring both the wallet and a packet of tissue along out.

What's Next?

In the next lesson, students will work on some minor developemt to the 'chosen' concept and proceed with generating working drawings on their own (See Task 4). That should take about an hour or so. Finally, what is a project without realizing it? Students will proceed to finish their project complete with the new (modified) lid for submission (See Task 5).

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Food for Thoughts

Why Standard Project? Shouldn't we be Focusing on Design Journaling instead?

There had always been debates on whether students should or should not be making standard projects since we have already evolved into the 'Design Journaling' era...

In my opinion, this is a viscious cycle type of problem.

If a student is not trained in making. How would he/she appreciate the process of design? How would the student take into consideration material usage and types, difficulty and time for shaping, jointing or making if he/she had such poor experiences of them? This also applies to 'drawing' (doodling and technical drawings included) skills. 

On the other hand, too much emphasis on months of design journaling (with a gross lack of experience in the practical aspect of materials characteristics understanding and making) often resulted in weak ideas and superficial developments. That is because the students do not know what to expect nor could he/she predict the diffculties, complexities, the time required and the outcomes of those decisions! 

So now what? Do or not to do? and Do what? The solution is a simple one. At least to me.

As long as balance is kept in check. Students who had the opportunities to learn the processes of making will definately be able to appreciate the design process better as they are being guided by their teachers. No doubt about that. The design process is part of our daily routine and such a lively process is already part of everyone's experience since birth! Unfortunately not many people recognised this routined daily choice and decision making process IS the 'Design Process' in action.

So we teach it and bring the awareness to the general public - like HERE. And to teach people other skills which they can use to enhance their ability to generate ideas, make choices and decisions better.

How we make better choices and decisions each day depends on what we actually do and learn from others and from mistakes. Our experiences from what we thought and did and learned in the past had everything to contribute to refining our future thoughts and actions. And therefore modifies our decision (process) thereafter.

Coming back to the chicken and egg debate on whether we should encourage students to make standard projects or not, or focus on design journal, etc... I will tend to be more inclined to the following:

Firstly, learn the various skills and processes. Learn to modify and change along the way. Design elements from needs to development can be brought in as and when relevant for discussion and learning. To understand and appreciate how the standard projects are being conceived: designed, developed and finally fit for making.

Secondly, students can design at the same time: students will be able to recall the experiences of making to make better choices and decisions earlier, more accurately and more confident (for sure).

Design Journaling: How does it Work in our Class?

My students work on their individual coursework with a theme just like any graduating students do. The difference is they attempt thier indivudual coursework offline rather than during the official class time. Class time is used for practical practice, mini-topical design workshops and discussions.

Consultations in groups of two to three students onces every fortnightly after school ensures more focused discussions and individual attention.

The students work on their individual coursework in the background and sub-consciously applying what they learned in the workshop. And if time permits, the students will be given time to complete their coursework together with the realized solution. If not, at least the students would have gone through a full cycle of the design process + lots of fun and experiences in the making process.

How to Draw Objects with Sloped Edges

To be more precise,

How to draw ORGANIC-SHAPED OBJECTS with SLOPED EDGES?

Fig. 1: Secondary TWO Pencil Holder Project - Student's Work

It all began as a simple lower secondary pencil holder project (Fig. 1 above). A fish-shaped pencil holder with basic curved profile. The holder project is not yet compete as you can see there is no tail yet. Students learned how read a working drawing, moved on to mark out the fish profile, shape it using a Scroll Saw, Sand to smooth and to finish with ether Spray Paint or Lacquer.

But when I finish my demo piece, I went a step further to experiment on sloped-edges to create additional volume to the form (Fig. 2 below) to add aestherical value to the original form.

It turned out pretty nice actually.

Fig. 2: Pencil Holder with Modified Sloped-Edges

As I was completing my 'slope-edge' experiment, a question came to my mind. I thought to myself, 'It is easy to draw an organic shape in 3D as long as the edges are square to the surface. But now the edges are sloped and no longer along a simple plane. How do I illustrate that?'.

Fig 3: Figuring Out How to Plot the Slope (Draft)

That question began my journey to find out a way to map out the slope profile. Fig. 3 above shows my initial attempt in trying to figure out the various ways I can accurately plot the curves. The drawing on the lower right-hand corner attempts to illustrate a simply-sloped edge round the fish profile.

The drawing on the upper left-hand corner is another simple shape which I use to figure out how to plot guidelines in order to place the slope edge.

After a little while, I concluded the steps mentally and penned down the steps as I recalled what I did to produce the sloped edges. See Fig. 4 below. HINT: Lines highlighted in RED represents a new step.

I've tried to present it in as little steps, as little instructins and as simply as I could. Follow the arrows for a FIVE-STEP process to draw your very own Irregular or Organic Forms with Sloped Edges.

Fig. 4: How to Map out Organic Shape Objects with Sloped Edges

Cheers and have fun drawing your Organic Slope-Edge Objects!!!

Oblique Drawing to One-Point Perspective + Isometric

First lesson for 2N1 and we are left with 15 minutes. So I did a little bit of introduction to Isometric Drawing with everyone starting to draw. Last year, I taught the same group of students how to draw in Oblique Drawing so that they can use the same technique to present their final product for submission. This year I will be introducing them the Isometric Drawing Technique. A slightly more realistic drawing technique compared to the Oblique Drawing Technique.

Next, the relation between the Oblique Drawing and the One-Point Perspective.

The interesting thing is this, a One-Point Perspective Drawing is derived from a slight deviation from an Oblique Drawing. Both still have the same full 2-D front view of the object. The only difference in a One-Point Perspective is that its 3rd dimensions are drawn aligned to a POINT (wherever the artist wish it to be). The 3rd dimensions of the Oblique Drawing are simply projected at 45 degress parallel to each other. In the One-Point Perspective Drawing, when the 3rd dimension lines are drawn towards a POINT, what you have created is an illusion that objects further away looks smaller! Therefore it looks more realistic than the Oblique Drawing.

Which is better?

For the sake of comparison, as mentioned before in class the Isometric Drawing is a better option in drawing than an Oblique Drawing because the Isometric Drawing represents the real world better. Instead of parallel 3rd dimension projections, the isometric is 30 degrees off the horizontal for its 2nd and 3rd dimension. If that is the case, so it seems like the One-Point Perspective drawing is a good competition to the Isometric Drawing as far as 'realistic' representation of an object is concerned.

Well yes and no. though the One-Point Perspective does presents objects in a more realistic 3D manner (like the Isometric Drawing), a straight-forward 2-D front view to begin with still does not represent the real world very well. Take a look at objects around you, do they all appear perfectly 2-D in the front? However, the One-Point Perspective Drawing is still widely used in Interior Designs and Architecture presentations of the designed environment because they do look good if well drawn.

An even more realistic drawing technique will be the extension of the One-Point Perspective - also a slight deviation from an Isometric Drawing - It is called a Two-Point Perspective Drawing. The Two-Point Perspective Drawing is not shown in the example above but you may find it in many of my previous posts within my blog.


Alternatively you can also watch a video showing the 4 main types of drawing techniques I talked about in this post.

Just in case you are very keen, the final type of drawing technique makes use of three points and you call that a Three-Point Perspective Drawing. Ever watched Spiderman on TV or read any Marvel Spiderman Comic Book with 'Spidey' swinging from the top of the skyscrapers and the camera view showing all the actions from the sky down? Did you notice how the buildings looked like? That is a combintion of One, Two and Three Point Perspective. Cool isn' it?

The more types of drawings you learn, the better you will be in selective the best presentation style. All drawing techniques ranging from Oblique to Isometric, extending to One-Point and Two-Point Perspectives (and even Three-Point Perspectives) can be used equallly effectively in your idea presentation. But you need to know each of their differences, their limitations and their strengths so that you can apply them meaningfully to capture the idea you want to present.

Here is a FIVE-POINT Perspective tutorial link if you are REALLY REALLY keen. It is pretty easy to understand what is going on in the tutorial. Below is my very first attempt at 5-Point Perspective Drawing much later during my free time.

5-Point Perspective (Fictional) Commercial Area Sketch

Let me know if you have questions.

Presentation Drawing in Drawn in Sub-Context & in Context - With Human Figure Interaction

Another example of a sub-contextual drawing (LEFT) making use of an image resource (RIGHT) from the internet. Note I do not draw the face. I like to leave it 'faceless' so that the figure can represent anyone.

To do this, I made use of the image resource, place a piece of paper over it to trace the main elements and omit the unnecessary parts. Alternatively you can use your reference to 'redraw' it on a new paper. Finally draw in the product used in its context.

Note that all drawings should present the same perspective.

The example above is a step better than the previous. The presentation is not only drawn in context - you can easily recognize a home (or a room) with the addition of the window and curtains in the background. To enhance your presentation, you should also consider include some shading or coloring.

Working Drawing Components

A Working Drawing has the following usual components:

1. An Isometric Drawing showing the Part Numbers (or Part Labels).
2. An Exploded View (or Assembly Drawing) showing where the parts go and their fixtures.
3. An Orthographic Projection (First Angle) showing the overall and necessary minor dimensions.
4. If you can afford space for Part Drawings or useful Sectional Views to be included, go ahead and do so. Otherwise you must at least have those in of your development phase. Just think about the part drawings as a summary of your conclusions on the physical product project. Showing all the details, positions, trim lines and dimensions. (Note: Production Sequences and a Gantt Chart Production Plan need not be present in your presentation boards, however they MUST be included at the end of your development phase.
5. A Material List showing all the Part Numbers, the Materials used, the Dimensions and the respective Quantities.

Some Tips and Pointers:

1. Isometric Drawings: If the product has several components, especially those with components within each bigger component, you may consider drawing those components and label them seperately. It is impossible to draw all of them within (with lots of hidden lines) and attempt to number them off. That will be VERY messy and impossible to read. Finish off with a neat Exploded Drawing to show how each components come together.
2. Exploded Views: As long as the parts are aligned consistently (Isometric or Oblique) your exploded view should look neat. Not all parts can be aligned straight to its connection point. In this case you can draw your component slightly off, but use lines to create a 'path' to lead it to the connection point. The example above has everything aligned. For an 'off' example click here. In the linked example you will find a dowel that is not aligned.
3. Orthographic Projection: Leader lines should not touch the main drawing and should have a lighter line weight than the object. A good guide would be at least 10mm away from the drawn object. Spacing between dimension lines to the next should be consistent. A good guide would be at least 5mm away from the drawn object. Dimensions are usually written 'on' the dimension line. For vertical dimension lines, the dimensions are usually written on the left of the line following the orientation of the line.
4. Material List: Most common mistake is the written dimension. Lenght = the longest or the largest dimension. Followed by Width and the smallest dimension is the Thickness. It is worthy to note that numbering in the material list goes from '1' from the base up.
5. Do give a name for your project to be included as a 'Heading' for your Material List. Rather than "Material List' as your heading.

D&T Coursework & Theory Plan for July and August 2012

'N' Level Deadline : Term 3 Week 8    : MONDAY   : 13 August 2012

'O' Level Deadline : Term 3 Week 10  : TUESDAY  : 28 August 2012

Part A: Design & Technology Theory

1. All Subject Contact Time (SCT) periods will be used for theory practice. 
2. Bring all your past year questions.
3. Priority will be given for students with questions and I will address those questions during SCT. 
4. You may ask or discuss questions on any topic ranging from design to technology. 
5. Questions can be coming from past year papers, or any topics that require clarification or to be elaborated, etc.
6. If I receive no questions, then we will attempt the questions from past year papers in sequence.

Note: 

• 5NA SCT : Term 3 : Week 1 to Term 3 Week 7 : Friday,  2pm to 5pm.
• 4NA SCT : Term 3 : Weeks 2, 4, 6, 8, 10         : Monday 2.30 to 3.30pm.

Part B: Coursework

1. All official classroom session will be used for completion of the three Presentation Boards and fine-tuning of your design journal ONLY. 
2. If have not completed your product for some reasons you can only do it after school.
3. All drawings in pencil drawn to scale according to standard drawing convention. All drawings inked in black once confirmed by teacher.
4. Complete your Working Drawings and Presentation Board components in the workshop (with the help of the Instructors when I am not around)

Term 3 Week 1 & 2

1. 1 x Part Lists (in Orthographic + Dimensions for every part)
2. 1 x Isometric Drawing (no dimension + no label) - Showing Overall Product, i.e. everything in. e.g. if study desk, then draw the desk together with the drawers)
3. 1 x Isometric Drawing  (no dimension + no label) - Showing Individual sub-Parts. e.g. if study desk, then the desk without the drawers + and another set drawers only).
4. 1 x Isometric Drawing (+ Part Numbering) - Showing Overall Product, i.e. everything in. e.g. if study desk, then draw the desk together with the drawers)
5. 1 x Isometric Drawing  (+ Part Numberingl) - Showing Individual sub-Parts. e.g. if study desk, then the desk without the drawers + and another set drawers only).
6. 1 x Material List

Term 3 Week 3 & 4

1. 1 x Orthographic Projection + Dimensions (Showing Overall Product, i.e. everything in. e.g. if study desk, then draw the desk together with the drawers)
2. 1 x Orthographic Projection + dimensions (Showing Individual sub-Parts. e.g. if study desk, then the desk without the drawers + and another set  drawers only).

Term 3 Week 5

Using the Isometric drawing drawn in week 1:

1. 1 x Exploded View(s)
2. 1 x Presentation drawing in contextual use

Term 3 Week 6

1. 1 x Presentation drawing in contextual use complete with rendering

Term 3 Week 7

1. Fine-tune Design Situation, Design Brief, Design Specifications
2. Presentation Boards Complete.
3. Product Prototype Fine-Tune and Complete.

Note: 

1. I will not be in school during Term 3 Week 2 & 3. 
2. During these two weeks, all students to follow plan above in the workshop.

D&T June Holiday to August 2012 Coursework Assignments

Every point below is IMPORTANT:

D&T JUNE Week 3 & 4 2012 Coursework:

1. Come to the workshop during Week 3 and 4 of the June Holidays ONLY if you are touching up your coursework, otherwise stay at home.
2. For working drawings, you must study your textbook on how to do each of them correctly before you start yours. That includes how to draw different types of lines (e.g. difference between dimension lines and product lines, etc., how draw to scale, how to dimension correctly, etc.
3. Come back to school in July with the various types of drawings required in a working drawing completed. I’ll then give you feedbacks on your works to guide you towards submission standards. In some cases you will need minor changes. In other cases you may need to re-do. That depends.
4. Update and stand-by your material list somewhere in your design journal. Do not bother to decorate it! You will eventually need to produce another one with just the right size for you to insert in your Presentation Board.
5. Complete one A3 size Presentation Drawing (draw in contextual use).
6. Do not ink your drawings yet. You will only ink them when the school begins in July and after I have seen your drawings. Inked drawings will be used for photocopying and scaling, etc.
7. All drawing guide lines must be light and soft to facilitate erasing in case of mistakes. Always use guidelines to draw your project.

D&T JULY to mid-AUGUST 2012 Coursework In-Class:

1. 2012 July – Completion of all Working Drawing + Presentation Drawing components for Presentation Boards.
2. 2012 August – Design Journal Component (P&M, Research, I&D) Touch-Up + Written Theory (Design +3 × Technologies)

D&T JULY to mid-AUGUST 2012 Coursework After-Class:

1. 2012 July – Product Prototype Completion + Touch-ups.
2. 2012 July to August – Design Journal Components + Presentation Boards Components Touch-Ups.