Drawing in the Design Process

Pamela Schenk

Description

In the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over – that there would soon no longer be a place for craft-based drawing at any stage of the design process.

 

It soon became apparent, however, that technological progress had not obviated the inherent value of drawing, and that, in fact, it opened up new avenues for convergent and hybrid drawing practices. This book traces the evolution of design-based drawing through analysis of a series of research projects from the 1980s to recent years that have sought to characterize the changing practices of design within various industries. Built on more than three hundred interviews with designers, academics and design students, and an exhaustive analysis of thousands of drawings, it aims to generate discussion around historical and contemporary models of the design process.

 

List of Figures and Tables

Acknowledgements

Introduction

Part I – Context and Conduct of the Long-Term Study

Chapter One: Context of the Long-Term Study – Theoretical Framework

Introduction to the long-term study

The design process

Drawing for creative thinking

Drawing, memory and visual literacy

Drawing for ideation and communication

Drawing in the digital age 28 Drawing in design education

Chapter Two: Conduct of the Long-Term Study – Investigative Framework

Overview

Respondents

Variables and topics investigated

Part II – Phases of the Long-Term Study

Phase 1

Chapter Three: Drawing in the Graphic Design Industry in the Mid-1980s

Introduction to Project One

Preparation and inspiration

Briefing and ideation

Development and synthesis

Presentation and evaluation

Commissioning and specification

The importance of drawing in graphic design

Chapter Four: Developing Drawing Competence in the Mid-1980s

Introduction to Project Two

Developing drawing competence in industry and education

Curriculum planning and drawing tuition

Professional practice or artistic expression

Phase 2

Chapter Five: The Impact of Digital Technology on Drawing for Graphic Design in the 1990s

Introduction to Project Three

New uses of drawing

Individual drawing practices

Drawing in the design process following the introduction of the new technology

Preparation and inspiration

Briefing and ideation

Development and synthesis

Presentation and evaluation

Commissioning and specification

The impact of the new technology on drawing for graphic design

Phase 3

Chapter Six: Drawing in Contemporary Design Education

Introduction to Project Four

Developing drawing competence for professional practice

Drawing on the curriculum in the digital age

Curriculum planning and drawing tuition

Discipline-based diversity

Chapter Seven: Drawing in Contemporary Design Practice

Introduction to Project Five

Individual drawing practices

Drawing in the contemporary design process

Preparation and inspiration

Briefing and ideation

Development and synthesis

Presentation and evaluation

Commissioning and specification

Relative advantages of paper and screen

Part III – Characterization and Generalization

Chapter Eight: A Taxonomy of Drawing in Design

Systematic classification

The development of the taxonomy

Structure of the taxonomy of drawing in design

Categorization and characterization – Task, use and type of drawing

Categorization and characterization – Task and drawing competence

Applications of the taxonomy

Chapter Nine: Models of Drawing in Design and in Education

Introduction

The three environments of drawing in design

The three environments of teaching and learning

The student experience

Chapter Ten: Drawing Conclusions

Patterns of change in drawing practice and drawing tuition

The importance of drawing in design practice

Developing drawing competence

References

Appendices

Appendix I: Respondents in Phase 1: 1984–1989

Appendix II: Respondents in Phase 2: 1990–1999

Appendix III: Respondents in Phase 3: 2004–2015

Appendix IV: Student Respondents in the Three Phases 1984–2015

Appendix V: Advisors for the Long-Term Study – 1984–2015

Index

Sujets

• EDUCATION
• General officer
• Drawing
• Design
• General

Informations

• Publié par: Intellect Books
• Date de parution: 04 avril 2017
• Nombre de lectures: 1
• EAN13: 9781783206810
• Langue: English

Extrait

First published in the UK in 2016 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2016 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2016 Intellect Ltd.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover designer: Emily Dann
Copy-editor: MPS Technologies
Production manager: Katie Evans
Typesetting: Contentra Technologies
Indexer: Róisín Nic Cóil
Print ISBN: 978-1-78320-679-7
ePDF ISBN: 978-1-78320-680-3
ePub ISBN: 978-1-78320-681-0
Printed and bound by Gomer, UK
This is a peer-reviewed publication.
Contents
List of Figures and Tables
Acknowledgements
Introduction
Part I – Context and Conduct of the Long-Term Study
Chapter One: Context of the Long-Term Study – Theoretical Framework
Introduction to the long-term study
The design process
Drawing for creative thinking
Drawing, memory and visual literacy
Drawing for ideation and communication
Drawing in the digital age
Drawing in design education
Chapter Two: Conduct of the Long-Term Study – Investigative Framework
Overview
Respondents
Variables and topics investigated
Part II – Phases of the Long-Term Study
Phase 1
Chapter Three: Drawing in the Graphic Design Industry in the Mid-1980s
Introduction to Project One
Preparation and inspiration
Briefing and ideation
Development and synthesis
Presentation and evaluation
Commissioning and specification
The importance of drawing in graphic design
Chapter Four: Developing Drawing Competence in the Mid-1980s
Introduction to Project Two
Developing drawing competence in industry and education
Curriculum planning and drawing tuition
Professional practice or artistic expression
Phase 2
Chapter Five: The Impact of Digital Technology on Drawing for 89Graphic Design in the 1990s
Introduction to Project Three
New uses of drawing
Individual drawing practices
Drawing in the design process following the introduction 102 of the new technology
Preparation and inspiration
Briefing and ideation
Development and synthesis
Presentation and evaluation
Commissioning and specification
The impact of the new technology on drawing for graphic design
Phase 3
Chapter Six: Drawing in Contemporary Design Education
Introduction to Project Four
Developing drawing competence for professional practice
Drawing on the curriculum in the digital age
Curriculum planning and drawing tuition
Discipline-based diversity
Chapter Seven: Drawing in Contemporary Design Practice
Introduction to Project Five
Individual drawing practices
Drawing in the contemporary design process
Preparation and inspiration
Briefing and ideation
Development and synthesis
Presentation and evaluation
Commissioning and specification
Relative advantages of paper and screen
Part III – Characterization and Generalization
Chapter Eight: A Taxonomy of Drawing in Design
Systematic classification
The development of the taxonomy
Structure of the taxonomy of drawing in design
Categorization and characterization – Task, use and type of drawing
Categorization and characterization – Task and drawing competence
Applications of the taxonomy
Chapter Nine: Models of Drawing in Design and in Education
Introduction
The three environments of drawing in design
The three environments of teaching and learning
The student experience
Chapter Ten: Drawing Conclusions
Patterns of change in drawing practice and drawing tuition
The importance of drawing in design practice
Developing drawing competence
References
Appendices
Appendix I: Respondents in Phase 1: 1984–1989
Appendix II: Respondents in Phase 2: 1990–1999
Appendix III: Respondents in Phase 3: 2004–2015
Appendix IV: Student Respondents in the Three Phases 1984–2015
Appendix V: Advisors for the Long-Term Study – 1984–2015
Index
List of Figures and Tables
(Note that in the list of figures given below, while each of the drawings illustrated is credited to a single individual, in some cases the drawings involved the work of more than one designer and the named individual was either the design team leader or chief designer.)
Figures
Phase 1
Chapter Three
Figure 1 Drawings from photographic references, Richard Tilley,
Figure 2 Analytical sketch from historic letterforms, Stephen Raw,
Figure 3 Sketches produced with a client during briefing, Richard Tilley,
Figure 4 Drawings for briefing a specialist, Richard Tilley,
Figure 5 Written and visual notations for early ideation, David Crow,
Figure 6 Reassembled concept notes, David Crow,
Figure 7 Label design for wine bottles, Richard Tilley,
Figure 8 Careful indication of a design for the cover of Which? magazine, David Case,
Figure 9 Client presentation drawing for wine bottles (1), Richard Tilley,
Figure 10 Client presentation drawing for wine bottles (2), Richard Tilley,
Figure 11 Client presentation drawings for posters, Richard Tilley,
Figure 12 Client presentation drawing, Stephen Raw,
Figure 13 Artwork for book cover, Stephen Raw,
Figure 14 Presentation drawing with thumbnail revisions, Richard Tilley, mid-1980s
Figure 15 Specification and artwork for a book cover design, Stephen Raw, 1985
Phase 2
Chapter Five
Figure 16 Fax for communication with an art director, Malcolm Garrett, 1990
Figure 17 Concept sketch and notation for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 18 Layout development drawing for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 19 Hand-drawn amended image for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 20 Digital drawing printout for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 21 Hand-drawn specification for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 22 Digital printout used for specification for the 1991 Bloomingdale’s bag, Malcolm Garrett,
Figure 23 Hyperlink map for an interactive catalogue, Malcolm Garrett,
Figure 24 Notation for ideas relating to ‘Retrievalism’, Malcolm Garrett,
Figure 25 Concept sketches for page design, Susanne Dean,
Figure 26 Drawing exploring grid variations, Susanne Dean,
Figure 27 Visual formats for a magazine cover, Jake Abrams,
Figure 28 Client presentation drawings (1), Richard Tilley,
Figure 29 Client presentation drawings (2), Richard Tilley,
Figure 30 Client presentation drawings (3), Richard Tilley,
Figure 31 Detail from Figure
Phase 3
Chapter Seven
Figure 32 Drawings from photographic references, Marion Parola,
Figure 33 Visual references and notations, Sarah Dearlove,
Figure 34 Drawing to decode historical knit, Sarah Dearlove,
Figure 35 Drawing for observation and for decoration, Fiona Pankhurst,
Figure 36 Pencil drawing for animated character design, Hannes Rall,
Figure 37 Ink drawing for animated character design, Hannes Rall,
Figure 38 Pencil drawing to explain a technical process, Maria Silies,
Figure 39 Digital concept development drawing, Christopher Beath,
Figure 40 Drawing for exhibition stands, Paul Kerlaff,
Figure 41 Design for a web page, Alan Wellburn,
Figure 42 Early ideas sketched on a scrap of paper, Shelly Davies,
Figure 43 Concept development drawing for fashion, Sarah Dearlove,
Figure 44 Development through drawing, Stephen Raw,
Figure 45 Digitized drawing, Mark Parker,
Figure 46 Client drawing to evaluate and modify a design, Christopher Charlton,
Figure 47 Communication with the client through drawing, Richard Tilley,
Figure 48 Concept development fashion drawings, Theresa Coburn,
Figure 49 Client presentation fashion drawings, Theresa Coburn,
Figure 50 Specification drawing, Sarah Dearlove,
Figure 51 Drawing for repeat, Ruth Walker,
Chapter Eight
Figure 52 Three categories of design tasks
Figure 53 Three areas of drawing competence
Figure 54 Six categories of drawing abilities
Chapter Nine
Figure 55 Three Environments Model of Drawing in Design
Figure 56 Three Environments Model of Drawing in the Generic Design Process
Figure 57 Project A – Design for hand-printed textiles
Figure 58 Project B – Design for a website
Figure 59 Three Environments Model of Teaching and Learning Drawing
Figure 60 A first-year design student’s experience of drawing studies
Figure 61 A final-year design student’s experience of drawing studies
Tables
Table 1 Drawing task and succinct term for the type of drawing produced
Table 2 Drawing competence linked to the performance of intellectual/practical/technical tasks
Table 3 Taxonomy of drawing in design
Acknowledgements
I am grateful to the many people who have helped me in the investigation which this book describes. The designers and academics on whose comments much of the findings and analysis are based are listed in the Appendices, and their generosity in sharing their own experience of drawing has enabled me to make a unique record of a crucial aspect of industrial and educational practice over a period of profound change. Again, I am grateful to all those who provided guidance at various times in the research, particularly the supervisors for my initial Ph.D. programme, John Langrish and Michael Yeomans. The expert advice on the conduct of research given by Mantz Yorke early in the study proved particularly timely, as did that provided by Malcolm Garrett on developments in digital design. I also remember the generous support of Nigel Barron who ‘stood-in’ for me for a while so that I could write my thesis. Throughout the investigation, the information and opportunities for discussion of industrial drawing practices provided by Richard Tilley and Stephen Raw, and on ed