Pragmatic and Intuitive Approaches to Design Drawing : The Essential Role of Imagination in the Visualization Process (original) (raw)
Related papers
DS 95: Proceedings of the 21st International Conference on Engineering and Product Design Education (E&PDE 2019), University of Strathclyde, Glasgow. 12th -13th September 2019, 2019
This article proposes a framework for current use and future potential for drawing to present, represent, simulate and visualise the world within the education, industry, practice and research landscapes. Today's metamodernism allows to reimagine this paper's focus as an act of drawing, rejecting and redrawing together modernism and post-modernism to visualise solutions for complex matters of concern. Modernist technology, built on Monge's orthographic projection, initiated computer-aided design and made possible to specify matters of fact and function that lacked ornament digitally. While postmodernists deconstructed modernity with the irony of acrobatic aesthetics and technology based on a renewed approach of "art for art's sake". Fittingly, current incremental innovations are bringing about new forms of connection, informed knowledge, involvement, narratives and storytelling that can help the reinterpretation and agency of drawing for this day and age. Particularly, these developments query whether a designer's first-person observer-independent world view is enough to elicit ideation, conceptualisation and design. New product development teams are gradually becoming distributed globally and work in their own simulated virtual world environments. Their drawings structure simulations that can be tested digitally to save on material development and production, can be prototyped easily as material artefacts because new types of manufacturing, and increasingly, are becoming the end goal of design activity. Drawing principles are changing their application from the corner of two-dimensional emersion of individual ideas to the opposite of three-dimensional immersion into the design environment as embodied cognitive and enactivated experiences that express its participants' interaction with real and simulated environments.
Design Drawing-An Integrated Visualization System
2012
Over the past two decades, computers and advancements in software have revolutionized the Industrial Design process. Designers are able to accelerate the development schedules for products by utilizing the same software for design and visualization as engineers use for implementation. Two-dimensional rendering software has become so advanced and intuitive that photorealistic images of a design are generated to help the client believe the product has already been manufactured. The design industry is facing a growing problem, however, as students, required to learn more skills than ever before, are not gaining the drawing skills preferred by or needed for professional practice. Curricula once structured for sketching, rendering and technical drawing have been superseded by Computer Aided Design and graphic courses. Exacerbating the issue are challenges in standardizing Industrial Design curriculum across the spectrum of design schools; as a result students are graduating with a wide range of less-than-ideal skill sets. (Amit, 2010) This thesis will examine the phenomenon of drawing in the design process and propose a new concept for drawing pedagogy that may augment or replace existing curricula to accelerate acquisition of design drawing skills and more fully prepare the student for the design profession.
The study analyzes expertise in weaving design by examining how professionally experienced designers (n=4) and advanced students (n=4) of weaving design solved a professional weaving-design task. The data consisted of (1) verbal protocols, (2) video protocols, and (3) written and drawn material produced by the participants. We analyzed the data through qualitative content analysis and problem-behaviour graphs (PBGs). The results of the analysis indicated that the advanced students produced a number of thinking sketches by moving very quickly from one design idea to another without articulating their design ideas in depth. Although strategies of visualization varied within the expert group, most experts according to the evidence, considered only a few design ideas and focused on developing and articulating their design ideas in depth.
AN ANALYSIS OF REPRESENTATION DRAWING AS A DESIGN TOOL (Atena Editora)
AN ANALYSIS OF REPRESENTATION DRAWING AS A DESIGN TOOL (Atena Editora), 2023
The different forms of communication make possible the understanding between people, and the verbal and non-verbal languages are the vehicle that provide these interactions, in a flow that makes sense in their contexts. In this article we will deal with the teaching-learning process, in the development of the ability to draw and visualize the shapes of known artifacts, and or those imagined, but capable of being represented.Drawing is a powerful form of communication and becomes efficient as the noises disappear, that is, drawing is easy to understand and self explanatory, in its shape, materials and textures. "To make good perspectives you have to know how to draw". This knowledge is not a manual skill, but a cerebral operation of the way we see things. The exercise of the mental process through drawing and constant refinement increases the capacity for three-dimensional perception. This study permeates forms of two-dimensional representation of artifacts, the efficiency and effectiveness of methods and their techniques, such as: cube method, master line, perspective with vanishing point, frame, ballpoint pen, among others). The analysis of these techniques was carried out from their application in the field, with the participation of sixteen volunteer design undergraduate students. The purpose of the study is to confirm whether the practice of exercises using these techniques improves the students' quality of communication through drawing and its importance in the design process.
Visualization as a common design language: connecting art and science
Automation in Construction, 2003
A fundamental problem in the building design process is how best to represent the designed object at different stages in the design process, and how best to interact with the partly designed object to refine and optimize satisfaction and performance. Increasingly complex and sophisticated digital representations of architecture are becoming more commonplace. But in some ways the computer has increased the distance, between the designer and the representation of the problem or idea. This paper reflects on the role of CAAD as an interactive counterpart in the design process; taking in some historic parallels and promising contemporary techniques.
Sketch as a Tool of Visual Ideation from the Design Perspective
Sketch as a Tool of Visual Ideation from the Design Perspective, 2022
This manuscript examines and explains the role of sketching as part of the creative design process, especially during its concept phase, when the new idea/solution is formed. The main focus of the study is the visual form of ideation, known as “sketching." This thesis also presents examples of practical ideation sketching techniques, analyses them, proposes the scientific explanation of mental mechanics behind them, and provides the perspective of cognitive psychology. Opening research includes a review of the current understanding and positioning of ideation sketching and the literature that covers the given subject. It validates these findings with an online survey, followed by interviews with twenty experienced professionals in the field of car and entertainment design. This research is intended primarily for students and creative practitioners of disciplines such as design or architecture; however, the content can likely be beneficial in a broader context despite the resources and examples typical for these disciplines. Last but not least, the work concludes with a critical evaluation of the research results, addresses the lack of shared understanding and terminology, and proposes a systematic approach to ideation sketching at the level of practical exercises and formal education. Keywords: Design, ideation, sketching, concept, design research, research for design, creative cognition, cognitive psychology, creativity, education, art
The study analyzes expertise in weaving design by examining how professionally experienced designers (n=4) and advanced students (n=4) of weaving design solved a professional weaving-design task. The data consisted of (1) verbal protocols, (2) video protocols, and (3) written and drawn material produced by the participants. We analyzed the data through qualitative content analysis and problem-behaviour graphs (PBGs). The results of the analysis indicated that the advanced students produced a number of thinking sketches by moving very quickly from one design idea to another without articulating their design ideas in depth. Although strategies of visualization varied within the expert group, most experts according to the evidence, considered only a few design ideas and focused on developing and articulating their design ideas in depth.
Using Sketching to Support Visualisation Design
2006
1. BACKGROUND There are currently few methodologies which comprehensively describe creativity and problem-solving procedures for creating information visualisation tools. The discipline is currently laying the groundwork for such, as is evidenced by numerous guidelines, taxonomies, and recommendations for best practice, such as those offered by Shneiderman [6], Carr [2], and Rheingans and Landreth [4].
Sketching in Design Journals: an Analysis of Visual Representations in the Product Design Process
Engineering Design Graphics Journal, 2009
This paper explores the sketching behavior of designers and the role of sketching in the design process. Observations from a descriptive study of sketches provided in design journals, characterized by a protocol measuring sketching activities, are presented. A distinction is made between journals that are entirely tangible and those that contain some digitally-produced content ("hybrid journals"). The trend between 2004 and 2006 is an increase in both the average number of sketches as well as in the percentage of 3D sketches for hybrid journals. In 2004, tangible journals exhibited a higher average number of sketches over hybrid journals in the user needs and conceptual design stages, but this trend reversed in 2006 where hybrid journals favored more sketches at all design stages. Text was the predominant form of annotation used (ranging from 62-98%), as opposed to dimensions or calculations for both journal types. The industrial design students had significantly more sketches overall and a higher percentage of 3D sketches. They also tended to annotate more in hybrid journals over tangible journals.
Visualization and Sketching the in Design Process
The Design Journal, 2000
The study analyzes expertise in weaving design by examining how professionally experienced designers (n=4) and advanced students (n=4) of weaving design solved a professional weaving-design task. The data consisted of (1) verbal protocols, (2) video protocols, and (3) written and drawn material produced by the participants. We analyzed the data through qualitative content analysis and problem-behaviour graphs (PBGs). The results of the analysis indicated that the advanced students produced a number of thinking sketches by moving very quickly from one design idea to another without articulating their design ideas in depth. Although strategies of visualization varied within the expert group, most experts according to the evidence, considered only a few design ideas and focused on developing and articulating their design ideas in depth.