Drawing for Graphic Design

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Universal

Principles

of a Strong

Drawing

No matter the medium, style, or purpose,

every successful drawing embodies the

resolution and integration of fundamental

qualities—universal principles that must

be evident regardless of which territory

that drawing inhabits

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A

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.

It’s worth noting again that capturing

an accurately real depiction is not one

of the characteristics assigned here to

“successful” drawings. Too often, realism

is equated with success. Remember

that a drawing is always an abstraction

to some degree: It distills essence and

reconstructs it with specific intent. If the

intent, in a given context, is to accurately

reproduce observed forms in space, this

may be another criteria upon which to

judge a drawing’s success. However, a

decision in favor of pictorial realism is

narrative, solely dependent on the nature

of the communication; only then should

success also be evaluated on this basis.

Definitive Structure

A sturdy set of recognizable relation-

ships among form axes and contours

Unified Form Language

A specific combination of marks, shapes,

and gesture

Positive/Negative Vitality

Dynamic rhythm and interplay between

forms and spaces

Perceptual Space

The creation of engaging,

illusory dimensionality

Drawing

/ for Graphic

Design

Discovery

Universal

Principles

Linear:Planar

Geometric : Organic

Angular : Curvilinear

Large:Small

Restful : Energetic

Uniform : Varied

Simple : Complex

Delicate : Bold

Cubic : Elliptical

Deep : Compressed

Field : Singularity

Dark : Light

Volumetric : Schematic

Regular : Irregular

Repeating: Distinct

Ordered: Disordered

Dense : Open

Orthogonal: Diagonal

Soft :Sharp

Opaque :Transparent

Concrete: Abstract

Single : Multiple

Fluid: Staccato

Most important to understand is that

all the universal principles are informed

by one overarching aspect: the notion

of contrast. Creating states of differing

presence or quality—states that contrast

with each other—is inherent in avoiding

visual monotony. Contrast established

among aspects of one principal will

usually affect aspects of the others.

While the term “contrast” applies to

specific relationships, it also applies to

the quality of difference in relationships

among forms and spaces interacting

within a format together. The confluence

of varied states of contrast is referred

to as tension. For example: A composi-

tion with strong contrast between round

and sharp, angular forms in one area,

opposed by another area where all the

forms are similarly angular, exhibits

tension in angularity. A composition that

contrasts areas of dense, active line

rhythms with areas that are generally

more open and regular might be charac-

terized as creating tension in rhythm.

A

This poster exhibits all the universal principles

to be achieved in a successful drawing

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STIM Visual Communication United States

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Universal

Principles

of a Strong

Drawing

Drawing entails complete inven-

tion from the ground up. Through a

process of trial and error, designers

discover what kinds of graphic

shapes may work to articulate a given

subject, as well as how they might

act together. They invent a palette

of form elements (a syntax), each

having its own purpose and quality,

along with the behaviors in which

those parts engage (a grammar)—

a language of form that, in a visual

way, corresponds closely to the

analogy of spoken language. Form

elements are like sounds, or even

words; they contain basic identifying

information much the same way that

verbs, adjectives, or nouns do. And,

as with speech, these “words” are

combined in patterns specific to that

language; they behave in a particular

way in French, for example, that is

different from German or Japanese.

In drawing, designers build form

languages unique to each drawing.

Possibilities for defining a form language

are, of course, endless. It may be funda-

mentally defined by purely geometric

syntax

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A, B

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; alternatively, it may be

defined by organic syntax

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C

–

E

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. It goes

almost without saying that syntax of

either kind may be hybridized in any

combination. The syntax may be very

rough

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C, E

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or highly refined and sharply

articulated

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D, F

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, whether geometric or

organic. While the medium used will

contribute to the language

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E

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, the basic

geometric or organic nature of the form

syntax will typically remain identifiable.

Every

successful

drawing

expresses

a specific,

unified

form

language.

First Principle

A

Planar and linear geometric syntax

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Steff Geissbuhler

United States

B

Dot- and grid-basd geometric syntax

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The Luxury of

Protest United Kingdom

C

Organic, linear syntax; geometric structure

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Catherine Harvey United States

D

Organic form syntax arranged gesturally

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STIM Visual Communication United States

E

Organic syntax

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Eva Surany, UArts

United States