Drawing for Graphic Design

132

/

133

In/

ven?

t–

ion

This chapter presents

methods for overcom-

ing timidity—facing

the blank page!—and

exploring, hands-on,

the development of

skills from basic mark-

making and gesture

through structure,

composition, descrip-

tion of pictorial form,

and creation of non-

pictorial narrative.

/

*Rhoda Kellogg with Scott O’Dell.

The Psychology of Children’s Art.

[1967] CRM, Inc.

Drawing is a skill that, like any other, can

be learned. Some people demonstrate

a superlative native talent for it, just as

they might for playing football or cooking,

working with typography, or taking photo-

graphs; others must actively work on

honing it as they would for any of these

latter activities.

It’s interesting to consider that children

draw intuitively as part of their early

development—and, perhaps not surpris-

ingly, are extremely accomplished at it,

even at the early age of three. Research

has documented both a universal instinct

among children to make images and an

equally universal process of evolution in

their approach, regardless of culture.*

It begins with the discovery of gesture

and then, almost immediately thereafter,

the articulation of a first, purposeful form:

a mandala, the child announcing the

understanding of self and location in exis-

tence. From there, all children vigorously

express themselves through nonpictorial

means with increasingly complex shape-

based forms that eventually result in

pictorial depiction. Even more fascinating

is that, in looking at childrens’ drawings,

one confronts an undeniable consistency

in resolving the aspects of the universal

principles discussed earlier—a remark-

able level of visual sophistication.

This realization has nothing to do with

condescending to accepting childens

work as “good” simply because of their

age. Comparing nearly any drawing by a

child with fine art works (of any genre)

that hang in the world’s most prestigious

museums—or, for that matter, with any

of the posters, brochures, book covers,

or website layouts that captivate us

in myriad graphic design journals and

showcases—will immediately prove

otherwise. Being completely objective,

one will recognize a powerful cohe-

sion among gesture, form, structure,

and space that seems to have simply

occurred in a state of complete resolu-

tion, without the effort that is evident in

works made by adults. The issue here is

confidence; young children are fearless

when they draw. They accept their skill

and the expression that results without

the judgment that adults impose on

themselves. Somewhere along the way,

though, many of us—even those who

go on to be image-makers for the rest of

our lives—lose that fearlessness and,

eventually, the desire to even explore

drawing as a vehicle for communication.

In effect, our intellectual development

cuts us off from one of the most provoca-

tive, compelling, and human modes of

storytelling and narrative.

Uncovering, or rediscovering, the creative

possibilities of drawing is empowering.

The assignments that follow are accom-

panied by suggestions for translating

their exploration of specific concepts and

skills in their day-to-day job or projects;

corresponding real-world examples give

evidence to this same practical poten-

tial. For beginners, assignments in this

chapter may be approached with photo-

graphic reference through tracing or scan-

ning and working digitally; once some

level of comfort with these activities have

been achieved, revisiting assignments to

work directly through observation or from

memory will further enhance budding

skills. Designers or draftspersons with

greater experience are encouraged to

engage in both the simpler, more funda-

mental studies and those of a higher

level of complexity. Drawing skill is like

a muscle: It needs continual exercise to

keep strong and flexible and, eventually,

able to be called upon powerfully and

instinctively.

Drawing

/ for Graphic

Design