Drawing for Graphic Design

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cise

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Practical Example: Cover Design

Throughout, this hypothetical project

is presented in specifically redesigned

iterations to show how the concepts,

skills, and methodologies that the

reader encounters in each study may

be applied in a real-world context.

In each case, analyze how the given

strategy is used to communicate a

narrative of the book’s subject matter.

The studies in this section are presented

in a progressive sequence; they begin

at a simple level to establish familiarity

with tools, media, and basic techniques,

and eventually segue into advanced

studies that integrate complex combina-

tions of strategies, concepts, and tech-

niques (logotypes and typeface design,

and transformational narrative).

Even before these latter, high-level

exercises, the most fundamental of

them offer absolute beginners a number

of techniques for creating unique imag-

ery that can be used right away at an

empowering level of accomplishment.

Although developing conventional hand

skills is greatly encouraged, those who

aren’t as comfortable working by hand

may approach most of the exercises

with digital drawing software before

committing to pencil or brush.

Every exercise also includes sugges-

tions for evolving the technique in

different ways, to greater effect, and

in combination with others for more

varied possibilities of approach.

The Organic

in Architecture:

Sources,

Conditions, and

Approaches

to Building the

Next Millennium

Drawing

/ for Graphic

Design

Invention

Exercises:

Beginning

Level

This study establishes familiarity

with basic tools; creating directly

from a physical source helps build

confidence.

Find a rough surface: for example, a wall

or sidewalk. Lay a sheet of paper on the

surface and rub the drawing tool across

the surface with varying degrees of pres-

sure to transfer a relief of the surface’s

texture. Thinner, lighter-weight papers

work best. Harder graphite will capture

greater detail

/

A

/

; softer tools, such as

charcoal or wax crayons

/

B

/

, will capture

less and add more of their own textures.

Test different kinds of tools to see their

varied effects.

As an alternative to existing surfaces, try

creating one; build a relief by overlapping

bristol board or cardboard; tape or glue

down bundles of cord or thin wires, thin

plant stalks or hard leaves; then proceed

with the same rubbing method as for a

found surface.

Ideas for Development

Name the source of each rubbing;

scan and use the image masked

into, or to replace, a photographic

element related to it.

Consider the rubbing for how it feels

or associations it may suggest;

use the image as a background in a

context in which this feeling supports

the project’s overall message.

Scan the image and dramatically

enlarge it; combine it as a layer with

other kinds of imagery, using photo-

manipulation software.

Rubbing

A

Results with hard graphite (top) and soft crayon (bottom)

B

A rubbing made from a built-up relief of cardboard pieces

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141

This study focuses on observing and

editing; it also provides a way of

exploring automatic mark-making.

Place a sheet of tracing paper over a

photograph. Identify a specific element

or shape in the image (dotlike or circular

forms, lines, triangles, etc.). Using any

kind of tool, trace and/or fill in all the

instances of that element you are able

to locate

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A

/

. Be specific, isolating only

forms that are related. This exercise can

also be accomplished by scanning the

photograph, tracing with vector or brush

tools on a layer above the image. Repeat

the process on new layers or sheets of

tracing paper, each time beginning with

a different kind of form element, a new

tool, or by imposing stricter limitations—

for example, isolating only lines or edges

of shapes that are running parallel

/

B

/

.

Ideas for Development

Lay multiple isolation studies on top

of each other to build more complex

form languages.

Assign feelings or ideas to each

isolation study’s form language; use

them in place of other image media

to express these ideas.

Choose a single isolation study;

using the same form language as a

motif, explore multiple variations

in their compositions, scale rela-

tionships, and so on. Maybe a story

develops.

Isolating Marks

and Forms

A

Overlayed comparison of a source photograph and isolated marks

B

A subsequent study showing stricter limitations