Drawing Ideas: A Hand-Drawn Approach for Better Design

Drawing Ideas: A Hand-Drawn Approach for Better Design

Mark Baskinger, William Bardel

Language: English

Pages: 304

ISBN: 0385344627

Format: PDF / Kindle (mobi) / ePub

An intensive how-to primer for design professionals for creating compelling and original concept designs through drawing by hand.

Award-winning designers and workshop leaders Mark Baskinger and William Bardel bring us this thorough course in drawing to create better graphic layouts, diagrams, human forms, products, systems, and more.   Their drawing bootcamp provides essential instruction on thinking, reasoning, and visually exploring concepts to create compelling products, communications, and services.

In a unique board binding that mimics a sketchbook, Drawing Ideas provides a complete foundation in the techniques and methods for effectively communicating to clients and audiences through clear and persuasive drawings.

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the need to sketch three-dimensional objects and to employ conventions of two-point perspective (using vanishing points to create the illusion of three-dimensional space on the page). Building from straight lines and rectilinear forms, you can easily create the illusion of space. We typically use two-point perspective systems to draw objects and to create the illusion of space, because we can more easily craft these abstractions to appear more in sync with the way we perceive the world. The cube

into space toward the right. A left-situated light and right-positioned shadow relationship is a common configuration for depicting handheld objects, buildings, and cars as the projection of the shadow toward the right invites an easier read (since we typically read left to right). Complex forms cast complex shadows onto themselves as well as the ground plane. Shadows cast onto other objects can serve to add clarity and visual interest. A projected shadow can also serve as a vignette to

contextual content to reduce reading time. Presentations involving complex or controversial ideas may require a higher degree of contextual content to support understanding of form and significance. As you consider direct and contextual content, ask yourself: • Is it easy to distinguish between direct vs. contextual content and therefore see the focus of your explanatory sketch? • Does the amount of contextual content adequately frame and not overwhelm direct content? • Does the content

knowledge of the subject, viewing distance, and how the visual will best support your argument are all important in deciding on how much to show and in what format. 5.1 PLANNING VISUAL NARRATIVES TO TELL A good visual story, you must first consider what would cause someone to want to “read” your story. There must be an overarching idea to communicate, such as a problem, situation, message, or event that provokes thought. Once you identify your story, exploring different points of view and

more informed standpoint. Sketching on separate pieces of paper allows for quick reordering to find the right sequence for your visual narrative. EFFECTIVELY NARRATING TO YOUR AUDIENCE As noted in the Explanatory Sketching section of this book, the relationship between content and audience is extremely important. This is equally true with visual narratives. Setting goals of a few key points to raise for discussion or to illustrate in the context of a larger presentation will keep the

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