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M ARK:
WILL: Dedicated
ISBN 978-0-385-34462-3
William Bardel
Publication Data
eISBN 978-0-385-34452-4
Baskinger, Mark.
pages cm
www.crownpublishing.com
1. DrawingTechnique. 2. Visual
www.watsonguptill.com
communicationTechnique. I.Bardel,
William. II. Title.
WATSON-GUPTILL is a registered
NC730.B318 2013
741.2dc23
2012047756
Printed in China
10987654321
First Edition
1.1
PLANNING YOUR
DRAWINGS
the best sketches visualize ideas through good, compelling form;
without substance, the form is emptyand without form, the substance has no voice. Sketches need to transfer information and interpret complex information into definable chunks or messages. How
they are visualized depends as much on personal aesthetics as on
experience.
The rule of thumb is to develop sketches in a straightforward
manner while allowing them to be expressive. A few years ago, a
Carnegie Mellon design student named Anna Carey coined the term
freshture in the context of a drawing class. Her insightful, pithy
term seemed to sum up the qualities of good sketches the class
was describingfresh and gestural. Freshness or crisp qualities to
strokes, so that they look like they are held in tension, make sketches
appear more kinetic. Letting gesture influence mark-making by purposefully missing outlines and overdrawing in key areas adds another
quality. Said another way, good sketches are accurate and precise in
structure and message but rough in expression. This approach allows
some flexibility in the reading of the sketch and takes the formality
and rigid qualities away to make the drawing more visually accessible. Keeping freshture in mind may help to ensure that a sketch
reads clearly as a preliminary thought and is not misinterpreted as a
final drawing or concrete idea.
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Sketches that show intent, embody clear simple messages, and are
rendered in expressive ways tend to be more positively received.
Sketches with freshture appear more lively and depict a certain
energy yet have a precision in form and proportion that makes them
understandable and believable. Following are some tips for achieving
these qualities in your concept sketches.
2. SHOW THE
UNDERLYING
STRUCTURE
Many expressive sketches
show the underlying
framework, structure, or
presketch as part of the
sketch. Using nonphoto
blue pencil, a thin pen, or
gray marker to create this
framework allows you to
layer heavier, bolder lines
on top to create depth and
visual interest.
1. F OCUS ON THE
PRIMARY MESSAGE
Keeping each sketch focused
on illustrating one aspect
of the idea will keep the
message simple and increase
the likelihood that a viewer
will understand an idea.
A group of three or four
sketches used to describe
a single idea will make a
stronger statement than one
solitary sketch could.
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3. OVERLAP LINES
Precise corners that form
90-degree relationships or
ensure that the trailing line
of an ellipse meets exactly
with the leading line are not
as important as you might
think. Corners that overlap
slightly and circles that are
drawn over twice have a
more expressive quality to
them that is both visually
engaging and inviting;
however, too much overdrawing and overlapping
can make a drawing look
scratchy and inaccurate.
There is a balance between
lines that are too loose
and too tight that varies
depending on the complexity
of your subject.
4. DRAW ACCURATELY
Accuracy of drawing will
better support your message
and the intent of the sketch.
Disproportionate sketches
will make your ideas seem
less sophisticated and
important. If you intend to
draw a square, then dont
draw a rectangle. If you are
drawing two rectangles to be
the same, then make them
look like they are, in fact,
the same.
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rough, refined,
rendered
It is difficult to draw on
white boards due to the
lack of feedback from the slick
surface, its vertical orientation, and
standing in front of others who are
watching your every move. Practice
may be necessary, so set up a white
board at home or go into the office
early to warm up. When you are
drawing in front of an audience,
you have their attention, so take
your time to make good drawings
that demonstrate your intent.
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ROUGHNESS VS.
PRECISION IN IDEA AND
CONCEPT SKETCHES
Idea and concept sketches differ
in their intent and application.
Idea sketches are typically
representative of a designers
personal exploration of ideas.
In many ways, idea sketches
(or ideations) are records of a
dialogue between the designer
and the subject. Typically,
we start with this level of
exploration to understand
our own ideasa process
that can be fairly informal.
Concept sketches are used to
communicate ideas to others, to
demonstrate thinking and detail
attributes of an idea. As such,
they represent a latter stage in
the idea generation process, as
they aim to bring coherence to
your ideas.
Personal Exploration
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planning YOUR
PLANNING
your DRAWINGS
drawings
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1.2
PREPARING
TO DRAW
Good posture
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How you hold your drawing tool is really important for two reasons:
(1) a proper grip enables you to manipulate the tool with ease and
control; and (2) with the appropriate amount of tension, a proper
grip will also allow you to draw for a longer period of time with minimal effort. A proper grip should be loose enough that you can pull a
pencil out from your pinching fingers with ease but tight enough that
if you raise your hand over your head, the pencil does not fall out.
When you grip a pencil or pen, you should pinch with your thumb
and index finger using the first knuckle on your middle finger as
a rest. If your middle finger floats to the top of the barrel so that
youre gripping with three fingers, youll engage your forearm muscles, which creates fatigue and tension on your wrist. Drawing for
a sustained period of time takes both focus and physical discipline.
Therefore, a proper grip will enable you to work more efficiently.
Pens and pencils perform differently. The slower you move a pen,
the heavier its stroke will be, whereas the heavier you push on a pencil, the heavier that stroke will be. In both cases, you want to avoid
making deep impressions into the paper surface. Light pressure
will enable you to work faster and to build up strokes to make them
darker. Rotating your pencil or pen a quarter-turn after each stroke
keeps pencil tips sharp and enables the nylon tip on pens to wear
evenly. Youll be surprised at how well this works.
preparing to draw
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A blank sheet of paper cant hurt you, but it can cause apprehension
and place pressure on you to make the correct and best sketch right
away. Putting down a primitive sketch or doodle first allows you to
break the surface. Sketch pages are not intended to be the cleanest, most pristine drawings; they should capture and record your
thought process. Often, youll see industrial designers draw a cube
or a primitive version of their concept in doodle form. This necessary stage enables your brain, hands, and eyes to warm up and begin
to focus on the subject. Putting a title block or frame on the sheet
first enables you to ease into the white space by setting parameters
for your sketch. Once some structural elements appear on the page,
you can better organize your sketches and will have already warmed
up a bit.
preparing to draw
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