The Role of Drawing in Graphic Design and the Implications for Curriculum Planning

Schenk, Pamela

doi:10.1111/1468-5949.00058

Cited by 6 publications

(3 citation statements)

References 1 publication

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“…Novice 3 worked on two design drafts simultaneously, seemingly to his advantage: he mentioned that it helped him greatly in exploring visual elements. He extended what Schenk () has defined as the main creative phase into the production phase, not only by sketching ideas by hand but also by working with a computer on more than one draft simultaneously as a means of visual exploration. He commented that working on only one draft tended to force him to ‘sink into’ it and interfered with his ability to objectively evaluate its visual qualities.…”

Section: Evaluation Of the Methodologymentioning

confidence: 99%

Cognitive Activity‐Based Design Methodology for Novice Visual Communication Designers

Kim¹,

Lee²

2016

Int J Art Design Ed

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The notion of design thinking is becoming more concrete nowadays, as design researchers and practitioners study the thinking processes involved in design and employ the concept of design thinking to foster better solutions to complex and ill‐defined problems. The goal of the present research is to develop a cognitive activity‐based design methodology for novice visual communication designers, which will be achieved by mapping the findings from a comparative analysis of novice and expert visual communication designers' thinking processes onto the prospective methodology. Under the proposed methodology, activity modes take place in a chronological flow under specific guidelines involving various forms of design cognition. The guidelines correlate to design phases from problem structuring to detailed design and to the cognitive processes of divergent and convergent thinking. The methodology gives open‐ended instruction to novices endeavouring to proceed with the design process, solve complex design problems and make better design decisions. This research has value for its unique approach to methodology development. Furthermore, the proposed methodology provides guidance for more effective cognitive activities during the design process and holds potential for implementation in design education due to its focus on the needs of novice designers.

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Section: Evaluation Of the Methodologymentioning

confidence: 99%

Cognitive Activity‐Based Design Methodology for Novice Visual Communication Designers

Kim¹,

Lee²

2016

Int J Art Design Ed

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“…Addressing graphic design practice in particular, Schenk (1991;1997;2005) compared novice graphic designers' use of traditional and digital design tools, concluding that working with pen and paper enabled designers to generate more ideas than when working with digital tools. Schenk's studies of graphic designers' tool use during problem solving also found that sketching and drawing played a major part in graphic designers' processes.…”

Section: Design Practicementioning

confidence: 99%

Graphic designers' activities during the conceptual design phase of client-initiated projects

Tan

Melles

Lee

2009

Art, Design &Amp; Communication in Higher Education

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This paper outlines a study investigating the strategies and activities undertaken by mid-weight graphic designers during the conceptual design phase of clientinitiated projects. Descriptions of design activities in the literature are most often derived from disciplines such as architecture, and product engineering. More abstract approaches, which describe graphic design as 'undefinable' or a 'linear step process' do not address professional design as a situated practice. While these studies are informative, they are also limited, as they are not based on the specific nature of practice in graphic design. The aim of the study presented in this paper was to understand graphic design practice through the investigation of the activities and strategies undertaken by working mid-weight graphic designers. Specifically, it considers the tool-mediated activities of designers as a situated practice during the conceptual stage of designing for client-initiated projects. Employing ethnographic methods, three cases were investigated, in order to generate a 'thick description' of these design processes.

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“…Pam Schenk has produced a considerable body of analysis of sketching in the graphic design process [7], [8]. Her work describes the function-ality of sketching in design phases such as 'accepting briefing from the client' and 'passing on the briefing'.…”

Section: Research Practice and Educationmentioning

confidence: 99%

Briefing Illustrators: Revisiting the Value of Sketch Images

Garner¹

2002

Int J Art Design Ed

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In 1990 Steve Garner produced a school text book titled Design Topics: The Human Factors of Design. He briefed the various graphic artists engaged by the publishers, Oxford University Press, via nearly 140 thumbnail sketches. A comparison of these sketches with the final illustrations reveals important values of drawing. Not only do the comparisons enable the viewer to see something of the intent of the sender, they reveal processes of interpretation, selection, rejection and development, which are normally not available to examination. The paper seeks to contribute to substantiating the value of sketches to these processes of design team working. Since the author is also the originator of the sketches an additional level of insight and commentary is made available to the reader via a process of reflection.

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The Role of Drawing in Graphic Design and the Implications for Curriculum Planning

Cited by 6 publications

References 1 publication

Cognitive Activity‐Based Design Methodology for Novice Visual Communication Designers

Cognitive Activity‐Based Design Methodology for Novice Visual Communication Designers

Graphic designers' activities during the conceptual design phase of client-initiated projects

Briefing Illustrators: Revisiting the Value of Sketch Images

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