Drawing & Sketching
Kengo Kuma's sketches
Combinations and arrangements
Everything designed has an element of arbitrariness in its form. Loewy described how groups of his designers used to go about designing a new model automobile. Different groups were given different tasks, such as the front and rear of the car, and the conceptual work began, to be cut off at some predetermined time by deadlines that were imposed at the outset. After a time, there were "piles of rough sketches," and Loewy saw the design proceed as follows:
Now the important process of elimination begins. From the roughs, I select the designs that indicate germinal direction. Those that show the greatest promise are studied in detail, and these in turn are used in combination or arrangements with one another. A promising front treatment can be tried in combination with a likely side elevation sketch, etc. From this a new set of designs emerges. These are then sketched in detail. After careful analysis, they boil down to four or five.
This tactile form of doodling
Paper clips have also served as objects of more inwardly directed aggression by providing something for the fingers to twist grotesquely out of shape during phone calls, interviews, and meetings. This tactile form of doodling may consume only a fraction of the twenty billion paper clips produced each year, but it underscores the almost limitless functions to which a single form can lead.
From the desk of: Austin Kleon
How do you work?
When I get home, I have two desks in my office — one’s “analog” and one’s “digital.” The analog desk has nothing but markers, pens, pencils, paper, and newspaper. Nothing electronic is allowed on the desk — this is how I keep myself off Twitter, etc. This is where most of my work is born. The digital desk has my laptop, my monitor, my scanner, my Wacom tablet, and a MIDI keyboard controller for if I want to record any music. (Like a lot of writers, I’m a wannabe musician.) This is where I edit, publish, etc.
Drawing as a means of thinking
Two-dimensional plans or sections can be seen with sketches and more diagrammatic marks all on the same piece of paper in what appears a confusing jumble.’ These sound like Gordon’s ‘wonder plots’. The architects also use their drawings as a means of thinking ‘aloud’, or ‘talking to themselves’, as Gordon put it. For example, Lawson reports the architect Richard MacCormac as saying, ‘I use drawing as a process of criticism and discovery’; and the engineer-architect Santiago Calatrava as saying, ‘To start with you see the thing in your mind and it doesn’t exist on paper and then you start making simple sketches and organizing things and then you start doing layer after layer.... it is very much a dialogue.’
The common elements in these similar descriptions are the use of drawing not only as a means of externalising cognitive images but also of actively ‘thinking by drawing’, and of responding, layer after layer and view after view, to the design as it emerges in the drawings. These observations also confirm Schön’s observation of designing as a ‘reflective conversation’ between the designer and the emerging design. It is the reliance on drawing, and the preference for the immediacy of the interaction and feedback that manual drawing gives, that makes the architects, like Gordon Murray, unenthusiastic about CAD as a conceptual design tool.
Drawing for parallel design thinking
An important feature of their strategy is parallel working - keeping design activity going at many levels simultaneously. The best cognitive aid for supporting and maintaining parallel design thinking is drawing. Drawing with the conventional tools of paper and pencil gives the flexibility to shift levels of detail instantaneously; allows partial, different views at different levels of detail to be developed side by side, or above and below and overlapping; keeps records of previous views, ideas and notes that can be accessed relatively quickly and inserted into the current frame of reference; permits and encourages the simultaneous, non-hierarchical participation of co-workers, using a common representation.
The drawing of partial solutions or representations also aids the designer’s thinking processes, and provides some ‘talk-back’. As well as drawing, innovative designers frequently like to undertake practical work related to the design solution, such as building models or mock-ups, or participating in construction.
The preliminary sketch
Among the best woodblock prints are many that seem not to have adhered strictly to the preliminary sketch. The sketch simply indicated a general direction, and in many cases was not used at all. Or it was even improved upon in the process of carving and brought vividly to life; the woodblock qualities of the print were accentuated and highlighted.
The computer creates a distance
Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space.
A mind so in flux
A mind so in flux, so sensitive to intuitive insights, could never write an academic textbook. All he could retain on paper were indications, hints, allusions, like the delicate color dots and line plays on his pictures.
Agents of thought and experiment
The act of drawing serves to remind us that hands are agents of thought and experiment. Photography has a great future, but no matter how much ancillary wizardry photography accumulates, it will not be in competition with “drawing” in the broadest sense of that term. There will always be a role for exploration by the hands, encumbered by no more than a piece of ocher or a stick of charcoal.
Its practical utility is as a manifestation of the mind struggling with the meaning of what it encounters and what it wants to explore.
What you have observed closely
Drawing requires that you pay attention to every detail—even the seemingly unimportant ones. In creating an image (no matter how skillfully), the lines and tones on the paper provide ongoing feedback as to what you have observed closely and what you have not.
Anatomical Drawings of Staircase Spaces
A Book by Tomoyuki Tanakaminimator.app
An ApplicationMinimator is a minimalist graphical editor.
All drawings are made of lines in a grid based canvas. The lines are limited to vertical and horizontal lines, and quarter circles.
Right-Angle Doodling Machine
A Game by Clive Thompson- You draw one single line. It can be as long as you like.
- To start the line, you put your pen down.
- You can make right-angle turns only, either 90 degrees or -90 degrees.
- You cannot back up. You must always move forward.
- You don’t lift your pen until you’re ready to stop. When you lift the pen, the doodle is done.
A small store
A Gallery by Kyeoung Me LeeForget the computer — here’s why you should write and design by hand
An Article by Herbert LuiIn the middle of the 2000s, the designers at creative consultancy Landor installed Adobe Photoshop on their computers and started using it. General manager Antonio Marazza tells author David Sax:
“Overnight, the quality of their designs seemed to decline. After a few months of this, Landor’s Milan office gave all their designers Moleskine notebooks, and banned the use of Photoshop during the first week’s work on a project. The idea was to let their initial ideas freely blossom on paper, without the inherent bias of the software, before transferring them to the computer later for fine-tuning. It was so successful, this policy remains in place today.”
Back to the Drawing Board
An Article by Nick JonesThe lost art of drawing for engineers and architects.
- You can almost tell which software they were designed in
- Conversational drawing
- The effort heuristic
- Tablets have caught up
Section-perspective drawing
A Fragment by Gerhard KallmannCouncil Chamber Study Looking South. Gerhard M. Kallmann.
Kallmann’s distinctive section-perspective drawing technique seen here allowed the simultaneous exploration of both interior spaces and building systems.
Pictures of Websites
An Article by Matthew StrömWhen I was a product designer, people would ask what I did for a living, and sometimes I’d answer “I draw pictures of websites.”
Sure, I could just say “I design websites.” That’s true. The end result of my work is (hopefully) that a website looks better, works better, or results in better outcomes.
But most of my day isn’t spent looking at the website, or working on the code of the website, or manipulating the website directly in some way. It’s spent in Figma or Sketch, drawing pictures of how I think the website should look and work.
Through some kind of alchemy, the pictures I draw have an impact on the finished website. But they’re not all the same.
Architectural tracings
A Gallery by Nick TrombleyA lightbulb is not an idea
An Article by Ralph AmmerWith conventional placeholders, such as words, we can describe patterns for a large number of situations. On the other hand it is easy to fool yourself (and others) with words, since you can avoid to be specific. Any business meeting can confirm this.
When you draw something you are forced to be specific — and honest.
Our illustration of an “idea” from above is unconventional in the sense that it conveys specific original thoughts of what an idea is. It adds value to the words.
And that is the catch: The drawing must be unconventional to support the conventional words. We have to make sure not to use “words in disguise”. Take a common illustration for “idea” for example, which haunts flip charts all over the world: the lightbulb.
The lightbulb image works on a purely symbolic level, it only replaces the word “idea”. This image of a household item contains no original thought about what an idea is. While symbols like these work well as international replacements for words or icons to indicate a light switch for instance, they convey no nutritional value as illustrations — they are empty.
All the buildings in New York (that I've drawn so far)
Rationality: From AI to Zombies
The Tao of rationality
If you would learn to think like reality, then here is the Tao:
Since the beginning
not one unusual thing
has ever happened.Everyone sees themselves as behaving normally
To understand why people act the way they do, we must first realize that everyone sees themselves as behaving normally.
Argue against the best
To argue against an idea honestly, you should argue against the best arguments of the strongest advocates.
It’s all too easy to argue that someone is exhibiting Bias #182 in your repertoire of fully generic accusations, but you can’t settle a factual issue without closer evidence. If there are biased reasons to say the sun is shining, that doesn’t make it dark out.
Let the meaning choose the word
What is above all needed is to let the meaning choose the word, and not the other way around.
Probably it is better to put off using words as long as possible and get one’s meaning as clear as one can through pictures and sensations.
People can stand for what is true, for they are already enduring it
Knowing the design
Knowing the design can tell you much about the designer; and knowing the designer can tell you much about the design.
Cutting through to the truth
The essential thing in the art of epistemic rationality is to understand how every rule is cutting through to the truth in the same movement.
Your sword has no blade. It has only your intention. When that goes astray you have no weapon.
Joy in the merely attainable
But the really fundamental problem with desiring the unattainable is that as soon as you actually get it, it stops being unattainable. If we cannot take joy in the merely available, our lives will always be frustrated.
I have failed my art
The novice goes astray and says, “The art has failed me.”
The master goes astray and says, “I have failed my art."Taboo your words
Albert says that people have “free will.” Barry says that people don’t have “free will.” Well, that will certainly generate an apparent conflict. Most philosophers would advise Albert and Barry to try to define exactly what they mean by “free will,” on which topic they will certainly be able to discourse at great length. I would advise Albert and Barry to describe what it is that they think people do, or do not have, without using the phrase “free will” at all.
Your map of reality
Reality is very large—just the part we can see is billions of lightyears across. But your map of reality is written on a few pounds of neurons, folded up to fit inside your skull. I don’t mean to be insulting, but your skull is tiny. Comparatively speaking. Inevitably, then, certain things that are distinct in reality, will be compressed into the same point on your map. But what this feels like from inside is not that you say, “Oh, look, I’m compressing two things into one point on my map.” What it feels like from inside is that there is just one thing, and you are seeing it.
What you're trying to swim
There is an art to using words; even when definitions are not literally true or false, they are often wiser or more foolish. Dictionaries are mere histories of past usage; if you treat them as supreme arbiters of meaning, it binds you to the wisdom of the past, forbidding you to do better. Though do take care to ensure (if you must depart from the wisdom of the past) that people can figure out what you’re trying to swim.
Applause lights
Most applause lights are much more blatant, and can be detected by a simple reversal test.
For example, suppose someone says: We need to balance the risks and opportunities of AI.
If you reverse this statement, you get: We shouldn’t balance the risks and opportunities of AI.Since the reversal sounds abnormal, the unreversed statement is probably normal, implying it does not convey new information. There are plenty of legitimate reasons for uttering a sentence that would be uninformative in isolation. “We need to balance the risks and opportunities of AI” can introduce a discussion topic; it can emphasize the importance of a specific proposal for balancing; it can criticize an unbalanced proposal. Linking to a normal assertion can convey new information to a bounded rationalist—the link itself may not be obvious. But if no specifics follow, the sentence is probably an applause light.
Reality just seems to go on crunching
I once met a fellow who thought that if you used General Relativity to compute a low-velocity problem, like an artillery shell, General Relativity would give you the wrong answer—not just a slow answer, but an experimentally wrong answer—because at low velocities, artillery shells are governed by Newtonian mechanics, not General Relativity. This is exactly how physics does not work. Reality just seems to go on crunching through General Relativity, even when it only makes a difference at the fourteenth decimal place, which a human would regard as a huge waste of computing power. Physics does it with brute force. No one has ever caught physics simplifying its calculations—or if someone did catch it, the Matrix Lords erased the memory afterward.
Mystery exists in the mind
Mystery exists in the mind, not in reality. If I am ignorant about a phenomenon, that is a fact about my state of mind, not a fact about the phenomenon itself. All the more so if it seems like no possible answer can exist: Confusion exists in the map, not in the territory. Unanswerable questions do not mark places where magic enters the universe. They mark places where your mind runs skew to reality.
Lost purposes
There’s chocolate at the supermarket, and you can get to the supermarket by driving, and driving requires that you be in the car, which means opening your car door, which needs keys. If you find there’s no chocolate at the supermarket, you won’t stand around opening and slamming your car door because the car door still needs opening. I rarely notice people losing track of plans they devised themselves.
It’s another matter when incentives must flow through large organizations—or worse, many different organizations and interest groups, some of them governmental. Then you see behaviors that would mark literal insanity, if they were born from a single mind. Someone gets paid every time they open a car door, because that’s what’s measurable; and this person doesn’t care whether the driver ever gets paid for arriving at the supermarket, let alone whether the buyer purchases the chocolate, or whether the eater is happy or starving.