Dear Angela
The interaction through drawing between art directors and graphic designers and, indeed between clients and graphic designers is very complex and subject to a variety of constraints. Some of my early work was concerned with these issues. Design Studies Vol 1, No 3 pp168 - 181 may be helpful.
> from: Angela Rogers <[log in to unmask]>
> date: Wed, 18 Feb 2004 20:15:16
> to: [log in to unmask]
> subject: Re: Drawing Dialogues
>
> Hi Pam,
>
> Thanks for your suggestions.
>
> I don't know enough about the relationship between art directors and
> designers and can only guess at what kind of exchange they'd be having.
>
> I'm interested in the 'to and fro' of a drawing conversation and what might
> be revealed both on the paper and to the individuals as the drawing
> develops. At the moment I'm thinking of it as analogous to building a
> relationship even if only for the time it takes to make the drawing. I'm
> wondering is there a particular intimacy, possibly risk in communicating in
> this way? Does the drawing then stand as testimony to this?
>
> On another matter completely should we be concerned or delighted? I found an
> 'interactive drawing warning' to workshop leaders from the online 'Stress
> Doc' .
>
> For example, be careful of interactive drawing exercises that allow
> participants to express real feelings, e.g., like those US Navy personnel
> drawing sinking ships and menacing sharks circling the water or Army Corps
> of Engineer participants blowing headquarters to smithereens as visual
> metaphors of downsizing (or is it "frightsizing") organizational climates.
>
>
> Angela Rogers
> Drawing Dialogues
>
>
>
>
> ----- Original Message -----
> From: "Professor Pam Schenk" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 12, 2004 10:57 AM
> Subject: Re: Drawing Dialogues
>
>
> > Dear Angela
> >
> > I have done some research about the dialogue between art directors and
> designers but I don't think that is the type of collaboration you are
> talking about.
> >
> > Have you considered the type of drawing clients get from builders and
> carpenters that typify the development of small scale building work?
> >
> > Pam Schenk
> > > from: Angela Rogers <[log in to unmask]>
> > > date: Wed, 11 Feb 2004 12:18:31
> > > to: [log in to unmask]
> > > subject: Re: Drawing Dialogues
> > >
> > > Hi colleagues I wonder if anyone can help?
> > >
> > > I have recently finished the Drawing as Process MA at Kingston and am
> embarking on a Drawing Dialogues initiative. I'm making a funding
> application for research to support the initiative, investigating dialogues
> where drawing is the language of communication. Such as John Berger's
> experience in a cafe in Istanbul where he spent an evening conversing with
> someone else, neither of them speaking each other's language, by drawing on
> table napkins. Or Raymond Carver's description of a blind man experiencing a
> drawing of a catherdral by feeling all over and round the edges of a piece
> of paper, then holding another man's hand whilst he drew.
> > >
> > > I'd be grateful for any information or examples of the following.
> > >
> > > Collaborative drawing activities that probably involve an artist and
> non-artists although any examples of a long term collaborative drawing
> relationship between two artists would be valuable.
> > >
> > > I am also interested in accounts of the experience of being drawn,
> especially by individuals who are not 'professional models', friends of the
> artist or part of the art world. I am curious about whether the kind of
> experience Frederick Franck describes when drawing people and objects is in
> any way reciprocated by those being drawn.
> > >
> > > Many thanks
> > > Angela Rogers
> > >
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