I couldn't agree more, Steve....thank you especially
for the latter half of your profound contribution
which ties with the points I made in my previous
essays....
DRAWING IS THINKING ---------> EAMES
(Drawing as creative thought processes and products).
Kind Regards,
Isabella
--- "S.W.Garner" <[log in to unmask]> wrote:
> Picking up Ana Leonor's comment based on Martin's
> phrase ' drawing to think about concepts'.
>
> The development of this notion of drawing as
> thinking is, perhaps, one of the fertile area of
> investigation for the drawing research community.
> It provides a valuable bridging concept between
> drawing research that is informed by theoretical
> perspectives from fine art and drawing research that
> is informed by theoretical perspectives from design.
>
>
>
> In 2001, Tim Smithers published a useful paper which
> focused on sketching as thinking. In this paper he
> writes "...early design sketches are not
> representational devices, used to aid memory or
> mental imagery, they are the elements of a language
> of thought needed in designing." I'm sure many
> drawing makers - not just designers - would want to
> echo the proposition that their drawing is not
> merely the externalisation of internal thought but
> intimately bound up with thinking itself. Smithers
> uses a quote from J McMullen in support of his
> discussion which I reproduce here:
>
> "Drawing is a physical act which puts us in touch
> with how we really experience space and form.
> Design, when you examine its fundamental impulse, is
> informed reflex. We make shapes, choose intervals,
> and decide on hierarchies all from deep instincts,
> which are expressed in the act of drawing. The
> drawing hand, moving at the will of our purposeful
> choices and also the subconscious biases in our
> nervous system, creates the basic structure upon
> which all other aesthetic decisions are made.
> ...Without drawing there would be no way to meld the
> world of the rational and the world of the
> intuitive. ...In drawing, the physical act itself
> provides an intensifying 'container' which makes
> possible a kind of thinking which occurs at no other
> time. Typically, we advance the drawing half from
> reason and half from intuition, and the drawing
> itself provokes still more intuitive and associative
> responses which in turn provoke more drawing. The
> fertile interaction between the hand making the
> marks and the mind responding occurs most
> successfully with artists who draw well."
>
> There are things there we may want to disagree
> with, but there is clearly support, within the
> drawing community, for an important relationship
> between drawing and the processes of creative
> thought. Yes, there is already much written on this
> but I think the drawing research community has much
> more to offer.
>
>
>
> Steve Garner
>
> [log in to unmask]
>
>
>
> Smithers, T (2001) 'Is sketching an aid to memory
> or a kind of thinking?' In Visual and Spacial
> Reasoning in Design II, eds J.S.Gero, B.Tversky & T
> Purcell, Key Centre of Design Computing and
> Cognition, Univ of Sydney, pp165-176.
>
>
>
> McMullen, J (1990) 'Drawing and design, an idea
> whose time has come again' AIGA Journal of Graphic
> Design, 8(3). (quoted from Smithers above).
>
>
>
>
>
> ________________________________
>
> From: The UK drawing research network mailing list
> on behalf of ana leonor rodrigues
> Sent: Wed 06/09/2006 19:45
> To: [log in to unmask]
> Subject: Re: In Response: Hall
>
>
> I like that, "drawing to think about concepts" (it
> could also be: drawings to think about concepts)
> ana leonor
>
>
> ________________________________
>
> From: The UK drawing research network mailing list
> on behalf of martin
> Sent: Wed 06/09/2006 20:05
> To: [log in to unmask]
> Subject: Re: In Response: Hall
>
> Instead of using concepts to think about drawing
> maybe we should use
> drawing to think about concepts a bit more,
> Martin.
>
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