The evolved identity of IDC from an 'Industrial Design Centre' to the 'School of Design' to foster new thoughts, philosophies, and research into several aspects of the design, have a continuous revitalization of the academic programs at IDC School of Design. The creative potential of the individual needs constant nurturing to perpetuate enthusiasm. Hence, a need for a dedicated community that cut across all disciplines and stages of learning drawing arose. The 'Drawing Community' is envisaged to bridge this gap and aims to provide a platform for enthusiastic learners. The community hopes to achieve creative synergy by exploring the visual world through the medium of lines beyond the formal courses. To bring all the creative minds to continue their practice, learn, share, and exhibit their works. The return value is the pure experience of creative energy and a purpose.
Drawing has been a favorite subject for innumerable creative people, and sketching is a way of approaching reality, an instrument for observation. Both the activities have helped the Artists and designers all along in understanding their field of expertise. The community provides an opportunity to relate one's experiences and intuition to the fresh ideas and imagination of fellow learners.
Semester I
DE 103: Image representation and Transformations I (4 Credits, Module of Two weeks)
DE 125: Drawing Tools, Lines, and Forms (2 Credits, twice a week for 1 hr each/14 weeks)
Semester II
DE 104: Image representation and Transformations II (4 Credits, Module of Two weeks)
DE 108: Exploration in Drawing, Tonalities, and Textures (2 Credits, twice a week for 1 hr each/14 weeks)
Semester III
DE 201: 2D Visual Studies I – Word and Image (6 Credits, Module of three weeks)
DE 207: Understanding Space & Perspective (2 Credits, twice a week for 1 hr each/14 weeks)
Semester IV
DE 202: 2D Visual Studies II (6 Credits, Module of three weeks)
DE 210: Understanding Human Anatomy (2 Credits, twice a week for 1 hr each/14 weeks)
References for general and observational drawing/ sketching
Ching, Francis, D. K., & Juroszek, Steven, P., (2019). Design Drawing: (3rd Edition)
Edwards, Betty. (1979,1989,1999, 2012). Drawing on the Right Side of the Brain (4th Edition)
Dodson, Bert. (2007). Keys to drawing with Imagination. North Light Books
Dodson, Bert. (1990). Keys to drawing. North Light Books
Perard, Victor. (1955,... 2012) Anatomy and Drawing
Product Design Drawings
Visual Communication Drawings
Courses & Resources (ID/PD)
Courses
Semester I
DE 663: Sketching I
Semester II
DE 654: Sketching II
Areas of interest
Product Design and styling
Eissen, K., & Steur, R. (2009). Sketching: Drawing Techniques for Product Designers
Innovation and Redesign
Package & Form
Courses & Resources (CD)
Courses
Semester I
DE 688: Sketching for Communication Design
DE 619: The Speaking Image
Semester II
DEP 6O2: Communication Design Project (P0)
Areas of interest
Illustrations for print and digital media
Natural History and Science Visualization & Communication (GNHSII)
Layout and Information Design
Typography and Verbal Communication
Parameshwar Raju (Freelance calligrapher/Artist)
Identity and Graphic Design
Navigation & Information
Package Design
Display and Visual Curation
Group of Natural History and Science Illustrators India (GNHSII) IDC School of Design, IIT Bombay
(IxD)
(AD)
(MVD)
Courses & Resources (IxD)
Courses
Semester I
Areas of interest
Digital and physical Interactions and interfaces
Web design (UI/UX)
Data Visualization
Infographics and Presentation
Research on interactions
Courses & Resources (AD)
Courses
Semester I
DE 651: Sketching and Anatomy I
DE 622: Introduction to Animation
Semester II
DE 642: Sketching and Anatomy II
DE 679: Experimental Animation
DE 721: Representation in Animation
Areas of interest
Digital and analogous medium
Animation short films
Animation feature-films
Education and new media
Special effects (VFX)
Claymation
3d/ Maya
Flipbooks and experimental works
Courses & Resources (MVD)
Courses
Semester I
DE 675: Sketching for Mobility and Vehicle Design
Semester II
DE 646: CAID Modelling for Automotive Design
DE 676: Rendering for Mobility Design
Areas of interest
History of Automobiles
Styling and Innovation
Forecasting and futurist design
Specifications
Diagrams
Virtual Representation
Natural History & Museums
Built Environments
Visual Art Practices
“From the dawning of the day, the air is filled with countless images for which the eye acts as a magnet.”
—LEONARDO DA VINCI
“There’s always room out there for the hand-drawn image”
—MATT GROENING
“Drawing used to be a civilized thing to do, like reading and writing. It was taught in elementary schools. It was democratic. It was a boon to happiness.’’
—MICHAEL KIMMELMAN
‘’Learning to draw is really a matter of learning to see, to see correctly and that means a good deal more than merely looking with the eye.’’
—KIMON NICOLAIDES, The Natural Way to Draw, (1941)
“Merely to see, therefore, is not enough. It is necessary to have a fresh, vivid, physical contact with the object you draw through as many of the senses as possible—and especially through the sense of touch.”
—KIMON NICOLAIDES, The Natural Way to Draw, (1941)
“In the history of inventions, many creative ideas began with small sketches’’
—HENNING NELMS, Thinking with a Pencil, (1981) p. xiv (New York: Ten Speed Press)
The painter draws with his eyes, not with his hands. Whatever he sees, if he sees it clearly, he can put it down. The putting of it down requires, perhaps, much care and labor, but no more muscular agility than it takes for him to write his name. Seeing clear [sic] is the important thing.
—MAURICE GROSSER, The Painter’s Eye, (1951)
“If a certain kind of activity, such as painting, becomes the habitual mode of expression, it may follow that taking up the painting materials and beginning work with them will act suggestively and so presently evoke a flight into the higher state.”
—ROBERT HENRY, The Art Spirit, (1923)
“Don’t worry about your originality. You couldn’t get rid of it even if you wanted to. It will stick with you and show up for better or for worse in spite of all you or anyone else can do.”
—ROBERT HENDRY, The Art Spirit, (1923)
“That in all of these sudden illuminations my ideas took shape in a primarily visual-spatial form without, so far as I can introspect, any verbal intervention, is in accordance with what has always been my preferred mode of thinking ...”
—ROGER N. SHEPARD, Visual Learning, Thinking, and Communication, (1978)
“To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with work and notions, but as they are apprehended, directly and unconditionally, by Mind at Large—this is an experience of inestimable value to everyone.”
—ALDOUS HUXLEY, The Doors of Perception, (1954)
“I have learned that what I have not drawn, I have never really seen and that when I start drawing an ordinary thing, I realize how extraordinary it is, sheer miracle.”
—FREDERICK FRANCK, The Zen of Seeing, (1973)
“... at the time when you spoke of my becoming a painter, I thought it very impractical and would not hear of it. What made me stop doubting was reading a clear book on perspective, Cassange’s Guide to the ABC of Drawing, and a week later I drew the interior of a kitchen with stove, chair, table, and window—in their places and on their legs—whereas before it had seemed to me that getting depth and the right perspective into a drawing was witchcraft or pure chance.”
—Complete Letters of Vincent van Gogh, Letter 184, p.
“The scribblings of any child clearly indicate how thoroughly immersed he is in the sensation of moving his hand and crayon aimlessly over a surface, depositing a line in his path. There must be some quantity of magic in this alone.”
—EDWARD HILL, The Language of Drawing, (1966)
“By the time the child can draw more than a scribble, by age three or four years, and already a well-formed body of conceptual knowledge formulated in language dominates his memory and controls his graphic work ... Drawings are graphic accounts of essentially verbal processes. As an essentially verbal education gains control, the child abandons his graphic efforts and relies almost entirely on words. Language has first spoilt drawing and then swallowed it up completely.”
—KARL BUHLER written in 1930 by German psychologist, (1879–1963)
“Observation and recording In my experience, the only way to be sure I’m looking carefully enough at something – particularly something with lots of detail – is to draw it. The vital importance of this is that there may be something new and unexpected there; unless I draw I won’t look carefully enough to see the unexpected.”
-Adelaide Carpenter, Genetic scientist (quoted in Phipps, 2006)
I believe that in the indeterminacy of drawing, the contingent way that images arrive in the work lies some kind of model of how we live our lives. The activity of drawing is a way of trying to understand who we are or how we operate in the world.
—William Kentridge
''to draw is not only to measure and put down, but it is also to receive. When the intensity of looking reaches a certain degree, one becomes aware of equally intense energy coming towards one, through the appearance of whatever it is one is scrutinizing . . . It is a ferocious and inarticulated dialogue''
- John Berger (Artist and Writer)
''Most of what I think I know, I know from having drawn..... I often use drawing to verify the truth of things......Drawing something into a drawing draws it out of me''
- Michael G. Moore (THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE, p.35)
'The question is not what you look at, but what you see'
— Henry David Thoreau
Few references and links from the domain experts
The RA Collection in 250 objects: How artists learned to draw
Why people believe they can’t draw - and how to prove they can
Xavi Bou's photographic experiments with traced paths of birds flight 'Ornithographs'
Resources for general and observational drawing/sketching
Ching, Francis, D. K., & Juroszek, Steven, P., (2019). Design Drawing: (3rd Edition)
Edwards, Betty. (1979,1989,1999, 2012). Drawing on the Right Side of the Brain (4th Edition)
Dodson, Bert. (2007). Keys to drawing with Imagination. North Light Books
Dodson, Bert. (1990). Keys to drawing. North Light Books
Perard, Victor. (1955,... 2012) Anatomy and Drawing
'Visual Communication' and 'Thinking Drawing'/ Sketching
Coleman, Carla. Viviana. (2018). Visual Experiences: A Concise Guide to Digital Interface Design. CRC Press. Taylor & Francis Group
Roberts, Jonathan C., Headleand, Christopher. J., & Ritsos, Panagiotis. D., (2017). Five Design-Sheets: Creative Design and Sketching for Computing and Visualisation
Crothers, Ben. (2017). Presto Sketching: The Magic of Simple Drawing for Brilliant Product Thinking and Design
Roam, Dan. (2016). Show and tell, Portfolio / Penguin
Walter, Ekaterina., & Gioglio, Jessica. (2014). The Power of Visual Storytelling
Roam, Dan. (2011). Bla Bla Bla: What to Do When Words Don’t Work, Portfolio / Penguin
Roam, Dan. (2008, 2009). The Back of the Napkin (Expanded Edition), Portfolio / Penguin
Jorge, Joaquim. & Samavati, Faramarz. (Ed). (2011). Sketch-based Interfaces and Modeling
Sibbet, David. (2010) Visual Meetings. Published by John Wiley & Sons, Inc., Hoboken, New Jersey
Wilson, Chauncey. (2010). User Experience Design Remastered Morgan Kaufmann
Eissen, K., & Steur, R. (2009). Sketching: Drawing Techniques for Product Designers
Buxton, Bill. (2007) Sketching user experiences getting the design right and the right design
Nast, Jamie. (2006). Idea Mapping, Publications: John Wiley & Sons, Inc.
Mapman, Michelle. Learn With MindMaps
Visual Paper as a form of Knowledge creation: The Design Society
Workshop/ Crash Course/ Blog/ Websites/Popular Videos of experts
https://www.youtube.com/playlist?list=PL39BF9545D740ECFF
Creating RSA animate style videos A narrative guide
https://www.youtube.com/user/BiggerPictureVideo/videos
Roam, Dan. (2009). Unfolding the Napkin: The hands on method for solving complex problems with sinmple pictures, (4 days detailed workshop)
Roam, Dan. Draw to Win: A crash course on how to lead, sell and innovate with your visual mind Portfolio / Penguin
Greenberg, Saul., Carpendale, Sheelagh., Marquardt, Nicolai., & Buxton, Bill., (2012). Sketching User Experiences: The workbook, Published by Morgan Kaufmann (Elsevier)
https://www.youtube.com/watch?v=PsrFuXefZ1Q
https://www.youtube.com/watch?v=Y1SMm4mOV9A
https://digitalsplashmedia.com/2013/05/the-great-infographics-debate-chart-junk-chronicles/
Books recommended for Information Graphics
The Function Art: An Introduction to Information Graphics and Visualization, - Alberto Cairo
The Visual Display of Quantitative Information, - Edward Tufte
Visualize This, - Nathan Yau
Slideology, - Nancy Duarte
The Art of Explanation, - Lee Lefever
Websites of experts on Information Graphics
Alberto Cairo - http://www.thefunctionalart.com
Edward Tufte - http://www.edwardtufte.com/tufte
Nigel Holmes - http://nigelholmes.com
Nathan Yau - http://flowingdata.com
Stephen Few - http://perceptualedge.com
David McCandless - http://www.informationisbeautiful.net
Karl Gude - http://karlgude.com
Francesco Franchi - http://www.francescofranchi.com
Hans Rosling - https://www.ted.com/talks/hans_rosling_the_best_stats_you_ve_ever_seen
Resources for visualization
https://www.youtube.com/watch?v=kSpBxwkRZjE
https://flowingdata.com/2010/05/06/the-boom-of-big-infographics
https://www.academia.edu/31871947/Gestalt_Theory
https://www.visualcapitalist.com
https://www.malofiejgraphics.com/general/list-award/2020/08
MOOC's