KOOS EISSEN PDF

Add to basket Add to wishlist Description This book explains the basic sketching techniques and decisions more in depth and provides much more step-by-step example drawings, which makes it even more suitable for students and professionals who want to become better sketchers. Sketching the Basics can be seen as the prequel to Sketching as it is more targeted at the novice designer. The Basics explains the essential techniques and effects more in detail, taking the reader by the hand and guiding him step by step through all the various aspects of drawing that novice designers come up against. Sketching the Basics starts with the white sheet of paper or the empty screen and explains the rudiments of learning to draw both clearly and comprehensively, using step by step illustrations, examples and strategies. You will learn to use and master the different techniques and also how to apply sketches in the design process.

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The field of sketching is both lively and changing, and the importance of drawing in relation to the design process is considerable. Designers need to express their thoughts and ideas in context-driven drawings and sketches. That demands the skill to draw efficiently and with an awareness of the function served by the drawings and of their legibility.

We think these skills can be acquired. Eissen is an associate professor at Delft University of Technology in the Netherlands, where he is responsible for the freehand and digital drawing classes at the Faculty of Industrial Design Engineering.

Steur is an experienced lecturer at both university and art academy level who now specialises in design sketching workshops for professionals. This new book concerns the study of form. Sketching: The Basics contains many step-by-step guides to making drawings. It is about learning to draw efficiently by employing different techniques, both manual and digital. Drawing an object or idea is not a rigid process but a lively interactive process.

Revealing the steps in that process allows us to explain the decisions taken and their impact on the final result. Every chapter contains an exercise for the reader.

After all, practice is probably the best way to learn. Can you remember your struggle as a child as you were learning how to write? Developing the skill to write by hand was hard work, but you managed. The same will happen as you learn to draw. Just as in our previous book Sketching, we will illustrate particular aspects of drawing in designer case studies. We have invited contributions from leading international designers from different cultures around the world.

We feel it is important to show their drawings in relation to the design process. We believe in active observation and participation from the student.

During the drawing process there are many moments when choices alter the outcome. Being aware of those moments and the variety of choices and opportunities makes your attitude more flexible and less rigid. Students learn to start sketching with an open mind instead of a fixed idea. We believe that such an open attitude is key to a good design process.

But we could not resist including examples from designers and design offices around the world. By looking at how they work we link theory and everyday practice, and we hope that these case studies inspire young designers. We wish to thank all the designers who were kind enough to find time in their busy schedules to send us these brilliant and inspiring projects and quotes for our book.

We hope that we have succeeded in encouraging students of industrial design to use sketching as an effective skill in conceiving and communicating their designs. And to our little daughters Eiske age 3 and Keke age 1 , we promise to not immediately jump into another big project.

Roselien and Koos, April www. Intended as a reference guide, it was aimed at designers and design students, and has since been translated into different languages. We combined educational drawings, photographs and case studies from design practice to highlight various aspects of drawing, tips and theory, and also the position and use of freehand sketching in product design. In short, the theory as presented in design drawing education, and its implementation in practice, outside education.

Within a short time it became a much-used book by students all over the world 50, books were sold within two years as an extension to their drawing education. It also argued the necessity of learning to draw for designers, and showed a variety of way that sketching is used in the design process, and a variety of examples taken from our beloved field of work. It contains many step-by-step guides to how drawings are produced. Drawing an object or idea is not a rigid process but a lively interaction.

Often it is essential to show the drawing when finished in relation to how it started. Doing so enabled us to reveal certain drawing decisions and their impact on the final result. We also show the impact of different choices made during these steps. We based the chapters in this book on the choices and difficulties encountered by a beginning designer or student while drawing.

Design drawing is embedded in a process involving many colourful aspects. The field of sketching is both lively and changing, and the importance of drawing in relation to the design process is manifold. The first chapter discusses various drawing matters in relation to the design process. In general, we make no distinction between drawing on paper and drawing with the computer using a sketch tablet. Both methods stimulate receiving and sharing ideas, which will in many cases will aid the further development of those ideas.

To visualise an idea is to present it for discussion. The design of a product is a process in which several people work together and contribute to. To keep the whole process manageable, these contributions need to be recorded. Sketching can be a major part of the documented design process. For a client, drawings have another relevance: they enable him or her to stay involved with the design process, to keep an overview, and to know his or her moments of input and choice.

But most of the drawings made during the design process are at least partly or totally based upon communicating information about shape. We will start our focus on this aspect of product communication in the following chapters.

We will show examples from design professionals based on the essence of drawing in its context. There should always be a reason behind a drawing or sketch.

Our aim in making this book can be expressed thus: What you always wanted to know about sketching but has never yet been explained in such a simple and efficient way.

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