Tuesday, January 26, 2016

10 Principles of Good Design

Every designer likes making their own top 10 list of design rules, but the more I learned about influential designers from the past, I can safely say that Dieter Rams wrote the best 10 rules for design. 

Here's his "10 Principles of Good Design:"

  1. Good Design Is Innovative : The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.
  2. Good Design Makes a Product Useful : A product is bought to be used. It has to satisfy certain criteria, not only functional but also psychological and aesthetic. Good design emphasizes the usefulness of a product while disregarding anything that could possibly detract from it.
  3. Good Design Is Aesthetic : The aesthetic quality of a product is integral to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.
  4. Good Design Makes A Product Understandable : It clarifies the product’s structure. Better still, it can make the product clearly express its function by making use of the user’s intuition. At best, it is self-explanatory.
  5. Good Design Is Unobtrusive : Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.
  6. Good Design Is Honest : It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept
  7. Good Design Is Long-lasting : It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
  8. Good Design Is Thorough Down to the Last Detail : Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.
  9. Good Design Is Environmentally Friendly : Design makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product.
  10. Good Design Is as Little Design as Possible : Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

Tuesday, January 19, 2016

How Urban Sketching Helps Graphic Recording

What is Graphic Recording?

Graphic recording is the skill of listening, synthesizing and transforming the spoken word into a visual language in real-time. They are rich, visual notes created from a blending of handwriting, drawings, hand-rendered display type, shapes, and visual elements to help capture the essence of a speech, presentation or performance. The goal is to take a complex narrative and break it down to its essential elements and create a memorable, easy-to-understand low-tech summary on paper large or small.



Other labels commonly referred to this art form: visual thinking, visual notes, graphic notes, sketch notes, graphic scribe, and creative meeting notes.

Basic requirements of graphic recording:
- It helps if you can listen carefully while sketching 30 seconds behind
- It helps if you can write legibly
- It helps if you focus only on key points that are interesting to you
  (as opposed to trying to write everything that is said-- you are not a stenographer)
- Whenever possible, replace words with pictures
- Utilize icons, metaphors, and visual puns when you can
- Drawing quickly and from memory is a must. 
  Practice drawing random, everyday objects will help build up your visual vocabulary

And this is how urban sketching come into play:
Urban sketching: careful observation  
Graphic recording: careful listening and drawing from memory

Urban sketching: loose sketching  
Graphic recording: loose writing/drawing

Urban sketching: you don't have to draw everything you see
Graphic recording: you don't have to write down everything you hear

Urban sketching: everyday objects sketched from observation  
Graphic recording: everyday objects, shapes and forms from memory

Urban sketching: break down scene to most important element  
Graphic recording: break down summary to most important points/visuals

Urban sketching: sketch real time on location
Graphic recording: listening real time and draw with 30 second delay



Shape-triangles: arrows, pentagon, bow tie, Forward or Rewind, wedge
USK equivalents: rooftops, tents, umbrellas, milk carton, caps on building, caps on banisters, yield sign, caution sign, school crossing sign, porch roof, bike frame, navigational/directional signs, FedEx tubes, windows, railroad crossing

Shape-circles: balls, domes, ellipse, ovals, lightbulb, tear drop, clouds
USK equivalents: wheels, coins, manhole cover, tokens, street lights, wrong way sign, donuts, bagels, cupcakes, pizza, plates, porthole window, the sun/moon, coasters, capital building, arches

Shape-squares: rectangle, bars, square dot pattern, grid
USK equivalents: buildings, homes, windows, doors, tile, bricks, flooring, vases, pillars, caution sign (diamond shape), buses, trains, cargo ships, bridges

Wednesday, January 6, 2016

How To Get The Most Value Out Of Joining Urban Sketchers Chicago

1. Sketch something from your day. It could be from home, school, your work, during one of your breaks, or while you are traveling. Take a good clear photo of your sketch and share it on USK Chicago's Facebook page. If you have reservations about posting your work on the Internet, do this simple step and rest assured your work will protected: Somewhere on your sketch, embed your name and the date you sketched it onto your sketch before you snap your photo. This way, your name will always be attached to your sketch.

2. When you post one of your sketches. Tell us a little something about it like the size, what drawing tools you use and the kind of sketchbook/paper you chose.

3. Even better, ask a specific question to the community about your sketch. For example, I once posted a sketch of a stairway railing and I asked the group if my perspective was off or not. The amount of helpful and constructive feedback was very useful and gave me the positive kind of information I could use to effectively fix my sketch.

4. If you see another artist's sketch that you admire, don't hit the "LIKE" button. Instead, write a thoughtful comment about a specific area you think works really well in the sketch. To the artist who posted the sketch, this tells them a whole lot more than "LIKE."

5. You can also ask another artist about what kinds of techniques they used to achieve their sketch or how they approach a sketch. 
My experience is that artists in this group love to talk about art skills and learn a few new things from each other as well. Plus, the very nature of a Facebook group is t be social and conversations go a long way to strengthening the bond with other artists. The very fact that we are a social media group who actually meet face to face on a regular basis is what makes this group so special and unique.

6. Come out and join the group at one of our monthly Urban Sketchers Sketch Crawls. We call our events "Let's Sketch Chicago" and we meet in person at a designated location and time announced at the beginning of the month on Facebook. It is typically on the third weekend of the month and we alternate Saturdays and Sundays to accommodate more of everyone's schedules.

7. Volunteer for group activities. Our biggest event every summer is our USk Chicago Sketch Seminar. There are lots and lots of ways to help ranging from organizing and planning the event, spreading the word to local media, schools, art institutions, sponsors and to the larger population of artists who might want to attend. If you have a special skill that you would be interested to share in a workshop setting with other urban sketchers and painters, please think about becoming one of our workshop instructors. Ask me for more details. I can tell you from experience how incredibly fulfilling it is to affect people's lives with a new skill and knowledge.

A Case For Using Reference Photos?

"Have you ever used photo images?"

I hear this from time to time from artists who are new to urban sketching or are curious about my sketching process. The short answer is "yes," but if you want a more complete explanation, Urban Sketching has some guidelines that prohibit to the use of reference photos.

The reality of sketching on location is this: things change, they move, lighting changes, or your field of view can change. Have you ever witnessed a scene and said to yourself "this will be perfect, but I will have to come back later when I have time?" Wrong answer. To paraphrase the public announcement on trains and in airports "if you see something, sketch something." But if you are short on time, take a picture. It will last longer. In short, those perfect moments in time where they are begging to be sketched never happen twice in the same way and never the way you remembered it.

Here are some of the best reasons to use reference photos:

1. When you subject tends to move a lot (people, animals, vehicles, banners, public transportation, etc.)

2. When your lighting changes or you think it might change

3. When your window of opportunity is very short to capture your subject

4. When your sketch time is interrupted

5. When extreme weather conditions or temperatures effect your ability to sketch

6. To reference color later when you add color to your sketch long after you have left the location

So yes, sketch it if you can or snap a photo if you have to. For instance, I was enjoying my lunch in the town where I work when I noticed a crew repainting the street markings. I decided that this scene was so interesting that I needed to sketch it but the man operating the sprayer moved a lot. I snapped a photo because I wanted to remember the coloring, the textures, and the mechanics of that piece of equipment, especially if I wasn't going to be able to color it during my lunch break. The resulting reference photo and the final sketch are here below.



In a more recent example, my sketch group met up in Evanston and I had decided to sketch a vintage Triumph TR3. I had a hunch that the owner might be eating lunch or shopping nearby and I did not know how long this car would be my subject. If the owner was to return to their car while I was in mid-sketch, I would've lost my subject. Since I snapped a photo at the beginning of my time, I could sketch at my pace instead of rushing the sketch and be unhappy with the results.






What did I learn? 
First, the reference photo I was using was taken by me so I was not infringing on anyone's copyright or using someone else's creative eye. 

Second, the photo was taken just moments earlier in the same location and time of my sketch. Therefore, my photos, taken on location, are still consistent with being truthful to the scene and by direct observation. 

(Note: You should avoid using your photo to apply a digital sketch filter onto because you will not get the full benefit of sketching by observation and working on your hand-eye coordination).

Third, if you should happen to use reference photos while urban sketching, it is no longer "urban sketching." Urban sketching is about being in the moment and sketching on location the subject that is in front of you.