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1 INTRODUCTION

.1 What is drawings for?

Drawing is a fundamental training in art and designclasses. Often trained in the early years of art anddesign courses, but when come to evaluate thequalities its often left out to understand that drawingthe drawings is not a matter of creating a wonderful,

perfect and artistic pieces. Drawing in design asdetermined by Kees Dorst (2006:134) inUnderstanding Designis medium for visually andspatial thinking. He described several kinds ofdrawing that have different levels of data which,first is dealing with the general principal of an ideaor design concept, second is to figure out the formof design, and third is to complete sketches thatmeant for communication. On that account, drawingis a key skills to invent and construct images.Indeed, the act of drawing helps artist/designer to

clarify their thought. Moreover, Teel Sale & ClaudiaBetti (2008:3) in Drawing: A Contemporary

Approachemphasized that:Drawing provides a common ground forcommunication; it offers us a dialogue with

ourselves and with others, the viewers. It engagesus on vital emotional, intellectual, and spirituallevels. Focusing on time, space, and energy,artists give material form to their ideas, andnowhere are these ideas more readily accessiblethan in drawings.

1.2 DrawingsThe old new media

Beside making noise and creating sounds, one of themost ancient man activities is picturing what theysees, feels and thinks. Drawing is the primary meansof symbolic communication, ever since the ancient

I Draw Therefore I Am: Drawing as Visual (Communication) Studies

Prof.Dr. Muliyadi MahamoodHead of Programme. Department of Graduate Studies. Faculty of Art and Design,Universiti Teknologi MARA, Shah Alam, Malaysia

Karna Mustaqim, MA.

PhD. Candidate, Faculty of Art and Design, Universiti Teknologi MARA, Shah Alam,Malaysia

ABSTRACT:This paper set forth about the significance of drawings as part of visualcommunication design. Drawing gives a chance to observe, to muse, and to select andalso developed continuous thinking techniques. It is to present that drawing is not justa cursory to generate ideas, but it had its own enthusiasm and philosophy which

deserve apprehension as a domain of art. In the recent years, drawing has receivedback its attention; there are at one side a group of drawing practitioner, and on theother one are a group of drawing researcher. Drawing in design means as a medium ofvisual and spatial thinking. Digging into research actually is a necessity for visualcommunication studies. It is suggested here three kinds of research approaches:research into art/design; research through art/design; and research for art/design.Indeed, it lead to four axis topics (topoi) for design studies: design practice, designproduct, design discourse, and design meta-discourse. A field of study called visualculture which, departed from the study of critical theory and cultural studies whichhave set out relatively new field of study called visual studies. Based upon to thisperspective, visual (communication) studies should be more self-reflexive. The

production of visual communication takes part to construct the visual culture insociety.

Keywords: drawings, communication, visual, research, artifact


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Plate 1. Honey Hunter. Cave painting in Cueve de la Arana,Valencia,Spain.

time man had left their marks of existence throughthe pictures of primitive drawings. As we alreadyaware of the cave paintings depicting human handsand animal stylization which, spread from the

Leang-Leang cave in Sulawesi (Celebes) to thefamous Lasaux cave in France. It intertwined themetaphysical and the physical, and associating ourthought and perception. As what more emphasizedfrom Primadi Tabrani (1998:6) that:

From its beginning visual language possesses atime dimension,This time dimension of visualdrawings is what we modern man has lost, sincethe invention of perspective in Renaissance.

It predates and embraces writing, and functions as

tool of conceptualization. The act of drawings itselfhas become the inner forces within human soulwhich have been created throughout the history ofhumankind, yet, it has only recently get its status asa valid domain of its own.

John A. Walker (1989:23) reminisced duringRenaissance disegno which, literally meantdrawing, was considered to be the basis of all thevisual arts. The works from Leonardo Da Vincisnotebooks deliberately show the valuable emergenceof drawings since that enlightenment era. An artisticactivities such as drawings which, made directlyfrom the preliminary thought, is an expressive formof art that representing the idea for a piece ofvisionary work. The drawings consider worth toinquiry on par with paintings, sculptures,

photographs, even architectures.

2 DOMAIN OF DRAWINGS

.1 Beyond process-making

Drawing is a noun, or drawing also is a

verb. The word drawing(s) have bothmeaning, it is a lively experience as awork of art, an activity which is the axisof artist or designer works. In the recentyears, drawing has got back its attention;so long had been forgotten and now getsits turn to reincarnate again. In this tworecent books, Drawing Now:Eight Proposition(2002) and Drawing Now: Between the Lines ofContemporary Art (2007) that accompanies theexhibitions witnessed the enthusiasm on drawings as

final form of art. At commonplace, it is a desire tofind inspiration beyond the pale of what hastraditionally been considered fine art, like thevernacular forms of mass culture, such as

decoration, comics, architectural drafting or kinds ofdrawing often treated with negligence.

Many reflexive questions about the domain ofdrawing were emerged and required furtherinvestigation. Some interesting publications thatdesignate the meaning of drawings beyond the art

practice such: What is Drawing? (2003) anexhibition curates by Angela Kingston with

cooperation with artists with different backgroundsuch as Lucy Gunning (video art), Claude Heath(painter) and Rae Smith (designer); a critical survey

by Phaidon with the help from a group of curators,critics and selected museum art directors, within themost current drawings from 109 world artists putinto the collection called: Vitamin D: New

Perspectives in Drawing(2005) in which, EmmaDexter, the book editor and a curator at Tate Modernstated that the two most significant artist: RaymondPettitbon and Paul Nobel are able to producingmonumental bodies of work that could rival anyother medium in terms of scale or ambition; Alsothere is An Atlas of Drawing: TransformingChronologies(2006) which is also an exhibitionheld in MoMA (Museum of Modern Art NewYork) curates by Luis Perez-Oramas that performeda mapping of the relationship between the currentworks and the classical works. Then, another note-worthy investigation on the status of drawing isThe Drawing Book A Survey of Drawing: A

Primary Means of Expressions(2006) edited byTania Kovats with the participation from various

profession such as artists, architects, sculptors,sciencetist, filmmaker, and other thinkers of alldescriptions.

2.2 The Research Networks

Analyzing childrens art is a fascinatingresearch, as Rhoda Kellogg (1969) andTabrani (1998) suspected that many ofthe symbolic expression done by childhave similarities with ancient cavepainting and art from the primitivepeople. Another interesting study, JohnM. Kennedy (1993) following some RudolfArnheim (1990) goals of the study ofperception, pictures and touch, hasemployed the ideas by doing hapticresearch on drawing and the blind people(Kennedy 1993:290). Currently, amongthe scholars who had paid attention tothe practices act of drawing and thedrawing research is Steve Garner (2008),editor of Writing in Drawing: Essay on Drawing

Practice and Research. For instance assumption


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Plate 2. Animals drawing by five to seven years. In Kellogg

1969. Analyzing Childrens Art, p.154.

there were two groups of people conerningdrawings: one group of drawing practitioner, and onthe other hand there are group of drawingresearcher. Such book as Drawing onConversation by Jac Saorsa (2009) was actually adoctorate research in Loughborough University thatuse drawing as a method of exploring andinterpreting ordinary verbal interaction with several

well-known artists. Several group of study orinitiated cooperation amongst scholars and

practitioners have grown up.Notably for instances, The International Drawing

Research Initiative (IDRI) which is a consortiumcreated to advance research into and through thediscipline of drawing with the founding memberssuch (College of Fine Arts) COFA, UNSW inSydney, (China Central Academy of Fine Arts)CAFA in Beijing and (Glasgow School of Art)GSA; and The Drawing Research Network (DRN)

which is a loose affiliation of individuals andinstitutions who are involved in some way withdrawing research. Some participants are based inuniversities and colleges of art and design, and someother participants simply who have an interest indrawings and the drawing process which mightinclude in making, thinking and communicating ondrawings.

3 DRAWINGS AS MEDIUM OF RESEARCH

.1 Types of drawingsSale & Betti (2004:10) suggested that traditionallydrawings are classified into four types, first, thatinvestigate, study, and question the real, visible,tangible world. Second, that record objects andevents. Third, that communicates ideas. And fourth,that are transcriptions from memory a way ofcollecting and keeping impressions and ideas, a wayof making visible the world of imagination. Notonly artists/designers who is of interest in drawings,

but medicians, scientists, engineers, technicians and

even carpenters embrace the use of drawings. Theyassert drawings into two broadest parts, thereofsubjective drawings that emphasizes the emotions;on the other hand, thereof objective drawings thatuphold conveying information as issues that are

more important. The process of drawing amplifiesan empowerment of our visual consciousness.Awareness both about knowing how we feel aboutthings and also understanding about how thingsactually occurred.

The ability to draw visible objects needs at leastfive perceptual skills. According to Betty Edwards(1999) this five perceptual skills noted in The New

Drawing on the Right Side of the Brain is learn to perceive in which, the ability to draw possiblyreflects an equally significant change in the abilityto percept. The five perceptual skills list as followsthe perceptions of edges, the perception of spaces,the perception of relationships, the perception oflights and shadows, and the perception of the whole(gestalt). On the relation of seeing and visualizingwhat we saw, Laurie Olin note that:

drawing is a way of thinking while acting, orof thinking through acting.is about seeing and

visualizing. Its about memory and finding a sequence of marks that engage observation andthought (Treib 2008:.82)

3.2 Works of drawings

Thereby, drawing is a significant part of designprocess before come up with any solution, drawingis the way to observe, to records and to think. Inaddition, drawing is a conceptualization,generatively processes and selectively progressivemethods. Such artist who appraises drawing as a

lively method is Katsushika Hokusai (1760 1849),famous Japanese woodblock artist (ukiyo-e). Heobserved and captured almost everything that passonto his eyes as an aesthetics research whichinvolves art and lifes. The collections of hisdrawings were published into 15 series calledManga within 1814 till 1878. In modern time, oneof the Japanese genius graphic designers whofollowed this tradition was Shigeo Fukuda (1932 2009) by producing much of optical illusionsdrawings. Recently, Seymour Chwast published his

long establishment carrier as an influential illustratorto the visual culture in Seymour: The Obsessive

Images of Seymour (2009). His partner at Push PinStudio a legendary graphic design studio based on

New York Milton Glaser creator of the famous ILove New York logo in Drawing is Thinkinggavesimply a thought that drawing was not simply a wayto represent reality but indeed it is a better way tounderstand and experience the world.


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Plate 3. Katsushika Hokusai (1815). Workers harvesting

rice.Woodcut. In Treib 2008. Thinking/Drawing, p.22.

As we might see, it is obvious that the limitedappreciation to drawings was not simply a process to

produce a product. Moreover, the drawings itself is avaluable independent works which, made before thesculptor crafts, before the writer writes, before the

designer designs, before the painter paints, theyformerly made drawings before their minds.

Drawing is ability to synchronizing thought,feelings, body movement, tools and materials. Ontissues papers, wall surfaces, field of grass or stones,

bed sheet, kitchen table, or on the graphic tablet.The made of drawings is a symbolic communicationwhich, marking any medium, on any surfaces, at anyscale to communicate anything possible.

4 RESEARCH IN DESIGN STUDIES.1 Research Approaches

It is a necessity to dig into research invisual communication design. It isnecessary been done along with designpractice and education. ProfessorChristopher Frayling (1993), of Royal College ofArt had adopted the art education concept fromHerbert Read (18931968), into the realm ofresearch on art and design. He suggested three kinds

of research approaches: research into art/design;research through art/design; and research for (as)art/design.

Research into art/design has usually been done inthe post-graduate study, including history, aestheticsor perceptual study, and criticism, or any othertheoretical perspectives on art and design.

Then, research through the art practice-led ordesigning in studio project which is still in greatdebates in academe according to its validity of themethods. This research practice is distinguishes asthe taking of something outside of the art and/designsuch as behavior of materials, customizedtechnology, or documenting studio experiment, andtranslating it through artistic medium or designs.

The step by step recording is crucial in researchthrough art/design for its documentation as essentialcomponent to gain respective qualification forreliability or trustworthiness in this type of research.The criterion of original contribution to acommunicable knowledge is also another significantissue.

The last one is research for art/design means the

primary conveyor attainment is producing anartwork or a designs object. This type of research ismost well-suit for undergraduate studies. Accordingto this, Victor Margolin (1997), design historianfrom the University of Illinois, Chicago, later

proposed four axis topics (topoi) for design studies:design practice, design product, design discourse,and design meta-discourse (Heller 2005: 287-292).

4.2 Design knowledge

Most of the time, people attracted to art and designfor the sake of its final glossy products display.

While the process that might took times to doinvestigation, analyzing and knowledge gainingthrough searching and researching have often leftout unaware by public in general.

Dangerously, it could directs art and design paidtoo much to the practicality sides. The drawings asthe process research or generating ideas andgaining knowledge from the field of study were notgiven much attention as it might deserve. When lookat a work, both happened in the real world or theeducational institution that the practitioner or

educator often relied their judgment on personalexperiences and subjective intuition. Therefore, itsurgency to built a reliable framework is forevaluating art and design research properly.Following quotation from Design: A Very Short

Introduction by John Heskett (2002:47-48) reflectsthis wariness:

however, that in many disciplines the kind ofknowledge based on experience and insight tacit knowledge can be a vital repository ofenormous potential. Much design knowledge isindeed of this kind, although this does not meanability to design should be limited to the tacitdimension. There is a vital need to extendalternatives forms of knowledge in design thatcan be structured and communicated in otherwords, coded knowledge.Most practicaldisciplines, such as architecture and engineering,have a body of basic knowledge and theory aboutwhat the practice is and does that can serve as a

platform, a starting point, for any student orinterested layman. The absence of a similar basisin design is one of the greatest problem it faces.


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Plate 4. Nuno Valerio. RojoIpon. Sintonison S.L.,Barcelona, Spain.

Hopefully within the drawings discursive arise allkinds of drawings up onto a distinctive territory asmuch as important as what Victor Papanek (2005:8)notion in Green Imperative about skills thatneeded to be uphold by every designer: to

communicate progression through drawings, model,mock-up and feasibility study, video or films, alsothrough verbal, computer-generated or writing

papers. Pam Schenk (2007) from Grays School ofArt who did generates a taxonomy of the uses ofdrawing believes drawing is a subject in its ownright for whom creative and visual issue are of

paramount importance even in this digital-computerization age.

5 I DRAW THEREFORE I AM.1 Drawing as Thinking

Frequently, drawing is recognized as the synthetic ofhow the visual world being observed its visualappearance. Yet, a picture could possibly be morethan just a representation of appearance. Subjectivityand reflexivity are primal instincts to an artist ordesigner. Yet, our society has put believed ontoobjective methods in problem solving rather thanusing reflexive method, which is more subjective. Itis true that the capability of market research along

with psychological studies have developed manyobjective problems solving through new creativeideas. Thus, the study of user-centered design hasuse of sociology and anthropology approaches.

Moreover, the humanities and philosophicalstudy help to scrutinize the understanding of designfor better life. This has been called as positivist

paradigm in the term described by Thomas Kuhn inThe Structure of Scientific Revolution (1962) that he

believed had influenced strongly to the intellectualrealm. It begins with revolutionary set off by Ren

Decartes (1596 1650) Cogito ergo sum I thinktherefore I am , all the sets of knowledge put thetrustworthiness of evidence in a paradigm based onrationality and scientific approval as an absolutetruth. This brought to the arbitrary views to divorces

the knowledge gathered from rational thoughtfulnessand knowledge gathered from empirical experiences.

This thinking spread vastly until the appearanceof existentialist Jean Paul Sartre (1905 1980) whorefuted the dichotomy of beings and representation,it is absurd to pull out essence from existence. WhilePlato, an idealist Greek philosopher, believed thatessence precedes existence in which ideas come

before the physical bodies, Sartre takes it out andmake reversion that thinking and existence cannotbe separated.

Drawing is beings and also drawingis an act, a counter act, a process tocreate imagery from minds or feelings. That process is an observation,exploration, learning, managing, anddesigning to make drawings appears asan artifact (representation).Nevertheless, when one begins to draw,he/she stops to think. He/she just do it;

the drawing appears just as it is. Drawingis thinking not because we separatelythinking through drawing, but the act ofdrawing is itself is thinking. We cannotseparate thinking from drawing, we oftenstop to think while do the drawing. This isthe most creative acts moment whichprobably closer to what Heidegger(1968:8) calls thinking, We can learnonly if we can unlearn at the sametime.we can learn thinking only if we

can radically unlearn what thinking hasbeen traditionally.As stated before, along with the history

humankind had drawn many artifacts onthe earth surface. From the pre-historiccave painting to the skyscraper tower orsuch a golf course, man left their imagetrace around the globe. These humandrawings are one of the very existencesfounded on earth to prove thathumankind is an exist beings.

Human uses drawing to denote their existencewithin a space as part of the interrelationship

between man and its physical environment.Drawing serves as a means to mark territory:

physical, cultural and social, writes Catherine Dee,There is an analogous relation between the act ofmarking on papyrus, stone tablets, paper, or todayon a computer screen, and the marking of territoryon the earths surface(Treib 2008:65) She statedthat:

our experiences of actual environments,territories, and functions of land all affect the

images we make. Differing culture and individualrelationships to the land promote different kindsof drawings, while those images in turn suggestor influence new concepts of, or relationsbetween, humans and land. This association


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between land and drawing media, idea and process, needs to be considered critically tocontinually remind us that neither medium nor

process is neutral.

Plate 5. Gareth James (1997). Departement of EveryoneGetting Along. Ink on paper. In Dexter, E. & Burton, J. 2005.Vitamin D: New Perspectives in Drawing. London and NewYork: Phaidon

By concerning some of the issues presentedabove, the next enquiry is possibly questioning thenecessity of drawings in graphic design courses. Tounderstand the distinction of graphic design fromvisual communication, Paul J. Nini from Ohio StateUniversity explained that visual communication is a"process," that by its problem-solving natureincludes investigative and analytical skills in thecreation of communications. Graphic design focuses

primarily on form-making, while visualcommunication incorporates a broader series ofefforts to provide rationale for form-making.thatvisual communication includes other types ofcommunications beyond printed matter.

Graphic design at the present time, either as profession or product which broadly known asvisual communication design has been push into thediscourse of visual culture. Its fundamentals have

been contributed by the socialist poet, WilliamMorris (1834 1896) since the art and craftsmovement around 1880s in British. Guy Julier(2000:3) in The Culture of Design argued thatdesign is:

a culturally specific practice which drivenalmost entirely by strategies of differentiation.Design culture is not fix,homogeneous or homogenizing; rather it embracea complex matrix of human activities,

perceptions and articulations. Careful analysis ofits visual, material, spatial and textualmanifestation provides routes into thiscomplexity.

5.2 Drawings as artifact of thinking

In this writing, visual communication design andgraphic design were used alternately. The termgraphic design is used to emphasize pragmatically ofa work, and visual communication is used toarticulate the communicative process, visualthinking and part of analyses. At one side, drawingsare not the result of a graphic designing, yet it is

inevitable part of designing process.Accordingly, drawing and reading picture invites

people to think and communicates visually throughthe drawings. Without a doubt, it is an obvious formof visual communication that argued the drawingsitself is a design. Graphic design ascommunication is further explained by MalcolmBarnard (2005:179) that:

Communication in graphic design was explainedas the interaction of the beliefs and values held

by members of cultural groups and the formal

elements of graphic design (such as shapes, lines,colors, imagery, text and layour, for example).Rather than existing, naturally and prefabricated,in graphic designs, meaning was explained as

being construct in the activity of communicationitself.

Drawing as a means of discovering, exploringand researching warns us not to feel secured witheverything which can be measured or quantifiable.Drawings invite us to wander undiscovered

imaginary sites of speculative knowledge. Olin believed we learn through seeing, thinking aboutwhat we see, studying, recording it in various waysof drawing by conducting research andinvestigations, invent problems, study them, and tryout solution in and through drawing (Treib2008:86). The relationship beween thinking ascognitive activity and drawing as representation, itinvolves social dimension, psychological andaesthetics that reflects the differences of personal orsociety cultural background.

The architect historian, Mark Alan Hewitt

implied drawing as a habitual tool for representingideas and to facilitate imaginative leaps to the future(Treib 2008:28-45). In essentials, drawings and theact of drawing are being valuable as long as theexistence of ideas were produced through drawingsitself. Therefore, the process and artifact of thinkingunified in drawings. Perhaps the activity of drawingscould become the alchemy of art and design.Perhaps, I exist, therefore I draw.

6 DRAWING CONCLUSIONSSale & Betti (2004) concluded that the process ofdrawing develops a heightened awareness of thevisual world, an awareness that is both subjectiveand objective.Art is a reflection of the culture in


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which it is made. As Laura Hoptman (2002) inDrawing Now: Eight Propositions, argues that inthe last decade or so drawing has been progressivelytransliterated back into a noun, whereas youngergeneration of artists is comfortable in its technicalmastery and

Plate 6. Dominic McGill (2004). Man is Wolf to man. 106.7 x152 cm. Graphite on paper. In Hoptman, L. 2002. DrawingNow: Eight Propositions. New York: The Museum of ModernArt.

the manipulation of subject matter as filtered bybroader visual culture.

Visual images have exhausted much of ourphysical and emotional energy on the act of seeing(Berger 1998) and it will inevitably play a centralrole in the culture of the twenty first century

(Sturken & Cartwright 2004). Sturken & Cartwright(2004:3) suggest that culture is something fluid andinteractive, the shared practices of a group,community, or society, through which meaning ismade out of visual, aural and textual world ofrepresentation.

We lived in the age of increasingly visual, whenverbal/written tradition gradually turn into the visualcognitive task as a result of the density of visualmedium that appears everywhere (Gombrich 1996,Mitchell 1994, McLuhan 1964). Thus a common

jargon means by the images power in thecontemporary society. Yet, it does not mean that wehave no need to read anymore, only the text orwords often being regards as part of visuality too.Readability (the easiness to read) and legibility (theclarity of reading), both relates to ability on readingvisual texts. Its about visuality more than justvisualization of verbal/written words. Gillian Rose(2001:1) firmly implied in Visual Methodology thatwe are often told that we now live in a world whereknowledge as well as many forms of entertainmentare visually constructed, and where what we see isas important, if not more so, than what we hear orread.

Since 1990s a newly field of study called VisualCulture departed from the slant of critical theory and

cultural studies in which, later leads to another focusstudy of images namely visual studies (Schirato &Webb 2004, Elkins 2003). Image studies therebymarks itself out from the recent growth in visualcultural studies, which works largely from withincultural studies perspective (Maghani, Piper &Simons 2006:5). Visual culture has reach our innerlifes which, made us to alert the significance of

visuality around us, the environment. By crossingseveral disciplines, visual culture deliberatelyconsiders analytical understanding by everyone whoencounters a startling array of images in daily life.Harold Pearse (2000:30) noted that the study ofvisual culture involves the critical analysis of thecomplex interaction of the form and content, andcontext of works of art, craft and design withemphasis on social and historical contexts.

Graphic design involves inevitably in that circle;it appears and reappears in media, technology andcultural activities. It has marked out their area of

social responsibility; historically it also reflects theconstruction of meaning of visual images. At aglance, drawings seem to be insignificant and get ridof the cultural activity, soon forgotten anddismissed. Only few are aware that the collecteddrawings can become a historical records about one-selfness, works, life experience and memories.Meddle in this visual age, no matter how small thetrace we left would be meaningfull for the journeyof mankind history. Even a piece of drawings thatwe left upon a raw paper might become a sign of the

time in the future.In the realm of art and design practice, drawings

are not only concern as object of visual culturestudies, but moreover, it is part of communicationstudies. Drawing as visual (communication) studymight provide an exceptional occasion to thedevelopment of problem-solving skills, creativityand cultural identity that play a prominent roleamong the common goal of art and design educationtoday. A primal being deserved further examination.It is not just compulsory activity to the study of artand design but the drawings itself represent a widerinterpretation of visual arts. It is the core study to re-understand the communication of visual language.Last but not least, let us consider this writing itselfas a drawings.


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Plate 7. Trenton Doyle Hancock (2001). Remeror withMembry. 137.2 x 167.6 cm. Acrylic on canvas. In Hoptman,L. 2002. Drawing Now: Eight Propositions. New York: TheMuseum of Modern Art.

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