Rapid Viz: A new method for the rapid visualization of ideas (英語) ペーパーバック – 2006/2/28
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Rapid Viz, Third Edition: A New Method for the Rapid Visualization of Ideas provides hands-on instruction on quick sketching skills and techniques that allow you to picture your ideas mentally, and then quickly convert those thoughts into visual reality on a piece of paper. The method is not designed to help you become a master illustrator, but rather a visual thinker and communicator. Emphasizing speed and simplicity, the Rapid Viz method breaks down drawing to the essentials, teaching the fundamental techniques of graphic art and design using only the simplest of tools: felt-tip pens or pencils and paper. Using a minimum amount of time, trouble, and effort, Rapid Viz enables you to nail down your ideas onto paper, rapidly converting your thoughts while they are still fresh, and then polish them for clear visual communication with others.
1. Perspective 2. Rapid Indication 3. The Visualization Process 4. Graphic Expression 5. Graphic Creation 6. Learning with Visuals Appendices: A. Additional Exercises B. Suggested Readings
Anecdotally, I have been told this book is better than the newer versions. I cannot verify that, since I haven't seen the newer versions. I do, however, highly recommend this version.
If you are a designer and need to draw, this book is for you. While I cannot stress enough that this book works better with an instructor, there is a great deal of value here for folks who are self-taught too.
I'm a scholastically trained industrial designer, Center for Creative Studies in Detroit. I design museum and trade show exhibitry as well as traditional and computer graphic work and, in addition, am a classically trained painter. You can see my work at robertstotts.com. What this book, along with Rapid Viz, around which my very first summer class at CCS was built, provides a platform of how to use drawing to explore and convey ideas in a terrifically simple and playful style. It gives you just what you need of perspective, value control, composition, and the other base tenants of classical drawing so that you know what your doing as a communicator. The beauty of this approach is exactly what the one star guy slammed it for, the reality that you don't have to be Leonardo Da Vinci before you can, not only enjoy drawing, but use it really effectively in communicating ideas, designs, and all sorts of concepts.
What I was using Draw! for last night at my class was helping a young couple get their feet wet in drawing via some of the fun exercises like one starting a doodle, and the other visualizing a shape in it and completing it, or inventing fun, freeform fish of all shapes, to practice the body mechanics of drawing from the big arm joints, elbow and shoulder, rather than the fingers and wrist to get fluid confident lines. Instead of stressing and beating themselves in frustration for not being able to "do" it right, they had a fun, uplifting experience while developing truly legitimate skills that will aid them in classical drawing when we move to that.
Without question, the biggest problem that I have as a drawing/painting teacher is convincing adult students that the study is about fun, validating the legitimacy of their creativity, and enjoying a truly personal self-exploration, not "fixing the problem of being bad at art". Books such as Draw! and Rapid Viz, in addition to being terrific for giving not-artist a great communication tool set, are terrific as a get-out-of-your head portal into drawing and all visual arts. After 30 years as a full time professional commercial and fine artist, I still really enjoy the learning, style, and sketches in these books. Highest recommendation.
In their Introduction, Hanks and Belliston explain the objectives and guidelines used to develop their book as well as the goals of the Rapid Viz method, once that was fine-tuned during several decades of application and modification. They also suggest what their reader ("student") needs to get started: a pencil and/or felt-tip pen ("Use whatever you want as long as it's simple, cheap, and you can carry it in your pocket or purse at all times"), perhaps multi-colored felt-tip pens and/or pencils, perhaps an eraser and/or ruler, sheets of some regular bond paper, a pad of 14" X 17" tracing paper.
At this point, I presume to suggest that you consider a sketchbook with blank pages and have it nearby as you complete various exercises within the book. Why? Sooner and more often than you may now expect, completing the process of instruction that Hanks and Belliston follow will generate stimulate your thoughts and feelings as well as images associated with them. You need to record notes, comments, and illustrations (however simple). As you learn more about the process, and as you strengthen your skills, you will also develop an "eye" that will recognize your progress over time. My personal preference is for the Pro Art Sketch Book (5.5" X 8", 220 Pages) that I purchase through Amazon for $5.94 plus shipping.
With regard to the exercises within Chapters 1-6 and the additional exercises in Appendix A, most of them can be completed within the book. There may be a few that you wish to complete several times, hence the need for the sheets of paper and a blank-pages notebook, if you have one. Practice may not make perfect but it can certainly support improvement. However, practice with discipline and purpose. As Hanks and Belliston point out, "The exercises attempt to restrict your freedom temporarily. Tight restrictions as to what is drawn, how long to take, and so forth make drawing easier during the early stages of the learning process. Set you own tight goals. Too many choices breed confusion and non-performance. Decide specifically what to do and do it."
Two final points. First, with regard to "rapid," make haste slowly. Rapid Viz really is a progressive process. Also, the value of this book will be determined almost entirely by the quality and extent of attention and effort you commit to the learning opportunities that Kurt Hanks and Larry Belliston offer.