The Drawing Excellence Framework
The Role of Drawing in Design Education:
Drawing is often referred to as the “universal language” of visual communication. Whether in architecture, illustration, graphic design, or any creative discipline, the ability to render ideas and thoughts visually is an essential skill. Drawing serves as the bridge between the heart, mind and the physical world, where abstract ideas can be explored, tested, and refined in tangible form. It is a primary mode of ideation, a tool for both personal expression and professional communication. Without a robust understanding of how to translate one’s thoughts into visual language, a designer’s ability to solve problems and innovate becomes severely limited.
The importance of drawing has, however, been undervalued in recent years, particularly in higher education, where pressures of delivering broader curricula and satisfying administrative frameworks have pushed it aside. Yet, when we think of design in the broadest sense, we are really thinking about the creation of something that did not exist before. In all disciplines, from graphic design to illustration, drawing enables us to explore new visual languages, generate fresh ideas, and refine our work. The act of drawing is inextricable from the very concept of design as a creative discipline. It is foundational to the process of conceptualisation, problem-solving, and the development of visual concepts.
The Crisis in Design Education:
In recent years, there has been a noticeable shift in design education, with many institutions prioritising digital skills, conceptual thinking, and technical software over fundamental artistic abilities such as drawing. While these skills are indeed important, the fundamental skill of drawing is often relegated to the background. What is particularly concerning is that this trend has led to students — especially those coming from more diverse backgrounds with less exposure to drawing in their earlier education — entering design courses with little to no confidence in their drawing abilities. Many will come to the studio with the phrase “I can’t draw” as their opening statement, which reflects both their lack of experience and the widespread anxiety around drawing as a skill.
It is critical to note that a medical student would never say, “I can’t understand human anatomy” or a journalist would never say, “I can’t write”. The same should apply in the creative disciplines. Drawing is not just a skill that some are born with or others are not; it is a learned ability that must be nurtured. Much like writing or speaking, drawing can be honed with dedication and practice. The frustration arises when students do not receive enough time, space, or dedicated support to develop these vital skills. There is often a gap in the curriculum that leaves students unable to fully access and realise their potential as visual communicators.
The DEF: Drawing Excellence Framework:
The Drawing Excellence Framework (DEF) addresses this issue head-on by prioritising drawing as a compulsory and central activity in design education. To break the cycle of neglect, this framework mandates at least 4 hours of extra-curricular, compulsory direct observational and creative drawing practice per week for all students in the first two years of their education. This is not “A-level” academic drawing, but a dynamic and engaging curriculum that focuses on developing hand-eye coordination, observational skills, and creative visualisation in a real-world context.
The key goal of the DEF is to foster visual literacy by providing students with the foundational tools necessary to create, interpret, and communicate complex visual ideas. It recognises that drawing is not merely a technique but a language in itself — a tool of communication that transcends the barriers of written and spoken language, offering a universal means of understanding and connecting with the world. The world is becoming increasingly visually driven, and design education must not fall behind in teaching students how to see and visualise the world around them.
Paul Rand, the iconic designer, once said, “Drawing is simple. This is why it is so complicated.” At its core, drawing seems like a basic skill, yet its complexity reveals itself when students try to apply it in professional practice. The simplicity of drawing — the act of creating marks on a page to express ideas — is deceptively difficult. The challenges that arise from it stem from a fundamental lack of training and exposure.
By embedding drawing into the curriculum from the very beginning of a student’s education, we are not only building their confidence but also equipping them with the fundamental visual tools that will set them apart in a world that increasingly values visual communication. This initiative will demand that educators reassess their teaching methodologies and embrace drawing as a fundamental skill alongside writing, critical thinking, and digital proficiency.
Practical Implementation of the DEF:
To implement the DEF effectively, schools and institutions will need to allocate dedicated time and space for students to focus on their drawing practice. The extra-curricular hours are vital because they are distinct from other course requirements and allow for a less constrained, more creative approach to the practice. These hours would ideally involve both structured instruction and individual drawing exploration. Drawing sessions would focus on developing observational skills, understanding anatomy, perspective, light, and shadow, while also promoting creative experimentation, where students feel free to explore their personal styles and interpretations.
Additionally, the framework should be cross-disciplinary, meaning that it would extend beyond the traditional boundaries of illustration and fine art to other design fields such as graphic design, animation, and industrial design. Drawing is not just an “artistic” skill but a problem-solving tool used across the entire design process. Graphic designers, for example, rely on quick sketches to work through layouts, compositions, and visual solutions before moving into digital software. The same applies to product designers, architects, and any creative professional who needs to quickly communicate ideas.
Conclusion:
The need for a Drawing Excellence Framework (DEF) cannot be overstated in design education. Drawing is a fundamental and essential skill that allows designers and artists to connect with their ideas and the world around them. It is the bedrock of all visual thinking, and to neglect it in education is to undermine the very process of creativity and visual communication. By embedding drawing as a compulsory activity into the curriculum for the first two years of study, we give students the foundation they need to become innovative, visual thinkers.
In a world that is increasingly dominated by images, the ability to visualise and communicate effectively is more critical than ever. It is not just a matter of “learning to draw” — it is about learning to see, to think, and to create. Through initiatives like the DEF, we can ensure that students graduate with not only the technical skills but also the visual literacy required to excel in the rapidly evolving design world.
As Paul Rand said, drawing is simple, but that simplicity can only be realised through dedicated, consistent practice and a framework that encourages its integration into the education system. It’s time to return drawing to its rightful place at the heart of design education.
(The text is based on my lecture given at #Ideasofrevolt conference of the Graphic design Educators Network at Sheffield institute for the Arts, Sheffield Hallam University on Sep 8, 2017. The political and social landscape of 2017 offers graphic design students ample rich subject matter to react to, dissect and interpret, but where is the revolt?)