Figure 5. Emergent initial sketch for proposed Arabic mega-yacht.
Figure 3. shows the sketch moved onto an attempt at simplification, but new faults emerge. e.g. Exaggerated aft deckline, mizzen reduced disproportionately, awkward sheerline. Overall proportions are
not
convincing. However, the overall simplification is an improvement.
Figure 4. shows the emergent initial sketch with focus. The idea is simplified, approximately scaled, it is reasonably proportioned. A more controlled approach can now be used.
Figure 5. this illustrates a more tightly controlled technique with accurately scaled drawing. So at this point it is useful to look in more detail at layout, and to use manual rendering or 3D CAD computer techniques.
Now Goldschmidt [5] describes the process of creative design as:
“An interaction of arguments and moves. Arguments are the labours of the designer’s mind, the explorations of the task and the reasoning about it. Moves are the physical motions engendered by the argument. Moves are what psychologist’s call the behavioural aspects of human
activity. The operative moves produce the
drawings and they supply essential new food for arguments”.
The remainder of this section illustrates the author’s interpretation of the “moves” Goldschmidt [5] refers to, seen as creative cognitive moves. The example is a study developing concepts for a new Jaguar sports car [6] this phase of the programme was undertaken after substantial research into the form of British performance vehicles with a focus on historical Jaguar designs so movement was as described, based on concrete images, yet
the
sketches display substantial abstraction or ambiguity [see figures 6 to 9]
Arnhiem [1] states:
“Creative designing always involves the solution of a problem, the carrying out of a task, and, therefore, the image unfolding in the mind always refers to a goal image. The final objective manifests itself at some degree of abstraction.” [1]
and “But because
all abstract thinking relies on some
perceptual referent, even the most abstract theme is tied from the beginning to concrete images. These images supply the designer with the primary nucleus from which the actual structure develops”. [1]
B-22
© 2008: Royal Institution of Naval Architects
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68