SELFCONFIDENCE AND SELFEXPRESSION THROUGH SKETCHING - THE SIGNIFICANCE OF DRAWING IN “PRIMARY EDUCATION” AND THE NEXT GENERATION OF ENGINEERING

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INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION
9-10 SEPTEMBER 2021, VIA DESIGN, VIA UNIVERSITY COLLEGE, HERNING, DENMARK
SELFCONFIDENCE & SELFEXPRESSION THROUGH
SKETCHING - THE SIGNIFICANCE OF DRAWING IN
“PRIMARY EDUCATION” & THE NEXT GENERATION
OF ENGINEERING
Author Prof. Dr. Marina-Elena Wachs1
1Hochschule Niederrhein-University of Applied Sciences, Faculty 07
doi.org/1035199/EPDE.2021 ISBN: 978-1-912254-14-9
ABSTRACT (250 WORDS MAX)
The value of cultural practice in design engineering education begins at the age of kindergarten – a
playful cultural education. Sketching means self-expression and self-consciousness, in regards of
significance of real experiences on hands on design in the earliest stage. In times of crisis, insecurity
mirrors from the individuum and the society, and during the twin transition, in case of digitalizing the
(design engineering) learning landscapes, the old capacity of sketching by hand seems to be forgotten.
This research paper is showing, that hands on experiences and constructive skills for the work in
Augmented Reality (AR) is depending on sketching and reflecting the 3D-world. This research
showcases a revalue of cultural practice for a design didactic approach with regard to cultural education,
for design engineering skills within the post digital era. Sketching the world for sustainable designed
solutions contributes by design methods in drawing by pencil, by digital tools and by different tangible
materials – e.g. textiles. The design didactic approach is triggered by traditional cultural didactic
methods, that supports the value of humans made design. If different stakeholder are part of the process,
the entrepreneurial engagement in DEEducation are shaping beneficial self-confidence of our next
design engineers experts – beginning at pre school education. (202)
Keywords: sketching at kindergarten, thinking (world) through drawing, re/value of cultural practice,
sketching through ‘textiles’ and ‘materilising immateriality’, designing tomorrow in Augmented
Reality (AR), entrepreneurial engagement in DEEducation*, revalue sketching by hand. (*DE=Design
Engineering)
1 INTRODUCTION
If we look at the first drawings, at real sketching experiences of children in drawing in the sand, we have
to consider: from the neurological point of view, these connecting areas in early primary basic education
set the ability to interpret in complex patterns and give the ability of abstract thinking as an adult.
2 PAPER LAYOUT AND STYLES
The phenomena of “thinking through drawing” [1] (becomes more meaningful again today. From the
beginning of primitive wall painting during the Stone age, via sketching with hand and instruments
during the renaissance time, (constructing the world of objects (machines) like Leonardo da Vinci), to
computer added design and virtual sketching [2], we see the necessity to act: during the covid-19
pandemia, we have seen a rising of digitalization, that needs a different understanding of the system [3].
Constructing by designing means self-expressing in being conscious about real world objects. This
begins by postforming form, surface, outline, proportion, and leads to reproduction and visualization of
world in generating and ideating.

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The entrepreneur of industry 4.0, the institutions like schools and universities and the society, would be
best prepared for finding sustainable answers for the future, if they would invest, in this form of cultural
education in earlier phases, than we see at the moment: We have to recover sketching and drawing by
hand for getting the advanced designing skill for the digital (virtual) world (cf. Wachs).
During the “primary education” - at Kindergarten and the first school experiences - we have to look at
the cognition-based understanding of world [4]: it is the real three-dimensional experience by hand and
mouth (tongue), by tools like pencils and branches drawing in the sand, reproducing, reflecting and
rethinking objects and signs. That gives us the ability and adaptability to draw (generate) new cultural
significant objects and concepts in augmented reality later as student, adult and design engineering
expert.
2 DESIGN ENGINEERING EDCUATION STRATEGIES
2.1 Education strategies in industrial design engineering – case studies in sports
design
To underline the thesis above, the next comparison of the industrial design process and fashion/textile
design shows different strategies, and each student’s pathway to preparing for and finding the right
university, which depends on their pre-design educational experience.
One German case study at the Hochschule Niederrhein is promoting an educational system in ‘design
engineering textile’[5], which is in line with industrial design engineering: They begin by analysing the
process and textiles that revolve around material performance. This is achieved, for example, by using
body mapping and textile layering, with the help of a warp knitting process for sports-tech trousers or
running shoes. Other European study programs are taking a more physics-based approach by looking at
the process and developing other solutions with alternative design methods – e. g., the Technical
University in Dresden and Strathclyde University in Glasgow. Some European textile engineering
programs are using more artistic approaches, according to the university’s profile as a university of fine
arts. Fine arts had their primary focus on artistic-based education for design objects, from the 1960s
until 1980s. [6]
Nowadays, the changing habits in the way products – objects – are designed, are serving as catalysts for
applying a more holistic approach to theoretical methods. This begins with sports engineering courses
at the higher educational level (master and PhD design students), and is supported by systems-oriented
design methods and theory-based design thinking.
Generally speaking, the ‘playgrounds’ founded more on biology, physics and natural sciences, are used
for master programmes in sports engineering (see Strathclyde University and Dresden University).
These implement a classical and conventional design process: a process, which is based more on material
analysis and can be directly measured in economic profits.
Although, different educational approaches related to industry and consumer habits have been
demonstrated in Europe, imagine if the user, the designer or the entrepreneur, whoever is using the
product, had a greater insight into the design system at an earlier point, rather than having to wait until
university – as early as pre-school, for example. Several renowned architects claim that playing with
wooden cubes in pre-school during their childhood, paved the way for their future careers. He or she
could be viewed as expert from those very first hours onwards, in a (design engineering) playground.
Experiencing such simple processes, optimised by the support of a didactic environment, builds a
foundation for future learning and exploration. We can see this being embraced in the UK, where teenage
pupils can join design engineering courses at school, allowing them to participate in the courses, practice
the methods and learn expert terminology in a more playful manner and an earlier age. This indicates
that ‘design’ has greater acceptance in the curriculum in Great Britain, and has a higher didactical worth.
This vision is considering cause and effect for the overall future of our educational systems in Europe:
We need earlier design education (strategies) at primary schools, which may coincide with a
change in the terms ‘design’ and ‘industry’.
This shows us that, although design engineering solutions often set out with the same goal, the pathway
towards innovative designs and concepts varies across Europe. We can benefit greatly from
comparing, discussing and reflecting together: diversity is the key to our success.

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2.1 Education parameters and models – the value of artistic competences in
engineering design
2.1.1 Materialising your design ideas
‘In the last two years it was shown, the demand for high value designed products created across the
future European landscape require new educational talents working seamlessly across integrated
analogue and digital platforms while responding to evolving cultural needs emerging through new
behaviours […] connected European learning landscape to increase creative diversity.’ [7]
On the one side, higher scholarly educational systems tend towards being design-theory based: that
means that PhD programs place a higher value on ‘thinking design’ (Rittel) concepts, used to design
solutions for highly relevant societal problems today. Complex problem solving is trained by means of
concept-based design theory work. On the other side, this concept has to be mediated and the lack of
visualising immateriality – caused by theoretical design methods – needs to be addressed. The following
figure shows the profitable result of a ‘Fashioning Furniture Future’ workshop, and demonstrates that
the ‘materialisation’ of design concepts in ‘design doing’: using material rather than being virtual-based,
is very helpful within an artistic or practice-based playground. A tangible user interfaced is langtime
discussed [8]. Here, ideas are transferring into material visualized methods. The aim is to express,
mediate, communicate, and visualize, as well as get people involved in discussions, while being able to
evaluate your thoughts by using three-dimensional, material-based sketching. The following figure
shows a case study in which the PhD student is working on visualising and mediating the ongoing
process of the illness, dementia. This is expressed through textile and form, as well as color and surfaces,
and represents the method of ‘materialising immateriality’ [9] (see figure 1 at workshop at RCA,
London) with different qualities. This design method involves different senses, the tangible, tactile one
is very beneficial.
The process is demonstrating the synesthetic approach by sketching with pencil and by textiles.
Figure 1: PhD Student B’s case study in visualisation the development of the illness dementia,
during the workshop, the exercise called for ‘materialising immateriality’. Royal College of Art,
London, 2019.
2.1.2 Estimating the Value of the ‘Artistic Engineering Design’ process while using artistic
intelligence alongside Artificial Intelligence
The process of ‘Artistic Engineering Design’ explores a concept that gives us the opportunity to reflect
on the needs of tomorrow’s creative processes: It takes the perspective of art, design, engineering and
humanities into consideration, while simultaneously providing a framework for evaluating each one of
these disciplines. In addition, the societal value of a holistic and humanity-centered education in design
engineering, which benefits from fine art’s freedom, integrates people around the globe and is helpful
for solving problems that emerge, as a result of the global connections between human beings.
Needless to say, holistic and humanity-centered education begins early on. The playgrounds in pre-
schools are spaces for exploration and creative expression – a concept that needs to be valued and
mediated through all phases of education: ‘because everything is language’[10], everything is design!
To read, to understand and to solve the complex design problems of the post-digital era, we need this
kind of valuable design engineering education system, to make the universities attractive as learning

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landscapes for everyone and create educational landscapes for every age – lifelong learning landscapes.
The aim is to fill in the gap between theory and practice – between thinking and acting – and to create
the habitus which society needs to form through its anthropological view.
By thinking and acting together, in design engineering education and expert playgrounds (see workshop
case study) possibilities emerge that also illustrate how this style of interlinked designing and learning
could be implemented through future platforms of educational playgrounds. These playgrounds will be
characterised by philosophical experiences that augment more ‘corporeality and impulsiveness’ for a
holistic approach. The goal is to transfer knowledge as early as possible, in a playful and valuable way
– thereby acknowledging the value of time.
For a change to happen, the valuable visions in design engineering and the ideas behind them need to
be applied to a system.
Figure 2: trigger points of advanced management of knowledge: artificial – emotional – integrated
cultural intelligence in design, M.-E. Wachs, 2020.
Alongside Artificial Intelligence (AI), there is an emerging need for artistic and emotional intelligence
forces that reflect the cultural behaviour within a complex design process and in complex interlinked
design education landscapes [11]. As we move forward, the behaviourism related to sustainable
materials and sustainable design education systems – which is formed before university – will require
the basic skills provided by artistic education. These skills will be needed, in order to be able to correctly
estimate the ethical values of advanced societies in the future. In addition, they will be essential for
managing complex design issues in the post-digital era.
3 RESILIENT ECONOMIC AND EDUCATIONAL BENEFITS BY ‘FORMING’
FINE ARTS AND MAKING THE FUTURE TANGIBLE – REVALUE DRAWING
COMPETENCES AT PRE SCHOOL TIMES
Optimized design conditions, in design engineering creative fields today at Europe by virtual interlinked
designing landscapes, this represents aspects of the benefits of resilience. In addition, the research
revealed two essential parameters for creating landscape models:
Firstly, there is an ongoing trend towards theory-based design and design thinking, based on practiced
models. This brings with it the risk of losing important handcraft skills and knowledge rooted in various
places throughout Europe, which drive creative design and the creative industries. Yet, due to the
digitalization, emotional and manufacturing intelligence are more important now than ever before, in
every aspect of business as well as the increasing need for competence in using artificial intelligence.
Secondly, the results each team – in design engineering studios in practice and education - produces
directly, correlates to the individuals’ prior education level, particularly in design or design engineering.
All prior knowledge that can be conveyed at schools within the next few years will determine the design
engineering competence and success (in this holistic perspective) of any nation or culture on this
continent – or perhaps even the planet. If we are interested in empowering Europe’s design engineering
communities to reach a strong capacity and efficiency, we have to invest in the cultural education at
school – in preschool we have to invest in forming by fine arts + STEM courses forward to a holistic
education.

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Aside from the ‘designers paradise’, with optimised collaboration conditions as described above, a
return to the cultural heritage of design education is required. We also have to focus on the prosperity
of the futuristic Ps – people, planet, profession, positioning – and define this prosperity’s sources:
I. Design education as a role model versus its ongoing relation to society
When art and technology joined forces 100 years ago at the Bauhaus, it was based on technical generated
design products for everybody to use, but with a focus on economic benefits. This is changing now and
design education should serve as the foundation – during the digitalization of the present times, that
correlates to a different ‘design behaviour’ to the ‘design shift’ [12].
II. Preschool playgrounds as a cradle for design engineer skills’
Combing back to human’s roots and honouring the potential of ‘fine arts’, in combining new didactical
formats of ‘manmade’ courses, gives space to shape and to manage future tangible interconnecting
design areas – a whish full thinking?
III. Design schools are a source of entrepreneurial spirit and influencers
The influence of an individual who represents a role model – as a designer or a design engineer
and design ‘educator’– who also proclaims new parameters is highly relevant.
A ‘person of the hour’ can be very convincing and influential with regard to the education and design
system. In addition, they can facilitate exchanges with other relevant communities in European
countries. With this in mind, moving forward will entail the entrepreneurial power of design schools
and designers: around the globe, across Europe, of all genders. After all, they have already demonstrated
an enormous cooperative power to optimize models as drivers of design engineering. This is reflected
upon and discussed, which highlights the female designers who operated ‘under the public radar’ [13]
during the Bauhaus era, for example. The best design engineering models for European’s future are
giving new value to art and design and its influence on children’s skills, and also providing new models
for mentoring programs in design. These are elements of social entrepreneurship and entrepreneurial
universities [14] , that are essential for sketching a resilient future in design and educational programs.
Felicidad Romero-Tejedor refers to acting as ‘thinking designer’ and being something between a
scientist and an artist. By this she means to design with an emotion-based, more ‘intuitive and
synesthetic style of thinking’ [15]. So, a designer is someone who creates through thinking and the
creative act – in design doing. Within the culture of sciences in the 21st century, designers are able to
deal with unknown and undefined things, and they are able to step into new foreign fields while working
in interlinked, non-linear thinking processes. According to Romero-Tejedor, the designer possesses
interlinked, non-linear thinking, that is necessary for creating accommodative systems. [16]
As such, by interacting with and integrating systems into the design engineering future, it is paving the
way for meeting new needs in various industries and in engineering – needs related to the fourth
industrial and social revolution, and thus also education. Developing concepts for innovative interlinked
design theory within complex non-linear economic and common social systems requires design
thinking. Digitally based tools are used in analogue linked systems, and are influenced by emotionally
triggered human behaviour. At the time, this creative (ideating) system is in the process of evaluating
and revaluing the sketch as a tool for representing and visualising ideas by materialising concepts.
As illustrated – see figure 1 / workshop – according to the method of material-based design thinking,
the sketch (also in architecture) could be considered an epistemic-based scientific object used as an
interlinked, collaborative creative tool for visualising ideas [17] (Ewenstein and Whyte in: Mareis, C.,
and others 2010, p. 70 f.). The use and value of sketching and drawing, as a unique and original tool in
design, is currently being re-assessed. In addition, the design code, or product language, in design is
being transferred and communicated via media. This always relates back to the cultural imprint and
sociological determination, on the one hand, and the anthropological significance of the culture of
remembrance (Erinnerungskultur), on the other. ‘Materials, which determine the terms relating to
design objects, also supplement the materiality of culture. […] This specific material code is always a
part of social behaviourism and can thus be decoded within that cultural context.’ [18]

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Hence, taking socially and politically relevant action in design, combined with the rethinking of
technology and systems, in order to achieve sustainable design engineering processes and education
models as part of the paradigm shift(s), requires a focus on European forces and fragility, and
demands taking a strong position towards sustainable design solutions.
REFERENCES
[1] Wilkinson, C., The sketchbook of Chris Wilkinson, 2015, Royal Academy; ibid: Kantrowitz, A.,
We all draw: The fourth international thinking through Drawing Symposium“, Drawing:
Research, Theory, Practice, vol. 1, no. 2, 2016, p. 282.
[2] Seymour Powell, Seymour Powell, 2017, Reality works:
https://www.youtube.com/watch?v=j5bAig-8uFs, [Accessed on 2020, 12 12].
[3] Günthner, R. and Dollinger, D. (2019). Hirn 1.0 trifft Technologie 4.0, Der Mensch und seine kreativen
Potentiale im Fokus, Springer, 2019.
[4] Elschenbroich, Donata, Weltwissen der Siebenjährigen – Wie Kinder die Welt entdecken können,
2001, Goldmann.
[5] see Hochschule Niederrhein, (2020), Studiengang Design Ingenieur – Textil, https://www.hs-
niederrhein.de/fileadmin/dateien/FB07/Studium/Curriculum/Modulhandbuch/PO_2017/Modulha
ndbuch_DI-Textil.pdf. [Accessed on 2020, 04 January]
[6] Bürdek, B., Design – History, theory and practice of product design, 2005, Birkhäuser.
[7] Wachs, M.-E., Hall, A., European Driving Range – innovative landscapes for a tangible, non-hierarchical
learning space within a material and immaterial togetherness, EPDE, Glasgow, Scotland, 2019. ibid:
Gulden, T. and Støren Wigum, K., H. W, (2019), Keeping up with Complexity, (EPDE,
Glasgow), Scotland, p. 404-409.
[8] Sprenger, S., Haptic am user interface – Interface design in der zeitgenössischen Medienkunst
zwischen Sinnlichkeit und Schmerz, 2020, (transcript, de gruyter).
[9] Wachs, M.-E., introduction for interdisciplinary design engineering workshop at Royal College
of Art, London, 2019.
[10] Rand, P., in: Kroeger, M. (ed.), Paul Rand-Conversation with students, 2008, (Princeton Archit.).
[11] Wachs, M.-E., Hall, A., European Driving Range – innovative landscapes for a tangible, non-hierarchical
learning space within a material and immaterial togetherness, EPDE, Glasgow, Scotland, 2019. ibid:
Gulden, T. and Støren Wigum, K., H. W, (2019), Keeping up with Complexity, (EPDE,
Glasgow), Scotland, p. 404-409.
[12] Wachs, M.-E., Driver for sustainable (industrial) design culture – the >design shift<, (EPDE,
London), (2018), p. 394-399.
[13] Pepchinski, M. (ed.) et al, , Frau Architekt – Seit mehr als 100 Jahren Frauen im Architekturberuf
- Over 100 years of women in architecture, 2017, Wasmuth, p….
[14] Wachs, M.E., 2019, The entrepreneurial power of design schools - like Bauhaus – as driver for
business models for industry yesterday and tomorrow - case studies: profitable partnerships in
architecture and textile, conference paper hold at: Design History Society Conference 2019 >The
Cost of Design - The Business of The Bauhaus, At: Northumbria University, Newcastle UK
[15] Romero-Tejedor, F., Der Denkende Designer – Von der Ästhetik zur Kognition – Ein
Paradigmenwechsel, 2007, (Olms), p. 188 – translated by Wachs, M.E.
[16] Romero-Tejedor, F., Der Denkende Designer – Von der Ästhetik zur Kognition – Ein
Paradigmenwechsel, 2007, (Olms), p. 188
[17] Ewenstein and Whyte in: Mareis, C., and others (ed.), entwerfen, wissen, produzieren,
Designforschung im Anwendungskontext, 2010, (transcript) p. 70 f.
[18] Wachs, M. E. (2008), Material Mind – Neue Materialien in Design, Kunst und Architektur, (Dr.
Kovac, Hamburg), 2008, p 255.
Figures:
[1] PhD Student B’s case study in visualisation the development of the illness dementia, during the
workshop, the exercise called for ‘materialising immateriality’. Royal College of Art, London,
Wachs, M.-E., 2019.
[2] Trigger points of advanced management of knowledge: artificial – emotional – integrated cultural
intelligence in design, Wachs, M.-E., 2020.

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