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  • Drawing and Design With Confidence

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    drawing and design with confidence

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    © All Rights Reserved
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    305 просмотров204 страницы

    Drawing and Design With Confidence

    Загружено:

    symon kiplelgo
    drawing and design with confidence

    Авторское право:

    © All Rights Reserved
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 204
    1K coos e tee What doesit take wo daw and design well? ‘Maybe one ned tobe aieted bat here is ‘much tore ro than dat Atte plays bie par alng with confidence and 2 wl ingnes to take Hs. "good atid wll lp youn whatever you do 'This means sharing with others ing inhiaive, taking rik, being. ene igi believing in and liking yourself and Tseng to thers, Having good attude ‘ail help yn to sen up ae be receptive, instead of being ght and affad¢0 Uy Loose v tight means a willingness to try instead of being aa start. Aight per fon is handicapped wih feat and does nok vant take sks mae mistakes. Keisthis Tear that keeps ight person fom starting and jas jumping into a drawing, Being ioose hast clo with tide. eishard be Tose without Raving confidence in Sour ‘ork and yoursele You ast genuinely He Irhat you do and conve that pene feng toother. Yin are the only ene who cam keep ‘yourself from drawing well One gifted with talent will not necessarily be sucessful with fu dpe. AISO, people are pot aways ‘bor wit talent; in et eth hard work, ‘ny person canbe talented When you draw, go sea and take risks Dat be avi o make mistakes. Ty 1 see 4 mistake se something positive. A great fist can turn any mistake into part of the ‘drawing. Always have confidence in your ‘work, al this wil enable you to tae ei ‘ism ina postive way. Keow Qa eitcism ‘ould Tead to beter ideas. Loose people {out worry abou what ocbers think aboot ‘heir drawing tt they dose wo xbersto pk up ideas that ae informative Tn order to deaw wel, one must use the ‘onset side ofthe Brain The human brain has aright and a lefeside mode (ig. 1-1). “The lefside moe fright handed” —its sensible, tight, aon-ris-taking, analytic find i caanprebende facts Tis this side of ‘he ain tht produces tight characteris- Tis. Therightale mode set hand — itsartisi, Hebe, ose risking int tive t perceives objetaas they actually fre ae opposed (sen mere symbols the left brain does. Generally, scety gears tos to use he left side of our brains. The {echniques covered in this book will assist Joa in using the right side of your brain ‘When a person's being creative, be Is simultaneously using both sides of the brain. Simple exerenescam help you tostim- ‘late the tight side of your brain They are ‘ithe in the beginning, Because you are trying to balance bh sides ofthe bran ana totaly the let side to be dominant. + Place both of yer hand in front of you tnd extend the index finger on each o> {te your arms in opposite directions (ig 1. + Pat your ead with ane hand, ana he Sametime rub your stomach i a circular trotiag with the other band. Then, “icky sich actions, patting you om ch and rubing your head How to Improve GrapHics Goo graphic, like many other sil quire tong personal dxcpine and com Initment. applied propery the flowing irectves will belptosaprove your drawing skills ie 12. + Observation. Stuy the graphics in mage “aines, Books, and art exhib This will hep reinforce what you know and give you. incentive to produce quality work. = Demonstration, Take esery avaiable op- portunity to witch how other people dra itis is particultly Important because i shes the actual process of dravingy alle: tes curiosity belind good drawing, ane helps cea weltconfdence = Collection. Collect graphic reference Twoks and ook or good graphics examples; srt them igo file for acing and generat Jing ideas. Loose ve tight 1 * mittion. Recognize gor graphics andre ae imate thm. This wil Help reine your tring sills Be careful oa allow ita tion to develop into a crutch, * Confidence, Never become discourage. Condence in ourself is half etl, The more confidence you are able to ain, the tmore productive you wil be, ad the mote pont cam learn and progress Tell youmel That you can do i 1 Greatvty, Think and drwy creatively at al times Creativity often means simp doing something in a new or unconven tio ay, Lao Fi Ung youve never tied befre *Looseness, Dont be aftaid of making Inisaker or aking riche Ratahig i the ‘only way to learn and progress. Star with a posse atiude and oereame hesitation When a sake occur, ay" Hee and turn that mistake into good part of the ‘ravi {Preece Improvement without pracice je impmiiey ao practice | deneing constantly Persistence. You must persevere w pro- ‘duce good graphics Fveryeffr. even ii isaingle dotor ine simportantroachiete a joeat drawing, Often the lst minutes of xecition ina deaing will make te differ fence. Never give up, ever i the face of ‘ppsiton. Remember, you can never: get ny werse, only beter, ad You wil never ‘ealze your capabilities wales you push 0 each your full ponent 2" Cetclam, Ask knowledgeable people in Fela subject areas t crite your work Without critic, you will repeat our ie takes again and again. Accept consructve ‘sii as a pottive part ef the process Improvement. lays attempt 10 inv prove your abies and incease your ua fleanding. Improving depends on Fiat, tp: ne tin ton: Mats Lat prparts, ML Gage rah. 2. DRAWING AND DESIGNING WITH CONFIDENCE constant practiced constretiv ei, {well at reaching beyond yoursell "Sharing. Wien you share and verbalize Jour knowledge to others, you acvally edi {ate yourself twice, What You know wil be ‘infored and further eae. “The following are examples of lose-s- tight drawing (fg. 1-3, previous page). ‘These “before” sind “aler” perspectives were cach complete in ene to two hours The “before ravings were done DY sts dents efire they learned the techniques taught in this book. The “afer” drawings tnete done after t week to ten dayn oF i ‘Hroction in the tecniques explained in the {olloing chapters "The twelve blocks fig 1-4) are ako used tosh improvement rom before to afer “Theirs ourblocks onthe fare examples ‘i he sane draning reproduced and ten ‘ered in different media pen, elored pencil, marker, an pasted. Each block was Sone nsx minates, The mide Hocks were ‘one in tol of 40 mimes, The sent was tld to design a courtyard. The fst locks wed for creating bubble diagram The secon the plan of thecoureyar The Insttwn blocks area section and perspective sf the design. The right four bloke is trate the elements of people tees, hands perspective. an lettering They were dane Thre to Bve minutes each “Th ast drawing 1-5) 4 good exam ple of what the twele blocks shoud ook Tike afer earning llth techniques ght in this book, er 14, Jet Heenan rcpt ML Gap Wey Loose vericnt 3 STEVE ALLENSTEIN, CAND MADISON Hl. Figur 1. Sto slerstan preps ML Gre Worshn. 4 DRAWING AND DESIGNING WITH CONFIDENCE 2 PRINCIPLES OF Goon GraPHics "his chapter presen forty-veprnciphes Aoconsidern order produce high-quaity feapki. It remembered aed practic’, {hte etna princes a ase a a in of excellence. Some are oboe whe stra may he base on concepts notes nero Sey each of hee rips thoroughly and spply them vo your draw ings Review them a you work unt hey ‘bate fully interated with ourapproach to drawing, Thy il lp stint the Sight side of your brn and to make you “The forty five principles of good graphics ae died int thre categorie ne, com eon, an clot These principles ae is vse in dep nthe set that fos Sint summed inthe it blow. Ao See maa Het, nme tp Moa erent FORTYFIVE PRINCIPLES OF GRAPHICS 18 SD Line 21. Value Connect Une 47. Thin Thick 22, Shade and Shadow 1 Chive the Poin 18. Thick Stroke 33. Asymmetiaal 2 Ruzry Line 12, As Degree Stroke 34 Bye Line Hidden 3. HivGo tie 20, Gradual Value Change 35 Foal Point 4, Profesional Gap 2, Over Edge 26, Dark Foreground/ Light Background 5 Protesinal Dot 22. Stripes 6 Overlap Corner 23. Dos. Color 3. Mechanical Line 537. Color Whee! 1. Frechand Line CCompesion 38. Calor Pair 9. Gonstrction Line 20 Seat Small 38, Color Next 10, Continous Line 25. Les is More 40. Golor Rainbow Repeat Line 28. Dont Teach Eages 4. Calor Repeat Variable Line 2 White Space 12, Color Light 12 Same Line Bn Zig-ag 1. Gale Slit 14 Thinner Line 28. Dark Light 46, Color Connect 18 Ponch Line 30, Masoud 18. Color Earthy UNIVERSITY OF NAIKOBE TY RAR PRINCIPLES OF GOOD GRAPHICS 5 1 Chis tho Pint Shaping the pene point by rubbing i back ann forth in short strokes on the page 2 fundamental step in efeatng many line ‘qualities draing, sich as fuzzy lis, i sort apd fecha ne How Had the pencil as you woul to da, Aandchisel he pointon the papery rubbing ithockand fart to achieves wide Hat edge Keep the pene at am angle ease tthe paper fora wir stoke. A oft pen ed Such as No. 6B yall provide the fuzes, Wider Tine neds in goed dratsiags. 2 Farry ‘A fury line has sofcelges andi ight and debate rather than = hard, definite fine There are nolines or une in ea bjs When a drawings competed, the 27 ine will become pare of the abject sel eis ‘ed to draw man-made objects such buildings and cas. ‘How Chisel he pene w make ade pit then use consistent pressure and draw ne of the ane thickaes 2. hiGont ‘A fara line drawn ih distin beginning apd ening segments helpstodevelop inte ‘xt anal dep within a crawing. Applying hit allows the designer to pause a moment before drawing the lie, How Chisel the pon ane drwy the bein ting ofthe Hine about #10 Ys fac long. go tack snd forth few times, then dean 2 fy line. End the line using the sme tet ara the begining. 4. Professional Gap Asma break in ine, “professional” gap, hp o simulate ight reliscing off an ob ject I alo provides for cay tramsiion ‘wen drawing curves or lng Uaen How: Dra 3 fuzzy orhitgo-hit line avin Aan occasional gap Yi inch tos iach wide ‘5. Potssiona Dot | -profesional” dot ina point afer aling Fe fecurs as a result of fast drawing, adding Inoverent and Life, and presiding the fi ishing touch, hike & period at the end of ow Drawa fuzzy ohit-go-hi ine que, ‘hen ad a sal dot, witha gap in betcen, the two. ARera while, with practice, hs wll ‘ceur natural as you diaw quichly. rt © Overlap Corner Lines hat intersect atthe corner make ob jets appear more square, sharp, and com plete. The overlap corse is quicker than Araning corner with Ines abutting per Feet Tt goes the drawing a loose and pro (essen ook. ow Toterscce wo Fuzzy or two hight Hines at the commer, tac to 4 neh i lenge, depending the sie the bjt. Use a small overlap for relied deaings sd long overlap for hee drawings, 7. Mechanica Lin Armechanicalline saclean,eryptine drawn vitha straightedge quicker mor cm stent and moreaccrate than Tine drsen freehand. Iealso allows you to deaw along line ea owe Use a straghedge and apply fazy ox bicgo-hit line, evertapeorners profesional tap. and profesional dw. These cna ms make har ins look lose eo { Frshand Une ‘fecha ne simpy ine dra wt ara niighedge I so ar oni, todo betel op och eo a Decne alin putes meet That hex by eg a Stimulates the right bain. Howeves, aes ‘nore time to dra than the mechanical line ‘HOW. Chisel the point; then use dhe fuzzy Tine, hiego-hi, condinucns ine, profes: sional dot. and professional gap 10 draw freahand lines Be 8. Consvction Line ‘Aconstructon line ca igh thin, zz ine ‘ed to plot ot the preliminary drawing. It fa safe way wo establish an oneal view of the dracing without commiting t place tent. These lines ean be changed cr ered ens HOW: Use fzey lines with very light pre fre co sketch the wverall compenition sf a 10-ComtinsousLine [A continuous fine is a single, nonstop, gicly draw Kine that apres the emer OF the subj. OW. Using Facey ine ae it got ne raw continuously without fing the penal from the paper oe 4+ - 1 Rape Line ‘A epea line ip ne tha ecoes the tailinesoadrwing Rept ne give a jet a tncedimensonal look by ling ‘eps they help simulate creativity and looseness ow Loosely repeat fuzzy lines construe ‘ion lines wor more ies over the ees ‘ofan object Apps more epeat ins to the ‘haded tide of an obit 12. Vail Line A variable line isa faz Bie hat varies in Thigkaes te gives drawing’ a three imensional, realistic look and is used 0 ‘dam pope tes, and othr sing being. ‘How Chisel the point, tise the penal ant ‘ply vite pressive to create diferent thicknesses af ine, Where light bits on an ‘ject the fine bens thine or Tighter than in shadose where the line should tbieken a bosome darker. <— A wy Avene line sone that sf even thickness and darko throughout, There ate no Ties in our surrounding, therefore using the sme line weight wilallow adraing te achieve more realise appearance. How: Select» line weight and apply it throughout the drawing: Sometimes ici necesary to use different lie weights to “iferentinte diancesromthe obese Eo thisease, use a sequential ine weight using the thinnest fine for abject fest fam the viewer 4 median line forthe snide round, anda heavy nef the foreground ‘The biguer a drawing, dhe thicker the I shat may be applet achieve readability although sis doesn necessarily provides ater ily dea Z Useof tia, lghaweight lines througbent ‘awing gies taste fle appear ince, Heavier lines are semeties ed to freate a bigger drawing, however, because they are easy wo read, ‘How. Apply thin Hines throughot the draw jag The lineweight used wil depend upon the sre of the drawing and ihe deal required, A pinch in also known asa profile fine Js sigh heavier fine used to outline an objet thal not well defined Meese it ‘vera bod loot appearance, ism used Invelined york. However, team be wed on plan, elevation, ad section drawing. ‘Wow Use the same line weight donot the draving, then use a beaver line weight ‘wouiline the object that yo want todefne 16.30 Une ‘Thick ad in ies next 1 eachother are together keane; they can cre tea three-dimensiona lk or funy line image, and add quality to drawing. ow Outing first with thick line, then With a this line, lng a space between them of about Vein to int, depending ‘upon the sizeof the objec. 17.7 Tick token Tha oie of sn jects wally thin bt dark enough to contol the tne line wed ide Ue object Tne lines ae thicker and Tigher than the oaine ine PRINCIPLES OF GOOD GRAPHICS 7 —————— we Ligh chisel the point an draw the Dutline ofthe object with 4 thin ive using em presse (ase zr ne it gost and ‘mera cormerteclniques) Then chisel the point further tw create a wide stroke and Spy tne ines wth kes pressure inside tae ‘hjee The tne lines should Rave consistent thickness; donot une hi-gorit strokes to vod 3 pipelike appearance. 18. Thick Strokes # ‘Use thick fay lines to create tone su feces, Thick strokes help to complete 2 taming quickly and creates smoth tone lec. ow Chisel he peat widest pointand fam, Softlead penes such as 6B are —— 19 45.Dayree Stoke ‘Neer of parallel ar ines har are about {1 degrees othe edie of the page ae easy ad ick to draw. They create consistency fala lek appearance in a draning ‘now: Dra from top to bottom ont alin ing the pencil slide lighly when return ing wo te top of the next ine, Dot dea tock an ert | ae ee change in every object. Althngh the hue Imam eye does no imedatelyperesive tradual valve change. trmost be created in the dawing fora moxe realistic lok. ow Chisel the pint and we 2 A5-degree Stroke dra te ies from left eg thle gradually reducing pressure from rk light (A leftchanded person should ‘ram lines from righ let) Always allow the strokes to couch cach eter, leaving @ gap cccasumally to siggest the 4S-legree ‘ne Inthe onenedge technique, while applying 2'gradal value change to an objec allow tonne ofthe ines to overlap the ee of the ‘objec lighuly. This creates sft, love fest. ow: Whe applying value to an objet ‘eationally overlap the edge with some of the stakes, Hom mich overlap depends tupon the refinement ofthe drag 22. Seip Stipes ane uscd to create interest, depth and movement, and co show shadow pa ems a angles of slope: Stripes ao give the drawing 9 sick appearance, ‘ow Use any mec and ald stipes ra Alm tay angle. 12. Dots Dots create texture and detail and cam be ned to create gradual vale change. ow Using an approprite Fine weight. Told the perpen verily o avoid drag ing, apply dots andor. Composition. 24, Sit Small Staring a drawing on a small scale, a thumb sete, enables yoo study the “vera valve an composition easly. \ Sil ketch ls tas es ie to eompiete thon larger formats and allows jou to work fut probleme that might ruin a large tawing How: Begin wth a sheet of paper no Langer thn AYE by IL inches. Complete a single ‘rain whi you can use a8 a uy dane Ing or com enlarge to aty devine ize for other purposes 25, Lae ls More Often when too much time fs spent on a traning, it becnaes overworked a lx ve of the most important principles of fraphics whitespace. Applying Hess time Ina produce a beer drawing om: Allow youre limite ie o spend fae drawing an when che tie sup, sop. Remember, your cur never do a “perfect” drawing matter how mo ine you ale Tow; even the best drawing will have room fer improvement, 20, Doni Touch Edgee ‘Be careful we tes nes touch the edges of the paper, and leave white border along the edge ofa drawing This elps to aire bilicient whitespace and to ereate «good gag cempetion The donc toueh-eges {reatmeat ges the drawing 2 famed ef feet. a principle that applies co framing a piewre ‘ow: Allow inch co tines of whitespace long the cage of the paper, depending Tipon the sie of the drawing ad the composton meet ee op 77. Wnite Space White space fone of the most important cements in a drawing, because i ontile tro gag (2) ad masvod (30). The Thuan eye, upon opening, sees white be- fore hack. Therefore. leaving white space Wil attract tention toa drawing, row acca W"inarcastabeleltwhiteora Tigh value this serves as a reminder when renwerng, Also liicthe time spenwavoid ‘reworking. White spore does not neces: ‘arty hane to be pre white ean also bea Tight vale ofan eo 28. 26209 Ina ag-ay composition the four eiges ofa tang do ot assume regular geomet ‘al shapes asasquare, triangle, or cic Fsablshing 2 gu creates variety and ow Ta ea the geometrical shape. fall place dea sch as furitae, Hays {Enntans, plant, people tees, benches, and cas inthe drawing to create rig-2ag or Uneven exes by ating Oat ar moving in 28. Defight Darh/Light i used w give dhe subject of a ‘rawing such the comer of uli tlrk value on oneside ada light one cn the tne sie. Ths creates 3 dhree dimensional tage. ow Ac the corner ofa subject, make one Sie (ie smaller o shady sie, away from the drawing’ light some) at leas twice as fdr a the ether side (he lager or lighter Side), "This mst be applied: consistently ‘throughout the drawing according to dhe posta andl quality of the light source 20. Masao We identi objects in the environment by ‘heir shapes. asl by te different values of fe est tothe other! for example, dark (grass next io light road, ora dark building {ainsi sky, Proper ase ofthis pincr ple of many (ark) to ei ight) hei 10 ity different terials in the drawing. How When material change ina drawing, ppl a dark vale on cakemateral (ma) tealight value cn the lige material (oi For-example dark building (as) should ‘be place ext oa ight shy (ih and dark irae (mass) sel e next igh rd (Goi). Thi help eo kent the ferent materials and to create =. good 7igzag 1. Value Connect Te conta of mast voids oo great a sputy appearance isceated. Value connect recs i by jini He dark and ight ‘luc with a medium tone. ‘ow iy the arrangement of values = ‘Signed to each subject in the drawing t0 tke cevtain that mo very dark and very Tight values are next eath other. PRINCIPLES OF GOOD GRAPHICS & 32, Shade and Shadow Shace ad shadow prone punch, depth, and realm, and make a drawing more readable ‘wows Sudo only occurs on surfaces that receive ight souree, and never a the ‘Sadeside. The more recessed an objet the (pester the shadow received, Double the Tale fiom sinny to shade mare, and Tro alae to shadow surface inorder to achieve a thie-dimensional appearance of a objec. 33. Anynmetical An asymmetial composition ceates inter ‘ot und excitement, establishing 2 realistic ‘Sting and avoiding monenony Hone Use iferentckerents such a people ‘eet, cas, furniture to achieve ‘eymmetricl balance ad eeat visual har tmonyand vale belance. Avo ymmetsical Placement of objeas, en 234. e Line Hidden Generally speaking one car never see the ‘eye line thizon line), unless overlooking the ocean ora large lake, Therefore hiding the eye tne can make the drain, more realistic and pleasing tothe eve tow Obmcute the ey line with entourage Sich 36 people, ees, es, MINAS, OF boiling. mee 35, Focal Piet The center nf he drawing isthe foal point torwhich your eyesarewsuallydeava, Tis ft necenarly atthe physical enter of the age. ow Provide me detail and darker wales totheimportane part the focal point, of the ‘awn allowing white spore wii. "Thins fuse hen less ie ail able to spend on drawing; n oer cases the dark feregroundight background method is use ce below) 38, Der ForegroundLight Background Innatore,objectnappearo be darkest neat ‘the viewer and lights farthest ayn the background. Tere is gradation of ‘als from foreground to background ow When renting, ase light colors i ‘he background: gradually darkening them toward she foreground. This method thes time wo complete aid i best applied to re fined cain 10 DRAWING AND DESIGNING WITH CONFIDENCE com Oe one Be Tae Marae ee re Sapetenedred eee age eee ai Sat rence cee yeas pee Use produced 38. Color Fae Theuman eyes like camera. When lok- ing at color, we search os tx oppite Cilia Ue color nbeel: red. and grec, bse Sid erage, purple an yell. These color “imbnatione are nw complement) ‘oes oe coor pais, ‘When 2 cir pais usd, the two elors adjacent bt amimised ewite eal other tren mised, they ceate at earthy tone ‘pow When rendering al a main colors ‘nal amsount of ts complementary: ted freen grass and tees, for sample, oF OF get bie sy; or yellow to purple ca pet Am easy wa to remember the color pai {st apply Use primary colors wo three fn- [gertipn When any ofthe Wo ingersare put Together the colo they creste othe ear fat eo the color on the Ringer remaining nose easy wa to erent color pa to muiate rd and green wih Chrisinas Piue ad orange wih the sunset nd yellow and purple wit the 20. Cole Net ‘Calor next Use ase of Unee sequential ‘colors frm the ceo wheel Teves bu thon and gradual valve change, and i lei tothe eve. ow, According to the color wheel, wse group of three coneecuive coors Forex Simple, the color next of tee wil contain Jello green, and blue, while ts color paris ‘ed Therefore, lhe above clos sal be include cher reuering 2 Ire. 40. Color Rainbow Rsinhow color create interes, excitement and color ina drawing, thus sveiding mononn. ows ttt 2 last sc dominant colors from thecolorheelandwoto three shades from each coe, Phistechnique vill encom pst tos ofthe previous ear principles, Une the color repest incu below 10 achieve a quality Crwring 41. Color Repeat Because cors bounce back a forth, ob jects in dhe environment receive all seven ‘olor in the spectrum: Hor example ree Contains all ers, but green most domi ‘nat, Onceacoloris used, trp! be applied ‘hrughout the entre drawing, Ths is town at color repeats produces & more realistic and plating effet since ie 6 the vray me actualy se. ow Once acolo ised epeat ton every ‘bjet inthe drawing, making sre to esta Tish cmainance’ tre green on ees, more redonbrick nore biue nthe sk; and son, 42. Color Light ie Calor ight means working from light 10 ‘darkin a deaing. The human eye ener ally ikely se ht colo. fst. making the Use of coe ight s good way Tor the beg morta wor, How Appi the Highest clon fs through fut the drawing, Gradually bald up tothe darkest colors 49. Cole Said ‘Galore isin 0 “paine-by numbers” hu when combined ith the prinlples of igniual value change and stipes, alle inl createsasmooth sleeklook and aed Sines, This method can aso produce meme a drawing ‘now Apply color to an esi re ch as sans carpet, oF building while taining sme whitespaceand gradual value Shange Remember se color pair were 44. Calor Connect Tho mich white spice beween colored ob- ject can create spotines. Color cane fll craving together ith ins nd ermediate colors in some of the white spaces. ‘row 1 sib do nolo whitespace 19 ‘round an object cerpletey. Use aight ‘lr in whitespace to connect wo objets: for example, cor the road light ay t0 ‘ene he grass bath ies 04g 45, Color Earthy (ur eyes sear forthe opposite calor on the colr pai When we sce green, we ‘omscisly se red, When we ee light oF White, we thereare see dark or black. Tenee, here ian existence of light a arty tone ofthat color seeded ithe Atrawing in onder to represent the way we ‘How Shade te objec with Hack or mix he kr pair create an earthy tone. Outi ing he devin With brown or back wll ftp provide the drawing with defniion “nu wort Bright green vee can be PRINCIPLES OF GOOD GRAPHICS 11 tone dow wth black or red, and can also ‘beet with black, Inthe drawings ofasbed fig, 22) the forts fixe principles uf graphics are successally sappled. ‘The sane subject repeated in tic sketch with a iferent combination of ‘hese principles to make the drawing more ellecve “The sketches ofa harn (ig. 2-8) ustrate a comparizon study of good ad bad graph ics: Use ofthe fry ive principles wl allow yenttomabe fewer mabe, suing ine and enhancing your drawing qual, "Te fllowing gy 2-Land 25) isacom- parison stay of similar spaces drawn and tlesigned ther poorly or micely. Accom Dpanyng the dravings are comments ex Dlaning what i wrong and right and what fan he dn to improve them Its eideat ‘tif yu can draw well, yo ca okey ‘desig well So bese practice. and dra, draw, drat Tollowing are cight sets of beforeafter drawings ys 2-0 ad 27) done by partic pants who atlended the author’ graphic ‘rorkshop in Manhattan, Kaneas. The be Fore drawing was dawn in one hour when tMepanicpanfistarved. Theafterdraw: fim 22 Tvs patient ML Grphe Wodchop nln coed 7 Ing was completed in between ane o three mutes xc ‘ours Gnd signing tine) after the ‘arcpan had ted ll the principles of ood graphics fra period of 5 to 10 days. ‘The dramatic improvement is proof that amjone, regardless oF “len” or sl, With nmlesge ofthe priscplsinthisbook, em daw wel ‘The aional samples demonstrate vai ‘os types drawings using diferent prin ciples of graphics (ig 2-8 to 212, es pee. STN sing: Pessoal gp. profesional cc sing: Focal on, zz fe, an co spo. Crag comer an anit ine So ht Masing: Whitespace, 2-29, end dort sing gent 45-gre8 ao, ton ees ane to pal sing: Wnt space, aor noon and ising: Clar next coer raibom and tore her earthy Fier £8 ues fet dances he marc of ty pin 200d use of 4-dep08 stoke, gradual vue ‘ange 2070p fem por aid mass vo {eed ute o: Clr pa clo nat ctor ‘anton, eer repeal, and ener eat PRINCIPLES OF GOOD GRAPHICS 13 ‘her duvet Chad Meer, artpast ML Gop Weksop bors dings rip et dy ML Grape Wekaop Mao oe perl op ao 14 DRAWING AND DESIGNING WITH CONFIDENCE Fier 4, Cop) CRT Ate Ons ue of prinout de ue ito repent abr efor Meng eae Sag "Gutan) FT Aer Good wea eat comer rahi aka change tot iyo fclpo andor oor: Maing rar ert oma wo pce 16 DRAWING AND DESIGNING WITH CONFIDENCE ‘ctor Nome Pt fre nig hour ter deg thy, re Fevopons cose Micop Me ead paral one ip pron 38 UNIVERSTTY OF NAIKOME é iy oe es RINCIPLES OF GOOD GRAPHICS 17 Firs 24,8 snes B. Cah Et ay Kan Zier props ML Grape Wor. Panton 18°20" shih ape 2 hur 18 onaWiNG AND DESIGNING WITH CONFIDENCE et ML Gach Woche Paranda Cina ark PRINCIPLES OF GOOD GRAPHICS 18 Fie 2-1, Potspris Mahe Woah Maa clap stl ad ae pn on 20. DRAWING AND DESIGNING WITH CONFIDENCE ye 2.1. Parsipart. ML Gap Wee. Mera am an each 50 iat eh PRINCIPLES OF GOOD GRAPHICS 21 4 COT eH ¢ a > me 3 mm RENDERING TECHNIQUES Inordet i generate a good rendering. one tnust be fami with the techniques eee ‘Sry to apply the proper mea. Ta ths haptes, twenty redersng techniques Will te explora These techniques are cae forizel into three scesions "How to See™ Sl enhance the reader’ pereption an Understanding of how objects are tepre ited “How to Dray” wil ain the reader to draw with speed and confidence: and f nally, "How «o AppIy” wll explain the ap Plcation of the techniques present Drawings fa doorknob wile wed toils tate some ofthese techniques The teal techniquesthat are discussed thischapter dr lated below TWENTY RENDERING TECHNIQUES How to ae 1 Fe ne Contour Line 2. High Contrast 83. en-Tine Contour Line & Monachromatic 8 Phar Rendering Study 1 Collage Hon to Draw 8 Comino Line 2. Construction Line 10, Fouive! Negative 1M, Punch Line 12, Border Composition 13, Abstract Mlustation How to Apply 14 Tone Va 48 Lite Value $6. “TemelLine Value Combined 1. Poin 18, Vera Horizontal Line 19, Gros Hatching 20, Computer Application (Ga Qa, How To See ae 1. Teese Contour Line “This technique separates the values of an “jectinta totes Laghe alles (rom 010 Syare grouped into one area labeled Cand ‘hark values (ee 6 10) into another area labeled 10 How Using coor photograph ofa object, from a magaine, make a black-adowhite ‘copy and tly value changes: Separate {he alue changes int two groups wil ines inbetween, 2. High Contast ‘The high entra technique uses lack and hie with ao intermediate tones 10 create forms, All values are represented by eter ‘lack or white space. How Analyze the object and separate its Calis into twa tones om a scale of 0 1 10= Fm white to blackvalues between O and Bare left white, and these between 6 ad 10 hecome back. This technique can offen produce out- standing results, particulary forgraphicart ‘lo stations. requires the ats co take heen nervous of a Gbjet ad ‘exaggerate teat changes. Tow tose thee values al then reproduce them wth he highest dewree of entrain black aid white Teton Conor Line Tem different values ae identified on an objet ane a closed cont line is placed ‘round each aen Hove Label ach area witha number to rep sci itsyalue, Assign Oo white and 10% Hack ares, The ves in between range from lightest © darkest 4. Mentone The monotone technique requires a marker cf only one vale of clo. fy applying everalconts withthe sme marker are ‘of datker values can be achieved. The ‘laker the value desied, dhe greater the umber of coate which mast be applied ‘Thistechnique allows an artis to work with imal color pate HOW Using single lightvalued! marker, Ign to color the areas numbered oe RENDERING TECHNIQUES 23 ‘cording to the tenone contour line tech- nique: Areas bce O should be left white Areas marke Iwill recive ane coat ofthe marker those numbered receive two cots ‘ofthe same marker, a soon. Alo at east 4F minutes of dying tine before applying the next ceat. Occasionally ou ca use ccloress blender marker to lighten the ‘orthisillextend the rangeof vl that ‘an be produced with one marker 5 Monecvomatic Tn the monochromatic technique, a single ‘er and alts values are use 0 fish rendering. This is move effective than the ‘monotone technique because it produces reat vale contrat, How Using the ten-tane coataur line a8 3 Base apply gray markers ranging in value from 1to9, plas Black Lene areas white and aeas nubered 10 becone black, This technique is extremely benef to the be iginne, because with lite color choice the boginner avoids many of the mistakes ‘made fa uliclored drawings. 6 PhotoRendering Sty The photo rendering approach i designed totrainthearisttoree vali changesand to ‘ecutd dhese ina rendering. You wil need photograph o reproduction tem Cova photograph reproduction in So meg bic teases proce the she iden Moe ite alr rrring aly ale to Iogetertocomplic hc image. Amore de «cpu verona ar echoes aie ijl ois ptt itor renderings of open rire a ‘ert ne pecrgopn of ie cating crete a Get a stent can ok the vial pac of proper talking, 7.calige In genera there are two types of collage One consis of lie pieces of paper ofa ferent colors tones, and ales that are lued closely wether to form the desired image. The other is @ photo montage in which ene forms ees. gues car and Soon) are eut out and posoned. These techniques represent siteantal inves rpentsintime, with minimal cot Collage Test fop artwork eather than prescotation drawings forthe cent Ix extremely help Folin recognizing the many sube changes in color a vale that exist in any given fore, ow On an outlined sketch or drawing, ap ply adhesive to a small te. Seles dire Corsa valves from pictures ina mga Sine. Cie or tear the pices ito al pees and apply thers we sketch, Use the 24 DRAWING AND DESIGNING WITH CONFIDENCE cege of the picture asthe outline of the ‘objec in your sketch, How ro Draw {Contos Continues ine represents perhaps one of the saat Heportnt developmental exer Cisesinstrengiening ons drawing kil 1 hance ons ably to draw cone Ins ad lovey ane it mules the "ight side of the brain how Selec sujet andl dra tas quickly 45 possible, rarely Tifing the pen er pencil Thom the paper Focus more on the object, bing drown than the drawing bing made, concentrate more on proportion than on dom sed for final presentation graphics huts highly recommended as an exercise. 2. Conetrction Line Construction line technique is used wo ex plore and reveal the sructre of a form. This technique ta quick way to sketch ot plotaschematidesigh Iris often used asan [Approach oa more elaborate fal drawing ‘How: Use 4 light pencil tine snd sketch the trasic forms and proportions ofthe objet. ‘With coastrction ie drawing techniques, ‘no values delineated and deals are rarely shown. Chnstrcton lines may be applied trith a pene or colored pene a em) 10. Pose Megane “The posvetuegative technique, tke ontnnons ine echnque. teaches hearst. forsee and reproduce objects est. It onees dhe artist to visualize design elemcats a whole, not im pars, by reducing the ‘raving to pesive space (ibe object) aid hegative spice (the page or backround) Details ate climinated and the arts then able o concentrate exclusively on the form tnd i proportion. ‘ow Draw the objec in siete. One ine {sed to denis both positive ae negi- tive space. This technigie can be used t0 ‘delicate complicated elements such 35 the tee foliage, cits, Ke) ‘The punch line is albo Known as che pri line I series of ine weights wed accentuate targete forms. Pars Capasso cements i he drawing and Uring them forward. They eiferentiate the ‘aris elements and give the appearance Of depth, This technique is stable for ‘quicksketches in pened flip pen o for Tighequality raw in pen aa ak ‘now.On a sketch, the heaviest fine weight the to separatearl define objects frm sky “Mec fine weight use separate ob cts fem eachother, and the tne fine Treg is ase to show the portion of the ‘je cloves tthe foreground, 12. Border Composition ‘This txlnique fcusees on the wine of {orm within the drawingan their eation ship to cach ote and to the edge of the page. No valies are represented; instead, Fine (asl ceed cao ine) sused © draw the sje ano bleed she outermost ‘lige ofthe abject off the ee of tse page “This technique as eahance ine draving sd rm anothers margital work ino ‘ceil rendering ‘own x shetch, cone lines on the out “eleedgeot the oijecte to frmaborder and create tigrag or uneven ees. Several templs may be needed to ensure a good resuh. 19. Abstract ustiaton [strat istration suse in graphic ans thutneverana presentation drawing. Closely relate to the contour line technique, ab- ction combines close contours with steas of wlid ec om Using close contri sate up tote acs intel iom wit 2 ‘ck Awl each mer + cor a te ese ces ol ne corespoing tea, Color sceton fr su given clement sin he rang Meni bt shoul be ‘eanmably appropriate for Kenic SSyund wae beng shad of ve, fle, an oes a cmbinaton of grees “Ts orm of snderng an produce very ‘nly ct eal ism apprope Sor advertising aed graphic Hunraton ech ad fncet the sist to Teprecat Vues. Fry aed space ita manner to hich he ne unaly atone How 10 Appt 1a Value ‘Tine vale technique uses valve instead of lige to delineate erm. I isconsiere tobe the nat Hetke technique, representing things we actually sce them. Tes ase ‘soli understanding of ight and ts bar Series, including shade and. shadow ‘Tone value drawings are usually” highly prises fal presentation graphicorthe Shen ow Very lightly sketch the oiines of your Subject. These should not be eile inthe Finished drawing. Using pastel, watercolor, fr empera, render the drawing fom igh to dark, You ca also se airbrish, Dut ex RENDERING TECHNIQUES 23. pt take more ine than with other fala 15. Line Value Tine vale drawings are renderings in line Wis used exterely bythe archetueal pfssone a ts fast and can make the predut extremely appealing lent 1s {speci recommended for_preiminary presentations and quick suds, lthough Ia refine form cs very stale or final rraphice ‘ow: Line value drawings way be done in penal, pen, aid anarker A reatively thin Ie is ually tecornmended to achieve the ‘est results, although often a combination ‘of iferent ine weights may be bes. Study fnduve the principles of rapt that apply toline (ce chap. 2) 16, Toone Value Combinaé Combining tone and Fine valve drawings fllers she: greatest Resaiity and is pre- ferred by many profesional. incorpo tates the best qualities of each and can be ‘sed with a vatery of techiqus. ‘How A craving can be done with marke o ‘tercolor to achieve tne, and pence ‘red peal and pen and ink cam then be set finish the deta. Choice of medium ‘Sidsermined by the intended use of the graph, the ail level of the ast, a the ine rete to reach a fished prstuc 17. Pontitans Prin or nipping” means rendering value changes wit dors Thin ternique thigh somewhat me consuming. cn Be the drawing very soft snd vlned appear inc, Iris most appropriate for black and ‘thie reproduction ugh by using coe (link or pena colnet drawing cn be produced ‘row Selec an appropriate sie du relative to the sale ofthe drawing, an apply the ‘dots repeatedly othe drawing. Asa feneral rule smaller dot will pruce a beter qual ity rendering. Apply moee dots wo darker teas and fener dost fighter areas 18, VercnMorzntl Line Verse sad horizontal line techniques re ate form and value with parallel lines. Asin Pintilisn, shapes are Mee through Yale changes rather am outline Both ver Tica and horizontal Tine techniques, ich tse pen asl ink sont often, are very time naming, tall onset esis particule when viewed from a distance 26 DRAWING AND DESIGNING WITH CONFIDENCE ow Select appropriate line weights, nd {hing ony serial beriznta ins, apply the tote drawing. Te closer the ines are tne ater the darker the yale create {Creo one ine weight tine through ‘at the entire drawing 19. Crone Hateing Grose hatching usescroned fines to identify Sale changes nd forms, Peng or per and ink sve the most appropriate melums. While crosrhatching extremely Hime con suming, ican rest it a superb Bal pre- etation drag, ow This technique, ike pointlisen and erialiorivontal line techniques. relies pon the denay of pattern to establish atc: dhe lower the ptera of lines, the darker he value: Linestnaking up dhe rs Fate pattern maybe placa any ange torcach ger although the direction howl teinforce the shape of the object which is Tring depicted. Line weight may vary ith inthe crwshateing, but thin ines are us ally best 29. Computer Rpplcaton Computer graphic as become very pope luvin secent years Although ictakes time to maser the results ca be "ry impressive. ve eae ‘Computer application im graphs has both Sdvantages and disadeantages The as tages ineude ling arti 10 manipale their work without feof runing the orig tna 10 pint graphics with stor, crisp Ties and edges, and 0 experiment with olor quickly and easy CAD Brograms ln net sew the space in three dimen- Sony are 0 sce the design in a wall Through sequence of the spaces. Once al posible views are examined, one may hove the angle most suitable to the final rendering, The dladvantage of the com [puter thatthe artist i alroost oma Kelly put ino the lettside mode of the Train, and working on to imensiona omputer screen can ili creativity and the Iooenew need! for Simple, age {native remcrngs. However, the compater js an important ane! tefl tool, expecially For some of te dme-consaring tasks. Is tee shld he coabined ith personal cea tii and applintion OF he princes pre ene in hs book ow There are mary ype fsa pro fems and explanatory erste avalabe rete nm, Review the various pro ore aurea: When yeind RW Pcp Map Wertn Fb programs eed ours we torent the deed framework fetch td vender hcexdngy BUAMPLES See Figures 3:1 w 88 for some ‘ample of rendering techniques, RENDERING TECHNIQUES. 27 Wien ie « sn sys Cot Whhigton Unvarty, St.is, MO, Prion ]OUNE L370 pan ote PONT UNECADD on 10" spt paper Stan Cove Howes armen Bre, nove Cay M0. Arusha 739 water pape ac grt yt CADDY AD hu erg CRDD ad venir tne) 32 DRAWING AND DESIGNING WITH CONFIDENCE 4. mK RENDERING TYPES Sener al ederngso thseraionscan be none fy wing oe ote tee pmol means fey wont vt "Dry media are oerwatersolibe lly erat easly porable and quick op Bn Diy cin to mely pace he Foal wale change eat om ee Bostock fk and eo

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