Color Drawing E-Book

Michael E. Doyle

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2011

Seitenzahl: 551

Beschreibung

The Third Edition of Michael Doyle's classic Color Drawing remains the ultimate up-to-date resource for professionals and students who need to develop and communicate design ideas with clear, attractive, impressive color drawings. Update with over 100 pages, this Third Edition contains an entirely new section focused on state-of-the-art digital techniques to greatly enhance the sophistication of presentation drawings, and offers new and innovative ideas for the reproduction and distribution of finished drawings. Color Drawing, Third Edition Features: * A complete body of illustrated instructions demonstrating drawing development from initial concept through final presentation * Finely honed explanations of each technique and process * Faster and easier ways to create design drawings * Over 100 new pages demonstrating methods for combining hand-drawn and computer-generated drawing techniques Step-by-step, easy-to-follow images will lead you through digital techniques to quickly and easily enhance your presentation drawings.

Leseprobe

Table of Contents

Title Page

Copyright Page

Dedication

Acknowledgments

Introduction

I - COLOR DRAWING FOR COMMUNICATION

CHAPTER 1 - INITIAL CONSIDERATIONS

BEFORE COLOR SKILLS, ACQUIRE DRAWING BASICS

PHENOMENA OF COLOR AND LIGHT

THE DIMENSIONS OF COLOR

CHAPTER 2 - MEDIA AND PAPER

MEDIA

PAPER

CHAPTER 3 - TECHNIQUE

WAYS TO APPLY AND ADJUST COLOR

IMPRESSIONS OF MATERIALS

CREATING THE EFFECTS OF LIGHT

CHAPTER 4 - ELEMENTS, MATERIALS, AND FINISHES

INTERIOR MATERIALS

Furnishings and Fixtures

Lighting

Accessories

EXTERIOR MATERIALS

Ground Plane Materials

Wall Plane Materials and Windows

The Overhead Plane: Roofs and Skies

CHAPTER 5 - SCALE ELEMENTS: FIGURES AND AUTOMOBILES

DRAWING FIGURES IN COLOR

AUTOMOBILES

II - COLOR DRAWING FOR PRESENTATION

CHAPTER 6 - COLOR AND COMPOSITION IN ILLUSTRATION

HOW COLORS RELATE TO ONE ANOTHER: THE CONTRAST OF COLORS

COLOR CONTRAST AND IMAGE COMPOSITION

CHAPTER 7 - APPROACHES TO CREATING COLOR DESIGN DRAWINGS

THE FIRST CONSIDERATION: MAKE THE LINE DRAWING

THE SECOND CONSIDERATION: CREATE A VALUE STRATEGY

THE THIRD CONSIDERATION: THE SCAN

THE FOURTH CONSIDERATION: APPROACHES TO COLOR MEDIA

ADDITIONAL LAYERS OF INFORMATION

CHAPTER 8 - DIGITAL COLOR DRAWING

APPROACH

BASIC DRAWING TYPES

USING FILTERS IN DIGITAL COLOR DRAWING

GLOSSARY

BIBLIOGRAPHY

DESIGN CREDITS

INDEX

This book is printed on acid-free paper.

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Published simultaneously in Canada

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ISBN-13: 978-0-471-74190-9 ISBN-10: 0-471-74190-6

TO WILLIAM KIRBY LOCKARD, FAIA

For your kindness, mentorship, and support. Drawing as a Means to Architecture spoke to me as a student, late one night years ago, and changed my life.

ACKNOWLEDGMENTS

This book would not have been accomplished without the presence of the many generous people in my life:

My wife, Ellen, for her love and wisdom.

The partners of CommArts—Janet Martin, Richard Foy, and Henry Beer—whom I thank for their continued and enthusiastic support.

The many designers and staff at CommArts, who freely gave their assistance: Melissa Britz, Taku Shimizu, Bryan Gough, Kristian Kluver, Jim Babinchak, Grady Huff, Patty Van Hook, and Gary Kushner. Keith Harley deserves special thanks for the graphic design of this book and its cover.

John Bacus, for his brilliance and wit—and for opening my eyes to the digital universe.

The Design Communication Association (DCA), for its support of both traditional and new design communication education. The DCA has given us a wonderful way to exchange ideas about how to more effectively communicate our design ideas.

James R. DeTuerk, professor emeritus, Department of Landscape Architecture, the Pennsylvania State University. I will be forever grateful for his inspiration.

Frank M. Costantino, Douglas E. Jamieson, Ronald J. Love, Thomas W. Schaller, AIA, and Curtis J. Woodhouse for their generosity in allowing me to publish their professional illustrations. Their words of encouragement were much appreciated.

Paul Stevenson Oles, FAIA, for his gentle insistence, through his work and his words, that value is the key to effective color illustration.

INTRODUCTION

The purpose of this book is to provide an approach to drawing in color during the early phases of your design process. As you become familiar with this approach, you will find your ability to draw in color considerably expanded and, as a result, you will be able to create your design studies more quickly and effectively. You will also find yourself selecting—and inventing—favorite ways of drawing in color. This is as it should be, as there is no one correct approach to creating these drawings. Rather, you will find that your approach keeps changing and adjusting, depending on the design communication task before you. Use the approach—or combination of approaches—that works best for each situation. A significant amount of new material on digital techniques has been added to this new edition, and the presentation of this material presumes the reader has a working knowledge of Photoshop. You may choose to incorporate some or all of these techniques into your approach to color drawing. Or you may choose not to use any of them. The utility of Color Drawing, third edition, does not depend on your understanding or use of digital drawing techniques.

Most of the step-by-step drawings in the book are in perspective, but begin with a completed line drawing. However, be assured that no amount of skill with color can help a drawing that has a poorly drawn underlying structure or one that demonstrates a lack of understanding of light, shade, and shadow. Perspective and shade and shadow are the universal language of design picture making. They form the link between you and those to whom you wish to communicate your conceptual ideas about form, space, and, ultimately, place. In order to help you review and recall the basic elements of design drawing, summary sheets on perspective, line quality, shade and shadow, and illumination have been added to the opening chapter.

If you are new to color design drawing, start at the beginning of the book, because it is organized in a way that builds skills one step at a time, with each succeeding chapter predicated on information supplied by those previous to it. On the other hand, if you are more familiar with this kind of drawing, you may wish to use the book more like a handbook, accessing materials, methods, and techniques as needed.

Part I is an overview of the basic phenomena, media, papers, and techniques that assist you in illustrating the various elements, materials, and finishes you propose to use to bring your ideas to life. You illustrate them to communicate them both to yourself and to others. Chapter 1 is an empirical introduction to the subject, presenting the phenomena of color and light that inform the effects and techniques used throughout the book. Chapter 2 discusses the media and papers that work best for color design drawing. Line media and color media—including pastels and alcohol-based markers—are introduced, as well as recommended palettes of markers, color pencils, and pastels. Ink-jet paper has been added to a list of papers that includes Canson paper and bond paper, all of which are compatible with this book’s approach to color drawing. Chapter 3 shows a variety of techniques used to apply color media and to create impressions of materials, and now includes basic digital techniques. The “sketch/photo combo”—hand drawing with digital color, “hybrid” color drawing, and a new “retrocolor” technique that uses mylar are a particular focus. Chapter 4 uses these media, paper, and techniques to create an encyclopedia of step-by-step approaches to the illustration of elements, materials, and finishes that architects, landscape architects, and interior designers commonly use in practice. Chapter 5 shows how to draw scale elements in color, including unique approaches to drawing automobiles and a new way to illustrate human figures.

Part II shows how the basic skills found in Part I can be used to create a range of drawings for presentation purposes. In addition to looking into a drawing for design information, as Part I implicitly encourages, the designer is introduced to ways of looking at his drawings as a graphic composition and how to provide his drawings with visual organization and impact.

Chapter 6 shows how to consider your color design drawings as compositions in their own right. Color relationships are discussed in terms of contrasts, and unity, balance, proportion, and rhythm are introduced as compositional principles to be used as tools to evaluate your drawings as you prepare them for presentation. Chapter 7 shows step-by-step how to utilize the material covered in the first six chapters to create a variety of kinds of color design drawings—from quick sketches to finished presentation drawings. The first part of the chapter covers new ways to plan your drawings, with an emphasis on value composition as a means to creating dramatic impact. The rest of the chapter covers approaches for creating color design drawings on a variety of papers, including Bristol, bond, tracing paper, mylar, ink-jet paper, and toned papers such as Canson, using both traditional line drawings and different kinds of computer “setup” drawings. Additional layers of information found in design drawings are also discussed, including photographs and various ways of applying notes. The chapter closes with some recommendations for creating single-sheet and multiple-sheet presentations. Chapter 8 has been entirely redeveloped to introduce an approach to color drawing in which color is applied entirely by digital means.

A number of new tools and approaches to design communication have been developed during the last decade. Regardless of the ongoing development of hardware, software, and technique used to create illustrations, however, the knowledge and skills needed to do so effectively and efficiently remain unchanged. A designer still needs facility in the fundamentals of design drawing—perspective, light, value, color, and materials representation. Hopefully, you will find this new edition of Color Drawing helpful in developing these fundamentals.

Use what you can from this book as you create your own approach to a drawing-based design process—one that will, it is hoped, allow you access to the deepest reaches of your abilities. Like any tool, this book is a means to an end. Its ultimate purpose is to enable you, the designer, to make our built surroundings better than we could ever have dreamed possible.

I

COLOR DRAWING FOR COMMUNICATION

Marty Neumeier

“Although draftsmanship is no longer the price of admission to a design career, those who master the language of drawing are likely to see, to think, and to communicate with more sophistication than those who only master the computer. Aside from this competitive advantage, however, there’s a deeper satisfaction to be derived from drafts-manship: the thrill of vanquishing a monstersized, fire-breathing design problem with nothing more than a small, sharpened stick.”

CHAPTER 1

INITIAL CONSIDERATIONS

Those who design places for use by others—architects, landscape architects, and interior designers—engage in a specialized form of communication. They first create images of their ideas about the three-dimensional forms and spaces that make these places, but they create them on two-dimensional surfaces.

To do this effectively, a designer must understand not only the visual phenomena on which these kinds of images are based, but also how to work with them to communicate these images to others. No amount of technique with color media can rescue a drawing that displays a lack of understanding of the basics of perspective, line quality, and light and shadow.

BEFORE COLOR SKILLS, ACQUIRE DRAWING BASICS

An unfortunate outcome of our computer-intensive system of design education has been our students’ undereducation in design drawing fundamentals: perspective; line quality; the effective use of line weight, shade, and shadow; and illumination. While students and young professionals may know how these building blocks of drawing work, many have weak skills when it comes to actually using them easily, quickly, and confidently during the conceptual and schematic stages of the design process. They struggle to sketch an idea convincingly and are often embarrassed by the results. Consequently, many default entirely to the computer at an inappropriate point in the process—not to leverage skills, but to cover for their absence. This is a growing problem.

Professional design is a business. To be successful, designers must “work smart.” This means applying the appropriate skills to the appropriate tasks. The quick generation of design ideas demands the ability to explore them fluidly. Usually, designers who can employ “eyeball” perspective and quick shade and shadow techniques with pencil and paper are able to sketch out numerous alternatives in the time it takes to generate a single computer-based study. Although building your drawing skills in perspective, shade and shadow, and illumination will most certainly take time at first, such skills will not only save you time later on, they will make you far more competitive in the professional design market, whether you are self employed or work for others.

If you are just beginning the study of design, you may be curious about the best sources of information to help in building these skills. There are many books on these subjects; all take different approaches to roughly the same subject matter: drawing for designers. William Kirby Lockard’s books, such as Drawing as a Means to Architecture and Design Drawing Experiences, 2000 Edition have helped many students build their understanding and skills. Design Graphics by C. Leslie Martin is a classic, unparalleled even today in its explanation of shade and shadow construction. An annotated bibliography of the best of these books can be found in the back of this book.

Students of design must have more than “book knowledge,” however, in order to build their skills to the point of usefulness. The best teacher of perspective, shade and shadow, illumination, and color is the world around you. Begin your study by starting to see that world instead of simply looking at it. The best way to see is to draw, to attempt—over and over—to represent the three-dimensional world on a two-dimensional surface. If you persist, especially if you can refrain from judging your product too harshly, your skills will progress. Improvement may happen imperceptibly, as drawing to visualize slowly becomes second nature. Your skill with free, easy, and nonjudgmental drawing will be an important ally on your way to becoming a better designer.

The pages that follow are intended as summary sheets of basic design drawing skills. They are not meant to serve as a complete course in design drawing; hopefully, they will refresh your memory and function as references for its basic steps and techniques. The drawings (with the exception of the computer drawings inset in figure 1-2) were created quickly, the way a designer typically works, and in the order shown. Common drawing media—tracing paper, a .5 mm graphite pencil, Black Prismacolor pencil, and a couple of gray markers—were used.

Perspective

Figure 1-1 shows the basic elements used to create a typical perspective drawing. An important component in this early stage is the “vision” sketch shown at the upper left. It is important to draw this nascent image—no matter how rough or crude—directly from your mind onto a sheet of paper. Work quickly. Do not worry about correct perspective, scale, or proportion. The only thing to concern yourself with at this point is getting as much of your idea—your “vision”—out of your mind and onto the page as possible. Use notes liberally; add other sketches and diagrams as necessary. You will most likely have plan diagrams, even crude ones, to help you pick viewpoints and organize your thinking. While it may seem self-evident, it is only after you have your vision in front of you that you can proceed to the next steps, evolving a drawing in an informed way. Then you can make a picture of your idea using your vision sketch as a guide. The first steps in making this picture are shown in the larger image.