Drawing Shortcuts E-Book

Jim Leggitt

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

Seitenzahl: 515

Veröffentlichungsjahr: 2012

Beschreibung

The updated edition of a contemporary approach to merging traditional hand drawing methods with 2-dimensional and 3-dimensional digital visualization tools. Jim Leggitt?s Drawing Shortcuts shows how communicating with hand drawings combined with digital technology can be ingeniously simple, and this new edition makes an already popular technique even better. Completely expanded with new chapters and a wealth of supporting images, this Second Edition presents practical techniques for improving drawing efficiency and effectiveness by combining traditional hand drawing methods with the latest digital technology, including 3-D modeling with SketchUp. This book?s step-by-step approach will sharpen and streamline your techniques whether you draw for pleasure, school or your design profession. * Easy-to-follow instructions cover every aspect from the basics of drawing?such as composition, color, shading, hatching, and perspective?up to the most current technologies * Incorporates Google SketchUp, Google Earth, computer generated renderings, digital scanners and printers * Features new visuals from accomplished drawing experts * Special new ?Gallery? section highlights the creative process with step-by-step examples of drawings * Complete coverage of the ?Overlay and Trace Method,? ?Simple Composite Method,? ?Advanced Composite Method,? and ?Digital Hybrid Drawings? * New matrices show alternative drawing techniques for specific visual effects such as Linework and Shading, Selecting the Right Views, Perspectives and Paraline Drawings, Drawing Detail, Camera Lenses, and Drawing Tools Generously enriched with detailed process drawings, examples, and more than 500 full-color images, Drawing Shortcuts, Second Edition will have you creating top-quality drawings faster and more effectively.

Leseprobe

Table of Contents

Cover

Title

Dedication

Copyright

Preface

Acknowledgments

Introduction

CHAPTER 1: TRADITIONAL DRAWING TYPES

Observation Drawings

Imagination Drawings

Thumbnail Drawings

Concept Drawings

Presentation Drawings

CHAPTER 2: DRAWING COMPOSITION

Drawing Composition

Perspective Drawings

Paraline Drawings

CHAPTER 3: TRADITIONAL DRAWING TOOLS

Drawing Media

Drawing with Pencils

Drawing with Pens

Hatching Techniques

Showing Detail

Creating Shadows

Correcting Mistakes

Drawing Safety

CHAPTER 4: TRADITIONAL COLORING TOOLS

How to Color with Pencils

How to Color with Markers

Mixed-Media Drawings

CHAPTER 5: TRADITIONAL ENTOURAGE DRAWING

Drawing Sources

How to Draw People

How to Draw Cars

How to Draw Vegetation

Drawing Furniture

Drawing Building Materials

CHAPTER 6: DIGITAL DRAWING TOOLS

3-D Modeling

Digital Editing

Digital Photography

CHAPTER 7: TRADIGITAL DRAWING

Traditional + Digital

Tradigital Variations

Overlay and Trace

Simple Composite Method

Advanced Composite Method

Digital Hybrids

CHAPTER 8: DRAWING GALLERY

Kirk Fromm

Jennifer Mahoney

Paul Stevenson Oles, FAIA

Terry J. Leonard, AIA

Michael P. O’Beirne

Seth Harry, AIA

Stanley Doctor

Conclusion

Contributors

Project Credits

Index

Jim Leggitt, FAIA

End User License Agreement

List of Illustrations

CHAPTER 1: TRADITIONAL DRAWING TYPES

1.1 Simple shade and shadow technique. This 8½×14” Ink on Mylar drawing was first outlined and then shadowed with diagonal lines parallel to one another. Windows are filled In black to contrast with the mullions.

1.2 Practice sketching people. I created four smaller Images on one page to shorten the drawing time, as the people I was drawing were changing positions.

1.3 Draw the entire town. This sketch, from the viewpoint of the coastal town’s pier, took about an hour. Complex window patterns and white walls create an architectural texture that contrasts with the rough natural textures of the mountain above the town.

1.4 Small watercolor sketches are fast. Watercolor sets and sketch pads are available in small travel sizes. This watercolor sketch at Yellowstone National Park captures the architecture and surrounding landscape nicely. Watercolor by Karin Pitman, aia, asla.

1.5, 1.6 Thumbnail sketches identify views. These two small sketches were part of a series of annotated drawings made from different points of view for a series of renderings of a large master plan. Each was about 6×6” ink line and color marker on trace. Drawings by David Klages, FAIA.

1.7 Redline mock-up.

1.8 Ink line drawing.

1.9 Eye-level perspective. This loosely delineated concept drawing was created from imagination, developed with a redline mock-up (Fig. 1.7), and traced with a Pentel Sign pen on vellum (Fig. 1.8). The 10×15” black-and-white drawing was then scanned at 300 dpi for archival purposes. Finally, the image was colored with Chartpak AD markers on both sides of the vellum.

1.10 Travel sketch. This observational drawing of Château de Chenonceau was done in about 30 minutes during a vacation in France. Prismacolor pencil in an 8×10” Strathmore 400 sketchbook. Drawing by Paul Stevenson Oles, faia.

1.11 Quick lunch-hour sketches. This pair of 5×6½” sketches of a historic train station was drawn while eating lunch across the street. The small size and scribble sketch technique kept the drawings quick and loose. Instead of capturing the entire building, these sketches show tightly cropped portions of its historic detail. Permanent ink pen on bond paper.

1.12 Direct observation perspective sketch. A large study model of a regional mall, park, and civic center is being sketched directly from an angle that establishes the perspective and massing of the buildings. 30×40” felt-tip pen on vellum. This direct drawing technique may not be as accurate as sketching from an enlarged photograph or computer model, but it is quick and accurate enough for conceptual presentations.

1.13, 1.14 Architectural sketchbook. This talented architect has been filling sketchbooks with drawings since the 1960s, beginning as an architectural student traveling in Europe, then as a soldier in Vietnam, as a traveler in South America, and as a keen observer during a long professional career. His 8½×11” sketchbook is always with him. The observation sketches on the facing page are of famous buildings that he drew in his free time during business trips. He used rolling-ball pens because of the consistency of their fine lines—and because they are easy to draw with. Drawings by Terrance Brown, faia.

1.15 Walk through downtown. This series of images was based on photographs taken at different locations. Using the severe scribble technique enabled each segment to be drawn in about 10 minutes. They show basic massing and movement without any detail. 18×18” permanent Ink on Mylar.

1.16 New uses for an old neighborhood. This sketch Illustrates simple modifications to the sidewalk, graphics, storefront, side yard, and cars that communicate the potential of renovating the mixed-use street. Using the photo as a reference for existing information added believability to the 8½×11” drawing. Felt-tip pen on vellum with Chartpak AD marker color.

1.17 Visualize a sketch when you take the picture. This building was a perfect subject for a sketch showing architectural and streetscape improvements. The photo was used as a reference to approximate the perspective and building proportions.

1.18 Capture the moment in a sketch. This Italian dog was looking for tourist handouts and willing to stand still while I sketched him patiently waiting at the stairway. 6×9” pencil drawing on bond paper.

1.19 Pencil mock-up of a retail street. This 6×9” soft red pencil on trace is a one-point, eye-level sketch of a commercial streetscape. It was one of many quick thumbnail sketches visualizing different areas of a development.

1.20 Final retail street drawing. This drawing was traced directly over the pencil mock-up. More detail was added with a felt-tip pen on vellum. Color was added with a limited number of Chartpak AD markers.

1.21 Red pencil mock-up with traced people. The one-point perspective of this interior room was drawn with a Sanford Col-Erase wooden pencil. Red lines are easy to see beneath a second sheet of vellum as the final black pencil drawing is completed. People were carefully traced in ink from an entourage file. 7×11” on trace.