Interior Design Visual Presentation E-Book

Maureen Mitton

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

Seitenzahl: 291

Veröffentlichungsjahr: 2012

Beschreibung

A practical, comprehensive guide to developing effective designcommunication skills From doing a quick sketch to producing a fully rendered model,the ability to create visual representations of designs is acritical skill for every designer. Interior Design VisualPresentation, Fourth Edition offers thorough coverage of interiordesign communication used throughout the design process, completewith a broad range of real-world examples. This fully updated handbook presents the full range of stylesand techniques used for interior design visual communication, fromhand drawing to 3D computer modeling. Its accessible, how-toapproach guides you through a variety of methods for executingcreative and successful design graphics, models, and presentations.Recognizing the ongoing proliferation of digital tools for visualrepresentation, this edition provides the latest information on 2Ddesign presentation software, such as Photoshop, SketchUp, Revit,and AutoCAD. Dozens of high-quality, full-color illustrationshighlight step-by-step instructions detailing techniques andapproaches throughout the book. Standout features of this new edition include: * Discrete chapters devoted to manual, freehand, and digitaldrawing * Numerous examples of quick-sketching techniques as well ascomputer-generated, 3D representations using Google SketchUp andother software * Updated coverage of graphics, composition, and organization ofpresentations * A range of examples from small residential student projects tohuge public interior spaces designed by leading professionals * New coverage of rendering * In-depth coverage of a wide range of material samplepresentation boards From traditional to cutting-edge techniques, Interior DesignVisual Presentation, Fourth Edition gives students andprofessionals alike the tools to give visual life to their designvision.

Leseprobe

Table of Contents

Cover

Title Page

Copyright

Acknowledgments

Introduction

Chapter 1: An Introduction to Drawing for Interior Design

Understanding Orthographic Projection Drawings

Orthographic Projection Drawings for Interior Environments

Ongoing Software Advances

Chapter 2: The Design Process and Related Graphics

Programming

Diagrams and Programming Analysis Graphics

Programming Matrices

Schematic Design

Design Development

Chapter 3: Paraline and Perspective Drawing Basics

Paraline Drawings

Perspective Drawings

Developing Visual Skills

Chapter 4: Sketching and Drawing Interior Environments by Hand

Estimated One-Point Interior Perspective Drawings

Estimated Two-Point Interior Perspective Drawings

Refined Linear Perspective Methods

Two-Point Plan Projection Method

Prepared Perspective Grid Charts

Using Photographs

Drawing Composition and Cropping

Chapter 5: Digital Drawings and Models

Using SketchUp

Additional Software for Digital Modeling

Chapter 6: Rendering by Hand

Rendering as Illumination

Materials, Media, and Tools

Rendering Orthographic Projection Drawings

Rendering Perspective Drawings

Chapter 7: Digital Rendering

Rendering in SketchUp

Rendering with Photoshop

Rendering in Revit

Chapter 8: Scale Models

Materials and Tools

Construction and Use of Models

Chapter 9: Presenting Materials and Finishes

Materials and Media Used in Traditional Boards

Organization and Composition

Techniques and Methods for Presenting Boards

Digital Technology

Chapter 10: Making the Complete Presentation

Process and Presentation

Organization and Composition

Techniques and Methods of Presentation

Graphic Design Components

Public Speaking and Design Communication

Appendix 1: Materials, Tools, and Equipment for Manual Drafting and Drawing

Appendix 2: Blank Criteria Matrix

Appendix 3: Color Theory for Rendering

Index

This book is printed on acid-free paper.

Copyright © 2012 by John Wiley & Sons, Inc. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978–750–8400, fax [phone], or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201–748–6011, fax [phone], or online at http://www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor author shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.

For general information on our other products and services, or technical support, please contact our Customer Care Department within the United States at 800–762–2974, outside the United States at 317–572–3993 or fax [phone].

Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.

For more information about Wiley products, visit our Web site at http://www.wiley.com.

Library of Congress Cataloging-in-Publication Data:

Mitton, Maureen.

Interior design visual presentation : a guide to graphics, models, and presentation techniques / Maureen Mitton. -- 4th ed.

p. cm.

Includes index.

ISBN 978-0-470-61902-5 (pbk.); ISBN 978-1-118-17164-6 (ebk); ISBN 978-1-118-17166-0 (ebk); ISBN 978-1- 118-17323-7 (ebk); ISBN 978-1-118-17324-4 (ebk); ISBN 978-1-118-17325-1 (ebk)

1. Interior decoration rendering. 2. Interior decoration--Design. 3. Graphic arts. I. Title. II. Title: Guide to graphics, models, and presentation techniques.

NK2113.5.M58 2012

729.028--dc23

2011030356

978–0–470–61902–5

Printed in the United States of America

10 9 8 7 6 5 4 3 2 1

Acknowledgments

This book, like the previous editions, compiles the work of many hands (and keyboards) and conversations. It has been made possible by the generous contributions of numerous people, to whom I would like to express my gratitude.

First, I must acknowledge my current and former students, who have taught me volumes and who continue to give me the energy to keep going. This edition includes new work by the following talented and hardworking current and former students: Nicole Banaszewski, Kelly Greff, Veronica McCracken, Katie Oja, Alecia Plaetz, Laura Purcell, Holly Sivula, and Jessica Smith.

I must also thank all of the former students who contributed work to earlier editions: Tiffany Baca, Nicole Banaszewski, Laura Blanchard, Tina Bucher, Ciarah Coenen, Laura Eysnogle, Ellie Feenstra, Stephanie Holmblad, Megan Gruner, Amber Liestman, Jenna Michels, Laura Purcell, Sunny Reed, Vicky Salzsieder, and Mary Wawra. Kristy Bokelman, Dan Effenheim, Denise Haertl, Leanne Larson, Anne (Cleary) Olsen, Ardella Pieper, Justin Thomson, and I thank former exchange student Julian Hensch, as well as Laura Sudbrock, Ilka Schnelle, Jessica Tebbe, and Dirk Olbrich, whose work was featured in previous editions.

Melissa Brewer contributed CAD drawings to previous editions, and Katey Fortun came through with fine Revit work in the face of some daunting roadblocks.

I have been amazed and touched by the generosity of members of the design community who shared time and contributed projects. Traci Lesneski and the staff at Meyer, Scherer & Rockcastle, Ltd. (MS&R) generously allowed me to review projects and contributed excellent project work, as they have for each edition. For this and previous editions, the staff at Cuningham Group Architecture contributed time and a range of projects and process work. Jim Smart of Smart Associates graciously contributed work to previous editions that is also included here.

Conversations with my friend Lynn Barnhouse were instrumental in developing the first and second editions. Previous editions included generous contributions of time and work by Jane Rademacher; Thom Lasley; Thomas Oliphant; Jim Moeller, Janet Lawson, of Janet Lawson Architectural Illustration; and Harris Birkeland.

I am thrilled to be able to include examples by Michelle Morelan, a talented designer and illustrator whose work has a wonderful, fresh quality. A special thanks to Matthew Saunders, a gifted illustrator and designer, for his digital and manual renderings and drawings, which enrich this edition immensely.

I must acknowledge and thank my current and former University of Wisconsin–Stout colleagues. Courtney Nystuen, a wonderful teacher and architect, contributed in many ways to all editions. Thanks to Ambica Prakash for graciously allowing the publication of her illustrations of graphic design concepts.

Jack Zellner contributed work to this and the previous editions. Additionally, some typically excellent student work from Kristine Recker’s courses has been included in this edition and previous editions. Shelley Pecha kindly (and quickly) contributed to this edition. Bill Wikrent and the staff (including Andrew Bottolfson and Katie Hladilek) at Learning Technology Services contributed all of the photography included, unless otherwise noted.

Thank you to Margaret Cummins, Paul Drougas, Mike New, Lauren Poplawski, and Kerstin Nasdeo at John Wiley & Sons.

Thank you to Andrew Miller for bringing clarity and precision to my manuscript.

My immediate family always pays a price for my time at the keyboard, and I thank them for their patience and support: thanks to Roger, Anna, and Luc.

Introduction

The first edition of this book was intended as a primer on interior design visual communication, one that presented a range of styles and techniques. The goal for that and each subsequent edition has been to provide students and practitioners with up-to-date information on visual presentation techniques. Like earlier editions, this book identifies the methods used in the visual presentation of interior spaces and articulates them in written and visual language. Various phases of the design process are discussed in order to reveal the connection between process and presentation. Some often overlooked basic principles of graphic design and portfolio design are also discussed.

Research for this edition made clear that today’s designers must have both good hand- and digital-drawing skills. Quickly created perspective drawings offer the benefit of providing designers with a visualization tool early in the design process, before finalized design drawings are completed. In addition, skills learned in drawing by hand transfer directly to computer modeling. The ability to create quick perspective sketches in client conferences and team meetings is a highly useful—something I have heard many times from those hiring designers. For these reasons, numerous examples of quick sketching techniques are included.

The focus here is on quick, estimated sketching and quick modeling (using SketchUp) because these skills are useful to all designers. My approach to rendering is similar: all designers need go-to quick rendering skills serviceable in a range of situations. My purpose is to provide an overview of accessible approaches to drawing, modeling, and rendering that will serve as a foundation for design students and then create a comfort level with drawing and rendering so that those skills can be used throughout the design process.

As this edition goes into production, designers continue to present projects using traditional presentation boards, and those are covered in detail in this edition. Information is also provided about digital presentations methods, as many designers are creating completely digital and virtual presentations. Clearly, we are at a time of transition, where new methods are employed by some and traditional methods are favored by others; both are covered in detail in this edition.

As with earlier editions, many of the examples included here were executed by undergraduate design students. I’ve included them because I want students to see real examples of developing skills. It is important for all designers to develop drawing and sketching skills. Drawing and model making should not be reserved for the final presentation of fully developed designs. Rather, sketching, drawing, and model making must be ways of seeing and exploring throughout the design process—from beginning to final presentation. I own up to my desire to get interior designers to draw (and draw and draw): it is the best way to learn to visualize and develop good work.

Examples of work done by professional illustrators, digital illustrators, and model makers are also included in order to demonstrate what is being done in current practice by specialists. The work is beautiful and depicts what top professionals can produce. We can learn from this work and allow it to influence our own design drawings and in-process presentations.

While much has changed since the first edition of this book was published—particularly that related to digital technology—so many things have stayed consistent, especially regarding the process of design and the complex, yet flexible ways of thinking required of a professional designer. Interior design continues to be a profession populated by bright, creative individuals who must call upon a broad range of talents and skills in everyday practice. While technology has made many things easier and faster, today’s designers have to know more—and possess more skills—than at any previous time. I hope this book will help today’s designers acquire some of the many skills required in current practice.

Chapter 1

An Introduction to Drawing for Interior Design

Interior design is a multifaceted and ever-changing discipline. The practice of interior design continues to evolve due to technological as well as societal changes.

The sentences above were written roughly thirteen years ago, for the introduction to the first edition of this book, but they continue to hold true today. Digital technology continues to influence—and to catalyze—the ongoing evolution of design practice. Today’s interior designers use software for two-dimensional drawing, parametric modeling, digital rendering, and digital imaging, and make use of word processing, spreadsheet, and presentation programs as well.

In addition to undergoing continual, rapid technological advancement, the profession of interior design has also grown in scope and specialization, and in the range of design practiced. The profession’s growth, combined with the development of educational standards, registration, and licensing, have increased its legitimacy as a serious professional discipline.

Constant change in society and in one’s profession can be overwhelming and a bit frightening; it is therefore useful to consider the elements that have remained stable in this evolving profession. In many ways, the design process itself is a constant, whether it is practiced with a stick in the sand, a technical pen, or a powerful computer running special software. There are many stories about designers drawing preliminary sketches on cocktail napkins or on the back of a paper bag, and these anecdotes lead us to a simple truth: design drawing is a key part of the design process.