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In the visual world of design education and the design professions, message (design) and language (graphics) are so interrelated that they cannot be separated. The design process always includes graphic skills to clarify and communicate the issues in question. This book's goal is to communicate a broad range of design-drawing methods; it is not intended to be a handbook on acquiring design skills.
People learn to communicate through language at an early age. They learn to speak, read, and write. The primary type of communication in any kind of design work, whether fashion or building, is drawing. To communicate our design ideas to others, we must learn how to draw. We must draw with enough facility to make our ideas clear. Furthermore, we need to be able to communicate graphic ideas to ourselves because, as we work on any design, our ideas are constantly changing and evolving.
The language of graphics requires the use of all aspects of the brain--analytical, intuitive, synthetic, and even emotional. The intent of this primer is to provide students and practitioners with graphic tools essential to visual communication methods in the design process. It will reinforce methods of perceiving existing reality in order to create an awareness of the visual world. It will also develop and build confidence in one's analytical and intuitive graphic skills and abilities.
It is quite common to find students with a wide range of backgrounds in drawing upon entering a beginning course in architectural drawing/graphics; some students may have had numerous courses in middle school and high school mechanical drawing and art;other students have never used or been exposed to drafting or sketching equipment. There are also students who show a strong potential on aptitude tests related to spatial visualization; but, for one reason or another, they have never had an opportunity to develop this potential. This book can be used by those who have little knowledge of geometry or basic mathematics. However, it is also designed for intermediate and advanced students in architectural drawing. Students and practitioners with a prior knowledge of pictorial drawing or perspective will find this book to be a convenient reference guide for presentation work.
The first four chapters, including "Representational Sketching," are basic to the study of architectural graphics and provide the necessary framework to pursue the major areas of two- and three-dimensional pictorial drawings. The chapters on paralines, perspectives, and shadows illustrate the most common manual methods in current practice with detailed but simple explanations on the theory behind their use. The use of these procedures will help both the student and the professional in communicating and presenting design ideas. The remainder of the book is devoted to a brief introduction to the topics described by chapter titles "Delineating and Rendering Entourage," "Diagramming and Conceptual Sketching," and "Presentation Formats." The variety of drawings illustrates a large number of diverse styles; and the medium used, the original size, and the scale used (if applicable) are given for each drawing where this information was available. In this sense, the book acts as a springboard to stimulate readers to explore each topic in more detail by investigating the extensive bibliography. Many of the images included are residential building types, but a large variety of other building types are shown as well. In view of today's global culture, many drawing exhibits from outside the United States are also included.
This comprehensive guide attempts to elaborate equally on each of the architectural design-drawing methods in current use. However, the last quarter of the twentieth century has seen an upsurge in the use of paraline drawings. This is due to their ease of construction and their impressive ability to allow the viewer to see and to comprehend the total composition of a design. For this reason, a large number of professional paraline examples are included. Architecture and other design professions have been expanding their expressive vocabulary to include the emerging methods of three-dimensional computer imaging, animation, film, and video. This visual compendium of diverse graphic images done in a variety of both traditional and avant-garde media is rich in its content. Many illustrations are supported by personal commentary from their originators to help shed light on why each type of drawing was chosen to express the design.
Both students and design professionals are continually striving to come up with new ways to represent and express their designs. The graphic image examples that I have chosen are by no means exhaustive. These examples are meant to extend basic techniques that the students learn to a more advanced level as well as to provoke their imagination. They are not meant to dogmatically lead students onto a narrow path of particular styles or "isms"; instead, their goal is to encourage students to start their own journey of discovery and exploration.
As a reference for precise graphic constructions the book is laid out in a simple, easy-to-follow, step-by-step format. Although mechanically constructed pictorials are emphasized, freehand visualization techniques are encouraged. Most architectural schools have courses covering architectural design-drawing in a time frame from one to three semesters. In many cases the material is covered as an adjunct to the design-drawing studio. This book can be used under any kind of flexible time schedule as a student text or a studio reference, or as an office reference for practitioners. The encyclopedic nature of the book encourages browsing and wandering. For ease of reference, design-drawing types have been categorized in such a way that both students and design professionals will find them handy for reviewing design-drawing methods or for obtaining and extrapolating ideas for their own creative presentation compositions.
1. TOOL FUNDAMENTALS.
2. LETTERING, TYPOGRAPHY, AND LINE TYPES.
3. REPRESENTATIONAL SKETCHING.
4. CONVENTIONAL ORTHOGONAL TERMINOLOGY.
5. ORTHOGRAPHIC AND PARALINE DRAWING.
6. LINEAR PERSPECTIVE DRAWING.
7. LIGHT, SHADE, AND SHADOW.
8. DELINEATING AND RENDERING ENTOURAGE.
9. DIGRAMMING AND CONCEPTUAL SKETCHING.
10. PRESENTATION FORMATS.
ABOUT THE AUTHOR.
CONTENTS OF COMPANION WEBSITE (www.wiley.com/go/yee)
11. CONVENTIONAL AND COMPUTERIZED REPRESENTATION IN COLOR
12. INTERFACING MANUAL WITH DIGITAL: PROFESSIONAL OFFICE EXAMPLEâ??Case study-Architect Antoine Predock.
13. INTERFACING MANUAL WITH DIGITAL MEDIA: ACADEMIC STUDIO EXAMPLES.
Basic Geometric Definitions.
Descriptive Geometry Principles Summarized.
Notes on the Perspective Measuring Point System.
SOLUTIONS FOR INSTRUCTORS (PASSWORD PROTECTED).
This book is an amazing reference material. It contains a lot of diagrams and the amount of words that accompany them aren't overwhelming. The first couple of pages outlines various tools used in architecture. Overall, it is a very progressive book in that it teaches the basics and gradually extends into more detail. I would basically reinvest in this book if I lost it.
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Posted January 13, 2010
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