Design Drawing

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An essential reference that clarifies the role of drawing in the design process. A text that has been tested in architectural studio courses over twenty-five years and two editions, Design Drawing establishes the theoretical basis for differentiating design drawing from art or drafting in its uses, techniques, and attitudes. It relates drawing to experience, context, and the design process rather than media and form. A tool for students and professionals, the book emphasizes the step-by-step depiction of reality ...
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Better World Books
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Great condition for a used book! Minimal wear. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!

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Better World Books
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Former Library book. Shows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase ... benefits world literacy! Read more Show Less

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B&w illustrations Tucson, Arizona 1977 Soft Cover Third printing Very Good Oblong 8vo-over 7?"-9?" tall. [vi], 267pp [ink name; light soiling to white covers; edge and corner ... wear] Read more Show Less

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Co-op Bookstore-Baton Rouge
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1974 Paperback Good No media included on used books (CDs, DVDs, access kits, etc.). unless otherwise stated.

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Don's Book Store
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Tucson, Arizona, U.S.A. 1975 Trade Paperback Second Printing Very Good 11" x 8 1/2" 267 Pages. August 1975 edition. Spiral bindling for lay-flat easy page turning. Table of ... Contents: Introduction, Perception, Conception, Representation, Decision and Persuasion. Plus Bibliography. Drawings and/or black and white photographs on every page. Drawingskilldoes notgrow from any mysterious, innate talent andis inseparabel from the general abilities we call intelligenc. e Intelligence includes the EyeMindHand triad and think of either the eye of hand as disocnnected from the mind, and therefore, unintelligent, mistakenly repets the mind/bodydualism which has plagued us for too ling. To make the point in another way--if you insist on separating the EyeMindHand triad of intelligence and localizing drawing ability, then I will insist that: The ability to draw lies somewhere above the shoulder, not below, and most of the mistakes in drawing are head mistakes, not hand mistakes. Read more Show Less

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Red Sky Books DC
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1974 Paperback Good. No Dust Jacket 267 pp (Vol 1) and 143 pp (Vol 2), 8 ?" x 11", many b/w drawings and illustrations. Although in good shape, Vol 1 of this set does have some ... text high-lighting. This set of books is designed to teach the style of drawing popularized by architects and designers. Vol 2 of this set contains a number of mylar overlay pages illustrating the progression of a drawing. Read more Show Less

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Riverhorse Books
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Second printing. This is a wonderful book: Stiff white boards; 267 pages, bibliography, conception, representation and decision inclusive; solid plastic comb binding; no ... internal marks square corners; very slight soil on boards; text is bright and clean; this is not an ex-library book; there is no remainder mark. Read more Show Less

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IndyBookLady IN
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1974 Soft Cover Spiral Bo; 2nd Printing Pepper Pub.; Very Good in Good+ dust jacket 0914468014. White stiff paper. DJ, now in mylar protective cover, is edgeworn with 3 closed ... tears. Explains what communicating designers do all the time: They draw a thing that doesn't exist...The lessons of light, shade, tone, value, texture and so on are delightful, simple and clearly demonstrated. Chapters on Perception, Conception, Representation, Decision, and Persuasion.; Profusely illustrated.; Oblong 8vo; 267 pages. Read more Show Less

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Midnight Bookman IN
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Tucson, AZ 1974 Spiral bound boards First Edition Good in Good jacket Oblong 8vo. Slight wear, a good copy in dustjacket.

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More About This Book

Overview

An essential reference that clarifies the role of drawing in the design process. A text that has been tested in architectural studio courses over twenty-five years and two editions, Design Drawing establishes the theoretical basis for differentiating design drawing from art or drafting in its uses, techniques, and attitudes. It relates drawing to experience, context, and the design process rather than media and form. A tool for students and professionals, the book emphasizes the step-by-step depiction of reality through perspective, shadow-casting, and entourage. The new edition covers traditional and innovative techniques, including the use of the computer.
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Editorial Reviews

Booknews
A textbook for a studio course introducing drawing to students of architecture, landscape architecture, and interior design. Lockard (architecture, U. of Arizona) distinguishes design drawing from art and drafting in its purposes, uses, techniques, and attitudes. Earlier editions appeared in 1974 and 1982; the third includes new chapters on applications and combinations for school and practice, and revised chapters on perception and conception. It is 11<"> deep. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780914468011
  • Publisher: Pepper Publishing
  • Publication date: 1/1/1974
  • Pages: 267

Table of Contents

Illustration Credits 7
Acknowledgments 9
Preface 11
Introduction 13
Design Drawing's Relationship to Art and Drafting 14
Teaching and Learning Drawing 17
The Value of Learning to Draw 21
1. Perception 25
The Dominance of Vision 26
Perception of the Environment 28
Environmental Interest 33
Intention and Meaning 36
Perceptual Experience 38
Opportunity Seeking 40
Perception of Design Drawings 43
2. Conception 51
Self-Conception 52
A Modest Mindmodel Proposal 54
Evolution's Layered Legacy 56
Categories and Hierarchies 57
Conceptual Function 63
Models of Conception 65
Conceptual Modes 66
Experience's Opportunities 67
Conceptual Drawing 70
The Double Synthesis 70
Externalization 72
The Eyemindhand Wheel 73
3. Representation 79
Drawing's Relationship to Experience 80
Drawing Techniques 87
Line 89
Line--Spatially Profiled 89
Tone 90
Tone-of-Lines 90
Line-and-Tone 91
Line-and-Tone on Middletone 91
Interest Categories 94
Drawing as an Investment Hierarchy 96
Choosing the Right Technique 105
4. Perspective 107
Principles, Methods and Frameworks 108
The Principles of Perspective 108
Perspective Methods 110
Perspective Frameworks 117
Direct Perspective Layout 121
Principles 122
Frameworks 122
Methods 123
Diagonals 123
Width Plane 124
Depth Plane 124
Laying Out an Exterior Perspective 125
Laying Out an Interior Perspective 125
Changing Eyelevel and Size 128
Variations 129
Tonal Interest and Light 135
Tonal Interest: Shadow-Casting in Direct Perspectives 145
Shadow-Analysis Cube 147
Shadow-Casting on Exterior Perspectives 148
Shadow-Casting on Interior Perspectives 150
Night Perspectives 152
5. Building a Graphic Vocabulary 153
Textural Interest 155
Additional Interest 161
6. Drawing's Relationship to the Design Process 183
Personal Model of the Process 183
Zippers and Stitches 184
The Composite Model 185
The Assumed Role of Drawing 187
The Communicative Purpose 187
Kind of Problem or Solution 189
Choice of Drawing 189
Degree of Resolution 191
Opening Drawings 193
Clearing Drawings 199
Stitch Drawings 201
Hitch Drawings 208
Zipper Drawings 214
Zipped Drawings 222
Illustrating the Design Process 228
7. Combinations 229
Combining Hand Drawing and Digital Color 229
Creating Digitally Colored Drawings 231
Short Summary of the Digital-Color Process 236
Advantages and Disadvantages of Digital Color 238
Examples of Digitally Colored Drawings 238
The Computer System 250
Combining Drawing with Words and Photographs 251
The Elements 251
Opportunities 255
Drawing as a Partner in Communication 260
8. Applications 261
Making the Most of Your Rough Sketches 263
Learning to Use the Overlay 264
Drawing for your First Jury 274
Verbal Presentations 274
Drawing for Your Portfolio 274
The Limitations of the Design Process 275
Afterthought 276
Bibliography 277
Index 281
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