By Michael E. Doyle
The 3rd version of Michael Doyle's vintage colour Drawing continues to be the last word updated source for execs and scholars who have to increase and converse layout principles with transparent, beautiful, remarkable colour drawings.
Update with over a hundred pages, this 3rd variation comprises a completely new part involved in cutting-edge electronic thoughts to vastly increase the sophistication of presentation drawings, and provides new and leading edge rules for the copy and distribution of accomplished drawings. colour Drawing, 3rd version Features:
A whole physique of illustrated directions demonstrating drawing improvement from preliminary inspiration via ultimate presentation
Finely honed causes of every approach and process
Faster and more uncomplicated how one can create layout drawings
Over a hundred new pages demonstrating equipment for combining hand-drawn and computer-generated drawing techniques
Step-by-step, easy-to-follow photographs will lead you thru electronic innovations to quick and simply increase your presentation drawings.
About the Author
Michael E. Doyle (Boulder, CO), vice chairman and Senior clothier at CommArts in Boulder, CO, Architect and previous teacher at collage of Colorado.
Table of Contents-
PART I. colour DRAWING FOR COMMUNICATION.
1. preliminary Considerations.
2. Media and Paper.
4. components, fabrics, and Finishes.
5. Scale components: Figures and Automobiles.
PART II. colour DRAWING FOR PRESENTATION.
6. colour and Composition in Illustration.
7. techniques to making colour layout Drawings.
8. electronic colour Drawing.
Read or Download Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects, and Interior Designers (3rd Edition) PDF
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Additional resources for Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects, and Interior Designers (3rd Edition)
Fig. 1-16 This black-and-white illustration was created as a presentation tool for a hotel/ condominium project in its early design stages. Note how the values are arranged so that one’s attention gravitates toward the ground floor of the building. This is also where the starkest contrasts are located. Begun as a line drawing using a Black pencil on white tracing paper, it was then scanned, and the tones added in Photoshop. The tones on the elements of the foreground, middle ground (the subject building), and background were generated as separate layers so they could be manipulated independently to maximize the sense of illumination.
You must assemble the color wheel, scales, and hue charts by applying the color chips to their proper locations. During this process, each color chip must be evaluated according to its hue, value, and chroma, refining your ability to discriminate between the three color dimensions and to evaluate subtle differences within a particular dimension. The student set can also be used to explore various combinations of color by arranging the loose color chips into small compositions, before they are adhered in their final locations on the scales and charts, similar to those in figures 6-4 and 6-11.
French grays are slightly yellow reddish, warm grays slightly reddish, and cool Because marker colorant is aniline dye, it tends to fade with continuous grays a touch bluish in hue. The same observations apply to gray color pencils. exposure to ultraviolet light, even the small amounts found indoors. If you intend The markers shown in the general color palette (2-4) are derived from to display a color design drawing that uses marker, make a more lightfast color those we consistently select to illustrate frequently used natural and ubiquitous photocopy or bubble-jet copy of the illustration for display purposes.