Color Drawing: Design Drawing Skills and Techniques for by Michael E. Doyle

By Michael E. Doyle

The 3rd variation of Michael Doyle's vintage colour Drawing continues to be the final word up to date source for execs and scholars who have to enhance and converse layout rules with transparent, appealing, awesome colour drawings.

Update with over a hundred pages, this 3rd version includes a wholly new part interested in state of the art electronic options to significantly increase the sophistication of presentation drawings, and gives new and cutting edge rules for the copy and distribution of entire drawings. colour Drawing, 3rd variation Features:

A entire physique of illustrated directions demonstrating drawing improvement from preliminary thought via ultimate presentation

Finely honed reasons of every strategy and process

Faster and more straightforward how you can create layout drawings

Over a hundred new pages demonstrating tools for combining hand-drawn and computer-generated drawing techniques

Step-by-step, easy-to-follow photos will lead you thru electronic options to quick and simply increase your presentation drawings.

About the Author
Michael E. Doyle (Boulder, CO), vp and Senior fashion designer at CommArts in Boulder, CO, Architect and previous teacher at college of Colorado.

Table of Contents-
Acknowledgments.

Introduction.

PART I. colour DRAWING FOR COMMUNICATION.

1. preliminary Considerations.

2. Media and Paper.

3. Technique.

4. components, fabrics, and Finishes.

5. Scale parts: Figures and Automobiles.

PART II. colour DRAWING FOR PRESENTATION.

6. colour and Composition in Illustration.

7. ways to making colour layout Drawings.

8. electronic colour Drawing.

Glossary.

Bibliography.

Design Credits.

Index.

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Extra info for Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects, and Interior Designers (3rd Edition)

Sample text

Qxp:Color Drawing 2 2 46 Media and 9/29/06 12:23 PM Page 46 Paper White Paper durable, and has sufficient grain (or tooth) to allow effective use of color pencils and pastels. Markers can also be used successfully on bond paper, but they will Bond Paper tend to bleed more than on other papers described in this chapter, due to its During the design process, you will frequently want to add some quick greater absorbency (see figures 3-20 (a) and 3-20 (b)). Remember to use color to a black-and-white copy of a line drawing or computer-generated alcohol-based rather than xylol-based markers on these machine-produced drawing that has been reproduced on bond paper (figures 2-13 through 2-16).

Gray can set the value of a color, whose hue and chroma used over most felt-tipped pens, on diazo prints, on all papers, and even over each can be determined later with subsequent applications of color pencil or pastel. other with no ill effects, provided they are used with restraint. 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.

In many design and presentation situations we at CommArts use hand media, rather than digital technologies, because they are faster, simpler, and offer a more direct way to create color design illustrations. In terms of person-hours, these illustrations are more cost-effective. Many effects and illusions can be created with only a few steps, as you will see later in this book. However, they are completely compatible with digital technologies. qxp:Color Drawing 2 2 34 Media and 9/29/06 12:23 PM Page 34 Paper manipulation on a computer—for editing and color adjustments, for importation of other imagery into the drawing, for inclusion into documents, for digital transmission, and even for billboard-size enlargement.

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