
Design Drawing
Description
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Hand drawing is an integral part of the design process and central to the architecture profession. An architect's precise interpretation and freedom of expression are captured through hand drawing, and it is perhaps the most fundamental skill that the designer must develop in order to communicate thoughts and ideas effectively. In his distinctive style, world-renowned author Francis D. K. Ching presents Design Drawing, Third Edition, the classic guide to hand drawing that clearly demonstrates how to use drawing as a practical tool for formulating and working through design problems. While digital tools continue to evolve, this Third Edition includes new illustrations and information on the latest digital-drawing techniques.
Design Drawing, Third Edition covers the basics of drawing, including line, shape, tone, and space. Guiding the reader step-by-step through the entire drawing process, this Third Edition also examines different types of drawing techniques such as multiview, paraline, and perspective drawings--and reveals how the application of these techniques creates remarkable results. In addition, Design Drawing, Third Edition:
* Features over 1,500 hand drawings--stunning illustrations in the author's signature style that reinforce the concepts and lessons of each chapter
* Offers new exercises and illustrative examples that range in complexity
* Presents all-new digital drawing topics, such as hybrid floor plans, digital models and fabrication, and hand-to-digital fluency
* Includes access to a new website featuring videos of the author demonstrating freehand techniques in a step-by-step manner in the studio and on location
* Includes access to a brand new website (Francis Ching (wiley.com)) featuring videos of the author demonstrating freehand techniques in a step-by-step manner in studio and on location. Readers will gain a greater appreciation of the techniques presented in the book through the power of animation, video, and 3D models
Written and illustrated for professional architects, designers, fine artists, illustrators, instructors and students, Design Drawing, Third Edition is an all-in-one package and effective tool that clearly demonstrates drawing concepts and techniques in a visually stimulating format that outshines other works in the field.
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FRANCIS D. K. CHING is Professor Emeritus of Architecture at the University of Washington and is a leading global authority on architectural drawings. He is the author or coauthor of numerous architecture and design books, including Architectural Graphics; Architecture: Form, Space, and Order; A Global History of Architecture; Building Construction Illustrated; Building Codes Illustrated; and Interior Design Illustrated, all from Wiley.
Content
Preface vii
Introduction 1
Drawing From Observation 13
1 Line and Shape 15
2 Tone and Texture 39
3 Form and Structure 67
4 Space and Depth 83
Drawing Systems 123
5 Pictorial Systems 125
6 Multiview Drawings 143
7 Paraline Drawings 207
8 Perspective Drawings 239
Drawing From The Imagination 303
9 Speculative Drawing 305
10 Diagramming 335
11 Drawing Composition 367
12 Presentation Drawing 409
Index 433
Introduction
Drawing is the process or technique of representing something-an object, scene, or idea-by making lines on a surface. This definition implies that delineation is different from painting and the coloring of surfaces. While drawing is generally linear in nature, it may include other pictorial elements, such as dots and brush strokes, which can also be interpreted as lines. Whatever form a drawing takes, it is the principal means by which we organize and express our visual thoughts and perceptions. We therefore regard drawing not only as artistic expression but also as a practical tool for formulating and working through design problems.
Design Drawing
The term design drawing brings to mind the presentation drawings used to persuade the viewer of the merits of a design proposal. Also familiar are the construction or working drawings that provide graphic instructions for producing or building a project. But designers use both the process and products of drawing in other ways as well. In design, the role of drawing expands to include recording what exists, working out ideas, and speculating about and planning for the future. Throughout the design process, we use drawing to develop an idea from concept to proposal to constructed reality.
To learn how to draw and to use drawing effectively as a design instrument, it is necessary to acquire certain fundamental skills, such as inscribing lines and laying down tonal values. Over time and with enough practice, anyone can learn these techniques. Skillful technique is of little value, however, unless accompanied by understanding of the perceptual principles on which these techniques are based. Even as digital drawing tools evolve and augment traditional drawing methods, enabling us to transfer ideas onto the computer screen and develop them into three-dimensional models, drawing remains a cognitive process that involves perceptive seeing and visual thinking.
The Drawing Process
Visual perception
The act of seeing is a dynamic and creative process. It is capable of delivering a stable, three-dimensional perception of the moving, changing images that make up our visual world. There are three phases in the swift and sophisticated processing that results in the images we see:
- Reception: our eyes receive energy input in the form of light-either its source or its reflection from illuminated surfaces. The optics of the eye form an upside-down image of incoming light rays on the retina, a collection of nerve cells that are an extension of the brain. These photosensitive cells convert electromagnetic energy into electrochemical signals and provide a point-by-point assessment of the intensity of light received.
- Extraction: the mind extracts basic visual features from this input. The input-basically a pattern of lights and darks-is further processed by other nerve cells in the retina and moves down the optic nerve. After an intermediate stop it arrives at the visual cortex of the brain, which has cells that extract specific features of visual input: the location and orientation of edges, movement, size, and color.
- Inference: on the basis of these extracted features, we make inferences about our world. Only a very small area of the retina is capable of distinguishing fine detail. Our eyes must therefore continuously scan an object and its environment to see it in its entirety. When we look at something, what we see is actually constructed from a rapid succession of interconnected retinal images. We are able to perceive a stable image even while our eyes are scanning. Our visual system thus does more than passively and mechanically record the physical features of a visual stimulus; it actively transforms sensory impressions of light into meaningful forms.
Seeing is a vigorous, pattern-seeking process. The mind's eye uses the input extracted from the retinal image as the basis for making educated guesses about what we encounter. Inference is easy for the mind. The mind's eye actively seeks those features that fit our image of the world. It looks for closure-for meaning and understanding in the patterns it receives. We are able to form images from the barest scaffolding of visual data, filling out the images if necessary with information that is not really there. For example, we may not understand this incomplete pattern of lights and darks, but once recognized, it cannot not be seen.
In this illusion designed by psychologist E. G. Boring in 1930, one can see either the profile of a younger woman or the head of an older woman.
Visual perception thus is a creation of the mind's eye. The eye is blind to what the mind does not see. The picture in our head is not only based on input extracted from the retinal image but is also shaped by our interests and the knowledge and experiences each of us brings to the act of seeing. Our cultural environment also modifies our perceptions and teaches us how to interpret the visual phenomena we experience.
Different ways of perceiving and interpreting the same visual phenomena.
Seeing & Drawing
Seeing Facilitates Drawing
The drawing of things we see before us, including the careful copying of a master's work, has traditionally been fundamental training for artists and designers. Drawing from observation is the classic method for developing eye-mind-hand coordination. Experiencing and examining the visible world in a direct manner through drawing makes us more conscious of the dynamics of sight. This understanding, in turn, helps us to draw.
Drawing Invigorates Seeing
We normally do not see all that we are capable of seeing. Preconceived notions of what we expect or believe to be out there usually direct our seeing. Through familiarity, we tend to pass over things we confront and use every day without really seeing them. These perceptual prejudices make our life simpler and safer. We do not have to pay full attention to each and every visual stimulus as if seeing it for the first time each day. Instead we can select out only those that provide information pertinent to our momentary needs. This expeditious kind of seeing leads to our common use of stereotypical images and visual clichés.
The labeling of visual stereotypes, while necessary to avoid perceptual chaos, can also prevent us from looking anew at what we see as familiar. The visual environment is usually fuller and richer than what we normally perceive at a glance. To make full use of our visual faculty-to see more than symbols-we must learn to see things as if we were going to draw them.
Drawing encourages us to pay attention and to experience the full range of visual phenomena and appreciate the uniqueness of the most ordinary things. In fostering a heightened and critical awareness of the visual environment, drawing also nurtures understanding and improves our visual memory. In drawing from the imagination, we recall past perceptions and draw on these memories.
Imagining
Our perception is not limited to what we can see in the here and now. Images often appear spontaneously in response to a sensory perception-something seen, touched, or smelled. Even without any sort of sensory stimulation, we have the mental faculty of recalling or recreating images. Easily, almost effortlessly, you can imagine something as soon as it is suggested to you. As you read these words, you can easily visualize:
- Places, such as a childhood bedroom, the street where you live, or a scene described in a novel.
- Things, such as a triangle or square, a balloon floating in the air, or a grandfather's clock.
- People, such as a close friend, relative, or a TV newscaster.
- Activities, such as opening a door, riding a bicycle, or throwing a baseball.
- Operations, such as a cube rotating in space, a ball rolling down an incline, or a bird taking off in flight.
In responding to all of these verbal prompts, we are picturing with the mind's eye. We are thinking visually.
Visual Thinking
Visual thinking-thinking in images-pervades all human activity. It is an essential part of everyday life. We think in visual terms when we drive down a street looking for an address, set the table for a dinner party, or contemplate a move in a game of chess. Our thought has visual form when we search for constellations in the night sky, build a cabinet from a set of drawings, or design a building. In each of these activities, we actively seek to match the images we see with the images we hold in the mind's eye.
Which configuration does not match the pattern of the other two?
The images in our head are not limited to what we see in the present. The mind is capable of forming, exploring, and recombining images beyond the normal bounds of time and space. With hindsight we visualize memories of things, places, and events from the past. With foresight, we are also able to look forward in time-to use our imagination to envision a possible future. Imagination therefore enables us to have both a sense of history as well as a plan for the future. It establishes connections-visual bridges-between the past, present, and future.
Remembering the past: an 8th-century Japanese structure
Drawing & Imagining
Imagination Inspires Drawing
The images we conjure up in the mind's eye are often hazy, brief, and all too elusive. Even if vivid and...
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