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 pros and scholars who have to boost and speak layout principles with transparent, appealing, awesome colour drawings.

Update with over a hundred pages, this 3rd version comprises a completely new part keen on cutting-edge electronic strategies to significantly improve the sophistication of presentation drawings, and gives new and leading edge rules for the replica and distribution of complete drawings. colour Drawing, 3rd version Features:

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

Finely honed factors of every method and process

Faster and more straightforward how you 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 ideas to quick and simply improve 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 collage 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. methods to making colour layout Drawings.

8. electronic colour Drawing.

Glossary.

Bibliography.

Design Credits.

Index.

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

Sample text

This allows the easy transfer of line drawings from, say, tracing paper to Canson paper for a more finished color drawing. This capability also enables the designer to make more than one copy of a line drawing in case an illustration must be repaired or redone. Tracing Paper Tracing paper is an excellent surface for color design drawings. It takes all pencil, dry media, and felt-tipped line media well and erases cleanly. Markers bleed only slightly and appear muted—usually an advantage. Its translucency is less refined than that of mylar or vellum.

Large gradients of transparent color O Once the line drawing had its large areas of color, it was plotted on heavyweight coated paper. ” This kept the lines of the detail had been attempted by computer. drawing visible through the layers of It was also used to add the illuminated color. The sky, the first layer created, building windows, as well as the texture transitions from pink on the right to for the plant materials and trees. White dark blue on the left, simulating a dusk gouache was applied for the sparkle of sky just after sunset.

2-8 A variety of high-quality pastels. The stick pastels arranged horizontally are, from top to bottom: Rembrandt by Royal Talens (Holland), Pastel a l’Écu by Sennelier (France), Artisti by Maimeri (Italy), and Künstler Pastell Farben by H. Schmincke & Co. (Germany). The two stick pastels arranged vertically are the Conté stick by Conté a Paris (right) and Unison Colour, made in England (left). The pencil pastels are, from top to bottom, Schwan Stabilo (Germany), Bruynzeel design pastel (Holland), and the Conté a Paris pastel (France).

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