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Rapid Viz, Third Edition: A New Method for the Rapid Visualization of Ideas provides hands-on instruction on quick sketching skills and techniques that allow you to picture your ideas mentally, and then quickly convert those thoughts into visual reality on a piece of paper. The method is not designed to help you become a master illustrator, but rather a visual thinker and communicator. Emphasizing speed and simplicity, the Rapid Viz method breaks down drawing to the essentials, teaching the fundamental techniques of graphic art and design using only the simplest of tools: felt-tip pens or pencils and paper. Using a minimum amount of time, trouble, and effort, Rapid Viz enables you to nail down your ideas onto paper, rapidly converting your thoughts while they are still fresh, and then polish them for clear visual communication with others.
"Rapid Viz: A New Method for the Rapid Visualization of Ideas, Third Edition", provides hands-on instruction on quick sketching skills and techniques that allow readers to capture their ideas into visual form. Emphasizing speed and simplicity, the book breaks drawing down to the essentials, teaching the fundamental techniques of graphic art and design using only felt-tip pens and plain paper. Suitable for those in architecture, landscape architecture, engineering, industrial design, interior design, and other related arts and sciences, readers learn by doing as they master practical drawing skills in this fully updated instructional book.
This book helps people to quickly master the fundamental techniques of graphic art and design using felt-tip pens and plain paper.
This guide, which attempts to aid designers to visualize their concepts, uses all the developments that have taken place within the field of design over the last five years. The author runs his own design consultancy.
A primer for design professionals across all disciplines that helps them create compelling and original concept designs by hand--as opposed to on the computer--in order to foster collaboration and win clients. In today's design world, technology for expressing ideas is pervasive; CAD models and renderings created with computer software provide an easy option for creating highly rendered pieces. However, the accessibility of this technology means that fewer designers know how to draw by hand, express their ideas spontaneously, and brainstorm effectively.In a unique board binding that mimics a sketchbook, Drawing Ideas provides a complete foundation in the techniques and methods for effectively communicating to an audience through clear and persuasive drawings.
This is an intriguing collection of powerful drawing tools for the rapid visualization of ideas in a kit originally designed for designers and architects. Illustrations.
William H. Pinnell first issues an "invitation to investigate the magic of perspective and explore its wondrous surround," then escorts the beginning as well as the advanced student through the complex process of artistically conveying scene designs via the scenographic drawing. Step by step, he illustrates the principles of perspective that apply to stage design. Starting with a brief history of perspective, he furnishes all of the information designers will need to transform a blank surface into a unique expression of theatrical space. As Pinnell makes clear, a stage setting must be fully planned far in advance of its actual construction. Each designer must have a picture of how the setting will appear when it is ready for opening night. The scenic designer must then be able to render that picture, to communicate his or her ideas through a series of initial sketches that, combined with directorial consultation, eventually evolve into an approved plan for the actual setting. Many of these plans take the form of working drawings--floor plans, elevations, and the related schematics necessary for the shop staff to construct the design. Pinnell insists that as closely as possible, the model--the graphic and tangible rendering of the designer's vision--must reflect what the actual stage set will look like when the audience sees it in the performance. His concern is to show how one faithfully and accurately represents the actual, finished stage design through theatrical rendering. Pinnell achieves this goal through an introduction and six chapters. He provides the historical background in a chapter titled "The Perspective Phenomenon," which covers preclassical Greece, Greek and Roman notions of perspective, and the concepts of the Italian Renaissance. "The Perspective Grid: Learning the Basics" deals with drafting tools, drawing the perspective grid, and the basics of measuring on the perspective grid. "The Perspective Grid: Expanding the Basics" discusses transferring a simple interior setting, plotting curves, and creating levels. "The Perspective Grid: Variations" analyzes the thrust stage, the raked stage, and the two-point perspective grid. "Coloration and Form" explains varied backgrounds, color media, and rendering with gouache. Finally, "Presentation" explains protection, framing, duplication, and the portfolio. Except for the intricacies of the human anatomy, there is nothing a designer must draw scenically that is not covered in this book.
* Fresh approach to engineering design, innovation challenges, and stereotypical thinking; provides alternative methods that come closer to the heart of the visual creative process.