ebook img

Drawing for interior design PDF

192 Pages·2014·41.782 MB·English
by  PlunkettDrew
Save to my drive
Quick download
Download
Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.

Preview Drawing for interior design

Drawing for Interior Design SECOND EDITION First published in 2009 by Laurence King Publishing Ltd 361–373 City Road London EC1V 1LR Tel +44 20 7841 6900 Fax +44 20 7841 6910 E [email protected] www.laurenceking.com Second edition published in 2014 by Laurence King Publishing Ltd Design copyright ©2013 Laurence King Publishing Limited Text copyright ©2013 Drew Plunkett Drew Plunkett has asserted his right under the Copyright, Designs and Patent Act 1988 to be identified as the Author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. A catalogue record for this book is available from the British Library ISBN 978 178067 177 2 Designed by John Round Design Printed in China Drew Plunkett Drawing for Interior Design SECOND EDITION Laurence King Publishing Contents 06 Introduction 80 Chapter 3: Presentation 06 Why we draw 82 Presentation to clients and others 10 The impact of the computer 84 Successful presentation materials 22 The future 88 The components of a presentation 23 About this book 124 Explaining elements and ideas 125 Linear and tonal clarity 22 Chapter 1: The basics 127 Text 26 Measured surveys 129 Designing the final presentation 32 Graphic options 36 Drawing by hand 154 Chapter 4: Production 38 The first sketches 156 The designer’s role 44 Axonometric and isometric projection 159 Developing detail 46 Overlays 162 Collaboration 48 Freehand drawing for presentation 166 Making production drawings 50 Collage 167 Conventions 56 Chapter 2: Conception 180 Resources 58 Exploratory drawings 182 Further reading 63 The plan 186 Index 64 The section 191 Picture credits 72 Detailed thinking 192 Acknowledgments 76 Sketching by computer 77 Composites Related study material is available on the Laurence King website at www.laurenceking.com 6 Introduction Introduction Why we draw Good interior design does not begin with a drawing but how a near-abstract concept can be viably translated into with an idea, an ill-defined image that exists for a moment reality. It may be feasible to visualize and scrutinize concepts in the imagination and continues to flit, evasively, across without drawing them, but it would be perverse to deny that the mind’s eye. Designing is, in effect, the pursuit of that the most immediate and effective way to design is to make image: a succession of attempts to define it more precisely, drawings – and drawings may take many forms. With the to give it form, to examine it and assess its worth, to make advent of specialist hardwares and softwares they do not have progressively more objective decisions that finalize ideas to be, perhaps should no longer be, handmade pen or pencil and to communicate those ideas to clients, collaborators lines on conventional papers. They should be made in the and builders in the form of drawn and written instructions. way with which each individual designer is most comfortable. Drawing, at first broadly and speculatively and then with They should change to suit the particular requirements increasing focus and precision, is the means to test rigorously of each project and, because they are a means to the end Right A computer-generated conceptual drawing, in which lines and blocks of colour are augmented by scanned artefacts and textures. Below right Most interiors depend for their success on two- rather than three-dimensional gestures. The computer allows the essence of these to be represented accurately and convincingly, with a little added drama. Why we draw 7 Left A hand drawing scanned and ‘colour-washed’ by computer. Below Detailed description of the relationship between new and existing structures is much easier to create by computer. In addition, the image – generated from plans and sections – may be rotated on-screen for selection of the best viewpoint. 8 Introduction Left The earliest sketches represent a designer’s first attempts to give physical form to what must inevitably be unresolved ideas. Further refinement requires more precise representation and investigation. of expressing ideas, content should be more crucial than except the last – while they may offer some encouraging technique or style, which will take care of themselves. evidence of progress – will be found wanting. It is the As a designer becomes more experienced, making a identification of their shortcomings that will further inform drawing, the right kind of drawing, becomes automatic, not only the direction that the design process should follow instinctive, an immediate expression of thought. It need but also the questions being asked in the brief, for these not be carefully refined but it does seem that when one is are inevitably modified and complicated as one begins to intensely focused, absorbed in thinking about possibilities, understand how the realities of an existing building determine and when the imagination and eye are practised, then what is possible. Clients’ perceptions and expectations the drawings produced have a quality that gives them must also change as the nature of an appropriate solution a particular authority. Effective and successful drawing changes. Their contribution and agreement is essential bolsters self-confidence and confidence in the ideas one for the progression of any project, and the rationales for is proposing – and establishes credibility with clients. decision-making must be communicated to them clearly. The act of drawing structures thinking and the coherent Well-made drawings are the most effective way of doing this. progression of ideas. Paradoxically its particular potency Making a good drawing requires practise and an is recognized in the caveat that one should delay making understanding of how it may best convey information. While the first drawing in order to allow ideas to float freely in all drawings, like everything a designer produces, should the imagination. A warning acknowledging that once aspire to be beautiful their first obligation is to convey the abstraction of thought is given tangible shape, wide- information, and ultimately their success must be judged ranging speculation comes to an end, and the identity of on their capacity to do this. Ideas need to be assessed the project and the direction of its evolution are as good objectively, regardless of the quality of the drawing that as settled. Every designer experiences that moment of describes them. Evidence suggests that a good idea will frustration when a fruitless idea is obsessively and repetitively generate a good drawing – one that, because the designer committed to paper, as if the hand is stubbornly denying is immersed in and confident about a solution, will distil and the imagination the chance to move on. At times like that convey the essence of an idea and its physical expression. the only way to progress is to stop drawing and to think, Different stages in the design process require different to allow the imagination the chance to start again. kinds of drawing. As the design becomes more precisely In effect, all drawings but the final one made in the defined so the drawings become more exact; while initial course of developing a project have some shortcomings. sketches may be flamboyant and suggestive of an intense All are made in the optimistic expectation that they will involvement with the creative moment, they are, because encapsulate a final solution, but under objective scrutiny all of their very spontaneity, more superficial than the prosaic Why we draw 9 plans, elevations and details that follow and explain in Below detail how the building will be made. It is in these precisely Drawings made to scale clarify precisely the interaction of elements within the project scaled drawings, showing little evidence of graphic and allow final decisions to be made about gestures, that the designer becomes increasingly engaged proportions. Simple three-dimensional with the reality of their proposal, the imagination is most images, generated on computer, also intensely engaged and distractions are least intrusive. help clients understand the composition and organization of a project. The tools and materials with which designers make their drawings have always been in a state of evolution and the capacities of particular media have, inevitably, had an impact on the way designers ‘see’ their ideas and influenced how they, and others, appraise them. It is comparatively recently that the sedate evolution of the pencil, pen and felt tip has been abruptly and fundamentally interrupted. 10 Introduction The impact of the computer There is still some disagreement about whether images their point of view, commercially successful options. produced by computer can be described as ‘drawings’ at While the extravagant claims of the early supporters of all. Those who harbour doubts have a visceral feeling that computers – that the machines would take over the creative a drawing is something that must be made by the hand process – have gone unrealized, and are likely to remain so, and that the communion of hand, eye and intellect has a the, only slightly, more modest reality is that they have had power which offers the only true road to visual creativity. a fundamental impact on how people now engage with There is a sentimental presumption that drawing by the process of creating interiors. Qualities that are essential hand represents a more ‘artistic’ activity than drawing by in the making of a good interior – lighting, colour, texture, computer, but this is an argument usually put forward by transparency and reflectivity – are all extremely difficult, those with a vested interest in their own well-developed some nearly impossible, to represent with traditional manual and polished drafting skills. It also denies the evidence of techniques. However, using computers it is comparatively history. The pencil on paper is an improvement on the stick simple to represent these essentials with a great – sometimes that scratched lines in the mud and sand, and on the quill unsettling – degree of realism. Designers trained, and that dripped ink onto parchment. It made possible a better variously adept, in the use of manual techniques have been standard of drawing and added to the capacity of those reluctantly compelled to acknowledge that the computer making drawings to express themselves more effectively. does those jobs better than they ever could. The fears that The computer does the same, but even more dramatically. computer imaging would force uniformity of visualizing, The computer, although it has only been widely used and of the consequent built output, have been allayed by in the field of interior design for little more than ten years, the evidence. The new medium has added to the creative has become the drawing tool of choice - because it is the palette, enabling rather than stifling creativity and diversity. most effective instrument available to support the practice It is possible to make both good and bad drawings of interior design, and the material it produces is inherently by either hand or computer. Merit is the result of refined compatible with the new and ubiquitous digital mechanisms technique and taste. A critical eye, rather than the computer of global communication. It is becoming progressively or the hand, is what makes a drawing good. While the more easy to use, and such development is likely to fear that all drawings made on computer and all interiors continue as long as producers of hardwares and softwares built from them would look the same has therefore been compete to offer more user-friendly – and, therefore, from dispatched, but there is a generic look to computer-generated Left The computer has now become the drawing tool of choice for interior designers.

See more

The list of books you might like

Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.