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Do not try to show too much information. The buildings in the distance are framed by the overhang drawing shortcuts jim leggitt download the foreground building. Jim Leggitt drawing. Many people develop the discipline жмите making observation sketches and design notes in journals; these then become ongoing records of their creative process.

Drawing shortcuts jim leggitt download


I developed my drawing skills with one of these early s kits and recently found an original set on eBay. Jim Leggitt in his early twenties. A page from the Rhode Island School of Design yearbook, this drawing compared the architectural graduate Jim Leggitt with the stereotypical architect of earlier times.

Jim Leggitt drawing. Coloring a series of drawings in my home studio. Keep developing your drawing skills. A group of designers getting back to the basics with markers and trace during a recent drawing workshop.

Teach drawing to others. An urban planner giving a local school kid a few marker tips on coloring site plans. Quick visualization. Sketching during a community planning workshop. Having fun drawing.

Architects team up on a large drawing during a visualization workshop. Scott Fitzgerald This book project could never have materialized without the support of family, friends, and an army of professional colleagues working behind the scenes to review, critique, and guide the process. My front line of inspiration and encouragement is my wife Janice, who has elevated the definition of patience and support.

I thank my children Hunter, Gretchen, and Kelsey for giving me the space and time to work. My wonderful copy editors Frances Kruger and Joyce McDonald were imaginative and always offering new ideas. Most of the drawings in this book were produced for architectural and urban planning purposes. Scores of individuals have generously offered their time and expertise during all phases of this project. For the Second Edition I am indebted to a special team of professional visualists who have contributed many of the drawings seen in this new edition.

Their creative talent, passion for drawing, and support of this book project show in their beautiful images and words. Over twenty-five individuals have generously offered to have their drawings published in Drawing Shortcuts, and their contributions have resulted in an extraordinary collection representing diverse techniques, media, and experiences.

I wish I could have offered you more pages in the book to tell your incredible stories and reveal more of your drawings! It spells the difference between mediocrity and accomplishment. Good old-fashioned hand drawing, however, has suffered. No computer rendering can communicate emotion and character the way a real drawing can, but many of us have lost—or never developed—the ability to draw by hand.

This book shows that you can have the best of both worlds. You can put technology to work for you, creating accurate, computerized perspective backgrounds to use in drawings, employing photographs as the basis for illustrations, exploiting the amazing possibilities of digital manipulation, combining hand-drawing techniques with computer imaging, and discovering the right tools and techniques to make your design process faster and your drawings more effective. By utilizing technology on your own terms, you can improve your drawing skills and even bring back the magic of drawing in the process.

Overcoming Obstacles This book is about putting your design ideas on paper so that others can see what you envision. In this age of computers, being able to capture creative ideas in the form of confident, believable hand drawings and sketches is very important. However, there are often barriers between creative ideas and the development of drawings to communicate them.

The most common obstacles are fear of drawing, overreliance on technology, lack of training and practice, low self-confidence, and a shortage of time. Overcoming these hindrances to creativity can seem like trying to cross a bottomless abyss, but the next eight chapters will show you how to make the leap. The Creative Artist in You Everyone is born with the ability to communicate ideas by drawing objects, symbols, and patterns. Simplicity, emotion, character, speed, effectiveness, and ease of drawing are what this book is all about.

Kids can do it, students in my drawing seminars can do it—and so can you! The book attempts to address and answer some common questions about drawing such as: What kind of drawing should I create?

What should I draw with? How do I add color? How do I draw specific items, such as people and trees? What are my technical options? How do I combine traditional drawing with digital imaging? The book is organized into three primary sections, starting with chapters that offer traditional handdrawing topics and concluding with nontraditional or computer-generated imaging featuring some of the best visual artists in the profession.

Chapter One: Traditional Drawing Types is a basic overview of traditional hand-drawing types, from sketchbook drawings to sophisticated presentation drawings.

Chapter Two: Drawing Composition explores drawing proportions, organization, and information about the three different types of perspective and paraline drawings. Chapter Three: Traditional Drawing Tools is an in-depth exploration of drawing materials, with a specific focus on drawing with pens and graphite pencils. Chapter Four: Traditional Coloring Tools focuses on specific coloring options and covers how to combine different medias.

Chapter Five: Traditional Entourage Drawing features the most important entourage elements, each of which is explored in detail. This how-to chapter will help you develop confidence in illustrating people, landscaping, and other items. Chapter Seven: Tradigital Drawing identifies and explains various ways of combining hand drawing with computer imaging, from the simple to the complex. Chapter Eight: Drawing Gallery features seven visualists from around the country who share examples of their work and explain their visualization process.

Client Expectations Trends in design visualization have significantly changed since the s. Clients once paid large sums of money for beautifully crafted perspective drawings of their unbuilt projects, and then framed and hung them in conference rooms. Today, design and construction schedules are very demanding, budgets extremely tight, and design changes so frequent that investing in a detailed perspective drawing too early in the process is usually seen as an unaffordable risk.

Many time- and costconscious clients are asking for quickly generated, inexpensive drawings for the early visioning and promotion of projects. Telecommunications and the Internet have created a new virtual business environment for designers, with client teams spread over several continents. Meetings are now held via teleconferencing and presentations are e-mailed or uploaded to Web sites. The drawings and visual material you create for one client may be entirely different from those you generate for another client.

Even television commercials, reflecting the fast pace at which we live, show multitasking individuals always trying to accomplish more in less time. Expectations at home, in school, and in business are more demanding than they were years ago. With all this speedy communications and computer technology at our fingertips, we are being pressured to produce more in less time.

The creative process and design communication are not immune. Tighter Budgets, Thinner Wallets There is never enough money, of course, but lack of money should not be an excuse for communicating your ideas poorly.

Remember, children can tell fabulous stories with just newsprint and poster paint! There are many ways to create drawings that do not require expensive markers, technical pens, or exotic materials. You can even document your work economically, using high-resolution scans and digital photographs.

A portfolio made up of quality color ink-jet prints and computer-generated graphics costs a fraction of what producing color photographs and typesetting cost decades ago. Drawing versus Computer Skills Developing Character in Your Drawing Hand-generated drawings offer what computer-generated images often lack: character, personality, imperfection, and an authentic, one-of-a-kind quality.

Traditional imaging can only be found—so far—in drawings done by hand. The time and money you invest in a project can be controlled by several strategic decisions made at the onset of the visualization process.

Determine how large your drawing size will be. Understand what drawing entourage will be used to communicate the overall character and emotion of your image. Be aware of your drawing speed in order to manage your time, and pick the right drawing tools for the project. Successful management of these variables will maximize your visualization effort with the most efficient use of your resources.

The Computing Lifestyle Technology is rapidly improving our lives and only getting better. The average fifteen-year-old spends more time in front of a computer monitor and texting friends than watching TV.

Some can do all three simultaneously—even while doing homework! By the time they graduate from college, most architecture and graphic design students have learned computer skills that rival those of experienced professionals.

Computers are wonderful tools, and everyone should use them for all they are capable of producing. At the same time, we need to be careful not to lose sight of our individual creativity, imagination, and visual communication skills.

Perhaps they simply are not being offered traditional drawing courses or encouraged to develop their drawing skills. Many people are scared to draw, fearing disastrous results and failure: The people I draw look awful. My cars look like shoe boxes. Sound familiar? You could probably add a few of your own to this list! Solving the High-Tech Gap When 3-D computer modeling became popular in architectural offices and universities in the s, traditional methods of design visualization began to disappear from the practice of design.

Young designers entering the profession were quite proficient with 3-D modeling software, Photoshop, and other computer-based visualization techniques but knew little about the traditional visualization techniques that once dominated the pre-computer era.

On the other hand, many experienced architects skilled in hand drawing and sketching techniques now in leadership positions at design firms have never had the opportunity or time to learn basic software packages or to keep up with the confusing stream of upgrades to them required to excel in computer visualization. Designers positioned between the two groups were the first to take notice and begin searching for ways to integrate the two extremes.

They discovered new methods that merge traditional drawing techniques with high-tech digital tools. Hybrid visualizations began to appear in presentations. Clients, once quite impressed by computer-generated renderings, became dissatisfied with the ho-hum technical precision of those images and began demanding visualizations with more authenticity—and a more human quality.

Computers have become so fast and efficient that many clients believe that a computer generated 3D rendering takes only a short time to create—and that original drawings and sketches created by hand take much longer.

In fact, the inverse is true! In this rapidly changing business, with its shorter deadlines and ever-decreasing fees, architects and designers are discovering that quick sketches and hand drawings integrated with computer-generated 3-D models are quite efficacious for communicating ideas.

These new hybrid drawings combine the defendable accuracy of 3-D digital imaging with the rich character and human qualities of traditional hand drawings. Best of all, this composite visualization process, called tradigital drawing, incorporates a wide variety of visualization techniques that are quick to produce, popular with clients, and extremely easy to create. The New Hybrid Visualization Tradigital drawings are visualizations generated by a process that intentionally combines traditional hand-drawing techniques with computer-generated 3-D digital modeling and 2-D manipulation to produce visual images that have the hand craftsmanship of traditional drawings and the technical accuracy of computer information.

The 3-D computer model establishes the accurate physical image, shadowing, and perspective view, while the added hand-drawn information provides personality and spirit.

This combination is ideal for rapidly generating visual ideas that subsequently form the basis for more sophisticated renderings. Tradigital images fall into three basic variations—overlay and trace drawings, simple composite drawings, and advanced composite drawings—each with differing percentages of hand delineation.

The process of combining hand drawing with computer imaging has existed since the first serious computer wireframes were built in the early s. But only recently, with the evolution of digital imaging, communication, and delivery systems, has there been a successful integration of paper and pixels.

This new hybrid visualization approach has energized the design process and allowed designers to express their creativity in ways that were not possible until recently.

Improvise and Experiment Erase Your Drawing Fears The right drawing shortcuts and design tips can eliminate almost any excuse for not drawing. Communicating design ideas with drawings is actually easier than it was a decade ago because of the cameras, computer hardware, and software now available at affordable prices.

High-resolution digital cameras are loaded with options and easy to use. Digital photo printing is available in almost every grocery store—and on your inexpensive home printer. In fact, photography is one of the best drawing shortcuts you could ever learn. No computer program can replicate the wonderful character of a hand drawing, although some new digital imaging software is closing the gap. Basic 3-D computer programs allow you to construct perspective views of buildings and transform the once mechanical linework into a series of squiggly lines that make the drawing appear to have been done by hand.

But you can also use computergenerated images as templates for hand drawings, complete with character and emotion. Your communication skills and hand-drawing options are infinitely expanded by computers. A Three-Step Program Every drawing is a three-step process. First, you must gather the data, or visual information, that you need. Then you construct the perspective and the basic framework of the drawing.

Remember coloring books? Once you know how to quickly collect data and accurately construct the framework of a drawing, all that remains is the fun of illustrating the final drawing. A roomful of kids coloring the exact same page of a lesson book will generate a wide range of unique results. But although the results are different, the basic information— or data—in each drawing is the same.

Similarly, the data you use to construct a drawing should be as accurate as possible. Technology lends itself beautifully to this task.

Computers can construct perspectives, cameras can record detailed information, and printers and plotters can commit all sorts of data to paper. You Are in the Drawing Seat Experiment with your own drawing identity.

You may have a natural talent for pencil drawing, but never feel comfortable with ink. Try using minimal detail and no color on your next drawing. Practice several different line styles drawn at different speeds.

Give yourself half a day and see what kind of drawing you come up with. Then try again in just half the time. Remember to play to your drawing strengths and develop the parts of the drawing that are the most exciting to you. Have some fun! It is all in your attitude—once you know some good shortcuts and quick tips. Make the Best of What Is Available This book covers the basics of doing your best drawings with limited resources. Take a good look around your home, school, office, art supply store, and town.

What basic drawing materials are locally available or quick to ship from suppliers found on the Internet? What reprographic services are nearby? What software do you have access to? Make your drawing decisions based on the tools and services you have at hand. Visualizing a church campus. An architect reviews several aerial perspectives during a concept design workshop for a new church In Victorville, California. Have an in-house drawing session.

Organize a drawing workshop and practice some basic drawing techniques using different papers, pens, pencils, and markers. Drawing review at a design school.

Many collegiate design programs offer drawing courses In which students learn many options for visualizing their design concepts. Mixing medias. This drawing by Memphis, Tennessee, architect Ray Brown illustrates the technique of combining a pen-and-ink line drawing with markers and colored pencils. Other drawings by Ray are shown in Figs. Eye-level concept drawing. Improve your skills by observing how others draw.

You can learn valuable techniques by studying how others draw, as shown in this photograph of a drawing workshop with Self Tucker Architects in Memphis, Tennessee. Limit the size of your drawing. Thumbnail sketch of retail streetscape. Presentation rendering. The client requested a photographic-quality rendering of the scene at right; it was created using Autodesk 3ds Max and Adobe Photoshop. Total time: four days.

Drawing by John Moon. Total time: 4 hours. Hotel lobby drawing. The architect provided an undeveloped 3-D computer wireframe 1 for the base of this drawing. This must still be done by hand and from the heart. In this case, the model became the framework upon which a more elaborate and convincing image was built. At that size, architectural decisions could be inferred or deferred.

Pencil mock-up on Mylar 2 ; final drawing traced from a light table on Bristol paper, digitally printed, and colored with Prismacolor pencils 3. Drawings by Chris Grubbs. Tradigital drawing of a resort hotel. This image was generated from a combination of computer modeling and hand drawing. Step 1. The building was modeled quickly with Google SketchUp, with basic massing and very little detail top left.

Color on the model differentiates individual components of the building massing. Step 2. The building detail was hand drawn in pencil on trace over the SketchUp base view. The pencil drawing was then scanned at dpi. Step 3. The 3-D SketchUp model view and the pencil drawing were combined in Photoshop and then plotted in color onto coated paper.

Step 4. Additional linework was added with a rolling-ball pen, and color was applied with Chartpak AD markers and Prismacolor pencils. The final drawing was scanned in color at dpi; an enlarged version was plotted and presented to the client. Neighborhood retail center. This eye-level view was one of several chosen from a large SketchUp model Fig.

The basic layout was then sketched over loosely to add further detail before an overlay of pencil on trace was produced. The drawing was sized small so linework could be executed freehand and detail kept to a minimum. Architectural elements were drawn with straight edge; the entourage, freehand. The image was printed on lb bond paper and colored using Chartpak AD markers, starting with lightest colors first.

The final image was scanned at dpi and cleaned up in Photoshop. SketchUp model and drawing by Terry J. Leonard, aia. Computer model transformed into a drawing. This building model was created as a basic rendering in Form-Z. The image file was imported Into Photoshop, modified, and then brought into Corel Painter and rendered on a dual screen with the Brush tool.

Pressure applied to the stylus controlled light and dark tones. The final image appears to be an actual pencil drawing! Information gathering for a golf resort on Maui, Hawaii. Site reference photographs taken by Stanley Doctor, and 3-D AutoCAD files provided by the architects formed the basis for determining the optimum low-perspective angle.

Photographs by Stanley Doctor. Pencil drawing on trace. The drawing was developed with architectural and landscape elements, golf-related entourage, a dramatic low sun angle, and other material textures and patterns that emphasize building form and convey emotion and that l-want-to-be-there feeling. Drawing by Stanley Doctor Warmth and richness of tropical Hawaii.

Color was applied with a combination of airbrush for the sky and watercolor for the remaining image area. Rich colors were used, but their intensity, value, and hue were adjusted to communicate illumination and the feeling of a bright, sunlit afternoon. Drawing by Stanley Doctor. There is something very friendly about drawing on napkins. Next time you visit a restaurant with paper tablecloths or paper napkins, try your hand at drawing what you see around you. Tracing improvisation. This creative method of tracing an image was inspired by the s TV show Winky Dink and You, during which children traced images on a piece of vinyl taped to their TV screens.

This drawing shortcut was developed during a graduate drawing course. Yes, there is a sheet of clear acetate taped to the laptop screen! Any drawing is the result of a series of decisions one makes about the subject and how to communicate it. Consider the three steps of drawing: identify the subject information or drawing data, construct the drawing framework, and illustrate the final image.

Apply this process to creating a quick drawing in a sketchbook or developing a rendering for a design project. By breaking the drawing process down into a series of small but strategic choices, you will build confidence in your visualization skills and overcome the fear of drawing that so many designers experience.

Sketching One fundamental method of drawing is from direct observation. It is enjoyable to draw plein air, with a subject in front of you to study. But when there is no base information available, you can also sketch from your imagination. This takes some practice and confidence, but it is possible to produce great drawings without any references—cartoon illustrators do it every day.

Purchase a small sketchbook and carry it around with you. Get into the habit of sketching everyday scenes and design ideas for projects. Set aside time during vacations and business trips to sketch buildings or scenes Figs. Your drawings will become an unforgettable record of that place and time.

Three Visual Levels Throughout the design process, you can produce different types of drawings to communicate your creative ideas. Think in terms of three levels of visual product. Quickly drawn thumbnail sketches explore general design concepts and identify possible drawing views that can be developed in further detail.

Character sketches are often the most effective visuals produced during a design process. They are not time-consuming to construct and have enough detail and personality to effectively communicate your design intent. The highest level of visual product is the presentation drawing, which has more formal detail and intent. Remember, the most successful drawings may not be the largest, the most detailed, the most colorful, or the most difficult to create.

Drawing Framework A drawing without structure is like a body without bones. The most important decision you make concerns the composition of your drawing, which defines the geometry of the image and establishes the center of interest—the big idea. To best convey the three-dimensional characteristics of your design concept in a two-dimensional drawing, you need to determine whether a perspective view or paraline view is appropriate.

Windows are filled In black to contrast with the mullions. I created four smaller Images on one page to shorten the drawing time, as the people I was drawing were changing positions. Complex window patterns and white walls create an architectural texture that contrasts with the rough natural textures of the mountain above the town. Watercolor sets and sketch pads are available in small travel sizes. This watercolor sketch at Yellowstone National Park captures the architecture and surrounding landscape nicely.

Watercolor by Karin Pitman, aia, asla. These two small sketches were part of a series of annotated drawings made from different points of view for a series of renderings of a large master plan. This loosely delineated concept drawing was created from imagination, developed with a redline mock-up Fig. Finally, the image was colored with Chartpak AD markers on both sides of the vellum.

Sitting still will not be easy, but dedicate some time to sketching an interesting scene or building detail. Many people develop the discipline of making observation sketches and design notes in journals; these then become ongoing records of their creative process. Drawing from Real Life Take a sketchbook outside on a warm afternoon and start drawing. It will be a lot of fun and provide you with valuable drawing practice, which you can never have enough of. Organize a group of creative friends and go to an interesting place together to sketch for an afternoon.

Then do it again. Observation drawings are created simply by looking at your subject and drawing it, without using any tools other than your pencil or pen. The object you draw might be a view you want to capture in your sketchbook, an architectural model, or even a photograph that you use as reference.

Control Your Drawing Time and Size Observation drawings involve selective editing; you must control the amount of time you spend making the drawing as well as how much detail you put into its delineation. Give yourself a short time limit to sketch. Then compare your results with another drawing that took longer.

The comparison may surprise you. Author Jim Leggit’s processes combine computer technology with the more emotion-based, traditional, hand techniques to produce work worthy for presentations. Rather than take years to learn the shortcuts, this book allows readers to quickly stimulate spaces that tell a story.

This book is about putting your design ideas on paper for others to enjoy. Recent developments in computer rendering technology have put amazing new tools in the hands of designers. But for communicating emotion and character, there is simply no replacement for good old-fashioned hand drawing. Jim Leggitt’s Drawing Shortcuts gives you an ingeniously simple drawing approach that joins traditional hand-drawing techniques with the latest 2-D and 3-D digital technology.

In this new edition of his popular book, architect and teacher Jim Leggitt, FAIA, introduces you to the fundamentals of drawing—such as drawing types, media options, composition, color, shading, hatching, and perspective—and then explains how to incorporate the most current digital technologies into your work.

Whether you draw for pleasure or professionally, let Drawing Shortcuts, Second Edition show you how to utilize technology on your own terms—and communicate your designs with a timeless magic that’s all your own. There were two ‘how to draw’ programs being broadcast in Winky Dink and You and Jon Gnagy’s Learn to Draw gave Jim his first taste of a cutting-edge combination of technology and hand drawing while tracing televised drawings onto clear vinyl placed directly onto his black and white TV screen.

Fifty years later, Jim is now reintroducing Jon Gnagy’s passion for teaching traditional drawing techniques, but with 21st century digital technology, high-speed computers and 3D SketchUp models as tools to assist in the drawing process. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.

It also analyzed reviews to verify trustworthiness. The updated edition of a contemporary approach to merging traditional hand drawing methods with 2-dimensional and 3-dimensional digital visualization tools.

Easy-to-follow instructions cover every aspect from the basics of drawing? Overlay and Trace Method,? Simple Composite Method,? Advanced Composite Method,? Digital Hybrid Drawings? New matrices show alternative drawing techniques for specific visual effects such as Linework and Shading, Selecting the Right Views, Perspectives and Paraline Drawings, Drawing Detail, Camera Lenses, and Drawing Tools Generously enriched with detailed process drawings, examples, and more than full-color images, Drawing Shortcuts, Second Edition will have you creating top-quality drawings faster and more effectively.

Previous page. Sticky notes. On Kindle Scribe. Publication date. February 23, File size. See all details. Next page. Due to its large file size, this book may take longer to download. Fire Phones Fire Phone. About this ebook The updated edition of a contemporary approach to merging traditional hand drawing methods with 2-dimensional and 3-dimensional digital visualization tools.

Easy-to-follow instructions cover every aspect from the basics of drawing? Overlay and Trace Method,? Simple Composite Method,? Advanced Composite Method,? Digital Hybrid Drawings? New matrices show alternative drawing techniques for specific visual effects such as Linework and Shading, Selecting the Right Views, Perspectives and Paraline Drawings, Drawing Detail, Camera Lenses, and Drawing Tools Generously enriched with detailed process drawings, examples, and more than full-color images, Drawing Shortcuts, Second Edition will have you creating top-quality drawings faster and more effectively.

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Francis D. Now imagine looking at a single spot on the horizon line beyond the box. Visualize the most important information, simplify and outline the less important objects, and leave the unnecessary data out of the drawing. Take a good look around your home, school, office, art supply store, and town. The image was printed on lb bond paper and colored using Chartpak AD markers, starting with lightest colors first. School or office get well or good-bye cards are perfect applications for cartoon drawings, too.

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