CH. 1 DRAFTING AND THE DESIGN PROCESS
In this chapter, I learned that drafting is "the art of putting ideas to paper in picture form to explain ideas and create instructions" (Cline 2). I also learned what BIM, ASID, CIDA, and USGBC stand for. Additionally, I learned the stages that make up the Design Process, which include programming, schematic design, design development, construction documentation, and contract administration.
CH. 2 TOOLS, SCALES, AND MEDIA
In this chapter, I learned that the minimum size of a drafting table is 2 x 3 feet. I also learned that an architect's scale "enables a drafter to draw large objects on a small sheet of paper while remaining proportionally accurate" (Cline 21). Further, I learned how to properly write using architectural notation. For example, five feet is written as 5'0".
WEEK 2 CH 2 CHING: TONE AND TEXTURE
In this chapter, I read about how light affects color, shape, edges, size, contour, and movement (Ching 40). I learned that every color has its own tonal value, meaning two colors could have the same hue, but one will be lighter in value than the other. Further, I learned that there are a few different ways to represent value when drawing. For example, you can hatch, crosshatch, scribble, and stipple. The spacing, texture, density and direction all affect how light or dark the value will be (Ching 42). I also learned how to create a value scale, which will be pictured in my studio 1 blog post. When drawing 3D objects, it is important to note where the light source is coming from, so you can correctly draw the light and dark spots on the object. For example, if the light is coming from the left, then the left side of the object will be the lightest; whereas, the right side of the object will be the darkest and have shadows (Ching 50-55). Moreover, when drawing realistically, you must be able to effectively draw physical and visual texture and understand the difference between the two. Physical texture is texture that you can touch. Visual texture is texture that you can see.
WEEK 3 CH 3 CHING: FORM AND STRUCTURE
In the chapter, obviously I learned about form and structure. However, I also learned about analytical drawings, proportion, and building on geometry. I learned that form refers "to internal structure and external outline", including mass and volume (Ching 66). Analytical drawing is not for everyone. It is about starting with the whole and then working your way down to the details. I'd rather draw each part because it is easier for me to see and draw things that way. However, analytical drawing is good for learning the ins and the outs of an object. Additionally, I learned that proportion is "the comparative relation of one part to another part or to the whole" (Ching 72). It is all about ratio, balance, and the artists' ability to gauge distance and break down each part to create a whole. Further, I learned that analytical drawing is all about building on geometry. This means that if you draw a chair, first you are going to draw a cube for the chair to go in. This method of building on geometry to help train the eye to simply objects and to be able to recognize familiar shapes. To do this, you can either use additive or subtractive methods. This depends on the object you want to draw (Ching 76-77). This chapter helped me further understand analytical drawing as I did not understand before.
WEEK 4 CH 4 CHING: SPACE AND DEPTH
In this chapter, there was a lot of information. I learned about space, depth cues, building a drawing, composing a view, establishing structure, scale, human scale, layering tonal values, adding details, drawing on location, personal approaches, and thinking on paper. I was really interested in the sections of depth cues, composing a view, layering tonal values and thinking on paper...
WEEK 4 CH 5 DOYLE: SCALE ELEMENTS: FIGURES AND AUTOMOBILES
In this chapter, ... blah
WEEK BLAH CH 1 DOYLE: INITIAL CONSIDERATIONS
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WEEK BLAH CH 2 DOYLE: MEDIA AND PAPER
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