Rendering in Pen and Ink: The Classic Book On Pen and Ink Techniques for Artists, Illustrators, Architects, and Designers
Рендеринг пером и тушью. Классическая книга о технике пера и туши для художников, иллюстраторов, архитекторов и дизайнеров
Год выпуска: 1997
Автор: Arthur L. Guptill
Жанр: Рисунок, графический дизайн
Язык: Английский
Издательство: Watson-Guptill Publications
ISBN: 978-0-8230-4529-7, eBook ISBN: 978-0-307-83188-0
Формат: EPUB/PDF
Качество: Издательский макет (e-book) / Отсканированные страницы + OCR
Количество страниц: 256
Интерактивное оглавление: Да/Нет
Описание:
Классическая книга Артура Л. Гуптилла «Рендеринг пером и чернилами» долгое время считалась наиболее полной книгой, когда-либо опубликованной на тему рисования тушью. Эта книга призвана порадовать и научить любого, кто рисует пером и тушью, от профессионального художника до любителя. Она представляет особый интерес для архитекторов, дизайнеров интерьеров, ландшафтных архитекторов, промышленных дизайнеров, иллюстраторов и рендереров.
Содержание включает обзор материалов и инструментов рендеринга; работа с ручкой и построение тонов; стоимостные исследования; виды набросков и их использование; рисование предметов в светотени; обработка групп объектов; основные принципы композиции; использование фотографий, изучение творчества известных художников; зарисовка на месте; изображение деревьев и других особенностей ландшафта; прорисовка архитектурных деталей; методы архитектурной визуализации; рассмотрение выдающихся образцов архитектурной визуализации; решение перспективных и других проблем рендеринга; обработка интерьеров и их аксессуаров; и, наконец, специальные приемы работы с пером, в том числе использование его в сочетании с другими средствами.
Книга богато иллюстрирована более чем 300 рисунками, среди которых работы известных иллюстраторов и художников-иллюстраторов архитектурных предметов, таких как Рокуэлл Кент, Чарльз Дана Гибсон, Джеймс Монтгомери Флэгг, Уилли Погани, Реджинальд Бёрч, Гарри Кларк, Эдвард Пенфилд, Джозеф Клемент Колл, Ф.Л. Григгс, Сэмюэл В. Чемберлен, Луи К. Розенберг, Джон Флойд Юэлл, Честер Б. Прайс, Роберт Локвуд, Эрнест К. Пейшотто, Гарри К. Уилкинсон, Бертрам Гросвенор Гудхью и Берч Бердетт Лонг. Лучше всего Артур Гуптилл обогащает текст собственными рисунками.
Description
Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing. This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers.
Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media.
The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.
Содержание (Contents)
Cover
Title Page
Copyright
Editor’s Note
List of Artists Represented
1. SOME INTRODUCTORY CONSIDERATIONS
Popularity of Pen Drawing
Limitations of Other Media
Limitations of the Pen
Developing a Personal Technique
Commercial Applications
Other Observations
2. MATERIALS AND TOOLS
Quill and Reed Pens
Metal Pens
Penholders
Penwiper
Ink
Papers
Drawing Board
Thumbtacks
Pencils
Ruler
Erasers
Knife
Erasing Shield
Brush or Cloth
Blotting Paper
Bottle Holders
3. FIRST EXERCISES IN PEN HANDLING
Take Your Time
Tools for Your Practice
Setting Up
Holding the Pen
The First Even Lines
Helpful Exercises
Now Vary the Pressure
Curved Lines
4. PRACTICE IN TONE BUILDING
First Study These Examples
Building Tones with Straight Lines
Drawing Tones Freely
Combining Lines
Creating Special Tones
5. ELEMENTARY STEPS IN VALUE STUDY
Obtaining Values in Pen Drawing
Making Value Scales
Building Gray Values
Grading Tones
6. KINDS OF OUTLINE AND THEIR USES
Types of Outline Drawing
A Word for the Draftsman
Accented Outline
Objects in Outline
Objects in Accented Outline
How to Proceed with Outline Drawing
Architecture in Outline
Studying Other Examples of Outline Work
7. FIRST THOUGHTS ON LIGHT AND SHADE
Observation and Analysis of Form
First Select a Simple Object
Reversing Nature
Two Categories for Objects
Study These Principles Closely
8. STARTING TO DRAW IN LIGHT AND SHADE
Working Space
Lighting
Object Stand
Other Equipment
Selecting the Subject
Analyzing the Subject
Drawing the Subject
Tests
Thumb Measurement
Value Studies
Inking
Technique
A Practical Problem
Relating Form to Line Direction
More Practice
Table Line
Margin Line
Further Study of Straight Line Work
Rounded Shapes
Memory Sketches
Textures
Color
9. DRAWING GROUPS OF OBJECTS
Selecting Objects
Composing the Objects
Viewfinder
The Triangle in Composition
Other Compositions
Holding Your Position
A Warning to the Teacher
Value Study
Analyzing a Value Study
Finishing Up
Vary the Subjects
Stylized or Decorative Work
Balancing the Lights and Darks
More Practice in Object Drawing
List of Objects Suitable for Drawing
10. BASIC PRINCIPLES OF COMPOSITION
Why Learn These Principles?
What is Composition?
Fulfilling the Purpose
Selecting the Subject
Unity
Balance
Center of Interest
Achieving Emphasis with Light and Shade
Achieving Emphasis with Details
Achieving Emphasis with Contrasts
11. DRAWING FROM PHOTOGRAPHS
Selecting the Photograph
Study the Values
The Pen Work
A Simple Demonstration
Another Demonstration
Cropping the Photograph
Recomposing the Photograph
12. STUDYING WORK BY OTHER ARTISTS
The Ethics of Copying
Profiting without Imitating
Looking Beyond Technique
Early Errors
Rosenberg and Booth: Two Extremes
Griggs: Tonal Control
Peixotto: Delicacy of Treatment
Kent: Boldness of Treatment
Neill: The Imaginative Drawing
Flanagan: The Shaped Drawing
Gibson, Flagg, and Grant: Masters of Technique
Penfield: Solid Blacks
Clarke: Decorative Treatment
Birch: Free Line Work
Coll: Elegant Line Work
13. SKETCHING OUTDOORS
Outdoor Work with the Pen
Selecting the Subject
Using the Viewfinder
Composing the Subject
Lighting and the More Finished Drawing
Advice to the Architectural Student
Practical Uses of Outdoor Sketching
14. TREES AND OTHER LANDSCAPE FEATURES
The Importance of This Study
Learn About Trees
Selecting the Subject
Analyzing the Subject
Contours or Silhouettes
Values
Proper Techniques
Don’t Overlook the Shadows
Shadows Expressing Form
Groups of Trees
Studying Tree Skeletons
Continuing the Study
Trees in Motion
15. DRAWING BUILDING DETAILS
A Word to the Architect
Starting with Building Details
Stonework
Brickwork
Stucco or Concrete
Clapboards
Shingles
Roof Indications
Cornices and Eaves
Chimneys
Shadows
Windows
Doors
Miscellaneous Details
16. ARCHITECTURAL RENDERING METHODS
The Function of Architectural Renderings
The Initial Perspective Drawing
Planning the Rendering
Determining Direction of Light
Determining the Key
Obtaining the Values
Arranging Values
The Final Check
Concerning Pen Technique
17. RENDERING THE COMPLETE BUILDING
Arranging Values
Try It on Your Own
Learning from the Work of Other Artists
Rosenberg: Economy of Means
Yewell: Using Darks for Contrast
Lewis: Controlling Complex Line Work
Powers: Versatility in Handling
Price: Darks for Brilliance
Keally: Technique with a Purpose
Bearse: Presenting the Architectural Concept
di Nardo and Dise: Emphasis on Architecture
Long: Air and Sunshine
Williamson: Decorative Rendering
McSweeney: Using the White Paper
Designing Additional Plans
Drawing Actual Structures
Nonresidential Buildings
18. THE LARGER ARCHITECTURAL PROBLEM
Placing the Station Point
Eye Level or Horizon Line
Planning Ahead
Accessories
Balancing the Lights and Darks
Rendering Technique
Lockwood: Renderings Freely Drawn
King: Preliminary Studies
Eppinghousen: The Formal Subject
Goodhue: The Complex Subject
Wilkinson: The Elaborate Subject
Peixotto: Simplifying Detail
Bosworth and Ring: Two Examples of Detailed Renderings
19. INTERIORS AND THEIR ACCESSORIES
Study Interior Items
Exteriors vs. Interiors: Light and Shade
Exteriors vs. Interiors: Accessories
Exteriors vs. Interiors: Textures
Exteriors vs. Interiors: Perspective
Draw Individual Pieces of Furniture
Now Draw Groups of Furniture
The Sketchy Treatment
Natural Values
Distributing Areas of Interest
The Sketch
The Elevation
Pen and Wash
20. SPECIAL METHODS
Using the Brush Like the Pen
Brush Combined with Pen
Other Uses of Black
Split-Hair Brush Work
Dry Brush
Pen and Gray Wash
Pen and Pencil
Spatter and Stipple
Using Color
Colored Inks
First Attempts in Color
Setting Up Your Materials
Some General Procedures in Color
Watercolor Used Like Ink
Other Colored Media
Tinted Papers
Gallery
Примеры страниц (Samples)
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