INT270SEK

  Texture When it comes to hand rendering, especially interior spaces, it is critical to display the correct texture of a surface or object. Without this, all surface and objects can easily be portrayed as solid and smooth when, however, that is not always the case. Learning how to resemble different textures with different mediums and techniques is as equally vital for an interior designer. Texture with Pencil When drawing with pencil it is best to keep your hand light and hold your pencil a bit further from the tip than usual. Pencil allows an artist to build value and complexity within a drawing over time. The more times you go over something, obviously, the darker it will become – with pencils. Take windows, for instance, and how adding details creates interest within these features. Due to the fact that pencil is the chosen medium, it is good to understand that there is considerable variation in the tonal values, especially within the windowpanes. Also note that the sunl...

  Perception of Spatial Relationships Everyone’s perspective is different from their neighbors; however, their perspectives can be altered when presented with a stronger alternative. The way one views something is largely dependent on how the thing is being communicated and what sort of things stand out. This week’s reading touched a few things, two of which included the different ways in which to layout your perspective and the significance of proportion in a perspective. Architectural Perspectives The two most common ways to layout your perspective is the freehand/estimated method and the common method. The freehand method is traditionally quicker and requires less details – floor plans, elevation, or sections. On the other hand, the common method is the most accurate because of its inclusion of a floor plan, section, and/or elevation. Perspective is critical in interior design and focuses on three of them: one-point perspective, two-point perspective, and three-point pers...

Perception of Light and Shadow This skill is very important because it allows an artist to make objects and space look three-dimensional with the use of “shading.” Value is understood as darkness and brightness, and it is key to observe the differences in tones of light and dark within whatever space you are drawing. Pale, light tones are said to be “high” in value and dark tones are “low” in value. Value, Light, and Shadow The conversion from color to a different shade of gray is called value, therefore, every color has value. Both shadow and value are sued by designers to act as the basis for making any rendering look realistic. Without these values, a drawing has no depth or basic three-dimensional form. The objects would appear flat and uninteresting. A highlight is known as the brightest light and appears where light form the source falls most directly on the object. A cast shadow is when an object blocks light rays and creates the darkest shadow. On the other hand, a cre...

  Perception of Spaces and Color Theorists This week we understand the perception of color and spaces as they are and appear to be around us. Isaac Newton discovered that as a ray of white light passes and is refracted (bent) through a prism, it is broken down into spectral hues (red, orange, yellow, green, blue, indigo, and violet). Today, we know these as the 3 primary colors and 4 secondary colors.  Moses Harris In addition to Newton, Moses Harris assessed that red, yellow, and blue were the primary, or primitive, colors. He went on to confirm that a mixture of two primary colors creates a secondary color (orange, green, and violet), and when you mix a secondary color with a primary color you got a tertiary color (red-orange, yellow-orange, yellow-green, blue green, blue-violet, and red violet). Unlike Newton's wheel, however, Harris' wheel was divided into eighteen equal parts that are further graded by value, light to dark.  Johann Wolfgang Von Goethe One of the firs...