Viz-Scape (Sample)

viz - scape doris j chang

S

www.viz-scape.com

viz - scape Seeing, Thinking, Communicating and Visualizing

doris J chang

www.viz-scape.com

CONTENTS

1

8-13

intro

Preface Background Viz-Scape’s Team

4

64-85

Color

Basics

Technique Line Weight Tones + Hatching 3D Shapes Light + Shadow

5

85-107

entourage

Color Theory Marker Basics Ink + Paper (Plan) Trees, Water, Pools, Texture (Perspective) Trees, Shrubs, Water

7

2

14-27

114-159

adobe

(Illustrator) Tools, Clipping Mask, Axonometric, Image Trace (Photoshop) Tools, Blending Mode Light+Shadow, Entourage, Brushes, Sky, Texture, Day+Night, Water, Collage Post Production, Color Adjustment, Fog

Texture + Material (Plan) Trees, Shrubs, Rocks (Perspective) Styles, Flowering, Human Figures, People Style Sky+Clouds, Shade Structure

8

160-167

style Visual Styles Style Development Trending Visualization

3

28-63

Design

Line Quality (Plans) Line Weight, Volume, Shadow (Elevation+Section) Lines, Construction (Perspective) Cone of Vision, Horizon Line, 1-3 Point, Stairs/Ramps, Reflection Tree Forms, Paving, Line Weight

6

108-113

Diagramming

9

Basics Site Analysis

168-177

extra Board Layout Visual Hierarchy Color + Font Save As...

Additional Tips

0 11

Welcome to Viz-Scape!

The goal of this book is to provide you with an engaging and artful experience, while providing you with the most stylistic approaches to visualization, both traditionally, and digitally, within landscape architecture. Created for students and anyone interested in the profession, Viz-Scape will be your handy copy of the most useful techniques to make your drawings and renderings come to life!

Incorporated with personable characters that will lead each chapter, Viz-Scape creates a fun approach to learning.

This book has a joint website at viz-scape.com that will further guide you through this artful journey. So what are you waiting for? Let’s start flipping!

INTRO

S

Preface

preface

10

Viz-Scape is a creative project that serves as instructional and inspirational visualization content for landscape architecture, showing students techniques to focus on and how to most efficiently create visuals for their projects. The goal is quick, engaging, illustrative, visual learning that is easy to understand and comprehend for students; and encourage readers and designers to sketch and develop their own graphic style.

This book includes graphic/visual standards, tutorials, guidelines, for the profession of landscape architecture, focused for students. It has a joint website at www.viz-scape.com which further provides tips, examples, tools, and resources for visualization, on a digital platform.

Specifically, Viz-Scape is a graphic language with easy-to-navigate steps, to create detailed drawings, sketches, renderings, digital design, diagrams, etc., that is in line with today’s styles and technology.

In this book, you will find inspirational sketches, entourage, cutouts of rendering steps, trending styles, and many more! Whether you’re a student interested in landscape architecture, or underclassmen within the major, Viz-Scape will be a handy resource for you to flip through throughout your design journey.

So what are you waiting for? Let’s start creating and visualizing!

background

In my experience as a landscape architecture student, it was difficult at first to visually represent my designs as accurately and creatively as it was in my head. I wasn’t able to find a good consolidation of resources that would help me in my design process. they were either digital heavy or only of traditional hand drawings.

As for the resources I was able to find, most aren’t very accomodating to students and the way we like to learn, which is quick and simple, to the point, and not lengthy in text. It was also not very up to date and modernized in terms of styles and representation of how it was taught.

Through these past few years, I was able to learn helpful techniques that I wish I knew early on to bring my ideas to life, and I thought this would be a great opportunity to showcase what I learned and discovered (both in studio and on my own) throughout my years as a landscape architecture student.

Thank you!

Hand Sketches

as a student, I’ve always been heavily interested in the graphic and visual representation of everything; and really loved the creative process of sketching, drafting, rendering and bringing the idea or concept to life with the beauty of demonstrating how powerful design details can bring our innovative ideas to life.

11

rya

Viz-Scap’s Team

artist Rya will guide you through all your sketching and diagramming needs!

12

skylar A color genius, skylar will instruct you on everything color, from theory to markers!

parker a recent grad, parker will help you discover trending styles and help you find your own!

viz-scape’s team

viz-scape’s team upperclassmen levi will present you with presentation tips, as well final board layout ideas!

benji

kiko

Illustrator benji will provide you with entourages and examples for you to incorporate in your desgns!

A computer enthusiast, kiko will demonstrate her favorite and most useful rendering techniques!

Viz-Scape’s Team

levi

13

RYA

1 22

BASICS

In order to sketch confidently and quickly, it is important to understand the fundamentals of drawing.

Each fundamental topic has a lot of information that should be learned by understanding and by practicing. What you understand when you picture a scene will affect how you draw, so you’ll want to spend time practicing and experimenting!

When it comes to drawing, the best thing you can do is start somewhere. In this chapter, we focus on improving the understanding of forms, 3D shapes, lines, and tones. These are very common principles, and every artist starts off with these basics somewhere. These fundamentals will serve as building blocks for almost every drawing, so don’t be afraid to go out with your sketchbook and start forming lines and shapes!

technique HAND FORMS

BROADER SHAPES Long lines are achieved by drawing with your whole arm and supporting your hand by sliding on your little finger.

CIRCULAR

Technique

SMALL DETAILS

STROKES Most used IN SKETCHING

16 RYA’s Tip LONG

You should hold your pen or pencil loosely when it comes to most drawings.

Always draw with a light hand; pull your pencil/pen rather than push it.

RYA’S Tip

Micron pens and brush pens are best for pen drawings.

While markers are best for shading and coloring in big parts. Larger pen sizes can produce quick and loose results, that’s

lineweights Use of different line weights serves well for defining depth planes, better clarity, and creating emphasis and contrast in a drawing.

Wooden Mechanical

pencil

fine Liner

felt tip small marker Brush tip marker

ink + Marker Each brand of pens have scale for measuring tip sizes and types. They are available from extra fine, to medium, wide, and brush tips.

Line Weights

Multi Liner

17

plane of light shadow

penumbra plane

plane of light

Light + Shadow

light + shadow 24

penumbra plane shadow plane of light Plane of Light -- most illuminated part of the object Penumbra Plane -- the in between area of the darkest and lightest.

Shadow -- the darkest area on the object.

Light + Shadow

STEP 1: Determine location of light source (from above, left or right) STEP 2: Plane of Light is transparent STEP 3: The Penumbra Plane is the closest side to the plane of light, and we fill this with a middle tone.

STEP 4: The most opposite side of the light source is the Shadow, fill it in the darkest.

plane of light shadow

Step 1. Determine the light source. Leave the plane of light blank

penumbra plane

step 2: nearest side is middle tone, and opposite side is darkest tone (shad

25

RYA

2 33

DESIGN

After understanding the fundamentals of drawing, we can take what we learned into landscape design and sketching!

In this chapter, we go more in depth on how to create renderings through traditional hand drawing means. Drawing and sketching remains an important part of the design process and is greatly valued in landscape architecture and other design professions. There are multiple instances where designers have to communicate their concepts or ideas with a sketch. We narrate in graphic forms and our ideas have to be put on paper through plans, elevations, sections, and perspectives. Knowing the basics behind these visuals will greatly benefit our design process.

This chapter will help you gain the confidence to hold a pencil and produce quick landscape sketches that are not only detailed and informative, but beautifully executed!

line expressions light

heavy relaxed

Line Expressions

RYA’s Tip

30

I like line expressions that are relaxed, flowy, and fast for structural drawings. And organic and lively lines for landscaping, such as trees and shrubs.

flowy fast organic

The effect of line weights can be drawn out with line expressions, creating different movements and forms. Each landscape architectural drawing has multiple line expressions, whether organic for trees, or fast for buildings, you will find these lines in most renderings.

hesitant hostile passive confident lively

line quality

RYA’s Tip

To test designs firsthand, you would use freehand lines to note some initial ideas. After a general design is illustrated, you can use trace to overlay it and refine it with a straight edge and darker pens/ markers.

Usually used at the start of a design process, these lines are imperfect and experimental.

These lines are often repeated and overlayed,due to the brainstorming aspect.

consistent lines As design progresses, forms and lines will be more consistent and mature. It can still appear sketchy, but this step is useful in showcasing various design iterations.

finalized lines

When a design is finalized, more attention and detail is applied.

Lines are straighter and cleaner, giving it a more finished look.

These sketches are then taken into CAD for even more precise work.

Line Quality

freehand lines

31

3A

PLANS PLANS

In landscape architecture, our designs generally relate to a greater context.

To understand the overall site, we often have to show plan views to illustrate information about trees, paving, buildings, and the surrounding forms. More often than not, our designs will always have to provide a plan view to inform viewers about everything within the construction. In plan view, trees, shrubs, buildings, will always have different types of symbols that is abstracted to mimic the real form.

PL A NS

Line Weight

correct! - important elements such as trees and building have stronger lines and create distinction from the rest.

36

RYA’s Tip

Shadows and line weights create focus on what you want to emphasize, making it easier for the viewer to read and navigate the design.

wrong! - emphasis ground plane and not focused elements

The tree plan symbol is known to be a volume and a sphere rather than a flat circle.

Therefore, it is important to illustrate the volume of a tree shape in plan view. With a light source, we can distinguish the overall shape and volume of a tree. We create tree volumes to contrast it from the surrounding

dark RYA’s Tip You should add more texture and foliage density towards the area furthest from light source, to suggest a tree sphere.

light

varying gradient styles

Tree Volume

tree volume 37

3B

ELEVATION+ SECTION

An elevation is an upright plane that is projected from a plan view. From a fixed position within the plan, the viewer will be able to look at the scene in their perspective, straight on. Elevations are useful in communicating information about building facades and vertical elements, which you can’t view in plans.

It is formed with a sight line that is cut through a plan, and everything behind the sight line is projected into a plane.

Choose elevation views that visually communicate what’s in your design the best. Symbols such as trees will become more realistically depicted in an elevation A section is similar to an elevation, but with a vertical cut through the whole land form. It is a cross section that portrays everything below the sight line as well.

They are graphically highlighted with a thicker and stronger outline.

ELEVA TIONS + SECT IONS

section cuts Section Cuts

A section is a vertical cut down a landforms or structure. We get a cross section when the area is cut through and separated. The viewer looks at this cut through at a 90 degree angle.

46

area viewed

changing levels

infilled cut area

You should cut through areas that will show the most context in the site design. Areas such as topography change and water bodies are great places.

Section Cuts

RYA’s Tip

47 When you show elements behind the cut line, it would be a section-elevation.

3C PERSPECTIVE

Perspective views offer even more of an in depth visual for your designs.

They provide more sensory and realistic depictions of spaces, as if the viewer is physically in them.

However, perspectives require a detailed understanding of geometry, horizons, etc., that can either make or break a design expression. There are 1-3 main types of perspectives that will be illustrated in this chapter.

It is important to understand the fundamentals behind vanishing points, horizon lines, and cone of visions to accurately construct perspectives!

PER SPEC TIVE

converge to vp

p

v to e erg nv o c

We see here how non parallel lines perform. Edges of the pathway, line of trees, and the interior lines of the structure appear smaller as they meet the vanishing point.

picture plane

1Point Perspective

viewer

vp

hl

56

1-point perspective

In a one point perspective, all lines parallel to the horizontal line remains parallel. Objects and lines will retain their forms but they appear smaller as they get closer to the vanishing point.

p tv ef ol t e erg v n co

ht

rig to e g ver n co

picture plane

RYA’s Tip To locate vanishing points in a perspective, project lines from elements and structures to each end of the scene.

2 Point Perspective

viewer

57

2-point perspective

In a two point perspective, the object of space is rotated in plan view and no plane is parallel to the picture plane. Vertical lines remain perpendicular to the horizontal line.

tree form

Tree Form

01.

Outline the main shape of desired tree.

03.

02.

Draw holes within the canopy and define roots.

Draw in indents and refine shape of tree’s crown.

04.

60

final tree drawing with leaves around

Draw visible branches that continues from the trunk.

tree volume

To express tree volume, create denser textures on the shady and bottom side of the tree, opposite of light source.

RYA’s Tip

I prefer to use simple trees in landscapes that focus more on the built forms, but adds an understanding of spatial layout. And use detailed trees in landscapes that focus on texture and greenery.

canopy.

in leaves 02.Draw 03.Add foliage and stroke texture.

the shadows.

When drawing trees in perspective, to make them more detailed, you should incorporate the tree’s specific shape and volume. To do this, create darker shading in areas that are deeper within the tree. These areas can peak through or within the edges of the tree that’s opposite of the light direction.

Tree Volume

01.Outline the tree

61

SKYLAR

3 44

COLOR Color within a design will always broaden the limitations behind an otherwise black and white drawing. Imagine trying to illustrate autumn texture and flowers in gray scale images! Adding color to your visuals will further bring it to life and define texture and foliage components.

Color will also bring character and personality to a landscape rendering, which will create better narratives about a design’s intention.

Understanding the basics of color properties can dramatically enhance and strengthen a design! In this chapter, examples and inspirational portrayals of coloring will guide you through your next coloring endeavor, whether marker or watercolor. Coloring will always be a fun and exciting process!

color theory

Color theory can be used for mixing color and combining to make color schemes.

COOL COLORS

Color Theory

Best for winter foliage, water, sky in a landscape drawing.

66

Best for autumn foliage, sun effects, flowering plants.

The color you choose on your designs will reflect your aesthetic, style, and emotion of the concept. Finding a color palette will be greatly beneficial for a continuing project, to reinforce as well as distinguish it.

WARM COLORS

Primary colors are red, blue, and yellow.

When you mix the primary colors, you get secondary colors, which are orange, green, and purple.

sky’s Tip

You don’t need to saturate your drawings 100%, but using it for accents, pops of color, and focus areas will be successful in illustrating your concept.

sky’s Tip

Complementary colors not only complement each other in a drawing, they can also be used as neutral tones when mixed together, to create brown shadow colors.

PRIMARY

complementary

Color that are opposite from each other.

SECONDARY

analogous

Color Theory

You can make any color with these colors!

You can combine these colors to create tertiary colors.

resources

Colors that are adjacent to each other.

COLORSPACE ADOBE COLOR COLOR HUNT COOLORS.

sky’s Tip Adding white to any color gives the drawing more of an atmospheric look and pushes the area further away in a scene.

67

marker basics I generally prefer using

chartpak

markers in all my concept plans and perspectives. After trying out all the different markers out there, I believe it’s the

fastest and most

effective medium for me! It can be

Marker Basics

used as watercolor or distinct marker styles. You can further illustrate your concepts by mixing in colored pencils, but I I generally only use ChartPak markers, as it provides enough detail.

70

marker colors 1) Evergreen: deep foliage, landscape shadows 2) Slate Green: ground cover, landscape foliage 3) Light Olive: bright foliage, accent color 4) Apple Green: brighter landscapes, grass 5) Grass Green: muted landscape, grass, foliage 6) Turquoise Green: water, glass, accents 7) Blueberry: dark sky, shadows, water, shadow 8) Purple Sage: accent, ornamental, flowering 9) Mocha: soil, wood, paving, clothes 10) Suntan: stone, paving, wood, stucco 11) Cadmium Red: accent, flowering 12) Peach: medium accent and flowering color 13) Flesh: light skin colors, red tones 14) Light Sand: muted sand, stucco, wood, bark 15) Cadmium Yellow: lighting, accent, sun 16) Cool Gray #7: dark shadows 17) Cool Gray #2: light shadows, pavement, glass

sky’s Tip I recommend the listed colors for general coloring on trace, that would work well throughout all landscape architectural color rendering.

prismacolor

My favorite!

copic

chartpak

ChartPak are solvent-based and comes with a wide range of colors, I use the 250 count and I use it in all my landscape color renders.

Prismacolors works as goos as ChartPak, but the range of colors are not preferred.

Copics are great as watercolor pens since they are alcohol based.

Marker Basics

marker pen

copic ciao

sky’s Tip The caps of ChartPak markers can come off pretty easily, and when it does, the ink dries quickly.

So I recommend screwing it back tightly!

71 sky’s Tip Markers can cause uneven strokes. To resolve this, apply color in continuous strokes and not in stops and starts.

trees in perspective light part leave blank

Trees inPerspective

dotted coloring (natural)

sky’s Tip

solid coloring (simple)

82

stroke coloring (abstract)

Notice how most coloring techniques have a gradual affect from dark to light.. I like to leave the lightest park blank to accentuate the trees in a landscape.

Dark to light!

01.

02.

03.

01.

02.

03.

02.

03.

Trees inPerspective

rounded stroke coloring

dotted coloring

01.

using markers to outline canopy

83

Accentuate branches by drawing them in white!

BENJI

4 55

ENTOURAG

Entourage can be examples of graphic symbols that are often used in plans, sections, and perspectives. Trees, shrubs, rocks, water, paving, skies, and structures will be shown as inspirational and instructional examples of graphics you can incorporate to populate your designs!

The examples mostly emphasize the principles behind quick and illustrative components within a landscape rendering.

These features can be used inter-changeably in sections and perspectives, and differentiated in plan view. First try to gain some ideas from these drawings, and then try altering the scales to incorporate into your designs. You can always try tracing the images to get a sense of its overall form, but practice will always make perfect!

simple

trees in plan

tropical

Tree Examples

benji’s Tip

90

I like to first create a circular shape on plan iterations, and according to the style, add onto the circle with more organic edges and details as desired.

In plans that have detailed surrounding context and under stories, I would choose simpler tree styles to not clash with the overall design. In designs that want a focus on trees and plants, choosing a more detailed tree style will bring attention to them.

trees have different forms based on the type of tree they are!

detailed tropical

woody

Tree Examples

coniferous

tropical

91 desert

human figures

Human Figures

Human figures can be an important component to your drawings! It will bring the landscape to life and create a scale visual for the viewer. Sometimes when a landscape feels empty, adding a few human figures in will make a drastic difference!

benji’s Tip When you draw figures that are up close, you can add more detail.

However, when they are further, distinct shapes that are outlines would work.

basic human figure

abstract figure

100

divided into parts

Human Figures

When drawing human figures quickly, I like drawing an oval, then creating distinct shoulders and bringing them down into a triangular form for its bottom half.

101

KIKO

6 77

ADOBE

As technologies and softwares advance, so does our ability to illustrate our designs in digital and 3D forms. Traditional and digital demonstrations of our design concepts can provide holistic depictions of our ideas onto paper or the screen. In this chapter, examples and techniques are provided for the digital representation of your landscape designs. Specifically, it shares the most useful techniques and steps I have discovered in my rendering experiences.

My favorite software to use when creating digital media is Adobe, and I believe the best post production visuals come from it.

Personally, I like developing basic models in 3D modeling softwares, and transferring it to Adobe to make it come to life. The chapter will highlight examples, explain details, and provide context on how to enhance your innovative ideas onto the digital platform.

7A

ILLUSTRATOR

Illustrator is a vector-bases program that is mostly used for icons, line work, diagramming, and graphic design applications. It allows you to create precise vector graphics that stay sharp when scaled larger or smaller. features include the pen tool, stroke and fill, line weights, shape creation and manipulation, coloring, typography, and many many more!

In this chapter, we will dive into the most used techniques I have come across as a student. These techniques have helped me in creating successful presentation boards, graphics, diagrams, and rendering components!

tools

selection

magic wand Pen type rectangle sharper tool rotate

Tool Bar

width shape builder mesh eyedropper

118

symbol

direct selection lasso Curvature pen line segment paintbrush eraser scale free transform perspective grid gradient blend graph

art board

slice

hand move

zoom

WHAT I MOSTLY USE

here are some of my most used illustrator tools! selection Selects, moves and transforms an object

Selects objects based on color and opacity Selects points and segments by dragging Creates and edits art boards

paint Creates vector brush strokes in calligraphy, textures, etc.

Edits multicolored mesh objects and shapes Edits gradient position, angle, radius, color, etc Takes and samples colors and type properties

cut + move Defines slice areas on a document Erases lines, shapes, and colors Moves the document in the window Changes how close or far your document is

drawing Draws paths that are curved or straight Adds an anchor point to line or shape that you adjust.

Delete anchor points Draws curvilinear lines Draws one straight line Draws squares and rectangles Draws ovals and circles Draws polygonal shapes Draws triangles and star shapes Freehand draws lines and shapes

kiko’s Tip

A few tools within illustrator can create a vast range of edits and designs. If shapes, paths, and lines are easier in illustrator, I would copy and paste into the different softwares.

Puts objects into different perspectives Combines objects

type

graph Creates column graphs

Creates and edits horizontal text Fills a shape with text Types on a created path Types text vertically

Creates bar graphs Creates line graphs Creates scatter graphs Creates pie charts

Tools

Selects objects by anchor points and segments

119

image trace Image trace will quickly turn your raster image into a vector base file with just a few clicks!

-look on viz-scape.com for

1) The default tracing is black and white, but you can use the image trace menu to change the palette, mode, color quantity, etc to your preference.

2) After you’re happy with the tracing result, select

Image Trace

‘expand’ in the top menu to convert the image into

124

vector shapes.

3) Right click > Ungroup This will release the tracing result into separate shapes.

You can then directly select each property to change the colors or effects. or You can use the direct select each property.

selection tool to

KIKO’s Tip

If you don’t want to use realistic cutouts in your drawings, this is a great way to quickly turn them into illustrations.

Before starting this tutorial, choose any cutout you like and place it in illustrator as a JPEG or PNG.

You can use this technique to create unique entourage in your renders. Add more detail to your entourage so it blends in nicely with your drawings!

3 colors

erase the background

default

silhouettes

shades of grey

outlines

Image Trace

change colors based on style

125

3 colors

6 colors

16 colors

high fidelity photo

7B

PHOTOSHOP

One of the most used softwares for me, Photoshop is what I gravitate towards when creating unique renderings and visuals! The features are endless , and with experience, you can transform any mundane graphic into a unique and exciting one.

You can enhance images, colors, fix up pictures, create illustrations and paintings, and even construct animations!

A raster based software, I like to treat photoshop like a digital canvas for me to manipulate, draw, paint, and enhance images. In this chapter, steps and techniques that I use to embellish my renderings are showcased.

light and shadow

Elements within a landscape have highlights and shadows, you can create the same look using the dodge and burn tool!

dodge

Lightens the area (highlights)

Darkens the area (shadows)

burn

-look on viz-scape.com for entourages, such as trees, you can use in your renders!

KIKO’s Tip Dodge and burn is a tool I always go for to create dimension, character, and naturalism in my renders! Use it around edges, middle areas, and areas to make it pop!

Light + Shadow

Shadows: Affects the dark areas Midtones: Changes the middle range of grays Highlights: Affects the light areas Exposure: Controls the intensity of tool

132

Light + Shadow

Works on ground cover too!

KIKO’s Tip

I mostly use mid tones for dodge and burns, set to at least 50% exposure. You can use this technique in almost any texture, plans and perspectives!

133

collage-ing my favorite technique to make a design illustrative and experimental!

You can create very interesting looking imagery with collages. Collages can either be created by breaking up the edges of a render, or combining different textures and images into one image. or a mixture of both!

basic model from sketchup

dig the INTERNET for desired textures and images!

Collage-ing

01.

152

Incorporate skies and overlay duplicate layers while testing out opacity. I also made a layer via copy of the shade structure.

02.

Add in the chosen textures and replace the drawing with it. Here, you can adjust the colors, tones, etc.

KIKO’s Tip The most important technique in collage-ing is cutting the edges out and making it look like pattern, where the illusion looks like the elements are reaching out.

03.

Cut out the edges of the different

textures using the Polygonal lasso tool! You can

Collage-ing

also add or extend more of the texture to further allude a collage look.

153

04.

Make your design even more interesting by adding closer entourages, birds, and diagrammatic elements!

final illustrative collage!

Post Affects brightness/contrast

Lighten and darken the image, as well as the contrast!

Post Adjustments

levels

154

ADJUSTMENT LAYERS

color balance

Change the overall mixture of colors .Select either shadows, midtones, or highlights to change the range. Move your pointer to the color you want to increase.

Customize the levels of black, mid-tones and white in the image. Gradient below can add more white or black. Use eyedroppers that represent black, mid-tones and white to sample colors.

Change your image into grayscale and apply a color tint to it. It also allows you to lighten or darken specific color ranges in grayscale.

curves

invert

You can further edit the black, mid, and white tones within the image! Experiment by adjusting the pointers and curve and placing the points within the curve.

exposure Adjusting exposure edits the highlights, the offset edits the mid-tones, and the gamma edits the dark tones only.

vibrance

Boosts the dull colors within the image. Use vibrance to edit already dull colors while adjusting the saturation edits every color.

hue/saturation

Customize the overall hue and saturation of the image. You can choose the colors you want to change the hue of. You can also adjust the lightness and darkness of the image, making it entirely white or black.

black and white

Automatically inverts every color in the image to the exact opposite.

posterize

Flattens the colors of the image and you can choose the number of color levels to change.

gradient map

Automatically replaces the luminance values within the image to chosen colors.

photo filter

Apply color washes to your image and make changes to warmth and temperature.

channel mixer

Allows you to change the colors into another color. Used for black and white image conversions, correcting color casts, and exaggerating color.

levels and curves to edit image

KIKO’s Tip

curves

experiment with adjusting the pointers and make the light tones white and dark tones black. this way, it looks like the photo is scanned!

unedited image

Post Adjustments

Using levels and curves are a great way to turn your unscanned photos into a flat black and white image that looks scanned!

ta-da!

155

LEVI

1 99

EXTRA When it comes to creating traditional and digital renderings, the preparation and final presentation board layout is just as important! Laying out a successful board can cohesively connect all your process, diagrams, graphics into one. This will further create visually interesting views and components that backs up your design intent. So don’t be afraid to put some character into your board layouts as well! By experimenting and testing out the placements and layouts of the presentation board, you will gain experience in what works and what doesn’t work.

This chapter will provide you with tips and advice on how to layout and orient your graphics, with some additional tips at the end!

board layout

Laying out your presentation is essential to showcasing your project and engaging with the audience in an easy-to-follow hierarchy and direction.

Board Layout

before you start laying out your board, brainstorm:

170

Design Process Key Ideas Concept Sketches Context/Narrative Diagrams Photos Title/Subtitle

- How much info do you want to present?

- What do you want to communicate to the viewer?

- what are the focus and the supporting elements?

- what style do you want to portray? levi’s Tip

You should always look on pinterest or competition board layouts that are similar to your graphics to take some inspiration for your own layouts!

?

contents within A board

Diagrams Concept Sketches Plan View Images/Photos Plan View Elevations Sections Axonometric/Isometric Perspectives

text Title Materials Context/Body Paragraph Legend North Arrow + Graphic Scales Subtitle Captions Commentary

What do you want to focus on? Which graphic shows the design information the best?

How do you want to direct the viewer through your process?

subdivision examples

Board Layout

graphic

171

viz-scape

viz-scape.com

doris J chang