Create an alphabet all your own with a helping hand from Hand Lettering A to Z and its team of international artists here to help you get started. Your hand lettering contains a little bit of you! Hand lettering not only expresses what you have to say, but also demonstrates the creativity in your communications. In Hand Lettering A to Z, artist and author Abbey Sy has invited four international artists–Meg Hyland, Joao Neves, Tessa Go, and Lisa Lorek–to join her in designing all new alphabets for you to draw and use in many different languages. You don’t have to be a trained artist to master the art of hand lettering. These alphabets are for every skill level, and will suits any taste.
Cimke: Drawing & Presentation
Get a feel for your art–literally! 101 Textures in Colored Pencil teaches you every technique you’ll need to give your colored-pencil drawings realistic, palpable texture. There has never been a better time to master textures! Knowing how to make your surfaces and textures look real is one of the most challenging aspects of creating art in colored pencil, even for experienced artists. 101 Textures in Colored Pencil provides artists with step-by-step instructions for drawing a wide variety of the most common textures and surfaces, including sand, water, metals, foliage, wood, fabrics, stone, grass, hair, and many more.
The importance of freehand drawing for educating architects is often underestimated. However, this craft is essential for any designer. The act of drawing shows you how to see and observe. It helps develop spatial imagination.
Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn’t urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself. A drawing, Belardi argues, holds within it the entire final design.