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Introduction
Published in Derek Worthing, Nigel Dann, Roger Heath, of Houses, 2021
Derek Worthing, Nigel Dann, Roger Heath
When undertaking detailed design of a building, it is usual practice to produce scale drawings showing the design information. Sketching, in contrast, is not usually to scale as it is difficult to draw in freehand to an exact scale. The technical drawings, e.g. plans, elevations and sections, are normally drawn to one or more scales that reflect the level of detail required by the development team, so that land, buildings or objects shown are represented at a size that is in proportion to actual size – normally a smaller scale for land and a larger scale for construction details. For example, 1/50 (which means that the drawing is one-fiftieth of the full-size object) would be used for a floor plan or elevation, whilst 1/200 would be used for a site plan showing a proposed building in outline plus the land on which it sits. Today, technical drawings for building projects are normally produced by computer-aided design (CAD) programs.
Introduction to Engineering Communication
Published in Ken Morling, Stéphane Danjou, Geometric and Engineering Drawing, 2022
Graphic representations can be divided into artistic drawings, technical drawings and (technical) illustrations. Drawings from artists are a form of graphic expression of feelings or an idea and have appreciation as their focus. The purpose of an artistic drawing frequently is aesthetic. This kind of drawing is usually subjectively interpreted. In contrast, technical drawings have the purpose of conveying clear information about an object or system, especially how it is constructed or how it functions. As a result, technical drawings are not subject to interpretation but have an intended meaning with no room for misinterpretation.
A digital distraction? The role of digital tools and distributed intelligence in woodblock printmaking practice
Published in Digital Creativity, 2021
While a hand-carving artisan cuts from the drawing itself, the machine operates from a numerical description of the original image. The laser-cut lines are a transformation from one system of representation to another. In writing the CNC code, Lyon defines the 2D contours of his image, placing them in 3D space to be reconstructed as 2D surface in the final print. For Lyon, creating each portrait is an elaborate process requiring tens of millions of lines of code. He describes ‘the idea of sitting down and doing this kind of technical drawing by hand is kind of repulsive. But the idea of figuring out how to generate a list of instructions to the machine to accomplish some task in visual communication is super stimulating and exciting to me’ (Denesha 2018). In historical Japanese processes, a hybrid of different human skillsets produces the woodblock print; here, it is a hybrid of human and machine. Lyon’s knowledge is no longer solely a how-to knowledge of traditional printmaking but a distributed knowledge of negotiating the software’s language and parameters and having the confidence that ‘you’ll be able to solve engineering problems when they arrive’ (in Catanese and Geary 2012, 126). He observes, ‘to me, the computer and this technical equipment is like a new tool … it’s just another efficient way to move your ideas from whatever our brain is—whatever we are inside ourselves—out into the real world’ (Denesha 2018). It also freedup Lyon to begin printing ‘a set of blocks while his machine assistant was busy carving the next set’ (Catanese and Geary 2012, 123) (Figures 7 and 8).
Efficacy of critiques in an apparel design studio
Published in International Journal of Fashion Design, Technology and Education, 2018
Chanmi Hwang, Ling Zhang, Whitney Rorah, Katie Thompson, Eulanda A. Sanders
The first project was a technical drawing board assignment where the scenario was that a student was a design assistant for an apparel manufacturer and needed to create technical sketches of a pair of jeans and a shirt, then developed four additional variations of the jeans and the shirt. A group critique was conducted for the first project where all of the students’ completed boards were displayed around the classroom and students presented their works in front of their classmates and the instructors. The instructors and students publicly critiqued each project, with questions that led the discussions.