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Design Media: Techniques for Watercolor, Pen & Ink, Pastel and Colored Marker
 
 
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Design Media: Techniques for Watercolor, Pen & Ink, Pastel and Colored Marker (Paperback)

~ Ron Kasprisin (Author) "Transparent watercolor is different from oil, acrylic, color pencil, and pastel work because it is transparent and fluid: transparent because light is reflected back from..." (more)
Key Phrases: fiber pens, final fixative, merged edges, Pentel Sign, New York, Winsor Green (more...)
1.0 out of 5 stars  See all reviews (1 customer review)


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Product Description

How to choose and use design media-a complete, practical primer

Mastery of a full range of design media is essential for architects, designers, and graphic artists in order to develop and communicate their ideas effectively. Instead of focusing solely on finished drawings, this book approaches each medium from the perspective of its use in the design process itself. Featuring step-by-step methods liberally supplemented with visual examples, it provides detailed coverage of the tools and techniques for each of the four major rendering media-pen and ink, pastels, colored marker, and watercolor. Design Media is filled with ideas to help bring out the best in drawing and rendering-from developing sound skills and improving presentations to achieving particular effects.
* Covers methods, materials, and equipment
* Contains 280 illustrations-including 200 in color-showing examples of all media types


About the Author

RON KASPRISIN (Seattle, WA) is a partner in the design firm Kasprisin Pettinari Design, Architects and Urban Planners. He is also Associate Professor of Urban Design and Planning at the University of Washington.

Product Details

  • Paperback: 228 pages
  • Publisher: Wiley (April 20, 1999)
  • Language: English
  • ISBN-10: 0471293016
  • ISBN-13: 978-0471293019
  • Product Dimensions: 10.8 x 8.2 x 0.5 inches
  • Shipping Weight: 1.5 pounds
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.com Sales Rank: #985,342 in Books (See Bestsellers in Books)

    Popular in these categories: (What's this?)

    #78 in  Books > Arts & Photography > Architecture > Drawing & Modelling > Drafting
    #95 in  Books > Arts & Photography > Instructional & How-To > Pastel

Inside This Book (learn more)
First Sentence:
Transparent watercolor is different from oil, acrylic, color pencil, and pastel work because it is transparent and fluid: transparent because light is reflected back from the paper through the layers of pigment, and fluid because the pigments are suspended in water made mobile by gravity, adding another dimension to the application process. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
fiber pens, final fixative, merged edges, charged brush, workable fixative, hard pastels, mixing tray, field sketching, technical pens, graded washes, accompanying examples, field sketches, pastel pencils, contour drawing, colored grays, succeeding layers, layering process, pencil pastels
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Pentel Sign, New York, Winsor Green, Alizarin Crimson, John Wiley, Rose Madder, Winsor Blue, British Columbia, James Pettinari, Basic Elements, Design Composition, Cadmium Red, French Ultramarine Blue, The European, Watson-Guptill Publications
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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Most Helpful Customer Reviews

 
6 of 12 people found the following review helpful:
1.0 out of 5 stars a rating in progress:not sure yet- but why am i not excited, August 30, 2001
By "p_walters" (Palo Alto, Ca. USA) - See all my reviews
I am not sure yet and want to give the book a more
serious look. Perhaps my mistake was to buy this
book at the same time i acquired Composite Drawing by
Uddin and Color Drawing by Doyle. The drawings and format
of these books instantly became well worn reference texts
for myself and students. I chose the Kasprisin book because
it presented a medium missing from the other books: watercolor techniques. I will give the prose a serious trial and i hope the book eventually proves to be a good resource too.
However, what bothers me is the book is sitting on my shelf and i am struck by the following realization: when it comes to a technique book, if i am not personally inspired by the sample drawings or paintings i am probably not going to be motivated to try to emulate the techniques. Please acknowledge this may be too shallow of a reaction and you may well find the book meets your needs.
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