Download 1,000 Icons, Symbols, and Pictograms: Visual Communication by Blackcoffee Design Inc PDF

By Blackcoffee Design Inc

Pictorial symbols are, in a few respects, enhanced to phrases as a sort of verbal exchange. If well-designed, they are often understood via humans of all various cultures and will be well-known via young children actually years prior to they learn how to learn. therefore, symbols are of the maximum significance to picture designers and their ever-present problem to create powerful visible conversation for his or her consumers. This mini-collection of designs drawn from 1000 Icons, Symbols + Pictograms offers a catalog of rules for designers to seem to for suggestion

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Additional info for 1,000 Icons, Symbols, and Pictograms: Visual Communication for Every Language

Example text

4. To gai n mor e co nt r ol ov er line m a king, try so me sim ple exercises sim ilar to our "id le m om ent " doodl es . Th e sp irals, like tho se above , are d rawn fr om the ou ts id e toward the cen te r, both clockw ise and co unte rclockw ise . Try to m ake them as fas t as p ossib le without let tin g the lines touc h each ot her ; tr y to get th e lines close to each othe r. Stra ight hatch­ in g can be done in several directi ons , always striv ing for consistency. Fi gure 2- 18 Figure 2-1 9 Figure 2- 20 Tones Tones can be represen ted with differe nt den sities of hatching or com binations of cross-ha tching .

I do not intend to pres­ e n t a comprehensive exp lanation of the construction of basic d rawing co nven tions . Th er e are already sev ­ era l good books on th at subject. Rather, th e emphasis will be on freehand techn iq ues w ithou t th e use of tri­ a n gles, sca les, a n d st raigh te dges, a llowing for rapid repres entation . 39 ',"/ Figure 3-4 Site plan. Figure 3-5 Axonometric. Figure 3-6 Partial elevation. Figure 3-7 Detail section. Ther e ar e a gr ea t n umber of th ings w e can repre­ sen t ab out a space or a build ing and many ways to represent them.

The lines s ho u ld be p arallel and have eq ual spa ces between them . Always re m em ber that th e ma in purpose of the cross- ha tching is to ob tai n different levels of gray or dar kne ss . Use straight strokes as if you were pa inting the sur faces w ith a brush . Errati c or irreg ular lin es d raw att ention to th em and di stract th e e ye fr om m ore im po rtant thing s. There is no st r ict r ule for ap ply ing tones on a sket ch, bu t I ha ve some prefer­ enc es tha t se em to work well.

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