Project graphics and its types. Graphic design of the project Projects of graphic designers

They appear in the most ancient states - Ancient Egypt, Ancient Mesopotamia and others.

Plans appeared earlier than maps. It is easier to imagine a small piece of land than a large one. The ancient inhabitants of the desert drew plans on the sand, the inhabitants of the far north - on walrus skins, in the snow. Now they are drawn on paper or on a computer in graphic editors.

The graphic plans are very diverse. On the plans of cities, conventional signs depict city quarters, parks, architectural monuments are highlighted, the names of streets and squares are signed. There are special plans for architectural monuments, for example, the Moscow Kremlin. On such a plan, conventional signs show the Kremlin walls and towers, cathedrals and squares. Road plans show in detail the roads and intersections that are very necessary for drivers. There are special travel plans.

  • Architectural plans:
    • floor plan;
  • Urban plans:
    • general plan of the city;
    • urban planning plan of the land plot;
    • cadastral plan;
    • boundary plan.
  • Geographical plan of the area:

Floor plan

In order to draw a floor plan, you must perform actions in the following order:

  • Lay the sheet of paper attached to the board so that its edges are parallel to the classroom walls.
  • Draw a linear scale.
  • Measure the length and width of the classroom, then mark the four walls of the classroom with thin lines on the sheet.
  • Draw to scale a window, door, chalkboard.
  • Draw the places occupied by the desks of the first, second and third rows, and divide the resulting rectangles by the number of desks each row has. Then paint the teacher's table and chair on the plan.
  • After the plan is drawn, draw an arrow indicating the north-south direction. Material from the site

Land plan

Site plan

A terrain plan is a drawing in which a reduced image of a small area of \u200b\u200bthe earth's surface is shown with conventional signs. Scientists - topographers are engaged in drawing up exact plans.

Historical plan

Roadmap plan

For ease of movement in past eras, there were special road plans (maps). The names of road stations, the distance between them were put on them. The geographic features were heavily distorted, but the main thing was shown - the road. Checking the map-to-plan, the travelers came to the right place.

Scale

The plan or map shows a reduced image of a section of the earth's surface. How many times it has been reduced can be recognized by its scale. There is a scale on every plane and every map. The scale shows how many times the distance on the plan or on the map is less than the distance on the ground.

The plans vary in scope. The smaller the geographic objects are shown on the plan in comparison with what they really are, the smaller the scale of the plan. On plans with a scale of 1: 10,000, a small area can be shown in detail. On a sheet with a plan of a smaller scale, for example 1: 50,000, you can show a plot of a larger area, but not in such detail. A scale of 1:10 000 means that everything on the plan is reduced 10,000 times, 1 cm on the plan corresponds to 10,000 cm, or 100 m on the ground. At the bottom of this plan it is written: “1 cm - 100 m”.

Application of the plan

Before building a house, they draw its plan, which indicates the location of rooms, corridors, two-rays, windows. And, using this plan, they build a house.

A tourist, being in an unknown city, but having a plan of this city, can easily find any street, theater or museum.

Geographic maps are small, graphic plans are large. The map depicts the entire Earth or a significant portion of it. This takes into account the fact that the Earth is a ball. The plan shows a small piece of land, the curvature of the earth's surface is not taken into account. On a geographic map, lines of parallels and meridians are drawn, on a plan, as a rule, not. On the map

6.1. The graphic design of the diploma project depends on its theme and creative
the author's intention. The composition and content of graphic materials may vary, In general
the volume of graphic materials should be 6-10 tablets measuring 1.0x1.0 m or
15-16 tablets measuring 55 x 85 cm. By means of graphics, a graduate student must
fully disclose the content of the project and convince of the correctness and expediency
decisions taken for all sections of the project.

6.2. Placement of basic graphic materials and additions to them (panoramas,

perspectives, etc.) should be conceived as an integral compositional and artistic and complete exposition. In this exposition, the places of individual drawings and the sizes of inscriptions (main, secondary tables, etc.), fragments and sketches must be correctly determined. To determine the correctness of the compositional placement of the graphic elements of the project on stretchers, the author draws up sketches (options) of the exposition at 1.1-1: 10 (Appendix 1) and submitted for approval to the main leader and the head of the department.

6.3. It should be taken as a rule: the placement of images should be such that
in the general composition, they were read from left to right and from top to bottom. Images
a secondary value cannot be placed on the left side, as well as at the top of the total
compositions. The graduate student builds his message from general to specific and begins
it with the general situation, the zoning of the territory, which should be placed in the left
parts of the exposure, and then develops the message further, moving on to the next tablet
left to right and top to bottom. For example, there are three possible private placement of the composition:
on the left - substantiation of the topic (copies from the general plan, historical part, landscape
analysis, etc.); in the middle is the main solution; on the right - development of objects

general plan and small architectural forms.

6.4. The scale of drawings on tablets is selected in such a way that they
images were clear and well perceived by State officials
the examination committee (HEC), sitting at the table (distance approx. 3.0 m and more).

With large sizes of drawings (master plan, panorama), their placement on adjacent tablets is allowed (only justified).

6.5. The choice of techniques for the graphic design of the diploma project is reserved for
by the author, taking into account the consultation with the head.



6.6 For all drawings, a single graphic "style" of design (including inscriptions) should be selected. On the plans, all existing elements are drawn with thin lines, projected in bold (on the reference plane - possibly with a bold dotted line). Red building lines - in all cases in bold dotted lines.

6.7. All images and inscriptions must be done carefully and accurately. Taking into account photographing the exposition or a separate tablet, you should pay special attention to images and inscriptions (incl. legend), so that they can be read on the completed photographs in size 24x24 (24x30), 30x30. cm.

6.9. All drawings must be drawn up in accordance with the requirements of ESKD. On each tablet, in the upper right corner, the number of its position in the general composition should be indicated (for example, in a circle with a diameter of 1.5-2.0 cm or in a square of the same size), in the lower right corner of the last tablet - the stamp of the department (drawn or stamped ) for an inscription defining the tablet belonging and the composition of the drawings.



6.10 The panorama should reflect the best solutions for organizing the space of the landscape object against the background of buildings (more interesting - with difficult terrain), the alternation of landscapes within the object (territory) at a great distance or in separate areas. The panorama is placed at the top or bottom of the exposure.

6.11. Perspective - recommended from a "bird's eye view" of the entire territory of the designed object or part of it (central, with relief features). To build perspective, it is recommended to use computing technology... Graphic design of perspective - in the techniques of depicting all elements of the project.

6.13. The layout - can have two stages: working - is performed during the design process to better represent the spatial solutions of the object as a whole and its individual sections and demo - is performed after the approval of the project decisions. The layout reflects the relief, the main road and alley network, buildings and structures, the main groupings of green spaces (row plantings, massifs, large groups), reservoirs, water devices, etc. M - corresponds to the scale of the master plan or others (1: 2000, 1: 1000, 1: 500 - for fragments).

The choice of graphic design techniques is agreed with the head.

Calendar plan completion of the diploma project

7.1. Mode of work on the graduation project.

Work on graduation design is carried out under the constant guidance of the main leader from the Department of Architectural Design. For individual sections of the diploma project (TSP, economics, engineering networks, etc.), consultant teachers from the relevant departments are allocated. Graduate students work in specially designated classrooms and are subject to a specific daily routine. Graduation design takes 14.5 weeks. These works are indicated in a special assignment and graphics issued to a graduate student by the Department of Architectural Design. Periodic step-by-step control is carried out by the commission of the department at certain times. A graduate student who is behind schedule may be suspended from further work on the diploma, taking into account the transfer of defense to the next year.

The success of the diploma design depends on the rhythm of its implementation, the discipline and efforts of the student, careful preparation for the graduation design and the delivery of work in stages.

7.2. Calendar schedule.

Stage I. Collection and processing of materials on the selected topic. Landscape-
urban planning analysis (diagrams, photographs, reference plan). Clarification of the composition and
volume of the diploma project. BPIPRS. Completion of the stage - a sketch of the layout of the design
materials on tablets. Its approval by the commission of the department. Stage volume 10% -1 -2
weeks. First viewing by the commission of the department.

Stage II. Development of a sketch idea. Zoning schemes, pedestrian and transport
traffic, OBE, engineering networks, spatial organization, etc. Solution
master plan, improvement and gardening. Development of related sections. Volume by
stage - 20%, total - 30%, 3 weeks. Second viewing.

Stage III. Creative study of all sections of the project. Making adjustments to decisions
according to the comments of the commission. Clarification of technical and economic indicators. Beginning of work
above the explanatory note. The result of the work is the finished sketches for all cut
project with signatures of the main manager and consultants for special sections.
Stage volume 20%, total 50%, 3 weeks. Third viewing.

Stage IV. Corrections based on the results of the third viewing. Drawing basic
drawings in pencil. Development of related sections (economics, labor protection, TSP,
building structures, etc.). The result of the work is the readiness in pencil on tablets
all drawings (master plan, diagrams, research work, fragments, plans, facades, panoramas, perspectives and
etc.). An explanatory note is being written. Work on making the layout. Stage 20 volume
%, 70% total, 3 weeks. Fourth viewing.

Stage V. Completion of all related sections of the project, collection of signatures. Graphic
design of the project (ending with ink). The result of the work - all tablets should be
drawn in pencil. Continuation of graphic design in ink, Materials
adjoining sections must be signed by the consultants. Stage volume 20%, total 90%, 3 weeks. Fifth viewing.

Stage VI. Completion of the project. Writing an explanatory note. Collection of signatures
consultants, the main leader, the head of the department (in the drawings and in

explanatory note). Preparation of materials for the defense, the text of the report and its approval with the head and consultants. Project review. The result of the work is the preliminary protection of the project at the department and the issuance of an order for admission protection. Stage volume 10%, total 100%, 1.3

Stage VII. Defense of the diploma project in front of the state examination commission (date, place and procedure of defense are indicated additionally).

8. Additional and specific requirements for the development of graduation projects of the "Landscape architecture" specialization

Taking into account that the main "building" material in creating an object of architecture is relief, soils, reservoirs, vegetation, air, a graduate student who is carrying out a project of this object needs to study the decorative properties of the landscape environment and biological qualities of plants and create compositions not only of aesthetic nature from them, but also biological, providing an improvement in the external environment (including taking into account the phytoncidity of plants).

Particular attention should be paid to the relief and existing green spaces during their reconstruction. It is necessary to take into account the properties of rocks (including their durability), as well as the original design of individual plant compositions and the organization of landscapes.

The architectural-planning and volumetric-spatial solution of the diploma project should be interesting, providing optimal conditions for the work and rest of visitors to the projected object and creating a healthy living environment in the object and its beneficial effect on the surrounding area.

In artistic design, as in any other creative activity, its own technique and technology have formed and are constantly developing - materials, tools, project language, means and methods of work. To master them perfectly is necessary for the successful solution of the task facing the designer to create a new, in all respects high-quality product that fully realizes his creative possibilities. it essential condition the skill of an artist-designer, without which any, the most exciting ideas and designs remain only good intentions.

Every novice artist-designer, mastering the technique and technology of modern artistic design, is faced with the difficulty of a truly creative plan - the need to deeply comprehend the objective laws of the project language, the objective properties of materials, the possibilities of tools, those means and methods of work that will provide her with the qualities of general comprehension and practical usefulness ... For all that, he needs to find his creative individuality in the use of all these laws, properties, techniques, etc. Each professionally established designer adapts the technique and technology of artistic design, the methodology for applying them to his individual characteristics and, above all, to the originality of his creative ideas and ideas. However, it remains necessary to adhere to a number of general principles, professional standards, the characteristics of which are mainly dedicated to this section.

In modern artistic design, two special design languages \u200b\u200bare used that complement each other's heuristic capabilities, i.e., the possibilities associated with creative search best solution design task. This is the language of design graphics and the language of the so-called volumetric design - prototyping and modeling.

In the process of developing a project, graphic and layout work are closely intertwined. It is technically easier to depict an object on a plane than to mold it or glue it. This does not require special equipment. It is easier to make certain changes to a graphic image than to a layout. Therefore, the design idea, as a rule, matures primarily in sketches, sketches (crocs). Only then does it become possible to transform it into a volumetric plastic form.

But a full-blooded sensual idea of \u200b\u200bthe shape of the future product can be given by the model and even more so by the model. When translating a graphically found form into a volumetric one, all or almost all of the valuable findings and shortcomings in its solution are sharply revealed, which contributes to its further improvement. In this regard, it is most beneficial to make a model or model that completely imitates appearance or even the design of the future product.



Along with imitating layouts and models, which are usually required quietly at the final stage of work, the method of sketch prototyping is also widely used in conventional materials - gypsum, plasticine, paper, etc., and on a reduced scale. Such layouts do not require so much work, time and materials, and therefore successfully serve the designer in the process of searching and working out the shape of the product.

Only having perfectly mastered both design languages \u200b\u200b- graphic and volumetric-plastic - and having learned to switch from one to another at certain stages of design, the developer will be able to create products that meet all the requirements of technical aesthetics.

Project graphics - a drawing of an object, accompanied by calculated data, dimensions, material specification and notes.

There are the following types of design graphics: linear image, monochrome (one-color) image, made using the washing technique, and polychrome (multicolor) image. The use of one or another type of graphics depends on the nature of the design object, on the type of projections of its image (perspective, section, orthogonal) and the general compositional design.

Line graphics is a drawing that is used in those cases when the projection should not convey the volumetric-spatial features of the depicted object, the situation, important for perception. Line graphics are the most conventional, devoid of illusion in the transfer of volume and space. In this technique, cuts are also made, where usually only technical and geometric information is important, interior and exterior layouts and all kinds of schemes. Simplicity, laconism, clarity of the drawing, not obscured by any external effects, make it sometimes the only acceptable for orthogonal projections.

The informativeness of the drawing is increased by varying the thickness and color of the lines: the thickest for the cut line, slightly thinner for the contours of the object, the thinnest for the lines indicating the dimensions. Sometimes, in order to give an idea of \u200b\u200bthe spatial plans (first, second, etc.), the thickness of the contour lines is also made unequal, increasing it for foreground objects. A line drawing, due to the combination of various lines, has a certain graphical appeal, especially if it is enriched with hatching or fill spots.

Drawings, initially outlined in pencil, are usually traced with diluted ink. With a polychrome solution, liquid water paints are also used, drawing lines with ordinary tools - a drawing pen or an ink liner.

Monochrome image is a black-and-white wash-down image, which clearly conveys the volumetric shape of an object, its main spatial features. The method of light and shadow modeling of volume on a plane is based on the theory of shadows. Certain aerial perspective techniques are often used.

The theory of shadows came to artistic design from architectural practice. Own and falling shadows from an infinitely distant light source (rays are parallel) illusory convey the shape of the object, the relative position in space of its individual parts, elements. The direction of the ray of light relative to the depicted object is the diagonal of the cube, i.e. from the upper (left or right) corner of the imaginary cube, attached to the image plane. These initial conditions make it possible to recognize the corresponding values \u200b\u200bof the shape offset on the orthogonal projection by the size of the falling shadow. Thus, a two-dimensional image can provide information about the third dimension of an object (Fig. 5.2).

Figure 5.2 - Model "light cube"

The basis for modeling the shape for a given direction of light is the light distribution system. The illuminated part of the subject and the shaded part are separated by a border; in cases of a convex surface, this boundary is called the "corpus shadow". In turn, the illuminated part breaks down into a highlight (the lightest spot on the subject) and a semitone. The shadow part consists of its own shadow, reflex, and sometimes a falling shadow. Close-up shots should be more contrasting than more distant ones. Due to this, the illusion of spatial depth and "airiness" of the image is created. In design practice, there are images of objects in diffused light, especially perspective and axonometric ones.

The most commonly used material for monochrome cleaning is black ink. Liquid mascara can be diluted to any consistency to obtain the desired grayscale. It is better to use dry ink in the tiles. It is rubbed, diluted with a very small amount of warm water, and then filtered. Such mascara allows multiple layering, better preserving the transparency of the paint layer.

The sequence of work is as follows. First, a generously moistened paper (Whatman paper) is pulled onto the stretcher, greasing the ends of the stretcher with glue (dextrin, casein or starch paste), placing the paper with the dry side on the stretcher and bending the edges. The paper is pulled slightly at the corners. As it dries, it will stretch itself and during subsequent work with gouache, watercolor, tempera will not deform.

Before starting work, the paper is slightly moistened again, since ink lays unevenly on a dry surface. The stretcher in the working position is inclined to the plane of the table at a certain angle so that the ink solution flows downwards. Using a soft brush, ink is applied to the upper edge of the image and with rhythmic movements of the hand, keeping a uniform drip on the lower edge, it is driven down until the entire surface of the image is covered. When the bottom is already closed, the excess mascara is removed with a brush. To make the plane colored evenly, the operation is repeated several times.

Another way of shading the surface of the image is the successive introduction of a darker tone of the same color. The work is carried out with solutions of carcasses of different consistencies, prepared in several vessels - from the lightest to the darkest tone. Fill starts with the lightest tone. Then, before the first coat dries, a darker tone is applied, etc. The transition from one tone to another should be smooth.

The third way of modeling is working on damp paper. A dark solution of mascara is applied to a damp surface so that a smooth transition from light to dark is immediately obtained. The main difficulty is the choice of the required degree of paper dampening. With an excess of moisture, ink spreads, forming an outline against a light background. If the paper is not wetted enough, the boundary between a light base and a dark solution is indicated.

Polychrome image

In a project of a complete composition, there is always a color image of the main projections of the product. Polychrome (multicolor) drawing is done with watercolor, gouache or tempera. All of these paints are composed of a pigment (i.e., a colorant) and a binder. Unlike watercolor, which is a transparent glaze material, gouache and tempera are called opaque materials, as they cover the paper with an opaque layer. This difference between materials is very important to consider.

Both liquid and dry watercolors are used in the project graphics. Watercolors have different transparency. Transparent: kraplak, Prussian blue, emerald greens, natural sienna, burnt sienna; opaque: ocher, cinnabar, ultramarine, cobalt, cadmium. The technological qualities of watercolors are of paramount importance for cleaning.

Gouache is distinguished by good hiding power, lack of shine, some whiteness. However, gouache is a very difficult material. When dry, the strength of its tone changes significantly. Her external qualities depend on the method of application to the paper: the surface obtained by tamponing differs from the one coated with a flute or sprayed. But the main feature of working with gouache is the impossibility of reapplying it to the paper with a brush, since the new layer blurs the lower one. Therefore, for modeling the forms, they use only the method of spraying or spraying. You can radically change the tone only by completely washing off the original layer with water and applying a new one to the paper. Another disadvantage of gouache is the large thickness of the paint layer, which makes it difficult to draw small details, draw thin lines over it.

Tempera (casein, polyvinyl acetate) differs from gouache in its smoothness, sometimes a slight sheen of the resulting surface. After drying, tempera is almost insoluble in water. The paint layer is much thinner; after drying, it changes little tone. Good tempera grades allow for glazing. On the finished layer, you can continue to work with both tempera and pencil, pastel, liquid watercolor solution, work out the shape with small strokes.

Recently, the application method has found application in design practice - obtaining an image (monochrome or polychrome) from cut pieces of various flat materials: colored paper, fabric, wood veneer, foil. The variety and naturalness of the textures of these materials can create very interesting effects. The application does not require a lot of time and any special tools. The technology is simple: pieces of material of the desired shape are cut out according to the template, which are glued onto a pre-marked sheet. The application goes well with all kinds of graphics and photographic materials.

Every aspiring designer receives various projects to order, at the very beginning of my practice I wondered which application is better to use for this particular order, in what size to do this or that project?

It's a shame if, having opened Photoshop, or Illustrator, the process stalls at such a small, but such a necessary step as determining the parameters of the work, and you have to inevitably waste time looking for this information from various sources. In this article, we have collected for you the standard permissions of the main design projects, which are included in the top orders demanded by customers, as well as the most convenient software for each project.

It would seem that Adobe Illustrator, that Adobe Photoshop, just like other software of a similar nature, can cope, in general, with almost any project in the field of graphic design. And it is, of course, true, and any experienced designer has long ago determined for himself the right software for a particular job individually. However, this article will help beginners if you are still hesitating between these programs.

Web site

Where is better to do

Despite the fact that the days have passed when the interface of the website was made in Photoshop, there are those that are true to their habit, as they got the hang of it at the time. This is by no means objectionable, but for those who have just set foot on the path of website development, we recommend Adobe Illustrator or InDesign.

The reasons for this are obvious - the ability to build the entire composition from and to, a file format that is incredibly flexible for different screens and resolutions; exported to CSS format and scalable, partially or completely. And if you imagine the advantages of the above described visually, then the difference between working in Photoshop and working in Illustrator will look like this:

What parameters to set

Let's start with the width of the web page, which follows from the analysis of laptop screen sizes. There is no definite figure for all occasions, but most screens are 1024 * 768 pixels, and these parameters are considered the key to determining the size of the website today. This means that the appropriate width for your document can range from 800 to 1000 pixels. A size exceeding the last digit will be considered problematic, as it can provoke horizontal scrolling in users, which is known to be the most annoying for everyone, forcing them to immediately leave the website without even looking at its content.

As for the length of the website, there are, roughly speaking, no boundaries - it directly depends on the amount of information placed on each page. If, for some reason, you do not have such information yet, put, for example, 2000 pixels to begin with - this is like one of the options, here again everything depends on you.

Logo

Where is better to do

Definitely, only vector programs - Illustrator, Corel Draw and the like, which will allow you to get a quality product in the end. The vector image here is keywordwhich, in simple words expressed, means a picture consisting of geometric objects (points, lines, polygons, and so on) according to the specified formulas. The bottom line is that such images are not distorted when scaling, which means they do not lose their original quality. In addition, the customer can ask to make changes to the design, or to demonstrate how the logo looks in black and white. All this is not difficult to do in vector programs - after all, that's what they were created for.

Photoshop, in contrast to such pictures, offers bitmap images - which consist of pixel arrays of the same size and shape. This means that when scaling such a logo will produce extremely undesirable effects in the form of enlarged squares, which will exclude all chances for the logo to be called professional, putting an end to its further use.


What parameters to set

This is where the value of the vector file increases, because no matter what size you set your work, when you increase it, it will not lose absolutely anything, remaining all the same quality, so in this case the size does not really matter. Obviously, having 1024 * 768 pixels of the working surface, it is stupid to do work in 100 * 100 pixels, and here each designer chooses the size so that neither his nerves nor his eyesight will suffer. You're not your own pest, are you? However, one of the tips is to set the parameters to 800 * 500 pixels, for example. Thus, the surface will be large enough to accommodate all the necessary parts. Below are some logo options to help you navigate.

Business card

Where is better to do

Here, in general, anything is suitable - both Photoshop and Illustrator, and specially created for compilation business cards programs - Clickable Card, Page Wonder, Decadry Business Card Software, and many others. The abundance of software for business cards made this work as easy as possible, even for non-professionals.

What parameters to set

This is not necessary if you work in software designed specifically for business cards, but if you do it in Photoshop or Illustrator, then the standard size in inches is:

Or, if in millimeters:

Poster

Where is better to do

Here, Photoshop is able to perfectly cope with the task, due to the fact that posters, as a rule, are made from slicing various images in processed form, later combined with text. There is no reason to doubt Photoshop's competence here.

What parameters to set

As a rule, the optimal poster size is A3, which is equivalent to 297 * 420 millimeters or 3508 * 4961 pixels. Then, when printing such a poster, the quality will be at the highest level.

Flyer

Where is better to do

Here the situation is the same as in the poster - there is no apparent reason why not do it in Photoshop.

What parameters to set

Flyers are different sizes, for example A5 - 148 * 210 mm, A6 - 105 * 148 mm. Today, the most popular type of flyer is a Euro flyer - 100 * 210 mm (one third of A4). The size of 216 * 154 millimeters is also found.

Returning to the topic of choosing software for work, this decision is purely individual - only through practice does the designer identify the tool that is convenient for him, and this article is not about putting someone in a certain framework, on the contrary - experimentation is the best the method of selecting possible options, because the final result is important, in the end. Create, delight customers, and remember - creativity has no boundaries.

design and graphic images (projects)

The main types of design graphic images can be distinguishedsketches, search drawings, sketches and demonstration drawings.

The generalized image is executed in a short period of time using the minimum amount of graphic means ( sketches, crocs and etc.). These images are notable for their conventionality and conciseness, conveying only the characteristic and the main thing. They mostly wear informational character and are necessary when moving to a more thorough compositional drawing (sketch) intended for demonstration. Generalized images are of the following types: 1) contour (linear); 2) contour-tonalwhere, along with the outline, a tone is used in the form of a stroke or fill, and the tone helps to more fully display the volume, space, color and texture; 3) picturesque tonal, here the most important is volume, chiaroscuro and color. The contour as a border of the form practically disappears and plays a secondary role. The image breaks off from the plane of the sheet and develops in depth. Forms become more real and tangible. This does not mean, however, that careful study is needed. Lightness, conciseness and speed of the image must be preserved. Such a sketch is made according to the principle of painting.

Monochrome generalized image of the designed object, its details and individual parts, performed in a short period of time and with the involvement of a minimum of visual means (search drawing). As a rule, search drawings contain only the main parts of the object, since depending on the tasks of the project, their rearrangement is not excluded. Usually, several options are performed reflecting different principles of placing the main elements.

Compositional sketches of a sketchy nature involves the conduct of creative analysis; their purpose is to present a certain stage of the search in a more complete form. In sketches that take longer to complete, the creative process is intertwined with the drawing process itself. As the initial idea is expressed, new solutions appear, the shape of the object is refined and improved. Stages of sketches:

    detailed drawing of a sketch with a pencil;

    filling shadow areas with a local light tone of the color defining color;

    further elaboration of color relations, the introduction of defining contrasts, emphasizing the main elements of the sketch. Development of the texture of materials is possible;

    elaboration and strengthening of basic and necessary details.

Primary sketching is associated with the search for integrity and the formation, in the most general terms, of an artistic and plastic image. When they start checking real relationships, the work is carried out by sketching out options already in orthogonal projections. In contrast to the stage of studying and collecting materials, the sketch stage should be expressed graphically so that it could be used to judge the essence of the project. A sketch is often intended for display, it is used to form an opinion about the project and make some decisions, so it should be visual and carry the necessary information. The work on the sketch is characterized by a variety of graphic techniques and materials. Sketching is carried out by the same means as easel graphics, drawing and painting: with a pencil, charcoal, pen, watercolor, gouache, tempera, etc.

Presentation images are specially designed to present artistic design solutions in a complete and visual form (for example, a demonstration drawing). It differs from a sketch in a higher construction accuracy, in completeness and realism of the image. If in the sketches for the search for solutions, they are guided by the draft layout and their own eye, then the demo drawing is performed already according to the refined layout using the methods of perspective construction. All kinds of pictorial means can be used to complete the demo drawing.

The image of combined projections makes it possible, without resorting to perspective or axonometry, to show entire ensembles, to associate orthogonal projections of individual elements with space, and also to combine an orthogonal projection with an image of the environment in one drawing. It has the principle of placement on the drawing. For example, showing one plan on an entire sheet will emphasize its importance as the main element of the project. The inclusion of photographs from layouts in the composition of project graphics will significantly increase its credibility.

Environment image - important reception design graphics, involving the elaboration of artistic design. It doesn't have to be "verbose". For example, a conventional hint is enough to show vegetation. Details are not needed here. It is only necessary to observe the scale and show the nature of the environment, taking into account the designed object. You can use the technique of drawing decoration elements into a finished large-scale photograph.

Typology of projectsdetermined taking into account the following aspects:

    type of design objects (design type):project corporate identity, landscape, architectural structures, - interior, exterior, art forms, etc .;

    design type:technological project, artistic and imaginative solution with elements of shaping; a project with the definition of the functional characteristics of design objects; a project reflecting the structural and morphological properties of the depicted structures;

    image way: linear, tone, monochrome (monochrome) and multicolor (polychrome) projects, combined image;

    image technology:a man-made project (original graphics, washing, airbrushing, watercolor), a polygraphic project (printed graphics (printmaking), computer visualization (rendering), a photo-reproductive project), a project with a combination of various technologies;

    use of types of images and design documentation included in the project: schematic (schematic drawing), visual (full-scale images, photos, renderings), combined (combining drawings, visual images, diagrams, photos, computer visualization), etc.