Raster Graphics for Interior Designing - Aleesha

Top interior design courses in chennai - Aleesha Institute

Teachers can expose architecture and design students to art through detailed analysis of carefully selected precedents and the creation of facsimiles of those works. We’ve derived successful projects from a large variety of artists, including Hiroshige, van Gogh, Monet, and Renoir (see Figure 2). Just as budding designers in the mid-twentieth century learned to draw by going to a museum or gallery to sketch the work of Old Masters, students can draw with digital media without resorting to scanning images. Analogous to work and study with traditional media, students learn powers of observation, the use of color, the influence of brush stroke and media (watercolor, oil, woodblock print, pen and pencil, and so on), composition, and structure and organization—and they learn raster software. After also learning about file types, storage requirements, interpolation and compression, color depth, and a range of basic information about computer graphics, students become familiar with the computer as a medium to create (or at least reproduce) art. After 30 or so hours, they gain a visceral appreciation that they can create almost any art style on the computer and that they, as the artist, can maintain creative control.

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Through a careful selection of the paintings and artists to be studied, students can learn additional lessons such as the independent nature of artists in history (for example, van Gogh). They can also learn they can use the computer to create evocative nonphotorealistic images of architecture, landscape, and interiors that could, if applied appropriately, reflect the designer’s intent more than merely rendering a 3D model by accepting default parameters. Furthermore, instructors can layer projects with additional requirements that will help students’ intellectual growth—for example, writing an analytical paper or presenting research and analysis to the class. In addition, students’ newfound confidence in creating nonphotorealistic evocative images reinforces the design process’s iterative nature by increasing the likelihood that they won’t show a level of detail or accuracy inappropriate for a schematic design’s beginning stage. This also helps them avoid miscommunication with clients or critics who, because of a false sense of specificity in the drawing, might assume an incorrect level of completion. We’ve used the same projects and software applications both in discipline-specific (for example, architecture) design studios and in general media foundation courses that deal with color theory and 2D composition.

A final product that includes descriptive and analytic images leverages a student’s desire to have something to show for his or her efforts. Descriptive images that wouldn’t seem obvious to designers working strictly with traditional media can become part of a design vocabulary. This vocabulary can then be transferred to the next project so that the skills students learn become a natural part of the design process—but only if the next design project builds directly upon previous ones. So, after additive and subtractive design projects, each dealing with different proportional systems, students can start a “real” project, such as designing a piece of furniture with specified materials, to be sold as a kit including the instructions and product advertisements (see Figure 5). They must integrate computer graphics at the design and presentation stages and use this medium to explain to others the physical assembly of the project. This project places physical and digital media in the context of design, build, assembly, and sales.https://www.facebook.com/aleeshainstitute/