Ernest Burden - Entourage: A Tracing File and Color Sourcebook, 5th Edition

ENTOURAGE

A Tracing File and Color Sourcebook

5th Edition

Ernest Burden

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ISBN: 978-0-07-175455-2
MHID: 0-07-175455-5

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This edition represents the efforts of many people on the production side, as well as those on the artistic side mentioned in the credits for drawings. Special thanks to my editor, Joy Bramble, who suggested a new and updated look for this edition and the addition of color images, and to Steve Chapman, publisher, McGraw-Hill Professional, who encouraged the revision. Pamela Pelton expertly handled the production of this edition, as she has done with previous editions, and Stephen Smith edited the text and assisted in coordination with the printer. My son, Ernest III, provided technical advice whenever needed, which was often. A very special thanks to my wife, Joy, for her untiring masking and production of the final files for the color images, and for her assistance and encouragement throughout the final production process of this edition.

This book represents a unique combination of artistic talent and photographic technique. I am grateful for the artistic contribution of my daughter Analisa, my son Ernest III, and my friend Brian Burr, whose work appeared in all previous editions of this book. I am also thankful for the talented work of the late Robert Mcllhargy and his wife Lori Brown, who supplied many splendid examples featuring the use of entourage in professional renderings. Thanks also to all the talented delineators whose rendering examples enhance this edition. They are: J. Henderson Barr, Stanley Doctor, Robert and Anna Fisher, Richard Gardner, Gordon Grice, Andy Hickes, Ron Love, Mark DeNalovy Rozvadovski, and Walter Thomason.

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Most architecture schools offer a disproportionate number of courses on the basics of design and not enough attention to the presentation of those designs. Hence, when students become licensed professionals, they find that they must rely on outside architectural artists and professional delineators to assist them in this vital area. Most professional delineators begin their training in architecture and later specialize in presentation drawing, having acquired the skill for drawing along the way in their job experience.

An artists sketch of a scene in nature or buildings in their surroundings is a personal interpretation, and the skill in perceiving the subject or object and the technique of drawing used are the only criteria for its success. This is not so with an architectural illustration. Producing a perspective view is a technical matter; either it is right or it is wrong. The building or interior view must be accurately depicted from one particular vantage point in space, and there are several methods that can accomplish this.

Perspective views can be sketched without the use of drawing instruments, but they serve only as an approximation, mainly for viewpoint selection. True perspectives are mechanically plotted using the principles of perspective visualization and projection developed during the Renaissance, or by using perspective software programs in the computer. Once the architectural components of the project are set up in the computer, it is possible to display and print out an infinite number of perspective viewpoints, including some that are difficult to obtain using the orthographic projection method. Perspective layouts can also be produced by building stage-set props or scale models and photographing them, which produces an accurate representation and viewing possibilities from an infinite number of vantage points. However, the end product of all these different approaches must be the same; that is, a realistic representation of how the project will appear when it is actually constructed within its surroundings.