Digital Drawing for Landscape Architecture Digital Drawing for Landscape Architecture Contemporary Techniques and Tools for Digital Representation in Site Design Second Edition Bradley Cantrell Wes Michaels Cover Design: Wiley Cover Art: © Spackman Mossop Michaels This book is printed on acid-free paper Copyright © 2015 by John Wiley & Sons, Inc All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at 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Landscape design—Data processing I Michaels, Wes II Title SB475.9.D37C36 2015 712.0285—dc23 2014011446 Printed in the United States of America 10  9  8  7   6  5  4  3  2  1 Contents Foreword xi Preface xii Acknowledgments xiv Part 1: Concepts Chapter 1: Introduction/Overview Software Workspace 12 Chapter 2: Analog and Digital Rendering Comparisons 14 Editability and Efficiency 14 Commonalities and Parallels 16 Hybrid Techniques 17 Chapter 3: Basic Overview of Digital Concepts 20 Raster-Based Programs 20 Resolution in Raster Images 21 Upsampling and Downsampling 22 Vector Images 26 Using Raster Images in Vector-Based Programs 26 Color 26 Adjustment Layers 29 Image Adjustments 29 Editing Adjustment Layers 32 Masks and Channels 33 Masks 33 Channels 37 Smart Objects 37 Overview 37 Smart Filters 39 Blending Modes 40 v Contents Part 2: Workflows Chapter 4: Digital Drawings in the Design Process 48 Applications for Specific Tasks 48 Moving between Analog and Digital Techniques 50 Chapter 5: Setting up the Document 53 Drawings at Multiple Sizes 53 How Drawings Move through the Digital Workflow 54 Setting the Image Size 54 Chapter 6: Base Imagery and Scaling 57 Aerial Photography 58 Obtaining the Aerial Photograph 58 Tiling Aerial Photographs in Photoshop 58 Manual Method 59 Tiling Photographs with Photomerge 61 Scaling the Aerial Photograph 64 Adjusting the Hue, Saturation, and Lightness of Base Imagery 69 Using CAD Linework as a Base 74 Chapter 7: Source Imagery/Entourage 78 Selections 78 Manual Methods 79 Partial Selections 79 Chapter 8: Managing Large Files 92 Flattening Layers 92 Saving Layer Groups for Flattening 93 Printing Issues 94 Chapter 9: Automation 95 Recording Actions in Photoshop 96 Playing Actions in Photoshop 98 Batch Processing in Adobe Bridge 100 Batch Rename in Bridge 101 vi Contents Part 3: Design Diagrams Chapter 10: Setting up an Illustrator Drawing 113 Document Size/Color Mode Based Programs for Design Diagrams Importing an Aerial Photo into Illustrator Link versus Embed 113 113 114 114 Chapter 11: Linework in Illustrator 117 Shape Tools 117 Pen Tool 118 Editing Tools 120 Appearance of Lines and Shapes 122 Stroke Weight and Dashed Lines 125 Transparency 126 Appearance Palette 126 Chapter 12: Custom Linework 128 Creating a Pattern Brush from Shapes 128 Altering the Pattern Brush 134 Updating the Pattern Brush with New Shapes 135 Chapter 13: Additional Diagramming Tools 137 Blend Tool 137 Live Paint 138 Transform Each 140 Image Trace 141 Chapter 14: Symbols 143 Creating Symbols from Custom Artwork 143 Updating/Replacing Symbols 145 Managing Symbols 148 Creating Clipping Masks for ­Image Symbols 148 Chapter 15: Text, Leaders, and Page Layout 151 Text Tools 151 Point Text 151 Paragraph Text 151 vii Contents Differences between Point Text and P ­ aragraph Text 152 Formatting Text 153 Custom Type Tools 155 Creating Text with a Clipping Mask 156 Leaders 158 Layout 160 Chapter 16: Exploded Axonometric Diagrams 163 Creating an Exploded Axonometric Diagram 163 Chapter 17: Time-Based Imagery 167 Loading an Image Sequence 167 Tweening between Layer States 170 Image Stacks 171 Part 4: Plan/Section Renderings Chapter 18: Importing PDF Linework 181 PDF Linework 181 Adjusting the Appearance of Linework 191 Chapter 19: Applying Color to a Plan Rendering 195 Technique 1: Applying Color with the Paint Bucket Tool 195 Technique 2: Applying Color Using Adjustment Layers 204 Saving Channels 215 Chapter 20: Shading Techniques 216 Selecting Fills 216 Saving Selections and Manual Shading 217 Automating the Shading of Edges 222 Chapter 21: Creating Textures 224 Creating a Texture from an Existing Photograph 224 Creating a Seamless Pattern Using the Offset Filter 227 Creating the Pattern and Applying It to the Rendering 229 Paint Bucket and Pattern Stamp 230 Pattern Overlay 231 viii Chapter 28  Developing a Perspective Image in Photoshop from a Three-Dimensional Model Figure 28.22.  The tree image is inserted, positioned, and scaled Figure 28.23.  The trees are copied and adjusted to blend within the perspective Adding Scale Figures Scale figures help define the spatial quality of a rendering Figures can also convey the program of a given space Whenever possible, use the activity of figures to illustrate what people may experience within the various spaces The scale figures will be added using an existing entourage file Drag the layer into the rendering and rename the layer to people standing Create a new layer group entitled entourage and place the layer in the group Transform and position the file within the rendering using the Transform tool Depending on the rendering style, the entourage can be rendered as black and white Simply go to Image > Adjust > Black and White To add a shadow for the people, create a new layer under the People Standing layer Hold down Ctrl and click the People Standing Layer thumbnail to select the pixels on that layer Make the new layer Active, and fill the selection with black Figure 28.24.  The scale figures are inserted and transformed 309 Part 5  Perspectives This will create a black silhouette of the people For some renderings, silhouettes can be used instead of the actual images of the people In this case, Free Transform (Cmd/Ctrl+T) the silhouette, right-click, and flip it vertically Position the silhouette at the base of the people and scale it vertically Skew the shadow in the direction of the light Rename the silhouette layer to people standing shadow Adjust the opacity to 50% and change the screening mode to Multiply Adjust the People Standing layer to approximately 80% This will blend the shadow and the entourage with the rendering Figure 28.25.  The figures are selected, and a new layer is filled with black to create a silhouette Figure 28.27.  The figures are blended with the perspective by lowering the opacity 310 Figure 28.26.  The silhouette is flipped vertically, scaled, and skewed to create a shadow that aligns with light cast in the perspective Chapter 28  Developing a Perspective Image in Photoshop from a Three-Dimensional Model The same techniques described previously can be used to finish the texturing, add vegetation, and create depth in the final rendering It is important to realize that it is not always necessary to create complex selections in order to add complex imagery to a rendering If possible, use Photoshop’s brush dynamics to create complex edges It is also important to use adjustments and opacity to blend the elements within the illustration Figure 28.28.  The final rendering was created using a combination of the previously mentioned techniques.  Bradley Cantrell and Kenneth Wes Michaels 311 Bibliography As, Imdat, and Daniel Schodek Dynamic Digital Representations in Architecture New York: Taylor and Francis, 2008 Belofsy, Harold “Engineering Drawing—A Universal Language in Two Dialects.” Technology and Culture, Vol 32, No (Jan 1991): 23–46 Booker, Peter Jeffrey A History of Engineering Drawing London: Chatto and Windus, 1963 Corner, James Recovering Landscape: Essays in Contemporary Landscape Theory New York: Princeton Architectural Press, 1999 Dilnot, Clive “The State of Design History, Part I: Mapping the Field” and “The State of Design History, Part II: Problems and Possibilities.” Design Issues, Vol 1, Nos and (Spring and Autumn 1984) Dittmar, Gunter, Kenneth Rogers, and Emmanuel Ginis “Architecture and Depiction.” Design Quarterly, No 113/114, City Segments (1980): 4–7 Doyle, Michael E Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects, and Interior Designers Hoboken, NJ: Wiley, 2006 Jones, Peter Lloyd “Drawing for Designing.” Leonardo, Vol 17, No (1984): 269–276 Leggitt, Jim Drawing Shortcuts: Developing Quick Drawing Skills Using Today’s Technology New York: Wiley, 2002 Meggs, Philip B A History of Graphic Design New York: Van Nostrand Reinhold, 1983 and 1992 Reid, Grant Landscape Graphics London: Watson-Guptill, 2002 Sullivan, Chip Drawing the Landscape Hoboken, NJ: Wiley, 2004 Theory in Landscape Architecture: A Reader (Penn Studies in Landscape Architecture) Philadelphia: University of Pennsylvania Press, 2002 Thiel, Philip “Unique Profession, Unique Preparation.” Journal of Architectural Education, Vol 17, No (Oct 1962): 8–13 Treib, Marc Representing Landscape Architecture New York: Routledge, 2008 Tufte, Edward R Envisioning Information New York: Graphics Press, Cheshire, 1992 Tufte, Edward R The Visual Display of Quantitative Information, 2d ed New York: Graphics Press, 1992 Waldheim, Charles The Landscape Urbanism Reader New York: Princeton Architectural Press, 2006 White, Jan V Using Charts and Graphs: One Thousand Ideas for Getting Attention Using Charts and Graphs Englewood, CO: Libraries Unlimited, 1984 Woodward, David “Cartography and Design History: A Commentary.” Design Issues, Vol 2, No (Autumn 1985): 69–71 312 INDEX A adjustment layers, 29, 32–33, 35, 70, 72–73, 191, 195, 204–205, 225, 274–276, 278, 306 adjustments, 7, 29–30, 32–33, 48, 50, 69–73, 75, 77, 96–98, 101, 168–170, 193, 203, 206, 227, 232, 249, 274, 277–278, 288, 290, 308, 311 aerial image, 54, 58, 64–67, 69, 74, 115 alpha mask, 297 analog, 2–3, 14–19, 48–52, 57, 224, 262, 297 Anchor Point, 119–122 anchor points, 119–122, 139 Angle Jitter, 238–239 animations, 10, 114, 167, 281 appearance, 8, 36, 39, 75–77, 82–83, 117, 122, 126–127, 135, 137, 191, 193, 199, 232, 237, 270 Arrowheads, 132, 158 atmospheric perspective, 270–271, 273–274, 276, 280, 282 AutoCAD, 5–6, 8, 12, 20, 26, 48, 53, 57, 67, 74–75, 113–114, 122, 143–144, 155, 181–182, 184, 186–187, 189, 191–192, 196–197, 201, 247, 253 automate, 15, 61–62, 96, 100–101 axis, 162, 288 B background, 30, 37, 58, 74, 76–78, 87, 89–91, 116, 141, 171, 187–188, 208, 215, 240–241, 254, 262, 269–270, 276, 278, 280, 282, 284–289, 291–294, 297, 300–303, 306, 308 base color, 27, 95, 195–202, 204–205, 208, 210, 214–215, 225, 230–231 Bézier curves, 119 blend, 40–41, 43–44, 46, 50, 80, 137, 231–233, 243, 271, 300, 303, 305, 307–311 blur filter, 225, 252 brightness, 30, 44, 75, 77, 192–194, 220, 240, 273–274, 282, 308 brush preset, 218–219, 223, 243–244 brush settings, 223, 237, 246 Brush tool, 2, 40–41, 79–80, 82, 84, 86, 199, 208, 218, 220, 223, 235, 244, 308 brushes, 6–7, 16, 48, 128–136, 216, 223, 231, 235–238, 242–245, 307 C CAD, 6, 8, 18, 48, 50–51, 54, 57–58, 64, 74, 76, 95, 181, 186, 284 calculations, 40, 43, 64–67 Calculator Method, 64, 67 camera, 31, 167, 263–265, 268–270, 279–280, 282–289, 298 camera match, 283–289 canvas size, 60–61, 227 channels, 33, 35, 37, 42–43, 215, 217–218, 270 characters, 151, 153–154 clipping mask, 148–150, 156–157 Clone Stamp, 228 Color Fill, 189, 205–206, 208, 213, 216, 218 color modes, 113 Color Picker, 76–77, 84–85, 123, 125, 197, 202–203, 205, 220, 243 Color Range Selection Tool, 87 color swatch, 158, 220, 308 colors, 7, 17, 26–28, 30–32, 41, 44–45, 82, 84, 88–89, 113, 122–125, 139, 141, 195, 202–204, 208, 210, 214–215, 235, 240–241, 253, 270, 301 components, 17–18, 127, 270 composition, 4, 31, 50, 255–256, 263, 270, 291–297 313 Index Convert Anchor Point, 122 crop, 75, 148, 186–187, 227, 301–302 curves, 9, 30–31, 119, 121–122 D design process, 14, 48–52, 167 dimensions, 55–56, 65, 96, 118, 120, 152–153, 155, 182, 186, 237, 245, 283–284, 286 Direct Selection, 117, 120, 138 Distribute Objects, 161–162 Document Size/Color Mode, 113 Downsampling, 22–25 dpi, 49 Duplicate Layer, 189, 232 E editability, 14–15, 92, 181 Editing Smart Objects, 38, 248 elevations, 2, 57, 253 endpoints, 68, 119, 122, 129 entourage, 18, 78–79, 81, 83, 85, 87, 89–91, 195, 247, 254, 276–277, 284, 291, 293, 297–298, 308–310 erase, 7, 87, 91, 254, 294–296, 306–307 Eraser tool, 90–91, 292, 296, 300 Eyedropper, 88–89, 124, 220, 301–303, 308 F feather, 37, 80, 304 file, 14–15, 20, 25–26, 38, 48–50, 54–56, 62–63, 75, 92–96, 98–102, 114–116, 143–144, 149, 153, 163, 167–171, 181, 186–191, 225, 227–229, 232, 243, 247–251, 270, 280, 284, 289, 297, 308–309 file size, 14, 25, 49, 55, 92, 94, 96, 143, 187 filters, 39, 95–96, 225, 232, 252 flatten, 33, 92–93, 98–99, 114, 165, 298 fog, 270, 281–282 fonts, 15, 22 314 foreground, 84, 86–87, 139, 197, 202, 208, 215, 220, 240–241, 254, 262, 265–266, 269–271, 273, 276, 278, 280, 282, 293–294, 303, 308 Foreground/Background Jitter, 240–241 Free Transform, 37, 140, 229, 300, 304, 306, 308, 310 Fuzziness, 24, 87–89, 301 G Google Earth, 58, 64–65, 69 Google SketchUp, 262, 281 gradient, 7, 30, 32, 80, 215, 230, 278–280, 282, 303–304 grasses, 254, 306–308 grayscale, 30, 33, 84–85, 116 grips, 120 ground plane, 87, 205, 208, 210, 218, 242–243, 264, 278, 292–294, 297 group, 8, 43–44, 46, 61, 93, 98, 124, 138–139, 142, 156, 162, 167–168, 247–248, 298, 300, 303, 306–309 H hard drive space, 14, 92 hardness, 218, 235–236 hardware, 4–6, 13–15, 48, 55–56, 270 haze, 270, 273, 278–279, 281 horizon, 263, 271, 273, 276, 288–292, 303 hotkeys, 12 hue, 27, 31, 44–46, 69–70, 72–74, 96, 192–193, 203, 226, 240–241, 270–271, 274–275, 277, 295, 305, 308 Hue/Saturation adjustment, 72–73, 274, 295 I icon, 29, 34–35, 37, 39, 71, 73, 75, 77, 81–84, 86, 96, 98, 122–123, 136, 141–142, 162, 168, 191–192, 197, 202–203, 205–209, 213, 230, 305 Illustrator, 2, 6, 8, 20, 26, 36, 38, 48, 50, 53–54, 57–58, 64, 66, 113–129, 137, 141, 143–144, 148–149, 151, 153, 155–156, 158, 160–161, 163–164, 247–248 image adjustment, 29, 31, 70, 169 Index image size, 22, 24–26, 50, 54–56, 60, 64–65, 75, 96, 186–187, 227–228 import, 36, 38, 54, 67, 75–76, 114, 143–144, 181, 186–187, 189, 284 Info palette, 66–67 linework, 6, 16, 18, 23, 26, 42, 48, 50–51, 54, 57, 69, 74–77, 114, 117, 119, 121, 123, 125–129, 131–133, 135–136, 181, 183–193, 195–201, 204–205, 208, 210–211, 215, 247–248, 253–255, 270, 297 M J Justification, 154, 161 L Labels, 50, 151, 153 landscape, 2–5, 8–9, 11, 17–19, 48, 104–111, 117, 167, 171, 174–178, 180, 216, 224, 253, 258–260, 262–264, 268, 270–273, 281–282, 289, 298, 304 Lasso, 79, 87, 90–91, 215, 217–218, 223, 295, 299, 304–306 layer clipping, 277–278 layer effects, 223, 278 layer group, 93, 247–248, 298, 300, 303, 306–309 layer icon, 75, 77, 96, 191, 197, 202–203, 205 layer mask, 33, 63, 215, 225–226, 250, 278, 305 layer opacity, 223, 230, 233, 274, 276–277, 305, 308 layer order, 72, 214 Layer Properties Manager, 183 layer stack, 92, 165, 171, 195, 197, 205, 215, 274, 276, 306 layer transparency, 214, 216, 218 layers, 6–7, 10, 14–17, 29–30, 32–40, 43–46, 48, 56, 59–61, 63, 70–73, 75, 77, 92–97, 114–115, 117, 163–168, 170–171, 181, 183–184, 187, 189, 191–193, 195–197, 202, 204–206, 208–211, 215–216, 218–220, 223–225, 230–234, 243, 247–249, 262, 270, 274–279, 284, 291–292, 294–295, 303, 305–306, 308 layout, 62, 113, 129, 151, 153, 155, 157, 159–162, 181–183, 187, 189, 291 leaders, 50, 114, 129, 151, 153, 155, 157–161 light, 10, 31, 40–41, 43–44, 48, 75, 85–86, 88, 167, 216, 218, 220, 271, 278, 310 lineweights, 15–16, 74, 113, 117, 122, 181, 184 Magic Wand, 79, 87, 90, 195, 202, 204–205, 208–210, 213, 217–218, 223, 297, 300–301, 307 marching ants, 79, 81, 85–86, 212 Marquee, 79–83, 215, 217–218, 223, 230 mask, 30, 32–37, 39–40, 63, 73, 81–86, 148–150, 156–157, 204–205, 208–209, 213, 215, 218, 225–226, 233, 250, 278–280, 297, 305 Match Photo, 288–290 Max, 6, 262, 279, 282, 284–285, 297 Maya, 6, 262, 279–280, 282 Merge Layers, 60, 92, 192 model, 9–10, 18, 26, 50, 67–68, 182–183, 262, 270, 282–283, 285–286, 288, 290, 297–301, 303–305, 307, 309, 311 move tool, 59–60, 144, 165, 225, 248, 296, 306–307 N noise filter, 234, 252 O objects, 8–10, 16, 27, 37–38, 50, 67, 92, 117, 120–122, 125–126, 136–140, 145, 155, 161–165, 171, 185–186, 210, 218, 247–252, 270–271, 273, 279, 292, 306, 308 offset, 227–228 opacity, 33–35, 39–40, 43, 60, 82–83, 126, 139, 169, 192– 193, 220–221, 223, 226, 230–233, 241–243, 254, 274, 276–278, 290, 303, 305, 307–308, 310–311 orientation, 140, 152, 155, 163, 165, 237, 294, 304 origin point, 288–289, 308 P Page Layout, 129, 151, 153, 155, 157, 159, 161 315 Index page size, 75, 182, 186 paint, 2, 39, 43, 77, 79–86, 136, 138–139, 195, 197–204, 208–209, 213, 215, 220, 223, 229–231, 233, 308 Paintbrush, 2, 13 palette, 27–28, 32–33, 35–37, 59–61, 66–67, 70–73, 75, 81–84, 86, 93–94, 96, 115–116, 123–127, 129, 131–136, 138, 141, 143–148, 150, 153–154, 158, 161–162, 167–168, 189, 191–192, 197, 202, 205–206, 209, 215–219, 223, 225, 231–233, 235–238, 240, 243, 245, 247, 251–252, 288–289, 305 Paper Space, 74–75, 182–184, 189 pattern, 7, 30, 40, 128–137, 139–140, 143, 224–225, 227–232, 237, 243 PDF files, 181, 186, 188, 191 PDF Linework, 75, 181, 183, 185, 187–189, 191, 193 PDFs, 181–182, 184–187, 189, 196 pen, 2–3, 6, 16, 18, 66–67, 114, 117–120, 122, 128, 131–133, 155, 218, 223, 297 Pen tool, 66–67, 114, 117–120, 122, 128, 131–133, 155, 223 pencil, 2–4, 12–13, 68, 297 perspective, 2, 5, 11, 19, 62–63, 90, 160, 258–265, 267, 269–271, 273–277, 279–282, 284, 288, 290–291, 293, 295, 297–301, 303–307, 309–311 perspective grid, 262, 284, 288, 297 Photomerge, 59, 61–63 Photoshop, 2, 4, 6, 12–13, 17–20, 25–26, 30, 32–40, 46, 48–49, 53–54, 56–59, 61, 64–66, 69, 73–75, 78–79, 81–84, 86, 92, 94–96, 98–101, 113–116, 118, 124–125, 128, 138, 144, 148, 151, 158, 160–161, 167–169, 171, 181–182, 184–189, 191–192, 197, 201, 216–217, 224–225, 230, 235, 247–248, 250, 252–253, 262, 267, 270, 274–275, 277, 284–285, 291, 293, 295, 297–299, 301, 303, 305, 307, 309, 311 pixilation, 22 planes, 10, 282, 284, 290 point text, 151–153, 155 Polygon Lasso, 304–306 precision, 8–9, 34, 50, 247, 264 printing, 18, 21–22, 94, 143, 181, 184, 191, 220 PSD file, 38, 189, 297 316 Q Quick Mask, 35, 81–84, 86 R RAM, 49, 92, 270 raster images, 6, 15, 20–21, 26, 49, 53–54, 78, 113, 141 rectangles, 8, 117–118, 274–275, 300 reference, 12, 37, 64, 67–68, 114, 158–160, 163, 237, 248, 284, 289–290, 293, 297–298 Replace Symbol, 146–147 reposition, 62–63, 160, 225, 286, 289, 306 resolution, 15, 20–23, 26, 54–58, 60, 68, 75, 96, 113, 169, 186–187, 218, 247, 270, 284–285 S sample color, 28, 88, 302 Sampled Colors, 301 saturation, 27, 31, 42–46, 69–70, 72–74, 96, 116, 192–193, 203, 220, 240, 271–272, 274–275, 277, 292–293, 295, 305, 308 Save Selection, 35, 215, 217 scale, 3, 7, 9, 26, 30, 37, 50, 53, 57–58, 64–68, 74–75, 134–135, 159, 182, 186, 218, 224, 229, 231, 247–249, 253, 264, 276–277, 288, 293, 298, 300, 304, 306–310 scaling, 14, 16, 57, 59, 61, 63–65, 67, 69, 71, 73, 75, 77, 143, 251, 308 screening, 16–17, 170, 224, 232, 274, 308, 310 selected area, 35, 77, 82, 204, 208–209, 225, 233, 300 selected pixels, 34, 79–80, 84, 87–88 selection, 7–8, 33–35, 37, 39–40, 73, 79–90, 117, 120, 138, 187, 195, 202, 204, 208, 210, 212–213, 215–218, 222–223, 225, 230, 232–233, 235, 254, 288, 296–297, 299, 301–302, 305, 309 settings, 29, 32, 83, 95–96, 98, 101, 127, 141, 163, 169, 187, 189, 223, 231–232, 235–237, 240, 243, 245–246, 252, 280, 282, 303–304, 306 shades, 34, 69, 84–85, 218, 234, 279–280 shading, 14, 17–18, 195, 215–224, 230, 234, 308 shadows, 29, 31, 37, 41, 43–44, 96, 113, 216, 218, 262, 295, 308 Index shape tools, 40, 117–118, 155 SketchUp, 67, 262, 264, 281, 284, 288, 297 sky, 87–89, 300–303 Smart Filters, 39, 252 smart objects, 37–38, 92, 171, 247–252, 306, 308 Solid Color, 30, 76–77, 89–90, 187, 189, 195, 204–206, 208, 210, 212, 255 Source Imagery/Entourage, 78–79, 81, 83, 85, 87, 89, 91, 195, 298 spacing, 134–135, 153–154, 223, 237–238, 240 Standard Selection, 35, 81–82, 84–86 stroke, 7–8, 114, 122–123, 125–127, 132, 136, 139–140, 157–159, 222–223, 237, 239 swatches, 27, 123–125, 231 symbols, 14–15, 92, 128, 143–150, 156, 247, 249, 251 synchronization, 284, 288 T text, 50, 79, 93, 101, 114, 128–129, 135–136, 151–161, 168, 181, 295 text box, 151–155, 158–160 textures, 15, 17, 48, 57, 78, 96, 195, 215, 224–225, 227, 229, 231, 233, 235, 284, 290, 294, 304 tint, 27, 31, 143 title, 154 tolerance, 138, 201 tones, 17–18, 30–31, 41, 43 tools, 2–3, 6, 8–10, 13–14, 20, 28, 35, 40, 48, 50, 61, 75, 78–79, 81–84, 86–87, 100–102, 114, 117–118, 120, 122–123, 128–129, 137, 139, 141, 143, 151, 153, 155, 160–161, 167, 169, 181, 195, 197, 215, 217–218, 223–225, 230, 232, 235, 240, 243, 270, 274, 282 transformations, 9, 16, 143 transparency, 17, 34–36, 59, 75, 82, 126–127, 214–216, 218, 242, 250, 262, 270, 276, 296 trees, 14, 78, 140, 193–194, 210–213, 215, 254–256, 271–272, 306, 308–309 type tool, 117, 129, 135, 151, 154–155 U upsample, 23, 25 V vanishing points, 288–291, 298 vector, 3, 5–9, 20, 26, 34–38, 48, 50, 53–54, 113, 126, 128, 137, 139, 141, 143, 151, 155, 186, 218, 247–248, 270 video-editing software, 10 viewport, 10, 182–184, 264, 284–285, 288, 290 W warp, 300 water, 18, 57, 271, 298–300, 303–304, 306 window, 66, 96, 102, 115, 123, 127, 153, 284, 288–289, 301–302 work path, 216, 218, 222–223 workspace, 12–13, 53, 100–101, 113, 117–119, 129, 145, 155, 161, 225 Z z-depth, 262, 279–281 zoom, 89, 284, 289–290, 304 317 WILEY END USER LICENSE AGREEMENT Go to www.wiley.com/go/eula to access Wiley’s ebook EULA EULA_Tzviya-S_2014-3-21@1530.indd 3/21/14 3:30 PM ... Digital Drawing for Landscape Architecture Digital Drawing for Landscape Architecture Contemporary Techniques and Tools for Digital Representation in Site Design... pleased that Digital Drawing for Landscape Architecture is providing for a new generation of landscape architects training in contemporary digital media and its application as an emerging art form I... the larger profession Our hope is that Digital Drawing for Landscape Architecture will serve as a contemporary, digital version of these books for landscape architecture professionals and students