By Frances W. Zweifel
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This publication is designed to aid biologists who needs to create their very own illustrations and artists who're faced with surprising organic topics. the writer, an skilled organic illustrator, supplies sensible directions and recommendation at the attention of measurement and of printing strategies, collection of fabrics, tools for saving time and exertions, drawing innovations, lettering tools, and mounting and packing the completed illustrations.
Enthusiastic about the moment gratification of shooting along with his iPhone, designer-photographer Dan Marcolina devoted a complete 12 months to a chain of cellular photograph experiments. His awesome effects and the post-processing steps at the iPhone to accomplish them are available during this attractive four-color images consultant.
Профессиональный фотограф Бойд Нортон представляет экспертные консультации и делится секретами фотографирования диких местностей, ландшафтов и фотографий природы. Руководства от полевых работ до компьютерной обработки, наглядно расскажут, как создать восхитительные фотографии с помощью вашей цифровой камеры.
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Extra resources for A Handbook of Biological Illustration
Iest lines are uted in the closest parts, and the dra\in I~nebare broken \vhere a more d~stantpart of thc skull pactec behind a closer part. Note the treatrnerrt of the arroxic nithin the drawlng. Rcduced orle-third fro111 the original scratchboard d r a ~ i ~ nofg the giant rat, Xenuromys barbatus. Showing aerial perspective in black-and-white drawings is not at all difficult. T h e nearer parts are given the deepest shadows and lightest lights, the most detail, and the heaviest outlines. Even simple line drawings \vill exhibit a three-dimensional effect if the heaviest lines are used to draw the closest parts.
It may be necessary to prop the object slightly on an angle so the plane of view will be at a right angle to the object plane for monocular viewing. A compound rnicroscope is used to see and draw objects not discernible with the naked eye. Use a scanning lens to locate the portion of the slide to be illustrated, then use lenses of greater magnification to see the desired part in greater detail. Filters of different colors will let you see certain particulars more clearly by bringing out one stain while subduing others.
The size of the dots is determined by the size of the point, not by the amount of pressure used. Pressing the pen hard will make triangular stipple dots and spatter ink on the paper. When shading from light to dark, simply space the dots more closely; do not use bigger dots. A rough texture may be suggested by stippling that is uneven in both spacing and size of dots. Figure 23 is an example of a drawing shaded with stipple. A technical pen (fig. 7) or the Leroy socket holder with the appropriate point (fig.