Presentation Graphics

1. High quality graphics and models are a sine qua non. If the presentation quality is not up to professional standards and does not follow these rules, you will be required to re-do the work.

2. Use standard sizes for presentation drawings, one of the following:

• 20" x 30" foam core board, with 24" x 36" paper glued onto it with Artist's "repositionable" spray cement - place a sheet of newspaper or kraft paper under foam core board before spraying glue to prevent overspray from getting onto the desk or floor - lightly coat entire board with the spray cement and lay down paper onto it - trim paper to edge of foam core after it is glued on
• 20" x 30" foam core board, wrapped with 24" x 36" paper - wrap entire sheet of paper over foam core - do not leave any area of foam core visible
• 24" x 36" vellum (Clearprint 1000-H tracing vellum)

3. Use only horizontal format for drawing boards, even if building does not fit at the right scale with north up - if north cannot be up, make north to the left. Orient all boards horizontally. Orient plans the same way throughout presentation.

4. All presentation boards must be the same size in a presentation with multiple boards - use only 20" x 30" boards.

5. If you have a drawing glued to a piece of white foam core and want to glue that drawing-on-foam-core to a piece of black foam core (hubba-hubba!), place a small 3/16" thick piece of foam core spacer between the drawing on foam core and the base foam core sheet to raise it above the surface and add a shadow line. Keep spacers set inward from the edge of the white foam core so you cannot see them.

6. Be sure to cut edges of foam core straight, clean and square. If there is any, and I mean any, tears of the foam core center, discard the board and recut it. To prevent tears, do not press as hard when cutting and always use a sharp blade.

7. Put basic information on one board of presentation like this:

P r o j e c t T i t l e

Student Name          15 OCT 09
ARC 171             Critic: Heitzman

8. If north is up, you do not need to put a north arrow on the plans. If north is to the left (the only other possibility), put a north arrow on the plan.

9. Titles of drawings should be below drawings, not above them.

10. Create a consistent organization system between boards in a multi-board presentation -- use a graphic symbol or line which would repeat or carry between boards.

11. Leave a 1" wide blank strip around all boards where there is no drawing or lettering -- do not touch edges of boards with drawing. Do not "bleed" the drawing off the edge of the board.

12. Do not use any type of marker or pen with a tip wider than 1/16". Use only Pentel Razor Point or Flair extra fine point. Use Pentel Sign Pen for lettering or for heavier wall lines.

13. Do not directly draw or letter on a foam core surface with pencil or marker

14. Use light and transparent colors to color plans and elevations - use prismacolor pencils in a 45 degree angle shading technique to color drawings.

15. Do not use Prismacolor pencils as a line drawing tool -- use Prismacolor for shading only.

16. Poché walls in plan with either solid black ink or Prismacolor in a 45 degree angle shading technique.

17. Show floor textures in plan for circulation and major spaces -- textures may be drawn with 2H lead drafting pencil using parallel bar and triangle.

18. Color windows in elevations either Prismacolor "Indigo Blue" or "True Blue."

19. Show people and trees in all elevations -- always trace them from illustration guides.

20. Show people, plants, and furniture in interior section/elevations -- always trace them from illustration guides.

21. Do not show people in plan, but show trees and furniture

22. Do not show yellow stripes as lane separation for roads.

23. Do not use black or grey colors for streets.

24. Do not use solid black arrows to indicate north direction.

25. When showing the path of the sun in site plans, show a full 180 degree path.

26. Do not present any drawings that you would not want presented to you.

27. Keep it simple

• "Power Through" When you have mastered the ability to power through you can use this skill in all areas of your life such as being creative, overcoming mental blocks, finances, relationships, deadlines, problem solving, etc. Example: It is now three o'clock in the morning and you have run out of chipboard for the model that is due today in five hours (and before the stores open). You power through by tearing open some cereal boxes and get back to work.
• There is always enough time. Example: Choose a project or delivery system that will allow you to get the job done on time. If you do not have much time, select a simple but interesting solution, vs. a complex solution that is fantastic. You can select a presentation system or medium that can be done quickly vs. one that takes a long time (a freehand trace is faster than a hard-line drawing). Do not borrow time from tomorrow to do today's work. Manage your time, don't let time manage you.
• Risk. You control risk. People who change the rules or ignore them are taking a chance. They may be greatly rewarded for their decisions, or they may be severely penalized. It is OK to take some risks, but you should be ready to sustain some losses.

Interior Color and Material and Furniture Boards

1. Orient boards horizontally.

2. Use black on black 3/16" thick foam core for base.

3. Have at least two boards: One for interior colors and materials and one for furniture and furniture fabrics, colors and materials.

4. Color and Material Sample Board:

a. Include a plan and elevation on this board and label or number rooms.

b. Group all colors to be used in each room together in same area of board.

c. Place labels under each palette of colors and materials, such as "LIVING ROOM."

d. Key palettes to plan by name or number.

e. Do only the most important materials.

f. Try to proportion area of colors and materials on board to actual area of those same colors and materials used in interior.

g. Do not mix exterior colors and materials on this board.

h. Composition is very important for maximum impact. Remember, the presentation board is used to sell your design.

i. Keep a minimum 2" border all around.

 

5. Furniture board:

a. Do not use office supply catalogs from which to select your furniture!

b. Use only well-designed furniture from Steelcase, Knoll, Herman Miller, Stow or AllSteel.

c. Use only high-resolution black and white photos of furniture (do not color). Scan a picture from a catalog or download a picture from the Internet and use Paint Shop Pro or Photoshop software to make a black and white image from it.

d. All pictures of furniture should be printed at the same scale.

e. Select fabrics, woods, and colors for all furniture - procure an actual sample of these materials and colors.

f. Place samples of materials and colors for each piece of furniture next to the picture. If several pieces of furniture have the same materials, there is no need to repeat the sample - just show it once next to one of the main pieces.

g. Space pictures at least 2" apart in all directions.

h. There should be a space between the material or color sample from the picture of the furniture of about 3/4"

i. There should be a title under each picture, mounted on a separate white pice of foam core, such as "Office Desk." Use 1/4" high lettering, printed.

j. There should be a space between the title and picture of the furniture of about 3/4"

k. Glue pictures of furniture to 3/16" thick white foam core board using spray mount (not Elmers).

l. Glue fabric samples to 3/16" thick white foam core board using Elmers or spray glue - edge of sample must be edge of board it is glued on - cut edge NEATLY!

m. Provide 3/16" thick spacer between white foam core and black foam core. (Alternate: cut slot in black foam core board and place white behind).

n. Keep at least 2" blank border all the way around the board.

o. Glue thicker pieces of wood or metal to black background directly.

p. Group pictures of furniture by room or space.

q. Light fixtures should be placed on the furniture board also, and organized by room (that is, place next to furniture pictures used in each room).

r. Illustrate only the most important pieces of furniture and lighting, not every single one.

 

 

Drawing Line Weight

1. Your drawings must exhibit a variety of line weights in every drawing as below from lightest to darkest

 
• guidelines and construction lines (manual drawing only)


• texture and material lines, poche


• object lines (edge of surface, change of plane)
   
• profile lines (cut through walls, doors, and windows in plan and section, edge of any surface which is adjoined by "air" in elevations and roof plans)


• base lines (line at ground in elevations and sections)

 
2. Use crossed lines at all corners (in manual or freehand drawing)

 
3. Slightly darken the ends of lines ("hit-go-hit") (in manual or freehand drawing)

Lettering

1. Use standard lettering heights 3/32" for notes, 1/8" for special notes, and 1/4" for titles
2. In presentation drawings and models, lettering should be large enough so that it can be read from 6 feet away.
3. Text should almost always be horizontal. If text cannot be horizontal because of the shape of a particular object (line a narrow hallway that rund north-south), rotate text 90 degrees so that it is readable from the right side of teh board.
4. Use visible guidelines for all freehand lettering (lineweight no. 1)
5. When freehand lettering, use traced lettering appropriate to the style of the drawing for all lettering larger than 1/4" high
6. Use triangle edge to guide vertical strokes of all freehand letering
7. Skip lines between each line of lettering
8. Do not use    italic,    script, or   GOTHIC lettering styles.

1. Use only sharp, clean edges in models. Re-cut any pieces which have torn or sloppy edges. Do not try to cut through foam core in one or two passes -- it will take 7 or 8 passes to cut through 3/16" thick Foam-Core.
2. Always use a cutting surface for cutting on -- do not use the drafting table tops
3. Use only Xacto #11 blades for cutting cardboard or Foam-Core.
4. Use 4 ply Bristol Board (or white museum board) for your models because this type of board is white all the way through and when pieces are glued together, the joints are sharp and invisible.
5. For larger models, use either 1/8" thick or 3/16" thick Foam-Core.
6. To add color to a model, use colored Crescent board. Do NOT use intensive or pastel colors - stick to tan, brown, and grey-green colors - check with your Instructor first before purchasing any board for your model.
7. To make a quick small model, use cut-up Manila folders.
8. To make a crude but effective study model, use corrugated cardboard.
9. Topographic contours can be shown effectively by stacking cut-out pieces of 1/8" thick roll cork.
10. Use only Elmer's Glue-All for gluing model pieces. Do NOT use hot glue, rubber cement or glue stick.
11. Butt-joint foam core edges in models, do not try to miter or rabbet corners.
12. Do not use clear acetate to represent windows in model -- simply cut hole in cardboard.
13. Do not use "Life-Like" model railroad pre-made model accessories or materials.
14. Do not use doll-house furniture or people in models.
15. Do not draw anything on the model, especially center lines of roads, parking lot striping and handicapped parking symbols.
16. Do not use yellow, pink or chartreuse colors in models.
17. All models must have a min. 1" thick base with a frame.
18. Models should have "entourage" such as trees made of dried yarrow plant and people cut out of bristol board.
19. If word processing lettering is used for titles for models, glue paper with title on it to 3/16" foam core using Artist's repositionable spray cement, then cut through both paper and foam core at the same time to produce a seamless and sharp edge. Mount to model by using a 3/16" spacer so that title "floats" above the surface of the model base.
20. Orient the model the same as the plans
21. Place project title on the model base in the following format:

 


Project Title
Student Name          15 OCT 09
ARC 171          Critic: Heitzman

1. Introduce yourself to audience first.
2. Give them an overview of what they will be looking at.
3. Never make excuses for not having finished the project, or not doing something just right, etc. As far as the audience should be concerned, you should project the attitude of being happy with the design.
4. Tell them the name of the project and where it is located.
5. Never say "my design" or "I chose to..." It has a "know-it-all" effect which turns people off.
6. Dress professionally. Do not wear a hat or cap, torn jeans or tee-shirts.
7. Do not put your hands in your pockets.
8. Look your audience straight in the eye while you are talking. Do not talk to the boards or model.
9. Talk in an authoritative voice. Do not talk softly, it seems that you doubt your self. Never doubt yourself.
10. Walk them through the plan from site entrance, to main door and through the building.
11. Tell them the "concept" of the design as simply as possible.
12. Show them the elevations, describing materials to be used.
13. Show them the model, describing the overall form of the building and how it reinforces the concept.
14. Keep it short and simple.
15. End by telling the audience why this project is so good.

Interviews

The following are some valuable techniques from the book How to Win Friends and Influence People by Dale Carnegie, written in 1930’s is the second best selling book after the Bible.

Don’t criticize / condemn / complain
Show honest, sincere appreciation
Arouse, in the other person, an “eager want” of yourself
A person’s name is to them the sweetest sound
Be a good listener, encourage others to talk
Pay attention to what the interviewer says, look around the room and identify his/her hobbies

You want to create a two-way conversation
Ask the right questions
Name, Travel, Work, Live, Hobbies, Ideas
Questions on these items are very common and useful to ask
Helps engage in two-way conversation

Five Drivers for Success
Self confidence
Communication skills
Human Relation skills
Leadership
Control stress / worry

You have to convince the interviewer that you have these skills

How much warmth you project is also important
Ask the interviewer, who is likely seeing many candidates, etc – “How are you doing today?”
This helps relate the human touch

It is also important to show that you can relate /empathize with points brought up

What would you attempt if you knew you couldn’t fail?

Cultural Literacy

1. Learn the terminology of the field
2. Build your vocabulary.
3. Continually increase your cultural literacy by reading, listening to all types of music, attending live theater, dance and opera, visiting art galleries and museums, and attending lectures.
4. Branch out -- don't do things just because everyone else is doing them.
5. Always try to develop a "good bedside manner" and never be confrontational or vulgar.
6. Develop good communication skills
7. Be in love with creativity
8. "Design" don't "solve problems." If you have to solve a problem, you have not designed well.
9. Always say "Can Do" -- Never say "Can't"
10. Accentuate the positive, eliminate the negative.
11. Always put your best foot forward. Never apologize for your mistakes.
12. Develop a "Thick Skin." If someone tries to bait you, don't take the bait. Let their sniping roll off your back and keep going. Life is too short for petty bickering. To paraphrase Rudyard Kipling: "If you can keep your head when all about you are losing theirs and blaming it on you...If you can trust yourself when all men doubt you, yet make allowance for their doubting, too..."
13. Mistakes. You learn by making choices (some good, some bad). If you are going to learn, you have to make some mistakes. The more mistakes you can make, the stronger you can be. So get busy and make mistakes (lots of them).
14. Learn from the mistakes of others. You do not have time to make them all yourself, besides, its is much less painful.
15. Expect the unexpected. Things break down and plotters run out of paper. Start with a contingency plan which will allow you to do something when the unexpected happens.
16. Work hard and play hard. Make time to have some fun, or you will become overstressed and dull.
17. Learn how to take criticism. How you choose to take criticism will determine in part how successful you are. Show your critics you understand their criticisms by applying their comments to their solution.
18. Rejection. You can learn something from everyone and everything, even rejection. Accept it, work through it, and move on. There is life after rejection. Never give up on anything or anybody - miracles happen everyday.
19. Help. Asking for help is a strength, not a weakness, and people generally are flattered that you asked them.
20. The more you give, the more you get. You are treated by the way you treat others. Give your kindness, patience, knowledge, love, joy, peace, and you will receive the same.
21. If you really want to learn something, teach it. If you can do it, you only understand. If you can explain it to someone else, you know.
22. Network. Successful people do it. Get to know the professors in the program.
23. Just say no. Saying no to yourself and to others is an important part of being successful. Do not commit yourself to things you cannot complete.

Design

The following design "rules" should be observed in all design and presentation work:

Provide "Contrast"

Create "Spatial Tension"

Obtain "Balance"

Show "Movement"

Use correct "Proportions"

Keep in "Scale"

Always strive to provide "Repetition"

Include "Rhythm"

Make use of "Grids" and "Modules"

Line things up

Nothing in the middle

Never one of anything

Never two of anything

See the Whole, not the Parts

Unity in Variety

Create a "Focal Point"

Always have a main "Idea" (Scheme, Parti, Concept)
 

1. Elements of design:

 
Point

Line

Shape

Form

Volume

Space

Sequence
 
 

2. Master the basics and use them.The most complex design and solutions are often created by using or combining basic concepts in interesting and unusual ways.

 
3. Choices. A person that has many choices is rich. Do not get overly fond of one idea. Powerful people can generate many ideas, and they can move from one to the other quickly.