Hand Drawing for Designers: A Visual Guide for Drawing Fundamentals approaches the act of drawing as a communication tool that students will carry forth in the design firm. It also addresses why hand drawing is valued within design firms for conceptual design, design development, and client presentations. The progression of methods and concepts builds from an introduction to drawing methods and drawing rationale through two-dimensional drawing techniques, three-dimensional drawing techniques, and presentation drawings. Designed to strengthen a student's understanding of visual representation and technical drawing by visually teaching, this text provides students with the skills to translate three-dimensional ideas into two-dimensional drawings that effectively communicate their design concept. Despite the increased reliance on digital media, hand drawing remains a powerful tool in conceptual design presentations because it emphasizes the large idea by leaving fine details to the client's imagination. Features: -- Progressive introduction of concepts (chapters build on previous chapters), step-by-step drawing instructions, and visual examples -- Presents the concept of entourage by exploring different hand and digital based techniques to add people, furniture and landscape elements to drawings, with an emphasis on the scale of the drawing and the quantity of entourage -- Includes techniques using printed SketchUp models as a tool to generate hand drawn and hand drafted perspectives -- Demonstrates how to digitally render hand drawings, sketches, and diagrams in Adobe Photoshop and Adobe Illustrator -- CD-Rom provides digital example files in Photoshop, Illustrator and SketchUp format -- Instructor's Guide includes course outlines, additional assignments and how to use the text in a variety of courses
In this book, the authors have assembled a systematic set of design parameters describing short and long term mechanical, thermal, electrical, fire and environmental performance, etc. for composites based primarily on continuous glass, aramid and carbon fibres in thermosetting and thermoplastic matrices.
try to predict it using mathematical expressions. His heuristic model without mathematical proof is almost universally accepted. However, it entails a c- cuit specific noise factor that is not known a priori and so is not predictive. In this work, we attempt to address the topic of oscillator design from a diff- ent perspective. By introducing a new paradigm that accurately captures the subtleties of phase noise we try to answer the question: 'why do oscillators behave in a particular way?' and 'what can be done to build an optimum design?' It is also hoped that the paradigm is useful in other areas of circuit design such as frequency synthesis and clock recovery. In Chapter 1, a general introduction and motivation to the subject is presented. Chapter 2 summarizes the fundamentals of phase noise and timing jitter and discusses earlier works on oscillator's phase noise analysis. Chapter 3 and Chapter 4 analyze the physical mechanisms behind phase noise generation in current-biased and Colpitts oscillators. Chapter 5 discusses design trade-offs and new techniques in LC oscillator design that allows optimal design. Chapter 6 and Chapter 7 discuss a topic that is typically ignored in oscillator design. That is flicker noise in LC oscillators. Finally, Chapter 8 is dedicated to the complete analysis of the role of varactors both in tuning and AM-FM noise conversion.