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Vector Isometric illustration of a train Interior cross section and exterior with a separate platform and underground tube station along with a railway.
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Train Interior & Exterior Vector Isometric
For more isometric vector illustrations or if you need a commercial illustrator go to www.dougillustration.com
Isometrics in the office
Hamburg, - Ever since it has been proved that pains in the head and shoulders and signs of general tiredness can be caused by feeble muscles millions of people have taken to isometrics.
In the Federal Republic of Germany an estimated 70,000 office workers spend two to ten minutes a day doing isometric exercises.
Secretaries, for instance, can be seen pressing the flat of their hands against their typewriters and pressing their fingers together or their heads against their hands. Other isometric exercises, designed to keep unexercised muscles in trim, can be practised without onlookers noticing.
Description source:
The Canberra Times, 21 May 1969
View the original image at the Queensland State Archives:
Vector Isometric illustration of a Care Home Hospital Building Cross section.
For more isometric vector illustrations or if you need a commercial illustrator go to www.dougillustration.com
Commissioned by BBC Future to show converted tanks used in D-Day landings www.bbc.com/future/story/20160603-the-strange-tanks-that-...
Pages and close-ups of Paper Pusher's 2013 Isometric Riso printed Calendar. Can be ordered online here:
Lots of my isometric people, created in vector and available for download at mathisworks.com/isometric_people_download.htm
This is an isometric view of my Lego attack helicopter. It's a generic attack helicopter design that incorporates design elements from the A129, the Apache, Eurocopoter Tiger, the Mi-28, the Rooivalk, and the WZ-10 helicopters, using a woodland-like camouflage.
Note the flat space on top of and immediately behind the pilot's canopy. I've considered adding an electro-optical turret there, similar to the one found on the ARH variant of the Eurocopter Tiger. Another option is to mount a radar dome on top of the main rotor, like the Apache D.
The design is created with Lego Digital Designer. A physical copy doesn't actually exist, yet. It's difficult(if at all possible), expensive, and time-consuming to obtain all the required pieces, in the right colors, to build this.
Questions, comments, and suggestions are welcomed.
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Isometric Vector 8 Bit Cartographic World Map
Have a look at closer screen shots on my website:
dougillustration.com.au/buy-vector-graphics/isometric-vec...
Graphic Minutes
By Barie Fez-Barringten
After Earth Day one and founding Earth Day twowe created and built the loft housing Laboratories for Metaphoric Environments (LME) in Manhattan’s east sixty eight street just across form Avadon’s (the world famous fashion photographer) studios and in a building owned by Mr. Fernandez who ran a high end commercial bakery on the ground floor. In Union Square I had met Adam Alexander who at time was special assistant to Mayor Lindsay. Adam lived on the West side and had several doctorates in mathematics. He somehow decided to collaborate with me to form LME and so from 1971 till 1973 when we left New York for Jackson Tennessee we had conversations which I documented with words and sketches.
What I later called word grams (after the DaDa movement) were my cognitive responses to reify these subjects through my fascination with geometry, graphics, design, drafting, and isometrics extrapolations. Adam knew I was doing this and after looking at my work sheet often would interrupt and say: “yes, that’s right” or ask “is that what you think”?
The previous year I did much the same thing with a graduate student from City College named Phil Winters who would document our conversations into his thesis based on a system he called: “TAG” (trust, authority and guidance). When Adam was not at the lab Henry Classon and I would likewise converse so that he could write the prospectus for LME.
It was only when I was writing and managing trainees and consultants for ARAMCO in Saudi Arabia did I then mount all 63 word grams on cardboard and then with dry mount film glazed each to the cardboard. In 1981 I thought these would eventually be exhibited as relics of the times.
Sadly, Adam disappeared, as had Phil and so many others from this very creative time. In 1972, after packing Plexiglas sculptures, pen and ink sketches, paintings and our personal effects Christina joined me as I assumed directing the architecture department for an insurance company where I designed two Tennessee cities and one village in Belmopan. At that time a local gallery owner invited us to exhibit our art and even a gallery in Memphis exhibited and sold many of my Sheba pen and ink fantasy drawings.
Metropolitan Corporation of Greater Winnipeg. Isometric of St. Mary - Broadway Sector [pictorial image]. Scale not given. In: Metropolitan Corporation of Greater Winnipeg. Downtown Winnipeg. Winnipeg: Planning Division, 1969, map 22.
Precinct Police Station in Bedford Styvestant Brooklyn
By Barie Fez-Barringten:AIA/NCARB/Yale M.Arch68’
The below are most of my original drawings as presented to the Yale theseis jury in 1967. These all drawn by hand by me with out the use of computers. Lieutenant Goodale of New York City's Police Headquarters spent his time to teach me about the policies and operations of precinct stations and then assigned me to spend a week at the precinct where I observed the works of the stations and rode in patrol cars.
On day we rode to street where the was a gun fight from one side to the canyon-like streets six storied tenements to the other.
I was told to get down and call for backup on the car phone which they handed me as the two officers darted off to deal with the situation.
After I complied I slithered along the pavement to a close phone booth to call my wife to five her may parting farewells and inform her what was going on.
So was my indoctrination to this design.
The whole reason I selected this project was at the encouragement of my former teacher and mentor Forrest Wilson who had traced my life from my earliest years growing up on the streets of the Bronx.
These episodes were daily occurrences when we lived on th East Bronx Simpson Street. I have put these and other such stories into a manuscript called :"Bronx Stardust".
All approximate 50 drawings filled the Yale University jury area and complicate the jury consisting of Vincent Scully, Sir James Stirling, Paul Rudolf, Charles Moore, Peter Millard, King Lui Wuu and Phillip Johnson.
It was Dr. Johnson who championed my project calling the jury's attention to the complete, comprehensive and coordinated documentation of my thesis as well as the above-excellent drawing and draftsmanship.
Unlike any of the jury members before coming to Yale I had designed skyscrapers, public works, multi family housing and High -end commercial interiors in Manhattan's competitive real estate market.
I had already designed a university under Edward D. Stone, office building under Khan and Jacobs and holy shrines under Frederick Kiesler.
Other pointed to the way one drawing spoke to the other and confirmed my then emerging theory that architecture was the making of metaphors.
As much as educators spoke of conceptual metaphors they did little to teach about the technical metaphor.It was both the technical and conceptual metaphor I choose to bring together in this micro project.
From site selection, site planning to the knitting together of program input from the community planning boards
and police the metaphor bridged, carried over and represented a new paradigm. None of this was lost to Phillip Johnson ,Vincent Scully and Paul Weiss.
The drawings are a study of the muti-dimensional characteristics of a work of architecture leaving no view or aspect to chance but all made part of the metaphor. In this description I shall leave you to read the drawings and learn the metaphor and its workings.
I can only hope it to be as much an aesthetic experience for you as it was for me, Lieutenant Goodale, and the jury.
Keep in mind this was all before computer aided design was even an embryo and when draftsmanship was appreciated for the art it actually was.
In fact my works was so well appreciated that when he published his book on the work of his office, Morris Lapidus included several of my drawings as examples.
Graphic Minutes
By Barie Fez-Barringten
After Earth Day one and founding Earth Day twowe created and built the loft housing Laboratories for Metaphoric Environments (LME) in Manhattan’s east sixty eight street just across form Avadon’s (the world famous fashion photographer) studios and in a building owned by Mr. Fernandez who ran a high end commercial bakery on the ground floor. In Union Square I had met Adam Alexander who at time was special assistant to Mayor Lindsay. Adam lived on the West side and had several doctorates in mathematics. He somehow decided to collaborate with me to form LME and so from 1971 till 1973 when we left New York for Jackson Tennessee we had conversations which I documented with words and sketches.
What I later called word grams (after the DaDa movement) were my cognitive responses to reify these subjects through my fascination with geometry, graphics, design, drafting, and isometrics extrapolations. Adam knew I was doing this and after looking at my work sheet often would interrupt and say: “yes, that’s right” or ask “is that what you think”?
The previous year I did much the same thing with a graduate student from City College named Phil Winters who would document our conversations into his thesis based on a system he called: “TAG” (trust, authority and guidance). When Adam was not at the lab Henry Classon and I would likewise converse so that he could write the prospectus for LME.
It was only when I was writing and managing trainees and consultants for ARAMCO in Saudi Arabia did I then mount all 63 word grams on cardboard and then with dry mount film glazed each to the cardboard. In 1981 I thought these would eventually be exhibited as relics of the times.
Sadly, Adam disappeared, as had Phil and so many others from this very creative time. In 1972, after packing Plexiglas sculptures, pen and ink sketches, paintings and our personal effects Christina joined me as I assumed directing the architecture department for an insurance company where I designed two Tennessee cities and one village in Belmopan. At that time a local gallery owner invited us to exhibit our art and even a gallery in Memphis exhibited and sold many of my Sheba pen and ink fantasy drawings.
My Hunter Gatherer Theme Park spread from the new children's history book Take Me Back published by Dorling Kindersley
View Rod's map illustration portfolio
© Rod Hunt 2010
View Rod Hunt's Portfolio here
Increase your flexibility up your wrestling game. Isometric Monkey Yoga reduces your soreness and improves your strength throughout your range of motion. Tim Thompson, founder of Monkey Yoga Shala, will lead a curriculum of yoga moves designed especially for grapplers. Tim will also provide a written syllabus so you can continue to practice on your own.
Questions? Contact Tim at monkeyyoga@hotmail.com and visit the website for the online syllabus and photo galleries at www.monkeyyoga.com
This Desktop Wallpaper (1680 x 1050) is scanned from a 2012 Calendar of Isometric Designs by Jp King (www.jpking.ca), printed using Medium Blue & Yellow on a Risograph RP 3700 by Paper Pusher Printworks (www.paperpusher.ca).
#architecture #design #designer #architect #axonometric #isometric #drawing #study #iteration #exploration #wuarch #woodbury #archilovers #architexture #archschool
Graphic Minutes
By Barie Fez-Barringten
After Earth Day one and founding Earth Day twowe created and built the loft housing Laboratories for Metaphoric Environments (LME) in Manhattan’s east sixty eight street just across form Avadon’s (the world famous fashion photographer) studios and in a building owned by Mr. Fernandez who ran a high end commercial bakery on the ground floor. In Union Square I had met Adam Alexander who at time was special assistant to Mayor Lindsay. Adam lived on the West side and had several doctorates in mathematics. He somehow decided to collaborate with me to form LME and so from 1971 till 1973 when we left New York for Jackson Tennessee we had conversations which I documented with words and sketches.
What I later called word grams (after the DaDa movement) were my cognitive responses to reify these subjects through my fascination with geometry, graphics, design, drafting, and isometrics extrapolations. Adam knew I was doing this and after looking at my work sheet often would interrupt and say: “yes, that’s right” or ask “is that what you think”?
The previous year I did much the same thing with a graduate student from City College named Phil Winters who would document our conversations into his thesis based on a system he called: “TAG” (trust, authority and guidance). When Adam was not at the lab Henry Classon and I would likewise converse so that he could write the prospectus for LME.
It was only when I was writing and managing trainees and consultants for ARAMCO in Saudi Arabia did I then mount all 63 word grams on cardboard and then with dry mount film glazed each to the cardboard. In 1981 I thought these would eventually be exhibited as relics of the times.
Sadly, Adam disappeared, as had Phil and so many others from this very creative time. In 1972, after packing Plexiglas sculptures, pen and ink sketches, paintings and our personal effects Christina joined me as I assumed directing the architecture department for an insurance company where I designed two Tennessee cities and one village in Belmopan. At that time a local gallery owner invited us to exhibit our art and even a gallery in Memphis exhibited and sold many of my Sheba pen and ink fantasy drawings.
The house is designed as a series of living levels or "trays for living," say architect Becker. The cutaway drawing above shows how these level follow the topography of the site. One continuous deck wraps around the house: a loft that will be filled eventually, with supplemental, rotational planting looks directly down on the living and dining areas.
New Tay Viaduct
Isometrical drawing of piers 29, 30 & 31 at the 245 foot spans.
November 1886.
Ref: GD/X717/1
Here’s an isometric image of both trains. Both the Series 102 and 112 run as AVEs, whereas all Avlos are S-112 units.
The way I do it, each Avlo picture takes 5 renders! One for every color of the livery, they later have to be painstakingly put together into a single image in photoshop. There’s surely a smarter and faster way to do it, but this is what I happen to know and feel comfortable with. Nevertheless, I think the final product is worth it. The AVE livery is a beloved classic, but the Avlo just DEMANDS your attention. The fact that it can’t be built is a tragedy.