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'. _. Foreword

Freehand drawing gives us five main advantages:

Drawing and freehand drawing have for thousands of years been techniques which man can. and has mastered (look at the cave paintings over ten thousand years old). The motivation came from a need for ornamentation, the retention of sensory impressions, or the transmission of rnformation pure and simple.

1. First of a II, th i ngs that do not as yet actua Ily exist ca n be ill ustrated al most as if they did. When drawn freehand, planned buildings, rooms, landscapes, pictures, motifs, scenes, etc., become immediately visible in three-di mensional form. The advantage of the "artist's impression" is that all our ideas can quickly take positive shape by means of the freehand sketch.

The portrayal of self and surroundings has always been one of man's elementary requirements and manifests Itself In many different media and ways (including freehand drawing); the specific medium will be determined by such factors as environment, education, and possibilities of self-development.

2. A comprehensive and accomplished freehand drawing can illustrate and "demonstrate" an object far more clearly than all other techniques. In an age when we are being force-fed with TV, film, and photography, the drawing leaves a more lasting impression and is often more pleasing to the eye.

In previous times, for example, one's own half-timbered dwelling, with its carvings and color scheme, was a very personalized object. Today, on the other hand, the sole individual form of expression is often only the choice of color for a house picked out from a builder's catalog of ready-made homes.

3. The sheer pleasure of seeing the visible result of our own efforts as a wholly personal act and achievement, one which is permanent, lasting, and frequently beautiful too.

4. Our powers of perception are greatly enhanced: freehand drawing compels us to sort the essentials from the banal and hence to see things more profoundly.

Freeha.nd drawing opens up a whole new area of personal freedom which can captivate us as an -ntensive hobby to be pursued passionately-and one that is also inexpensive and uncomplicated.

5. Our entire way of life is visibly expanded and enriched. Our powers of observation are enhanced, the visual memory strengthened, the imagination trained, the feeling for form and space is heightened; we learn to see the essence of things-i.e., our ability to abstract is better trained.

Freehand drawing can enrich and broaden the experience of a holiday or journey. And if there IS no picture, photo, or brochure handy, we can quickly draw or sketch an object we Wish to show to someone else.

There are many substitutes, but even in the age of advanced photographic, atomic, space, automation, and production technologies, we simply cannot do without freehand drawing.

There is no doubt that the modicum of effort and patience needed to learn to drawfreehand will be rrchly and diversely rewarded.

The rapid sketch will always assist and expedite the exchange of information in a discussion,and many an expert will assert that one drawing is worth a thousand words of explanation.

Karl.Christian Heuser

Freehand drawing can capture an initial concept or idea for interior designs or designs in other fields, e.g., mechanical engineering.

In the environment, freehand drawing can awake our interest in many of life's little details which we might otherwise overlook. As we learn to draw freehand we learn to look at our surroundings more intensively, to perceive things more clearly and understand them

better. •

Sketching a three-dimensional view (step-by-step construction of a drawing). The book is also laid out in step-by-step form.

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10

1.0 Freehand Drawing-It Can Be Learned

1.

In the modern technological era, the ability to convey ideasclearlv and convincingly is more important than ever before.

1.1 Drawing

Step 1. Draw horizon at eye level (straight across from left to right).

Step 2. Determine the vanishing point on the horizon (an eccentric position avoids uninteresting symmetry).

While problems and concerns can be succinctly conveyed through concise speech and unequivocal gesture, technical and structural problems can often only be explained with the aid of signs and symbols drawn on paper. This is where freehand drawing can have a special part to play, and it is no exaggeration to claim: "Anyone can learn to draw freehand provided he's willinq!"

2.

Step 3. Draw ground level at distance of ground from eye (approx. 1.5 to 1.6 meters) below horizon line (3 height divisions) = a.

Of course, a modicum of patience is required to carry out the exercises, but it is no great difficulty to reproduce as a drawn outline what one sees. Nor need the sketching of objects on paper have anything to do with so-called "talent" or even "art." The sole requirement, in fact. is practice in observation and awareness of everyday life and in the handling of drawing materials.

Step 4. Draw in door height approximately 2.0 m (4 x a)·and ceiling height approximately 2.50 m (5 x a = 5 x 0.5 rn),

Drawing can mean sketching the outlines. During the Renaissance-and even in the Bauhausthey said things like "Good draftsmanship is part of an all-around education." Today we might add that "Good photographs may be very beautiful but we should never quite forget how to draw." The ancient Persians, Egyptians, and Greeks were excellent draftsmen and such good illustrators that today their achievements are known as ancient art.

Step 5. Draw left- and right-hand room limits and the doorway, estimating the proportions of height:width.

Step 6. Draw in the "depth lines," i.e., the lines that lead to and from the vanishing point in this frontal perspective.

Photographs are no substitute for the more differentiated drawing, the photograph is usually a poor substitute since most photos include all manner of detail extraneous to the actual object. Apart from the object itself being insufficiently stressed (what is it a photo of, exactly?), the surroundings and background, etc., detract from the central impression the picture is supposed to convey. A clear-cut and concise drawing that is kept free of superfluous detail can even enhance the aesthetic quality (beauty?) of a picture.

Step 7. Once the main lines and dimensions have been drawn in, it is easy to illustrate the remaining detail.

So far as modern photographic equipment is concerned, there is little doubt that any merely photo-

graphic representation becomes meaningless the moment that a camera's easy handling turns critical selectivity into snapshot mania. Just as with drawing and composition, really good photography is dependent upon the patient and concentrated observation of the subjects to be portrayed.

"Drawing" can be interpreted as "making signs and symbols of something," a process in which the essence of an object is sketched, emphasized, and brought out. As a consequence, irrelevant matter must be omitted since it merely dilutes the major point of information. In certain instances this can even entail leaving out the entire surroundings and concentrating on the essential features only. Personal style and "artistic" flourishes are not absolutely necessary unless we wish to highlight specific features.

This means that drawing gives us an opportunity to practice and sharpen our awareness of the essentials, a fact made clear by any good caricature. And as our experience grows we will find it easier and quicker to reproduce forms, buildings, and structures.

Our choice of motifs will also teach us to see specific sections of a view: we will learn to pick out drawings and pictures from an overall scene and arrange the objects in skillful form ("composition"), Finally, a thoughtfully selected observation point will do much to improve the pictorial composition as a whole.

The student should soon overcome his initial feeling of having to cover the paper with firm lines. A little practice should teach us to visualize the finished drawing as we begin the very first stroke. Before we can speak a language we must learn the vocabulary; in terms of drawing, this means that we must learn to see and draw lines-not a hard task for anyone with a little courage.

The aim of this book is to teach the student the basic manual skills and to establish his confidence in technical execution. As his experience and skill grow, the freehand draftsman will discover his own techniques in accordance with his temperament and personal preferences.

1 1

1.2 Drawing Materials-Where Do I Start?

The line and the drawing are what counts, not a great outlay on expensive paper or materials.

1.2. 1 Drawing Instruments

It is essential that our materials allow for a flowing, even line and stroke. Avoid anything that broadens the stroke as it gets longer, or which can easily spoil the paper, such as too soft a pencil or charcoal stick. For the beginner, wash and ink materials are just as unsuitable as ball-point pens, since minor irregularities, blurred stroke ends, and uneven line widths can form added "features" that are unsightly and certainly unintentional. A sharp school chalk on blackboard often makes for better stroke quality and overall results.

If one were to classify materials in terms of their suitability for freehand drawing, the list might look as follows:

1. thin felt-tip pen

2. pencil, medium

3. pencil, hard

4. pencil, soft

5. charcoal

6. india ink

7. chalk

12

8. fountain pen

9. ball-point pen

2.0 First Essentials

The width of the stroke should always be kept as even as possible. PenciJ and felt points should not widen too fast and should certainly not break off! Evenness of stroke can be achieved by rotating the instrument.

2.1 Free Strokes (Exercise One)

Drawing with a soft pencil, charcoal, or chalk has the great advantage that one can create stroke thicknesses ranging from wafer-thin to fat simply by varying the pressure on the instrument.

The correct movement of related 'muscles in fingers, hands, and arms is an absolute necessity in drawing. Begin by loosening up the hands and arms; hand and arm positions and sureness of stroke will improve after a few sessions.

1.2.2 Drawing Paper

Most types of paper are suitable for freehand drawing and sketching provided they are light enough, absorbent, and somewhat coarse on the surface. Very smooth, shiny paper is unsuitable since pencil strokes will not seem dark enough, while other materials may even slip and smear. Heavy white Ingres paper, letter paper, or watercolor paper is eminently suitable for freehand drawing.

There is great pleasure fn seeing one's very own first efforts on paper. We should spread an inexpensive sheet of paper on the wall or table and start by drawing free and relaxed loops as we move the arm back and forth in gentle swinging movements. The back of old wallpaper, unused wrapping paper, or similar material makes an ideal host for our initial efforts. The paper should be about 50 centimeters square; refer to Section 1.2.1 for drawing instruments.

The paper should rest on a solid, firm surface, and since drawing requires both time and patience, we should also find a comfortable sitting position.

Before actually putting pencil to paper itis advisable to go through the motions of drawing the complete form, then apply thin strokes as soon as you have familiarized yourself with the outlines. Strokes should always be drawn smoothly and briskly, and if at first you don't succeed, use a fresh sheet of paper. Erasing, correcting, and adding more strokes should be avoided, since this does nothing to increase your confidence. So begin again on a fresh sheet of paper.

You should also avoid getting into cramped hand and arm positions-all movements must be followed through rhythmically by the body. Your first circles and ovals will not be perfect, but don't let this deter you! Keep using fresh sheets of paper until the whole sequence of movements which produces the strokes has become steadier. In your efforts to overcome that cramped position and to draw the strokes briskly-and this should come right at the beginning of your exercises-some comfort may be taken from the knowledge that almost every drawer has been faced with the same problems at one stage or another, and has managed to overcome them. Now and then you should take a long, hard, critical look at your drawings from some distance away (two to three meters). This will help you to identify areas for improvement in terms of filling the paper, light and

dark, distribution of different surfaces, expressiveness, legibility, and depth differentiation. This ability will of course grow with experience.

2.1.1 Free Strokes (Continued)

If possible, stand before a blackboard and draw the strokes shown below-or your own creationswith the arm held slightly bent to execute some generous free strokes.

Once completed, each line should be left alone! Strokes should not be drawn over or into one another. If you need to start a new line, then begin

Lines

Bows

Spirals

Figure 2.1

Loops

Ovals

Circles

13

about one centimeter away from the existing line (on a blackboard), or one-half centimeter on paper.

After practicing on a blackboard or sheet of paper pinned up on the wall, stand at your table and draw the same strokes with hand and arm swinging back and forth over the horizontal paper. It is important here to sway with the whole body without supporting it on the free (nondrawing) hand. Finally, after practicing on wall and table one should try to make the strokes more disciplined and precise.

Remember-never overfill the paper, rather take a fresh sheet.

Practice all circles from left to right and from right to left.

14

2.2 Lines-Strokes-Dots

When making corners it is advisable to draw a deliberate cross. This will make your corner quite clear and unmistakable, so please have no fear of crossing over lines.

At some stage in your life you will have tried to draw straight lines freehand. You may have been fortunate enough to have had an excellent teacher who made the lessons so interesting that you have absolutely no fear of drawing freehand. If not, don't worry! Success can be achieved even without a helping hand. After all, freehand drawing means applying simple strokes to paper without the aid of ruler or T square. To draw straight lines the hand should rest firmly on the paper and only the hand and forearm should move across the drawing-slowly at first, then more briskly later on.

1 ___________

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wrong

wrong

wrong

Figure 2.4 "Corners" in Drawing

correct

So far as the thickness of the strokes is concerned, one should leave nothing to chance. The thickness should not be dictated by the pen, pencil, or felt tip but must be the decision of the draftsman alone. Long strokes of even thickness can be drawn by turning the instrument frequently. Dots should really be just that-short strokes that are meant to be dots are very ugly and look as if they have just been "dashed off," a sure sign of carelessness and a superficial approach on the part of the artist.

- .....

artificial and . misleading

Figure 2.2 Line Quality

Begin by trying to draw a single straight line; you must decide exactly where this line is to start and end. Wait, don't draw yet! It is vital that you draw the whole line in a single stroke from start to finish without stopping in the middle.

• Surfaces should be dotted evenly and with a sense of balance. Dots must be really round!

• Deliberate smearing or rubbing of pencil strokes are not the proper techniques of good drawing. These are signs of superficiality, lack of concentration, and slovenliness.

If for any reason you have to interrupt the line, don't ruin it by starting the new one on top of it. You will never achieve a satisfactory result by piling strokes one on top of the other, the resulting differences in stroke thickness will look awful. Your new line should start 2, 3, or 4 millimeters away from the end of the old one.

It is not that hard to draw lines evenly over their entire length. With every new pen or pencil you should see whether the desired stroke thickness is maintained and how the instrument has to be held

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Wrong! Short strokes In all directions.

Rlghtl Corners and edges are emphasized Round dots!

Figure 2.3 Line Continuation

Figure 2.5 Dotting Picture Areas

in order to achieve this. Even kings and presidents have their pens and paper tested for evenness before signing important documents.

wrong

Figure 2.6 Starting New Lines

To assist in practicing, it might be useful to take a sheet of graph paper or paper with ruled lines on which you can happily draw individual straight lines from a conscious beginning to a deliberate finish. Also, try to draw parallel lines horizontally as well as vertically.

not good

correct

Figure 2.7 "Continuous" Strokes

15

Once the initially uncertain and perhaps shaky stroke exercises have assumed more discipline and confidence, take a sheet of plain paper and do the following exercises until these too have acquired confidence and self-assurance.

line exercises

Figure 2.8 Parallel Lines

Here is something else for you to try: drawing straight lines parallel to the drawing board or table edge by steadying the hand on the edge and using it as a guideline.

Board edge IS gUide stop

Nonslip. firm base.

Figure 2.9 Use of Drawing Board Edge as Guide for Straight Lines

16

2.3 Infilled Areas

Hatching should never be done in a hurry. Hurried hatching is yet another sign of carelessness and untidiness in the draftsman, and is bound to give the impression that the same "can't be bothered" attitude carries over into other areas of drawing, like design, dimensions, possible errors, etc.

Now and then it will be necessary to fill in a large or small area to make it appear black or very dark. One should always avoid monotonous shading with the same shade of pencil,charcoal, or

crayon; it looks unsightly and is not good enough for any acceptable standard of drawing. If a certain area i·s supposed to look darker than the general background, then the most satisfactory solution is "hatching" with narrowly spaced lines.

Diverging lines should be avoided, especially those which intersect the main line at a very sharp angle and leave unpleasant "leftover" areas.

2.4 Hatching and Diverging Lines

Far too hurried. superficial hatchings (all wrongl)

Hatching has two particular features, if done well:

1. the evenness of strokes and their spacing, and

2. the uniform direction of the strokes.

String I

Line remnants'

Just take a look at newspapers, magazines, or books; any irregularity of hatching in terms of line continuity, spacing, or direction is immediately noticeable. This means that hatching must be applied as evenly as possible, bearing in mind that too wide a spacing will sacrifice cohesion.

All different d.rections '

Broken threadsl

Lines not drawn right to paper sdqe!

Uneven spacingl

Figure 2.11 Hurried Hatching

Hatching too widely spaced in relation to the size of the area.

3.0 line Exercises

And now for a little practice! On the following pages you will find large exercise spaces for your first pencil exercises. The left-hand pages have been drawn on for your guidance, and you should try to reproduce the same lines with the least possible deviation. This will require a certain amount of patience of course; immediate success cannot be expected. The main thing is to draw each line correctly and thoughtfully, and your eye and muscles will gradually acclimatize themselves to straight lines.

This hatching was drawn very tight.

good

Normal spacing in relation to area size.

Figure 2.10

.Just as a natural stone floor can be displeasing with its slabs of different shapes and colors; areas covered by all sorts of different lines look just as unsightly. The different directions and line lengths have a disturbing effect on the eye, and so we can conclude that a restriction in the number of directions and the avoidance of very acute angles will have a visually positive and pleasing effect in just about any drawing.

Very unsettling. with different line lengths and directions.

Pleasing Impression by restricting the number of lines and angles.

Figure 2.12 Line and Optical Impression

Evenness of spacing will need some concentration, but minor irregularities caused by initial lack of practice or by trembling of the hand from the beat of your pulse should not deter you. The body should be relaxed for drawing. The slight physical tremors that can occur following great physical exertion will affect the results on paper.

Turn the book square on its side and draw parallel lines from left to right across the page. You will see it is not that difficult. Each stroke will give you added confidence!

17

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And now draw your own lines. Turn the book through 90 degrees and draw the lines right across from left to right. Here is your exercise space:

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This e,)(allmple' willi t!est your sureness of eye and abilliw!o malintahill.a ,gii1ven line direcHlol1. The object is to' difalwlilles from any dill'ection iliiow,ard the given

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With e{',,;,h exercise you willi become aware, of the countless posslible v~'riiiilllf'Ons,. Y,oll;.llr f~ee choice orf these possibili~.ies willi !lOW rapidly 'gmw ,and will give you much enjoyment,

And hi ere ~s Sam el space ~orVQu to deve I op sli mHalf rnotifs onvo ur own:

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I)r<l Wi Flgi c iircles, is; best beHu n by ,ollra wi n,g 001 Is. Stalr~ in ~Ihe cenrter and dralw both cII,!)ckwise and !cQunt:erclockwise in tight spir,a:lls,

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Draw the ispiralscllo<;lk.wise, then countercteckwise, rEH'lill1QI ferearm 0'1"11 the board and rnaiki rr1'[1 cilwc LJ lar metiorts with thewrilst; start frolm me center, 'th e f1 fro m the outside lin. You wiill see th~'d the last spilrals <ire better than the ones you drew first.

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T1hi~, time, the spiralls have their centers displlticed to one slda. Yo·1lJ will soon see ~hat it is no·! so· difficult to do as. it S,B:E!JIlllS .. Exercise space (start from thle outside]:

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'YOUl should noW be able to dnllw circles rel,ativ'e~y eas,ily. A circle can be thou.glht ete s beli ng e ne I osed il nside a sq IJ~ re,each Quarl!er O'f 'Whi,dll ccnta ins aqua rter ot~ the curve of the Ci,f'C,hil. iP;oli nts of c~l!1t~C11 are very bri0'L We' ca nsta j'~ by d'rawi 111 QI a tneoretica I hem isp here wh ich is then com pletedto forrn the whole sph eire

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By now you 1iI~'v"e had so much pn~IGtlicetha'tea(;h and every !iltrdke' wil'! be exac:tly' wher,~ you wa nt it to' IlIO'.

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.AJruJi finailly, ~ryto dralW lines simi,llar h) those shown Of! the ,opposute (>age. PI!']a 00 n owe! 0':111 cha rectertstle tea t u res before putti rlI,gl pencilll 10 IP·9iper I

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The 'Various types of pertern shown hel"e should encourage you to have fun by drawipilg some ideas of your ownThesa Inay of ecurse prooucs spatial {i.e .• thn~'e'~~'rmensi()pilaU ef. 'fects. which gnOW you h) see "into" the patrern,

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T~le simpll'est wav to draw an area also a coherent unit is by hatching ~o'ii'!;llte,niia'li\l'ely by the use of bladk/whj~e or co.~or corrtrast with the' background wne}. We must remember however 'that hatching cain \I~ry rapidly become I,ll1typical for the drawn object 9 ivi ng a ~ a bS"1 ract i mpresslon, l~ ~ i nte nsity oithe sin adi FlIgl must ~ tlere'fOIr'e be in halrmony wi'lh

the area's meaning. With ~ncre,glsingl darkness, for instance. we' interpret g,eater weight etc, Hatchi ng is normalHy used at pll1ace:s where oth er de\i'ice~ or representations of the material's (Jualility are una IXepta'b lie beea use (i:f proh ibitive' eHan Or

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Ma'Q'Oified jilhlSlr.ali!OriS 01' drawmgs Of nearSVmbo I ic nat ulre .ghm u is a good i rlIdicatlon of the m.(illeri.8I,I' quality '(porHs,g.rair1l, elc.) and pernaas of III e type of sUitfalG~ us well.

Compre.hensiibl'e clarity ano g'ood drawir"g qualily can he improved by the judici.ous incor,porat,joFl of the materiel' $1: 11(!IHlcteri sties ~ nto repres€i ntatiorjs of areas and surfaces, W,jth <:Ielua,i material SUIF(ac-es we d ils;ti ng u i1S!1 b~tween:

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The' $ud.a:ce qU<lIHty or the appa.anrance ·of the mateIfiall which makes up the surface we ara diiaJwi,ng p!i;IIYS .a n i mportail1ltpa 1'1 in this process, The b(H .. rnda rles of very bright su rtacas ca Ii [POSe' problemls 'to beg i nwith. b I..It the eoonomli:cai use of a few d'o~:sal the sutiaoes' edge's a nd corners calf] rmprov,e clarity, The effect is similar to whalt happens a~ th e edges old iff'e1nml areas i rl' overexposed or underexposed photos (alienation), which jus~: goes to p mve mat liinl\:s with rea I ity h'ave not been 10Sl ..

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Ev--en the' 'thickness of a Ilimit. line, by comparisen wuUi rea,~ity-iLe' .. " me obj;sct repn~$ented~de~ermines the qua,lity of a good 01"" bad .reproduction of d iff.elring s U rfaces, The me r,eily ,I i'mlea r li'dentliilicati on of' the area's boundary j's only one possible: way to identify ti'nat area: the other iis to mil in tlie verieus a reas wi1th 9 raphicdevices.,

Clearer outlines

4.;2 Surface limits

A praci saly dl' a WIl H mi't Irirn,e is efte n enough 'to i dent vty d~nere nt surfaoes.

Most a res s a no sudao~s .arE)'sl¥JtoH ,ag,a d n sf ot hers or 'Iheir surroundings by black~arlld-whjrte.or col(Ired eptical de~imita'bons, and these ShO'lJild' be reprod uced as exacdv or true' to !life as poss~b~e.. Dmerenrt effects (a wjlndow in a eoncrete waU or wh ~h~ sheet 'o~ palper nn ~I wh i te t.abletop) ShO'Uld be dr,awn in a manner that is ty"p,j;cflll' of the matefrljia I' er .its (! ppea ra nee ..

r

BOld 01)111 'le-Iooks 1Ilr;TlQsi 11k-,e a J10lG in the IEill1'leto~,

TeX[UFe

58

faCILIh

figure 4 .. 4

4.3, One Ex,ciepti on: The VisuallitzatlQr! of S ulPerlimpo\S!ed Levels

In disenssicns of technical problems or aspects of urban planning it m.ay be neeessarv t.o glive. an exaCt re,pre'$e~ltati.on of two Or mom superljm,posed Sl,Jlrfaoes of diffe'iiillg size' and shape on a sil11gl'e: pictu.re p~'al ne, Illn th is ca se the preble m ca 11 only be properly solved by the u Sf! 'of n.1l'whi ng rand Crossh,altcihing) dra'wn lin alternating (liiirectiolls,

IsO matr i c IJ r1lWI ng

Ground Plan

I"i 9 tl'r€ 4j~ Dli~gr.anlllliatlic SklIitiChes mil BUN Idj I1g in h'Wmt3:uy and Layout

Oeeasio rlaUy it willi be necessary to' draw a U sorts of hilllls" eminences." 3il'id so on in a sio,gle p,I'alile.

a nd for tl1ll;S, we' ca n use contour h nes, baliilk,i rig. shading, and perspective ..

Fig,~re' 4." Repr~,fita~iQn 'Of ~ml$, MiDlJII"Il:a ins, liol'lm~,s.

Elevail:ions, <l1ii'ldi lie''l!'IeI:s

1 }3,

I 'I 'II '11 '1
I
I -I' .~ -'I
I -I
-,~r-- .I -I
, I ·HI
• • I!~ 'I !I ~ :1 ,I, ·11
, ! I I I
~ II II J ,I ,I
'I j
I II; I .'11 ·11
Top view with contour lines,

4,.5 llhe, !E\ilien IDlivfts~on (!I": IllJino a lI1I,dA'fiSI byll!!'ye

IDMdifog enareaer I~ne rf!!to ,ell,e::nSlec:liolns (Dr

lie ng:lhs w~ I,~ at~i rr:st seem cl,II~~~cul r, b!iJ~, Ul,e sol ~lt~:(lI~S alre in fac~. si ruple. With ~he ,elf8S'ollllfle' dis~<lfil(lle ;;Iwa'yJro,m Uw paper, trytQ viewtne ent ~r\'l 8ifea or both eoos of thie Ilineand~lrIen :!;lpl~t it UP o;p~lic~llly inlto, eql~a I pO!1iGf1Is .. Aga in,. Illefore comm iUi I'Ig peneUto, paper. your desilired section$, or lengl!ill$ slho"",11d 11:1,9: fi rmllyfiixedi ~n~he mind's ,eye. Hallvilf'lg the dis~a noe bet.weeril two POh11Ui IS f'!IO,t: difficuH eithe':~J~\Hl'; d~lst~HlI."e is m>a:g I1IMied "~or fun" and l!JVoe tnen ny~o' dIeU;l:rmil~i1,e '9xac~lly where tht'!: ca !'II11;e r ~s" Wltha ~ I nl,e connd:er;lce which wm come with prato ~iDe'. 'wew,illl be able to ,e'xI1:end this !fUfoceS"S bV ha,I~,o II ng t~ e ha lves, and' so on. WfJ.obta ~n ''I l.!alft~rS Sinlp1li' b~ trua~vingl tw,jjcJ{!, whi;le fllluiher ha~v.hilgl WI ill d'lrvh;tei3 ~Iifll ill il~tG e'ighteq~;;!1 8iec:Uons. :&! ndse fon'h.

To divide (! I~ne ~!'l~othlfe~ equ~1 parts, I,[ liS neces" S~:1Ir1i to' ,,,, !,less wui~iI1 'the eye nl:@w I~O'!T'!glthe'thilfd •

~ ~ . ."

w@ul!d' be, the,1'III Ipl.a;c!e it >cent r.1'!llly betwe,en 'tille t~

Un~ ends,

Pr,aJctk::€' '~n a she,et of pa pe r righ[ 8'wl'lIy. Wilh 101'19 Illi ~Ies you sihouid ~ake 'vou~'Ume .. estulllll!alt~ the

~Ih ilIrds with your 'eye,,!'i!lrIldrhe!'l! star~ draw.iI!rnglthe d~visi ons,

Six ~qua'il p:ans ea n !be ,ea~Hv obta I ned bva PlP1yi ng the! hal~vingl me'tihoo disGu,ssedatwve_

[) i v~dl'lilgal d ~SUlf1ce il!n~@ Slevelil or n ine~q uali.sec 0 tiems is eOl:!,si:er iiJ'we S'la!1l: hv SP\~i U~l1lgl lU:prhe III rle willi! f~ ku dots a nd ~i~,eW1 OOIF'reCli n9 rf:!lPid~y as we 19:0'. At ~Iiume p,ra!ttic.e' win soon~@:IiI~ilril:ce you that divh:::U>flIg ~lilj1leS and! ereas ijnto .eqlll'1iI~ Ip!lIr;tS: ~S no

9 real ,alrl:.

Wffitih pracboo WQ' should be O\lbr,e~D eS:I;i male h{lw big Un;! s tlIbd r visions s'houl~d be.

I,

I 'lo:~ ~ !fbI ~ 1$'6\1 !t6 I

"o/:t.

if! 1-

~(3 '~ r3 ~ ~3:

~. I~ ~ I

Filgme 4Jll ~;.:eIN;;~~e~ Ii n $'Lj bdiVildi ng Li near DiS<U!lllIlreS, P,awts of Dis,ta!TII.ces.!! n.e ltllne Le,~g1~'$i

6.0

ill ~ ~ , III
.~ I
II II .. I J
I J J J J ,:1
I ,jj ~J L II
J J J A: J II II

1.1· ... ~ t .. L·· I! 1l.l~fl- .. Ib.l_ r I~' ~.1 '. ~1.l1

!/1' ~ llr '7 ~ 171'7 r '7 ~ 17

,lr!I'~llrl

Iii f I~ II

III ,I n I~ I I'

I I

I'

61

4.,6 R,ep're"senting Solids and S,p'aloes by Drawing Onlly Three' or MCl'II',e Simplel Vi,e:wingl Planes

If YO'L! are as yel UI nable 110 d raiVl,l' perspective to show thme·dimensional re,latiol11tships wi'thin ,iiI two-di mensionatll p~ctUire pia n:ill •. b LJt you stiilllwii sh eo draw :s{ll,idsa:l1d spaces. there is a very ~imple method 10 help you achieve this: drrawing the indiviichJia II side's Qf 'the sol id or space as sep:aIn'He vII'eW$, lhi sis a n .a g€holl'd method used pa rt i,cIl,!itlarly in theatdvanced civiliza~itons of Pel'sia'aif'ld Egypt. Eve n, GhHdre n in their il nnocenca easl IV tend to

dti"a Vii WP,i:calsollids ,atnd spa ees wiU'li ctea If, eehesive, and flat-folded eievations ..

Gemlral VI'W

Round awtJct-only 1 top and 1 Sldf.! View

n ed,eJ

62

by the addUion 'of typicalt detail dimensions Over. alii d ilm!!! nS'iions shou M ~ ollIe rmost in tine drawill'lgl, wl1iile indiv,i:duCiII dimenslons are p,ll('!cedi further in wwalrd the object, Tine: thickness or ai'irange= tme'l'!Il ().f the d'itml5nsion llnes shou~d in noway diseurb the drawi ~go~ co mptM:e with it EqlUai IIV i mportant are the' dimension endpoints: i .<e.,from and 'to which pOint is the liimerllying dli8t~l1Ice 8GtIU-

1i! Illy mre~sul'oo? These end po id:s must be easi Iy rec.og n izabl,e.

Dimen.I;;tiIorning slke'lches ~H'id elellaltions mav,be neee'6sBlry for two reasol1l is:

1" to provide data for 'Ihe censtructien of a butldlog or the produetion of an olbject, or

2. 10 give a better idea of the actual proportions of e)lis.til'lg structures and buill'c:lings.

TIl e moSl ,important. mactQ,jI:$ he'r'e are the rna i rl di· mens,ions, and maill'\ axes. which can be amplifi.ed

±

~3~

65 Better arranqsment of dUllenslOns

IFigul'le 4.12 'Confusinij and Correct Dimensional Deta,il

o 0

o 0

o 0 .~~~~~~~~~~~~

forooourt

i j r

I .,

.,,__ Wall .... ll.'jwS f Q I'r!f,lc:! tla t,

I

I'

.

,

I

,Figure. 4.11

63

4.8 0 rlient'8lion layo,ut IPla I'll ('Page 6 l,l'

t

"

Ar~a5, ,'j! nd s;pace'5 are suggested by 5i mpl,e hallC hIng. It is, vitali to. select and an,ange letu:lfIing ~haJt does not destroy the i mpreSS.ion give n by the gen· era III vilew .. ,lNlor s,holJ,l,d trne hatchinQllli:nes be drawn threuqh the letters., since this willi affect le:glit)ili~V (see' drawi flIgl ,a~. f,tlot of pag,e 63).

4.9 Exterior B uUlili ng E levartioons

Ught wan colors, dark window areas, and'sl'llad,~ws determine the flavorot~ th,is sketCh. ligiTter and somewhat detached sl(e'tche5 of the bllJllldings ~ nthe backgrolllAd are neee:ssa ry to diffel'lentiate the va rious masses

64

41. 100 Size, ChJllI"ily •. and Ilegilbmty (IIf Uilus'troti on s

Clarity is Hirst achieved by drawi Ii gl the, overall con!.ext. Care should be teken to provide optical and

9 ralpohi ic points of eonta ct. I n terms (If information density we should add that several sketches on

d iff,erent sheets of paper an!! ,mill ways bettlilr tha rJI a single oV1€!'f,loaded drawing, IJluSt think how LInp~,ea$a nit i't is to I'ook. (I t a dress patte rn, ~or i 11-

sta nee: the maze can onlv be u nravs UeC! by sta ri ng at the pattern and pursuing i,"dlividuallines -. ~ At least one-third of the' srees in every dH:llwiing snc)ould bi;! Ileft blank as white surfalc!esso as, not '10 iHitat.e the optica I nerves too much,

Many examplles espe,eiralll'y of O~rental drawing,. show that the drawing area is fanF fFiom ,comp:lletely covered, At the same time we must ensure that fe~ r of ove dOB ding 'the' paper does net lela d to hnv postage-stamp drawliinij$ Or! huge sheets of paper. Care s hould a I ways be take flI to atta in satisfactory and pleas,i ng relati 0 nshlips i ~ the size of drawi 09.

Just as one llstens t"O ether people's poilrn'l$. of v~eW' in di'scl)s~ion, 80 the dHllftsman s,hould bear in

mn nd hi So potentia I a u;d i e nee, SIk'e'u:i1es ~ ntended for (II SiT! alii discusslo III pro LIP. for exa m pie, should be' kept-sma lilt as weill, whill'e for lectures and large

di sc usaion g'rou ps, aceeunt sncu Idl be til'ken of 'the' gr-ealter d,i,i;;tance betwe0n illus.tration and specta~dW ,It is ,all ways ,8 w1<.wa I'd a i'ld ,e rnbarrs ssi ng in diilsa cusslons, talks .• and meetings wile'n the session is g nterfupted6y paop lie jumping up to take a close look at one' s ske~c:h es and drawi ri!BS.

fthew-ay in wn lch '~we ntieth ce rlItury urba n p lsnning'is decided 0'11 the strength of loyHke models (a I most ma whb ox si ze] 'l1li0 u I d be fun ny were it not sotresic.

So always go ror legibility, seatle, ,Sind proportion.

Eye level

i!'IWII~'~ ~- -~-

j~II~U'~ r ~. _ J

!ili.!,.!~1 ~, .... WU.H ~[, ..,. r

~I!'lLllilolir ..••..•......... s, ...•..

J .. .... .

n

Fng,ure 4. 15

65

The arll.angerlflent Q·f freehand drawiri:Qls and s'ketch es on a sheet of pa pe·r needs 'l'O be cons: d ~ ered, especi.aUy if they are meant to be looked at ,and 'ev.s,11 uated by Qithe rs ll'a~er 0 n, Fre~ha nd d rawingls shou Id a iways rna ke use of theentire sh eat format slnee tiny drawings on large sheelsof piillper IIJsut'll'ly leek curiGusly lost.

One illllLls~,II03ti 0 ~ do m,i nates the area. and everythil1l·g elise ap~ pears of seconda ry sligoljifli'canoe (fo'r sp.a:oo a nd sluiace dr.aw~ng )',

The tension between two fiileme nts (poles~, e,g" strueteral sections, dielt@rmines the drawing"s statement,

5 .. 3 IR'ow:s

TIle ~'tabllmer1llt is ciie'termin·ed by the repetiiUo'!1 of ide'lntical or 'Very s.imi~lalr thiliflgs .lin a row,

The monotony of a row can be eve rcorne by h,ig'Il.1 igh:ung one of its c.OIfTlP one nt parts,

5.4 A.nanged !;I11"·ound Axes

Ihe aH.angemerrt·of equal SLJr~ faces around one 01' more axes seldom 9 "yes ·s' S;!;Hi $factory res !.Ill. a nd the imporumt statement is fr·eq'u:e ntlv suffoeated beneath the forma I i ssn of such e illpty slli'mmetry.

66

promnnent

Framed

Rows

ArrClflgledl Around Axes

'The picture ils (j'ominated bV

C ha rac~.eri$:tticallndl si mila r f,owms that recur at given i nte rva ls. It will seldom. be poss.ible·1io eonstruct asketc ~ in ~~ is way,

The reg'lLllllar re,l,mtition of identical gwou pli ng~sc~ln bEi' u sed in e~lI,cepb<onal eases provided we make sure' that the typica I f~·till fie of thl!1! ,i ndiiividua I: group ~IS kept q'lLlite· distinct. Here again, ther.Eiitn&r IiIfeless g.r(mps ca n be enl iv,ened bv rnakl ~g one more prerni m;l1t tha n the others.

5.7 Aggllomennh:H11$ (Ordered alnd D'isord'elt\edlj

Orden~d a'gglomerations, USIUa I'ly a:l"ranged psrpendie u I al' tit) e,ach other, area typicalll occurrenee Inour technol~lical age,.

A certain equilibrilum be~ween the va rious a rea sand therr graphii c va Ilue:s ((,ptica I weiQlht j is: desirable, andan adequate' a me U nt of space '~wh ille!~, between the areas helps. to ,avoid con~u si (J,rI.

5. a So- Ca Illed "Firl;!e' F,o'rms;' and ,; Free Co·mpo,sido n'

You could be f(lr'!ii'ven for thinking that the "freeform' de~

pe nds (Iii the l!o~a'i a bse I'IIce of lilllY of the' criteria SQ far menl~Qr1e~:L In realitv how-ever the st.ateme nt made by the free

fo,r m Ii s esse mially determ iined bv th e red p:roca I proportion S of ind,illlidiUl<'l11 sections and 11'~nglths and by 8; mOIr'E) or less url~form statsrn em I!puri·ty) of i ndivild 1J03 I Ii nes fwhe~h€!r on lvares, a 111- giles, stra~gtl·ts, etc.].

+--~~---l'

The typ,icallforms shown above are easy to work wit h, lea rn, a 1'iI.d u no'ersta!!:d a~ once; wiU, pr:a,ctice it wi 1111 be possiiblie 10 getaw.av frcm theml1'Jlnd make one's Q'Wn freehiilnd drawings in aecordanes with ene's own speeiflc PI,nposesand motifs. As with <III creative aldiviltiEls. any mannerism in freeh iillnd draw~ ng is dubious, !'ili nee iit Js on IV gO'V'erned by purely 'f(irmal pril1lcilp,les.

5.9 Usualll Ana!nglement of 1:he' OnJwing Sheet

It i$~d\li$,abl'e t,o OOinrlll1l1it the eboveexa rnples of ~alyolUt and arrangement to' memory, 11: will also' be U$leful to .s.hllidy the! WOlrkS o~ good rna sta rs i n gl~ 1- leries and pnntexhibits for oompositionand ,ar~

ra ng,eiment, It is e'V'en good alnd notal! <1111 snUy to observe al c\,ferv good ·drawi ngfor ,(a In'l(lst) lhours and to "feel" each snoke in the miind. Use your criti ca I pOWlii.fS 10 asserts i n why a particull ar Sit rake wa s made at a ps rticu~ar place. If you ca n go back and S,eB Ule drawling one 011" two d'ays later you will f,ind that your judgment ~the· drawilng's strCH'I,g and wea,k points. its good and bad sides) has improved.

As a genera I ru Ie liil: ha s become ·the C ustom whe'n drawi ng solids a no spaces ·t·i) put the 9 round IP~ aln liin tine lower part of the paper with tl'ltil asscclated e'x~.er~,@r a I1Id i nte! riilor view'S ·ai:Jov€!. Iln.an equaUy logii:c:all but rather di'Uer·enl manner, ~he ground' plan is placed in thl aeenter of the shea a rnd the

va rlous exterior iii nd i nte.rim vu,ews ·alr€! a rra nged arcund it. One good trick 1'8 the e·xplaoatory method wh ere .i3J small! s,e·cti'OI1 of the view is~ddllld as .i.';!IIl indklaHOii1 of potential co~s·truction. This is

u sefu ~ for rna ny teehn iiC<lil drawiing s a nd trades, The additiol'll of e:xp'llfmiill~ory de~~i I sketches to a drawing, e,g., a ground plan, is a I'egit:imate and eensi stent inrort1rllzltive' device,

IMi !!Ii

rru M IWi[ rJIll1

~ r

I ~ III mliOlI

fr"'-~mjlll

:UIII. ",i.i; I. u!

i Nlil

I,

: '~iI·~.""""'~.

Edg!;l ot Paper

,

Ong'I181 $tm '5!J ~ 41 em

.

Disordered ,0 ••

-.-

Ground plan <!il1Id <i few O\e·I.3 i I' mset s-

d ocu me fit fer dl SCU S.sion Wltl'1 cant r a ctor ,

Unco n:5lr icted ·'!Free'· Form

67

6.0 A.ccuracy and Outline

rile primary task isla show the In~iF1l obiect and its outlines (as accurately as possible withOl.lIt

a i dS)I, Hum the more importa fit deta II sean be shown, Dela i I S ea (fiI a lso be pJalced on the sa me S hset to QJ I,(jlrg,er sea Ie provided '€lnou 9 h space i~

111 III 9 u idi ng pr i neiple hi E!U'l, rn IU st be "Qual it y a lon e C101t1vli ncesl'

more hi 9 In Iy judged t ha n G ne or more i n(jICC u rate drawing s or r,a p hj sket-;;he's, One tasn lena b I,e ('I rtis, oranother may aehlsve .recogni~ion for lila quick (()Ug~l sketch, but trus is tile ,exceptioill_ In reamy, "artistic freedom" leaves little roam for untidmess,

Apart from anything else, this means that. the greatest pcssible acculFecy in dmwing is .;llwliIYs

External fillrf1)C d concrete blocks _

8

SEClIl(ilIN wI~h COl responding Eli:VA.1iION

Oem

58

le'h for them. and can slso give a very pIO.aSI'Flg .erf,eet: tile d,etalill Hive's the ObjHct more suostenee and the need for .shuffiil1g Seve ra II different sketches is eliminated.

Hail for Sunblinrl

AJr Condition d Roorn

GI<:I£i("l~ Seal----Glass 1:;><:ln~S I\}L 1"1r1I .d a (1

Unit window ~ 21 ..... mh casement 1 ,1me in 1'1"1 hoqanv , Mourned on lellellrng (1) and SlIPPOri' block.

Countersun S(;Jew !

Se Im~ SIFlI) [I)i!u I jenl AlUlTlln urn Vv'lndm ..... ~ln Facrn

Air Gap

69

lIhe len:erilng j.s, 31 mOS1 e!!>Se'f'iil:h~llPalit of any drawing. A~ handwriUng call b311 us much aibotirt his allthOlr" so le1~:eri ng e ilt ba,er '~'<lIFi i nllflrl.!l:ence, (:l>r €Imp h'aislize ~ih€i ima,ge m a news!papell". 'comJl8nv. ililtetrior, 'Orr dralWiing. 'Of can ruin it by inferlj'or 'QualitV, Fashij,o:~'ullbl:e ~ie-uell: ingl is usuallll,v short,-Wi~eda nd tllarefor,e' ~iume, suited 10' our IPIJ~POG1il1S:. 16000 tfl'Xit however c~rn hrighlighl, oOli'lsomidalil1l, and lirmproye a sub,liE!!::t

AlTlc'h ~tects and i nteri or des 1 Qlll"lers prefer block let.ering., which th,ey feel, liefl,ec:t:s the ele,ali.simpler, and unadulte,r,!l!IIIOO iln'tern ,of 'their ,erea'tion$. :$U!lIIldarrd ~:eue'~illl'lgi pr~e rred by ~Iech n:icialns ilIlI1di 'eng j~ neers h~sElheflJ(j$th:lui:c c!hall',liIcter ot "frozen" handiwriting.

Lettering. or 1:1ll1Xl. is a sl'go lalnguage usedlO ,calptura and imp>t!ft iinforma~ionr and inlforJli.atilol1l in tum I~S !J,sed~Q comrmunicart.e' wallh ather paoplhr!' or to assh;.t the memo:ry. This, macH'S thai, previouslv i mpa:ned ilnfor mation cain be r~(:gi'lled a I1Id rBvlived, Wlli'i~ ilngl f rs,l em:lillrg:ed in tlilrr.l;lEl' .main, is'N::a!S, 0,1 'the

gllobe (~p:prox, .5,.000: years !)Igo): in ,China, !M,esopo· tarrn.ical ~~!ealr E,ast}. and Eg'yp:t..

lin the lbeglinl'l!it19', ~he Il'iIIlorf:!r important objee'[S in li{,e wer~ sketched m.ore Or I~s:s [~ueto, ~Iif'e., bu~ ~at:er on they becalm.e symboiliz:edand .abstlra:CIied, Cunei ~ 'ronn wriUng is a good @J(ample.

~~' 14~ I .ri,n:!lj,' t "0 'r"4' ... tt;" PlI()(""')f: n

A r l!. ~ I ~ .,,~ ! 1"1 r1 * or 'i' P i{ TV. ~ ..,. n MII!l~m" AI'(.lI,t):, IS .n::r r'r' :1,cw~9 "1i'JIt'l ": ~.",~h'1l"n

4-1 •. J.lJ.,~ .I' Ii It' I~ vr« o,p ~ t t U'(lli Ath n, "

A .rlJ., IE 1 HElH(AIoU,nOl'l ,~IT ltJlT'QI C ~m

"Wrilt~l"ig" O(!1ns!is,IS QJ i ndiv,idual' IleUell"s oir figllllr,es, Wlilrich relPres€i1!t infcrrnaricn e,it.h.er imiivrdu,ally or in pad ilcurlalf groups. I~s ,essence lies in its legibill ~ i~.y. cll,uirty. arnditih €I lUl'liai rnted lila rns:mrissi:Ofi of the info:rmati,on eentent .. AddliHonal nnf,orrnation can be ,a;dd~d .s,upEl'rimposedl) ~ii1l wfilluen inrf'Oflmafion by mea ns of COI1lII~"~tc:tiofils_

114 ;\0

ENATVS

Th.s, can 811so' blfl done by dilstonion" FOIl' examlple •. [Iile observer's ,aUantion may be draw.rn (10' 'the ex(;it ie ,c!har,acter Of a Ch i ne$lQ r~SUU..llra ~,t ,by hil'tteri ng 0:11 Ul:e menu Or ,jJn a I'll olLll;Siide' si'glfl in the, lai,in ,(lII'phalbelJ: that has be,en ,given a (~ihin&se look. "'Gothrilcized" Ie-uelr vng ca ii1I prglVide the date of

Ii) hi,~u'OiTi,e chQi~ SEa III or ~be tillie f'ol' 8r Do>ok on Gothic: art,

~

6' RAT'""1ERBV

ETVERHYM6,IVlT

f (" J oM" J (I I ,A, H' '1;1 1f ,M..

NFl RI NC ,I F '0

Geneii' arHy sp:ea~ing, h.:J.wev,er, such r~'IiI'i,'Ii'<1!IIIS, ,of an,cienl: stvles, shouldl be avoided_ We' live In an (;Ig€' whlcl, must find, alndi has ,already found, rits own fordITlrl~ arn:d svmbollS:.

figun'l{,2

OJtJ~1s !\LIm!l!'fllf'llPll rn.a.1f3{Io:; V~I '!do:~111 w,J
~ f' ~ FIEI to be wrong. 1'0.1':;0
~ ~~ s: y~ 'itrono Irran '~hlp
"
;l
'"
:::; a.; I~ PA
I:;" I)lil G"m~a
'=
c
u f , ,ft
T,si I'WJM
ArchalG Sllmllrl~n ~~~~Im:ll"n ,AS~yfl.]n Svi I~b, c ''"\<1110
s Y' .~. 11i!if' ~ ~'
.2
~
:;, < ...... ~"' ~ I~'"
u <'( .. "\' An ink dr.iiiwhnQI therefore iMl.IS!l allways be leneuffi in iink; a pencil drs,wilngshould onlliy be Ileuel'oo in pen/cU_

Fig lIrle ".'1

l,y,r, hl1l~d:!l lurnll'ii! " ..... "'1' [rom • hou.~

two n n~s e~lo ij~ g 1(1)"91' j."I'lllfly

.Just as i;l'!,re 1II fie 'the sa m e '9lr'ade of PiE! pe'r ill,nd '[he same diiiliwilng uns~ri.imeil1tfoi' Irelared d.rarwin,gs, and slk_e'llchE!S, so we rRuS't usedle 'Sillm,e lnstruIm~'l'IIlt hn drra'Wi rig a nd letta ring, si lineEl' diffel'le I'll tones, or s:Ila,l:ies willi des~roy the plc:tum's UIi'I~tV'. di:s:lurb the ,d'rawingl, and possibl:v eadmo confusion ,and milsull1d~rsulnding."

1 ~ ~ it , Q " ,.
i A, ,_ ' .... n
n !oj
1"11 4 II ,. IioII
~ .. A. J, f
~ a _,. .... ' .. .. ., jj;
...
c ,. '-' J; ,"' ,. '.
'" go "" ~ l~ ..q .C1 '=!
a Q: ,- r::: ,t'" r
.... Js tl ~ T
Q a;. L
'" :f r:!!I ,. :s.~n j ""' ~ t 'r '1
=:.'
L-....-. 70

1;" H H

" .. 1., N

'x: Ii, Ii I

,'''' ~ j

-1"T I'" L

II, I 0'019

ME to

"1-11 Hill

lben'el'ing can lend t.hie drawing added Sl){pressi:on. burt ilt. ,callil ,also, d81iJi'a:l;[. fmm it This mu,s;t be d'eterm ined' ~noe, the' dr-a'II'Ii~!"Igis~~n~shed ,~nd b8'fol'lellldl:::l~ ingthe t(i'xt One slholl..!'llc:l alwa:V5 avoid using rllll~ colfIsh!:le;ooidi styles which wm alPpelu a li,en to the drawing linst~d o~a fl! iUl'lt,eglfa!j'pallrt ,01 nit

1!;'(9IEf61~1

~I S' ~.l) ( g] S -R~mals~~,n~"

JOX.J{$':J( ~JY cfGfIG&'

"I'l,'

ABIC'D'E:F LMNOPQ

1 uio

~endsti(

"E ~cOJuw/Mnr~"fV"

Ir~S¥~iI oJ.he IBM r~ awnlw)

A8Cl:lr GH'IJlClMI>IOP,Qr:l!'STUVW)(Y,Z

ab col.,'" h; j ~ I "'I "'(>ilHI '$~ u ~-oOj ~ t:r.

Figure 1.3

'We c~,1'I n'ot ~;t ress often '91ii)OUl:gh t~ at a rc'l'ea r, dlisUnc[; alndl si m pie tS'>l:tt ,ils, beUe r bV far t ha n d ils· loned,. mannered,; and hence ,affected lettering.

5i 111 ce it a lse Ii nfluonc,es 'the f,~C'e-j "e. r t!'n e 'Qutwa rd form-of what" is wriMlil'rl!.

.Adequab~ l'egijb1lit.y. text n,eijght,. and leUer'tll'he'lI:· ness ,sire! lJe ~V i rn porta rll'l 'e~!ements ,of a lily il111US11I'al~ lion. ~t1ieri ng shOll! Id jpOSS!ess a bahllilced siizeand space rellationshlip witi'll 'the background, the objec~. !1!lfIId the drtiwirn.gl·s SUU,e(lI~I;Hl,t. .supe~fh.l)o'lJs. sellf~evidelll~ wmdS: shorurld be, lletl out. (E~rmp!ie: ';'D'ElsiQIf'i 'of a leisure areato a SGa,hii 0(1 :5,0," lit is quite ,adequate !'f 'I.he ske:lclir is '€Illiltitl'ed "leisilin'! all'le{.l ~ 1 :50. "J

lettering, that ilsperhaps too, Illiglht or too sma III is 8rIW,8!,{s UlOfi8 ~,oler,ableth:arn 't:e!Xt that is 'loo big.

11'0011<:5 out of place, and which overpowers 'the drC}lwinrll· ,AibOV{l aIL lu'e'memberth;a,[ ~I ~\i):~ of dilfrer. en( 'typestyles on the sam·~ ,p8ge ~Ir,e juSt a's bald as ~iClO ,ma lilY diHemnt :hi eighu;,

7.5 Styles 0" Lettering

BIOC:k Ilrlrue~jng' haiti proven '['0, be qui[(! adequate.

'Wi I:h its simple. pelilpelii'iidicu'ar capi~:a'I:s. 'CionS~f I.i'cred of sUaight lines, ,cilrl::~,es, and ,alrtS. A pelrfec.Uy clear a I1d readable tx.t face' is a,e h ~e'i!'ed with silnlple' ,goo~Eltrica I I'in,~s (slra iglhr and curved) ,im'1 wh leh line' til icklil~SS is marched to Ileue,f heighl~ ,b'll' ,olPl:ieli! Illy perfec.'t spalci JiI.g a,rld IlIlcle:ar ~(malll' Contra s,t w,i:th Uilii;! back9,olLl~d, 111e $u~ilnctr'lflss and cJf.lrity ,(if 81 teXUjal~ $~altemen'l. is es:senrjia~ and most coownClnglo th.e rea:der.

h1 addition, the proportion s of tne induvidua ~ lell.ers and I'IIUmb~fS ea n be elt!isi~v Ilea rned wit ill a siUlple dia,g!l"alfH. and l'eUe,rill1gS'10yld come 'eas'ily wilth a ~iU~\e p,ra'ctlice. [II~ us so:me'tim'~s even leg~lb~e upside down to the p IrSCH' oppesite you.

1234567 890

The' ne'~d few good, dear Ilene'fin,gl makes it abso-

I u luliy vitali to glive' So ITU~ brief notes, hElre ,en dr,aw. jng and mnSCiiliibill'l91 the various: 11 xtual,components.

r~:'1 W

An A. must occuPl/' the aeea Q,f a sq:u~~e; Us crossb8lr ca 1"1 onl~v come i fII the !'oll;i\ler thwr(J--(Dlh €II" '~orms wiU look too wide Or 1:00 thi'n.

Tile 13, should be inscribfilld wlthm two sqlJ8r. S, one on tep of U'ie ,oHn,er. hes curves ijlfe' an~s o.f ill ¢,irde. AI_three joiflrs siholUfd end in short line,s, horiz:ont~1 h; the IJI p~~ght

DHJNZ TUVXY

Ul>Ill! lener C consists ,e,f o;!lthri;}i~qIUlla~h3:r ,c:i~cle. and any;lhilfiig ,e~se wilW tend to be' .QO narrow or manne'ri:S~'~Q~Hy 'Wlide.

~) ls dfawnwith afull s.ermidll'c:le' Sind sho,lj ~d ~~()ik subs~~nhail. Ihis is d!ol'llll' bV puningl 10l'llg horizontal c~nm1lleC1:iQns to. the upright

BEFK LPRS

E i s iln5~rlili:ue,d i I'll two 'squmre's:. one on w,p @i[ tho' other. ~nd it is illTiptll!l'l,an'l. 'r,o' enS!!,llre tha't 'the c~ntfal !;)air is ,exactily the, same lel'll9~h es the othse ~WO.

1

Q'

2-

,

F ,ilS, th e s.alme' as E whho ut the bottom balf. Us two bars m US" be of ,equall ler)gth: the ends of 'the balrs must b~ Ipredsell'v ali'9l1f1ed.

Try Ii'lO~ losbml the leners or add I'imde flourishes 01" other trlfles, iIIh'~ Salme' 9 OtiS for tha 1"1 umbers as well. o,f COUf$ • Anyone whQ has expel"ie'nc1i1!id 1:he di ~e ,oonsi;lQju:e !"U;)EiS of iJlncle.i.!UI n u mbew~F1g. fiflisi'ead~ ~ng Irig'lilries •. <llndl carel'ess pl8y;ing wi.1h th:e numbeiIFs land 4,.3 and a,:3 ,aimlld 5, or 6; and 9' willi know how sensible and sa,le it: hlj 1:0 keep tax'i and figures c~ea,w a no si ffi[ple. b~'Halsl~ngl~Y and ,iln g,roupl$.

The oll.l~:er I ilfle of tl:i1,e I,,,mer G should be' a in all most compl,ele cilrde. ,Exact~v halfwav up ~iI1e righm·hand side o,f UUai h~Uer. ,3 110ri;;:omla I I ine is driilWO from the Circle I'ine ~1111 te ti~e center. The line snO~ll'd be k~Pl short. Any 'l!lixtr,aneousiillddliUons, and devi;1l,· ti,ons 'C~lIn 'Or! Iv be' billdi,

H :s~:am~:5 i I'll 1iIi '\i'er~k',ell l'Iec[.:mgll e of ~I tili;!i 1,gII'H;widlth rerio of 4,:3, The bar should be al: I;al~ he,igirt level. The s,s-rem sketches onthesi';t pag~s cl~~~~i~~ :sillow that in principle' al. hOlriW.nltam bars i'll leU ~rs 'S't'M)ll)lld cerne at 'the same heigh'l-i.(j!" ho1il'f '!he' I'e~tel" height,. whi,eh atsc ecrresponds with the h~light of ~,h'~ ~en~er ,(If al c,~rcle.

The [1'eUelr II is j ust a vertncat~ '~i n.1l!, Dots a nd serifs 'Sh(l'IJld be avoided.

J is iriii'icribed in an uprigiht r,ectan9~e wiltl, .htn.eigh~.:w,ld1:h ratio o~ 4.:3, The I~ower pa'rl ,of U, ~ II'e~· 'I,elr oOlllsist.s only of a near-semiclir,!}le.

K occu,pi,es an area wi~h the' superilm,poSOO

sq u.1i res, It:s two ebllques ,move up ,!1Indl down re~pecti'velv from haU letter height a~ an angle' of 45, ,d'€!g riess.

irh e ~en,ew l, lis v~lnl sil'npl,e.lh e II,owe,r 's~i1okie sho'uldl be half 'the lenQith of the uplfighl.

72

A~A~~;R

"'B< .¥.' .•.. R ~.'." .. ' - -12: ......• V

~~ .. ~#.U~E

~AR~ BBBLQ)E

ro2 ~

_ C '~]S]

~ [f@:~ H

~~ H

,,*~ i .• C§ .. M H

D, , -, ~

~ K~cc.@;~

@D .: [Q2*

,I - ~. F'F .DDD

Figure 7.7

The h9'tWr Mllis wrin:e1l'1l so 'that lit OO!:cupies, a ~ uiillFe fi'elid. Carre' should be tak1ern to ,ensure that the' 1:W'O' c'utside uprigl'ns Hehand l'iglhtlaJro aibsoiliutely verticlllL

The Ileuer NI ·81 I1Illso inseribed jn 'the! 4:3 ralti,o' r;6cma ng'le.

coo

Figure 7.8

Slila,pele:ss ovaili~ should allwars be r,~,ecfed inf:avor of the 11l1IJ1i'0 fctrllir! of the e,i f,cle' flew a ~n,~ 1'1" elea r 1e)(~:The letter 0 ShQuld thus be, a complete elrcle.

1li1h e figulm 1 mi:gh[ be m~staJkenf'Qr <II 1. SOl draw a 811 crt tli:;:ri'~ont,a I barat h arllf 1'1 eilg'ht ,.

The' 3: omly has SinaiII"'(; i !illi~s, lowe~' ha I~--~!heto,p cons,isls af stra i:gll'lt Iliners at, an alng le of 45 degrEH~S to' eaeh other. Otherwise there' Is, alway,s the dgrl'ig!l!!i'~ if done' quih"kly" 'oi cQlilfw~,ion wilth 8.

iilh.efigure' 8shoUild cons.ist Qftwo, hili I ctrclss, one, on lOP of mhe oiher.

P is balsedl on ill heightwidlh ratio of ,2.: 1, Sind its up,pe,r part consilsts or.a se,micin::11e with hori~(J;I"!Uid Ilines Iii liI'kling iit ro 'the 'Upright alt ~he '~~ and "it haU heil3'ht

a-illS u,ppe1r 'flf:el'd musr be fulllV '(ilosed_ 4 ends at the top n riI a ~'rila I1I:gl8 poillil~.

It i:s. ,aditOi'lisaibte ~o ,av,03d d'!, (lwJ ng zew a san ,ovall and 'lo use ithe full eirele fo,r thiS 'fligure.

t!he leUler a is, of ~OUlrSie baSEi'd 01111 thlie! 01, Mak.a Sl,llln~'~h«!jl:~iile U! iW. drawn al~ 45, dlegfeil;!s .•. actl.!'idly' eods: ~lIlttle! lbottom l!1i9ht~hall'i1ldl ,co:nIllE!:r of t!he~lheo~ rB'ticallsqua!!IIrI9J.

"0 ~revent oonfu slcn betweel!1iJ3 and 5, 'the' ,5' stop ~ef-t~ha'i'1I:d I'ilil'le rn usi allw,ilIlY:S be ~el!)ilabslill U1te'~~ ye~licall.

(iiS!~ili~'Ii'i1Ind ff,sedc rn ffi'rOmtil s,upe~fl ueus forll1l'ls 'willi be !'IJiQlie co.n'lJinoing alild wdl eOil"lv,ey the, imJn'es~ sion~liialttllTiel ailIJU"i or o,fthe' Il'eufll!1ing Irea~lv' hasa eteer concept in mind.

The 1~jgi,ilres 6 a,nd9 should be fl'xf!cllIJted by "Iirst drawing al hlllil (uncoilllpressedj circl~ them adding rheWiils at ani ~mglle' of 45 degrt!o!!s tOllilg.erltiallr\l'10 the cin;ile. Aln,V ,othewfoJill! willi i"I!~ll!Jral'lv iMply IPOS.:sib!r~ 'oonfusion a nit enor.

Tha R can be see 0' C:lS an exte'i"llSion of P; illS taliil i~ ,i1dso drawn ,a~ 415, degree:s ErOIin lhe! II!enelr cel'll~er.

• i ra,nslator s not 'fhe' a ulh.or's Cgflll'Qijl1ls fl[!!j<lf 1m num" ers ~ and 1 do run p '" MlOflCa nd amllln: Since I ,s. r.1l 1111' I",gll'l} M<dih "WI j)51rCb3 !here IS 1110 IC?Oli usron ~ 111 1

The Iletter 50 ls often 'the ca U5Je ,of ,s'enui na diHi(lulltv i n attemp~s 'to is cl'iiev6: ,al sUicci net chili r,acte,r. li~is aecc mes 61'S sie r ~ ~'wever' 'when we ViSU!i;liUVil' i~:s basicgeome'tricilil cO:llISU'lIIiC1:ioo. lhe l:eM~ S eensitS,1;S 0/f1iVV0 c~!'Ic!le:s---<ome albove the' othe,r~~Qse Ilinesare not ,cQmple~et\/' cl!osed. lit is ,eas,\/, ~Oi imago iine' themmsitionfrollii u,pperto lower ,circle as beilng dbl'iqrue;: geQmetricallliV" it must be horizontal.

/11 11'

~

You :shou~d now be ,abh~! '~O work OIJl~ ~hre construet~OI"lS of the Iremah"l~!lg II~nelrs 'for VOl.:! rself: U!1~s ~ seI.mieilrc:le: ~l't' the benom with two lIt'e'litica I I nne';\!

e i~lI1er sidle.

V' iS1Jlgarin lill'lOO'flPomted in1iO I:he 4:3 1I1pright IJ~C:tanglle, The' only 1'~t1!er ~h!;llt gets wider iis the W, 'whi~h cOl11sli's'lS of two 'V's drawn immediately side b,y side.

I~; lis now ,nlsy te seell'lail 'Ole Ileller,s X. Y. ,and Z are constructed withi 111 the 4:,3 Irati CD recta ngll'E!"

For ~h1e s,alke o~ "eharaejer" o'lJ'Iesnould r'eme;mbe~' 10' mO'like' the leg of the: Y obmiql!Jl'!' tiils all'lex~,el'llsion of'liletGp Iriglht-band a rnil~.

Numbers of rh'eSilme type,are Q'overned by the same rules: Stranght lines ,Siif1ld srcs of (II circle. With numbers,. to'lal U!'I!mi:stalkabiliity UIS alii e!s:sel'lltilal fac'to'.I' (WfOnglrv fe~d numbers I'ead to misunderstood data and Illenell: ~,o errort.

Whh~lhe numrber11. tts 11 rst s'lroke :should not be hc~i!2iolfl~all beeause iii: co~~:d be tifllke Ii1i~Oral 7,

The 2 ha,sa semr.ciirel'e ,a~: ~he'~:o,p oonlilem.edllu the hlo:rii~~nl!all base by'alll oblliqlUiill ,a.: 45 degr,ees.

FiGure 1_9

15

Fig ulre 7.10 Mode I for Lette'rlll 9 P'nIctice

AAAAAAA,AABBBBCCC'CC, CDD'DDDDEEIEEEFF'FFFFFF,F GGGGHHH'H'HH ," I,I!J'JJJKK, KKKKLILLLILLMMM,M N,'NN'IN

0100 OO'PP P'P'P' P',QQQ'QQ RRRRSS55STTTTTUUUUU VVVV'VW\y/WWW X XX,XX yyyYY'ZZZZZ11111 '1222

333334444455555666 7,77778'8888'9'9999000'0

ABeD

C~~~~~~~,

'G~~~~-

K~_~

Of\lfV1 IR~~_

s~~~ V~_._........

W~'_~~_~

12

~~~~~~

2~4o~'·, •• ·•.· ~

IIP~ea:se notelhlTlt wide and narrOw letters ~lnd In your further exercises, al rn at equalization o:f gp"

numbe'rs rsq Uli re dliffe rent spa c~ ng, each accc rd.i n g tlca I ba la n ce,

'to its graphic weight

76

Take care .8,1510 to, equalize the internal d'i'stmllces be'tw€:en letters and numbers,

~~~ ~~-~

A~ ............... ~ B,(~:;~~......--.-.__...

77

StanCil Lettenng

'i I~ ~iI3iIl" I~' A' ift""" ~'I ~ I~,NU' "iI"OoJ

too closely spaced

letters correctly spaced

LETTERS

LE'nERS"

r ." ~ . I

" ,

too laint

cmrect line '~hlcknes5, for tetter helgh-balane,ed ell ci

s ~a, nd a rd relt>[!nn 9 for mechanical e!1ginee to

outlmes too t un

better, but where re the rnterrors?

sta ndard lettennq

~

Pi ct u re ifjltle

. . "

I'

M<lha 7'6- Travel Sketches

w~ GA~N ¥f

unbearablv mannerist scripts

78

These examp,1 es gh(esome idea of h@w 'moallrnll !],go leUeri!l:QI or titl es 011 a II 'types ,of dir,ilIwi ngs.

F,or sllaHches, letler,ing should start in the bO~1!Qm left corner.

P'f~J I rn i na ry S h~(j iest or p rOJeCl , planning of , , ,

Prsli fill n,~ry study for, ,

Th eat€' r I nreri 0 r

Lenelring of freehand dralwilngs. title palges" poste rs, ca b i nets, doors, etc. (goocla rnd bad exa mp.lles).

Pleas!!! work wi~11 large, wlh:iite, and well'l-ordered spaces 'that will f'elalx and compose the eye.

G:-6···.2

._.,"1

... - -,' .

lrueriors

~01e: Letering should convey information and nO! be the C' lise of fIO,ss,lble rrusunderstand Il1g

Working Drawllligs I

c.:l'Ierlng -Fitted Unrls

Onlwll"Igs

78

"

1-

Lette.i"lilFlgl in shlop 'window!>, di:sp'lay eases. ete., sh 0 u Id be I ill rg,e e iI10ug hto be ~,ead by p~ss·ersbv ~'I"OIm a dis:t~n~e.

Colors

COIOts

Bh.le-Gm rI WCf and cOld

'relet

y~jjo~ .... \IV,ll'm

old and dr'll

I •• ~

Or <lIJJ1"

dryOlnd warm

Figme 1, 11'3, E~!!rl1IPitls of leUenng (iromMeusr.lntl1ri()!' A,c·hirect!.J.fe· a'nd DIN.ign. VoL 11. BlIlu'IIe·rlllllg. Wiesbad'on)

For r,e~~I.iyellv siIl!aU alndllllot·so·de~aliled pans~f SQHds· iii nd s·truc(y roes, o,~,e SU iteb'lle method is to i!ik~1Jtn \l'iew$ ,of solids sind spa'C1!!!s ~r·oll'!l d jff,€I('en~ ,.ling les, This meU'Iod ts especia Illy useh.d fo'r v(!lrv ralpidl drawill"lgs ..• and iscrnetries have prOViiiiii'! ttl be' o~· immense· liIallue, I!Of' '8)pli!Hdli:ory dr.aw.iIl1Q:s in mecha !'iIiea I'fllngi meeri nig, The more demal ndl'i'fiIQ. €')!;;pe· rie'i'I\coo drafts ma n, on the o~iher ha lid, willi ,~9jem i,sometrv on gfounds ,of i,mpf€!.cision ,and "u",n:~"!d-

Red

. eddll

VJ[]lel

fI dish Yel'llo

Yellow

lomelrv

i ry. " infs'Ior 'of U'lIE! mOIre 'prof,essionsl andi more tll!l:pressiirlle pe rSlPect~ive dra wi ng. Thhi is why thG' mQ:stfn~qluenUy lJISiool isomeUie:8: aire s<howfl O!'i!ly brie'fly herl€i. Thelrl€i ,i.l!I!I'e 'f'OUf tvpicaillme~h,(ids •. .,U of which di:5;tort dep,ths to' 11 QII,,€HiiUH or IB'sseli diegln~e'. A. liiUIDe' il'iltlUlilliW11 sindl illilaglili'i~lticm w~11 pJI"oveth;).!'t

t.fl eSre m etihods 9 i '!I,e a natuta lim pressiersto a 'VG PI I ilmilted ,axte I'IIt.

IFigUf18 8. l'

Axono rnatn c Pr lee"IIOn

/'

/

PoSH'I01'I 01' bUildlflG Williis re ianve to e ac 0'1 ~e '

Exterior

Pnnct pis of sound attenuation In J,I r duct

w~ shallil Gornfi neou rselves to a few basre comments r~g,alrdillg pers,pecli1ollE! iFl:sofar as it is IJsefull 'fm 'h',~e'I!H'Ilnd drawil'11;g1, i.e. ~.he drawing of pr,ojects. buildings,. and e-n'll.1lwn meRits"

8"2,, t Coustfllction 01 FrofJ'ta'l Perspe,cl.'ive

8,2 .. :2 Slgh'tline' and Pictu,re ,Plane

The' ,es:senhaWele.rnel1lil O'f this type of dr,al;iI;l"]ing is: that the sightl,ine st,rike.s an absolutel'y vertical wall at rig hit a ngll'es_ The: pi ctulre' pia ne ,Idrawing block., paper, p,icture surface, etc,,) lies eiC,iil,ctiy par,allilel to the wal~_ Th~ pictul",e ,plaine of mhe per~pec~i\l'e is always pe'rpelil:chcuIar to gro'l.H'11d level.

\-,

.

.

\ -'.

" -' -

"

Alii hori~i;)nt:allines of wallis, flol?f, or gTids cornie tog,ether at a var'lilisn" ing point somewhere in the disranee ,[railway-track ,eff,eet). T,hls vanishing point airways liIes on~h,e hortzon, a 'fact which will be ife·!'IIIIlized wil~h Oil littlethoughdul observ.ati(!.Ifl.

- \

B.3.1 Horizlrm

SOtind1oroollrlg With vanous dlUl"lrent WOlrhl'ilg thicknssses and W Igl11S

ThI1l s'ight :hori~on is ~akei1 to be alii around us at eye i\li~\lel All ve:r:ti· .c,al~s {pe'rpend,icular I.ines) willl:llso appear in the drawing as \]\erli'cal.

Sound proofing In 101 nt ca 'IfIti,es

82

Drstance

8.3

lance frOITl the drawnl obj~ect as the dr,ail'lsmaln h inlselif 'when e..xecuti ng hi S dlral~ fll:g.

An i mpr,essiolll of deplh alndsca Ie is all so a,dh ieved by' puuing people' iln the for,eground and liil'iliddle

9 rou nd o~ nl'e: pgcture.

,B. 3'. 2 Field ,of Vision

tl-3_5 [Jrij'win!J DeQ'sily. Depth'" ,~'IJ'tI Ourlln;J!S Clo'se'-t/.p

Ilbe "dlilsta,l"l'ce'" in this case IS thaI be,tweE!n the eye {standpoint) and the picture plane. lin ,order for 81 rlIl i rn t;lg:e in ;11, dra wi ngl to I,ook mlore, or less reali, IlJIlle ohlSE!II'Ver stiol!Jl'd, liln U'Ie1ory', be [he sa me di s;-

lit is we Ii knOW!il1 '[hat 'the norma I 'field ,of vi~,ioln of

'~h e hUrt'i'ili'" e'ye' onl'!!' reo1lc;tiles: toab~,ut 115 deglree's, o'il,hef' s&de 0.' ~hea)!is,o,f yj,s;ilon_ W*lh:in .!his llIiuw·, 'ngangl,e 41.' ob,ill,!ctS elir,1l! seen wid1,ou~ di:~klnion. In orderte avo'i,d ulrndesirab!e distortions. I~n our dr,i:iw· ilngs" the retore, we must malk,~ su fi tlhcrt OiJ r i U US~ ti'atiOlns am 'of things which llie' w~rhin ~his fi41!!ldo1: viS'ion, s!inCiealny,lhing that lprojects.ltle:vond it willI look 1~ll11l~e.all and comiVC!!l~. 10 ge'l as IfiirllUch linto 'the 'fi,eld of vision as possible, w~ shouid assume a st81ndpojtnt il1l th~ e'liitr,llItmlll CO HIler ,of an e'xismiingl I'\Qom.S<aIV. ,Of 111"1 Ihe! C!;I:se' of ill desIgn. o'Utsi:de the full! f11!l! room.

Things close to us are 1llways ciealrillv visiblle and ~'!fI YS~ ~.h,e~elo~e be d ralwill more ~~,re>c Iisel, al nd wi'~h more detiliL As, dep,til in picrllJ~e and space, lin·

[)(UII'IS IOSI !MIll ! ncraa II III' 9 dAplh.

d,

r'~-~'~·

~--.

,

: .,,°r ~

,

.' Dr 'U1'i!'n Propm lions

SC.illed ·ll)owlR 'COP'Y

1'-

By eOYlll' le\llell we mlea n tl'le dll S'lalWlce b e·twee n '9lrQUInd or fl,oo,~ Ilell'tl,II allii'ld the' heiglnE of the' 00- ;serv.er·;$ eye,s. On the ,i)Ver8.ge, people ~nandingl or wallkilrlg hmlJ,i\Q a n eve level of bet~ en 1,6 alnd '11.7 mle1:~lrs_ W!1 e n a drawl rig is to i !lei ude people <liS weill as thingls. their heads mus:l be Ool'll th,e same levell ,irfespectilV8 o~ w'hoetll'Ullr lihev IiIlre i 11 the tore. '91f1oumil or in 'lhe blackglf(HH'U;t :Smlil~eal'l v.:antshi n; poinih1 are alw-avs 011 the horizon [at ,ey~ leve'l} t'l1,e first priority is '10 dl'aw ii1 'the hQrizon. l.ina.

[ J

10

- r-'~

I~-

•

~I

I

Ground P13n/layou

Figll!lfrII 8.5, G,uidelines, bfl rroPi'lta~ hr5;lle·mive, also IUSII~' 81 .s,econd Vn nis.tI ing Poi!'lt (dlagl(l;A,d va rushil'l'il poim,

85

creases, so clarity and sharpness of ol!Jtllines diminishes, as does ligh!: ami celcr intsnsitv; th:is means thatas spatla I depth im;f\eases, . .a II QbjeC'ts must be dnlwn lighter ,(both in we,ight and color] a nd with th n n ner I jl nes, ()~jherwli se the i HuSH<l'tion w;jll lose ,aU cred ibi I'i'ty a s a replrese ntation of rea 1- ity. The outlines of objects shown at different depths sli,o u lid never run into El'8 chi othe-r but should end (lit iii distanGe from imal9,es that are close-up.

V;Jrll!':hlng POints ,oF

01 R:Of.l~ Pnc hoes

1 Arc Contact

0:1 agonJ;lI Vanishing POint Or! Horizcn

1'-

86

1IIIUS:tr;;lltiorl'lS, of spaces of glFe-flit depth can be divided i r!~Q ~lhefDlllowi ng a reas of ~rGeptjbi !Hy ~ nd reprQ(hJcibiJIity: foregrOIJlr1d, mliddle gnwnd, and background. A proper grasp ~'IIr'ld lmde,F$t:endiIIfiQr of stro'ng a nd weak optica lim pression S makes it pessible to a,cJ'Iieve the appearance 'Of viuyil'l!ll de,P~h bV g~ia D h ilG devlces, If you ,1:1 re not su re ot d'ralwillng the correct outllnes or shadows., i~ .ils worUnwhUe partly closingll1e eyes for a second in order to deW rm ~ ne tl, e Ir'(')aHy ,essentliia I loudi nes wiUi str,oIllQ' ccntrasts. One should start by dn11wi I1Q the

esse nna Is.

8.,3.6 .F.o,regtf)fmd-Middle Gj'oundB'8Clcgrouna-P'ictu.rc Dept'll - Couto'un;

/ / /

/

/

If there is sHIi Some doubt about three-

di mension ad draw~ ng. VIifl' $LJgge,s~: t~e fo~~'()wi ng method as a temporary aid to, attain more' 'f~eliilng for fraeha nd, spa ti all drawi ng: slllj1ect a drfa wing that you ,,,,dmilre' and trace it Iline by ~iliile. You 'should of course takle OJ) critical look at eaen line

a od its meanling _ For insta nee, askvoU'rs-elf why ,a' Illi ne is at a palrtic!l!J~aw place Or wh'y the Iii neis of a p-ar,t1j'c'ular qua~ity.

One'should nn <;Iii!ry case beware of mindl'es!> DOp¥j1ng j,n freeha nd d,ra '!.!Vi ng,

Figure 8.7

locrticerus (as an {lxample)

ii .... ""~

_.

~~r.~_~~.~:E~_,~~

FOf,eground

,87

When 'W,f light pl\1S a Ipa.,'1 hit ~he sp<lltio'l illlusWl-' tij,on ,of' 'fml1l'LiiI!I'PEHSpe:c;tivel--whlilch is often the ,ca'$e:~i. willi be' n,ecessary '~Q dr~w 'shade in Qrde~' tiC ,ell'lh:a AOB [t"lree .dilllflenSionall eHe,c:t. :Shade 'O!)iiJ-

rs those s.urfa,c1es, which bellQngl to the ulllulII1rinm1l3,d solids, bi..Il which are ,arctualllV aver~ed "r,om Illh,~ light incidence, These :surfaces lie in sRilalde.

BS

S,ilfl'lce edgesllham run completely p,u<llliello ~he picture plane '01, 'that run <;lIWaV to a val1llshing point CgI~t shadows, 't!1te slhadows ofmJirlQs;€! ,ed'g,il:s ffiruS:l

in consequence ,alIso be dr,llIwn pilutlilel' ,to ~he Ipicture plane of back towafd tho v,aifl'lli,slililllgt po:ilii1t. lhe' sM:doW' irs cast alcrordilfl'lg '~o ~lli)e IPO'Sition ,of the sun or Illight source. If 'fo'r liln~.tmnoe the sun isfl\lcing I!.I$, we c,OJIn ilosen., into ,the p,tCUjlf~ plane (above the hO:ll'iO!:,olim II'hil'e) :s,j !'nlp!'y bV d ra wi ng the' perlPelliidici!.!ll'~ r from,thle theolit'l'ti1cal sun ,doWiI"I ~o 'the horizonlino; w.e then leea te the \!,,'iliII'1llish i fIIgllPO~nt ~Qrtih'~ :shadow li.,e and SO olnain s.llirnple vS!lnis:ih,iI"lQ, line$ fOIFI~I'ii! QuUine of the slliadow,.lf the' sun ilslbehind us:" we ilust have too ·i1IIS5,ume a the-O'F'etlctll soh'llr point below ~he, hodlZ\o:nlliine ,and pr'QCeed aQoordlilngly.

..

.. : ·1

.'

..

\ t ,

Central Llg:ht Source :: 'r-~ :,..

..- {ol- ,,:-

~//, I·· ~ /

I /

/1

Special Case-Cast shadow on gl,azed surfaces:

[)~pel!diing on the direction of illliumin,ation, glazed areas appear as Ugh~;;or dark surfaces an buil'dings seen fr'Ofiril the' outside,.snd must be d'ralwn accoirdilil'giy. As a 'ge nera I r u le, ina ve,rry bniig htlv llt facade the windmvs a1ppea rs a:s da,rk ,a rea s (almost hole·lik0). A simjlar ap,pmacl'n apphes to a giaz,edl.area or window only partly lit bV the sun and which d'lUS, lies pardy in shadow.

light

'~ l----:-------_~

Figu re' 8. 1 0

90

'WI ,nd GWS In shadow .appecar lighter than sunmmding wall

9]

,Another im'Blre.sting case is 'the marlk,ing of the briqhtest-Ilt edgies '1l1rough the Ipartia" omission oW ~heir ouUine. When observing the picture. the !l'ye comlpl'~t~5 'the obi ,ct for itseif and o,nly Iperceives, f,orm and brj'ghtne:ss. As, iii rule 'these alH~ drawings,oif Ile'rv fllll1flil'i~lr Il!velryd1ay oojec:ts.

(._ r __

Two special eases resuhjng from very Ii1larlked diff,erel1llces in b:rii,g~1tne:ss from sunli,ght 01' ,arMicia,llight are the silboue'ue in EI)(tI18Ime' counter light (sunlight', alnd its count ,rpalrt name'l), the' iII'lJsUaltion ofa brighitly iJIIIJmina1led obj,eel a,ga inst a daJ.rke r baJck.glfOund ~ D1 iglih:t 0 r storm cl!olud's,_ ete.t

~-- -

1.--1'-

/

, r

92

Offill' ,I S" .. 21' a ~m

MirUi'ors p!1odll.llce atme to lli'r:e ij m:i;!,ge turned about the Im~rmr's axis; lit ... o'll1lE!lr words; U'n'i;l mirf,o:fs S'I.IIlrf,aoe reIPrOOILlOeS 'things in ~heijr rUUural' diimensi'Olns and distances ln rel'ationslliptQ the given pilsn8 ,of the minor.

flefloc(lon- Mu ror on V~~{lI1i rWHic<I I rmrror I'lh,II'iu:! I

Ii'll ~ase note-that a scene <lili'itj its mir;or image' 11 i!lve a '~i(immOII1 VI.1I,11 ilshi rig point.

As un lo'Ve-ly as svm rnearv so oh:e r1I i $., it ca n not be iigr1,ored in Irtlirror iimalges. 1r1! this eXalrflple tli':le rnirror's surface is, the surface o~' t.he water. A!II di-

mens ion s a nd length! s a re ta kenfmm U1 e Ire,a,l oh~!jlctsalF'ldi 'the 11 • 'foll'ded''' th ro IJgh the give 11 minor

plane to make' the mirror iir1fiages_ '

9',,0 Centlll'al IP,e'rs,pectiv'eI' (frontall IPlerspective), as the likeness of ,an Qbjiect

Mann ,xllm for H-"e person drawing

Reflection on INat r (horlzomai mir 0 pl.an·~

One impo:rtHrU step in any introduction to this subject iis the se ~ectliiorn ,of a sl mple" see -at-a -gl ance motH .. The picture's horizon plane as seen bv the eye should aliso be horuontal in real life, so never draw w,ith a faH.ing sigohU.i nil! ~ Whe rn d ralw~ng, you should be ,1:11 a dis'lialflCehOill the dmwn object that corresponds to the size of yoO u r d ra,w~ ng pa per, Hold up the paper witih a rrn ouest retched i n the sig'hdline, then "tak:4ll' bearlnqs" over the edg'es 'of th! e po'll per to see wh,et her the perticular d~t;dll

)IIO!"! wish to draw has the right size and properrions, From what we have ailf~!l!dy said in p.nwiIQus.

F,ig'l:lIre 9.11

Dr.;:lwn

Fiigu re 8, 17

94

sections, it is ,!')Iiea r that we cain hx a panicull'a r .sealile 'fur the' pictu r19 on th e ba sli S ofo u r fixed ~ta!1;dpoint and given length with our outstretched arm _ Hold up ~he dora wi ng pepe I" 011 (;8 ·a'ga i mI and note ~ihe IiQr,il~on ,jim:! or, alternativelv, holld up yQur pEmcil in the line (jifsight 10 find an ,~xalc:t loc<'lIt,il(Hii for th e horiizD 11. The next step is to !rna rill:; the va nlj'shing' poi,"~,; in ce'l'illtn'.ll perspective this is 'the mlse'tli n 9 poi nt for all vaini sh ~!!lg Iii nes ~n Ule d i stance, We can now proceed with the remalnlnq steps just as confidently, provided \!\Ie thhlk about: the mea,,1 m 1'1": dr,awi ng the horizon, the iii r~n 'frOI'ilIUi I upright surfaces ami S!ol'ids~as w~11 as their vanish i ng ,~i nes,

-G

U

II

Ho nzo 1 or tile p e rso rlCira".,rj n g

/

- Flflld' UlVISIOri

A small]1 trick rna 'If assist wl1 en selecli rlgl the' del:<lli I vou wish to dra W'. Cut out a ~Ii"a me from h,eavygrade paperor eard of suitable size that f'ully enCI(lSeS the finished picture 'format. Hold it out {u arm's lengttl and use it to find your exact motif. Malke a rnentel note o~ reference pelnts SlH::11 as horizo n level' and ,lleft·ho'i! nd or IF iglt'U -ha I1Id ,edg!e S~ thatyouwiilll <'! Iwa ys be a ble ~o fi nd the deta i I ,1i'gain,

1- ~

Fiigure; 9.3

~~: '-1L. ~~--

'_ - _ •••• I ....... , _ ~ n. __ _. .;; _.-

' ...... ~

2

When choosing, <Ill horizon Ilevel 'fa,r designed obj,ects-Le., objects whilch do, not as yeilexi:st ,in Ireal~ ity-one shou Id be skeptica I; th e first sol unon does no't neeessa !i"iilly rna k.e for the best IliHreness. l)i1ffenmiil horizon levels wiUof course produce diffe ra nt vi,ew$ ef QnIi,e !'uld the' sa me obj ect.

--I.'

96

113, Y'

,

F,(jlr' the maljQl'hy of outdoor 8irchitectural dra'Wling~the horizon can iie on the 1ili11l~ of the bottom 'thifd, 'Which leaves the top two-tbl rds ot the d'rawi ng area ava ililable for the sky.

When d ra wi ng a bu ilh::l i ng by itself it shou Id n ot neeessa d~ yo be rig ht nn U"Ie m oddl e of th e drawi ng, Th e r'!1!SU lti rig symmetry lis borl 119 in mOSI cases,

If the' building is; located more to OIlIe siide or another, a sa nse of i mba lance !nay $00 n form in the nil ind of the observe r,

This visual diseq~iiibrium can De r'emediied by pl~ dng a cou nte,l!ibalr~ a l'I,cling de~a i 1 from thl e 'fmeground or with other object~ ~]r,ees, 9'tC.J

97

9 ... 3 ID'imensiiol1lS and Guidelines

Students are often afraid ot drawing the wrong

so i zes onto the picture p I a rile. Th is ca n be ove rcom e ,by mea,sur,i n'9 r)lrf i nd ivid ua I ,I,engths il;"ind d vlmensions in thumb wJdths {o!JJtsu,etched arm) or in frachons of the ,1,engUl of thl~ dw,!lwing pencil. 111e main outlines should alw<:I'Vs be drawn before conoentraJt:iing on the detail Is, even iff the latter are

tec!hi n h::.a!liIy perfect and b ea lnifulliy executed. To stan wHh oneshou Id draw guide I i m~s-lthey are nothing to be ashamed of and should be left (l'S wOIr'iking aids. Hast.y erasing or cerrectlnq wm hi3lrdly improve the quality of the drawing.

HUFf! sc Attem pts

98

9.5 The Who,le Drawing

object agsliirlJl and b'!lkJe in the details you mussed before, Now dose the eves agalin-this time you can see th~ object much more crearly and completely.

Basilcalily one should first look. at an object from all sides a~d try to 9'l'a!5p its character: structure, design, purpcse, a (1,d ClOI~·~'en~,. a nd the n beg iin to reprod uce on papile r whi~l:t on e sees. it is; vita I to

me morlze he ight and wildltJ, propo:rt.ion s.

Here'<lga in, a .I it-He ~fi'ck CB III help: look at til e g,bjec1 Gal re-h,!~llyfor pro,ponions, he'~g ~'1rt~, wil dth s, depths,

a nd data il s, 'then cl ose yu u r eyes for a few mo~ mems and til')' to vlisualize 'the object in its essentia:I' components. You willi soon see which points

h aVfl n01 race ilved suffic ient strenuon. Look at th e

U is most ilmpor[a'rlit to brea k down eompcs ite forms into primary and secondary forms in order to understand how the v<l'ri,o!JJs pro,l)ortions Irel'He· to each other. In the same WallY, Wll draw the main form f rSl, followed by the seconda ~Y' {lOr rns,

As ~ e 5511"lg Prop 0 n Ions

;(

Rough Sketch '\ .. ' ;1

@)

(~)

~99

10.1 IExamph:l; oif ,('I FIt,ont Doolr j;n C,entral Plersp ectiV1e

We. ha\,i\e selected this object with its relatlvelv cle,ar"CYlt dim~lrnslions alod proportions (0 iiUu$tlifat:e' the step-by-step ClonstructilQl1'1I of central or trentsl pe [spective, The Sl'G'P seq uenee is as follows:

t o. 1. 1 Picfure Detail

We select the pa rti euta r detai lfroma m,ong the va ri 0 us p05s~bi~ ide's,

1"1'i1 e dli sraace betwee n th eeye Oil rid the aloOf is

su chi that the i m portant parts of 'the object ar'eat a certain distanee from the edge .of the drawinQl block. AU comporltHds are arranged (I n th El pli cture pia I],~ (drawingl pll,anell in such a way that a II the essential details comeh,dly within the pi cture , Sym met ry is avo ilded ii n lhi s i 1lL$~~nOe, ;s~ nee eq u allltv between the left- and right-hand halves of the picture is, net t:he drawing's lintended sterement and the sense of it would not be .apparent

10.. '.2 HOfiz,;:jtJ Une'

The f ret steiP is ~ draw the horizon line ~t eye leve,1 across the paper from len to rilght

INext we fix. HlIl~ position OIf the main point and perhaps adda vertl cal Iline th ,0 ILIg hi the rna iin poi fit SJS ,1;1 n a~ d to ori,enta,hCiN'l.

, Q. 1.4 Main .Point

Now we insert the chief oudines of the main 00- jeer, the door, This is a rectangu,llar area witl'i an apprQ)(~lmate height.wnd~h ratio of 1,.5: 101' 6;4. This ratio should fi1rs-t be cur'~hlilly estimated wiIUl1h,~ eye or with the, a id of a rete re nee size (til u mb wilc:hh, ru Iii! w~dth. fracti 0 ns of pe nel II length, etc.],

100

Vertical line lhrough 11)011 n pornt

Figu r~ 110.2

And so lit is with m.my Qthl er th ing s wh ich are foreshortened by perspectli'lre. If Y,Ou!1iife still uneerta i n about jl udigi ngfore;$horlie~ed II,engths, we s ug~ '[Jest th at YOi.li plot ,lind measure '[he va rious Ipans

of the apperent i mage' with 0 utstretched arm,

Pa rts that I,ile para ~h~i tc dll~ dra'~'1i'trftg' ,a nd prctm'e plane in central persOOC'tli'll'e alppf.!~r bigglec.

l@Ji1glh wp!h ill ppm;.:. 4 parts ] APR FOX.

r I J.-1 ( 3lhumb·

J Widths from

1--,1-- top of sheet

Lang th wll~~ I aporox. 6 parts I

'1' o. '1'.5 Vanish'in,g Lines

The next :stap is {O i ndicate ~'he va nishii ng I i flies hl the Irna.in point, Once all v,i'llnishinglil1l,es h,~v,e. been inserted it wi I'I be fJQS'S i bJle to outll i netne enUre

ca 1n00PY on the :~t mngth o~ these new ,refe re nee points and the, estimated Il1!ngth and heiqht of the ea nopy, wh ich va n lshes to the rna i n po~ nL We now ,draw in the spatial dimension, the step and

9 ridfa F' SiC F'g ping off IfliU.ld'dy shoes.

Figme,110.3 ~, _

_l

----- - +-

Dimensions and spaces in me ,drawn pans should be e heeked n ow a nd ~gali n for eerrect proportions.

i

I

AnOlhe r po~ nrt thcH.!'Qh obviou s. is worth me nt i ening: your drawililg s:talnd,point must never vary wih~I,e. you IPIFeiparo your freehand dwawi'r1I~!. L~., there must be no .change in standiing or siUiing positica, Si mil Ie fly,. the eye's. rn ust a I ways tctl ow the sa me s ilg htlins. ,[)evia'bons, in sta ndpoi 1"1'[ 'Of si 9 htline wlilll immed,ialiely falsify HII@, iltustratlon.

We shouldstress here tl'uu the utmost care <lind

a tte ntion should be d!~vo!ed ~o reeed i ng ll'e ngths" LelllgtM ,and widths are almost alwavs far too I'atrfge" ,espeeia:lly nn tile wOrik of begiflners. Take a loo'k at the sidle wa III of' yo u r room from wh,ere yQU are now standing or sitting and see just h(IW wlide the doors appea r in '[he' wa II ·a111o ng wh leh you a, Fe looking: ttley actualilly are very narfC\iw but are ff~que ntlv dra wnfar too Wide.

t-

1m

10', 1.6 Shado w Ca$l by Sun 0'; A.rtiftciaJ Light

Sti adows cast by the su I'll or artificia I .Jig hit ean he addedw tne drawing' .'or fl'.xtrethree-diimens,ional ilmpri~ssion, bUI: bewa.e of too maliiy comrasting effe.cts .. 1t cali be awkward if oerscns 'Viewirng the picture g,e~ 'the fee,linQI that you are usingl shadow to Gmu:eal weOlknesse:11 or de 5~ 9 n de'fects or toa~ ~ 'tract pa rtliicliia r <lltt~nUon te yo UF1se IIf. tarer add ilions to a drflwi ng sh 0 uld a ~SlO be' a\l'oichl'~t und1er no circumstanoes should na~ge shadows be added a,f'terward 'to "improve" cj,<'3lrity_

One co:mmon error Ii,s 10 draw 'the sun shi'ning fromthe north 011' to provide northerly views with deep ~ht'ldows, This ilfIli sta lI::e ca Iii blil avoi ded

1'02:

Fi·gure 10..7

10:. 1 .. 7 Shade

through eX<lllct repwdl.lction ct the scene or" if ne{:essarv. by vefil~vjng me correct geog ra ph ica I reteranees I:poiint~ of the compass~ ..

A further complement is the ,.,epresentation 011 shade on all solidis and surfaces. Sljrf.aceslumed away ·frorll th €I ~ ig ht a I'w-avs gppill.u dalrker ,iii I11d e, liig nt ton e of 9 ray can be aeh ieved by very light hatclh iing; sn ijirdli ~gl ca na I so be sl'n mMrft by Ui'e c le',llI r r,epresen~a'tlk.l'~ of structure.jexture, 0:, faGlIU,ue on the surface which lisllyinQ' in shade.

M UGh patience is needed to deter m,i n6: shaldow$ iin we ry good d .awi ngs. Professi (I l1a I photographers often wait 'for hours for the sun to reach the' right PQSiltilon be~ore tak.ing' a shot O'f some' architeetural views .. Tbis irii:tiC(i!,tes lhat~.lhe position of the light source ~md the ana'ng'emel1lt of shadl)w$ is wry i.mpona nt With dra wi n 9 o'f C()U rse we have rather more f.,ee(fclI1n than a phowglrapl'H;!lr, end So lit is permissible to corapa re ~:hi e vs ri 0 us possi:b ~e sh~dow pesltiens in rough-sketch form (shadow leng'th a·nd width) to find tile most SUi~albl'e ontieal location. The sbadow must ill aoy event be cor",ecUy eenstructed and ,8S true to life as possible ..

to, t. 8 .Derails and Margina.i A.rea,s

Delalils a nd mar,!) iioa I areas m us:t be dlr81wn in hi ~ll w,henever a drawi ngl er s;1k,etch is passed OnfQf jn~ formation or intended fur wIder pubhcatlnrr. BUIt. here (llgain, the prtincipleshould be "all thiings in moderation;' si!'1lc'e an excess of subsildiary limormanon wiUde:tlract from clarity in ,even ~Ihe beS'l dr.awing:$. Surfaces should 'thel'efo:re be filled out oOlrnpletellly only i fill 'the ra rest in sta nees. II~. i$ ,,{hen e no (1:g111 f.or ttl ~ marg i ns of .al give n ,i;ilnlliii 10 be we II d ra wnOl1f sugg ested; till!!! eye wi II provide its o,wn in'fil'l for the residual brilght arees,

We sta ted atthe btlg iln n rng that drawing ca n a lse mean leiQving out much-or all-extIFan:eous. matter, Our deliberate description of the vari'ou8 steptS in the creation of 81 freehand drawing has me'ant: that the fina,l $tep' in this exampl,e has been ,drawn ill 'h,iU detarl. Normally. however, an ·BXicess Q~ deta,ill can befatigtlJling for 'the spectaltor ..

....... "·';1

-L.i ... ~ ......

I

~.........,;;i ~""'-;:"""II

I 1- r· ~ ,"' .....

i=iguw'e'~ 10.2 t:hrolJ,gh 11(1.7 I1epmducoo in serles.

lishing ,points, all' val'1li:shing points !lie on the ho-

ri zen, wh ieh i:s deterrn i ned by the sighUi n~, Alii pBrpendii c u la r Ii nes i"ema i n io'enicaL Wid, its pa j",all'a lel grollJlI1dand roof edges.. each buildi'ng has its own W f'I ish i I'1g PQil~n depelndi rig on its place iin tlh€ street. With (II little observation you shouldhnd thls type of S~lre'et scene .• particularly in Oldwwrls, The charm of the :pictu re lies in the sweep, of the gll'Ound and roof lines and in tile dia'9'Qnals_

.' _. \i,@n~shll"lg pomts of the various road 'Mels leading upward

ThiiS eXi3J mpie' ls b~sedl on the ass uITilptionthat tlhe street conti nues on the sa me leve I., As can be Seen from line ili1dieatedV8I"11ishing Ilili'le'$ and van-

Raised Vam.shlng Pomt

HOrizon

A more cornelex picture, this. B~'siG"dly sp~aklin9 •. we fi ,8;1 divide' ~p aU se(:t~ OIlS of Iroad and la ndscape into rectanglles and then identify th,e horizons and va n i sh i rig' ,poi'nts, of the sa e.l!; i sti nlIgi ,aI,!fIdi theore~jcall' .,eat3I'1gies. Silllce the road climbs slowly away into the diistanc,e the' vall'i15hif1g points (l'f 'the ,(iI:ssumed m.ald rev'els must also clii'mlb, one' after the other. With drawings like this one must

a IWi! 'IS ensure tha1:th e Ii m ~ge is wi1:11 i Ii the norm alii Held of vi 5i'0 III and tha t lit is a ~wayslI~ ewed he nzentally .. In this; panicllJll'ar example the' observer's

sta n~po~ nt I,ile.$ sam ewh.aJ~ h ilg her 81bove ~he foremos~ II'evel (at foot crf picture) than w.ould normally be possj;ble.

= vanot, S V<)r1IStll n'Q pOI nts ,(of the various buildmqs]

Figure 1O_B

10.:t

liCE

100

10.2 . .3 A Stail'case ha,ding Upw,ard

flgu re 10.'1 1 shows a simpler staircase gOll1g upward.

lin the sQlme w.ay as, FiQlure 10.9, Figure ~ 0.1 10

S hews a n 0 utside stai rca se of a ca sue d rawn from an elle\ ... ~t~d ObSeni€ir'.~t~ndpo~l1it The particular ,~f~ 'feet here is that ~ he stali rea se lea ds horn be l1It'l'i:iIUl the horizon line upwardtlbol/€ the horizon !line.

--..J _

~. -1 ______1

.__ ...... ,~-'_J

,,--J r--" 'r---'

I

, I

I

I,

I

l,

1 D .. 2." A Staircase Leading Downward (Page 1 (8)1

It m ~g ~\tSll: fil,st appeal r as lif th~ s cou ~d not be drawn a~ a III er tbat the ven,i ca,1 wa Ills and Illi III es should no~ be drawn paraillel to each other. The tact is that the froetal persoeettve, horizontal s,ightII i ne, tlfi eoretl ca I horizon, vertiea I wa II is and lilnes

ea n allil he dra wn j US! Ii! s b efore .. Whe n decidi ng 0111 :pictu re Siiffi and sightl'i ne, ~ OWQ'\ier, it is vitali to ensure that tl1le fimshed draWling wdl,ll be wllthin the field of vision.

fine \I~nislh,iing poinils of ,unclh'lilld amlll'~'1;1\9~ surfaces 'wi II al ways I ie 'on the '!Ie rtlimll H me that is dra wn IperIDei'ldicl..!ll,ar tJuough [he main point Ithe breakthrough point betw~en s:ightliifUi!' and p,icture plane], All other pe'r~pecbveconlstrlUctjons can be done Ii n aecerda nee with the' pri no i pille!;> alii r'eady drscussee.It isn"t much more d.ifficult 10 dmw down s'taldI1Ca:ses which 'turn Ileft or rligh~ .•

10.2,5 .AI (JoVltn Stairca.~!"'J Turning Right' (o'r l.elfl

CO.nstli"uG,tion is si m.ila r to Ui,e preced i ng exa rrilp,I~,. but thi e va nishii.ng pOli rus sh ilft 10 It'1l e r~ghVlleh as the Ila F1d. ng ~wi rigs.

1O.2J3 A, St.aiN;;a~:e Leading Upward

Lln Ii ke' the dlQwm1 sta ircases, otllr COni strUC'lions:and ilmag:es !'low drift above the horizon Iii ne .... AII va rn i shi ng pOI riFts: once glg~,i nr conve rg:e on the ve"lica ~ ljne through t~ e malir) poirrlt.

KE

Figure ~ o, '11 3

-:::::~~~~~~-~-~~ii~~~~~~==~~~~~;:

-=-_-

. -

=~- ~~~~~~

1m

S~cond Vanishing POint

\

fi~i;jre t if. t

'r P'OM,. "',~,~'", """

Distance

1111 .. 0 Angille Vi,ews with Two Vardishing Points

11 .. 1 Cons'tuicting a Perspective w,ith Two V.allnishilng POlints

111 is type of pe rSIPtlctlh.re 11 as two van ilsh i ng poi,mlts,. As we viiew the edge of a cube freman ~ngle, the lO,p 8' nd boUo,m I i nes 01 the left ·halnd faee of th e cube oonv,erQ'e upon the leU-hand va.nii'silingi point and tli1 ese of the Iii 9 ht -ha I"I,d face cmw€llrg'e UPO,11

th e right -ha rid va nlsh i ng poi rrt jbothva Il!,ishi n9

poi nts a fa on th fl horizon). The pictu re pl'a ne is agali Ii perpe I"Idic I,Jla r to ~he sightllirle a nd ca n be 10- eared a' any d'esi r-ed depttli! n!1 th ree-di mensuO!'il;li1 space.

11.2 Sightl'iine and Pictur,e. Plane

The size of the pictun~: pllane and it~ distance frorn the oDsenfli iii!;! eye de~ermi ne wh le h pertion oi Uile overall viliew the observer wishes to draw. The dista ness be/tween pi cture Ipla ne a ndthe sides o,f solid booies are alwavs dlifferel1lt .. For ,6 more outsta nd. ng p~ct u rews usually 861e et a va riet:y ·of d iffereflll.lllngles between picture plane and object sides. Symrru~l'trv in tli1earra/ngement of ~he two vanishiing points: is not benefdcia,~ or particularly ,expre.s~iV'e .

110

Gr"ound Plan

11.3 Ma,in IPolint H

Tn.€!: rnaln poi rn H is the tarqet of the mainsi'g~lt-

II i ne a nd d'~h:l'rm i m1!S the br.eakU"m:mg!:J of the I illne' of vision 'l.hmugl'1 the picture p,llalne·. All the' horiZ!Qnta I lines of a re;c~.a nIl ula r Hrlid will f nd ~hei r vanishing points on the Ileft or ;ri'ght ,(If the herizen. Alii true vert lea I Ii rilles i n pers:pecti\;!\(1! wi III .8111.50 a p" pear verticall' in the dir<ilwlil'lg.

11 .4 HOlrizon

The horizon (ci rcle of vi sien) He's a II ani ~ nd us at eye levell, ana So should be shown in this way in the drawing.

Alii-around HOrizon

FigIUln;~ 111.2

11 . S fh~ ld of Vwsio A

p81rticul a r object is pe ~e'iv~d to be outslde the 'field of vision,

\110 IJ must sJh iftvollJlr st<lmldpoint or ch~'!1g,e your sightline. in

wh leh ease the prevli eu S I i lie of vision disi§! ppea rs si rice it call

.As we have al ready sa id,. U''IE)' eyes can only see sha rpiy within 15 to 25 degrees around ~he centlr~lllim1! ,o~' vision. If a

Image Plane

D-

- "I

Sta nd p 01 n l

Figure 11.3

fi:gun;! 11.4

only be lj5edf~l'F one a nd the samle drawing. The objects

wh ic h a~'e to be .ora WI'! must always be k.e,pt wiUlin the fueld ofvi sion ,(Fog. 11.3).

As wit h fHmta~ perspsetlve ,. the eye level should beta keen as 11.6 meters abov·e ground' revel (F"iig. 111.4) ..

11 .7 Diistanc'e aln d Stand p,oi At

Illn perspective with two vanishi r1191 Jloil nts, the di:st~ nClE! between the eye of 'th~ observer I drahsrn.aln a nd the pletu re p~ 8lne' lis important insofar as the vanish i ng po.! iilhl! m oV\e '0 ~twalrd to leh or right as the dist:ane,e inGU!Ii§! sas, So much So i!l f~H;:I: that tile v~l"ishing pOlints <'lire di{-fi· cult or ·eVtilr1l li'l1f1lpossible to locate.

This can be oveli"Come iby bringing the sta !1J;dpoi I'1ll cleser tc ~:he object 'Ir,eduction (1m distance, 0'1 to D2-Fig. 111.5,). allthougnthis,

1'11

r f r

I

f

t I t

.../

""

FiguI1e 11.6

s-. r~- ')

'_.-J'. D1Spl'O'lCQ-mtglm

/' ."

»:

---~

1'12

./

/

,/ ./

.... /"

.-. - --_.

.,r

may (]If f~Qurse put the 01)j'9m once aga i n outside the fiel11d of vision, in Wtl leh ca se the on IV a ~swer is to Illat!era I,IV shih Ule standlpoint fro m A to B ~Figl"

11' .16.}" orto nnn[he dbj eet -itself

,

(a rilgl~le a tmt~~n obje·c:tt~nd picture p Iia i'IIE! changes b)a, ngl!O I3-l'=ig, 111,1)"

hill pri[l1ciple, ~lhe dra wi ng is st<1n~d by dete;rrm lin I n9 the hor~:zollll I:i ne, j ~Ma$ pr~\l~O!,lis'liy wit h th (j! flFOnl

~ door .examplle In $e,mion 10. The !l~t'd step isto dr~wa prom ~Im'l'!"n vort i cali ~hi!ea~ an eptiea II referenes poi nt,

1 ~ "S Examlple: PelrSlPeGt~ve of all'll E.nua I'1IC,@ with Two Vanishing Pio'in1l:s

Wh·en selleGtli ng ¥Ul!Jlf sta ndpoin'~, talke steps ~Qen$ur€ tha~ the I~;nlllral~alces oi[ine Qbjec~ dio not. assume an ,eq'u'a ~ Width in thedll"aJwil!lg-a:a {Flitl 11 "8}, Unevlln lengUli S sh~ y 10' be

ach ieved by shiirhi ngl the

sta rndpoh,ft-i3 :b---'~ogllve the right i mpures.s1io n of lengt~1 proportions (.Flg. 11 .9l

tr~'i ~.

-= --=-,~

Figu re '] 1.9

If

[L~ I

~ -"\

I Er:.d or wall and, 5ay. post _,....--- I

as prOln.llen. feference uomts:

Fn<ly a lso deterrrurie scale.

At least 1 van~shlng pOint should be 'i'1cludled

Til e p roporticns of tf; e: aWmli ng, reta ilni n 9 wa I t and plant tub are then indicated with a Ilin:le' concentralion. Only tile WlidU, proportions are plotted. WiiH'I

~I I ittle cO.f1'l~ielFli1pl,"jition we rn ust now try '~o i rna gli ne where the vanishing points lie lief! and ri'ght on the horizon .. The precise palms, can be checked by drawi,~gl va nishin9 Ii nes a !Jove a r'! d below '[he ho-

o nee th f! ba sic construction is ili"ft plli'Jce w~ ca n begi nto i nsert the shadows; aid'dedl €'x:pression and det~,H lis achieved by drawing iii materials a no environr:nB fit,

rizon and ,['lllw,alIYS to ths same poil11L U the' 'Var'ilish~ irlg" point lies off l;n.e page',. then the vanishing Hne~ willi have 10 be inserted approximately, bearing ill1 mind ~ hal~ foreshor~eni rl9S C;EI n1I on~y be proportionatelly as big as th,ey !i"eGeq,e tnto the depth of the picture (Iindicated here Iby fifths).

Draw rhenrst varushmq li 'ltl5 and cbec 1 rat edges and

~llog.lh" .

. ' ......_ -~

~~~~~~~~~--_jl,----~~~~~-

Fit1lure 11, 14

115

'[ I ~ \1 II
m 1
'''- \
:::)
I I m
ii:
II In Fig Ull'e 1 ,2.1 ~Ihere a re certs i n eha racte .isHc:s that are ifrurli;ldiate,ly <iIP:pal"ent the ,iimp,ressi'on of 'gma t. depth a nd the a 5s,oCiglted diirfil"ere nee in ~h!e

q U8 lit'll ,of drawi ng o:f th iings nea rand fall" .jhe repl\esenta~iol11l of sollidls with simple lines without al1!Y spelcia I EHTi phaslis on shade or ca st shadow. ~I~e topography SU{I,gles~.ed by slopingi Iliines, the indication of mountain ridges, by i"Un[l'1ing 'these lines together ,. the suggesl~on of wale r withOlJt a lily indication o,f Wi'!I'i/,es or w~te!" surface,

liFllere again we can se,lj! that light ~!1d very~ light areas oil tne dl~awiing plane'snoulld be left untouched and white.

WiUlil 'Ih~ s ~'\I'Pe of drawing i't is, a ISQ i rn pcrta nt for tile lines to be flQwin1i{lland continueus, eV'l1!n at the fisk: o.f ,alilowing minor illl·aClC!Jftwi!es to creep lin. When n'!illtesenJt~ng contour IllinliEls (e~'SVly rGcogn~zable here OIlS stone' retaining walls). one' ,shQuld

'Ii I

I

I , .

;'

'-1

'~

re member that IhG' va i'IIlishi!'ilig poi nts of P([! fEllllel wallll~ always, ue on the hOlri2!on •. ,al fact that should [rna ke ilt easier 10 a rra Itg;e the wa lis wWh tn,en r va 1"1- iisl, i ng points, in natura I fash lc nil.

As has be'en stated befowe .t.he ol!JtI~nes of more dilstant ,objlects snmJld never touch ,~lhoseo,f objeclS tha t a If\e mere c I cse - up-thi s is clearly seen from the Irn:Q i,!i nta in r'idge~.

Only dlose sto neG, located in ~lhe immediate toregJround an;! aocura~elly dlir.!.'!wn, with their shade sllIggeS'ted by accompanying eorrtcurs ben'eath ,~lI1d to one side j nstaad ola deta i,ied Illhading. The size of the' stones diminishes rapidly with increasing pietoria I depth: only si mple outli nes ,are used to represent th e ston es il n midd Ie gHJI!Jlli1d. WI" ilile in the ba,ckg[HHH'Id they become just IGrinldy Ilines that ,evelriltualilly ta i I ,off i nte $;i F1gl,e I[ilnes i Ii'III 'the lJe,ry 'fa r dils;t;;lnce. The 'grround between the stone walls. can

Figure U

be gliven 131 degr'G'~ of character in the,fomground by sll-glgested irregularil~iles (holes. pits. etc.]: but as p lc rum depth i rtc reases there is, 110 need 'fow prr",e· elsa soil f'€!!:Iltures. In middle gwund, a f,ew dens and short stroke's are perfectly adequate. while beyond these the .are,aIS .alr€ best le,ft pia il n, Even so we stil Ilg ilvelhe p rnprsss ion th et these areas .(llre actuallv land rather than sea or skV_

U nforillmately it il:1; not eve ry d a Y th at we come acress a scene as lin this example_ Stilll, in any

drawi,ng it is essential to look for and find successfu~ W;tlys g'F liepll'e,senting spatial sequences, Juxta-

posiUons, a nd super i m pes i tii ens, '

13.0 Dralwling Plants

When selectilng a partic.u1ar $ubj,ect scene and dec i ding whl ilcl1 s urfacesareto be dal'lke ned by ma re Ii ne$--a nd hsnee emph,a sized-it is OIl1CG a'ga in advisable tol1alf dose the eyes for af,ew moments. The re'sultilng blurred ilfi"npressi,on wiilll help 'fOuto pick. out the dii Ueri n g delgrees of cia rkness and also conflrrns whtU we stated at the o~ts.et'IIl.alt. dnllwing means simplify.ing.

The convi niCiIng rep resentati 0 II (:i'f pl,a nts in freeh alTldl draw~ngj places gre~ t d,emand s on Uelle draftsman's POW@I'F 0:1' observation.

We can onl,y state ttlle most i mportGi nt pri nci pies of drawi'ng iln nature', and th'ils should be practiced as often as possible .

IFil rst a rid 'fo'l'lemost WG m ast ora Wi i mI other words, avoid s'lavish Ciop,ying,. embm:idering, the inftuence of excessive romarnlclsm or graphics or of a precious insistenCE! on ,eIOC!.lirr'a,cy and "true-to-tlte" Ire· produetion, Drawings donein nalti .. rra should cenc'entr~ue on plliThllts and their sunoundilngs only,

IF ina Illy, we are 'O,i'lice a gn in d r(llwi n.!) Illi nes, SU rfaees, and Sol.)liid bodies.

I LEE~

"1 "111

tltt

118

All plants possess a structural skeleton w~lich is deve Ilop-ed l!lc>corrdii ng to .[]I logli ca I ., ~ nto lei ~ ns" system, In trees,fo; e,x;amDIII~, it il$, perfectly pO$;siblle to sUlllrt drawing: from the mriddlle outward .. The OV'llif'· a II Ii mage iC$ best 'grasp~d iifniie stru GUU Ii! I skeleton w'h i dii a.ISOo carries the saiD' is, closelv obse.v~d Ii! nd me morized,

Figurf.! 13.1

(. ';1._

I~~L..I

Trunks. branches, ~wigs, blades, ere .. geneFli!lIiy grow and d~\i'fJlopaIIIOof1g fm:ldng limes,. j,e .• mai:1flI

a Xii!>, prilma:ry side 1'llxis. 8eco'n1lda'~y s,id e axis, a nd se forth. When dra,wing plants we aliso must ,obse:ifVH and evaluale 'the V8f'imJs mrainalnd seco,ndary

di me nsions~th r swi III '~al rni Hal r Ilze LIS with the proportions 1(11 Mg th, h ei ght. wi dth. d{lp,th) a rtd spaces,

CO'U n~1 ess form So (I'f branches, twig s, leav,e$, bios-so rns, a ndIru its sheu lid never rna Ike '0 ILIIr drra wilng s

119

lNeverfhel'eS5 it is lillonh :studying the din;l!::tli<i:,lifl of the leaf axes a nd the IPosiitii 0 n of lesf surfaces to

d i scoverthat the re a r,e indeed cena i b'i U iii i~lOrmities in practilGiill'ly i[lvery scene, something that can be of gre~ t help to th e drafb~!fIla n,

Lines are typic{ldsymools for grass. As a rule, f,eweri3lnd thinner lines should be dralwn than ae'tuailly exqs.t in nature. The eye of the spectator who has !'lot seen the ori'9li n{'ill wi U subseque ntl\!, epticailly multilp,ly the lines, oOImp'lle~e tihe picture •. and int'el'pret the ovuralll context

Figure1S.4

From this it fo,lloVIIS that 'lOll must rIIl,ilnk ,albout the relative value o~ what you see (iI':"najnfea~uresalind SJeCloru;j1aIPI" inflOrmation~ and albou t the type of rep. resentatlon that is most appropriate, whether con-

tour, line" surface, or h@ltchhlg. . .

Under no Clircumstances S~lC1l!I'd the resorts of' your ,effo:fif.S Ilook unfamiliar, since you are, after alii,

G rawiog well-knownl 1'!'~HlJI HIli phe nOlfne na,

EVE:'!1rthing we have so fair written regarding perspe~tive, det81il, ahade, and cast ~hadow obviolJls~V .apphes eo the se IIiICli m'il of p~a rrt subjects.

was uperficia I norteo fussv i ~ detaiL Garl'a nds end sprays that look too si mil'airr in ;1;)1 dr a wJ n 9 w.illl not betrue 1io nature and wWI seem unnatural {,FliH, 13.3.).

Proxi'lIrliity and distance, Ipl,av an important part lin p Iia nt dmwi IiIQ' a nd Co mlP~ I us to si 1mp'llify depth i I-

I u strauens, i.e., to pick out typic:a I, ena racter istic pains sind l'iigll1llnght them illl the draIVl/,ing, It is esS>!'lImjal not to ruin a 'freehand drawing by using too InClny 9i'alphlica'l tricks or nalive symbols.

~ ~

""IIlII~h 1 iff/IJIMh I II

~

&

,

\~! ,,~Wol4\\Ua...., ......

.1 \I.

'lJ)

W,idl these p,larrts: we see' more the indivlidiJal leaves ra~her than the !.J!lderlying br<lnches ,and "supp,ly ,lj,II1!€!s.:· and so tlhey ccnsalnrte an appar.

e rUly hapha:Z@cd su rfa ceo .

Figure 13.6

Gons~lraiiflts of scale and time' necessitate a cliirtain deglree of si mpl i~ication in pl(,II"l1't drawilllgi. e'Ven when iiinooirporated i 1iI1o a r1clhi il~J3!ctu ra II vi @W~ o,r when drawilng landscaped areas. galrdens:, etc .• and Ilere we ,am faced with the eternalll sIrl.!:gg Ie between 'gra,phii'c ~a n,gl uage ;;a n.d a rtlst ie rep:resen~.allion. One method that has crept into USB In recent yesll"$ consisrs in ~nd!icarting trees simply as pl,ain ,drcles {whiite dli~C5 iinstead of tree,s~. Whi Ie U may be 9 rapl1lica I'IV acc€!ptable to $11 ow srna II pia nits ,a s circles or Ibush~$ alS curves lin architectural eleva-

Fj'glb!.m 13.5

tions. dralwing fiIIowers as crossesslOd bushes as tria ng les mea n s tnet wealre 9 eUD ng fa r ~Iwayfwom 'the uue natura I scene.

Neverthel~s:s it ils sometimes nectlss;ary to mallie e)iiCleptiuns,. ,espec!i,aIUy whe 1'1 dea ~i ng wiith a Ii1I extremely small scale. Veg.etatlion can then be' shown iin the mannl3'r us~dI i'lI'1 Fiigure HL21

(p. 1] 49). for ~m;;h'i nee.

Generally spelliking,. howHllef, it is, hetterto draiw actual (lutJlines and structures. and lines shoull'd

1111 ot ercss €llfldl other a'rbi~r8IrHy; after ,(i! ~ t bra Hehes that gmw~ogedle'r with o~ners at their ends siimply do not exist in nature, and from thi$ we can concl udJethal<lH i mersecti rlgi Ii nes are Uglyt'Hlid unnatural, The ~'ines: we draw should ,alwa.ys have' al minimum of space l:u.'J'tweenthem SQ' that the impr~ssioli1ll ,of ,crossing lii'iles does not '8iven arise.

One Spt1:Ciallvpe of cross-connection is, pelnfillitted Ihowe'ilelr: 'C ross ·11'i iii kii ng th ro iJg hi bit urcauon,

The re is no ha r m iln re ilt0n"uing some basic G riteri a; tYlpica II fe,03rt u reS. a r~ ee ntral .a xi sa od ~ym metl'Y Ion alii sidl1l$ at roots, trunk. <1il1di crown, wUlll many rarni'fications. The tree tnmk has the 9reate,st

thi ckness com panJd wit h :i!llalUn Dr a ne h as and

twi gs- The di a! meter of the, 'Va!riou s brancbes must decrease with inclre\~sedl branching.

ILea\l'~s get simla Iller towQlrdllbra nch a nd spray 'Ii ps because they are younger. Wirld and weather naturailly have ,a maljol' inf'lluel'lce on the form. lselatad t,lf\e.e:s m II st try to aua in a closed form with·~ mere "aerodynamic'" outline to protect them against the wind, and so there wi!'1 be few branches projecting m uc h beyond th,ea r pmfi le. he topmost bra nches freque rid'll poi nt heave nwa rdl wlfll i'I'e the lower branches, gllow almost horizontajlv or droop

121

sl'uglhdy _ Thi e we·ep iing wililow wi'll, i~ spend;';! nt bir a nc hes is on e of the except ions. With ma ny trees the lower limit of the' crownends in '~ye ~evel_

~ ;~~:- ~ t '

~\\,~ l.~#~.

~ ..... ~

~-

~

_.

122

.~

. - ~ ...

Our d ra wi n 9 wli II' turn out v,ery dHfere nrtly deps nld~ ing onthe type ottree, th,e season, distance, and lighlilng .. In winter when the leaves havehdlen we have an SlXicellentopportunity to study and draw the- tree's structural elements.

Fast- and slow·grow~ng trees dU'ffer s!.Ubstalntiallly inn tmnk and bratlcl'l lengths, growth fonTl, and ra m ificatlons.

_;"._; -.- -:7·::'·:2~j~ .

j .. '~' v·:·~t

.J

~"' 0

'""" 0.,

. FiglUre 13. 11

!{Ii,,!;

.' .... f.Ii'

FilQl!Jlre 13.12

i il su m m er, on the other ha IlId. we ca n Us ua By onliy see the outlines of the crown and trunk at medium range, The sun and daylig'ht make the up,pe rmost pains of th e tree aapea r brig hte r wl1 i I e thl e undersl deof the erewn has da rk a reas of shade.

In southern latitudes especially. there are m,my trees wh i ella !low Ilight to fa III through lne C((lwn beoa use of its sheer i nte rrlsity a rid t me 'gre,a t heart from tile $U n.

rees can be represented either by simple outlines or with many il1div;!duall,eaves (like the shading on a sphe re~. I~. iis possible, h1oweVl'lf to opt for si rn p~ ifications that s how on I y outf n es at ~.ne to p ·and i ndividlJaHy .projlec~.ing branches inthe upper crown, whiloe suggesting very d.ukslhadow edges on the

U nderside olf the' crown,

lfee' trunks ea n a lso be drawn in d iHelr,ent ways, Two. 1,0 nes as In e sxterna II p roflile <'lHl a ~somewhat sparse iil1di·caUon of a tree trunk, and can be arnplifiled by the addition of other diiH'erelltiated and vari o usly spaced Iii r;ie~ {II ike the s na\d i ng on a H uecv-

II i nder], Witlh soma type.s. o·f trees it lis possnlt;1 e to. draw horizonta II ri ngs srou n d the tr u n'k to. i nd ica1e roundness .. !Most trees possess roots simiila"r in. s'iz;e and di.ame1.@Jr to their mown,

EV!;!irything we saldabout treesapplies equally to th ese pi a nts as; we U, wi till the fol'llowi n 9 excepttons:

Uiav~s a no flowe.rs .am co i"I s.ider.ably I arg eil in ra I a~iloi'il to the overaU volume. MoOst ·of these plants

123

begillllte branch cut from 9'round levell U.e., no vj~s· ible' trunk), ISQlla1~ed by~hes .often have a structure wliiich jlnke trees, dtl'V'€'lops from ~Ihe, cen~er OI!J~,wa I'd with a sh 0 rt, round' form of'fering as HUI.e wind resistance as pos.sib,le.

Ihmre are howeve r ma ny :shrubs a nd bi)J~hest ha t 9 row all Cl'ng the giro u nd 0 r have other ine'9 u lair expanding shapes. !Gwups of plants of vairying

hi eigh~.s a rid lengU, s Con sliihne Hg ~\1It SloHds <lll'l1dw,nen seen '~ogeth0T-'f,orm enclosed spaces. Typiical ty,pes of braneheaand their le·~f roots, as well as extra I arg e I'eaves a ndother pecu I ia,r,itj,~s, compe I' the d raf'~sma n to st iJdy e,alch I~ neca wofully oefo're c,om:mitdng a :single stroke to p:a,per_ WIlI,en reproducing ma,tits from nature Ii1 is aldvisabl'e to study the chosen Sc,ellile for SO,~le' com,idelrr',e b:lle li rn.ealraost learn it by ~leart-.and visua,lizethe finished Iresuit in the, mind's eve,

Pl:ant$ In ,Architectural ,Df,awing

Trees In pll)f1Is and artists' iimlln~'ssions shQuld suggest something of theil' worm and nature. In simple' terms, thereare the :IW(I ,possibillities. of

au m mer 81 rid wi rille r 911I'1ee'f"!lery: wi th and withou t foIii 1li'ge_ lJ; e d',eg1ree {'if d6~;!lIi I must be in hOI rmony with the oveli"aU intent and purpo~ of the draw,ing; one' shouid adways contina oneself to a distinct typ~ of tdrawil'iH in each liUustr.atiolil' (e~~her trunk and bra'i!'lches er salids and vo,lumeJ.

lik.e gwa 58 <'lind sll1lliu bs, trees should be' si rn riar to leach other lin form of' e.xp"ession,

Evelil if plants are represented by oLltliine alo,n'e, (me s lhioukl make certal til that the ~nd'ii\i'id ual profiles reneet a certain similarlrty 01" uniforrr;,ity; use may be rnalde of arcs o·f circles or ellip,ses. The

st ud"~nt shou ldspsnd some ti me studyi r~,g' these ifeanne:s in good drawi l'igls;(ihe practtiloed d raftsman confines himslelf to a uniform expression, just as. wiU, other graphi C li~ch nlque~, $0 th a t the n,fl~ i,ah'el'd dr,1lilwi ng dioes not have a ecnfus iing e'ffec'[ 0 n the .speetator.

12'4

Despite t.he irrnfinite variety in the planrt w'g,rld it Ii'S possible to' summa rize a f'ew ru ~es at this stagle which should help to f!':lciliitate all IJl1derstanding of th I[l form s i nvolved and he nee of the dr.awing taehniq LJe te be 'elriflploy~d. F'ol[ rna Fly ()Iflhe' phenom e 111<11 encountered in this area we can s.av that the rouqh outlines alw.alYs taU within a closed geometrical form ~'sphe,re, cone, eyl'indelf, ova~,

egg ·sha,pe,ci:rcle, po~'ygo'rn, tra pezl~um. recta ngll,e, tri;:tlllgll'e). The genelr,allim,ages often develop eentric,ally '~i;n re,llation to <II point or axis), Stn,lChlrreS are freq uent Iy more 0 r Iles:s~yiti m et'i'cad. Stallks. SUImens, leaves, and petl'.lls nanow ,[toward the tip. Plants and blooms become lighter> and more adry

u pwa rd a nd outward, f!ll.i nil 9 u idel ines calrrl assist in the dra wi ilg olf 'flowers a rid wij n hardly i mpali r the quality of the finished product Ei'asiii"19 the'

9 uidleli nes could ~e'a vea ba dim pression, on the, ether h6nd.

~ \.",.._~_ :::i:-.s'~

'125

115.0 Drawing Boats and Ships

The V8Fililshin'l9 lines o.f w<ll.ercrafl mQly make irt. more difficult to perceive their exact and si.tnple geoml1ltrica i body lines than with cubes .and para 1- lelepi,peds. but thev are nevelrlh~l,ess selids that

a I'e' 9cn,r,erned by quite def~ 11 ite Ilaws. Once the la tter have, been studien II'!IlO"'~ close Iv it w'!llll:ie found 'thi~,l't drawing boats and Sflip's is not so. hard. Generally ,it can bsassumed ~.h<H almost. eve,"y huH has afore-and-aft axis (Genterhne) which ils usually an aXli s of sym rnetry, fr'Oml the vie'wpoi nt ,o~ safety flFOm capsizing gnd sinking, we can aliso. supeose tha t the ce nta rs ~;rf mass a nd 9n~lvlity ,til re OIhen i n the center a,f' the vessel and as lowdown as possible. Us~ng the geneHll,1 rules of perspective, we can imagine fluli!'s wir~h transverse <;lixes nunning

I'

I

j

,.""'"

... ....,...

. .F

126

perp endi c u 1<1 r to di~e Cleob:~rline. U should not btl so hard, therefore, 'to capture a vessel's <lUilude in a drawing.

To. become "aoclimatlzed" lit is advi'sablle to tUll9'in wHh orthogonel drawi rngs {g round pia n, side a rile! 'front etevatiens). The streamsned terms of lighter wale reraft h;avfj' a n i mportant pa,r~ to pJay. wh i ~e

h uqe bulk carriers a!"e buill: ellmos.t like' lonQl raetalllQlui.a r boxe s, It is s u rprisd ng. 'for exa m pie. to real'izejiust 11 ow rectang ula r ba r'gles olr ta nkers ca n be. !BefiOre starting to draw, ,it i;s im,port1!lnt to beCOmC1l fOjimuliar with tile obj,ect-the dlral~tsman should "experience" it bv walking [or saillingl around it. Then one must decide on t~eV'es.sers three-dimenslcnal and stlnl),lctur(ill brealkdown, Finatlly, Our knowlledgll;e of ,perspective willi help us !!o d ra VII toresh or1iij:n~ ngs 81 nd the entii re body of the vessel. Even the qUliclcest and be'5't draftsman irnp reSS6S the, overalill cons'l.HlI,C'lion in his; rni nd. then visualizes ,jp8rlhaps in asplit second I the three-

di mens ilon,a i i'm'l) I ications.

Ships in theilr dominating attitudes and often tsola'ted position s on ea I m seas ca n h <'lIve '9Ire~l~ cha rm and am action as s;ubjects for our drawings; renee'~iol1l S ~ n the water CO'l n GO mple'le ~he pdclure ,Thill mirro r axl s is the water level!1

Onl If the upper pa rts of the Vfi'$SI;e I need to be drawn as rene,ctions on the' walter.

Land venielss and aimraft havesimilar characteristi es Ii n the,ur o!.!ltv'llafd ,ap'pea ranee, a nd so title

sa me rules a pp Iy to In,slffi [jIISW wate rcraft.

117

· '16.0 Dr,awing' Other Forlm:s of Transport

The better ,one ilS a o,l'e to 9 rasp ailll eontn iJ rs, espe,ciailly the vanishing lines, beioi'iflsetting pencil to paper, the ibe'Ue'r one's dr1'llw,ings of land ve,lhicl,es. a~:rcr,an. a nd m !iifi na vessels wi III be, Free c u rV0S which do no!~ he i 1"1 IPI,~ nes that aim perpend,ic lila r

to each o~her can pese pfobl~mi.ii. and so it is Irequentlv advi~HI'blti) mentally toinsert ,efe'rence

sha pes ~sphere" cone, cyli nd!i\lr. ~lnmdalF IF i ng, etc.) ~ lito the voiliumo a nd ~Jhen deter m i rte ~ihe bou nda ry ~i nss a ceo rdi r,g~y ..

Closes study "'ifill' -tllw~I'VS reveal ra f,e.r e n ce ,~XOIS for' t h B rn 0 e aw,'W,3 rd s h Sipes.

129

117.0 Dlrawing Peoplle

'We shalill conf neou Ii" C~ rn me rrts to tile most essenti a I pri nc i p Ile.$.

Travel sketches, artists' and srcbiteets' impres-

S il(H!1I s, street ,and garden scenes are a Iwa ys rno re express ive whe r1I they v ncl ude hi u mea nhg ures,

The sp~cifica'im of this section is to prevent othtl'rwise successful ge'olmetl'ical dralwings f'FOm beilng ru ined by the inc! u s i on of deter rned hi u rna n shapes ..

Our eyH level determines the actual human dimension for all our activities wi[hin the man-made world_ BudidiII11Q's., structures, parks, streets. a nd Ilandsc1lip~s,should a:lways be m,a tCh~d to human req u i re rnents for ana i na b iii ity, a ecessjbl I itv, suit;al· billity, adequaev, etc,

If we assume a certain uniformity litl human statu re We rnav eonetude that the imi iv~d u al parts of the h u man body ~Ire of unMorm di menslon ,all so ..

Since aflbqulity it tla,s been customarv to divide I!Jp the 11Ui11.an proeortions imo eigh:l equal pans. with certain p18rt's ~'r the booty locered at each subdivi-

.si (:I n. The length of the head from Crown to chin rnav ge!l !:lli"iilily be taik,e n to, repress Pit one -eighth. The sketches on this p~ge 'QlivG a rough indication of the main refer'ence points, T11,e reader is advised to take a sheet o.f pa pe rand eepvthe divli sion s LJ nti II n'El h as f x_ed th'e seetiona I strum ure f rm Iv in h !IS mind; thi s wi III a 1150 he ~p to avol! d 810m e typica'll rn ISla kes .. Tine neck for e;K~Hi'i pi e III u st be set. in such ifi way so U'il\U the head does not sit directl'y ontne shou Iiders. In many sketchesth e head ea 11 be

si m ply pos ill,i orn'ed a b(l'\le~h e body whho,ut any i n ~ te reO nneeti n9 I p nes, A w~dgla s.hape ca n be a ssumad for human bodies-in rouglh terms-s-and this, begins at shoulder heilgntflFom around two'ej'ghtln s of the evera II h,e;i 9 rn, na rrowi ng ra p ild Iy torwa rd the 9 re U rid.

Drawing heads should not cause too many worriesonce OIU! has studi~d .and memorized certein proportions .. The entire head is subdivided 'from

top to bottom i n seven sections. I n 'the UiPD~ r pa rt a circle of 5/ 7 is drawn, lin th e lower pairt one O'f

417 dii<lfli,eter. The following proportions are im-

p onant: the h a i 1"1 i ne comes at 1/7 downfrom the Crown., followed by 2/7 head l1,eiight as theforehead and t:elrr'iiplles_ Ey-etnows and the root of the nese corn e i m rned i at~lly be ne,alUl U"I'e 'for'ehead. Th e ~10Sie is ~bout2/7 11 ea d he U9 ht in I,englth and e nds 2/7 above the' chin. The' mouth is, loeated slightly ,above the bottom seventh (see Fig. 17.21.

30

Fi9u'r'~ 17.1

13'1

'--

_,_

,

-....,1 __ -

On@-Yea'r-Old

fOLi r- Yea r-O Id

o

G\

(;10"» Jl

132

~ 1&

Figure ~ t. "2

Hera are some Hxamples of ~igl.J!r,es, shown in outline. fhi's :slimpl,~ method o~ f13ipresentung people liis most S u iMbl'e wtl'en t he en ief a~ m of t tle~draw~ ng is; to show objects, in whlieh case tile fligures should I'end the' illus;tr,Uion scali's (sense of proportion] <Iilod a certain dttgree of expression, Once ,again 'tile

9 m u nd ful,e.s: as few lines O'.!S !po'ssible shou Id be

d Ii"Q,wn; only the typica,1 Iii nes (if 'the ng u re should be, highliigh'ted and stressed; areas need not be filled in; omit unnecessary detail.

BegHHll8r·s exetClse OJ Slmplfl ho~

Experienoe S~''H)WS that be9lir1ll'llers ChoOSE! fa,lOO difnc:ult subjeets. Firs.l exereises sn 0 U Id be dr awi ng s of s mall boxes, mode ~s. PQt S, g lasses. bottll as, tea pot!:'l,

and that sort Oif' thing.

Next we shoulld pr<H~'tice d,i1jwilOg fr·onm:lionhogonal (r,ectangu~arl' fac{lloes of

hOlLlses. e"Qi .• half-timbered, -

On€: should 811""'<1,),'5> enter the main proport.ons to ga!n trainl11g In control and scale,

I

--r-",

Archllectural section: accessible measurements <I no rnam dim nsions most b

i ndlcatf!(i,

"

-+-- __ -----'f- ~4 t -t

, !Estlmr. Led Dimensions

133

CG me r axe e. Another u seful 1:1 id is theta ng entia I contact between uprights and herizonta] circles and ellipses, The tUlf'n1i!'1!g ,point of the line is,.where the dbtt~d a xiis, illn theexp lana tory sketch meets

th e a rc o'~ the eircla. The feW-la'r the ,Iii nes drawn, Ula bette ra no more convi nc i og wi U be rh e (liver,aH pi,ctme of wflil-drawo objects. Shade should ,811150 be sparselv indicated,

18.2 Quick Sketch of a Very ShulPllle Household ObJ,ect

[)r~wii.ng co nt~!line rs may see m rath er d if-fic u 11 W the beg,i nner, but it sheu hj eo me fa ~ rly eas i I'll' wiith a HUie practice i rlI obse rvii 0[;1 and i rl 'Ul e d r a wi 119 of circles and ellipsi'!$. To beg,in with it is best I[Q draw gllid@!lines in thetarrn ot helight lines and

-

C ,

+23+

Q.l c -'

J]J c

--'

IL_.'J

r .'

~,'"

i _' ,-

13<11

o \0

The objects to be ijlllu8tnned should show 'typicall and lew-but ,cl'ear-'f,onl"l$:_

A. spa ti a II v,i ew Ii n the fo r m o,{ ~ per specnve dr<'llwi ng wi th two va nish ing p,oli nrs s heu ~d ·a ~wal1i'S be pre,ceded b:y dlraw~ng~ of ground plan, 'from elevation, and side e,leval~iloi1l. In this way the onlooker wi'll immedi,3l:ely :re,coglnizeflirst the dime-nSil'H'IS, second the proportions, a nd thi rd a ny com pl ex II i n.~ inlel~$ectii Q ns, A typka I d rawi ng sh 0 u lid a tse i ndieate overalrl and i ndivid I..!~ Id ilriflen $11 ons, Sima III secti o 115 made iln the 'fr,(ln'l,8'~ drawing can provide useful iinformation a's details (G.g". ot eross-sectlonalprc-

fi les whic tl a re otheww~s,e see n on Iy ,alS one otfcu r possiblle e')(l!@'rnOl! ~ su rfaces ~ n the vie,wl

~,

I

1

..,.---.. .

Front View

135

Teflon

'·,.I~,,-··"·r-----~_~

'!I

44

j

FII ~! shed Flo or Level

GflneraJ View

SW£lI Pin ~-~~-~3'" -+

I nse rted ,i n Slo[

46

1

r

I I

DO!~\iel

~::Jr~

Seat Support

---LJ

....... ----,-

Ii, .. I 'IiJ'1 '"

Bottom Comij'r Ja!ll!

136

""""-01

~I

... ~

I ~ I I I 1

~ ,II

II I ~

I .~

'7 r,'_ ~,~ ~I~ .~ .. !, ...... ~! - ~~.

DIB. 72 a~ h~lgh~ 70 em

Omlllmental' well 111 the outer courtya.rd of the

• 'C a sa d ella Ka thtl rina." S i e nn~_ Prawn d LlflOg <l trip to It<liy on 9120/1963. D. Thulesrus

Post

TOp Corne! Joiot

8aCk.rest

Dowel

~~ F~1

'. I I ~

!. II

Awh i:~:eC'I>l.!n:l1 dlIT'a VIIi nigs oa n be madie i nIIl th~f:or!TII of n()W~ ng free hi}l~dI skie~:c has. Df~ wi I1IglS (If objecls

a Ii'ilda:rU~a ets shouh::l be done with s.l,Jiffi,C:~E) nt ee re somat ;:'jl rel <:lllilve IV si mple '[)b.~!ect OGuilid act ua lilly be haJlIildmade wiU, 0 ~t too rnuch ef'foift Mal~1l \lli1ews fro'mthe from, the side" a nd a Vi'@iw·fmm a bQiV'e (wp vi ew) sno uld oonveya ,good (}\!'E) r.a U i rnpression. a nd can be s LJpipl'elrne riI~ed bv e)(pla ns tory irrf'ormaHQril I(deta iJs~ regard ing rna I ~ struetu re 1lI1 nd by fQrm~II' state ments. ~t is {J Iso <'l!divis<'l bll'e to add .;i

srna Upe rspectlva view Qfthe Qve rail! obJect.

F utr!:hercla,rity is pii'~vig~d by olVe raH and $1 n:91llle

dli menS~OiIH;t m~te rials, co~o(r$" a nd' sUff~oitt f nishes, [)al~e. place',a~d Otn(\!f ·1'JIt1erndl@jI~'U det,ails can 03180 be adeed.

i1 8 .. 4 Ib1l;!I"act: faken born a Leotu!I'1e

51 mple Iii n~ slkE~C~e$i, prese mad clea:r~ "!,,ca nfaCi I i • tate ~ihe understandi ng of structu ra~ pains sl!ld structuralll reiati(H''1:ship.s, Like marks or symbols, they hel p to. oonvex the ba.5h; subj eet rifllaltter and

! mpri I1lt it on the memory.

1'37

Wood and IllS Uses In BLJllrllrig Construction/Notes tn an A3 BlocK

sxrrnum Swell and Expansion

Hm-ForgetJ N.!Ij (]I Pan I PI!

lonque

ChIPboard-~ r'vwood'~ Veneer

b fillet

Comer Jo mts

Scar

Fra ~-;;Intlll

rr,1 nes an . Glued -On Panels

138

1 8.5 Deta i I ed S ectlon throu 9 h 1111 limbe r Frame as (II M a se nry IF~n~sih

Th iis: exa rn p:I'~ elearl y demon stra tes how o ne ca n qui cklly sketch rinai~e'r iia I s.t I rnher GO astructions, a rid \IIi sible s u rtaces with rell atilve Iy rouq h stroke s, 'Dependingl (HI the type of materiel, its $UUC'IUire,and strcength, Qlraphic density C~n be used [0 represent the rna'~elri<d: quahties at least appi"o)(imale:lly. H~uching and grtllin lines in the timber should only be Ii g,t''it!y i ndica ted, wh ide act ua I edges shO'lIld be drawn so.mewh<ll. more he-t'lvily, Cross sections

th r10ug hi ti rnbers a re best sh~wlf! as q ua rter

tim ben;;-i .e., as q,u<l:d r,['j nts Oof a o,i rc lie H lied i 11 with arcs ]0 represe m an act IJ<l I cro~s sectli on Un,ro ugh a tree trunk. With recta r;,g IJ! 1<;1 r tirnb sr sections.jhe Genter of the circle {tre.e trunk" can be lak,en as beiln!) at 'one cOlmer,hen circular lines ,a re drawn about that central point. TIle spa,ciing of the ri ngs in a tree trwnlk willi varv from year to year accordin 9J to th e weldl'l ~ er, snd U, is too ca n ioe' reprod UGE:ld in a draWling.

Cross $ectiicms thro lJig ~"I 'th ~ wa n rend,er~ ng es n be illi'lldicaled by II ig 11 t a reas-s i nee plla sts r ,j s us Uti Hv IIIght in ~>ol'or-with dots to irnalrlk small 'grains Q~ ilia nd a nd to give a se nss O'f SGa Ie to the crosssectlonai area. The ,gn~'i"It strength of metals me-dins that their sections will be' verveloselv Ihait.ched. Since this strength i:ii aliso distributed mQre (Hi ,lless, e,venly' over the Whole section, the oudines O'f the seetions can bfil drawn thin and

wi th the sa me til lckn ess a s ~.Ih,e ha'ldl ung Ii nes, With QI€Hlera I ~!11d deta:i I sect i OIFlS il ls a IW,[3IYs. esse ii1J'~ja I to i nclude the b<illckg rrn .. md, i'ldj~ cent falc!jl$· (where visible),. IQlf teehnica] 'QlJ!idelines d.rawn Ilightl'y. Just a few dots are enol.,i-gh to SLIggl9St the presence gf ,s surface. Tlmber glrain can only be dr,awn lin the background wher'e this does not cause a loss of ICI~UriIW or Ilegibilil.y ..

~39

1 8,16 F[reeha nd COrlls'Ulu:::tiion of B[ Tjrnibelr S1l:aircas,e

The structural cohei'iOiQn and eventual appeara nee of a bu.ilding or other ccnstrucnoo can often Ibe indicated by means g:f a sk~tch, The main outtlnes l'.Ire first measured off and drawn [infree'l,a~'d or liigtltly with ,a rule. Once t:he rnein lines of re-fe'Ii"-' ence and ;poi nts of i nterseenen have b een drawn, ,it iis rela tiive'ly S iimlD'1 ~ to hi I i'rll title rest of th e (:0,11-

struceion freehand_ An almost realistic effect is achieved by th~ eorreet use of emphasis en Iligh1, and heavy strokes. The praetlced draih:sman will be able~o USia th iis tech n i'q 118 to identlify ami so I ve wider problem a rea s as well. The teet, r'l i[q U~" which cam d'o withourttecJi.O'!lJs, exa ggera~ed aceuracy. 'willi also rnerease drawi~'gl speed,

This mskes no 'great demands on the draftsman. pr'ljvided th,e fUn:!liture has more or less closed forms. The honzon line is p:lot1~dfir1rst, as always.. Then Corn,e t!he verticals, which also provide height-to-width proportions, for the various. ~aIGes. {h,e va nis h i ng ~Ii nes cOl'llve'jjge' I e~t and !riig I1t on com[t;I'lQn V1'l[ n i shi r1IiQl poi nts en the houfiz'oli _ jf~hese v~lnii s~ I[ng: r:u;d[nts ,<3l1rr'e' LmaJUi:I iioable. we ca n l~ se sea Ie Iii nes 10 i nd i cate the eerrect va Ii iSh[i n 9 li ne

d i rection,

el~.M 2;75~

2e.. + -8- ... fO'l) -,6+ '" 6,~. 34;4 ._ &. =-6;'

i§, ,= ,2/3 ._

r,,~, FI or

'Z].5,'-," " 17,111'2 "6 ' . 1

GROUND FiW (I R

_-----Berll'1 Biederm!!ilf'lr SeCfEtlalre

I··

Another d.mwing aid with symmeuically constructed objects=-as is the case here-irs the axjs of symmetry whilc:h, cncefeund, call be used to locate th eeorrect po i'nts for the ind ividua I I[i nes wlith the lise' of further scallilil!J, Whe'r'~ UWf'9i is S,~1,ad:eor cast shadow. the tli'lnbe'r faces can be pTovided

with dwawn grahn, Iii n es, .

Empire Secretaire,

J Versa riles

J

Bll'lderrn(lll;lf Ar .chair Lt:ibQck, 183(

li10

Vol mng Cabmet, Liege. 1780

141

1 8.:8 Slk,etc hes fro m (.II iLactt! re 011 'the Iii i S't!CHrY ,of Ar,ch itE!ctu re

Not !.'!VI,nyonle has the same powers Oof i'll'nagli!1i:'!tion, and with Some buildiing or design plroj'ect:s it mav prove diffi.cul~11O exp,llain to a client for in sta nee, wh ich ~p{itia I e,ffects or f nished alPiPea ranees one iis O!!iming for, or wlhat the posspble al,]ernatives are ~n terms of cost-cuttmg Dr' r,£i:jstri,etive reglula1tion.s.

These are routine example'S of typical historical styles and were drawn in the lecture hall'.

~h ils kind of skerc his typifPed by i ts concennat iOln on ~.he most conspicuous parts {):f th e str I!JCiQJ re, rapid e')(ecu~iOn1ll.alfid th~ total absence of any ··USE!" !i3'SS" ing'n1!dienl. Shaldow and detail are lJInimpOf'tant Ii"IIH lines are sii ITIlp.l.e •. bol!d. ,and confident No, stroke is dra wn twke_ The IjI nes ea n be i nterr upted at corners. etc. A lot 0'. repetitkluS features sucll

as rows of de'l,ail need only be partially shown.The spectator will oomp,lelli! the picture Vltith details, he has alreadv seen and experiienced.

Church cl St Jo an, SctJwablsch-Gmlind

Th ese exa m p~ess!tlo:w that j u s~ a few b'eeihsndi strokes til ra e r!oOug,1l to co nvey a uilative IV a ccura te lmpresslon of inl1erio:r space.

The talct that m a ~y na rts Oil sma II sketches seem 'too :st.rong beeeuse olf the 't~ ickJless, of the stroke should not worry the beg i nne r. si nee it is typ,ie,a II of H'lli s type ,of i Uustration" If o~ e needs to make a lot of small sketches 111ij',e this, for whate-ver reason, 'One willil eve rnua Ily tear 111 ID IJ ie k 0 L1'I j us-t the essentials .of an object and then to sat thel1l down on pillper in a velry short space 'Of time. Sma II11 det<'lliJIs rnav be' overlooked in the process, but this wiill make Ule outlines alii the clearer.

MaLiI bronn v1Ion<lstery {1' 4. h ce llurvl

Castle Chilion III 00) on Lake Gl3fl(1V<'i

Si, U'rlch. Go~I3!r' ( 1 050)

Casrle Ell? ('I. bOI, Mos -lIe

P 2Zl Ch pel, rlOI ance ( 1 (109)

Figure 18. 1 0

142

18.110 EXI€ilriolr Vliews ~i~ a Shop and Cafe

~-

~~

With this mori€l intsrestinq but rather di'ffi,cul't job, the first step lis to plot the: verti-cals a IrId the herizon line <lI~ shown in Figure

'18. '1 ,3, NIil~)(t we deter m i na the prQport~ ens ·of U'ii e vs rio us V,iIS ~bl III su rfa cas, drawi Plgi f rst the i r verticall and then their ob I iqjue lines, Gllass as a buil!ding material require's little or no lindi,e.ati(l:1l lin this type of s,kewlh, Surfac1es, which lie in shade or shadow can be da!lk· ened by hatchiing, To give t.!h,e less imaginZltiv,e viewer a better idea of the suesta nee and vohJme of the so~j,d$, tit 1$ sornetl rnes useful to add .a s rna ~[I QifC)olH"I d P ~a mi i none corner of the drillwi ng, iii u man figqJ res complete U, e sketch by s ~g. gestling scale' and size.

Front View

GIOUI1·d Plan

Streei Cate

blilmpJe of a very rapid seleh that might have been made in a care on li1~ back uf an e rh'1'! lope.

LIVing Room and erracs

IFigur~ 18.12

U44

FigurelS.13

\. go

6 ... (to ~

...

1'45

1 8. 1111 Ar1,iS'I':8; Imp res silon, ofa B uilld i rng Project

Alil exterior \lilflW s hou~d 9 lve the cltJemlil ;31 plrQper vlsaa I ~ meresslon befo~e eonstn . .IOho:n COn1ml5llices" a nd tlhlefii rst thi og i 5. tIMe preciseoesi:g n of alii I parts of the buHdhllgl. lhe aim of ob,ta,~ n l,rn9lacomp~ ete ilIJld uniferm ~1!'!flaHe was achiG\ll3d here by gener-

a ~~V' Ii Husrr ati n9 wit h I ir:Je~-i~~'ere a r~ ne coen-

D Ilemhl blackarsea Hate ~ ~ng "epl'acBS SIi.i rlaee de· ta 1111. AU ~ ~g htgifa y, dark gJray, .a nd other tona ~

sh adas .1ir,e WlIliprGSerlit:ed by texmre, st ructl..:ilfi;l,fac.

t u re, a nd hatch j n9_n"e C()'!i'IItrast b~twe-en II ig ~liil a nd darik a reas is ~ ntendedto glive t~e plicture a certa I n deml sHy dind! substa nee, The cverha ngli ng bira nches and fol iagle fra me the bui ~d ing a nd II end a sense of depth to the drawu n9. FIlla nts, 9 rass, ami stones i 11 111 e ~oreglHHmd calf) be shl own Ii III gn!3t deta 1111, butt Ilo'se th ei r sll1~'rD ness wilthi .~l!1cr!3O'ilsi ng piGt ure dept IT lhe strokes 3,I!1e $hl,[):r'~)er 3 nd ~h,iJnner'.

ih e b ~illdii ng i s 9 ~vern substance b,y the eomrast betw€!e Ii1l surfaces Ivi ng i n d~ ract su n IIIg htend others inslhade. G~a~ed areas ZllI1Idsm.aUI windowswiithilfl i 1IIIu m i li1l<lltlt!;d surfaces are best reprase n~ed by ala rk, ,c'IIO's.., h~tChi fiJ.g; the bull'd ~lflg~;;ilc8ide wi ~II theml, .appe!(llf blrrig~nalgainst them, lih,1I:3 optic~,II'e~ff6ct is freq l!G!1tlly dcbs~rved illl1l bri9lh~ d!avl ight and e'speGia Illy

j n bu i,lldilngs willhout cUlr~ali 111$ atthe wRndo~. It ,lis besttn leaJve til! e sky loll!'ll 11k aga,i riI,st til ~ II~inms 0 n tlwtr,ee" the tme trunk. and tl1ei lHildelrgn.1wth; the I!amp gl~obe8: should <'.!lllsQ be II eft p!l.a'~!l agaitli.s~ thelilf back.g foun d. To 9 ive!he ~,i,rftg!ler~:~Olrey bow lilid I ng

9 reate II voll u mG ~ ga lnst th!3 brig rn sky beyond, ltl e trees I rlilthe background are $tll'{;iWln wltih d.alrk leaves (dots;~, This bui~dilngl'swindows ,ne aliso close~hatchedW II nciliC<;llte dalrllmes~ .. filng 1IIIy,ther(l is a n a ppropriats €!Fl~HlnGe a rid huma rnfig u res to g~V'e aril impl'es;sicl.n olf scale.

These ca n be drawnfreetwmdveryea s.~11 yin SiPit~ Q·~~the I r of1e n h UQI13 dli me ns ions. Alii the rules of

pe rspflGti ve of II 19 r~t ;;i'l'1Id sh.a de a nd or Slimlp j,e 8:tlFoke .and Illiri'll~app~y, The' choice of a scalle tlfnl'lIt corresponds wi th tliile h u mOl Ii eye level wi II prod iLJce adeq Uglt"e exprsssiens of sollid sand spac!!!,

......____---

J]

147

Figll.niffl 1 a..1S Ol",il EngilneeringllProjecl:-Pll.Irificatlon Pla,nt

118. 1 3 laytl ut of a Ch emistry C,o Illege

18.14 Ground IPilan of a Chemis11fY CoUeg:e

When sketehlnq lavouts lik.e ih,is iit is irnpcetant to pick '~ilJt:the e'~~ential strucn, res ,and eX1!eri (lIT' spaces i n s~ m,ph~1 I,ilnes, TIle buHd i~lglS a !f,e j ust s ha rp 1 11 outllii ned-llhei r floor areas a re left pia i n asare roof Oil reas, In contrast, la ndscseed a reas should be' close- hatched, The' trees are shown as plai'll circle's. The' Ilayout isg,iven ,~ fe~ ling of substanee by the illtlchHl~'on otsha dows cast bV diago!'1!~ 11'11' incide nt SlHlI,Hglh't Cast shadow is shown <:111'0 ng two sides of r,ectanglu.l,ar buill'dings depending 011 theli~r elevation.

The various moms are 1;i,rranged with ~heir appropri'at!lioomm u n i cati ng mutes w~~.1h th e a id of an

ori e rft'~i31Hon grlid ... Corl'ii dors a "e elose-hatc hed for added' C larlty, With ,1lJ I iltll,e ba sli e expe;!"ii ~ nee in the reading Q'F ,pl~ns it wi'U be easv to see where blUild~ ings mie located and walill structuresaee posltro,j'i~dl. llh~ C rrtical zone' of the drawi ng! l:ji!tlS in the transitiona II ,ue\a~ billtween exte'riors and ii I"irte'rio!fS. An Oll,er i nd !cat iOI1l of glreen spaces callll well 0.1' ur 'the overall irnpressilorll of the blLllildil"lg i'tsel'f, while too sparse an i:ndic.n:ion: willi fail to idl!lll1tify a glive'i11 area a S! ~ nteri or or ext!!!lli"i 0 r,

l.avout 1:100001

Figure 1'.1:1.20

Ort ,l'1al SJza 29 ~ 1 Gem

148

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1 ~9 l' 8:.11 ,5 Dr,illwingl Mlajor Roads

The eh ief d i ffiCIYUy tH~m is to re;cogni.~e the foreshortening of roads that lead away into the distartee. Even withl these' freehand drawing,s it is easi er first of all ~o m1:l,rk hori zort, rna i n point, and wid[hd iviSdons on Une p leture pia ne. We ~h1e:n have 10 study the curves and bends, plotting lh.eir 'U,II'IIfIlilng poi nts ami' sk.e~ch i I1:g a I'ilkene~s,. The fOW8-'

sh orta n i ngs in the ba,ckglro!.l! rid, the wJdthi of tne stones, or U,'1l! exac~ position o~ 'the crashi-barrier suoports are things 'that can cause problems, to begli n WnU~ _ 'One shoul11dfVwst iig ~i1 tl Y' tina rll< i n the di· visions and then do, a liUle carreetien wo:rk ,anal,· wa,rd,. if' req1.1 ilI'OO.

The u'UllflOS~ ccnce ntratlen is, needed to ull lustrase th€l Jandscaped gmen sreasaed trees. It wiilll be useful ro maks a few attemptsat the edge' of the

sheet or try 'the' va riouafcrrns of !;lIra p,~'iI ici aniS'lli:c representation before achii'lliving the best. and most appropnate reproductlon ot terrain and vegetat,ion.

The draftsma'n sho'uld 1iIlso refrain from a nemp,tingl to dralw a,very deta il,l; he' should h.a,Y9: ~lhe courage to leave whl i~ean!a s (Wh ~ch rna y perha [:IS ,a ppea,f gray ill re1aiiW, '9:"g." conerete]. Contrast between very Ilightand velrv dark areas willi give sufficient

i ndieati on of th e Qultl i nes (I imits;~ Oof :so!lids, bu i lei·

i j'I'9S, and grl1len spaces.

In ~~esG' pauicillJ!'ar exa lit! pies. wi,tfil great depth of pelrspecUv,e, lhedeg rea Olf de'lSI i l, freedom and heaviness of line wi III1 i'!liltllr,ally diminiSh as dista nee ilncrea ses,

150

Figure 1 ,8.,23

, ... '" .J

Flgllue 18_2,4

1151

1 8.116 Garden ILo;lIYQ!iJlt for a D eta checl H,Qu$e

liB. ~ 7 Mo del of G'E!lrm o;lilO Pavill~on at EXPO 70 in Osa!k,;:)

W~ en d,li'.t'lwi ngJa g'i1lJd'en !"llawl one i~8 r'lIa lur.{!,llly i n-· sipi ~e~' by ~F1e' s ·11 mag 1111<i!tion, but ~hie lavou t $111 OU ld neve rtha Iless be ole'itllf a nd 'gin;! phiCOi! lilry goodl d!espilte Ule, m<lnIy va dedfo rms of nature. Tlhe atrractton of the task a nd its ,d ilme wHy H~ Ii rT!1 the s:i m~,hfti'catii o n olf the~~orlms, and thei ~symbo~s_

S we h .I~!yOUt6 es n oJ COU rse a lso be p rovi d,ed Wilt 1m the snaldow$ of bu~lldings, trees, and bllS~t3s; ~nl tf1lis particular exa m ple of oil S rna n detached restdence, lh is Wo tilh:i nat. involve a 9 reat loss of essent iflill i nfolFfIfl3'tk)!1.. Th!il decisien Q n wheUler Of f10~~O i nelude ~hadQw ~n Sigiil rden layolUlt lis one th at wiill haveto be t~k!5 r1ll onthe merits of eacn case,

TIm is: lsa tyPIIC,ii1i g.e!mlera.~ $Ilketctli a i,med a~ glivi ng the on looker an avera II~ impres.s.i on of the co ncept, fine s:t~Hildpoi riI~ is suchmat weca n see i ntolhe !]id!e fi51(li ng th e pub I ie, The nG!!!d fow <l! Im··.:ij round cl~ rity means th a~ W~ have t~ assume am u nna tE.ualllly hl'gih, evan unrealistic st<Jilndlpoid for this exa"mplle: one could (lii1llly glaJ I n ttl I S Ilti nd o'f vl.s,,-,a I limpre'$'$lion from at very ~ ig h lowerou hel iicoplieL It is nOl{!,!(jver OJ) very risky "de\l'e~oper's g.ame·· to \lllsua~iz:e :Ol;llild,

i~.gl~)ono~pts f~oltinal bllr'~f~·eye v~ewall@ne_The i,l~

I ustrati OIn shou Idl a IwalYs be based on t~e hi um:O'm scale and Ule liiium,aJ~ eye ~e\l€t slnce peQP~e ~pe· desrria ns, the p LIb lie, at ud ienaes, etc .. ) ca n IJSIl.m I'~y only e!<~pewle,lflce b!JIHdlilog.s from 91fOU nd level. !Many an QrVe,if$lilZ!ed, G'~..n-()f-plaoe m:ornslll"osit:y- might 11ac\!"e been avoided if only 8l01l1lfleol1e hadtaken the trc U· ble t.Q ma I\:e an alec: I"lI rate dl'awi ~g of Ul,e Hk!e 1'1" n nlshsd product from (;OIiT,~(;t eyg h~v,et

Figure 18.27

1152

153

In the ,ex,al1I'il"lple shown in Figl. lB, 2'6, i~ wa S esse n· tial bl capture the unusual form 0" the! buildings. Wi'th spheres and s;pherical solids this can often only be' achieved by p:loUing ,circumf'e'rem::,e lines at equall dllls,ta.nces. With mo're complex and ,dliWcult form s, h is permlteed to use more pronou needand more typica I 9 ILi I'del i nes,

The' po~ ntIS en U"rIe domes I~ndli(;at!e: the h..:i r,o,llv vis,i br~e Iii ghtni r1Igl rods. 'Th0 seque nHa~ Iy ,1lI rra nged strue'lures d I sph!lY out ~j nes which StllO U Id not Com e i nto

Transparent rl~m

Text

di rect contact in d'nledlf;a v\iilng. The n!.!su ltili1QI ca st shadows a r'e de Iii be:r,a~ely play13d down so as not to mli,sle'ac the viewer. In !"e,al'ity. too, the shadtiwiii en U'Jol~ g,round are blurred by a ml!Jlltlirtludie .of factors.

ihe characteristic ,appearance o·f <II bru,dge -should be drawn as rea IliS:l:ica ily as possible 'h'lr Gompeti'~ ~ion plUlrpOs,'8s toO Sent,€! ~lhe oa nel of j udge:s as a 111 aid t~ malking theilf'decision.

1 :8. " 8 '1111 u sbation of a R oed IBlridge for !;Ii Competition

People can only be shown on a very small scale: dots for heads and Squiggles for bodiPI1J's are S,Ufflileient, since tne observer's 'eye win fin lin the rtilst of d"rl e detail .. The ISi ... m"Qund ing s 011 ~e not shown, sl nee the fo,rm',s of thl~ struet U res a ra e)(prres:si~e ,enough on d.ei r own.

The' engi nee-red and cal'lom,llaH!d designs are ~ilrst en~.ered precisely ln cards. with c~mstlnJc~!lve perSipectives, d raWlO ~ro m specific sta ~dlpoi rrts .. The' perS1peGllhie shQU Id ta'ke' ca ~'e'h,l:11 aocoun~. of the' eleVf!ltio:rq~ of mad and tenai~. To m~k"e the picwre as natura I as poSSibl,e, h ig hwav ,authorlitij'9s wi II Ir'e~

q u ill"etheilncl USDOr. of ba nlks, r ll!oi\ers. e mba nkme nts and natural environmen~ iiI!"! the ilillustrartion. Even th~ bend in the river Imust be aecuratelv shown: just a few minimeiters of lnaccuracv ill1 the lines wi U Q,jve a fah,e ilmpf1€lSSI on of the I:nojlect .Apart from halving a thoro ug h knowledg:eof perspective techn ~q u es, the dl'aftsfilfla n ,should aliso be versed ln freenlSl!l1d drawing. All "Iingrediel~ts" such as

fi 9 u res, veh ie I E!$, ptarrts, DiPe Ii1I spaces, etc., d,~-

ma nd a. rr ue sense 'Of sea te and ~xperii'enoe ~ n the, r;alpld repres€Jll1t:alIUon of v,eget~ti,on and tree trunks.

Picrurefram,es set as ef11ergenq,r struciu ,e In the event 01 D ssure loss

1154

J ..,

/'

155

Here are some 'tips vou should memorize: m:!my

a reas can be le'h. bola nk, The mali iii thi n'lg is toiind'icafe prom ilfler;rt £eatUlr'es, deta ~ Is, a nd eh jjJ raerertstics at partlcutar places. U i~ atdviisBblle to include a rsterence figure to' give sems ldea of the location of U1e horizon. Shadows must be cast at the cor~ rect a flIQ:is E.u:coHHing to thesun IioghtRenec1:ions lin water should be indicat~dI. Depth and tocus are

ac h iei\ffl'd by a Ii 9 hter backgrou nd a rid more d'~la i I :in the 'fo,regwQund, Lealves, (;1 u m ps of giftl SS, and stones in lhe for,egmund indica'te image' depth

wil~hin the foremost meter, 'thereaf'ler the scete-rap idlly di mi nislhes . To provna,e the picttlr'l1l with a

"b,a me" it may be' u seful to shew a tree or sii rni 1~1f objectto cne si,de. A tree on both sides {~,eh and rightl' wotll.d. however, be juS;!: 'lOO, much! The re,-

s u I't would be a ~lF'JfIO$l stagel j,ke. 10m in imi.re' the liikelihood of adverse crrticism, it is r',eco.rulrlrlernded that the dr1':llftsman tryout various detailed finishes, over the basic perspective' structure before dseidiing on 'th,e: best,

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I

-- I - ... ~

~ 8.1 9 E xce's,8~ve R epr,eSElllit:ait lo n by "T QQ Mlany Sb,olk:e.s"

,4.

Figlure 18.32·

YOI.!!! may see a loot o~' deta illl, Ib ~t you do n 't haveto Pl..lt it .a B i ntc tne dr awi rng _ We have a I r'e\a dy sa id ~h",d good dr,awing also means elitminatilflg il1lsj'9I1ilfiicant distai'I], and overloadiing a drawing with too muc;::l, detalil COllin soon OOS(a11If\el ~Iho overalll ~.pp®iarance and Uln~e·dimelisionlal:1 ef'r1ec:tc)'f a scene, So beware of dirawing~oo much-too few snakes !lIFe mud; easier ~:o baa r,

Once we ha \.Ie' rna stsred the tech 11 i q ue of ,d,r.a wli 09,· after some practice we can beglin '1'0 simp.llify lin a me1anlingful way. IOi'llidi'll1g up the drawing paper, rna rltilng in the wid'[h:s ~ nd e'levabions. a nd stressing tile verticals can be done both quickly and aecuratel V by s:tall"tI I1g with the ve rtic('d lit nes, Once H'H~' widlths have been ploued we can draw in 'the horiacntal lines. It the verticals have been drawn too long,. iit: does not matter ;'they can be teft ad one and are hot wi'tho'l.lt lllc'ertain attraction ill the finish ed picture, 50. e n'lISlI1g the $LJ rplu s is q u i te

u nneeessa ry.

118.20 Fn~eha.t'!d Sketche's; Ma rked blY' end Oriented 0 n Velrtlc8111s

Orientauon ·'Manl:mgs··

. U .... :...... - - .fk ... :' .. ~.::-, ..

~ a,S"·",: ,',

158

Or'gmal Sill'! "I '" 2 7 em

f

IFiig ure 18.35

,Figure 18.33

OrIQ.n.a1 Size 21 ~ .29.7 em

159

1!!ll!fW

, I ,

I

18.2.1 Preliminary D,eslign fora, Ski Cabin

Th e ove ,8 III i mpresslon d e~.erm i ned th e way i Ii1

wh! ic n the sheet W{:lIS divided !.J p ,. Note these e sser» ~:ia I fe,1!lltmes: b Ilu9' sky, wide-ope n space, a nd ~[I'mest blinding snow; the ~oll.!se wlith its naJh.HS[[ mate rla lis forms a do mi na nl cannast; th e mountai n sunsh i nil! has m ehed the snow on the

Iimbers,_

Bo:th vanislling points are outside the picture_ The herlzon line roughly colncides with the underside o,f the soffit that projects "Hit over the' lila tu rail stnne pi inln. Th e si ze of the c<'llbi r'1 c-an be q u~t0

ea si 1)1' p[[loUed wilthl its length s Q nd iJ roporti 0 ns,

Wa II[ length and b u i[ld I ng he,jg ht a,re' easi ~y rlehl'ted to saeh other. The woof pii~c h is abo ut 3D degr~ecs, The S ire of the a nlglle COl n be see n at the gable end-tile roof pitch canalso be obse,ved at the chi,l1nney stacie The panicullar design of the su~:c~ lure means that for onc€!: the two visibl,e wallis can

160

1111..22 IFh~[pid Sketch of a G,iltew,aiV a,t Ephe.su Iii

I I I

ThilS examnle aliso ,cle~lirly shows the, marking in of the horizon,thlll: vertical subdlvlsions, and the propernons as aids to drawing. Once YCI'!J halve walked a round the strliJctu rei) a few ti mesand nSlve

glra spGld ,iits geom strica ~ i mpl it::1'lINo'Iii,$, you ea n

begli nI tos:k:e1tc ~l i~'S \f~ ri mJS pa rts hi s()hemal~)iic

ft:mnfl" Thill overa,U illusmrt~on is f,a~rly slimpl,e to ccnstruet, provided j1t is eeterrn i ned by cubes, r,ec· tan,g,~e8, and arcs, lin this instance it was lirritating to find that the g,al~ewav had had 10 be reconstrueted frern rubble after .2,,000 years and that oertallin parts were either rnissing or e'xJ:ensivel[y damaged SiO that rille spectator mustcomplete the lines i n h is own mi nd .. B.u t rne richll[y dJeta i,l!edl pro'We:s sFi! 0 u Id not cause a FilY pmb le~1f!s. Ifurst, draw

thi emailnQI).fUinEl.S.lel61 vi ng lb~'al nk those ,g reas

----

.--------

.~

be shown a,s; more or le~~the' same le'ngth . .one slide' of the cabin Has in cast shadow. and this can be cleady ami typic~ 11)1' illustrated by showi rig the buHdin10 materia[ls in 6111 ~:heiu structure, texnire,

a no talct ure (wirt'[1 wood gTa i'n,. natu rail stone courses, refle,c:~i flIgl g[1 i3ISS, a rea 5" etc .. ).

Those sl.ldaces of ~ihe cabin whdclh ~ie tn U''1'e sunlight shou Idl only i ncl ude the barest indication of the propertles 'of 'the mra't'ewlials. The cast shadow should be shown mere di,stinctly. On the gable wall[ wi'ttl the weathe,r:boards, this lis adeqIUlal~~ly done by adding a stroke betwsen the outlines of ea c h [boa rei. For vewy smalU S<l.!!lrfaces, I ike the lett £ hOI nd roo~ su pport, it is quite legliti mate' to, make

t he srna I[I[ s h~ldow ereatota Illy bllack.

The snowarea ShmJII'd of course be left unto uchec as it is_ ihl e sa f11 e appll ies to the mountaii I'll formation. On[I'y the a ppa rentlv da rk.er, deep-bl ue sky ii s· rnalrked hy close hatc[hing_

F'j9l1F~ 1 B .. 37

wh ichalre 'V"El'ry b rilg I1It, al most white iin the sunshinQ. It is best to start d'ralwing the f,ilne de~ail' where there is shade or cast shadow,as this will SglVe ·effo.rt Qlnd unilfv the illus.tr.uion at the same time" One should try to represent the d1arker parts g s tvpica!ly as possiltd,e; th e {n iekness of stroke UiSed wil:l nau.n.alilly' i mpese Ot'.!f'!8tllfa i nts, Some p~lr~:s, ca n only be shown bysl10rt Ii nes, dots. Of other' simpll~fiijed device's. Here aglsdn, ii~ is betl:elr ~D leallle S>Om ~th i ng out ths n to p ult i Ii'n 100 m uch, HOW8VeliI' romantic or 'fascinating it may be, the background is .simplly omitted-sma,11I. thin eentour lines are sufficient, SUlrfalCE!s whlicl1lie in cast shadow Imust be etose-hatched to show darkness.

Wi th this ki nd of; d ra wiling it is advisable 10 ha Ifclose' the eyes from time to time to check on the' darkeat and tl1l e b ri'g htest parts, then put inthe haltchilnQ accordiJllg~y,

161

Hoorn perspectws from above. with room lines to sllustrate and c 1,1) n fV mom pia ns.

Fii'91U1 re 1 8,-38

18.23 Jlapanese Tea H,o;use~a HoUday ~mpt,9'SS ion

This drawing inoorporates plractically alii of the dnlilvil"!,g techniques deal~ with iln this baole Perspecti lie. Iref,IHctj'on, shade is ~a dow, veg,ehrtiilo n, e~'C .• a re aU HI ustrated ~n a successt u I dind pleasi 11191 hol'idalY IpiGW re that was ~xecutoo durn ng a tri p ~D the IFar Il:ast or perhaps in <'II large' municipal park.

1 ;8.24 Smj;!iI11 Cafe

A ra p,id s:kelchi. The i mpression of space and depth is 9 !Il,i\en by fiixiing <II centra I vanish nng poi nit at eye Ilevel. This t·OII1Ji11d be al sketch don e ,on a beer malt 'or p.alper napk i n d ming <'lIn ilWli i~ iia I pw'Ojec,t discus:s~ 0 n. The ovemillimpression is limportant~xalct detail will follow later.

Figur~ 1 B.3 9

162

I __ ,

C e nrr a I pers pee t!ve seen i n to th e Worn throug h a Side w~11 nils standpoint 'lens us litHe about Ihe fourth wall, howevsr.

Central perspective-ewe 10 k down into the room Irorn above. The aell/ll1tag€' 0" th IS IS that we rave clear detail ot ®llfour walls. E,x-Irl:lme IOI'es 11 one n i rig hl® S to b ~ t a~@111 into ace ou n t IhlS resrricta the drawing"s quality somewhat.

\tVh e n lookrn 9 d own I nto a ro om h om .a bove, t 1,e w,11~s WIll be rnuc tcreshorteneo (compare true heighl =, ," with Iorashortanao height "b",

16~

Sbll'tcti 9 FOU nd p I ~ n IS f)()1 <1!W1}r'S suf'hcierHly legible m c I ea r to the I<wma n_

Ifs tho: same wilh any d raw~ng, 10- cats typical lin~'s and edqss fI rst of all. LO{]k for lighl-da.fk contr® s t iJet!N€€IFl surf .1J00S. Lines should neadv never touch each other, le~ ;;Illone cross each other. Some e:X_ilgg~ra· lion rn hnl'i Huckness and spa c i n 9 can hel p to illusrrare the' srtuatron.

Entr)j

Ge'nera I VIOIw o v er the ground plan devl'iloped with vanishing point.

QUIIi" envir1!)!'Im~ri!t, !boU'1 the beautYClf natul'eand main - made townseapes, h"'~ls been ea pt!lJ red aesthefi.c.;! II y .a nd lilrlr"llpire$:~ic'll'ely Ii iii draWl ng sfor rna lIny cerlitu rile's.

This; sa me' envilwn rnent is under such eenstant and Illn~en8i\l'€ til rear every dialy that the nerx.t gle,n· era'tlonWiiU be .a bille to ,experienoe a nd i~ hJs~:r~lte only o:! frachon of aesthetics Uiy pleasililQl rn arh.m.'1111 ,and cultural lalmldscClpe'.

fOp "Srcle oi Masanry

mreclIly or Iindin~>cUy. fit lis man ~rims0lf who is disfiiglt!i~'i I1g alnd! d!e$t royinglthe worild, It heg in~ by caretessl y and ih 0 ug hitl essly llhmwi 11.9 away a plastic bagl ina wood 0 r i'moa river .a no enrjs i rTl

u n$~ghtly r ubblsh dumps em t~;e marg ins of c i~y, forest. a nd field, Or it cam sto:!I1I1 tJy som'eoo:lfI€: charng· i n9 hiils· calli oilll and allilowi ng 'the ollrd 0 ill 1)0 seep awal¥ into the soi I.. The Ili"esult iSl'llllw~ys th~ ~me;

Of! dleslroyoo eli1'Vli'rOFi ment mea ns a lower qua lily CI~ m:e_

View It)W ~be rocrn as miormzj u \le' sketcn,

Poiliulted water ami air ar~ not just h.armlful~ to our bedies, d'llil=y ilflClrear$i ~glIV talkie away wn<llt nature' and rna In have, cwealted ever thou sa nd~ ,of ye.;aJs. Just thri n1lk of the entranee ~o 'the: P,utihenorrn in Ather1lsthalt had~o b~ clessd to the publle becau518 o~ the ni sk of dJa,ma.ge from envi:wo!1lrmentarl lilnnr~en~

164

These exa rnp les a re in o! 9 n~at wo~'ks craft nor arethev rnVmded to b~-the maifl th~f'!g ~s to be a b Ie 10 rna ke rllip rd yel convinci ng sketches for, say, consultancv purposes Here

a 9 ill i n, ex.pe nance sh O'"w'S th OIt ~tJst a tew hnes can make rm !he most clanty <lInd expression. Here fm mstancethe curtain rir1Q,s ,tire dr'awi~ as s,~ngle short strokes

C l)PJI[')S Cl'I n PUB n a ppea r unce rtarn and inaccurate. The eye automatIC.1i11y tt~ms the lines InW forms and outh nes it

hOi s seer) alG<l1 i n and again in real IIfe_

ces; the statue of M!<'ll!rc us AIij INllli us i rl' Rome: isalso trn reartel"l!ect a lind nlearly eveiliYw~ ere cathedrals a n:d stone seu Iptures. o"iilli"e .bei ng' eaten .:i!WQiy by polill u~ Horn In Hlj,e atmosphere. No wondelr sma~:ler wo:rks of art are kepts~fe lin a ir~ig'~il showcase,s.,

NaHll re '5 ba~~n(;s too !I S bei 11:9 ewdoo fI!llo-rel'lrndl mere, Ma ny spec las 'Q~ fish, bi rds, and m'alt'lilma ~s have IIIOI$~ ~hei r anne heahlhy IiIh~H;U pponing' environ ment a nd a re on t:ii!re verg;eof exti fH'J.'~iolil, Eveiry. th i ng we ca H"bea utiful" is 'gl,adru~'llly disapDGarllng •. and so everythl og which wetaj(je p~ea$u re i Fl

drawl rlI{)lw-ili have to be sought after mOlli"e<'llndl more'.

And wha~ can we Itu~q'uEla'tlh h) (I ur descerlH.'Ia rlts:? B'FIilng i.ng chi idre Fl iln~:o the worild see rns m u ch e.a $iie r m a n1l ofh}ri rlg! them .a to!l!e rarb:l,e w{)lli"~d" fhe re~pon$:lbll ily for a better eililvi m n me nt in the future rests wilH us .aU, Wem U$~ d!eveloD a l~ermni\l'G:S!

let us hOiPeth~'l Hflel'lH of fnil·eha ndd".awii ng and th~ pdvill!ege o~ ibelirng able-to draw wli:tihun a harn10rll lou s, w13ll~ -tormed envi renment willi he ~p us a r,ou:se It:more i ntere's~ ~n a bf.ilUer ij 1.I~~.it;y WQrld,

PerhJo"i!p~ Ul~11fI mi.'l IiiI m igil1tspendl more of h is energy o~ prO'lect~ ng a ne! plreservil ngthe ef'lrVlin) mI merit.

165