FREEHAND SKETCHING AN INTRODUCTIODrawing on page by Miche Doe. Clor Drawing ‘Second Edtion. Wey 999. copyright © 204 by Pl Lax Aight reseed Poted the United States of Ameria or normation abou permasonto repre selacons {om hs bok, write to ermison, WW. Norton (Company. 500 Fith Avene. New ork NY sot Composition by Ken Gross ‘Book design by Ton Krss Manatrteringhy Courier West Production manager Lexan Gran ay of Ganges Cataloging -in-Pabletion Date ase, a1 7— “Frechand Sketching an introduction / Pal Lace hom ncadeinder {SBN 0398-752 X(ghk) 1 Armee rong Techie. 2 Prehand ‘echniealakecing Techno Te anolesyo66 ‘WW Norton & Compa. ne. 520 ith enue New York RY.seH0 ‘W.W Noston & Company id Case House, 5/6 Wells St. London WHTIGT e981 65432 Credits a ‘Unless noted otherwise, all drawings and photos are by the author. Some ofthe sketches by the suthor on pages 1420 are hased on work by stu- dens in classes and workshops conducted bythe author overa period of several years. The draw- ‘ings on pages 46 and 47 are hased on. photo by Alfredo Fernandea-Gonzalez, Assistant Pro ‘fessor of Architecture, Ball State University. ‘The digital editing spplication used in chapter ive is Photoshop version 7.0.INTRODUCTION 7 1.BASIC SKILLS 13 Contoue Drawing 14 Negative Space 18 Getting Comfortable with Sketch Media 21 Building Sketches 24 Applying Tone and Detail 29 2.ENVIRONMENT: SKETCH CONSTRUCTION 31 ‘Sketch Building Example 34 Grid, Frames. and Shapes 36 CONTENTS 3. ENVIRONMENT: DETAIL 49 Tone 50 Approach to Detail 6 4.SKETCHING IN THE FIELD 75 View Selection 76 View Framing 72 Observation Bo Editing 83 Respondingto Context 84, REFERENSI -SKETCHING IN THE STUDIO 97 Kedrowing 98 Experimentsin Sples 100 Digital Eating 102 ‘Pencil Rendering 104 Digital Rendering 308 CONCLUSION 108 RECOMMENDED READING a INDEX 112Traditionally. freehand sketchinghas had an important role in architectural education and practic. While digital media and developing ‘communication technologies ae bringing new ‘tools to design. frechand sketching continues to provide unique and vital capabilites to arehi- tects and designers in allied fick. Because appropriate design solutions must be based on extensive knowledge of he design pos- sibilities, continuing education and research are critical pars of architectural careers. Freehand sketching provides an important ol forinvesti- {ting and understanding existing and potential INTRODUCTION ‘solutions to problems of our physical exviron ‘ment, such as lack of viable public social space ‘or disorganized pedestrian and vehicular move- ment Appropriate design solutions also depend ‘upon productive dialogue among designers and ‘the clients and users of environments, Such di ogues are greatly enhanced bythe ability 0 ‘communicate well both visually and verbally. ‘The immediacy and informality of freehand sketching supports a relaxed and Dud conversa- tion, and contributes tothe client's confidence ina successful outeome fora project. ‘This book ie a resource for both beginners and ‘those returning to sketching. including traveling architects, artists, and designers setting out to discover the world around them. ‘The intention is to provide students with a ‘basic guide to develop their freehand sketching skills and design instructors with a means of ‘enriching the carly design studio experience ‘through effective instruction in freehand sketching. For individuals at any stage in their ‘education or creer this book also offers sug- gestions for more effective graphie eommunics- tion,The importance of extensive reading for sue~ ceesful writing or extensive listening for musical composition i firmed by writers and mui: cians. parallel condition holds for visual rtist~psinters, sculptors. and architects, Snocesful artistic ereativiy depends upon catensive visual exposure leading to acute visual _pereeption and imagination. Approach ‘The emphasis on frechand sketching asa means ‘to visual literacy isthe thread tht binds the ‘exercises and examples throughout this book. People who sketch extensively are aware that drawing affects the way they see and that the way they see is an important factor in the effective- ‘ness and quality of their drawings. Similarly, ‘what you see eritically affects the way you think ‘This relationship between sight and thought provides each of us with unique ways of drawing ‘and thinking ereatively. For these reasons, see~ “ing and thinking should be viewed as an integral part of sketching “To take fll sdvantage ofthe versatility of sketching, you are encouraged to go beyond the subjects covered here, Just as exercises in com- ‘position and perspective are mutually reinfore ‘ng, the drawing of people and architecture or flowers and machinery brings new perceptions and increased sensitivity to each subject. For some. the prime reason to take up ketch- ing sto produce admirable drawings that pro. ‘ide a sense of accomplishment. Although such ‘motivation is important, concern about results not only inhibits learning but also hides an even_reater source of motivation: the wealth of other ‘experiences that sketching brings. Ifyou look ‘carefully tthe subjects you ketch, anew, excit- ing world of awareness and delight opens to you. Forexample, sketching a street may reveal how ‘public space can he animated by: + the acute angles of intersecting streets, + the play fight and shadow, + the contrast between the cool darkness under cafe awning and the daaling glare ofthe sun reflecting from the buildings inthe back ground, and + peoplean important element in making 2 view stimulatingSketch ing-Seeing-Sketching Seeing what you could never see before isthe unexpected bonus of sketching: tis also the key ‘to developing draving skills. Sketching on a regular basis provides the opportunity to prac- ‘te observation. To take advantage of the oppor- ‘tunity, it is helpful to assume a new awareness of the visual world around you. The illustrations on. this page are details of larger sketches, some of “which appear elsewhere in this book. In cach instance, sketching required a clase look t the subject, resulting ina new awareness wine ass refletng ight, the components of jeep ‘the patterns of house facade, andthe peculiar configuration of specific ype of te, Because seeing and sketching are so intende- pendent iti dificult to learnt see before Deginning to sketch and vice versa. Drawings the hey to effective seeing, and seeing is the hey to effective drawing So, where do we start? The drawing/seeing dynamic is like a motor that needs a jump-start. Motivation isthe starter for sketching ifyou can derive initial interest oF ‘enjoyment from your frst sketching efforts, you will begin to se. leading to an improvement in ‘your sketches and increased motivation. This book is intended to provide the necessary ‘tools and understanding to begin sketching with abasic level of confidence. Utimately, however. individual success in learning to sketch Bidly and competently depends heavily on practice.“This means that you must be committed to fre ‘quent fechand sketching throughout your ‘career. Sustaining sucha commitment i assured by simply deriving enjoyment fom your sketch- ‘ng. Many an atternpt to learn to draw has been. ‘dywarted by the assumption that it isa dificult but necessary task. As beneficial as drawing sto ‘he designer rel sil develops From the plea- sure tat you get from drawing, not the gil you feel about your shortcomings. Asyou undertake the exercises in this book, and later as your skills progress, strive to: + Draw only what truly interests you, You need ‘not iit yourself to drawing the subjects in ‘this book. Try to find subjects that inspire jou. "+ Accept opportunities, not obligations. fime limits, uncomfortable circumstances, oF 2 ‘complex subject begin to cause stress stop and adjust your expectations as to what can be reasonably accomplished while assuring your satisfaction with the experience. + Please yourself, not others. Finally, sketching should be seen a continuing source of ‘enjoyment and leaning rather than a string of performances for other people. Ulimately. ‘socess in freehand sketching highly per- sonal process It mus frst work for you fit is ceverto be usefl to others. ‘The chapters in tis hook are arranged so that ‘the reader can build skills ata reasonable pace. Beginners will want to start with the first ehap- ter, but more advanced sketchers may stat at later chapters that best meet thei needs. ‘Chapter one concentrates on immersing the reader in the at of sketching to develop basic hand-eye coordination and lear the process of “building” sketches. Chapters two and three ‘extend sketch “building” to environmental-scale ‘subjects found in architecture and landscape design, elaborating on the techniques of sketch construction, tone, and detail rendering. Direction for sketching variety of environ- ‘ments in the field is provided in chapter four. Finally, chapter five diseusses some of the possi- bilities for extending the application of freehand sketching through studio-based methods.In this chapter you wll focus on building funda- ‘mental skillsthat support all other sketching bilities: observation and hand-eye coordination, ‘The warm-up exercises-contour drawing and negative space depction—wil develop your abil- ity to carefully scrutinize your drawing subjects “while building your sketching confidence. Ofall the mea Ihave used for teaching drawing. inkhas been the least burdensome and the most supportive ofthe learning ‘process. The permanence of ink will encourage _youtoakrays “go for it"—to try o pt the line ‘ght where it shouldbe, Asyouwillse later, Chapter One BASIC SKILLS is not usually problem ifthe line lands in the ‘wrong place, but continued attempts to accu- rately place lines builds the hand-eye coordi- nation necessary for sketching, Using pencil creates a tendeney to be timid, either using very faint lines or erasing had ones. Learning to ‘sketch isthe result of continual attempts to ‘reproduce what you see with increasing degrees of accuracy. ‘Simple ink lin drawings wil help you empha size the content and structure ofa sketch rather than its nuance. By producing uniform lin, regariles of which direction the pen is moved. the priority is to see the subject rather than deo orate the drawing. Drawing skills, like athletic skills, require ‘constant conditioning to assure peak perfor: ‘mance: when we fail to exercise them, we lose ‘perception, concentration. relaxed awareness, and dexterity. [n my view. technical improve- ‘ments in fountain pens and fine-line markers Ihave made them the most effective and versatile ‘equipment for daily “workouts” in the funda- ‘mentals of artiste and design skis. These instruments are portable, durable, accessible, ‘easy to maintain, and reliable. Wit practice, the 3artist or designer can take advantage of the sen ‘sitivity, uidity precision, speed. flexibility. and ‘economy of ink techniques. “Most ofthe exercises in this book ean be com- pleted with ust a black fine-line marker and 5x '8-inch blank white index cards (you may alsouse ‘8.5 11-inch white paper with a smooth surface, like the kind used for photocopying). General ‘recommendations for sketching equipment can ‘be found a the end of chapter five. Contour Drawing Se ‘Whether you are a eginer at sketching or returning sketching after some time has lapsed there are certain basic exercises that help to develop o fine-tune observation kis The First ofthese is contour drawing. n this ‘exercise, use your non-drawing hand a8 8 model(just for this exercise, it may help to tape the index card to your drawing surface). Star with ‘the longest lines or edges. Keeping your pen on ‘the paper and your eye on the subject. ty to trace ‘the edges and folds of your hand as ifyour fingers ‘rere touching them. Dont rash! With calm con- centration observe and record all the changes ‘and nuances ofthe forms you se. Do not be concerned if your sketches re distorted or out of proportion. The resulting sketches ae not as important as building habits of concentration and observation are. Change the postion of your hand took for interesting compositions. More time should be spent watching the subject than checking the merging draving. Remember that itis the process, notthe result, tha counts. Resist the tendency to rapidly generalize the path of lines, Gradually you will begin to notice details that you previously missed.You should also experiment with man-made objets lose at hand. Because of familiarity with these objects. you would think that they would be casero sketch, Actually assumprions you tend ‘to ake of familiar objects ean distract you from, Joking carefily. Distractions canbe reduced and sketches made more interesting by: + choosing objects with complex curves, *+ viewing the objects from unfamiliar angles, and + placing objects ina strong light and tracing the edges oftheir shadows and reflectionslarge tems but should have some complexity. Maguzines or newspapers are useful sources, Try sketching from upside down images. Again, you ‘may find plants easier to sketch than man-made ‘objects because there i less temptation to assume you know what the shapes are, and you willbe forced to look more carefully.Tiyto trace the edges ofthe forme as yousee ‘them. Drawing fom nature requires a good deal of patience, so be sure to give yourself time to look, observe, and draw.Getting Comfortable with Sketch Media ‘The exercises in this book, and sketching in gen- eral arebest done ina relaxed state, When you fel tense or hesitant, ry overcoming these bar- ‘ery engaging a whol set of paper wth your pen. Touch your pen tothe surface and _allowit to move about randomly i al directions and indifferent types of strokes Alterativey, without changing the orientation ofthe sheet, ‘move the penn straight ines inal dretons. Hand-eye coordination canbe improved bythe spiral exercise: start tthe outside and ina contin: uous motion draw several igs ending atthe cen ter. The objective fo draw as many rings a you cana fasta you can without having the lines touch each other. Ty drawing differen sz spirals inboth dlockvse and counterclockwise directions.This exerise helps with your coordination and your sense of proportion and sae, skills that ‘lay an important role in sketching The rectangle above are of diflerent propor ‘ions based onthe module of aquare. The ga ix 2 ‘ocsiablish heir proportions witha diminishing subdivisions of lines or spacein halves in the [presence ofgraphie marks (the dotted lines are second rowand in thinds in the third row. The added Jater to checkthe accuracy ofthe attempts). last diagram (far right) corresponds to the famil~ ‘The diagrams to the right agsin test your sense iar hour positions on a clock, an awareness that ‘of the square and excreise your ability tomake _willeome in handy in later exercises. ComparingLT A Cc (CC 1 i am aG Ki a 44H 8p aTBuilding Sketches eS ‘Now thatyou are beginning to fee comfortable sketching, you ae ready for exercises ina basic process that wllelp you complete sketches of aay size or eubjet. ‘The sketching proces upon which this book is based is designed to directly address common {mpediments to learning how to sketch-feeling overwhelmed by the complexity ofthe subject and the perceived amount of work required, and not knowing where to start. The process provides a plan ofatack for building sketch. Your sketching task it made feasible by organizing it into several smaller. les threatening tasks arranged n'a sequence to minimize the occur- rence of common mistakes and to maximize effectiveness. “The three basi sketching tasks area follows: + constructing the sketch + modeling space and form with one + indicating details and pattern 4 [Aswe address each of those three basie eis, itis important to keep in mind thatall sketching requires a concentrated look a the subject. The objective i to draw what you actully see, not ‘what you think you know.é Detail6 Le For your initial sketch you can use this photo and/or objects lose at hand that engage you (Consider making interesting arrangements of ‘them). In addition to setting up your sketch sub- {eet you are beginning the important process of scanning your surroundings to discorer what ‘moves you (Construct your view slowly and sketch major cdges first. Constantly check the match between ‘your sketch andthe subject. The placement of ‘these first ines affects the suevess ofthe rest of ‘the sketch. When you have finished this step‘compare it again to your subject. Ifthere are big differences, start a new sketch, Next. add other lines or contours based on. their relationship tothe previous lines. To prop- cetly position the angles ofthe pencils o the ‘edges ofthe shadows you can either note where the lines begin and end or compare them to positions ofthe hands on a clock. Ifyou have done a good job with the frst step. these ad tions should be comparatively easy, but remem- Der to look carefully at your subject.Wh Fann dae ‘hn tat,ENVIRONMENT: Embedded in environments is the history of our ‘planet and the drama of human evolution. ‘Whether you are a professional designer or sim- ply expanding your awareness of environments, ‘there are endless opportunities fr discovery. ‘Whether you are traveling to other lands and eul- tures or exploring your own hometown, sketch- ing provides an effective and convenient means to absorb the richness of lessons that environ- ‘ment may provide ‘Now that the process of building a sketch is familiar, you are ready to tackle the more com- plex subject of environments. For convenience, Chapter Two ‘the subject of sketching environments has been divided into two chapters—Sketch Construction and Sketch Tone and Detail. In bth chapters ‘you wll undertake exeeises that you can do at hhome or ina studio. You will sketch from pic ‘ures o slides, an accessible and convenient way ‘to start your sketching practic. This is advants- ‘geous because it offers you acess toa range of interesting subjects and views which have already been selected, cropped, and fattened {nto two-dimensional form. Not only are slides and photographs less intimidating than drawing Leonardo DaVinc'shouse, Amboise Tin WhiteENVIRONMENT: ‘When you lave grounding nthe basic skills of composition and constriction and their impor- ‘ance o succesful sketches, it is time to gain an understanding and experience of the roles of ‘one and detail in bringing sketches to their full ‘expression. In general terms tone conveys the ‘three-dimensionality of ervironments by repre- senting the iteration of form and light. Details can reveal qualities of materials and methods of fabrication or construction. Inthis chapter tone and detail are treated ‘together because ther representations frequent- 1y overlap. The density oflines needed to show a Chapter Three SKETCH TONE ‘ile roof pattern or vertical siding may create sufficient darkness of tone so that no additional ‘tonal hatching is necessary. On the other band, ‘the contrast between shadow and light may be ‘sufficiently severe that details of materials in shadow need not be rendered. ‘The techniques presented in this chapter are based on the choice ofinkas the sketch medium ‘forreasons discussed earlier. While ink lines can be particularly efficient in capturing details, ‘there are some drawbacks or limitations. For ‘example, the use of hatching to create tone can ‘sometimes be tedious and time consuming. You AND DETAIL ‘should keepin mind that this approach to build ing sketching skills focuses on the importance of ‘observation and hand-eye coordination. Effec- tive hatching requires conscious determination ofthe range of tonal values present in your sketch subject in order to selet the appropriate spacing of hatching lines to create representative tones. ‘The continnous use of controled hatching will build your dexterity. 9Tone a Space and form are revealed ous through the patterns of tone created by ight. Sketching is ‘often ou firs opportunity to become ally aware ofthe range of aus (ight to dark of tones and their impact on our perception ofthe visual worl. Consider the impact of tone and detail applied tothis sketch of village. See how a sense of space and sale emerges from the simple outline ‘of buildings. I'you gt inthe habit of sketching ‘you.will discover snslar examples in a wide ‘ariety of settings. The character ofthe facade of building (opposite), for example often depends upon the play of shadows and the high tonal contrast between the windows and wll. “The wide range of subtle patterns in the leaves of tree in almost entirely visible through varia- ‘ions in tone. In applying tone to specific sketches itis {important o first distinguish different sources of 5°tone: the tones created by the density of a texture, such as bark on a tre, roofing on a house. oF stones ina garden wall: the tones ereated by color: and the tones of shade and shadow created by the reflection of light upon forms. The following sections cover the three sourees Stansted Anport, Ester, England of tonal variation in environments—textur, re color, shade and shadow. Multiple examples are ‘provided tillutrate methods of applying dif- {erent sources of tone, alone or in combination. 3