Figure 2-5 By Kart Mang. Figure 2-6 By Ronald Margolis.Old Main Building. Wayne University. Figure 2-7 By Patrick D.Nall The Sketch Notebook 19
Figure 2-5 By Karl Mang . Fig ure 2-6 By Ronald Margolis. Old Mai n Building, Wayne University. ::-_.- ------.__.-y / Figure 2-7 By Patrick D. Nall. The Sketch Notebook 19
Figure 2-8 Spanish Steps,Rome. OBSERVATION The clearest way to demonstrate the value of free- hand sketching for developing graphic thinking skills The thousands of students who pass through archi- is to compare sketching with photography.Although tectural schools are usually told that they should a camera is often a useful or expedient tool,it lacks learn to sketch freehand and,to a certain degree, many of the attributes of sketches.Sketches have the how.Rarely are they told what they should sketch or ability to reveal our perception,therefore giving why.Drawing cubes and other still-life exercises are more importance to certain parts,whereas a photo an attempt to teach sketching divorced from think- shows everything with equal emphasis.In the sketch ing.Most students find it boring,and it drives some of the Spanish Steps in Rome,the focus is on the away from sketching for the rest of their lives.I pre- church,ellipse,and steps as organizing elements for fer to start students with the sketching of existing the entire exterior space.The significant impact of buildings because: the flowers in the photo has been eliminated in the sketch.The abstraction can be pushed further until 1.They are drawing subjects in which they have a there is only a pattern of light and dark,or we can basic interest and are ready to discuss. focus only on certain details,such as lamp posts or 2.The eye and mind as well as the hand are windows.This one scene alone is a dictionary of involved;perception becomes fine-tuned,and we urban design.But you do not have to wait until you begin to sort out our visual experiences. get to Rome to get started;there are lessons all 3.One of the best ways to learn about architectural around us.Become a prospector of architectural design is to look closely at existing buildings and design;build your own collection of good ideas while spaces. you learn to sketch.It is a lot of fun. 20·Drawing
Figure 2-8 Spanish Steps, Rome. OBSE RVATION The thousands of students who pass through architectural schools are us ua lly to ld th at they shou ld learn to sket ch fr eehand and , to a certain degree, how . Rarely are they told what they sh ou ld ske tch or w hy. Drawing cu bes and othe r still-life exercises ar e an attempt to teach sketching divorced from th in king. Most students find it bori ng, and it drives some away from sketching for the rest of th eir lives. I prefer to start students with the sket ching of existing buildings because : 1. The y ar e drawing subjects in which th ey have a basic interest and are ready to dis cuss. 2. The eye an d mind as well as the hand ar e involved; percep tion becomes fine-tuned , and we begin to sort out our vis ual experiences. 3. One of th e best ways to learn about archi tectural design is to look closely at existin g buildi ngs and spaces. The clearest way to demon str ate the value of freehand sketchi ng for develop ing grap hic thinking skills is to compa re sketching wi th ph otography. Although a cam era is oft en a us eful or expedient tool, it lac ks many of the attributes of sketche s. SKetches have the ab ility to reveal our perc ept ion , th erefore giving more im portance to certain pa rts, whereas a photo shows everything wi th equal emphas is. In the sketch of the Spanish Steps in Rom e, the focus is on the ch urc h, ellipse, and step s as orga nizing elem en ts for th e entire ext erior space. Th e significant impact of the flowers in th e photo ha s been elimina ted in the sketch . The abstra ction can be pushed furt her until there is on ly a pattern of light and dark, or we ca n focus only on certain details, suc h as lamp posts or windows. This on e scene alone is a d ict ionary of urban design . But you do not have to wa it until you get to Rome to get started; th ere ar e lessons all around us. Becom e a prospector of ar chitectural design; build your own collec tion of good ideas while you learn to sket ch . It is a lot of fun. 20 Drawing
Figure 2-9 Spanish Steps,Rome. Figure 2-10 Window Detail. Figure 2-9a Spanish Steps,Rome. Figure 2-11 Street lamp detail. Observation 21
Figure 2-9 S . panish Steps r Rorne. Figure 2-10 Wrn ow D ' d etail. Figure 2-9 _ : a Spanish Steps, Rorne. Fig ure 2-11 Street lamp detai l. Observation 21
Shrucure -Tones Figure 2-12a House drawing structure. Figure 2-12b Tones. BUILDING A SKETCH correct proportions it makes no difference what is drawn from then on;the sketch will always look In his book Drawing Buildings,Richard Downer pre- wrong.So take your time;look carefully at the sub- sented the most effective approach to freehand ject;continually compare your sketch with what you sketching I have ever come across."The first and see.Now add the tones.These represent the space- most important thing about drawing buildings is to defining elements of light,shadow,and color.Again, realize that what you intend to draw should interest look carefully at the subject.Where are the lightest you as a subject."Next,it is important to select a tones;where are the darkest?The sketch is becoming vantage point that best describes your subject.Now more realistic.The details are added last.At this you are ready to build the sketch by a three-step point everything is in its place,and you can really process of sketching basic structure,tones,and then concentrate on the details one at a time.It is no details.The basic structure sketch is most important. longer overwhelming;you can relax and enjoy it. If the parts are not shown in their proper place and Figure 2-13a Bowl drawing structure. Figure 2-13b Tones. Figure 2-13c Finished bowl drawing. 22·Drawing
?trl-{4 lJY~ I(Y {! IJ Figure 2-12a House drawing structure. BUILDING A SKETCH In his book D rawing Bu ildings, Richard Downer presented the most effective approach to fr eeh and sketc hing I have ever com e across. "The first an d most importan t th ing ab out draw ing buildings is to realize that what you intend to draw should inter est you as a subject.'? Nex t, it is important to select a va ntage point th at best describes your subject. Now you ar e ready to build the sketch by a three-step process of sketching basic structure, tones, an d th en det ails. The basic structure sketch is most important. If the parts ar e not show n in their proper place and A Figure 2-12b Tones. corr ect prop or tion s it makes no difference w hat is draw n from then on; the sketch w ill alw ays look wrong. So take your time; look ca refully at the subject; continually compar e your sketch wi th w hat you see. Now add the ton es. The se represent the spacedefining elements of light, shadow, and color. Again , look carefully at the subject. Where are th e lightest ton es; where are the da rkest? The sketch is becoming more re alistic. The details are added last. At this poin t everything is in its place, and you can really concentrat e on the details one at a time. It is no longer overw helming; you can re lax and enjoy it. Fi gure 2-13a Bowl drawing structure. Figure 2-13b Tones. Figure 2-13c Finished bowl drawing. 22 D rawing
Textore /Color Figure 2-12c Texture and color. Figure 2-12d Finished house drawing. Building a Sketch 23
Figure 2-12c Texture and color. Figure 2-12d Finished house drawing. Building a Sk etch 23