IZJ D L7k1 \ 1 Figure 2-17 Structure Sketch Figure 2-14 T he most im port an t part of a sketch , the basic lin e draw ing, is also the mo st difficult skill to m aste r. It re quires a lot of practice, but I have a few suggestions that sho uld help: Fig ure 2-15 Fi gure 2-16 1. To help sha rp en th e se ns e of propo rtion need ed for ske tching , practice dr aw ing squares and th en rectangles that are tw o or th ree times longer on one side th an on th e other. Now try to find squares in a scene you are sketchi ng . (At th e beginn ing, th is could be don e w ith tracing pap er over a photograp h.) 2. Use a cross or a fra me to get th e parts of th e sk etch in th eir proper place, or maybe a p romi ne nt fea tur e of the scene or subjec t can act as an organizer for the ot her parts of the sketch . 3. ·Alth ough pen cil ca n certai nly be us ed for sk etchi ng, I pref er fe lt-tip or in k pens beca use the lines they produc e are simple and clear. If a line is in th e wrong place, it is qu ite evide n t. Because the lin e can not be eras ed , it must be redr aw n to get it right. This proc ess of repet ition and checking against the subjec t develops skill. Drawings th at are so light they ca n be ignored or erased den y the design er the feedback essentia l to his im provem ent. 4. To gai n more co nt rol over line m a king, try some sim ple exercises sim ilar to our "idle moment " doodles . Th e sp irals, like those above, are drawn fr om the ou ts ide toward the cente r, both clockw ise and co unterclockw ise . Try to m ake them as fas t as possib le without let ting the lines touc h each ot her; try to get th e lines close to each othe r. Stra ight hatchin g can be done in several directions , always striv ing for consistency. 24 Dra wing
Figure 2-18 Figure 2-19 Figure 2-20 Tones Apply tones in a three-step process: Tones can be represented with different densities of 1.Indicate any texture that appears in the surface, hatching or combinations of cross-hatching.The lines such as the vertical boards on a barn should be parallel and have equal spaces between 2.If the texture indication does not provide the level them.Always remember that the main purpose of the of darkness of the subject,add the necessary addi- cross-hatching is to obtain different levels of gray or tional hatching over the entire surface. darkness.Use straight strokes as if you were painting 3.Now apply more hatching where any shadows the surfaces with a brush.Erratic or irregular lines fall.To show gradations of shadow,add a succes- draw attention to them and distract the eye from sion of hatches at different angles. more important things.There is no strict rule for
Figure 2-18 Figure 2-20 Tones Tones can be represented with different den sities of hatching or combinations of cross-ha tching. The lines sho uld be parallel and have eq ual spa ces between them . Always remember that th e ma in purpose of the cross- hatching is to ob tain different levels of gray or dar kne ss. Use straight strokes as if you were pa inting the surfaces with a brush . Errati c or irregular lin es draw attention to them and distract th e eye fr om more impo rtant things. There is no strict rule for applying tones on a sketch, but I ha ve some preferenc es tha t seem to work well. Horizontal ha tching is used on horizontal surfaces, di ago na l hatch ing on vertical surfaces. Wh en two ve rti cal surfaces meet, the hat ching on one is at a slig htly differen t an gle from the hatching on the other surfac e. Figure 2-19 Apply tones in a three-step process: 1 . Indicate any texture that appears in th e surface, such as the vertical boards on a barn . 2. If the textur e in dication does not prov ide the level of darkness of th e subject , add the necessary additional hatching over th e entire surface. 3 . Now apply more ha tchin g w here any shad ow s fall. To show gradat ions of shadow, add a succession of hatches at different angles. The refinement of ton es in a draw ing is achieved by loo king carefully at th e su bject and by ge ttin g mor e control over the consistency of the lines. Several alternative techniques for sketc hing in tones are illustr ated throughout this book . The one shown at the right ab ove is a rapid me thod usin g ra ndom strokes. De sign ers usually de ve lop techniques w ith w hich they feel most comfortable. Bu ilding a Sketch 2 5
(o) Figure 2-21 Fiqure 2-22 Details Details are often the most interesting or compelling aspect of buildings.The window is an excellent exam- ple.There,the details can be the result of a transition between two materials-brick and glass-or between two building elements-wall and opening.The wood window frame,brick arch,keystone,and windowsill make these transitions possible,and each of these details tells us more about the building.On a regular basis,I have students sketch windows,doors,or other building elements so they gain an understand- ing and appreciation of the contribution of details to the qualities and functions of the building.Details tell us something of needs and materials as well as our ingenuity in relating them.The sketch of the metal grating around the base of the tree explains both the needs of the tree and the use of the surface under the tree where people walk. Figure 2-23 In most architectural scenes,there are details close to us and others farther away.We can see more of the close detail and should show in the sketch such things as screws or fasteners or fine joints and tex- tures.As details recede in the sketch,fewer and fewer of the pieces are shown,until only the outline is visible. 26 Drawing
- = == ififf ,. ii ;) 11i/WWJ&il. ')! .~~ ! ../ u[1fj 0000 L..J l--J L.....-..> '--.J 1= Figure 2-21 Figure 2-23 Figure 2-22 Details Details are ofte n the most in terestin g or compelling as pe ct of buildings. The window is an exce llen t example. Ther e, the de tails can be th e result of a tr an siti on betw een two materials-brick and glass-or between two build ing elements-wall and op ening. The wood w indow frame, brick arch , key stone, and w indowsill ma ke these transitio ns po ssib le, an d each of th ese detai ls tells us more about the bui lding . On a regular basis, I have students sk etch windows, doors, or other bu ilding elements so they gain an understanding and appreciation of the con tribution of detai ls to th e q ualiti es and func tions of the building. Details tell us some thi ng of needs and materials as w ell as our in gen uity in re lating th em. The ske tch of the meta l grating around the base of the tree exp la ins both the need s of the tr ee and the use of th e surfa ce under the tree where people walk . In most archit ectural sce nes, th ere are det ails close to us and othe rs farther away. We can see mor e of the close det ail and sho uld show in th e ske tch suc h things as scre w s or faste ne rs or fin e joints and textures. As details recede in the sk et ch , fewer and few er of the pi eces ar e sho w n, until only the outline is visib le. 26 Drawing
Fiqure 2-25 Montgomery,Alabama. Combining Observations With practice,structure,tones,and details can be effectively combined to capture the complete sense of a subject.Older houses of different styles are suit- able subjects for practicing and developing observa- tion skills.They are usually readily accessible and provide a variety of visual effects that can sustain your interest.Try visiting favorite houses at different times of day in order to view the impact of different lighting conditions.Walk around,approach,and retreat from the subject to capture a variety of Figure 2-24 San Francisco,California. appearances. Building a Sketch 27
Figure 2-25 MO lltgomery, Alabama. Fi gure 2-24 Sail Francisco. Ca lifornia. Combining Observations Wit h practice , struc ture , tones, a nd d etails ca n be effective ly combined to ca pture th e com plete se nse of a subject. Older houses of different styles ar e suitab le subjects for practicin g a nd developing ob ser vation skills. The y a re usually readi ly accessible and pro vide a varie ty of v isua l effect s tha t ca n sus ta in your interest. Try visiting favorit e houses at d iffer ent times of day in orde r to view the impact of differ ent lighting co nd itions. Walk arou n d , approa ch , a nd re tr ea t from th e su bj ect to capture a va rie ty of appearances . Building a Sketch 27
TRACING Tracing existing graphic material is another way to build sketching skills.Making an overlay of your own drawings with tracing paper is an obvious but under- used device.Rather than overwork a drawing that is headed in the wrong direction,make an overlay showing the elements that need to be corrected and then,in another overlay,make a whole new sketch incorporating the changes.You will learn more from your mistakes,and the final sketch will be better and fresher.Tracing can also be done by laying a trans- Figure 2-26a Original sketch. parent sheet with a grid over a drawing or photo, drawing a larger grid,and then transferring the draw- ing square by square.A third technique uses a slide projector and a small mirror to project images of a convenient size for tracing on your drawing table. The large sketch on page 31 was done in this way. No matter the reason you thought copying was improper or illegal,forget it.Master draftsmen such as Leonardo da Vinci copied other people's work when they were learning to draw.No tracing is ever the same as the original.You will pick out some details and simplify other parts.Tracing forces you to look closely at the original sketch or photo and better Figure 2-26b Overlay sketch. understand the subject. Figure 2-26c Final sketch. MIRRORTABLE shdes mserfid riglt-sidt-up "clar plate glacs Zoom lens:not 5 mm Trame box cowetructed of 1"x"wood sack sidl reusfoned Mirr with thin board Pans./ MIRRoR Box Figure 2-27 Projection table and projection box. 28 Drawing
o 01 1'0 0 Figure 2-26a Orig inal sketch. DOD Figure 2-26b Overlay sketch. IJ n o TRACING Trac ing existing graphic material is another way to bu ild sketching skills. Ma king an overlay of you r ow n drawing s with tracing paper is an ob vious but underused device. Rath er th an overwork a draw ing th at is head ed in the wrong direction, make an over lay sh owing th e elements that need to be corrected and then, in anothe r overlay, ma ke a w hol e new ske tch incorpor ating th e ch an ges. You w ill learn more from yo ur mistakes, and th e fina l sketch will be better an d fresher. Tracing can also be do ne by laying a transparen t sheet with a grid over a draw ing or pho to, drawing a larger grid, and th en transferring the drawing square by sq uar e. A thi rd tec hnique uses a slide projector and a sm all mirr or to project images of a conveni ent size for tracing on your d rawi ng table. The large sketch on page 31 was done in this way. No m atter th e reason you thou gh t copying was impr op er or illega l, forget it. Ma ster dr aftsm en su ch as Leonardo da Vinci copied oth er peopl e's wo rk when th ey were learn ing to draw. No tracing is ever th e sam e as th e origina l. You w ill pi ck out some details and simplify other parts. Tracing forces you to look closely at th e original sketc h or photo an d better un der stand the subject. ) MWJrt4 1- Figure 2-26c Final sketch. M \t?RD1<... IA~LE -611~ ~?etf~ I'1jkt-~td.-l up ) "Z061'V-. [e-V\ L ' j. ~w; :7 ' li\ol ""'T' i ii i i " 'm 4~~~lA-!PtUltw$ ~kj?ru ~- ~LWt>r- \ '>\< J ~-tvu4d crr lIdu,y lat~ A.(' :tl~ ~~~: -n-ttwl~ l?l1X _f!. J"'T r 1 11 ><1 11 wood. ~4: ~( th '\1\ l?oMt{ 'f~~) Ml~D1< 130)( Fi gure 2-27 Projection table and projection box. 28 Dra wing