2.11 a,b,c and d This sequence of four comparisons of sketches and photographs of central Glasgow shows the benefits of freehand drawing.In each case unnecessary information has been edited out in order to focus upon the architectural qualities. Whilst the photographs include all the detail,the sketches interpret their subject and highlight specific topics relevant to the designer. 24 Understanding architecture through drawing
2.11 a, b, c and d This sequence of four comparisons of sketches and photographs of central Glasgow shows the benefits of freehand drawing. In each case unnecessary information has been edited out in order to focus upon the architectural qualities. Whilst the photographs include all the detail, the sketches interpret their subject and highlight specific topics relevant to the designer. 24 Understanding architecture through drawing
MATERIALS I try to encourage my students not to become The artist of today has never been so fortunate with weighed down with too many drawing materials-it is regard to drawing equipment.Modern waterproof felt-tip best to travel light and learn to improvise.It is no good for pens,clutch pencils and a wide range of drawing papers the artist to become like a photographer impeded by an mean that every situation,type of subject and sketching assortment of lenses and light meters.All you really need style is catered for.The decision nowadays tends to be is an A4 or A5 sketchbook,one or two pens or pencils what to leave behind,since the range of materials is so and a good rubber. wide and their reliability so good. The size of sketchbook depends upon the type of When choosing sketchbook paper,you should have drawing you intend to do,and the medium you are already decided upon your sketching medium.Generally working with.Large-format sketchbooks(A3-A2 in size) speaking,smooth cartridge sketchbooks (of the Daler suit pastel drawing or watercolours rather than line type)are best for line work in pen;coarser paper for line drawing.As a rule,the finer the line,the smaller the work in pencil;and strong watercolour paper for paints or sketchbook required.If you wish to mix line with paint colour markers.Ideally,of course,you will have prepared then the effect is rather more of a painting than for working in different materials and have corresponding of a drawing,and consequently a large format is sketchbooks to suit. generally preferred. I prefer to use modern felt-tip pens (such as a I tend not to use sketching stools these days,partly waterproof Pilot or Staedtler)with smooth,fairly thin because pavements are so busy,and partly because paper (such as a Daler 3404 sketchbook).Drawing pens stools are rather cumbersome.You can,however,buy with Indian ink tend to clog up or flow too slowly for my sketching stools with pockets for carrying pens,etc.,and style of drawing.Alternatively,you can use a steel-nibbed with a large flap for holding an A4 sketchbook,but I still pen(such as a post office nib)which is simply pushed into prefer to find a cafe to sit outside.Often the places you a pen holder and dipped as required into a pot of ink.The wish to draw are the very spots where people want to sit great advantage of old-fashioned steel nibs is that the and enjoy the view,and hence seats will have been thickness of line varies with the pressure exerted,so that provided by a friendly town council.In old towns there are sketches have a lot more character and points of generally lots of steps and walls to sit on,and inside emphasis.The architect and town planner Raymond cathedrals you will find comfortable pews or quiet Unwin used various thicknesses of line from a single nib cloisters with stone benches in which to enjoy a couple of to good effect in his sketches.The disadvantage of the hours of sketching.The one advantage of the sketching open steel nibs is the length of time it takes for the ink to stool,however,is that you can choose the exact dry and their tendency to cast ink blots in all directions. viewpoint for the drawing,and this can be important for However,with patience,good sunlight and a box of certain subjects. tissues,the problems can be overcome,and should you If you are drawing in pencil make sure you have a make an ink blot,this can either be worked into the range of pencils of varying softness(6B-B),a soft rubber, drawing,or left to dry and scraped away with a sharp fixative and a sharpener.Some people prefer clutch blade and ink rubber. pencils,but many others prefer the weight and feel of the traditional pencil for field work.Pencil is a good starting Why draw?25
MATERIALS The artist of today has never been so fortunate with regard to drawing equipment. Modern waterproof felt-tip pens, clutch pencils and a wide range of drawing papers mean that every situation, type of subject and sketching style is catered for. The decision nowadays tends to be what to leave behind, since the range of materials is so wide and their reliability so good. When choosing sketchbook paper, you should have already decided upon your sketching medium. Generally speaking, smooth cartridge sketchbooks (of the Daler type) are best for line work in pen; coarser paper for line work in pencil; and strong watercolour paper for paints or colour markers. Ideally, of course, you will have prepared for working in different materials and have corresponding sketchbooks to suit. I prefer to use modern felt-tip pens (such as a waterproof Pilot or Staedtler) with smooth, fairly thin paper (such as a Daler 3404 sketchbook). Drawing pens with Indian ink tend to clog up or flow too slowly for my style of drawing. Alternatively, you can use a steel-nibbed pen (such as a post office nib) which is simply pushed into a pen holder and dipped as required into a pot of ink. The great advantage of old-fashioned steel nibs is that the thickness of line varies with the pressure exerted, so that sketches have a lot more character and points of emphasis. The architect and town planner Raymond Unwin used various thicknesses of line from a single nib to good effect in his sketches. The disadvantage of the open steel nibs is the length of time it takes for the ink to dry and their tendency to cast ink blots in all directions. However, with patience, good sunlight and a box of tissues, the problems can be overcome, and should you make an ink blot, this can either be worked into the drawing, or left to dry and scraped away with a sharp blade and ink rubber. I try to encourage my students not to become weighed down with too many drawing materials – it is best to travel light and learn to improvise. It is no good for the artist to become like a photographer impeded by an assortment of lenses and light meters. All you really need is an A4 or A5 sketchbook, one or two pens or pencils and a good rubber. The size of sketchbook depends upon the type of drawing you intend to do, and the medium you are working with. Large-format sketchbooks (A3–A2 in size) suit pastel drawing or watercolours rather than line drawing. As a rule, the finer the line, the smaller the sketchbook required. If you wish to mix line with paint then the effect is rather more of a painting than of a drawing, and consequently a large format is generally preferred. I tend not to use sketching stools these days, partly because pavements are so busy, and partly because stools are rather cumbersome. You can, however, buy sketching stools with pockets for carrying pens, etc., and with a large flap for holding an A4 sketchbook, but I still prefer to find a café to sit outside. Often the places you wish to draw are the very spots where people want to sit and enjoy the view, and hence seats will have been provided by a friendly town council. In old towns there are generally lots of steps and walls to sit on, and inside cathedrals you will find comfortable pews or quiet cloisters with stone benches in which to enjoy a couple of hours of sketching. The one advantage of the sketching stool, however, is that you can choose the exact viewpoint for the drawing, and this can be important for certain subjects. If you are drawing in pencil make sure you have a range of pencils of varying softness (6B–B), a soft rubber, fixative and a sharpener. Some people prefer clutch pencils, but many others prefer the weight and feel of the traditional pencil for field work. Pencil is a good starting Why draw? 25
point for people learning to draw since corrections are hurry,but often the wash varies in density,to the easily made and the graphite or lead pencil has a detriment of the finished drawing.Watercolour can,of graininess'suitable for many building subjects.Pencil course,be employed to produce illustration in its own also lends itself to depicting shade,light and shadow and right.For watercolour sketches use a box of twelve this may be important in canyon-like street scenes.Pencil colours that come with a mixing box (Windsor and drawings have one other advantage:they can be Newton,for instance)and two or three sable brushes.Try photocopied to highlight or darken the tentative lines of a to use largish brushes to avoid the sketches becoming timid artist.Indeed,modern photocopiers can be a useful overworked,and if you like you can take a crayon or adjunct:not only can they encourage confidence in candle to experiment with wax relief to produce the sort beginners,but in addition,several copies of a drawing of lively architectural sketches made famous by John may be taken (if,for instance,the sketch is the beginning Piper.For mood and character,dark-toned watercolour for further analysis or the starting point for other artistic sketches can hardly be bettered,but you will find paint a endeavours),while the original drawing is preserved. difficult medium for analytical drawing. Armed with a soft rubber,drawing with graphite pencil Coloured felt-tip pens can be difficult to master since is the best way to start freehand sketching,being flexible,their hues are often rather strong and do not mix well responsive and easily altered.Whether your sketches are together.But some subjects lend themselves to these spontaneous and primitive,or intricate and spatially pens (especially modern architectural subjects and accurate compositions reflecting a trained eye,pencil will industrial or automobile design).By mixing the bright, probably serve your needs well.It should be almost luminous quality of felt-tip pens with more neutral remembered,however,that graphite pencils quickly paints or pencil lines,the sketch can assume a sparkle or smudge,especially if you are using a coarse drawing resonance appropriate to certain subjects.Felt-tip pens paper.It is imperative,therefore,that you spray lightly and and magic markers are difficult to control but they have a frequently with fixative.Having mastered the technique place in both the modern design studio and amongst the of pencil drawing,the artist can then graduate to sketching tools of an adventurous street artist. sketching in charcoal or pen and ink,or using colour Although I was taught never to use a ruler when washes. sketching,I do not now subscribe to this view.So many Watercolour washes can be used to support pen or of our landscapes and buildings are rectilinear in nature pencil drawings in order to give the appearance of three-that the use of a ruler to help establish the basic outline dimensional form.Many people like to use grey wash and structure can no longer be considered a lazy short- along with line work to produce rather classical sketches cut.The straight-edge is,however,no substitute for the of the type favoured in the eighteenth century.You can trained eye.If the sketch is as much learning process as mix your own grey wash,or do as I prefer and make a end product,the ruler may help the latter but does not grey by blending cobalt blue with sepia.The resulting assist the former.Hence use the straight-edge if you will, wash is less'dead'than a grey watercolour straight from but do not expect to learn much from the assistance it the tube since hints of blue and brown appear as the gives. wash dries.Sometimes a pre-mixed wash can be employed,especially if the sketch has to be produced in a 26 Understanding architecture through drawing
point for people learning to draw since corrections are easily made and the graphite or lead pencil has a ‘graininess’ suitable for many building subjects. Pencil also lends itself to depicting shade, light and shadow and this may be important in canyon-like street scenes. Pencil drawings have one other advantage: they can be photocopied to highlight or darken the tentative lines of a timid artist. Indeed, modern photocopiers can be a useful adjunct: not only can they encourage confidence in beginners, but in addition, several copies of a drawing may be taken (if, for instance, the sketch is the beginning for further analysis or the starting point for other artistic endeavours), while the original drawing is preserved. Armed with a soft rubber, drawing with graphite pencil is the best way to start freehand sketching, being flexible, responsive and easily altered. Whether your sketches are spontaneous and primitive, or intricate and spatially accurate compositions reflecting a trained eye, pencil will probably serve your needs well. It should be remembered, however, that graphite pencils quickly smudge, especially if you are using a coarse drawing paper. It is imperative, therefore, that you spray lightly and frequently with fixative. Having mastered the technique of pencil drawing, the artist can then graduate to sketching in charcoal or pen and ink, or using colour washes. Watercolour washes can be used to support pen or pencil drawings in order to give the appearance of threedimensional form. Many people like to use grey wash along with line work to produce rather classical sketches of the type favoured in the eighteenth century. You can mix your own grey wash, or do as I prefer and make a grey by blending cobalt blue with sepia. The resulting wash is less ‘dead’ than a grey watercolour straight from the tube since hints of blue and brown appear as the wash dries. Sometimes a pre-mixed wash can be employed, especially if the sketch has to be produced in a hurry, but often the wash varies in density, to the detriment of the finished drawing. Watercolour can, of course, be employed to produce illustration in its own right. For watercolour sketches use a box of twelve colours that come with a mixing box (Windsor and Newton, for instance) and two or three sable brushes. Try to use largish brushes to avoid the sketches becoming overworked, and if you like you can take a crayon or candle to experiment with wax relief to produce the sort of lively architectural sketches made famous by John Piper. For mood and character, dark-toned watercolour sketches can hardly be bettered, but you will find paint a difficult medium for analytical drawing. Coloured felt-tip pens can be difficult to master since their hues are often rather strong and do not mix well together. But some subjects lend themselves to these pens (especially modern architectural subjects and industrial or automobile design). By mixing the bright, almost luminous quality of felt-tip pens with more neutral paints or pencil lines, the sketch can assume a sparkle or resonance appropriate to certain subjects. Felt-tip pens and magic markers are difficult to control but they have a place in both the modern design studio and amongst the sketching tools of an adventurous street artist. Although I was taught never to use a ruler when sketching, I do not now subscribe to this view. So many of our landscapes and buildings are rectilinear in nature that the use of a ruler to help establish the basic outline and structure can no longer be considered a lazy shortcut. The straight-edge is, however, no substitute for the trained eye. If the sketch is as much learning process as end product, the ruler may help the latter but does not assist the former. Hence use the straight-edge if you will, but do not expect to learn much from the assistance it gives. 26 Understanding architecture through drawing
LOOKING AND SEEING THROUGH DRAWING: than mere record-making.Modern sketchbooks tend, MODERN SKETCHBOOK PRACTICE therefore,to contain four main types of visual material- The practice of looking is as important as the practice of the sketch as record,the sketch as re-construction, designing.The sketchbook allows the looking to become sketches augmented by photographs or digital images, more critical-the image produced by drawing heightens and finally,abstract or analytical drawings.The awareness of the subject and offers a greater range of combination of drawing types makes the sketchbook an potential to the designer.Freehand sketching is a way of important pedagogic tool,whilst also enhancing the level recording subjects in a more rigorous way than simply of critical viewing.In this sense there is a direct photographing them,thereby helping to cultivate visual relationship between the sketch and looking,and by memory and critical judgement.Looking is a precondition extension with the development of visual and design to exploring subjects beneath the surface,and this is skills. further developed by sketching.Hence,there is a linear The trend in art,design and architectural education is progression between looking,sketching,drawing and to 'integrate'drawing with projects.Stand-alone drawing designing.A distinction is made here between sketching classes tend not to occur beyond the foundation years. in the field,drawing in the studio,and rationalising one's The main difficulty with the concept of integration is how thoughts through design. to develop drawing skills in parallel with project ones.The In architecture and design schools drawing studies task of design tends to become dominant over that of form the core of the curriculum.However,drawing tuition drawing and increasingly,to fill the gap,students and is expensive and demanding of studio space with the design professionals rely upon computer-based drawing result that much of the teaching of drawing is packages (Schenk 1998).This further distances the concentrated in the early (often foundation)years.As a student from learning through drawing or matching the result many students fail to carry on exploring through complexity of design projects with equally complex freehand drawing,preferring to use CAD or technical modes of traditional drawing techniques.Also,since drawing in their senior college years.The need to equip drawing is the means whereby there can be a marriage of students with the tools necessary for industry and art and architecture,to neglect freehand sketching is to professional design practice adds to the pressure to undermine the alliance of art,sculpture and architecture abandon freehand drawing.Computer-assisted drawing upon which the twenty-first century seems increasingly does not necessarily undermine the craft of traditional reliant. drawing as long as creativity and presentation skills have previously been learnt by more orthodox methods. DRAWING AS COMMUNICATION Sketchbooks are seen by many students as a form of Drawings are a designer's way of writing:they are a visual diary.They tend to resemble notebooks with their means both of communication and of problem solving. collections of images rather more than traditional hand-For many architects there is not a clear distinction drawn sketchbooks.Modern sketchbook drawings are between drawings,words and symbols (Lawson 1980 both the construction of images and the recording of p173).All contribute towards the evolution of a design objects.Construction suggests a deeper level of inquiry whether in plan,section or elevation.The shapes on Why draw?27
LOOKING AND SEEING THROUGH DRAWING: MODERN SKETCHBOOK PRACTICE The practice of looking is as important as the practice of designing. The sketchbook allows the looking to become more critical – the image produced by drawing heightens awareness of the subject and offers a greater range of potential to the designer. Freehand sketching is a way of recording subjects in a more rigorous way than simply photographing them, thereby helping to cultivate visual memory and critical judgement. Looking is a precondition to exploring subjects beneath the surface, and this is further developed by sketching. Hence, there is a linear progression between looking, sketching, drawing and designing. A distinction is made here between sketching in the field, drawing in the studio, and rationalising one’s thoughts through design. In architecture and design schools drawing studies form the core of the curriculum. However, drawing tuition is expensive and demanding of studio space with the result that much of the teaching of drawing is concentrated in the early (often foundation) years. As a result many students fail to carry on exploring through freehand drawing, preferring to use CAD or technical drawing in their senior college years. The need to equip students with the tools necessary for industry and professional design practice adds to the pressure to abandon freehand drawing. Computer-assisted drawing does not necessarily undermine the craft of traditional drawing as long as creativity and presentation skills have previously been learnt by more orthodox methods. Sketchbooks are seen by many students as a form of visual diary. They tend to resemble notebooks with their collections of images rather more than traditional handdrawn sketchbooks. Modern sketchbook drawings are both the construction of images and the recording of objects. Construction suggests a deeper level of inquiry than mere record-making. Modern sketchbooks tend, therefore, to contain four main types of visual material – the sketch as record, the sketch as re-construction, sketches augmented by photographs or digital images, and finally, abstract or analytical drawings. The combination of drawing types makes the sketchbook an important pedagogic tool, whilst also enhancing the level of critical viewing. In this sense there is a direct relationship between the sketch and looking, and by extension with the development of visual and design skills. The trend in art, design and architectural education is to ‘integrate’ drawing with projects. Stand-alone drawing classes tend not to occur beyond the foundation years. The main difficulty with the concept of integration is how to develop drawing skills in parallel with project ones. The task of design tends to become dominant over that of drawing and increasingly, to fill the gap, students and design professionals rely upon computer-based drawing packages (Schenk 1998). This further distances the student from learning through drawing or matching the complexity of design projects with equally complex modes of traditional drawing techniques. Also, since drawing is the means whereby there can be a marriage of art and architecture, to neglect freehand sketching is to undermine the alliance of art, sculpture and architecture upon which the twenty-first century seems increasingly reliant. DRAWING AS COMMUNICATION Drawings are a designer’s way of writing: they are a means both of communication and of problem solving. For many architects there is not a clear distinction between drawings, words and symbols (Lawson 1980 p173). All contribute towards the evolution of a design whether in plan, section or elevation. The shapes on Why draw? 27
212 Sketch for unrealised Samsung Headquarters Building in London by Sir Terry Farrell. Notice the similarity in the use of line and shade to Figure 2.10. (Sir Terry Farrell) T 28 Understanding architecture through drawing
2.12 Sketch for unrealised Samsung Headquarters Building in London by Sir Terry Farrell. Notice the similarity in the use of line and shade to Figure 2.10. (Sir Terry Farrell) 28 Understanding architecture through drawing