Posted by archidrawing on February 15, 2011
Posted by archidrawing on February 13, 2011
This is an interior design drawing. This is a one point perspective where i tried to simulate the real view of the room. I think one of the main facts that contribute to the realistic side of a drawing is the lack of lines. In drawing, lines are used to help separating two color tones, to suggest a certain texture (ex: wall brick) and, of course, to represent the perspective structure through construction lines, but in reality we do not see lines. If we tend to eliminate these lines when we do not need them anymore, and try to put more accent upon the color tones, we tend to make the drawing more realistic. To get rid of lines is why a lot of artists use different drawing techniques such as oil painting. A drawing made with pencils can be more realistic if we use blending, like portrait artists do. That’s what i used here to vanish the initial hatch, and it only took me about five minutes.
The reflection on the floor is darkened to remove the impression that the furniture stays on a mirror. So I suggested the reflection only by respecting the shape of what lays above the floor.
Posted by archidrawing on February 6, 2011
When i drew this multifunctional center, my first idea was to keep a dominant color as a background, without to respect the realistic details such as blue sky or real trees. I relied on the idea of transformation. So i gave those small thickets a polygonal shape just to make them look unnatural, they are stylized. I only kept the color and some branches to lead you into thinking that those are nature elements. The same principle I have adopted in drawing the trees. Though you cannot see any real tree in this drawing, the branches and the autumn-specific color make you think that they exist. That’s what stylization is about. It represents a specific language to describe a certain element without to offer over-realistic details. When I drew the people, I used the same concept: they do not present details of nose, lips, etc. but I tried to respect the proportions of human body.
Posted by archidrawing on January 18, 2011
Drawing realistic clouds using cotton wool and torn paper requires a 4B (or more) graphite pencil and, if we make a colored sky, blue pencil or blue pastel (this one rubs better). We need a piece of cotton wool or anything to blend with and some paper that we have to torn it such way to obtain concave and convex edges. When drawing a realistic cloud, one of the main rules is that we should have no lines; so I let the pencil down when I reach the part with the sky and clouds of a drawing. We only need the pencil in hatching 2 spots of color somewhere on a paper: a dark grey one (with the graphite pencil) and a blue one, in order to rub a piece of cotton over the dark grey spot and another piece of cotton over the blue spot to print the color on the cotton wool. Another rule is to keep the shades of the cloud and the architectural building in correspondence with the sun’s position and before starting to draw the cloud try to think about the shape and position of the cloud on the drawing. That’s the main action we must perform in order to fight against the tendency to give it a basical shape. You will never see a cloud that has a perfectly elliptical outline. Depending on the altitude we are located at and the sun’s position, the reflection of the light rays can be seen more or less. For example if the sun is located behind the cloud and we have to raise our head to see this cloud, it’s color will be a constant dark grey except the edges which are lighter. If the sun is not behind the cloud we will see more light contrasts on the cloud because the light comes from aside. There are more things we must consider when we start to draw clouds, such as the type of cloud we want to draw: cirrus, cirrocumulus, cirrostratus, altocumulus, altostratus, stratocumulus, stratus, nimbostratus, cumulus, cumulonimbus…However, cumulus clouds are the most and visible clouds so I only draw that type. Another mention is that the sky is getting lighter in the distance. These things can be analyzed by simply watching photos of clouds.
Back to the technique i use, I will write down the steps i follow when drawing clouds:
1 ) use a photo in which are some clouds to study them
2 ) make the dark grey and blue spots
3 ) grab 2 pieces of cotton wool: one for dark grey and one for blue
4 ) rub each piece of cotton over it’s corresponding spot to take the color on the cotton wool
5 ) torn pieces of paper: several for the dark grey and several for blue
6 ) plan the cloud’s position and shape in order to avoid the accidental connections to the already drawn elements
7 ) rub the blue cotton over the edge of the blue torn paper to obtain the shape of the cloud planned at point 6
8 ) rub the dark grey cotton to describe the shaded zones of the cloud (be careful on the proportion of the contrasts)
Check out this video I made to show you exactly how I draw clouds. There are three drawings. Each of them is made in approx. 10-14 minutes.
Posted by archidrawing on January 14, 2011
This perspective represents a frontal view of some row houses. Seemingly, this is a one-point perspective drawing, but you can observe how the roof lines go to another vanishing point, and not to the one visible on the horizon line. This point helped drawing the direction of the roof’s shingle. It can be found by constructing the perspective lines of the roof’s margins and elongating them until they intersect, and where they intersect is the second vanishing point. This point must be on the same vertical as the first vanishing point established when I have started the drawing. So we can talk about a main vertical line where we can place as many vanishing points as we need to describe all the different plans that we have in this kind of drawings (two parallel plans use the same vanishing point). The reason the point appears is that the roof’s plan is not vertical and if the windows on the wall have horizontal and vertical lines only, the shingle’s lines must converge to that vanishing point. It’s like taking the wall’s plan and rotate it toward the observer. If the roof had some skylights (and we wanted a detailed, built perspective), we were facing the third vanishing point where the lines of the skylight’s thickness (visible at the skylight’s corners) converge. This third point will also be situated on the same vertical line with the other two vanishing points. We can consider the frontal plan having a vanishing point placed at infinity, therefor the vertical lines in this plan are parallel in perspective and perpendicular on the horizon line. Note that the horizontal lines in both roof and wall plans must be parallel with the main horizon line.
Posted by archidrawing on January 4, 2011
This is my first drawing using only indian ink. I drew this using 0.25 mm rotring isograph. I really like how it came out.
Drawing with ink requires much patience (especially when we draw with 0.25 mm isograph on A2 format) and enough knowledge to master the entourages. The main deficiencies of this technique are that we cannot create realistic fades (ex. required at cloud’s shadows), the lines are visible and it is not erasable, these are reasons that this technique is mixed with others. But it also has good aspects such as the possibility to obtain high contrasts and to make your building found in the drawing. Remember that the entourage must be balanced. If we draw too much trees, the building is going to vanish from the sight. Balancing the contrast can also play a major role in this sense. For example, in this drawing, I’ve tried to darken the entourage just to place the building in front. However, mention how the lack of people in this drawing makes the building look “lonely”. Drawing people in an architectural perspective mixed with a well interpretation of the real surroundings can give life to the space. It is said that the windows are the eyes of the building, so if the drawing is well balanced, our first sight should be directed to the windows area of the building. So i think that the black hatch over the window’s glass isn’t a bad idea.
The building represents a single family house. It fits under a style specific to the years between the two world wars.