Sketching for Architecture + Interior Design

129 Pages·2015·13.26 MB·English

by  Stephanie Travis

SKETCHING

FOR ARCHITECTURE + INTERIOR DESIGN
to mark, samantha + matthew
Published in 2015 by
Laurence King Publishing Ltd
361(cid:1)373 City Road
London EC1V 1LR
e-mail: [email protected]
www.laurenceking.com
Text and illustrations
© 2015 Stephanie Travis
This book was produced by
Laurence King Publishing Ltd, London.
Stephanie Travis has asserted her
right under the Copyright, Designs
and Patents Act of 1988 to be
identified as the Author of this Work.
All rights reserved. No part of this
publication may be reproduced or
transmitted in any form or by any
means, electronic or mechanical,
including photocopy, recording or
any information storage and retrieval
system, without prior permission in
writing from the publisher.
A catalogue record for this book is
available from the British Library.
ISBN: 978-1-78067-564-0
Design: TwoSheds Design
Senior Editor: Peter Jones
Printed in China
SKETCHING

FOR ARCHITECTURE + INTERIOR DESIGN
Stephanie Travis
Laurence King Publishing
CONTENTS
Chapter 1
INTRODUCTION 6 FURNITURE + LIGHTING 12
Materials 8 Preliminary Study 14
Pen Warm-up 10 Abstraction 16
Marker Warm-up 11 Negative Study 18
Positive Study 20
Mirror Image 22
Guidelines 24
Layers 26
Perspective Basics 28
Plan, Elevation + 3D View 30
Circles 32
Multiple Viewpoints 34
Applied Pattern 36
Integrated Pattern 38
Shade + Shadow 40
Composition 44
4
Chapter 2 Chapter 3
INTERIORS 48 ARCHITECTURE 84 ACKNOWLEDGEMENTS 126

One-point Perspective 50 Symmetry + Pattern 86
Two-point Perspective 54 Puzzle Pieces 90
One-point Abstraction 56 Negative Space 92
Two-point Abstraction 58 Expression 94
Transitional Space 60 Building Materials 96
Interior + Exterior 62 Building Layers 98
Window Frames 64 Building Levels 100
Repetition 66 Left-to-right Perspective 102
Continuous Line 68 Building Curves 104
Sculptural Study 70 Multi-point Perspective 106
People 72 Perimeter Views 110
Viewpoints 74 Open + Closed 112
Foreground + Background 76 Vegetation 114
Magnification 78 Building Shading 116
Interior Shading 82 Final Study 120
5
WHY SKETCH? THE CONCEPT
Drawing is truly a tool for The consistent thread
seeing. To draw an object, throughout this book are
interior, or building, you my freehand sketches,
have to look at the subject shown as a series of
in a new way. You are forced steps to demonstrate the
to pause and scrutinize, as underlying concept—that an
drawing requires another understanding of the process
INTRODUCTION way of thinking, shifting of creating meaningful
into a deeper realm that sketches is more important
encompasses elements such than the end drawing itself.
as shape, form, texture,
rhythm, composition, The cumulative process of
and light. When you have sketching always begins with
developed your drawing studying the subject, whether
skills, the finer details of a it be a chair, an interior, or
space—key features that an entire building. It is about
you may not previously have drawing what you see, not
noticed—will be revealed what you think you see, or
to you. Freehand drawing what you already know as
allows viewers to see in a way a chair, interior, or building.
they never have before. The Think of it as seeing the
sketching process is a means subject for the first time.
of expanding your creativity Each exercise illustrates a
and awakening your senses. different facet of this concept
of seeing. As you move
through the steps of each
exercise, you will explore
each subject in a new way,
gaining the experience
and confidence to create
expressive, thoughtful
sketches that convey your
personal interpretation of
the subject.
6
HOW TO USE THE BOOK Introduction
It is intended that you start The example sketches were as the key to improvement
from the beginning of this all drawn in ink, and I suggest is practice. Although each
book and work through that you also use ink, at exercise ends with a final
the exercises as the scale least at first—this forces sketch, the focus of this book
and complexity increases. you to study carefully the is on the experience and
Chapter 1 (Furniture + subject you are drawing, process of sketching, more
Lighting) begins with small- knowing that any mistakes than on the finished work.
scale objects; Chapter 2 cannot simply be erased.
(Interiors) expands into more These exercises are just a
complex spaces; and Chapter starting point. To develop
3 (Architecture) focuses on your practice further, you
larger-scale buildings. Each can repeat them with more
exercise within the three complex, detailed objects and
sections incorporates many using different media (e.g.
sketches for reference, with graphite/pencil, charcoal,
examples of modern designs etc.). But, whether you use
of furniture and lighting, ink, pencil, or a combination
interiors, and architecture of both, the exercises provide
by significant modern and a methodology for studying
contemporary designers your subject and drawing
and architects. The name of what you see. It is not about
the object, interior space, laboriously crafting perfect
or building; the architect technical drawings.
or designer; the year of
design or completion; and The three sections cover
the location of the interior topics such as layering,
or building are provided at perspective, repetition,
the end of each exercise. You pattern, foreground +
will select your own furniture background, negative space,
and lighting, interiors, or multiple viewpoints, shade
buildings to sketch. Subjects + shadow, and composition.
may be viewed in three The steps within each
dimensions (from life) or exercise build upon each
two dimensions (from other so that you achieve a
photographs, periodicals, thorough exploration of the
etc.). What is important is to subject before producing a
select subjects that you find complete sketch. You should
challenging and inspiring. redraw exercises at each step,
7
MATERIALS
To complete the exercises in As you continue to sketch, the sketch was drawn with
this book, you will need the you should experiment with the medium pen. Although
following: a sketchbook, three different types and styles of the markers will be used to
ink pens, and a selection pens. To begin, it is important explore an understanding
of professional markers in only that you have three pen of shade/shadow, many of
gray. I use a basic 9” x 12” widths and a selection of the exercises use the varied
wire-bound sketchbook cool gray markers, although gray values of the markers to
with standard white paper you can also experiment with explore other elements—such
and the pens/markers as warm gray markers. as contrasting shapes, planes,
illustrated and specified and forms or to study how
opposite. I purchase the Note that throughout this elements recede or protrude.
thin- and medium-width book I have predominantly
pens from office supply used the medium pen.
stores; other supplies are Wherever a thin pen, thick
from art specialty stores. pen, or the gray markers
Ultimately, the brand of pen were used in a sketch, this
is not the important factor; will be specified. If there
it is what you do with it. is no notation in the text,
8
Introduction
The tools I use:
Thin pen: Uniball Super Ink
pen in black.
Medium pen: Paper Mate Flair
M pen in black.
Thick pen: Faber-Castell Pitt
Artist pen B in black.
Markers: Prismacolor Premier
markers in cool gray ranging
from 10 percent (the lightest)
to 100 percent (black).
9