Architectural Perspective & Rendering

Architectural Perspective and Rendering Paul Ross Wallach Published by Hearlihy P.O. Box 1747 Pittsburg, KS 66762 866-622-1003 E-mail: [email protected] Web site: http://www.hearlihy.com

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Trademarks & Copyright

Published by: HEARLIHY 1002 E. Adams P.O. Box 1747 Pittsburg, KS 66762 Phone: 866-622-1003 E-mail: [email protected] Web site: http://www.hearlihy.com © 2006 by Hearlihy. All rights reserved. Published in the United States of America. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent of the publisher, Hearlihy. It is unlawful to do so. All other product names mentioned herein might be the trademarks of their respective owners.

ACKNOWLEDGEMENTS The author would like to thank Wendy Talcott of Home Planners Inc. for the many exterior and interior drawings used in this book, and Dana Hepler for all the felt-tip pen renderings. Many of the oil, acrylic, and watercolor examples are from street fair artists who allowed me to take digital photos of their work. My thanks to these unknown artists. I would also like to thank Monikka Wilson for design, layout, and desktop publishing, and Kristine Gilbertson, whose editorial help made this book possible. All drafting equipment and supplies in Part II may be purchased from Hearlihy.

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Table of Contents

PART I – INTRODUCTION ....................................................................................................................3 PART II – DRAWING SUPPLIES ...........................................................................................................7 Chapter 1 Drawing Instruments..........................................................................................................13 Chapter 2 Papers .................................................................................................................................17 Chapter 3 Ink Pens..............................................................................................................................20 Chapter 4 Felt-Tip Markers ................................................................................................................23 Chapter 5 Graphite Pencils .................................................................................................................25 Chapter 6 Airbrush..............................................................................................................................27 Chapter 7 Colored Pencils ..................................................................................................................31 Chapter 8 Pastels ................................................................................................................................33 Chapter 9 Watercolors ........................................................................................................................35 Chapter 10 Oils ...................................................................................................................................37 Chapter 11 Acrylics ............................................................................................................................40 Chapter 12 CAD .................................................................................................................................42 PART III – PERSPECTIVE DRAWING ..............................................................................................45 Chapter 13 Two-Point Exterior Perspective .......................................................................................48 Chapter 14 Two-Point Interior Perspective ........................................................................................61 Chapter 15 One-Point Interior Perspective ........................................................................................68 Chapter 16 Three-Point Exterior Perspective .....................................................................................73

Architectural Perspective and Rendering

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8

Chapter

Pastels shading large areas. The color qualities are brilliant and can create spectacular drawings. An example of pastel drawing is shown in Figure 8-2. Advantages of pastels are:

Figure 8-2: An example of a pastel drawing.

Drawing with pastels is similar to drawing with chalk. Pastels were

•

Quick drawing time

•

No mixing required

•

No drying time

•

No brushes needed

•

No specialized art supplies needed

invented by a German painter, Johaim Thiele, in the sixteenth century. Pastel is a French word derived from the Italian

•

May be water brushed to appear as watercolors

word pastello, meaning material made into a paste. Pastels are made from a pure, powdered, colored pigment that is

A good deal of practice is required to

ground into a paste. A small amount of

learn how to use them properly. An oil

gum binder, filler, and distilled water is

solvent must be used to thin and blend

added and the mix is formed into square

the oil pastels. A finished oil pastel

or round sticks (Figure 8-1). The gum

drawing will appear as an oil painting.

binder is usually gum Arabic or gum

While you cannot erase an oil pastel,

tragacanth. The filler is chalk or china

the finished drawing will not smear as a

clay.

water-based pastel will.

There are two types of pastels:

Figure 8-1 Soft, round pastels

Oil-based pastels are difficult to use.

When working with pastels, it is

water-soluble and oil pastel. Both types

critical to use a rough surface paper

of pastels may be purchased in a round

(such a paper is said to have a rough

or a square form, or encased in wood.

tooth) so the pastel colors will adhere

The water-based pastel has a soft texture

to the surface. Use the heaviest weight

that can be spread with a finger or a

paper you can afford to prevent warping.

cotton swab stick for rendering and Architectural Perspective and Rendering

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Chapter

8

Pastels

EXERCISES 1) Practice the exercise below with a water-based pastel.

2) Practice the exercise above with an oil-based pastel. 3) Practice the exercise below with water-based pastels.

4) Practice the exercises above with oil-based pastels.

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Architectural Perspective and Rendering

Part VI

Architectural Art

Architectural Perspective and Rendering

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Part

VI

Introduction

After reading, studying, and practicing the

If you decide to practice with a favorite

exercises in Chapters 1 through 20, you should be

medium, use the art styles shown in any chapter and

ready for some serious drawing and painting of

incorporate them into your style of painting with

architectural art. You should now be able to draw

your selected medium. If you wish to study your

objects in perspective and apply textures, shading,

painting style in more depth, you may purchase (or

shadows, and color to your drawings with an

check out from the library) instruction books that

assortment of media.

specialize in each type of media.

Drawings and paintings with different media

With the advent of computer-aided drawing

are shown in Chapters 21 through 28. They are

(CAD), many of the art techniques used for

not instructional aids or detailed presentations, but

commercial and technical needs, such as sales and

examples to give you ideas of various drawing and

instructional art for manuals, became outdated.

painting techniques that may be studied, copied, and

CAD can produce photo-realistic renderings in a

improved upon as you practice your art.

shorter time than manual art. In industry, the extra time required for a project drawn manually cuts into the profit margins. Manual paintings will always be popular with artists when time is not an issue. The satisfaction of painting a beautiful piece of art and having it appreciated by others will never be replaced with a CAD-generated drawing.

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Architectural Perspective and Rendering

Chapter

27

Oil/Acrylic Renderings

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