Architectural Perspective and

Transcription

1 Architectural Perspective and Rendering Paul Ross Wallach Published by Hearlihy P.O. Box 1747 Pittsburg, KS Web site:

2 Trademarks & Copyright Published by: HEARLIHY 1002 E. Adams P.O. Box 1747 Pittsburg, KS Phone: Web site: 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. ii Architectural Perspective and Rendering

3 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 1

4 Chapter8Pastels Figure 8-2: An example of a pastel drawing. Drawing with pastels is similar to drawing with chalk. Pastels were invented by a German painter, Johaim Thiele, in the sixteenth century. Pastel is a French word derived from the Italian word pastello, meaning material made into a paste. Pastels are made from a pure, powdered, colored pigment that is ground into a paste. A small amount of gum binder, filler, and distilled water is added and the mix is formed into square or round sticks (Figure 8-1). The gum binder is usually gum Arabic or gum tragacanth. The filler is chalk or china clay. 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: Quick drawing time No mixing required No drying time No brushes needed No specialized art supplies needed May be water brushed to appear as watercolors Oil-based pastels are difficult to use. A good deal of practice is required to learn how to use them properly. An oil solvent must be used to thin and blend the oil pastels. A finished oil pastel drawing will appear as an oil painting. While you cannot erase an oil pastel, the finished drawing will not smear as a water-based pastel will. Figure 8-1 Soft, round pastels There are two types of pastels: water-soluble and oil pastel. Both types of pastels may be purchased in a round or a square form, or encased in wood. The water-based pastel has a soft texture that can be spread with a finger or a cotton swab stick for rendering and When working with pastels, it is critical to use a rough surface paper (such a paper is said to have a rough tooth) so the pastel colors will adhere to the surface. Use the heaviest weight paper you can afford to prevent warping. Architectural Perspective and Rendering 33

5 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. 34 Architectural Perspective and Rendering

6 Part VI Architectural Art Architectural Perspective and Rendering 95

7 VI Part Introduction After reading, studying, and practicing the exercises in Chapters 1 through 20, you should be ready for some serious drawing and painting of architectural art. You should now be able to draw objects in perspective and apply textures, shading, shadows, and color to your drawings with an assortment of media. If you decide to practice with a favorite medium, use the art styles shown in any chapter and incorporate them into your style of painting with your selected medium. If you wish to study your painting style in more depth, you may purchase (or check out from the library) instruction books that specialize in each type of media. Drawings and paintings with different media are shown in Chapters 21 through 28. They are not instructional aids or detailed presentations, but examples to give you ideas of various drawing and painting techniques that may be studied, copied, and improved upon as you practice your art. With the advent of computer-aided drawing (CAD), many of the art techniques used for commercial and technical needs, such as sales and instructional art for manuals, became outdated. CAD can produce photo-realistic renderings in a 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. 96 Architectural Perspective and Rendering

8 Chapter 27 Oil/Acrylic Renderings Architectural Perspective and Rendering 115