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F i r s t s u p e r viso r - D r. Pro f . Ja sper Cepl S e c o n d s u perviso r - Pro f . I va n Kuchina D I A 2017 - 2018
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Acknowledgment I would like to thank, First and foremost my supervisors Dr. Prof. Jasper Cepl and Prof. Ivan Kuchina for giving me guidance in writing this book. Jaydeep and Christian for helping me with proofreading....... My sister Kinny for inspiration....... My family for their great support and understanding....... Paul, Rajni, Antony, Ilka, Kanika, Richie Rich(Guido) for encouragement and cheerful coffee breaks, BBQ and football.....
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Content 9
CONJECTURES
by Dr.Prof. Jasper Cepl
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PREFACE
by Author
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CHAPTER 1 15
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CHAPTER 2
Structure a structure to make an illustration
Translating experience into visual representation
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perception of space
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spatial construction of experience through movement
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creation and distortion of focal point
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perception of illustration
CHAPTER 3
Preliminary thinking
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find a purpose and show your idea
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fields of application
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subject of illustration
CHAPTER 4
Objective ingredients
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tool of drawing
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paper
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canvas size
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list of elements
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time frame
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level of detail
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scale of drawing
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CHAPTER 5
draw hierarchically
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graphic conventional codes
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line weight
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closer and distant objects
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physiography
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color palette
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color theory
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text
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frame or no frame
CHAPTER 6 97 99
107
Characters of illustration
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Impressions scribble your idea literal or abstract
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sensitivity of space
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organization of layers
CHAPTER 7
Basics of composition
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visual composition
115
symmetry and asymmetry
119
geometry in composition
123
visual focal points
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CHAPTER 8
Applying ‘Structure’ to the Illustration
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RECOMMENDED READING
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Conjecture by Prof. Dr. Jasper Cepl
Science, Karl Popper claimed, progresses in a series of conjectures and refutations. Popper held that merely observing phenomena led to nothing. To explore them one needed a theory about them — a hypothesis one could test to see if it actually explained the phenomena. He was convinced that there was “no more rational procedure than the method of trial and error — of conjecture and refutation: of boldly proposing theories; of trying our best to show that these are erroneous; and of accepting them tentatively if our critical efforts are unsuccessful”. Now, architecture is no science. But it if we look at the history of modern architecture we find that its changes of course occurred when new theories arose — theories about the essence of architecture and its values and goals. For instance, when the problem of mass housing came to the fore, or more recently when the problem of sustainability became pertinent. Problems like these reset the agenda and led to new approaches to the questions of form and design in architecture. Indeed, one could say that we are constantly producing new conjectures about architecture, and we may have to add that we should criticize them more extensively, if we want architecture to progress. So, our topic will be “conjecture”. We will have a look at the philosophy of science (Popper, Lakatos, etc.) and at design discourse (Anderson, Landau, Rittel, etc.) to find out how we can understand architecture in the way outlined above. From there we will go into practice — proposing scenarios for city life to see if they are feasible. Trying things out and see if they work. In the second semester, students may choose to either work on a written thesis or on a design proposal. In both cases, the idea of design as conjecture will be explored. Either through studies into the history of modern architecture or into the developments of design discourse after 1945, or through design proposals explicitly set up to test their impact. As, for instance, in “Berlin 1995”, a project for a megastructure on top of Berlin, done by Ungers’s students in the 1960s to illustrate what an implementation of the idea of “megastructure” would do to the real world…
introduction
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A boring drawing makes architecture boring. by Ragny Soni
‘Like talking to a brick wall.’ To a layman who is not trained to read technical architecture drawings, perceiving architecture on paper is usually strenuous, taxing, and essentially — boring. Eventually, to him, the entire process of architecture becomes boring. If, on the other hand, an effort is made to simplify the drawings and make them more visually appealing, they can be more readable to a wide spectrum of people, and can also stem their curiosity in the field of Architecture. I have to change perspective to explain this further. Every time my family traveled, my father and sister always carried their sketching stationary with them. They would find sketching opportunities fairly often; a bench in a narrow street, a cafe in the plaza, on a bus stop while waiting for a bus or on a rock while enjoying the view of the picturesque mountains. I gained a lot of motivation from them and not surprisingly, it became my habit as well. I learned to make quick, live sketches. It helped me capture a comprehensive memory of a place, along with incidents, experiences, culture, and landscape. When I started to study architecture wherein a lot of information is usually conveyed via drawings; this gave me much welcomed opportunity to employ my skills. My drawings gained additional structure and spatial clarity to my otherwise fairly informal style of sketching. And I realized that architecture drawings do not have to be boring. This book is an attempt to convey what I have learned. I may still have a long way to go. But I believe there is actually no ‘perfect’ style of sketching, but only ‘personal’; hence, I believe everyone should fearlessly explore their own style without having any prejudice or comparison in mind. Like I developed the way of translating the experience of spaces or technical architectural drawings abstracted by my architectural knowledge, drawing skills, experiences, compositions, colors, scales, proportions, important characters or elements that can translate the notion of design and create more interest in any person. And this led me to develop my own sequence of processing drawings. I am confident that my graphics won’t bore you, and help to get you started yourself.
preface
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structure
A Structure to make an Illustration Illustration - Translating experience into visual representation Why and What - Preliminary thinking Reason, subject and audience How - Objective ingredients Tool of drawing Surface of drawing - paper Canvas size List of elements Time frame Level of detail Scale - proportionate or disproportionate
Impression Scribble your idea Abstract or literal Organization of layers Sensitivity of space Sense of composition Visual balance Symmetry and asymmetry Geometry in composition Visual focal point
Characters of illustration Draw hierarchically Graphic conventional codes Line-weights of drawing Closer and distant objects Physiography Color palette Text - title and description Frame or no frame
structure
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
Translating experience into Visual representation Perception of space Spatial construction of experience through movement Creation and distortion of Focal point Perception of illustration
t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
Perception of Space Space is a container, which changes its quality with a change in its content.1 Space is a self- enclosed body like an empty box, possessing the capacity to be filled with things. Space exists even in absence of objects. But in order to define a space to experience it, one needs the assistance of perceivable objects. Therefore, space exists physically to a person with the existence of perceivable things placed within it. It means that any definition of space is only possible with material bodies or field. Space is perceived differently by each person. This perception is shaped by various factors, from personal points of interest, unexpected materials, colors, scales or activities which create interest and curiosity while the movement. It also depends on one’s memory which is related to other similar spaces or incidents which he has experienced.
1
ARNHEIM, RUDORLF (1977), Dynamics of architectural form. [Text], Uni. Of California Press, London.
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
Spatial construction of Experience through Movement The spatial construction of experience is generated in a linear pattern. It is influenced by many objects, forces and events occurred in that time and space. With the observation, the viewer starts creating a series of images in their mind. The mind records the linear sequence of sights while one is walking through Seminarplatz, to the Bauhaus. If the viewer is approaching the object in front of him, this connection can be experienced as a straight line, but same thing can also take any other shape. It can also be an endless number of curves. It is forced by one important aspect; movement. Spatial construction can be understood by finding the relationship between objects, which continues throughout and enables the mental (spatial) construction of space. The perception of space is a creation of man to which the architect contributes. It is not by itself.
t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
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example
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
A visitor of Bauhaus has an image of the building and surroundings in his mind, before coming for visit. Thus, Bauhaus building becomes a focal point in his mind. He starts walking from the railway station with a fixed destination and expectation. During this journey he encounters people biking on the street, students sitting at the Seminarplatz and around Cafe am Campus, the worm-shaped exhibition pavilion, students smoking and chatting at the foyer of Architecture wing, series of identical trees, and then eventually the Bauhaus building. The viewer experiences the whole place by attaching this linear sequence into his memory.
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
Creation and Distortion of Focal point The experience in a city, street or building is always influenced by various forces which can be the point of interest found in the surrounding during the movement or unexpected materials, colors, scales or activities which creates interest and curiosity and these forces create a focal point. During this, consciously or subconsciously one or other force influence the viewer and turn into the strong character of the place in the viewer’s memory that brings the distortion of previous focal point and creates a new focal point. For example, one experiences the Bauhaus as a very strong object on street, while at the same time in the large-scale materialistic world, people drinking coffee and students celebrating their graduation in front of the building brings life to the whole experience, which again becomes another source of distortion of the focal point.
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t r a n s l at i n g e x p e r i e n c e t o v i s u a l r e p r e s e n tat i o n
Perception of Illustration A well-written story supports the reader to imagine the scene without any medium unless text. The reader can imagine the experience and believe in the story and storyteller. Likewise, a well-made illustration has potential to transfer the experience of the space through the drawing, color, and composition. Therefore an illustration should be clear in terms of translation of ideas and thoughts which helps the viewer to imagine it correctly just like a well-written story. An illustration should be able to make the viewer believe in the story which the illustration express. The viewer subconsciously puts himself in that spaces while looking at the illustration and try to visualize and experience the way it is represented. During this process, one relates that experience with other similar spaces. And try to imagine to be part of that space.
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preliminary thinking
Preliminary thinking WHY - reason and audience WHAT - subject
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preliminary thinking
Find a Purpose and show your Idea. Good design solutions are not merely physically interesting but are driven by underlying ideas. An idea is a specific mental structure by which we organize, understand, and give meaning to external experiences and information. An illustration is a way of representing one’s ideas to a large audience. So it is recommended to make it easy to understand, approachable, simple or complex and appealing to the eye at the same time. Architecture begins with an Idea, So as art/illustration.
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preliminary thinking
Fields for Application In field of architecture, illustrations are used in several stages of design. For example, with design concept of design, case studies, research, site analysis as well as design proposal. There are even multiple interesting ways to use illustrations in fields other than architecture. They are used largely in publication. For example, posters, postcards, city maps, guidebooks, brochures, flyers, etc.
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preliminary thinking
Subject of Illustration Depending on the stage and requirement of design, one has to decide on a subject to make an illustration. For example Architecture, Urban context, Indoor and Outdoor activities, History, Incidents or Imagination. Depending on the subject, an illustration can be categorized as follows. Storyteller Experience Informative Symbolic Iconic Hybrid
Story teller
Experience
Informative
preliminary thinking
Symbolic
Iconic
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objective ingredients
Objective ingredients To start any drawing one needs a paper, a pen, and an idea. Tool of drawing Surface of drawing - paper Canvas size List of elements Timeframe Level of detail Scale - proportionate or disproportionate
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objective ingredients
Subject of Illustration Depending on the interest and requirement, one has to decide the tool of drawing. There are various Manual and Digital mediums of drawing which leads to a different output/result referring to the illustration. Manual drawing as a medium includes various tools. For example Pencil, Pen, water base colors, acrylic colors and etc. Digital drawing can be done in various computer software which is specialized for drawing and illustration. Commonly used software in architecture is Adobe Illustrator, Adobe Photoshop, Adobe draw, auto-cad, Archicad, etc. One needs to perceive the characteristics, functions, and output of the tool, which comes with practice and experience.
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objective ingredients
Paper If one is drawing the illustration manually or printing a digital drawing, it is very important to use the appropriate paper. Depending on the tool which is to be used, the paper(surface of the drawing) should be appropriate to draw efficiently and without affecting the paper or tool. A right paper can really enhance work.
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objective ingredients
Canvas size The purpose of illustration can help to decide canvas size or a pre-thought canvas size can support to find the function of illustration. Different sizes of paper change the appearance of the illustration. Canvas size will help to understand the area of the drawing, deciding the level of detail and designing the illustration with a sense of composition. One can choose the standard or non-standard size according to the illustration. The illustration should be proportionate to canvas size. It is necessary to decide the canvas size before starting drawing manually on it, as it cannot be exceeded after beginning the drawing.
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List of elements It will be convenient to list the important and less important elements one needs to implicate in the illustration. It will help to manage the drawing, composition as well as the time - frame. One can naturally include or exclude elements according to the idea and composition while making an illustration. Try not to leave any essential object that supports design. Be brave to exclude some unnecessary objects.
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objective ingredients
List of elements List of architectural elements that are commonly used to represent design. Architectural elements
Activities
building structure of the building wall floor column door window landscape architectural detail urban elements street physiography
people furniture layout weather vehicles animals
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Time frame It is necessary to manage the time frame while doing the illustration. According to the time frame, one has to decide the format, list of elements and the level of detail in the illustration. Don’t spend excessive time thinking in head, start scribbling on paper.
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Level of detail According to the requirement of design, one needs to decide how detailed the illustration should be. For example, if the illustration focuses on a building with special or unique structure, technical details will be helpful to explain design. If the functions and circulation are important, then one must show various activities in the space. Detail is associated with the scale of the drawing.
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Scale of drawing According to the subject of the illustration, one must decide the scale of the drawing. Different scales can be chosen for various elements embedded in one drawing. The important element of the illustration may be larger than other supporting elements. It is not necessary to make it proportionately. One can use abstract proportions. The scale of drawing and level of detail are correlated with each other. It is likely to choose the scale according to detail or level of detail according to scale. Similarly, the canvas size can be chosen according to the requirement of the scale of the drawing. Don’t hesitate to make larger people.
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Example
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objective ingredients
Large human and windows to show window detail and method of operating it.
Activities in front of building can be shown in smaller scale.
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c h a r a c t e r s o f i l l u s t r at i o n
Characters of Illustration Draw hierarchically Graphic conventional codes Line weights of drawing Closer and distant objects Physiography Color palette Text - title and description Frame or no frame
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c h a r a c t e r s o f i l l u s t r at i o n
Draw hierarchically While drawing in any medium, avoid working at a “100% level of detail� from one end of the sheet towards the other end. Begin by laying out the entire sheet. Draw in light guidelines, geometric alignments, relative proportions and placement of the elements. After achieving success at the schematic level, move to next level of detail. Evaluate the success continually, making local adjustments in the context of the entire sheet.
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Graphic conventional codes According to the subject and its requirement, one has to show the design using the graphic conventional codes, which are the plan, elevation, section, perspective, isometric, axonometry etc. One should choose appropriate graphic conventional code which implies the biggest potential to show the design, idea, and subject. For various element one can use different styles in one illustration. Find the most promising style to represent your design.
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c h a r a c t e r s o f i l l u s t r at i o n
Line weight As the basics of any architectural drawing, graphic conventional codes with appropriate line weights make it more efficient to read the drawing. Line weight can be considered in two levels. Per element and Per layer (a group of elements) Per element An element (plan, elevation or section of a building) can have various line weights for different sub-elements (window frame, window shutter, roof and etc). The closer the stronger. Per layer According to the organization of layers, one needs to decide the line weight of each layer. If it is not wanted to use various line weights, various shades of colors can be used instead. Thicker line = Darker color Thinner line = Lighter color If you want a wall to feel thick make sure it is THICK.
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c h a r a c t e r s o f i l l u s t r at i o n
Closer and Distant objects Especially in elevation and section, it is necessary to group elements with similar distances. Facades in varying distances can be separated by using various line weight, pattern or color shade. There are different technics to do it in rendered drawing and line drawing. Separate front street, middle street, and distant street. Every street has particular line weight, pattern or color shade.
by line weight
by lineweight and color
closer object with light color distant object with dark color
closer object with dark color distant object with light color
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Example
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c h a r a c t e r s o f i l l u s t r at i o n
In a color illustration closer and distant objects are separated by darker and lighter color shades.
In a monochrome illustration closer and distant objects are separated by line weights and hatch.
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c h a r a c t e r s o f i l l u s t r at i o n
Physiography Architecture is full of the play of light and shadow. The light quality in different spaces gives various experiences. Physiography is helpful to show the light quality in the space and gives depth to the illustration. Technically, in elevation, it separates surfaces with various depths and in the facade and in street plan it is often used to demonstrate the height and mass of the building relative to space around. Shadow in windows is on opposite side of the shadow of a facade.
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Example
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c h a r a c t e r s o f i l l u s t r at i o n
Physiography gives depth to the elevation of building.
Physiography gives height to plan of the building.
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Color Palette One has to choose a color palette for the illustration. It can be colorful or monochrome. It is used to isolate different elements in illustration as well as to represent the ambiance of the place, material of the building, landscape, physiography, weather, activities and etc. Drawings rendered in shades and shadow tend to convey emotions better than line drawing. Colors bring life into your illustration. Colors can be used in a real or abstract form. The illustrations with literal colors of the subject/site have more color shades according to the scene. Any illustration has a minimum of two colors - one for drawing itself and one for the background. There are various ways to represent the subject with colors which gives different output to the illustration. For example, flat color, gradient, pattern. Depending on the subject one can highlight specific elements by using one particular color which is different from other monochromatic colored elements. Play with contrast colors. If you can’t make it big make it RED.
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c h a r a c t e r s o f i l l u s t r at i o n
Color Palette It is very important to understand the behavior and meaning of colors. Colors may associate with the seasons. Winter : Autumn : Summer : Spring :
gray, white, ice blue and similar colors gold, russet, brown, muddy tones, olive, purple(puse) primary or bright colors pastel tones
Windows look darker within the daytime. Colors may be categorized as warm or cool. Warm : Cool :
reds, browns, yellows ,yellow or olive greens blues, grays, blue - greens
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c h a r a c t e r s o f i l l u s t r at i o n
Text One may add a title and description(optional) in any illustration. The title should be simple, punchy or funny which gives the idea of the subject and also brings curiosity of the reader towards the illustration. A meaningful description supports the illustration and helps the reader to understand the illustration with more precision. It can be the aim of the subject/ project/ illustration, story, history or incident of the space. One may also put a small symbol referring to the Title. The text is also part of design and composition. Depending on the subject one needs to decide suitable font style, the size which is proportionate to the format and design. Give it a name. Put your name.
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Example
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The Fish House
Bubble like dome
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c h a r a c t e r s o f i l l u s t r at i o n
Frame or No frame A frame around any drawing makes it visually complete and supports the illustration. The frame can be visually strong or harmonious to the illustration. Wide frame = strength, and power Thin frame = balance, and harmony With the judgment of composition and color, one may choose similarly or contrast color for the frame. In some cases some elements of illustration work as a frame, which does not need an additional frame. Frame a drawing, don’t merely exhibit it. An equal left out space around the drawing is also considered a frame.
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Example
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c h a r a c t e r s o f i l l u s t r at i o n
White left out space works as a frame which gives focus to the grid in illustration.
Broad border around illustration gives feeling of power to architecture.
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impression
Impression Scribble your idea Abstract or literal Sensitivity of space Organization of layers
impression
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impression
Scribble your idea Sketching is a technique for documenting ideas in a quick, free and unrestricted way. It is a spontaneous way to do basic composition of illustration. It gives an opportunity to try and achieve the character of an illustration, like canvas size, the position of elements and title, color scheme and frame.
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impression
Literal or Abstract An idea or architecture can be represented in a literal or abstract way. On a conceptual stage of design, the abstract method is the most helpful to represent the idea without any further design parameters. Literal form is applied for the development stages while it is required to show maximum details to represent a proposal or reality. An architecture with unique and powerful form, element or detail can be shown in an abstract fashion. The abstract form influences simple and minimalistic approach, so characters like drawing style, color selection, and the composition become highly visible.
impression
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Example
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impression
A proposed project with literal representation.
Abstract section showing visual relation between existing and proposed building.
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impression
Sensitivity of Space If you wish to imbue an architectural space or element with a particular quality, make sure that quality has been shown. In some cases, it is necessary to exaggerate some quality of space to make sure the reader feels it in the illustration.
If you want a space to feel tall, make sure it really is If you want a space to feel tiny, make sure it is
TALL.
SMALLER
than other spaces.
If you want a space to feel lively, make sure it is COLORFUL. If you want a space to feel dull, make sure it is GREY. Building is symmetrical, Illustration is symmetrical.
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impression
Organization of Layers Layer = group of elements Each element or the group of elements are considered to be as a layer in the illustration. For example wall in a plan, elevation or section, architectural elements of the building, physiography, landscape, human activities and etc. One can simplify the complexity of layering the elements by making groups of various elements which can be put together. One needs to try out various composition by arranging the sequence of the layers in a form of a collage of elements which helps in designing and composing the illustration. One can choose one color for each layer, which helps to separate them visually in illustration. Possible groups of elements: Wall, floor, column, door, window Buildings on street Furniture layout, landscape, urban details, urban furniture, vehicles Physiography Activities
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sense of composition
Sense of Composition Visual balance Symmetry and asymmetry Geometry in composition Visual focal point
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sense of composition
Visual balance Beauty is due more to a harmonious relationship among the elements of a composition than to the elements themselves. In architecture, the form and structure of the building should be self-sustained and visually balanced. Similarly, an illustration has a visual structure which makes it self-standing. Put visually heavy elements in the bottom and visually light elements on the top. The illustration is a composition of positive and negative spaces.
Large top on thin heavy base
Balanced by harmony
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Example
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sense of composition
Relatively larger building ‘Bauhaus’ at the bottom gives a base for illustration.
Colored elevation with many elements creates a base for illustration.
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sense of composition
Symmetry and Assymetry Static compositions are usually symmetrical. At their most successful, they suggest power, firmness, and permanence. Appreciate symmetrical buildings and bring that quality of symmetry in the illustration. Accurate symmetry is not possible in all cases, but it may be similar in a ratio of positive and negative space.
Symmetry
Assymetry with similar positive and negative spaces
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Example
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sense of composition
The illustration is balanced by light and heavy objects in both side of center line. The Bauhaus entrance is balanced by a big man operating windows.
The symmetry in illustration is supporting and enhancing the symmetry of the building.
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sense of composition
Geometary in Composition According to the elements one may find appropriate geometrical divisions on canvas, which makes the illustration visually harmonius. Geometry is an easier way of composition and there are less possibilities to make illustration look distorted.
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Example
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sense of composition
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sense of composition
Visual Focal points According to the subject, the important element or elements get maximum focus in illustration in terms of idea, presentation and composition. Which can be created with various means for example color, lineweights, scale, frame, geometry, and composition. Perspective drawing is an effortless way to create focal point.
Central / singular focus
Scattered focus
One point perspective
Two point perspective
sense of composition
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Example
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sense of composition
sense of composition
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LIFE ON CAMPUS Illustrated by ragny soni
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LIFE ON CAMPUS Illustrated by ragny soni
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fig. 32 Author, Life on camupus, Semester3, DIA masters, 2018
Life on Campus This illustration shows the influence of architecture and design school on the life of the street. The humans showed in red are located in the important gathering spaces in the campus. It shows how big or small spaces in the campus are used by multiple activities. There are spaces where architecture or design students create art or architecture installations and utilize it as exhibition or gathering space. This illustration shows the relationship between the campus and residential buildings around.
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LIFE ON CAMPUS Illustrated by ragny soni
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Applying ‘Structure’ to the Illustration Preliminary thinking Fields of application Subject of illustration Objective ingredients Tool of drawing Paper Canvas size List of elements Level of detail Scale of drawing Characters of illustration Draw Hierarchically Graphic conventional codes Line weight Physiography Color palette Text Frame or no frame
analysis of activities on campus, brochure, postcard activities and hot - spots in DIA campus
manual line drawing, digital coloring (Adobe Photoshop) white card 297 x 140 mm buildings in campus, streets, physiography, people, landscape minimum details which shows the profile of element graphical scale, proportionately larger people
site plan - elevation - physiography - people - title plan, elevation one line wight for drawing, windows and doors filled in color hight of the building, shadow quality in campus white, gray and black for the base ( winter palate ), red humans to make it more visible the title of illustration and artist in the bottom of illustration white frame around, merging with illustration
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LIFE ON CAMPUS Illustrated by ragny soni
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Applying ‘Structure’ to the Illustration Impressions Literal or abstract
literal form of elements
Basics of composition Visual balance Symmetry and asymmetry Geometry in composition Visual focal points
horizontal street separates illustration into Top and Base similar ratio of positive and negative space in both side of vertical street vertical and horizontal streets divides the illustration people in red create attention of the viewe
a p p ly i n g s t r u c t u r e t o t h e i l l u s t r at i o n
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Recommended reading Matthew Frederick, 101 things I learned in Architecture school. MIT Press, 2007, 14. Paul Lewis, Marc Tsurumaki, David j. Lewis, Manual of Section. Princeton Architectural Press, New York, 2016, 6-7. Mo Zell, The Architectural drawing Course. Thames and Hudson publication, London, 2017. Sandu Publishing, All about Maps. Gingko Press GmbH, 2016. Rudolf Arnheim, Dynamics of Architectural Form, London: University of California Press, 1977. Kinny Soni, Communicating architectural experiences (M.A Design, University of Nottingham, 2009), 4.
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Dessau International Architecture School Anhalt University Department 3 Š 2017/18