The classic guide to the use of the camera for laying out perspectives, revised and updated to highlight the author's photographic techniques, to introduce new computer techniques for accomplishing the same accurate layouts as with the camera, and to present hundreds of recent examples of architectural renderings from leading professionals. Annotation copyrighted by Book News, Inc., Portland, OR
Architectural Delineation is a text realistically based on student examples, which is appropriate for any art/architecture class where hand drawing is emphasized. It would be particularly useful for any student interested in majoring in architecture or interior design. This text is a result of the authors never being completely satisfied with the various instructional books available over the 15 years they have taught architectural drawing. Their goal is to provide exercises that increase visual awareness, and develop drawing skills and confidence in each student who uses this book. Each project in Architectural Delineation is designed to give the student cumulative information while reviewing previously-acquired skills. The authors feel that the discipline of seeing (by way of drawing) is an end in itself. It makes the individual more intimately aware of the external world and the internal world of ideas. The first two chapters of this text provide a presentation of the course of study developed at Texas Tech University for a two-semester sequence in freehand drawing. The first semester activities are limited to black and white media. The second semester is focused on the use of color. Chapter three is essentially a portfolio of professional work. This section includes both black and white and full color examples of architectural illustration by significant architects, designers, and illustrators. Chapter four is devoted to advance projects by upper level students.
The drawing has always been our most essential method of communication. Drawings have offered us both a glimpse into the past and a view to the future. As a vehicle of transferring ideas, it is without equal. As the computer gains ground in our society, the drawing and the ability to execute it are diminishing. Many architectural educators continue to extol the virtues of the drawing and the sketch; however, students seem to not comprehend the value and the didactic nature of this fundamental act.As one renders an architectural drawing, one must consider all aspects of the scene; the material, the details, the sun, the space. The immediacy of the decisions cannot be overstated.Many consider Michelangelo the first to execute both the 'presentation' drawing as well as the 'working' drawing. Michelangelo completed a number of drawings representing the niches in the Laurentian Library, which he apparently gifted to friends. These drawings mark the beginnings of the drawing as an object, something that could be saved and gazed upon. The architectural drawing was no longer merely a communication device, it had become an artifact itself. Michelangelo is also responsible during the construction of Saint Peter's Basilica, for the first use of drawings as elements that were used on the site as references for construction.Over the last thirty-five years, Andrews has discovered some interesting and disturbing things about the act of drawing. One should understand the nuances of the both the process and the product. It is a tremendously time-consuming action that offers no easy answers. One should both comprehend and value the end product. One should take possession of the project through the medium of the drawing and know it intimately by constructing it through that process. There are times when the act is accompanied by a sensation that is almost audible. This perception is brought on only by this particular type of toil. The drawing must become part of you.
The drawing has always been our most essential method of communication. Drawings have offered us both a glimpse into the past and a view to the future. As a vehicle of transferring ideas, it is without equal. As the computer gains ground in our society, the drawing and the ability to execute it are diminishing. Many architectural educators continue to extol the virtues of the drawing and the sketch; however, students seem to not comprehend the value and the didactic nature of this fundamental act. The availability of paper during the Renaissance, ushered in a power, recognition and acceptability of the drawing. Suddenly an architect or artist could sketch an idea and the concept could be communicated to others far afield. This phenomenon has remained unchanged for hundreds of years. It lingers today; however, it increasingly is seldomly used. Sketches today are seen more as trophies of the past. Designers often create the sketches after the design is finished, as a nod to the past and as proof of their all too false process. Over the last thirty-five years, Andrews has discovered some interesting and disturbing things about the act of drawing. One should understand the nuances of the both the process and the product. It is a tremendously time-consuming action that offers no easy answers. One should both comprehend and value the end product. One should take possession of the project through the medium of the drawing and know it intimately by constructing it through that process. There are times when the act is accompanied by a sensation that is almost audible. This perception is brought on only by this particular type of toil. The drawing must become part of you.
A comprehensive guide to all major types of architectural drawings encompasses a wide range of drawing techniques, professional advice, examples, and information on media, styles, effects, and execution.
