Designers Guide To Architectural Sketching

1. Introduction To Architectural Sketching: Have you ever show go communicating your design ideas visually so others can understand to essentially make a word picture that immediately conveys your idea to hit home. That's the beauty of architectural sketching. Hi, I'm Brandon, your instructor for this guy to architectural sketching. I'm a licensed architect and sketching is one of the key skills and studio and meetings on the go to develop ideas and communicate them. In this class you will learn the basics of archetypes sketching, how to convey your ideas and build them visually with a tool of your choice. We'll start by using the right media, looking at sketching and pencil and pen and different types of paper will cover 2D and 3D sketches of architectural ideas. At the end of this course, you'll be more confident and ready to use your sketching freely doing your projects and studio meanings or just in your sketchbook. This course is for all levels as I cover some beginner and advanced techniques for you to practice at your own pace. As an architect, I've been sketching all my life and architectural school. I received the Fine Arts Foundation, which immensely help from my artistic sketching in addition to it inspiring constructed architectural sketches in architecture school. In this course, I hope to give you a little of art and architecture for your sketching journey. This class project, I will give you a two-part assignment, sketching from a photo, from a prompt to learn sketching and build your sketchbook portfolio. You're ready to take your sketching to the next level. Let's go. 2. Class Materials: For this course, I'm really going to be very simple. What I am using. We're starting with a basic sketch book. This is a little basically thick paper. I think you're going to find out which one is gonna do. Well, it's typically having a decent amount of weight to the page if it has a particular weighting. So I think definitely not a bond, like definitely more than £50 paper. I'm also going to use sketch paper. This is always valuable for you to see what's underneath. That's always very useful. We're going to have like one simple skill, it's architect's scale ruler. Be changing scales and make sure we're doing something that's the scale strikes your life will be using a triangle. This has helped me if I want to get like a little construction line, do you want to do a lot more free hand, but ideas, this can help me if I need to have a line. I'm also bringing for the pencil side. Whereas a lot pencils will come at HBI. This b being black. And the ideas or the hardness that you would want is to have a variety. So if you have any drawing pencil set, you can find where they have different types of h. So like different types of hardness or different types of levels of black. So it's going from the Hs to the B's. So you can get a set of that. You could probably get maybe ten to 12 pencils and they have different, varying harnesses. And so I would recommend that now that'll be very useful as we're controlling what our lines are. For the pencil, you'll definitely want to have a pencil sharpener and also an eraser. I'm keeping that very light. Then on the pin side, I've actually just had two sets of sort of more signer pins with archival ink. And also just a regular ballpoint. It's a little bit like a gel pen. So these are some things I like to sketch with and we'll be going over in class. I would recommend getting a few different types of small objects. It could be Montessori, it could be little objects you've maybe even a model you've made. There'll be useful in the class or just, just practicing. So you could be sketching something that's three-dimensional. What you see here are paper or trillions or paper stumps. These are another useful tool for shading. Whereas one could use your finger when you have a line. These will help do a similar sort of thing with with paper. And I'll give a useful tutorial for how to make something like this and the resources. So those are the elements for this class. I might use something separate, but I'll always introduce itself. This is the basic, however, for the course. 3. Choosing Lineweight And Lead Weight: Line type is very important. You see I have here three pencils. One is just a standard HB lead. The other one is a to H layer, which is very hard and the other one is to be led. Start with just the HB. It's obviously it's in between. What you have with this is the ability to draw basic lines where you can just be pulling a lit. However, when I'm pulling that led, that line is often more uneven. One way to get a better line is to actually roll the lead as you're moving. You get like finer lines with rolling. And the idea is you're pushing, you're not trying to vary too much. Whereas when you're pulling it, you're putting a lot of effort and to keep the same consistency when you're rolling it. Typically especially when you're using like a ruler, it's going to be much more effective. That's just using this HB. You can vary the amount of thickness. But obviously you have to be careful because you could be saying, all, want to draw this nice and then you hit the hard push and that's going to make it a very thick and dark line. It's interesting to be able to change the width as well with these wines. Now that's just using the HB, the solid line that you know, if you're doing curve and angles, is this, you're going to be practicing on hitting it at the same, at same hardness. Even doing the extra that is where you're getting harder as you push it down. And then you would just start to maintain control over that line as it moves forward. Now, that's of course, this HB lead for you have of course, the ability to go very far hard. When you're getting like this very thickness, you start to need to do sharpening for it to stay precise. Mind that now let's look at using the two h, The two H very light from just simply dragging it or rolling it. I'm getting very light line and it's good for giving this construction. This is what's behind my drawing. Even when I start thickening and up, it stays pretty light. It doesn't get too thick and fat or fuzzy. It's a great reason for when you're constructing to be using things like a to H. So you can build your drawing on these similar lines. Then when you're ready, if you're using this beyond like a sketch, if you're going into drawing, you can always be inking this thinking right over that online. Or you can draw with a heavier pen if you're heavier pencil if you're going to be keeping that in terms of a pencil drawing. But in terms of sketching, this is great because I could be sketching the form that I want to be drawing. And then just come in there. And I wouldn't use it to age too much because it's too much effort to really draw this. A lot of times it's easier just to use a thicker pen. And so the thing is, with a thicker pen like a to B, the line is thicker whether it's individualized and that's why you choose something that's thick like this. I don't have to put as much effort in. Whereas if I was using the HB, is it really as dark because I want you of course, can push harder and get a thicker line. But be mindful of the fact that you'll need to sharpen it again. And so this, to be for sure is much darker, it's just easier. You of course, can do no light drawing of it. And that's of course, general pencils. But in general, when you're doing that normal consistency, it's going to be darker. And the HB lead. There's something about HB particular, especially like general pencils. They just have a lot of variant for their thickness. Whereas these constructed drawing pencils, the general have harder lead in general that will not break out. So when you're doing a basic sketch, you might just say I'm using this. But if you're going to draw over it or do some construction, you would want to use more of the drawing pencils, drafting principles versus just a regular pencil. And that's how you start to control your line weights. 4. Sketching Concepts: There are some key concepts that will help you as you start your journey for sketching. One, definitely wait to get started is make sure you have the initial idea. The idea will be something that you could know roughly. Just draw something of something you can search, you can find, you can explore, hey, what's the quality? So make sure to have that initial idea. It's gonna be a great help to you. The next thing you want to have is references. This could be a photo graph. This could be an item that you can find around your house. This could be a place to go. That's gonna be something that really help you set aside and grasp the visual idea. Then the next idea is to sketch a lot. That means when you're sketching, don't ever just think about making one sketch. Make it 23420. It's something that helps you grow in your skill and your ability. Number four, you also want to add your words. This means, are you drawing something that's supposed to be bright, to be curvy. So to be fun, like that is, how has your sketch to be communicated? Because words can help you find a reference. They can help you set a direction for your sketch. On number five, you want to preserve. I think preserving sketches is a incredible way of keeping them nicely. Kept in your space. You can preserve them variety of ways. Obviously, you're using a sketchbook is one way because the idea is you can keep it in that paper. Another way, of course, different types of places where you can store the paper or laminated, or maybe just take pictures. It's good to have a sketch preservation archive also like on your computer. So the idea is you'll always be able to come back to an idea and obviously is with a project, It's great to be able to keep track of what your progress is. And also, you definitely want to develop. With feedback. Feedback is where people will say, okay, this is what you do. This is I should do it. That means that you're going to be open to hearing other people's insights. It's also teaches you a craft of how to improve your self. If you're just looking at your drawing, go away, come back. And it's going to help you get a better sense of what's going on. I would say number seven is time. You want to give time for each of your sketches. You don't want to just say, boom, has to be such and such. You want to say, I'm going to give some time to figure out what I'm drawing. Get used to it, connect with it. That's gonna be really valuable for you. And I guess I'll just finish off by saying, research. Research in this aspects of sketching versus just thinking about our reference. It could be maybe just always researching even like the material I've using this type of pencil, Let's type of pen. There's certain materials that are used in this class, but you can use any number of materials. I think it's good to get your feet wet by finding out what's out there. There's also being able to know just pretty much about the world of sketching as you might be using it for your particular industry, your projects. But if you learn from the bigger world, you'll always be able to bring that back into what you're doing. 5. Starting With A Sketch Idea: Planning out a sketch is a very simple thing to do. It means that you're going to say, before I'm going to draw, let me figure out what is going to be like parameters like what am I trying to accomplish? What am I drawing? How do I want to draw it? Even if you're saying, I want to draw this thing or I wanted to come up with idea. The idea is set some boundaries you are starting. For instance, if I said Hey, look, I want to draw this object. So let's start with this. That's a great way to say, okay, you're starting sketching, you have a prompt. Because if you're really trying to come up with something that's gonna be a little harder. But if you're drawing something that already exists, it's gonna be easier. In the future. You'll be able to say, Okay, I want to draw something and I have it in mind. But if you're starting sketching, you really want to start with a basic, something that already exists. We'll start with something simple. This is a little bit, maybe a little more complicated, this little model house. And that's a good little point to start with. But I'm gonna go over how I'm sketching and sort of things that you can learn while sketching it. One way to make this a little more effective for you as you're seeing it is really to change the angle of my camera. So just be mindful, I'm going to take a picture and it's gonna be in the corner of my view so that you'll have that as you are sketching in the class. 6. Starting The Sketch: When you're drawing from an idea, you say maybe I want to draw a circle. You're going to spend your time just like crafting the edges of the form. And I'll thank form rather than shape because you don't want to be, boom, that's the thing I'm drawing. You want to say, let me just Gerasa line by line till I understand it. You're building it up. So if I say, Hey, look, what am I trying to draw a triangle? I'm using simple shape oriented things. I think starting this way is it's just really easy. And it helps you to grasp the idea. You see how I'm not trying to finish at points. I'm doing it very lightly. Opinion page very lightly. I'm really pulling I'm not pushing the lead. I'm pulling it. And the second polling little, little, little. I'm fine if it overlaps as well. So I'm not even thinking about it as a shade or something. It says me grasping this basic shape. That's, that's how you're going to start. And the concept of getting these basic things as you're sketching. Then you can start figuring out different drawn particular things of shade or line. But having the idea of saying, Okay, I'm going to draw a triangle and we just grasp life. Even I did a similar to a full line, but you could just pull, pull, pull to the edge. It's a sketch, especially if you're starting, you know, it's fine to really just keep it. In fact, I would prefer people avoid drying big long lines. We are starting to sketching. You just draw like little, little bitty lines. Even if it's like this small line, just as break it up and build that, that line. And that's going to be where you're starting with that idea. That's going to be just simple, simple, simple, but keeping it in focus. And even this doesn't matter how much you want to sketch. I think trying to keep those simple start points, even if you say there's several different shapes you're trying to put together, or you know, like just different types of architecture thing. Start with simple lines at buildup, two forms. That's going to really help you get that foundation. 7. Chapter 2: Sketching Basics - Sketching A Box: Foundation of when you're going to draw an object, which is a very useful way to learn sketching. From my angle. It'll look like this. Maybe to you. You are going to start and you will go and just be achieving simplification of what you're looking at right now, looking at dislike this race or just looking at that. You're just going to be capturing something simple. You're looking at maybe the proportion before moving on to detail a specific size. So the way I'm going to draw that and start visualizing it is going to be really simple. What I'm first going to do is really just the basic, just like when we were before talking about sketching a box. And I've sharpened pencil. Again right now I'm still using the HP, being very simple, and I'm just pulling my, my tip here. And just like you're drawing a box and here's the best way. Because you've started thinking about how things are organized. No matter what shape or size, you're gonna be having these particular bounds. So when you're thinking about something in 3D, just think about, you know, I'm just taking this bound for this object. Not even really think too much about perspective. The same. Now I look at now from this edge, this edge, that, that's my drawing I'm seeing, I'm seeing a portion of my short side. I'm just capturing these edges and the long side. Keep these and I say the portion between size. Now this is not about being perfect. You start with as little sketchy lines and maybe then add some more stronger lines. And then you're grasping at. And that's a very useful way to get started with a sketch. I'm not trying to get it perfect. I'm just looking at basic elements. It'll turn into a box. And then if I would say, Oh look, what if there's one of these, you know what a field is looking like this, I added, want to add this to it. I could just simply add another piece. Maybe even at a different angle. I'm trying to just grass being next to each other. So this getting those, those lines out. And I'm keeping the same style and this is just really adding lines, just thickening up. As I'm finished. 8. Sketching Shape: Shame is something that will redraw. It can be very simple. I'm going to use this ruler to sort of organize. But essentially, you see that the constructed shape always has a definite, definite profile and how things are spaced. However, when you're sketching, what happens is that often because of your angles are the straighten through your line, you will see varying amount of precision. So how do you how do you keep a shapes? Pristine nature? That's the question when you're drawing. So the idea is when you're sketching, you're going to be expressing the edges. You'll be thinking about those points, those lines. But you also want to make sure you're continuing the sketching language. And that's a delicate balance. You know, there's a, there's a difference between sketching and drawing. And so we decided to focus on those points. We're connecting with them. But in the sketch world, we can do things like going past the lines, went past the points. And they can create a very beautiful effect. So you see where we're doing a rectangle, how that look of going beyond the edge, keeping it sketchy, how it creates that sketchy vibe. Then even then, we could be reshaped that shade to have that same sort of freedom. It's not just filling it. We are able to build it up. And then we're able to add on like a thicker layer. So the layering is part of the sketch beauty for putting together this sort of visual. So I just added two boxes just to show what happened, we start to think about developing something like a plan would shovel different. Now we're gonna make a little more interesting shape just using a little more of a curved line. Which one of the things about this one is that it's, it's, we're sketching a curve and we're building it up. We want it to be precise and express what the curve is, but we're still using that sketchy language. We're, we're a little hazy about where points come together, but we still want to express the intersection. And as, as we draw this circle, you can see, no, we lose a little bit of something versus just sketching it. So it's that delicate balance where you're, you're maintaining that boundary. You have an idea of where everything starts and ends. But you're, you're building it up. You're pushing it to be organized. According to a whole. The drawing obviously is not doing the same thing as the sketch. So even you can continue drawing on top of the sketch. But the idea is when you're building an app, you are trying this similar approach. You being a little ambiguous and then it helps you as you build them to even viewer to shade and we're going into shading. In the next section. You are able to really built with the same language as those sketched edges and that sketch boundary. And you can even, of course, before your sketch, draw a very light line for the Shape Outline just to help you organize and they just start building it up with the sketching language. Or you could even say the sketching brush. That's the gist of what's happening. And you're starting to do a lot of things. There's on a shape where light is saying where the dimensionality is. And that's, that can be started even just with that line. You still achieve the form of shape. The idea where the shape is going to be 12. Look back to the triangle and those straight lines. We could still have that same sort of future as we start to build and contemplate the straighten out. This is a 2D object, but you still have that ability to give some dimensionality to it. Whereas like, how is it being rotated? You're building it up and so on. I'm shading into that. I'm just using those edges and ideas. That's where you see the value of making a very, very strong edge without having it drawn straight. Same thing, having the rover looking at how do we, you know, relate that inner fill to those edges. You understand. And you have that, that ability as you're holding to what the shape is, withdrawal. So keeping to the sketch. And then you're building it up and you're developing the language. Okay? Those are different methods, but they're all. I'm showing you how to put together the sketch while using the different elements of the line. The form. You're gonna be thinking about this is not how larger your sketchbook gums or how intricate you still have this stylizing the different elements for it. And so these are going to still relating to be starting to add in lines like double lines, like if you're talking about a wall or like a thinner line, it's still going to be that same. So as we're thinking about perspective, perspective shape, that's where you're specifically thinking about. Sure, dimensionality. You're still doing those same things that you would have been doing with just a 2D shape here makes sure that edge is expressed, but you're still building up in the sketch way. And you know, you're showing all the dimensionality. You're thinking about how thick it is. You're thinking about how things are built up. It's going to be relating. And that's the critical thing for that. 9. Shading: Important when you're drawing to consider, how are you going to fill the drawing? For instance, we draw like a simple box that's in 3D. And it's a great exercise. I might draw my outer edges. The thicker, heavier weight. I'm just using HB. But there's not really a sense of this is before this one. So we start to do things like shading. There's not really a shadow. Just choosing one of the sides. And saying, on this side, I'm going to be drawing like many lines and I'll shade. I'm shading that side. So that's me shading immediately you see it gives some dimensionality. But then on the other side, you always can shade multiple sides. And which you can start doing. I'm, of course this didn't like the general journal. Shade, quick shade. Of course it is nice when you will do something like this. Channel quickly draw an idea. You can always be doing like the jagged shade, a little longer shade. You can see it looks a little bit nicer, especially around the edges. I'm ideas. I could just come on this side and this is I'm putting less push into the line. You can see obviously I was dragging a little hard to hear. But let's look here. Even when I shade on top of that, there's more defined shape. You see, you can just build it up. And you can build it up again and again and it will get even without putting more pressure. So that's a good reason to shade intelligently. Then this quick shade is nice, obscene material like a quick sketch. If you want to take more time and precision, you could do this even to the point where you sometime even are taken away the edges. Now, of course I made that, that were visible. Obviously this edge is a little bit darker, so I'll probably clean that up. But if I just wanted to really even see the form, go very light and essentially just build up merely by shade. And getting to the lines and you see the LED has been dulled, but for shading to the amino, you will be fine with it. A little more dull of a, of a lead because it's essentially dragging. It's not like get super precise lines. At the top. There's several ways of doing this. But I came in and what I'm going do now is going to really start to play with what happens with this shade. So we start to differentiate. I started to pull this one in to make this one come out as heavier. Then this one, I added another round of shading. Then I actually go to my edges, reinforcement edges, but I'm not really drawing it. Just pulling that same just like it was for shading. And so you will see that we have now sort of like a form of just shading. What to do though, to start to clean up something like this. So obviously the line one is within eyes, start to see the modality. But when you start taking that away, you know, are you really losing them? Why you don't have to? That's why of course, had things like a paper to a trillion where I could be hitting this edge. I'm pushing around lead on the paper. And this is the homemade one. But generally, there's a particular sort of sharpness. And I can use the sandpaper to get that sharpness back. But right now it's fine. I'm going about each edge. Can just pushing it around and I'm making specific pressure. When I'm hitting around the lines. You can still read those lines. I even playing with light and this is very simply pushing around for the shading. And now you're seeing how that top plane is pretty, pretty, pretty dark. That's when I get this opportunity to come in with an eraser. That is not just to erase a line, which is totally possible. And we'll talk about that. But it's, it's been the ability to pull away some of that element. So I can get a nice, clean, lighter shade. Even saying that I know my little area was to have a little thicker shade here. Now, I have plants around and again, might have to the site where you're trying to remove some of the other materials so you're getting a fresh project. Shade. So that's another way of choosing and using shade to bring some dimensionality and depth to my model, my drawing. Now whatever I'm drawing, I get two at, with the lines, different types of shades that make it stand out. And this is, of course, it's immediately within 3D, something that you have that opportunity to put into your drawing. This is of course just looking at flat shades where they talked about, what about when you're doing like a little more texture. But in terms of chaining, like it's really, really this simple. I use like H because essentially it's gonna get dl for these sort of things that you just dragging, dragging, dragging with lead. Obviously, again, this way is a quick way to get a now shade. But in terms of the beautiful thing about just pulling in, going in the direction. So they have different effects. And obviously, this could be quick, but there's always going to be meaningful for you. And in terms of the edge, I will talk a little bit of how to control those edges more with talking about the eraser. 10. Sketching With A Pen: Sketching with a pen as much different than sketching with a pencil. For instance, when you're building lines. Obviously the pen is obviously more static. Cell, it's catching a box. I still can have that sketchy look where I build it up. But for the most part, there's not that much of a darker or lighter pen. It's only one weight. I including when you're setting a, you know, like, uh, uh, shading, it's good to really be the same. So that's one reason for sure. It's what people say. It's a little different for sketching with a pen. But you still have that same set of dynamics when you're trying to figure out drawing. If you want to actually maybe create a set of lines, a set of graphics, then maybe say on top of that when you're finished, Let's start adding pen layer. So I'm still not dry, I'm just sketching. But the ideas though, either you could start with a pen or come back then add it as a pen. Obviously, that's just me just drawing some shape. But if I was saying all that, I'm drawing something like a something like an architectural plan and I have like a few elements to it. You see I doing another little thing here. I'm adding a little bit of a trickle to my live. And what that is is just adding a little bit of a shake because there's no reason for the line just to be like a solid line. You can see here the difference between this one and this one. Then when I start to shade it, this is a little different sort of push J experience. One is like low shade. And if we go back to some of those previous concepts when drawing a shape of saying, let's add to that edge. So to have a different look entirely for this little plan element, I was going to go ahead and just finish it up. They see how that can read in this architectural plan. That sort of sketch creates out. And the idea is, I could be sketching on top of something, just have the definition, but having a sketchy look and then filling it in creates a very nice effect. That's a beautiful way of using pens for sketching. Obviously, this right here is a, just a one simple ink pen. But of course I have my variety of pens. For instance, when I'm drawing, I have this 28 here. So my O2 line, It's this thickness. And my 08 line is a bit thicker. But sometimes I'm drawing maybe my outer edge on my profile. I will use my 0.8108, that point, that point out to you for the internal lines. And if I'm drawing something like little line above, like a plan like this, I would just use my walls. And this effect that would come back. And B, using a in a lighter line for some of these other lines. And that's a very beautiful way of not just building up, but saying there are different elements. And obviously for my little in-between way that you can choose whether you want to use it as a color, this one either. The fact is my little shading and pushing are not as critical as saying those particular edges. 11. Using The Eraser: One important thing for sketching is also the fact that what you're sketching minus one, I need to erase made a little eraser shield here. I have a sketch and I want to maybe trim this part of my sketch a little bit. Of course is the same enjoying. But sometime obviously with sketches, you might use a lot more free with your elements. C, all I did was that simple, putting an edge up against what I wanted to erase and I just pulled it back. But as you can see what this ratio will also have ability to erase some shapes as well. Hit there. I even use that tool to draw the little profile in there. Now this is a bit of a thicker eraser shield, so maybe all the shapes don't particularly work, but obviously it's more useful for drawing. But the idea is that if you're trying to have a controlled erase, obviously if you just say, whoa, look, maybe I want to add a new form in here. Maybe you sketch out what you're trying to do now. And then you just come in here and is simply located. This Tyler, keep that edge pretty, pretty secure. For instance, if I would say now, look, then I would 610 minutes. Again, I didn't take anything away from the sketchiness of it to create that as naughty, even if you're saying you just want to erase or reduce the shading, just simply pull it in there lightly. You know, clean this up a little bit so it's not too bad. So that's how you work with that eraser, is a simple sort of pull back a little bit and sometimes the rates would just lightens up a line. For instance, if I want to just lighten that up a little bit, just not always erasing it up. I'm just adding a little bit of an effect. So that's how you would use erasers for your sketches. 12. Chapter 3: Advanced Sketching - Sketching Perspective: So now we're thinking about how we can draw a perspective using sketch. Now, it's important to still have the understanding of what is striking it. So I have two points at the end of my perspective line and that's my horizon. Those are my points that I'm organized, everything else by those my key points. And I'm using the idea of this constructed triangle to sort of point all my points according to my two horizon edges. So this is a 2 perspective. And as you of course can see that this is obviously very much just drawing. However, we want to, in the end copper the pers perspective sketching upward as opposed to just the regular one. But we're just going to start by just drawing it. Were again, relating all the edges. We're thinking about the way the lines are drawn and we're relating it back to our two prospective points. So again, this is how you build everything is related and it's a form of accuracy. It's again this just to point. There's also a three-point. So the idea is your, you know, pretty much being accurate. And of course the skill is to say what happens when you are starting to construct this just from a simple sketch. But when we're doing this, we have simple. The first time you're doing it, you are going to be thinking about, okay, how do I connect with these points with the direct line? But your inner understanding of that line is going to be important because obviously every line you're going to draw from the two-point perspective is not just going to be a box. You might be a cable like, you know, an angle, be doors and windows. So you can see as I'm starting to add some different things to hear. These things that someone was considered when living and doing a sketch. You're sketching the, the gamut of what could be connected to the system. And so the idea is like, this is something you'll start to do in your head. Or you could also just be doing a underlay with a like, wait, like to H for this and then you just build your sketch line on top of this. Let's, let's see how we can derive this from other droplet of an idea. When to start with that middle line, I'm gonna draw idea where my perspective 0 points are on both sides. I'm going to again just do a light sketch line focusing that direction. And so you see now I have these two horizon lines and not doing the straight, so just follow along to where it is. And I'm just pulling those lines on, thinking about those as I'm adding to this form. And I want that freedom. But I want the accuracy. So I'm doing the math in my head where those points come from. Now, as I started like a little more unique form, I still have that basis of those those Horizon points. And they're relating to where my form goes and support because obviously you want to be able to sketch it and you wanted to have that look and feel and that's how you organize it and grounded. So the same thing. Of course. Obviously, it's easiest to do a perspective like the first one where you have that says a box behind the box, that front straight line. Um, but you, you start to figure out, as you do this many times, the similar elements that'll be operating. And you're saying all these lines, if they are straight and parallel, they're going to be pointing toward those same point. This is your exercise. And the idea that the day you have like a beautiful sketch That's all related. Now, obviously, with each of these little elements, some of them are, you know, if you're thinking about little, little Profiles, all elements, they're not gonna be directly hitting to that, but they're going to still be related to those lines. And so it's a way of relating all the information. Then you're drawing perspective being like the character of the drawing. And you're thinking about, even if you think about maybe shading a little bit, this is where you start to play with dimensionality. So that's going to take your perspective to the next level. And the idea is being able to draw something that is quick and Sketch mode with that accuracy of those perspective lines, he's going to put all this stuff together and it's going to help you organize a dry. So that's how you will organize and really make the most of using perspective. Perspective is not just about Linus, about off the shape. And at the end of the day, you'll be really just aiming at communicating the idea versus trying to do too much or perfect communication. Same time, because of these basic origins. The more you constructed, the easier it's going to be to add. Maybe details are consistent way. Because you know, that base form being accurate helps you viewers and you're locating things like doors and windows. You'll have that that basis of where you're locating them from. 13. Sketching Class Activity: Let's look at the advanced class sketching exercise. So in this exercise, you'll go through, have a layout exercise where you put a composition together. You'll also start to define the shape, and then we'll go into deeper things for sketching it and getting things visible. Essentially pretty much showing the depth, not just showing the shape, and this is going to have you get a chance to show your creativity and putting things together and sketching it out. The first thing you're going to do is you're going to prepare your composition. Then you're going to be positioning and arranging items. So this is all sort of together. And just like sort of the image shown, you'll have items on a table, right? So you don't always have to put things in, like, you know, in a row or, you know, the ideas. This is sort of how you learn the skill of sketching. Maybe have random positions. You know, you can try a couple of different positions and then just sort of do the exercise with those. Now definitely strengthen your skill. Now, here are some key parts for this type of activity for how you're arranging it. You're going to make sure to all the time, make sure that you see what is a focal point, you know? Do you have two focal points? You want to use the rule of thirds. That means maybe you want to have things to one side of the table or the other, or the middle. You know, the idea is it break into a third versus, you know, maybe a little more cluttered organization. I think a third or the rule of thirds, is going to be a way of keeping things to have a more aesthetic appeal. Then you'll want to balance the visual weight. That means, like, what's on one side? What's on the other side? Do you have something spreading around, you know, is there not too much negative space? You know, that's where there's nothing on that part of the table. So, you know, play around with that arrangement. You also want to maintain a consistent spacing. That's going to be based on if you want to be closer, the ideas, this is not actually always relevant. Of course, again, you can have things in different composition. You don't have to have consistent unless you want to achieve the effect of that. But the idea, the ideas when you're sketching architecture, there's a lot of consistent elements. So the idea, there's something to learn from that, but at the same time, there's something to learn from irregular spacing as well. Next, you'll want to incorporate white space strategically. That's part of the whole idea like the rule of thirds as well as your weight. The next step is you're going to make sure to sketch the outer profiles of the shapes that are on the table, and you'll define each shape. So that's the purpose. Whether you're sketching, you know, a box or sketching a cylinder, you know, the idea is, you're just getting those outer edges. And, you know, I'll show my mouse, you just sort of you know, following that edge. And it's good to start with simple edges before, like, jumping into something like, you know, it may be a cathedral that has, like, a lot of different varied parts. You know, the idea is finding the base sketches of geometry underneath can help you build, like, very complex forms in the end. But getting those base sketches and having, like, you know, maybe you can see where the center is, that'll help you understand how it works in perspective. And you don't need to do any shading at this point. That's going to be just where you're just getting the overall outline, right? So you're outlining the overall silhouette in that part, and you next, you know, be thinking about how the proportions are, you know, is it a long box? Is it a shorter one, you know, getting that outline is going to help you show that. You're also going to add some internal edges. That's your inside edge as you're sketching. You start with outside, then come into the inside, and then you'll strengthen your key lines. That's where you do your additional strokes on the outline, and that helps you ferment the shape. Then you'll ensure your depth and separation. Now, again, that's going to be part of our next step, but the idea because that's where we use shading. However, the idea is, you're locating each element with a basic outline of the sketch of the shape. Okay, the next final set for this activity is you'll be adding your shadows and shading. So you'll also be grounding your composition with those elements. So that's going to be where you definitely are going to see a very strong shadow. You can use the pouche messages that I've given sort of to, you know, spread out your material. And the idea you will make sure in this exercise to identify the light source because you know, you'll see the light coming down on the source. So you won't be, you know, adding as much as your shade in that area, but you add it on the place the face that's opposite or away from the light. So you have a very distinct difference in that. And you'll also know that you can see residual reflection sometimes in some of the shapes. So that's going to be something that's going to be determined by the light source. You also shade opposite of light, you know, just as shown. You'll cast shadows and start to define shadows. Again, just play around with shadows again, consider it as if it's a derivative geometry, derivative shape, and just try to grasp the edges of it before just shading it in, and that's going to help you define it. Then you can blend for depth and Again, I'm not expecting you to master how shading is. Again, I think the exercise is just really getting the basic. You can run through it again with a different composition. That is going to help you make this into a really great learning opportunity. And so let me know how it goes and if you have any questions. 14. Sketching A Composition: Now we're going to draw a really simple combination of shapes and applying basic idea of just drawing it very lightly. The very simple, I'm going to use my HB. I'm trying to capture all the elements in the scene. And the idea is when I start off, just simply trying to grasp some key relationships between where things are not going to be two. But everything. This will have locating and something that, you know, I don't even see about the image that I'm aiming to put that in my drawing. I'm correcting things even as I'm going. So you see I'm adding some line this again, it's my first sketch. Take my second time around. I'm adding thickness, little more thickness. So everything is fine if your lead brakes. Again, just trying to get that basic idea of what's going on in that scene. As they get thicker and harder and my lines are getting more precise. In terms of approaching shape. Sometimes I'm just grasping a little bit of the idea that sometimes my edges are not meeting. It's fine. I'm capturing some of the shadow from the image. Not even really picking up any other information about like the wood grain. So that's obscene. Also very interesting art. I'm just really trying to capture the form of how they're arranged. Just very simply. I'm I'm understanding what's going on at night able to communicate that. So that's a really simple process. We're just getting that, that drawing out that you're looking at. You're just really going to be starting off with light lines. You just trying to assess how things are located in relation to each other. You thinking about, when I see this box, you already can start to construct some ideas about how things are related and you're going further. And even if these are close together or further apart, you're putting together a sense of relationship within the drawing. And then you've got, of course, build it closer. Again, start the sketch again. But I think it's useful as you're going through just to be building an understanding that what's happening. And you could do the saying, okay, like for my relationships, when I'm looking at things, Are they a lot closer? Now one thing I like to do, It's also sometimes just even take elements out of my sketches and just try to imagine those relationships even more precisely. And then I'll go back into my main sketch and rebuild that that relationship. You sketch, you'll learn more about how things are actually working together. And that's something that will help you really get better at it and get us get something more than once. I think even when you're given the challenge of something like a still-life, you're going to go through and sketch it once. Let me just make an ugly look of what I'm looking at. And then let me start to break down what it is I'm actually looking at I can, in the sketching world, That's my super rough, quick and dirty sketch. But in my sketching world, I start get to the point of this, draw light lines and approximate what's going on. Don't assume that you know what's going on just immediately again, we're not just go look, I'm drawing a character or something. I want to know what's going on. And that process is very valuable early on in the drawing. Because then we will have the ability to communicate what's what's being expressed and being able to put that back in. You're not being super focused on trying to impress with your drawing. Again, these are points where you can make a quick, quick, let me just get aggressive form. Then come back and really try to craft edges. The way I did. It is definitely closer to this way of just scrapping and then building on that. And of course, draw it again. That's where I can focus and get a sharper edge to maybe my triangles. And I have better relationships. But in terms of the process, you're doing a little bit of both. Approximating your rescheduling even closer, close to the idea. At the end of the day, you're not just saying about capturing something accurately. For the main purpose of sketching. Again, that would be more of a drawing thing. But when you get the ideas, you of course can truly constructed and drafted the tour drawing and the sketches just really useful, just get that idea. And I think that's what you're doing is you're redrawing it. Looking at these elements. 15. Chapter 4: Architectural Sketching - Scale: This is architectural scale, very useful. You can see there are numbers on all sides. There's a ruler on all sides. This is a little emotional, so it's like a little promotional there. But essentially it has two scales on each side. One's going this way, one's going that way. They're typically related like this is three-quarters three-quarters of an inch equals a foot. This is three-eighths of an inch equals a foot. Same on each side. Essentially. Lets you draw in scale. So this is 30-second inch. So 132nd equals a foot. So here, drawn just this. Very simply, that's 3632 feet by the scale. And the idea is that even if you're sketching, you can have like a basis for what is the size of my drawing. And that helps me figure out all of the door is gonna be, you know, three of these thirty-seconds than I already have an idea for scale in this drawing. So I can just quickly go back and forth between the scales. You know, if I want to make another drawing, it's just helping me organize these elements are placed. So that's the use of having a scale helps you really quickly organize, organize what you're doing in your drawing. And even as you're sketching, you know, you're trying to figure out, okay, is my size actually the size I want it. I can just come quickly here saying you were going by eighth inch, but say, Oh, look, this is six feet by like seven feet it should do for what I'm trying to achieve in this plan. So that's using the architectural scale. That's nice. Of course I can always fit flat. It can rotate. Just really can quickly access. And as you're drawing. 16. Sketching A Plan: I would say this is ten feet by ten feet, would just do the same thing coming down this way. And so on and so forth. I would have myself a drawing that was scale. This is again, this is still a little sketchy. But so far is this really getting the idea? So there's ten by ten quarters scale gives me a starting point. The starting point for saying, I'm drawing a plan. Remember I'm thinking about the sketch. I would really just start coming up with the idea of what goes where if this was a room, I said, I want to have an entry to this room. Maybe I'd have like a little bit of a closet on the sides. I would have in the back of my mind. And if I add scale nearby, making sure that my sizes are matching up. So ten by ten is not super big. You understand that the standards of badness room that might be about five feet by scale here. By about seven feet? No, not probably like a really small dead. But I would put like a yellow box for mild side that maybe have my door here, maybe I have windows. And just really simply I've created a set of things for this room. This is a stand. Then I'd have like a door. So my door just sort of open-end to this space. So just getting an idea of how something is organized is really important. You understand? I have this scale now and I have the ability to sketch over this and start to add a little bit of detail. So when I come up with an idea like this, one of the next things I typically do is I've tried a couple of different variations. Oh, maybe you do like this. Maybe, you know, there could be something like this. Maybe there are three windows. I would work out. Like what am I scenarios. But let's just stick with this plan. And let's start to use some of our pins. They start to develop this sketch. I still call it really sketch even though I'm drawing on it because I'm not using just saying I've just drawn my lines to this space. And I'm exercising some accuracy and how I'm locating things. I'm just drawing alone that this is still very sketchy. But it's the place of having it like a pendulum. I call it sketch because I'm not easy. The defined elements of rulers, but it is accurate. All right? And so with this basic, I'm using my two number two for my little details inside of the room. So I have my dead and I have my windows. Then I just do a little profile for Melinda, maybe like an apron. But it's that thinner line weight so it gets head shows me that idea and maybe even from my bed, I'll include like a little bit of a pillow to that. So that's the basics of a room. Alright, I just sketched it out and sketch some ideas for how that organized. Then I could come back and just say, if I wanted to push to be a little more developed, this third to shade in these walls. This is the easy way just to be developing this sketch. So it's reading. Again, it's just a little more developed sketch. It's still very sketchy. But it can communicate that idea. I just try to keep an even way of sharing these walls. Filling in other words, one way of getting back to the sketchiness of it. This too, Let's go ahead and not really closed my lines up to extend them a little bit, even just double the double of the lines. So you see I have my sketchy, sketchy ability and I could just go ahead and just still just title my room. This is bedroom number one. And even I would come out from this because it is holding onto my ten foot by ten foot range is very simply as my dimension to this. And just do that same thing here. And this is very simply, I've made an architectural plan. It's very, very simple. You keep it easy, keep it simple. But it's accurate and that's one way that you would start to bring some of that sketchy ideas into a 2D plan. 17. Sketching An Elevation: So I want to show drawing pencil. Just add a little bit of uniqueness to an elevation. If I was drawing simple gable roof and maybe a gable roof that had a unique cable porch came off from it. And do my overhang. And I would come down. My entrance is here with the columns, maybe arch over these columns. Place my pencil. Just sharpen a little bit. And this is just how you would go with a low basic idea. Sand. Maybe I have like a little glass door here. I'm closing that off. One thing about drawing that roof is I just know a little bit of thickness because I just want to be accurate here. Now I want it to end at the same place here. And maybe I'll do a little bracket and the roof. I'll go ahead and also show that edge, especially for the roof. The roof is made with these rafter that come down and they sit down on the top of the wall. And you won't be because of learning the material that's for your wall is right on top of that. Then your roof, this blocking of course, that close it off, but then you have your element of your roof and maybe some underlay meant. Then you have your it'd be a shingle or some material at the edge of the roof where maybe you have some sort of material to meet. Clothes were all these rafters is what these are come down. Then there's always opportunity for what happens here. So someone could, of course, they can just go straight up, but they also can come down with a profile. So after doing many roofs of experimental, how to make that unique. The way these look, when in a sketch, you will see like this little bracket coming down on those hedges. That's an interesting way of how that would go forward. And this being of course, a section view through the house. Now when that roof comes up, remember I'm closing off these edges. I get to show maybe a little dashing pattern for my single. And so that's what I'm doing here. If we want to say, Oh look, maybe this house has chimney. I would also start to come out say, hey, you know, this is form, has little shimmy, it steps up. Maybe it goes to the roof here. I've put this here and I got, of course, make it a stone chimney. I don't have to be brick. But maybe at the bottom of this house, it's brick. Then at this upper level, maybe it goes into siting. Here. I'm putting like this, a simple window here. My simple Dumbledore entry here. And maybe for my door I have like a little that opening and I'm trying to be lightened and go a little bit thicker than Ireland. I will do a trim line here. And above my that gable, I'm adding a little roof and that adds a nice little detail level of my horizon line. I'm strengthening that up, that up. And I'm going to turn this right here into a set of steps. And I'll even add a separate little window maybe of this, this is living room. This could be a I'm not a little into my window here as well. Maybe this is a little laundry room or powder room, the front of the house. This is very simply as me just creating a bit of an experience for the entrance to this building. And what I will do to of course, also just make an interests and stone, stone cap here and stone cap that chimney is saying. Let's even make some more elements here and maybe add a little bracket to this roof. This cable. Maybe even show it what would be happening on the other side. That bracket of course, is what happens when the roof comes out. You just have like a little element that the roof would be resting on and just give it a little bit of a profile there. Now what things we can add, because we already have our horizon, is like a little bit of force. Are there different ways that you can draw trees? Just going to draw the profile ID for the trees. This a little bit of a shaky edge. And what you can do as always, you can always go into the computer and shade in some of these things. The little niches here. One way, just do around the ground. This add like little elements for the trees where the trees are going in. Then even close to the house, you can have like a little bush, yellow bush here. And again, I said, you can shade it here. Now live chat or you can shade it in the computer. Some people choose jaded and Peter have done lot of that for presentations. And we could choose maybe one area's darker, areas, lighter, and just create that beautiful sketch. With that in mind, then of course the architecture stands out. Of course could add people if you want it. You now know it's always that interests t, whatever interest to you at the moment for your drawing. It will place it in here. So that's just a beautiful, more traditional architectural scale. 18. Sketching A 3D Building in Pencil: The next exercise, let's start sketching a little bit larger form. Can I don't wanna go too much into the details, but saying, if we're trying to explore the form, we just have the idea for how it, how it relates. Maybe you have a big form and it's a use a box, that's what a star mine ideas. Then maybe it breaks into this type of form, sort of modernists. And it's me just organize it basically two forms. I've just sketched out. I can organization to it. And so what I can do here is come back and say, now maybe there's an area where I want Windows. I'm using this 3D. It's more like an axonometric. I have my little columns here and then have like a little bit of a stair. I'm already starting to define a lot of elements in this building. And I'm going really slow. I'm just figuring out different things that are in here. Keeping a well-defined edge to my building and my shapes. Now I'm adding a little bit of shade to the big dimensionality. I'm adding my window divisions. The very modernist. Then just again that shade a little bit. So here I've just made a very simple sketch. The idea is I just started with simple form. So this is an architectural way of just saying, hey, you know, two things are interacting to, two boxes are interacting. Didn't think too much about it. I said I wanted something like a column. And I can of course, detail this into the proportions and everything later. But the idea is being able to just have an idea and just put it into a 3D form is going to be just element of just having an idea of making how these forms interact. And if you have like a void, then this is just like a little surface. This is a solid having that understanding then when you start to define our elements, like if you say, I want to have windows, if it's like a ribbon windows, maybe it just goes straight across. You just can divide that out. And I am, I've already also doing things like thinking about levels. So here on my level lines now allow us to say that this is 0 feet and this is ten feet. In. I would have like two levels of windows. This is how you would develop a sketch like this. Now, I said, it's useful of course, to have your scale you measured. So what I wanted to be in there. But when you're doing a 3D is a little more flexibility. There's also of course a way to come from what peter out. But when you're just sketching, you just have an idea. It's useful just to have basic understanding is like. 19. Sketching A Building in Pen: And use the same elevation. And I go up a little bit. I say, Hey, I want to show these windows. What, what happens with pen. He started to have this new option. I'm using my use my thicker, then. I'm showing these windows. We can get sketching is not trying to be too accurate. One way of course, to make your lines lumbar accurate when you're talking about like windows and such like that. Do central points. But again, I'm also just mimicking what's happening below. Making my pen lines. And instead of like this, like shading, like this, one way I've done with Windows, shale in the middle. Some people don't want to do the black windows, but I'm gonna do that here. Now with elevation. One thing I would do after this can be very interesting, of course as well, is I get to draw my horizon line for this build. And of course you see with pencil I could go ahead and do that same one as well. With pen, there's obviously a different reading. So these are some of the options that you have. 20. Sketching Materials: If I wanted to maybe have the base has brick, I could just come here to another little lines and maybe do like a little pretty dealt. Maybe it's too small in this level to show brick. But you can have a little bit of an effect. So you know that the brick, this running bond is going to do elements like this. Now, ideate how you show that brick. If you're doing a small sketch like this, but I do recommend do you like smartest, get to the foot, go into big one. That's one way of developing that. If you want, of course to like a sighting, you would just come back around and just have your lines. The vows say this level is lines. I could just come up. You see the lines going up. And so that's just a really simple way of starting to put like little bit of element. And now I've made this when is this way? This is a very useful for how you're doing with just doing like a pencil sketch. But if you are wanting to start working with Penn, you get like a little more texture options. For instance, allowed to take. Another way to draw windows is if you were just draw your line, could always just a little little marks. See them. Now Penn also has this, this beautiful layer of extra detail and depends on the type of paper. This is a little bit of a harder paper. I'll put information about types of paper for sketching in the class. But as you go in deeper, typically this, this paper is actually much better with this pen. Or I can show like certain types of details as it goes inward. So I can even show at the edge of that window meeting the other edge. There would just be like a ribbon across and you can see like little column. Now, I've started to show a, show that here as well. And just I can start to put out some of the detail in that model. So this thing a little subset of here. The pencil is very useful to get that idea developed and then taken independently or more determined about what it is that you're drawing. 21. Course Conclusion: Congratulations on finishing this course on architectural sketching. We went through what makes a good sketch, how to start build, and complete a sketch, whichever project or task you have in mind. If you have any questions, please leave them in the comments. And if you enjoyed this class, please leave a review and enjoy here whichever Say. Again, this has been Brandon. I've enjoyed helping you improve your sketching. You can check out my profile for more courses on the latest design tools and techniques and see you in the next class.