Professional Documents
Culture Documents
Gilles Ronin - Drawing For Interior Designers
Gilles Ronin - Drawing For Interior Designers
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contents
Introduction
Representing An Interior
Developing your project
Space
The progression
Variations and transformations
Materials
The Line
Graphics, tonal values and colours
Figures
Proportions
Constructing a drawing
PLANSANDL OUTS
Drawing
the Plan
Scales
Conventions and Syrnbols
Doors
Windows
Convenrions regardinglines
A base line, or contour
A thin Line
A thin dotted line
The logic behind the symbois
Furniture and equipment
Changing Around the Furniture
Elevation and Section
I\earranging an area of wall
I)esign in modules
Making aLayottt
Organisation of the layout
A team effort
A sketch of the ground plan
Thc dimensions
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5
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1.2
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1.4
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PERSPECT
2ft
30
3l
Isornetric Ptojection
An effect of reduction
Objects
DrawingThree-ditnensional
arrd Furniture
Designing an o{lice space
A foldaway oflice on a shelf
Grouping office furmture
Playing about with space
Drawing a kitchen
Swapping around kitchen and bathroorn
Visualising a kitchen corner
Creating an open partition
Transforrning
a flat
Creating a dressing room and
a bathroom
Seeing things in perspective
The vanishing point
The horizon
Moving the vanishing point on the horizort
The height of the horizon
The height of the horizon in the drawing
The height of the horizon, people ancl scalc
The view frorn the front
The principles of a frongal view
The problem of depth
To draw the depth
Mastering the depth
To rnove a partition
wall
Creating an extension to block off
a corner
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34
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...And o High-AnglcVicw
l)rnwirrg orr thc Ctxrrputer
S k t ' t tl r l J p
lixlrlolltiorr
|ilst Stcps
M r r k i r r gu r r r o t l c lf i r r y o r r r p r o j c c t s
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76
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Infroductior-r
Sittingquietl.y
at home,sketchbook
in hand,is theideatwayto tackte
d r a w i n gI.n f a c t ,y o u rh o m ei s a n absotute
mineof subjects
to draw,perhaps
youalready
havea ptanin yourheadfora makeover
or ionversion?
House spacenot only containsobjectsto be
drawn, but offers a setting,enablingyou to
understandperspectiveand to explore the
different waysof depicting space.Once you have
graspedthe principles,drawing will become a
game,even a pleasure.
If you want to study a litde carpentry prqect,
take down a partition wall, or simply dream about
what you could do later,you will find here how
to draw a layout, enablingyou to make several
plansfor your space.Itt alsoa good exercisein
drawing.
You will alsofind here the practicalprinciples
which will help you put your plans down on
paperand better expressyour ideas,for no serious
project getsmade without a progressiveplan.
It is alsoan opportunity to learn some tricks of
the trade and conventionswhich are part of an
architecttknow-how and which willhelp with
ideas.
The relationshipbetween a drawing and a project
is at the heart of this book, and is reciprocal.If the
capaclryto representa spaceis the prerequisitefor
convertingit, and is a techniqueto be acquired,
the different variationsalsooffer many absorbing
exercisesfor those learning to draw.
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Y o ud o n ' tn e e dt o m a k ea d r a w t ntgo t a k eo u ta p a r t i t i own a L tB. u ti f t h es i t u a t i oins m o r ec o m p t i c a t eydo,uc a n n otth i n k
i t t h r o u gw
h i t h o ust o m es u p p o r tB. y p u t t i n yg o u ri d e a sd o w no n p a p e tr h e yc a nt h e nd e v e t oapn de n t a r g en,o tj u s ta s
disconnecte
t hdo u g h t a
s n di d e a sb, u tc o h e r e n t lA. yf .r e e h a n d r a w i n gi n p e n c i t g i v eyso ut h e L i b e r ttyo b e c r e a t i v e .
your project
Developing
V a r i a t i o nasn dt r a n s f o r m a t i o n s
The progression
First of all there are the principal drawings, like the
ground plan and the section, the technique ofscale
drawing, which allows you to measure the spaces
to be converted, and then finally the different kinds
of perspective which enable you to understand
space,whiie studying its modifications.
Some of the elementary principles of persl.rct'tive and some professional tricks will teach you t<r
think intelligently about your drawing, as thorrqlr
it were a little mechanism where you can nrovc tlrc
parts about.
From the first pages on line, its valucs urrtl
colours, we get into the habit of grafting on v:rri:rtions and new creations.
Themes such asa small conversion (ofa bcdrrlr>rrr,
sitting-room or kitchen) will be introcluccd progressively,but also more general,architccturll iclcls,
such asdepth, thickness,geometry and tlansp:rrcrrty.
PR-FP
AP-AT]oN FOR- DP-AWIN(
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a I i n ei s a r e f l e c t i oonf y o u r a t t i t u daen dy o u rp e r s o n a L iTt yh.ek i n d
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The [ine
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Figures
The construction of certain shapes, notably the
square,and then the circle, is a pernanent exercise
in drawing.The shapesenable us to see the value
of the vertical and horizontal, basis of all proportion and orientation of line, in brief the nreasure
of the whole drawing.The constructions arc lirnbering-up exercises,to practise regularly,likc goitrg
to the gym!
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e e t w e e tnh ev a r i o u sp o i n t si n t h e d r a w i n g .
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t oa s t e r .
12
C o n s t r u c t i nagd r a w i n g
liol your first try, choose a wall panel, with a door,
rvirrdow, picture frames, pieces of furniture etc.
| )r';rw it all on the flat, as though there were no
l)crspcctive (there probably is) respecting not just
t lrc proportions of each element, but showing how
tlrcy a1ign, the diagonal, horizontal and vertical
lirrcswhich connect all these objects This operatiorr is what we call constructing the drawing.
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the plan
T h ep L a no r l a y o uits a v i e wf r o ma b o v eA. n e l e v a t i o n
a c, eo n ,
I h, o r i z o n t a t v i ef w
i f y o uI i k e w
) o r k so n t h e s a m ep r i n c i p t ew,i t ha s c a L et o, w h i c hy o ua d ds o m e
c o d e sa n dc o n v e n t i o nt hsa ts a v et i m ea n dm a k et h e p t a ne a s i e tro r e a d .
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Convention
a sr ea n i n t e r e s t i nags p e cot f p t a nd r a w i n g sA.s i t i s n o tp o s s i b tteo
g i v et h e d e t a i t so f s o m ee t e m e n tw
s h i c ha r ee i t h e rt o os m a I t o, r o t h e r w i steo o
r e p e t i t i v seu, c ha s d o o r sw
, i n d o w se t c ,w e u s es y m b o l s .
Doors
Doors are shown open, rheir width to sca-le,indicating if they open inwards or outwards.You don't
draw a line for the threshold. Avoid showing the
door with a diagonal line - on the contrary take
A thin line
This shows details which are not structural - strips
of parquet, motifi on a wall, elements in low relief
ctc.
Thin dotted line
This shows the outline of large elements which are
lbove the plan, such as a large beam, or the bounclaries of a nezzanine or overhang.
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Windows
Windows (except for French windows) are shown
by
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perpendicular lrres
two pcrpgrrcrruurar
lines orl
on tlle
the wail,
wa[, snowlng
showing
the width of the ledge. They are usually shown
s h u t ( s e ep l 6 ) .
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C o n v e n t i o nr se g a r d i n g[ i n e s
Unlike a sketch, in a scale drawing the thickness
of the lines must be consistent and regular, because
they signi$z something. When drawing in ink, or
with instruments, the thickness is strictly controlled, but when using pencil you are in control. It's
a good exercise!
A b a s e[ i n e ,o r c o n t o u r
It shows an edge in the space, an outline, for
example the top of a piece of furniture
or the
banister of a staircase.In fact you don't make many
lines of this kind on a plan drawing.
18
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Lines indicating
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dirnensions
S h o w i n gf u r n i t u r ea n de q u i p m e n t
In general, pieces of furniture ilrc nol shttwtt ott
a ground plan, since they are not pL\nllrlllct)t.llut
if their presence is useful on your luyout, yott r'rttt
choose to show them exactly,or to tlsc syttt|.rtlls,lts
shown below.
Fixed sanitary ware is always slrowrr (tltcsc rtt't'
not furniture). Kitchen furniturc is vurillrlt', rtrrtl
you can decide for yourself.
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T h eL o g i cb e h i n dt h e s y m b o l s
Note that there is always a logic in these conventions: a single line indicates an outline, two iines
two outlines, which here makes the top of the
banister,or handrail.'When the section line arrives
at the windows, it is replaced by two thin little
lines, closed-up, which indicate the thickness of
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the Elass.
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Changir-rgt
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the furrriture
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G e tu s e dt o w o r k i n go n a f l o o rp [ a n ,
L a y i nogu tt h e d i f f e r e natr r a n g e m e n t s
o f f r r r n i t r rvr e
o r cr o u [ dh a v ei n t h e
s a m er o o m . D r a wa p t a no f t h e r o o m
y o ua r ei n n o w t, h e nc h a n g e
the
furniture
a r o u n dT. h i se x e r c i sw
eiIl
g e ty o ua c c u s t o m et od u n d e r s t a n d i n g
t h ed i m e n s i o nosf v a r i o u es [ e m e n t s ,
b e i n ga w a r eo f t h e i rp r o p o r t i o nasn d
thinkina
g b o u t h ee m p t ys p a c e s
w h i c he n a b l ep e o p l e
t o m o v ea b o u ta
room.
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A n e t e v a t i oi n
s a s t r a i g h t - ovni e wo f a w a [ [ .l f y o us t a n db a c k ,L o o k i nagt t h e
w a Lh
I o r i z o n t a [ y[ yo,uh a v ea f u I t - f a cvei e wo f t h ew a I t ,k n o w na s a n e l e v a t r o n .
T h ep r i n c i p Li set h es a m ea s f o r t h ef l o o rp l , a nT.h es i d ew a L t as r et h u s
s e c t i o n evde r t i c a [ [ay s, t h e y w e r eh o r i z o n t a toLnyt h ef L o o pr L a nT. h i se L e v a t i o n
c a nb e c a t [ e da s e c t i o n aeL[ e v a t i o n .
The drawing is of what is facing you, the items
against the wall: doors and windows, but also
shelves and tables, making an ensemble, like a small
fagade in your room. Side passages,
doors and win_
dows are always cut ofl, but avoid cutting a single
isolated item, such as a column. All this is imoor_
tant: the line of section must indicate the volume
in general and the openings, even if they are not
exact\ opposite.
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R e a r r a n g i nagn a r e ao f w a t l
l\cthinking the layout of a flat doesn't alwaysmean
rrroving interior walls. Rearranging a wall panel,
changing the decoration and objects displayed is
in itself an important modification.You can plan
this on paper, especially if you are thinking of
buying new elements such asshelves,storageboxes,
scts of drawers etc.
D e s i g ni n m o d u l e s
Thke measurements of the various elements to be
included, and imagine the various different ways
they could be put together. They will be much
nrore interesting if you have worked them out in a
clrawing: they then become reai little compositions,
combining practicality with aesthetics.
1t
23
lVaku-rg
alayout
T h el a y o uct o n s i s tos f p r o d u c i nagg r o u n dp t a na n de t e v a t i o nosf a b u i t d i n go,r
, ftertaking
o n eo f i t s p a r t s a
m e a s u r e m e not sn t h es p o t ,T h e r ea r et h u st w o
p h a s e st a
: k i n gm e a s u r e m e nat ns dc o p y i ntgh e mo u to n t h ed o c u m e n t s .
0rganisationof the layout
'We
W a l t sa n d p a r t i t i o n s
Details
'When
c,4p
A team effort
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T h ed i m e n s i o n s
These are indicated on a parallel line in the same
direction, with small lines to indicate where
the measurement runs, and little bias marks to
indicate that it's a measurement. not oart of the
drawinE. Be methodical!
24
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ParaLhL
dtcotwm
snnl)ttzu
w,d,watzthft' t't u a
w4Jw'tt^tli-
ard, rrt
-il;
the
Tldyinguptheftoorplan/drawing
thing
whol,e
Yrlu can now go on to a drawing of the whoie
tlring. Think of the floor plan as a good sketch
which you want to improve or tidy up. Of course
you can work in two stages:a first sketch as a foundation, and then superimpose a final drawing.
. .=-
;*
F
i
i
I
F o r m a ta n ds c a l e
Now itt time to choose a scale. Let's think of
an example. If you are doing a layout of a flat of
100m', more or lesssquare,it will be around 10m x
I 0m. At a scaleof 1/50 (or Zcm per m.) it will be a
square20cm x 20cm,which could go in anA4 format. But it will be too cramped, asyou must always
Ieave some space around the drawing. Thus an A.3
format (29.7crn x 42cm) or even larger (50cm x
65cm) would be more appropriate. Of course,you
can cram in a little more in a sketchbook.
t
'
W r
/l}.
C o n s t r u c t i ntgh e f l o o r p l a n
You must first of all make an outline, that's to say
trace out the lines which will not be visible at the
final stage of the work, but which will help to
ensure that the visible lines are well positioned.
, e $
Studythe layout
Before drawing the floor plan, make little sketches
of it, diagrams in which you can analyse the general dimensions.Without really making a final plan,
it's a way of understanding its logic.
25
Lalroutof a flat
I n t h i se x a m p [w
e e g o o n t o t h e l a y o uot f a w h o l ef l a t ,T h ed r a w i n g s
o n th e s et w o p ag e ssh o wth e d i ffe re nstages,
t
andthe pr ogr essive
f i n e - t u n i nogf t h e d r a w i n ga s w e s k e t c ha n dv e r i f yt h e d e t a i t s .
^f tlr 4
d,tyrcawru.
26
4,
27
PELfPECT(VE
y o uh a v ea g o o dv i e wo f t h e l o c a t i o an n dc a nt a k e
I n a s c a t ed r a w i n g
m e a s u r e m e nat s a c c u r a t eat ys y o uc o u t di n t h ea c t u a t s p a cM
e .o r e o v et hr ,i s
i s t h ed r a w i n m
g o s tu s e di n b u i L d i nwgo r k .
I n o r d e rt o d o t h i s ,y o un e e dt o t r a i ny o u r s e [t fo [ o o ka t s p a c ed i f f e r e n t L y
f r o mt h ew a y y o un o r m a L lpye r c e i viet .T h u sw e a r e n o wg o i n gt o c o n s i d e r
m o r e ' v i s u a [ ' m e t h oodf rse p r e s e n t a t i-otnh e d i f f e r e nkti n d so f p e r s p e c t i
t6
' tvtrufv
'
tr''f/d!'
29
lsornetricprolectlor-r
Th i sf o r m o f p e rsp e cti ve
i s ve rye a sy
t o a p p l . yM. o r e o veirt e n a b L eyo
s u
e v e n t u a [ttoy t a k em e a s u r e m e n t s ,
a s w i t ha f l o o rp | ' a nI.n e f f e c tt,h e
p a r a L l el i Ln e sd o n o tc o n v e r g e
t o w a r d st h ev a n i s h i npgo i n t t; h e y
t . e v e r avIa r i a t i o n s
s t a yp a r a l l e S
e x i s ta, c c o r d i ntgo t h ea n g l eo f s i g h t
c n o s e nn: e a r e tro t h e l a y o u to, r
n e a r e tro t h e e l e v a t i o n .
Trgtrfrrm z ft + d,r,vtdz
tl'a fugk: a
an/' t fu ,, rhzwr(d.rqwd^ali,r'cs
1I
4t'
ft dN(
arglzl ohv,*.
rf
!.
An effectof reduction
The prqection view does not distort length. It
produces a paradoxical optical illusion: thinking we
lre seeing in perspective, we find that the vertical
lines, that's to say the walls, are higher than in reality
because,if the perspective was true, they would
cflectively be dwarGd by the effect of distance.
(lr\rrlvl(
tiJl l'!lrl(
' lf
DlMENSroNr
! ' ' Jr ( ' ' ( ' l r \ l t i
PIAN t:t-^*'
rrt'rl rlt l r(x)R
I t l t t ' a pt t
l(AL' BvT/
R(',MAlf'llDEt'lT
f'trrl1|)M)
llFl(i(ARr
ll 1l1l vl FII(At
rHE
UNCHAN6D/
t*^t'
API-FloLoN'reR'
/)rA(,\)FlALl
V! I H
] H(:IR
D MN('DN
OPJ('INAL
*ntfjl
*
NOR- VlII
31
Drawlrrgthroe-dlmrensiorral
obtects
arrdfurruture
T ou n d e r s t a ntdh i st e c h n i q uoef t h e p r o j e c t i ovni e w ,s t a r tw i t hs i m p L o
e b j e c t ss,u c ha s c u b e sb, e f o r ed r a w i n gs p a c e s .
Practisb
e yd r a w i n gp i e c e so f f u r n i t u r e
o r d o m e s t i ac p p L i a n c -e st h i si s a g o o de x e r c i swe h i c hw i L fLa m i l . i a r i ys oe uw i t h
t h e i rs h a p e sa n dd i m e n s i o n T
s .h e s ep r o g r e s s i vs e
k e t c h ew
s i Ua. t s or e m i n dy o uo f t h e i n i t i apLr i n c i p t eosf d r a w i n gI:i n e s
o f c o n s t r u c t i oann dp r o p o r t i o n s .
Ywwl) wt"u,lotb'ry atrhz d*a*u.gs,atwkol,yvtnrrhu vr,ew
u ^vf^l twd,rawwg
a l^allntjut rhts tsd*tattthzfqotrhat, u1*,
L,rn* o"rseLvu
tt a rzdnucLya,r tf d,a vt'smLfidd' ah4'ahvawry frrn rlz varul'"g
/loirt, du vizwisyraotw"U ,l" Jarne45yznyotwz ,r,rl,
varu,tlutgyraw (su drawtrg,yefl.
ora,wrha Jq^4.r{,
vr rcotargl,evf
rlugrcw,a, ykw vf rha nficor
32
rl,a fin*:hzrtd.rnwwg
q, Dt'aw
tfu /w rt' rfu wh, rh4wrh'tHar.
6. Ad.d,
th"fu4t
33
Destonan offlcesoace
\J
A fotdawayofficeon a shetf
If you only have a small space, and not much
money, you can make yourself a foldaway office,
even a mobile one if you fit castors on it.
.r
t. f(4.rf ty bawug :
drawtrs Drqw rlelrc^yi,
s"rfaq, firsr.
.E
.:x
'tt..,
'
-:tu*-'
.,
i;l:
i 5i:::l'
4
3. Nw drq w rffi.q, :hzLf.ovwrfiryt( rv rc,Jervt,
syaczfrr rlw out^L wvr a,h-d,
snwv*lqrcrn
34
Y^rSuwfatt
a"'::
#;5_ li"*-
Groupino
g f f i c ef u r n i t u r e
'l'lrc
,)'
z Dr4w tlvdw v{rttoq.l,s,tlutu d,rqw
At1Lfl
I ' F o l r( r l o , v
v/try (NABLFf
you
.tttt
f Qri^/ / t
ro rTuDy
DtlAtL.f n
ND 7-A16
^iltol ( Alt(
MELy.
'/aF4+r''1/
q Draw untll
il_
t;'
;;'.
rtlur d.cwrt's1ort
rud,: sltclves,
drawxr5,wvqtla
LrcW,J,
i,only nd.d,una
unall dradzrntl:- kny,
4 Ft,rurhrht,rr,arnyur,t
yrr(ul.,a,cilrf^rcr, lwb r"
35
Fiaytngaboutwtth space
F i n a L lw
, ye, c a nc o n s i d ear s p a c ea s a n a s s o c i a t i oonf w a t [ sa n do b j e c t sU. s i n g
a g r i dt r a c e do u t b e f o r ea n dp t a c e d
u n d e rt h e p a g eI i ft h e p a p e ri s t h i ne n o u g h )
a t l o w sy o ut o pta ya b o u tw i th sp a ce sa s youplease.Onceyouhavemaster eo
t h e p r i n c i p | . oe fsp r o j e c t i oyno uh a v ea t y o u rd i s p o s i t i oanh i g h t yu s e f u I
i n s t r u m e net ,q u i v a t e tnot a s m a [ [ - s c a m
[ eo d e Lb,u te a s i e tro m o d i f y .
\.
Drawinga kitchen
Here is an exercisein using prqection.The prelinrinary drawing of the corner of the room and a
framework of 60cm squaresautomatically enables
you to place units to the correct size.This visual-riation of the units, even if simplified, enablesyou
to group them better.
wu/W 32,flvw *t *r
cxykm'e/"
rh.evyrflwns rrq.r[s*lu.ohfrcvcnt
th.tdra*ug teag rcn/"enst!.
3 Ad), shadl4yand,d,*auh,a,tl47
rhzymtrl.:frvrwygc ,t.
kitche
Swapplngrour-rd
bathrroomr
t o t h eh o m e I. n s o m eo t d
t a k e sa s i g n i f i c a cn ht a n g e
T h i sp r o j e cm
i s o f t e nf a rf r o mt h ed i n i n ga r e aa n dt h e
f l a t so r h o u s e tsh e k i t c h e n
Wh a tw e w a n tto do is swapthemr ound,
i s v e r ysma L t.
bathroom
a r e aa, n da
i t ha d r n i n g
c o r n e irn a L i v i n g - r o owm
c r e a t i nag k i t c h e n
w i t hn a t u r al Li g h tT. h eL i v i nrgo o m sh a v cb e e n
m o r es p a c i o ubsa t h r o o m
n a t LT. h i s
r i do f a d o o ra n dt a k i n gd o w na p a r t i t i ow
e n [ a r g ebdyg e t t i n g
been
n xa
g mp tew,h e rea layouthasatr eady
is s h o w ni n t h efo L L o w i e
don e{ s e ep . 2 6 lr.
Hs^toa.nwXSwayrwwL
rhzv t*v rwwl
natks
syau.
to rccthz avadatLe
*-\ |
t lu farti,rt,onrL,nvctecnralaw
rwq.ytorhar wcoatuvt"r*ilucd''a
{^rurc lirol,ewtmtr, t^'r ^1t,t, *t
oq,t/v
W4,vre rhz lzwLtfww wv["y
rctehrc
^t
.;
I
l f .
I
I lv hotv.,nral
luvrrl rlv,yvnl ykwcxrcnl,
wk,hnoda(yt,t17
t,t'(othot(vl tlv lt,t,lta'u,
tn
ttt(, t0 il to haw n'{(l,tvtl,tyINL(l,c (r46tfl.ilt
?s
Vlsrlahsil-rga krtchrerrcorr-rer
T h i se x a m p Ltea,k e nf r o mt h e t r a n s f o r m a t i oonn p a g e3 8 ,p u t si n t op r a c t i c e
t h es t u d i e m
s a d eo n k i t c h e fnu r n i t u r ea,n dt h ed i f f e r e ncto m b i n a t i o on nst h e
6 0 c mm o d u L eT.h ep r o j e c t i ovni e w l, i k eo t h e rr e p r e s e n t a t i o sn hs o
, w sh e r e
i t sI i m i t a t i o nb
s ,e c a u s iet i s i m p o s s i b t e
o s h o wa s p a c ea, n dt h ew a I L w
s hich
d e l i m iitt ,a t t h es a m et i m e .0 n t yt h eg r o u n dp l a n sa n ds e c t i o nisn t h e i rw a y
g i v ep r e c i s e
s o l u t i o ntso t h i sp r o b L e m .
,"d
.","6n
*,i
{t
,i
I
f
i
ti.
.,J
\,
t,r,
v-r,rohznfrvntgzvrn
rlnzLt'v,g-rwm
40
Qrfrahtt
rt t'oln
e,wfrontytt ru" d^z
unqhte lnalJ
PkruW ytylcor.
r'lwt y yarr
rf rhaynrt,rwwwalL
u ra[an
lwd'w
w. Awrxtraorcr
wttl'urhu
:lqwr"tehw.
[ilr rf
fuawug vvcontv:tu@ whaf u
hqltW
*W*.V
atwerhaf,u^**t,
rl'artl,z all*g u
fr4r6l4rchi'.
DFr/GryMAGtct
wHtcH ALLow,
WALU 70
T6 TAAN
f '/fPgA/Df C6/L/vcf
,* ,,"^*'*'
OTHFA AI&AA,,,";
;;;:
:,:::
AtDt wHtc+
A a F A / O 7p ( ) t f t E L E
^ltTH
A AFAL
fcALE ^,1oD,L,
Jfac
41
Creatlngan openparttttorr
Tlnr
fal,:euul.,"rg
T h er e o r g a n i s i nogf t h e s p a c ei n t h i sf L a t[ s e ep . 4 0 )
m e a n st h a tt h e e n do f t h e e n t r yh a l La c t sa t t h e s a m e
+
; - ^ ^ - d r l L J P s l l ^P Cr r t i t i o ni n t ot h e k i t c h e n .
LllllE dJ
This partition has two distinct parts: top and bottom. The bottom must remain closed because it
conceals kitchen elements, equipment or storage.
On the other hand the top part can stay open or
half-open, in any case becoming the object of an
obvious change.The partition becomes the frontage of the kitchen, while still being the end of
the entry hall.We can treat it with elements which
have some of the properties of a faqade, such as
TTA6Ef
IHE VAR.]OV(
rf rh,e,
yarzL
n-rhz uj, rf rha
enrryhall
ckn kzyr,nwexan"yLe,
nnl'
flw rransfvrYnafw".
42
Preparatorydrawing
oymyarr tt tt
rAaruvd,
43
Transfornrrlrrg
a flat
I n t h i so t h e re x a m p L iet ,i s a s p a c ew i t ha d o u b t eo r i e n t a t i ownh i c hw i L b
l ,e
c r e a t e di n s w i t c h i n rqo u n dt h e k i t c h e na n db a t h r o o m .
rlv,hob ftnr. r 1,,,e
4,aci,ht
u yku/" vrvilz ynrrs
fl+at }nt'trtt, r,u,a,hl,7fu waLl,t
4rc fr4hqtrch.t',
*l"oh qllnwa/" werall
/ttur(, wluohngrcrurl,
\
/nwwwh, rct.
l lu yau wutLhralu*g
rl,z yau e55lnaww
wkhn"t yarrtrwnt
w.,vi,cwrf rl'z ol,aq7e:,fvr wl'unl"thz
grtl, wdl yrue ,u a tare
rTvrvl'r
rcrfu"t'wuw
brol''tn.
45
Creatir-rg
a dresslng-roorrt
ar-rda bathroor-rl
D i f f e r e nkti n d so f s p a c e sc a nb e d r a w nu p v e r yq u i c k Luys i n gr e a d y - m a dger i d s .U s et r a c i n g
p a p e ro, r a n yo t h e rp a p e trh a ti s t r a n s p a r e en nt o u g ht ,o L e t h e m a r k i n gssh o wt h r o u g h .
B e l o we, x p l o r i ndgi f f e r e nut s e ss f 6 5 n : r - ot t q i n nn r i d) t p . 8 3 ls, h o w ni n g r e yi n t h ef i r s t
d r a w i n tgo s h o wi t i n p o s i t i o n .
EEFOR-E
Howoaturh.tssynu tt
uwrry vr arzd, tt t r.laryt,
tlz tedrwnJ
;::""-'
t',1
*r
l
1
'l
n* '* ' t
4
c
I
q- -
'
.,.
46
,4FTER-
F.
\ , 1 ' {
47
Seerng
thingsir-rperspective
T h e e f f e r -ot f n e r s n e c t i vceo m e sf r o m w h a t o u r v i s i o nm a k e so f w h a t t h e e v e
s e e s .B e t w e e nt h e e y ea n d t h e o u t [ i n e so f a n o b j e c tw e c a n d r a w t h e s i d e s
o f a n a n g l e ,t h e a n g t ea t w h i c hw e s e e t h e o b j e c t W
. e c a n o b s e r v et h a t i f t h e
o b j e c tm o v e sf u r t h e ra w a y ,t h i s a n g L eb e c o m e sn a r r o w e r a, n d t o t h e e y e ,t h e
n h i e r -st e e m qt n h e s m a t L e rT.h i s i s t h e e f f e c tk n o w na s n e r s n e c t i v p
point
T h ev a n i s h i n g
^frW
48
r/nuu rhavan*:ltryyn5nt
rv(
It
t1
Ir
Ir
(
tu rlv Lw rf
+,rf wtrytna !w, w{,aarv
4 r y .
, --' ,ug;'I'
rl"e *holzorl,lzoru*
rf ynrahl
r'wtreussar(yhnzurraL- &Mr4(u
49
T h eh o r i z o n
The multiplication of parallel lines*generates a
whole series of vanishing points, aligned to each
other. This alignment is called the horizon. Thrs
line does not appear of course, but it is recommended to place it in a realistic drawing as well
as in an imaginary one, because it is the principal
reference point for fixing perspective.
50
p o i n to n
M o v i n gt h e v a n i s h i n g
the horizon
'W'hen
tr1
T h eh e i g h to f t h e h o r i z o n
Our position in a space affects both the vanishing
point and the horizon. In the drawings on thrs
page, look at the view from above and below.They
show clearly that the horizon, at the height of the
vanishing point, the convergence of the edges of
the shelves, is at eye level.And if we stand higher,
or sit lower, we can see that the horizon follows
our movement.
T h eh e i g h to f t h e h o r i z o ni n t h e d r a w i n g
Once the height of the horizon has been established in a space,it must be shown in the drawing.
That then depends on the framing you want. If
you want to show what is above the horizon, you
will place it towards the bottom of the window
(seep.73).
52
"
wcl'ln rfu,a*ry
t&a^szha,hzghr w nr r*u
bt/av *wlrrlw d^an
a.t,i
HIN wc oqtuuri*r,aft (h4 lzbk nf t-lw ,wn, seeugrhat t1z h$tzsru,al. !y{ h,vcL,
"nw,ts
uilug ts ato^r z r w4tHr
tw-rl*d,t ay thz wall; r 4,2 lvgkfi"w"rlw
T h eh e i g h to f t h e h o r i z o np, e o p t ea n d
the sca[e
t^ f ht,tA'^wug,wt lul tlqt tl,cstarver
mrrr lt vanl, lc,a^.tttlv l.nru,rn
tr
ar gVthvelf, tlu pturnftatNlsrvrl'.c
rglrt wl'+ktclow
tlv I'uglx rf rl,.tpryh
ttanl#g,
rs,*'l
KEP7, reAcrvC
IT OUT /f
P-A.L6Lr't.
E.ffFWr/AL
FLoNT4l VtFWt
errnral lLMs
"kr
This view presents all the advantages of perspective, and in an architectural drawing of the interior
it allows us to show the floor, the side walls and all
the elements seen here - furniture and the arrangement of detaiis - in a much more realistic way
than a projection.
Moreover, if we take a photo, keeping che axis
of the object horizontal and perpendicular to the
wall, we get a frontal view.
'We
have the impression of being in the space
shown, while with the projection view we were
outside. In principle there is no longer the problem
of walls in front hiding things, walls which have to
be deleted or made transDarenr.
54
1i
"i
s f a f r o n t a Iv i e w
T h ep r i n c i p l e o
, rl*oh rf dw yar'zlfrvnrht,tvtrcm
g. wt,olnutz
n yuskbrufwtl'z vanuhwg
lvtnt rwrl,zhrt<vruaentre,
rc tl,,e,yrs:utlz,
ffi w rghr, whbl,orrreslrnls
Wrurwlrrf thz ntyrvt,
4J w{ t4w earh,cr(ftt I r). wa aa.tufh.avd.rawLvrlv va^ukog
linz: *ht"ol, dznaroqrz d^z :tte wal"h,t{
{ra
-)&/
trtr
r Dr4wa taoL-wallfta,olwsansoah.
Drawu+(h.ehravt, rl,z vanuh.ug
lwti- o,
nnd,yvun A ahtr,E ft fl,a frnf rf rl,z *all,.
6
J,/
Drawrha
, exrenit4T ft ^hrLl"Lf,
oA an^d,
exrenl't;r fvward,J
rh4-frcrw.
YOU CA^,/
AAA/VF AT
TA/f F
vtEv{f tN
A.,rrot.
tN_autJ-tvE
r'/AY, AND
lo
lKtp THtr
FlPto^,o-,ur.
56
wHy rf rf A feV,AR.E3
vrttfhntgwtrg a dar^nMfrafwtu,
rcrefl",atwhzw
-frvyn
oo w eqrwLtv rlw durahta rf th+ vtservzr
rh'ehonzuuo teorws tlw var*:hug /w,t vf al)
rhz Las wh,bharc q( +r" tr rlug,o"nl, ykru.
A'E t^4}4Jnruargh vf +r" ah"d,
tr ooruitt resrh+
fu<l*L rf a sV,wre.
tl", FWry enntLes
^s to
d.efd."
wtkL.
find,rhz
frvwilz
M a s t e r i n tgh e d e p t h
You see then that points O and D show your position in the space: point O gives your height and
your position laterally; point D gives your distance.
Mastery of the distance is a little tricky. If you
are placed too near (ifD is placed near O) the sides
are very distorted. If you are too far away (if D
is further from O) you risk being simply outside
the room. Moreover, in that case,point D is often
outside the drawing - annoying because you need
a wider piece of paper that the area being drawn.
,",.
't"i;'
!;
),t
*3
"^:'Y)J.'*"-;'"n
P - 7
; , G
'1"
/.
'We
;t'
'lr
-+
)r-
\u""'t'
.'tt"t'
^\
)uf4.Ate hrLhi'
I
fuduraNTy
fut^fu walJ,
Durarta
ltu4f,
D
57
Torilovebacka partitlonwall
H e r ei s a s i m p L ae p p t i c a t i oonf w h a th a sj u s t b e e ne x p t a i n e O
d .nthe left:a r oom
i n w h i c hw e p r o p o s teo m o v eb a c kt h e p a r t i t i ow
n a [ [t o a c e r t a i nd e p t hI P ) .A n d
o n t h e r i g h t :h o wi t w i t [l o o k .
58
THE DMWING
z. Frtuw
A, tnarLrff a tl,wrth47thar, q"al r, p, t7w,eq^ued,
d'utaht{rfu nrfl,tnn lvu n wve,
6
3. Draw Pa,
oru:ses
AD qt P,
59
ereatinganextenston
to blockoff acorner
w e c a nm o d i f yt h e p r o j e cftr o mp 5 8 b yc r e a t i n a
g c o r n e rf o r a h o m ec i n e m a ,
I i b r a r yo, f f i c ee t c .T od o t h i sw e h a v et o m a k ea n e x t e n s i ofnr o mt h e n e w
p a r t i t i ow
n aL[.
60
? i i$
*_-*_|+p._,ln{
rl'wlnr yaruDaaarnlt4T
n du kprh rf rlv uruunn rc tc
rrwdz.Pkq p rn du l,orta,till,n wW fnnfu rglr.l,atl,
otrn4rrf rl,,clnr ani,t.Ert47P'fxrwan{
ft du rrrilfu rf fl,l
pvw rf ,Lurarwt.
Yw havcP',
86 cAr5:prrl
4u wOr coryPuf.
rHF LNC
DE,PTH/ /.ND
Ll ^rHtcH
* THE^'DTH,.]
rfu atr^ylxcl,lgtcor
,uHtcH qtvEt
n'tj
f'
7H A/r4/g,(.f6ryf
tO,v,
!
61
Plannlrrg
the space
4 HOME CINEM,A
) i t ht h e i d e ao f
W ec a nc r e a t ea n e x t e n s i o[ns e ep . 6 0w
p t a n n i nag p a r t i c u l asrp a c eb: o o kc o r n e rc, h i [ d ' sr o o m ,
etc.
,{ EooK COR.NEL
62
,1 EEDLOOM /OFFICE
A')
Convertrno
a soaceunderthe eaves
H o wd o y o ud r a wt h e p e r s p e c t i voef s L o p i nwga t t sa n da
L i t t l fel i g h to f s t e p s ?
I n t h i se x a m p l iet i s n o tt h ee n dp a n e l
t h a tw i l . bl .e u s e df o r t h e e L e v a t i obnu, ta n i m a g i n a rpyt a n
of reference
s i,t u a t e o
d n t h ef i r s tg r o u n dp L a na n ds y m b o L i s e d
d u i t en e a r
b yt h ed o t t e d[ i n eT. h ep o i n tD c a nt h u sb e p [ a c e q
tho
O lqoa
BEtrOR.-E
J
a eiIhnae S
c np- a c e
i c c_i ,f r. l_
r ta
aA
I e oIi nncsi rtl o
m a r k e do u tw i t ht h e d o t t e dL i n ea, n ds o t h e r ei s n o tm u c h
d a n g eor f d i s t o r t i o n .
i ".:.
D e s i g n i nag p t a t f o r mf o r a b e d
11-
64
I gK_
l-Hrr qE7au6,
pAvLr
D e s i g n i nag s m a t lf t i g h to f s t e p s
D e s i g n i nag s k y t i g h t
The secondconversionis the creationofa second
dormer window on the right-hand wall, at the
bottom of the room, which we imagine as being
one-third the size of the remainingpanel,ar:d in
the centre.Flereis the method for dividing a panel
into three equal parts;it appliesequally well to a
panelseenin perspective.
_*)
NADtFr ,r
,;
Apltie,c
^ ,:;;:,
ro .,"b r,
6xACr w/DtH
Of .?'Hg
oPFNrNc.no
lF nrAD,
Orawtlnz Wr d.t4,v.nL:rf
rhz y^anzl*hbl'" seyararetrhz
-frvrw
first' d.rrmtr ww,ltt
l
n^d/.li rf d,,4
gweywrhz
yarcL oraw tl'e wel,i"an LLrre.
Thz
fia (soowv)
alhw5fsy3 ref: ul vtt,d.r.vtAz
rhz I'211ka"d.rec,rlrcwdrawtrcd^zvan*:lr"r.g
[ , ah.d,ty wva^,:vf ilc llgrnnL wd,z bfr,
d,wtnzrl,z l,ortz-nffqktw rhra tn or(4rt t-lz rLsers
tl" t@ rf d',evnn*:lwg yruntsar-d,fl'a yaral,hL
'LJtr d.r4wtlu:tqs
Lws aLlnws
ah
als
,r/l
65
A few strnpleconstructior-t
tricks
H o wd o y o ue s t a b l i s he q u a Id e p t h s ?
To dividea wa[[
:*
4
!*/
\-/#
Dr4,w4,Lu.,z
to tl''z lro1zuruJf4rfuV 4(
yarail,eL
A, ar"d,rnqrL *r r zqrwLVttwhf,J.
f
5.
66
Draw l,|,ttzs
frrtn p tt tlv yri,tt: t, z, s 4,h/, +
rlrese vnntslttt'g Ltr'z:d,i,vtdzAE zqunlfo
Perspective
or projectionview?
,f
,/"'.,'
"tff*-"-**'"'**
+!
r..
-f*AlFq.M"*"*::1r,n*
*',;.1 1.---*.,,*,-"'',,
*,.lTp
i
6l
Takintg
dowr-ra partitionwail
D i f f e r e nkti n d so f s p a c e sc a nb e r a p i d Lsyk e t c h e od u t b y m e a n so f a r e a d y m a d eg r i d .W o r kw i t ht r a c i n gp a p e ro, r a n yo t h e rp a p e fr i n ee n o u g h
toshow
t h eg r i du n d e r n e a t h .
AFTER*
68
Creatinga mezzanine
or overhang
Grid 1 (seep.82) allows the study of a more complicated conversion, to take advantage of extra
space that has just been created at the end of a
room.
,l
I
.l
8EtrOP.,E
It,
cvrurnv(wwLua:l^alVns vis,nnlise
rlnzr,tw tl4ot.
Tl"i wasrcr vi,:i.th,
w"thz frrr lsroL.
r^/!wa7
69
Theobhouevie
T h i sv i e wi s a t s oc a L [ epde r s p e c t i vwei t ht w ov a n i s h i n g
p o i n t sb, u t d o n ' tw o r r y :t h e d r a w i n gi s q u i t es i m i [ a tr o
t h ef r o n t a l v i e w .
l::1'r-1
,fr."a_
'f.,--.
l
r fu runfh,l,col
vutswtclr*
nry
&ortlatw ft tccth.t
wol,uf',aatuw:
t/'wc rtll havea
yrtrctyal varukta ynnr (hzre
prz) an*lur vaul,+nqyrtrr
qllcari owrlv hfl - ee,.
70
'fhe
"1.,
t;
71
Desiglr-rlr-rg
a roonfrby eye
To desinn hv eve fotlow the
a p p r o a cshu g g e s t ehde r e s: e t t i n g
t h e b o u n d a r i e s , P t a c i n gt h e h o r i z o n
p o s i t i o n i nt hge h o r i z o an n dd r a w i n g
i n t h e p r i n c i p a[ r[ n e s .
The horizon, as you know, is at eye level.To posrtion it weil, aim for a point that you are certain
is at eye level, then measure it, remembering that
the eye level of someone standing h 1.5-1.6 metres
high, and 1 metre for someone sitting down. Aim
for this point and mentally trace the horizontal line
that passesthrough it. Imagine drawing a red line
on the wall at this height.That's the horizon exactry
(so long as you don'r change height!).When you
are drawing, think of putting the horizon, according to the composition you want.
S e t t i n gt h e b o u n d a r i e s
Mark out the boundaries of the spaceyou want to
show and study:left, right, above and in front of
you.ty to avoid too wide an angle - 90" is about
the widest angle that our eyes can take in. For the
record, an angle of 75" corresponds in photography to an objective with a focus of 24mrn, i.e. a
very wide angle.
72
w4.hi.tr J
. eutral/y,
tf u anuy,/,fl4 wrLdAz,
H o wd o y o up l a c et h e h o r i z o ni n t h e d r a w i n g ?
uyward,t,
rhahorer,*ll tz qr rta txt"n
fyw arcLovkug
vfdu ygz
P l a c i n gt h e a n g l e sa n dt h e l i n eo f t h e
ceiling
f
I
I
fl* arcd.rawu11
fwrnt"ftN4r flwr hvel,du krawwdl k l,rryl,ry fu lflt.
fNvratl'ar uf.y* arc lwl,i4qcrwrThe,ly
nywartl,t
6yLsNwarrh,yraN ol,a:y7trg
r1,,4
Lu'l rlt'vuw- wl willt+tanst
rht hnr, w p, ?e,)
73
point
P t a c i n gt h e v a n i s h i n g
Now is the moment to put in vanishing points, to
left and right. One often feels it would be easy to
place them by eye, directly. Experience teaches that
this impression is wrong, and leads to mistakes.
What I am giving here is an absolutely reliable way
of placing the vanishing point:
tlavug wvrL2d,
wt'*hlbh h,nz:yo* q.rc^JrlV ft fihl,
alrtnfudrnwru
74
p o i n ti s n o t o n t h e p a p e r
l f t h ev a n i s h i n g
Very often the vanishing point is outside the com*
position, and so outside the drawing, or even the
sheet of paper. But that doesn't mean outside your
vision, even ifyou have to turn your head slighdy
to the side. Nevertheless, in so doing you are changing the line of sight and the drawing. In this case
you have to be able to draw the lines without
the vanishing point. In general we get by using
guesswork, but I am going to show you a trick
for making another vanishing line, or at least for
checking that your drawing is not too inaccurate.
'rHe
crA17t oF coNtTzvcT-ioN
z Dr4wa.scoml,vt
I Lu"z,rhewerccnl, tt
a rzxargh uLft,rcleatwt,
[u^t
I t\.Lt
75
T \ ' f f
DITIEIENI OOllqU-OV1EWS
W o r kw i t ht r a c i n gp a p e ro, r p a p e rt h i ne n o u g ht o s e et h e m a r k i n g su n d e r n e a t T
h .h et h r e ee x a m p l essh o w
h o wd i f f e r e nvti e w so f a r o o mc a nb e m a d eu s i n gr e a d y - m a dger i d s g
, i v i n ga c o r n e rv i e w t, h e
v a n i s h i nI qi n e sa n dt h ed i m e n s i o n s .
'. EU
76
Taklngouta partition
watl
'l'lris
s l r o w ts; t k i t r g r r rI rpt r l t i t i t r rw
r r r liln l b c d r o o u r .
W t ' t l t u r l r c t h c s p l r ' cg r r i r r ewdl r e r rt l r ct w o r o o r l l s
i t l e. j o i t r c t A
l , t ' o t ' r t ci t l u s [ r c r ' nk c p t .r u l l k i r r gt h e
r r l r,l j o i r rb t r w e e r ft l t c t w o r ' c i l i r r g s .
.--1r
,\,
it 1
i
I
A vlow frorrrabovo
U n t i In o ww e h a v ea t w a y a
s ssumed
a h o r i z o n t av Ii e w a
, l L o w i nugs t o s e e
r e a I v e r t i c a[ i[n e sa n dd r a wp a r a t | . ea| 'nsdv e r t i c a l sT.h i si s t h ev i e wt h a t
c o r r e s p o n tdost h e m o s tu s u a t s i t u a t i ao n ds i m p l i f i edsr a w i n g
inperspect
l f t h es i g h t[ i n ei s c h a n g eddr a m a t i c a LuLpyo,r d o w n t, h ev i e wi s
transformed
H.o wd o e ct ,h o n o r c n a r - t jcyhea n g ew h e nt h ev i e wi s n o t
hori z on t a[ ?
{',",'--,**tf weaocxht^at'e
tha
dzylr, n va^t':h.trgyrtnt
vf rl,'z varrtoalluwsovma
Lt4tTvww.
rri. u,66r
FkaM A&ovE,
li
tT rc THE
vcArrCAL
47ry5:9
78AT COA/VF!.C
IOevAADt
THE EoTTaM/
vAv/r8lN/6
i v7-O 7-nF
D/r7-AA/c
EXA.:TLY
H)N<DNTAL
L/KF TAIE
L/vEf /A/ A.
Hot-t<I)NTAL
78
vt^t.
anda hrgh-angle
view
W i t ht h e h i g h - a n g L
v iee w t, h e e f f e c its e x a c t Lt h
y e s a m eu p w a r d s .
T h ed r a w i n gs h o w st h e s a m ep r o g r e s s t o n .
'
tI
t
t
I
I lu vuwoalhrl.
tctwhal,v'wthraol.t fu varuh.,r,y
yrunt
tLtvr4ll/,
at
* rlq nft u'nlt,ril.t ynnt d tk ilryLruww
tl,"ttu*tlt,
IN 7H
'7 If 7H
HIGH-ANGLE VIW/
VATICAL LINf
AND
WH'CH CONVLCE
XTND UP^/AEDf.
SketchUp
Firststeps
Exp[oration
You are presentedwith talking icons, and many aids
are available.We show here a smail, simple example
to show you what it can do, but remember that rn
spite of its apparent simplicity it is in facr extremely sophisticated.You can make a model, modify
it, view it from every angle, add colours and materials, study shadows according to time and place,
etc.The online aids are very good - they will help
you savea lot of time and discover possibilitiesyou
misht not other-wise know about.
80
(su
extcnsww
Tges eo-e,)
ur,ry6 A p6^/r,L
ADD,N6
pE.tpE,r,ue,
MoDlt'rcAT/oNtt
At wrTHn
il::::t
pHoro.
pro1
Gndsfor tsonnetnc
ectlons
You can use the grids by means of a scanner and
printer, or photocopier.The lines are thick so that
they show up under tracing paper or a 60gm paper.
The two grids show the different angles, which
you will recognise. If you slide them under your
paper, they will give you the main outlines.
The dotted horizontal lines are the markers.
Starting from the bottom, they indicate rhe height
of a bench or chair, then that of a table The top
marker (on grid 2) indicates 2.5 metres, the standard height of a ceiling.
The squaresare assumedto be 1 metre (grid 2),
but you can use them as 50cm (grid 1) or any other
m e r \ u r e w h i c h s u i t sy o u .
82
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lk*
6PJDz
vwwfqvtwW th'e,(l,avarwtu
rf tl,a tw,aua"vv^11
83
Grrds fror-rtal
vlews
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a l,aryz,,*m, t^f rcft (h4f rlw ,ttd,rloa nff rc.ttu(tv(
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