SKETCHING

FOR ARCHITECTURE + INTERIOR DESIGN

to mark, samantha + matthew

Published in 2015 by
Laurence King Publishing Ltd
361
373 City Road
London EC1V 1LR
e-mail: enquiries@laurenceking.com
www.laurenceking.com

Text and illustrations

© 2015 Stephanie Travis
This book was produced by
Laurence King Publishing Ltd, London.

Stephanie Travis has asserted her

right under the Copyright, Designs
and Patents Act of 1988 to be
identified as the Author of this Work.

All rights reserved. No part of this

publication may be reproduced or
transmitted in any form or by any
means, electronic or mechanical,
including photocopy, recording or
any information storage and retrieval
system, without prior permission in
writing from the publisher.

A catalogue record for this book is

available from the British Library.

ISBN: 978-1-78067-564-0

Design: TwoSheds Design

Senior Editor: Peter Jones

Printed in China
 SKETCHING
FOR ARCHITECTURE + INTERIOR DESIGN

Stephanie Travis

Laurence King Publishing

 CONTENTS Chapter 1
INTRODUCTION 6 FURNITURE + LIGHTING 12

Materials 8 Preliminary Study 14

Pen Warm-up 10 Abstraction 16
Marker Warm-up 11 Negative Study 18

Positive Study 20

Mirror Image 22

Guidelines 24

Layers 26

Perspective Basics 28

Plan, Elevation + 3D View 30

Circles 32

Multiple Viewpoints 34

Applied Pattern 36

Integrated Pattern 38

Shade + Shadow 40

Composition 44

4
Chapter 2 Chapter 3
INTERIORS 48 ARCHITECTURE 84 ACKNOWLEDGEMENTS 126

One-point Perspective 50 Symmetry + Pattern 86

Two-point Perspective 54 Puzzle Pieces 90

One-point Abstraction 56 Negative Space 92

Two-point Abstraction 58 Expression 94

Transitional Space 60 Building Materials 96

Interior + Exterior 62 Building Layers 98

Window Frames 64 Building Levels 100

Repetition 66 Left-to-right Perspective 102

Continuous Line 68 Building Curves 104

Sculptural Study 70 Multi-point Perspective 106

People 72 Perimeter Views 110

Viewpoints 74 Open + Closed 112

Foreground + Background 76 Vegetation 114

Magnification 78 Building Shading 116

Interior Shading 82 Final Study 120

5
 WHY SKETCH?
Drawing is truly a tool for
seeing. To draw an object,
interior, or building, you
have to look at the subject
in a new way. You are forced
to pause and scrutinize, as
drawing requires another
way of thinking, shifting
INTRODUCTION into a deeper realm that
encompasses elements such
as shape, form, texture,
rhythm, composition,
and light. When you have
developed your drawing
skills, the finer details of a
space—key features that
you may not previously have
noticed—will be revealed
to you. Freehand drawing
allows viewers to see in a way
they never have before. The
sketching process is a means
of expanding your creativity
and awakening your senses.
6
THE CONCEPT
The consistent thread
throughout this book are
my freehand sketches,
shown as a series of
steps to demonstrate the
underlying concept—that an
understanding of the process
of creating meaningful
sketches is more important
than the end drawing itself.
The cumulative process of
sketching always begins with
studying the subject, whether
it be a chair, an interior, or
an entire building. It is about
drawing what you see, not
what you think you see, or
what you already know as
a chair, interior, or building.
Think of it as seeing the
subject for the first time.
Each exercise illustrates a
different facet of this concept
of seeing. As you move
through the steps of each
exercise, you will explore
each subject in a new way,
gaining the experience
and confidence to create
expressive, thoughtful
sketches that convey your
personal interpretation of
the subject.

HOW TO USE THE BOOK
It is intended that you start
from the beginning of this
book and work through
the exercises as the scale
and complexity increases.
Chapter 1 (Furniture +
Lighting) begins with small-
scale objects; Chapter 2
(Interiors) expands into more
complex spaces; and Chapter
3 (Architecture) focuses on
larger-scale buildings. Each
exercise within the three
sections incorporates many
sketches for reference, with
examples of modern designs
of furniture and lighting,
interiors, and architecture
by significant modern and
contemporary designers
and architects. The name of
the object, interior space,
or building; the architect
or designer; the year of
design or completion; and
the location of the interior
or building are provided at
the end of each exercise. You
will select your own furniture
and lighting, interiors, or
buildings to sketch. Subjects
may be viewed in three
dimensions (from life) or
two dimensions (from
photographs, periodicals,
etc.). What is important is to
select subjects that you find
challenging and inspiring.
Introduction
The example sketches were as the key to improvement
all drawn in ink, and I suggest is practice. Although each
that you also use ink, at exercise ends with a final
least at first—this forces sketch, the focus of this book
you to study carefully the is on the experience and
subject you are drawing, process of sketching, more
knowing that any mistakes than on the finished work.
cannot simply be erased.
These exercises are just a
starting point. To develop
your practice further, you
can repeat them with more
complex, detailed objects and
using different media (e.g.
graphite/pencil, charcoal,
etc.). But, whether you use
ink, pencil, or a combination
of both, the exercises provide
a methodology for studying
your subject and drawing
what you see. It is not about
laboriously crafting perfect
technical drawings.
The three sections cover
topics such as layering,
perspective, repetition,
pattern, foreground +
background, negative space,
multiple viewpoints, shade
+ shadow, and composition.
The steps within each
exercise build upon each
other so that you achieve a
thorough exploration of the
subject before producing a
complete sketch. You should
redraw exercises at each step,
7
 MATERIALS
To complete the exercises in
this book, you will need the
following: a sketchbook, three
ink pens, and a selection
of professional markers in
gray. I use a basic 9” x 12”
wire-bound sketchbook
with standard white paper
and the pens/markers as
illustrated and specified
opposite. I purchase the
thin- and medium-width
pens from office supply
stores; other supplies are
from art specialty stores.
Ultimately, the brand of pen
is not the important factor;
it is what you do with it.
8
As you continue to sketch,
you should experiment with
different types and styles of
pens. To begin, it is important
only that you have three pen
widths and a selection of
cool gray markers, although
you can also experiment with
warm gray markers.
Note that throughout this
book I have predominantly
used the medium pen.
Wherever a thin pen, thick
pen, or the gray markers
were used in a sketch, this
will be specified. If there
is no notation in the text,
the sketch was drawn with
the medium pen. Although
the markers will be used to
explore an understanding
of shade/shadow, many of
the exercises use the varied
gray values of the markers to
explore other elements—such
as contrasting shapes, planes,
and forms or to study how
elements recede or protrude.
 Introduction

The tools I use:

Thin pen: Uniball Super Ink

pen in black.

Medium pen: Paper Mate Flair

M pen in black.

Thick pen: Faber-Castell Pitt

Artist pen B in black.

Markers: Prismacolor Premier

markers in cool gray ranging
from 10 percent (the lightest)
to 100 percent (black).

9
 PEN WARM-UP

Once you have your 1.

sketching supplies, it is Draw a series of lines with very thin
important to explore your spacing between them. First, use your
thin, medium, and thick pens. thin pen, then your medium pen, and
finally your thick pen.
This warm-up will help you to
understand line thickness and
quality, as well as practice
hand and wrist control.

2.
Repeat, increasing the spacing between
your lines.

3.
Draw the lines with even wider spacing
between your lines.

10
 Introduction

MARKER
WARM-UP

It is also important to
understand the quality
of your markers. Most
professional markers have
a tip on each end, thin
and thick.

1.
Draw a series of thinly spaced lines,
using the thin tip starting at 10 percent
gray and moving in numeric order to
20 percent gray, 30 percent gray, etc.,
until you reach 90 percent.

2.
Repeat using the thick tip of
your marker.

11
 2.
INTERIORS
Chapter 2
ONE-POINT
PERSPECTIVE
A one-point perspective
drawing is a three-dimensional
view of a space from the
location of the viewer (you)
and represented in two-
dimensional form on paper. A
technical perspective drawing
uses a series of steps to draft
a three-dimensional grid of a
space that includes the floor,
walls, and ceiling—allowing
one to plot furniture, columns,
and other interior elements
within this defined grid. The
concept of this book is to draw
what you see; therefore, a grid
is not necessary. A careful
study of your view and an
understanding of the principles
of perspective will be enough
to create well-proportioned
spaces that are accurate
and to scale. The following
process will give you a
deeper understanding of the
interior architecture and
three-dimensional qualities of
a space while demonstrating
how to sketch a one-point
perspective view.
50
1.
Select an interior space and position
yourself facing a wall Sketch the back
wall of your view in elevation; label the
floor and ceiling planes. This is the wall
that will form the framework for your
one-point perspective.
ceiling
floor
The five principles of one-
point perspective:
1. All horizontal lines are
parallel to the horizon line.
2. All vertical lines are parallel
(and perpendicular to the
horizon line). 2.
3. All diagonal lines recede to Identify your sightline on the drawing,
the VP; these are referred also called the horizon line. This line is
to as orthogonal lines. typically 5 feet off the floor, which is
considered average standing eye level.
4. All objects get smaller as
If you are drawing the interior from a
they recede into the seated view, the sightline is typically
distance. 3 feet off the floor, which is considered
5. All objects along average seated eye level. Depending on
orthogonal lines become your ceiling height, you can estimate
where the 5-foot horizon line would fall.
foreshortened (meaning
If you have a low ceiling height, such as
the dimension of these 7 or 8 feet, the sight line will be closer
objects will be shorter to the ceiling than if you are drawing
than the dimensions of a space with a high ceiling.
objects not on the
orthogonal lines).
As discussed in the Perspective
Basics exercise (see page 28),
a one-point perspective is the
simplest view in that all of the
elements on the orthogonal
horizon
lines recede to one VP. In
interiors, this occurs when
you are directly facing an
elevation or wall.
 Interiors

3.
Locate and indicate your VP on the
horizon line. This is determined from the
location where you are standing in the
space and is considered to be the most
remote distance able to be viewed by the
eye. For example, if you are standing in
the exact center of the room, the VP will
be centered on the horizon line within VP
the room; if you standing left of the
center, it should be drawn as such. Views
left or right of center, even just 1 foot
from the centerline, are often more
realistic, as we don’t usually enter or view
an interior at the exact center of the
room. You can draw many views of your
space by moving the VP along the
horizon line each time you sketch,
creating different points of view.

4.
Draw four dashed lines, each starting
at your VP and extending to the four
corners of your wall.
VP

5.
Extend the lines from each corner to
create your floor, side walls, and ceiling
in three dimensions—as they protrude
toward the viewer (you).

VP

51
Chapter 2

6.
Draw the floor, side walls, and ceiling
without guidelines; you have now
constructed a three-dimensional view
of your space. Indicate the VP, as you
VP
will use this point to construct the
interior space.

7.
Within this framework, draw the details
of the interior architecture—referred
to as non-moving elements. All of the
elements that fall along the diagonal
lines, referred to as orthogonal lines, will
recede back to the VP. Using dashed VP
guidelines to represent the orthogonal
lines that radiate out from your VP is
helpful in drawing these elements with
accuracy. Keep in mind that all horizontal
lines are parallel to the horizon line, and
all vertical lines are perpendicular to the
horizon line.

8.
Draw the interior architecture
without guidelines.

52
 Interiors

9.
Using the same perspective principles,
draw the decorative elements in your
space, such as furniture, lighting, artwork,
rugs, etc.; these are referred to as moving
elements. The use of dashed guidelines
that radiate out from your VP will ensure
that all of your elements on the diagonal VP
recede back to this point.

10.
Draw the interior in its entirety, without
guidelines, including all architectural and
decorative elements.

INTERIOR SPECIFICATION

Glass House
Philip Johnson I New Canaan, Connecticut,
USA I 1949

53
Chapter 2
TWO-POINT
PERSPECTIVE
The main difference between
a one-point and a two-point
perspective (as the name
suggests) is that there are
two VPs instead of one. This
was touched upon in the
Perspective Basics exercise
(see page 28), but will now
be explored in greater depth
and applied to interior space.
A two-point perspective
occurs when the viewer sees
a space from an angle, such
as looking into the corner
of a room. The floor, wall,
and ceiling on one side of the
corner will recede to VP1, and
the floor, wall, and ceiling on
the other side of the corner
will recede to VP2. As you
practise drawing two-point
perspectives, you will start to
understand which elements
recede toward VP1 and which
elements recede toward VP2.
54
The five principles of
two-point perspective:
1. The only horizontal line
is the horizon line.
2. All vertical lines are
parallel (and perpendicular
to the horizon line).
3. All diagonal lines recede
to either VP1 or VP2;
these are referred to as
orthogonal lines.
4. All objects get smaller VP1
as they recede into
the distance.
5. All objects along the
orthogonal lines become
foreshortened.
ceiling
horizon
floor
1. 2.
Select a view looking into a corner Draw your horizon line at 5 feet above
Sketch the corner line where the two your floor line.
walls meet, and locate your floor and
ceiling planes.
VP2 VP1
VP2
3. 4.
Use dashed lines to extend the floor and Draw the framework for your space
ceiling lines from where the corner meets indicating the locations of the VPs.
the floor and where the corner meets
the ceiling to find the two VPs. This
is a freehand drawing, not a technical
drawing—you are representing what
you see and using the principles of
perspective as a guide. Therefore, you
can tweak the angles of your floor and
ceiling so that your VPs fall on the
horizon line, or modify any elements
of your sketch so that it works for
your drawing.
 Interiors

VP1 VP2

5. 6.
Use your VPs to radiate dashed Draw the interior architecture without
orthogonal lines that will serve as guides the guidelines.
to draw the interior architecture.

VP1 VP2

7. 8. INTERIOR SPECIFICATION

Use your VPs and orthogonal lines to Draw your two-point perspective Glass House
draw the decorative elements within view in totality, with architectural Philip Johnson I New Canaan, Connecticut,
your space. and decorative detail. USA I 1949

T 55
Chapter 2

ceiling

1.
Select a space viewed from a one-point
perspective
horizon VP

Set up your interior framework as

discussed in the One-Point Perspective
exercise (see page 50); sketch the back
wall, note the horizon line, locate the VP
in your space, and indicate the floor and
ONE-POINT floor ceiling planes.

ABSTRACTION

2.
Use dashes for the significant
moving floor architectural elements within your view.
Now that you have completed In the example there is a “moving floor,”
the one- and two-point which can be raised and lowered to align
perspective exercises, this with the fixed floors of the house. This
one will continue to build element is indicated with a dashed line.
upon your framework of
knowledge, using abstraction
as a sketching tool to examine
perspective. Studying the
triangular shapes that radiate
out from a VP will give you
an understanding of how
3.
elements are viewed in
perspective. It emphasizes Study your view closely, focusing on and
sketching the triangular shapes that
the principles that objects protrude toward the viewer from the VP.
decrease in size as they
recede into the distance and
that all of the elements along
the orthogonal lines within
a view will reach the same
VP. Applying these concepts
within an abstract framework
reinforces the ideas behind
the representation of three-
dimensional interiors.
4.
Render the triangles with your markers
using darker values to represent the
triangular shapes that protrude closer
toward the viewer and lighter values for
the triangular shapes that are farther
from the viewer.

56
 Interiors

5.
Sketch the interior elements that you
defined with the triangular shapes.

6.
Complete your drawing, incorporating
architectural and decorative detail. In this
example the addition of stairs, books,
and modern artwork creates a narrative
that gives the space context and depth.

INTERIOR SPECIFICATION

Maison Bordeaux
Rem Koolhaas I Bordeaux, France I 1998

57
Chapter 2

ceiling

VP1 VP2

horizon
floor

TWO-POINT
ABSTRACTION
1. 2.
Select a space viewed from a two-point Use dashes for the significant interior
perspective Follow the steps from the architectural elements within your
Two-Point Perspective exercise (see framework. In this example structural
page 54) to create a framework of your columns and a large display unit define
two-point perspective view. Draw the back the interior space.
corner, floor, and ceiling lines, locate the
This exercise uses the same horizon line, and identify the two VPs.
method as the One-Point
Abstraction exercise (see
page 56) but incorporates
a two-point perspective to
create triangular abstractions.
3. 4.
Since there are two VPs,
there will be two groups of Sketch the triangular shapes that Render the triangles with your markers
protrude from VP1. using darker values to represent the
triangles—one group that triangular shapes that protrude closer
extends from VP1 and one toward the viewer and lighter values for
group that extends from VP2. the triangular shapes that are farther
These two groups can also be from the viewer.
combined to create a layered
study of triangles from both
VPs. This will help you to
understand which objects
recede to which VP.

5. 6.
Sketch the triangular shapes that Render the triangles, again using darker
protrude from VP2. values for the triangular shapes closer to
the viewer.

58

7.
Sketch both sets of triangular shapes—
those that radiate from VP1 and those
that radiate from VP2.
10.
Sketch the basic interior elements that
you defined with the triangular shapes.
8.
Render the shapes so that the triangular
shapes coming from VP1 are dark
(80 percent) and those coming from
VP2 are light (20 percent).
Interiors
9.
Render the shapes so that the triangular
shapes coming from VP1 are light
(20 percent) and those coming from
VP2 are dark (80 percent).
11.
Complete your drawing, adding
informative details to give the viewer a
sense of being in the space. This example
includes architectural elements such as
lighting, and decorative elements such as
clothing rails and mannequins, to show
the function of a retail store.
INTERIOR SPECIFICATION
Calvin Klein Collection Store
John Pawson I New York, USA I 1995
59
Chapter 2

TRANSITIONAL
SPACE

This exercise studies 1. 2. 3.

transitional spaces—spaces Select a transitional space that leads Using markers, render these imaginary Draw the vertical planes and use dashed
that connect the exterior into an interior Draw the vertical planes planes; in darker gray for the plane lines to connect the planes visually,
to the interior, or link two that create the boundaries of your that is closer to the viewer and lighter creating a room with boundaries
transitional space. gray for the plane that is farther from (e.g. a floor, ceiling, and two walls).
interior spaces. Although
the viewer.
often overshadowed by
formal areas, transitional
spaces can be very interesting
to sketch as they reflect a
person’s experience upon
entering an interior. In this
example the upper level of
the building protrudes over
a public walkway to create
a modernist porch; oval glass
cutouts in the ground give
views to a display below
the walkway. The following
series of diagrammatical
studies help to define this
transitional space.

4.
Use dashes for the transitional space,
while using a solid line to draw the formal
interior into which it leads. Abstract the
architectural elements of the interior and
render them with your markers (elements
closer to the viewer darker, elements
farther from the viewer lighter).
5.
Complete a sketch that is the inverse of
the previous step: draw your transitional
space with a solid line and dash in the
elements of the formal interior. Use your
markers to render the transitional spaces.
Again, elements closer to the viewer are
darker, while elements farther from the
viewer are lighter.
6.
Create a drawing of the transitional
space and the interior using your thick
pen, and add detail of significant
elements (in this example, the wide
stairway in the center of the interior and
the glass cutouts in the ground). Use
dashed lines to create the imaginary
boundaries of the transitional space.

60
 Interiors

7.
Draw the transitional space and the
interior in detail. Here, the addition of
retail products and mannequins shows
the function of the space; floor cutouts
and wall finishes show design detail;
INTERIOR SPECIFICATION
and signage ties the space to its
urban context. Prada Epicenter
Rem Koolhaas I Los Angeles, USA I 2004

61
Chapter 2

1.
Select an interior/exterior space
separated by glass As in previous
examples, the first step is to study your
view and set up your perspective
framework. Here a one-point perspective
is used. Draw the back wall of the interior
space, indicate your horizon line, locate
your VP, use dashes to draw the
INTERIOR guidelines that radiate from the VP to the
+ corners of the wall, and draw the solid
EXTERIOR lines that form the floor, ceiling, and walls
of your room. In this example a counter
on the right continues from the interior
through a glass wall into the exterior,
blurring the boundary between interior
and exterior.

This exercise explores the

contrast between being in
an interior space looking out 2.
onto an exterior space and Use your markers to emphasize the
being on the exterior looking elements of the interior compared with
back into the interior. When the exterior. Since objects closer to the
viewer are darker, while objects lighten
inside a space, the interior
as the distance increases, render your
elements are dominant; elements from dark to light as they
however, incorporating an recede to the exterior.
exterior view in an interior
view can create a more richly
layered space than if the view
ended at the exterior wall.
Differentiating between
interior and exterior space
is another way to understand
the layering of perspective
and continues to build
3.
on the principles
previously explored. Draw the space in more detail, adding
architectural and decorative elements,
as well as the view through the glass to
the exterior.

62
 Interiors

4.
Repeat steps 1 and 2, but this time switch
the view so that you are looking from the
exterior into the interior. In this example
the counter is now seen on the left as it
continues from the exterior through the
glass into the interior.

5.
Use the darkest values to render
elements closer to the viewer and lighter
values for those elements farther from
the viewer.

6.
Draw in detail both the exterior space
and the interior space as seen through
the glass.

INTERIOR SPECIFICATION

Pawson House
John Pawson I London, UK I 1994

63
Chapter 2

1.
Select an interior with exterior glass
window/wall Create a dashed grid to lay
out the architectural system of your glass
window/wall. Use your thick pen to
abstract the gridded system.

WINDOW
FRAMES
2.
Draw the wall/window layout. In this
example the building’s quilted glass
exterior has diamond-shaped windows
set into a diagonal grid.

The previous exercises

studied transitional spaces
and interior/exterior
boundaries. This one focuses
3.
on the detail of a window
or glass wall that separates As you approach your window/wall from
different directions, you will see the
inside from outside. Whether depth of the structure/frame. Use arrows
a simple window or a to indicate the direction from which you
complex wall of glass, are approaching the window (e.g. from
interesting patterns and above, from below, from the left, or from
the right).
shadows are created by the
position and depth of the
glass within the wall, or the
structural or decorative
elements within the window.
Emphasizing the three-
dimensional aspect of the
window adds another layer
to an interior view that looks
out onto an exterior.
4.
Render the thickness of the wall/window
frame with your markers.

64
 Interiors

5.
Select one of the viewing angles and use
this to represent your interior and the
depth that results from the wall thickness.
Render the thickness with your marker.
Using your thin pen (so as not to
overshadow your interior), draw the
exterior context, such as buildings and
vegetation, as viewed through the window.

INTERIOR SPECIFICATION

Prada Aoyama
Herzog & de Meuron I Tokyo, Japan I 2003

65
Chapter 2

1.
Part 1: Select a view of a single repeating
element Use dashed guidelines to block
out your objects as they recede toward
the VP. In this example four guidelines
recede to the VP, each outlining the same
part of the bar stools set in a row (top of
back, bottom of back, seat height, and
where the back legs meet the floor). Set
up vertical guidelines at the centerlines
REPETITION of your objects. Since objects decrease in
size as they recede to the VP, the spacing
between your guidelines should gradually
decrease the closer they get to the VP.
Draw one part of your object on the
centerlines (in this case, the oval backs of
the bar stools are seen decreasing in size
as they move away from the viewer).

When drawing a group

of repetitive objects, it
is effective to set up
perspective guidelines and
2.
to study the forms as they
recede to the VP. Instead Sketch the abstracted forms of your
objects, as seen decreasing in scale
of laying out the interior the closer they get to the VP. Use your
architectural framework first, markers to define the shapes that occur,
in this exercise you draw the much as you did in the Abstraction
objects in perspective, and exercises (see pages 56
59).
then add the overall interior
architecture of the space.
Normally, you would start
large (the interior) and then
add the smaller elements
(the furniture), but complex
decorative groupings can
also be explored initially as a 3.
study, and then incorporated Draw the objects in detail and add
into your space—as in this the interior architectural context.
exercise. Part 1 explores a
single repeating element;
Part 2 moves on to examine a
group of repeating elements.

INTERIOR SPECIFICATION

Sanderson Hotel
Philippe Starck I London, UK I 2000

66
 Interiors

4. 7.
Part 2: Select a view of a group of Render this group of objects.
repeating elements When sketching a
group of repeating objects, it is helpful to
break up the group into separate studies. In
this example the furniture is one element
of the group, and the carpet and wall
decoration make up another element.
They are studied and sketched separately
and then drawn together in the final sketch,
which also incorporates the interior
architecture. Again, use dashed guidelines
to block out your objects as they recede
toward the VP. Here, guidelines are used
to define the tops of the banquettes, the
tables, and where the back legs of the
chairs meet the floor; vertical centerlines
indicate the locations of the tables.

5. 8.
Sketch the abstracted forms of your Draw the two sub-groups of furniture
objects and use your markers to define together and add the interior
the shapes that occur. architectural context.

6.
Repeat the same
steps with your
other sub-group
of objects.

INTERIOR SPECIFICATION

Faena Hotel
Philippe Starck I Buenos Aires, Argentina I 2006

67
Chapter 2

1.
Select an interior The idea is to study
your interior carefully and practice
drawing with a smooth, fluid consistent
line. This example was completed with
two lines. Move your pen slowly, taking in
the interior elements and drawing over
existing lines if necessary.

CONTINUOUS
LINE

In keeping with the principle

that the process of sketching
matters more than what the
final sketch looks like, this
exercise underlines the
importance of intense study
of an interior both before
and during a sketch. After
studying the interior, decide
2.
where to put down your pen
point, as you will lift it off the Draw your interior view, taking your pen
off the paper as needed. However, the
paper only once or not at all less often your pen comes off the paper,
until the entire interior is the more fluid your line will appear.
sketched. This will help you to
practice your line consistency,
since constant lifting of the
pen off the paper can result
in a scratchy line, while
a confident, even line
enhances the drawing and
emphasizes the subject.

68
 Interiors

3.
Select a second view of the same
interior Draw the interior with one pen
line. Do not take your pen off the paper
until you have completed the sketch.
Your line may zigzag through the space
in order to keep it on the paper, as in this
example where diagonal lines connect
the free-floating strip lights.

4.
Draw your interior view, taking your
pen off the paper as needed.

INTERIOR SPECIFICATION

MAXXI: Museum of XXI Century Arts

Zaha Hadid I Rome, Italy I 2003

69
Chapter 2

1.
Part 1: Select a sculptural staircase Look
closely at your stair and create a loose
outline of the room to anchor it. Place
your pen at the edge of your outline, and
begin to sketch the stair without looking
at the paper. Repeat this two more times.

SCULPTURAL
STUDY

This exercise emphasizes 2.

the sculptural aspects of an Look at the paper as needed to sketch
interior architectural element the space in its totality, including interior
such as a curved stair or details (such as the chairs on display in
this example). Use the perspective tools
ceiling. It involves making
you have learned.
a sketch while looking at
the sculptural element, not
the paper, at all times. This
reinforces the study of the
subject, with less emphasis
on the sketch itself. Not
surprisingly, many sketches
done without looking at the
paper have a loose, carefree
quality that is ideal when
sketching sculptural
elements.

INTERIOR SPECIFICATION

VitraHaus
Herzog & de Meuron I Weil am Rhein,
Germany I 2010

70
 Interiors

3.
Part 2: Select a sculptural ceiling Draw
an outline of where the ceiling meets the
wall. Place your pen at the edge of your
outline, and begin to sketch the ceiling
while not looking at your paper. Repeat
this two more times. In this example a
tangled web of lines is actually a complex
grid of glass panes that connects the
buildings along the perimeter and inside
of an interior courtyard.

4.
Sketch the space in its totality, again,
looking at the paper as needed.

INTERIOR SPECIFICATION

Great Court at the British Museum

Foster + Partners I London, UK I 2000

71
Chapter 2

1.
Practice drawing a variety of human
figures. These can be outlines of people
doing different activities—walking,
standing, or sitting. Figures drawn with
little detail, as seen in the example left,
provide the needed scale but do not
distract from the interior or architecture
of the space. There are many stylistic
approaches, from abstract to realistic.
PEOPLE You need to find what works with your
drawing style and the feeling you want to
convey in your sketches.

The best way to show scale

in a sketch of an interior (or
exterior) view is to add a
human figure or figures.
Without doing so, it is
difficult for the viewer to
discern the size of the
architectural elements.
Including human figures also
shows how people interact
with the space (e.g. sitting
in a restaurant or walking
through a museum). It
indicates how the space is
actually used—creating a
lively and energetic sketch.

2.
In perspective sketches the eye level of
all average adult figures on the same
ground plane will align. People who are
closer to the viewer are larger, and
people who are farther away are smaller,
but their eye level remains the same. Use
your thick pen to draw a dashed
horizontal line indicating the eye level,
then draw figures at different proximities
to the viewer.

72
 Interiors

3.
Select an interior that includes people
Draw your interior using the tools
discussed previously in this chapter
(guidelines, perspectives, etc.). In this
example a multi-height atrium space
consists of overlapping levels and
bridges, and people are seen at many
different heights. In a view with one level,
there will be one eye level, and all the
figures’ eyes will line up along the
imaginary guideline. If a view has more
than one level, as in this example, there
will be a corresponding number of
imaginary guidelines. On the first level,
the eye level of all the figures is at the
same height, although the figures
themselves are larger (closer) and
smaller (farther away). On the second
level, people are seen standing against
the handrail and share the same eye level.

INTERIOR SPECIFICATION

East Building at the National Gallery of Art

I. M. Pei I Washington, DC, USA I 1978

73
Chapter 2

1.
Select an interior with three interesting
views Sketch the element in your space
that recedes into the background. In this
example a low wall spirals up and around
through the space. Repeat this exercise
for two other views in the space.

VIEWPOINTS

Three-dimensional objects
and spaces can comprise
complex layers; some
elements protrude while
others recede. This principle
was first discussed in
Furniture + Lighting and it
applies equally to interiors,
albeit at a larger scale. This
exercise studies an element
of a space that moves away
from the viewer. Examining 2.
the parts of an element that For each of your views, render the elements
are closer to and farther away from dark (closer to the viewer) to light
from the viewer reinforces (as it recedes away from the viewer).
the concept of layering—and
how we view objects in three
dimensions. This exercise
also emphasizes the principle
that objects are darker
when closer to the viewer
and lighter as they recede
into the distance.

74
 Interiors

3.
Draw the space with detail incorporating
the studied element. This example includes
details such as artwork and lighting to
show the function of the museum. It also
incorporates people, which expresses
scale and animates the interior.

INTERIOR SPECIFICATION

Solomon R. Guggenheim Museum

Frank Lloyd Wright I New York, USA I 1959

75
Chapter 2

FOREGROUND
+
BACKGROUND

To draw interior spaces well,

you need to understand the
principles of layering.
Complex interiors incorporate
layers that progress from 5
foreground to background 2
4
(front to back). This exercise 5
2
studies these layers and uses 4
5
varied intensities of gray to 2
communicate depth. This 4
5
may be necessary when a 2
line drawing reads very flat 5 4
4
3 4 5
or is difficult to understand 6
2
because of a lack of 4
information. Adding gray 5 43 34 5
5
values can help to 1
communicate what elements
recede and what elements
protrude. This is not a shading
exercise; the values do not
1. 2. 3.
derive from a light source. It
is a study to further explore Select an interior with complex layers Draw your interior in greater detail Use markers to render your sketch, using
Sketch the interior and use numbers to and include people to show scale. the darker gray for the closest element
elements as they recede into indicate which elements are closer or (1). As the numbers increase, the gray
the distance. After completing farther away from the viewer, beginning value will decrease. While it was difficult
the exercise, you can judge with 1 for the closest. In this example to perceive depth in the line drawing,
which rendered sketch the layers (low wall, ceiling, and back this rendered version reveals the
wall) make a line drawing difficult three-dimensionality of the space
indicates depth most
to understand. and shows the importance of value in
effectively. certain sketches.

76
 Interiors

4.
Repeat the previous step, but this
time render your sketch using the lighter
gray for the closest element (1). As the
numbers increase, the gray value
will increase.

INTERIOR SPECIFICATION

Solomon R. Guggenheim Museum

Frank Lloyd Wright I New York, USA I 1959

77
Chapter 2

1.
Select an interior Create a thumbnail
layout of your view. Add a box around 3
the view, and label it as 1. Draw a second,
smaller box using a large-dashed line
around an architectural element you wish
to magnify, and label this as 2. Finally,
draw a third, even smaller box, using a
short-dashed line around an aspect of
this element that requires closer scrutiny.
MAGNIFICATION

1
Interiors can be complex.
An overall sketch does not
always clearly convey the
detail or uniqueness of a
space. This exercise uses
magnification to move the
viewer closer into a space
2. 3.
for a sharper view. First you
will sketch an interior space, Draw the interior view in box 1. This line Add more detail to your drawing.
drawing captures the significant
then zoom in to a particular elements within the overall space.
architectural element, and
then zoom in even closer
to sketch a detail of
this element.

78
 Interiors

4. 5.
Draw the architectural element in box 2. Add more detail to your drawing.

6. 7.
Draw the detail of the architectural Add more detail to your drawing.
element in box 3.

INTERIOR SPECIFICATION

Louvre Pyramid
I. M. Pei I Paris, France I 1989

79
Chapter 2
INTERIOR
SHADING
In the Furniture + Lighting
section, you learned to shade
a single piece or group of
furniture by indicating the
direction of the light source,
giving values to the subject
using varied intensities of
gray to render the values, and
rendering the shadow cast on
the floor with the darkest
gray. Although the scale of an
interior space is much larger
than that of a chair or group
of chairs, the same principles
apply. It is more difficult to
alter natural light (although
possible with window
treatments) than it is using
the artificial light of a lamp,
which can be easily adjusted
to get an interesting shadow.
If you plan to use natural
light, you will need to visit
an interior at different times
of the day to see how the
natural movement of the sun in
the sky changes the shadows
within the space. This
example uses natural light.
80
1.
Part 1: Select a simple interior space that
receives sunlight Study your interior
space and create a line drawing using
the principles you have learned. In this
example there is a slit of light where the
back wall meets the ceiling—creating
very strong shadows that are cast off
a structural beam.
4 1 4 4 1 4 2.
Create three thumbnail sketches of your
1 3 space at three different times of the day.
3 1
5 4
5 Observe and record the shadows that
4 result. Assign values for the shading,
3 3
starting at 1 for the lightest value and
5
rising to 5 for the darkest value.
2 2
2 2
1 1
4 4
4
4 1
3
5 1
5
3 4
1
2
2
1
4 1
 Interiors

3.
Render each sketch to represent the
interior light patterns and shadows that
occur throughout the day. For simplicity,
restrict the lighting values to a maximum
of five, and do not render the areas with
value 1 (i.e. leave the white of the paper).
Then use 20 percent for value 2,
40 percent for value 3, 60 percent for
value 4, and 80 percent for value 5.
Avoid using 100 percent—pure black
dominates the sketch and detracts from
the shadowy quality of the gray values.

INTERIOR SPECIFICATION

Koshino House
Tadao Ando I Ashiya, Hyogo, Japan I 1984

81
Chapter 2

4.
Part 2: Select a complex interior space
that receives sunlight Block out the
architectural elements of your space and
4
create a map of shadow intensities by
numbering areas from 1 (lightest) to
5 (darkest). Restrict your values to a
maximum of five, no matter how complex 5 3 5
1
your view, so you can create contrast
with your markers (remember you have 5 2
5
only five gray values if you start at 2 2
4 3
10 percent and use odd percentages
3 4
for more contrast, e.g. 30 percent,
50 percent, 70 percent, and 90 percent). 2
2
2 2 2 5 2
In this example there is a narrow slit cut 5
into the back wall behind the altar,
forming a cross that radiates natural 5 5
sunlight and creates interesting light 3 3
patterns and gradations of shadow.

5.
Create a line drawing of the interior
architecture. In this example the joints
in the concrete walls and ceiling create
a grid, which helps to frame the space.

82
 Interiors

6.
Add furniture and lighting to the space.
Use your knowledge of perspective to
locate your horizon line and VP so that
all the architectural elements and
furniture recede to a common point.
7.
Use your markers to block out the
shading in your space according to your
diagram. For ultimate contrast, and to
emphasize the brightness of the lightest
value, do not render the brightest
spaces—those noted as 1 on the diagram.
Just leave the white of the paper. Use
20 percent for value 2, 30 percent for
value 3, 40 percent for value 4, and
50 percent for value 5.

8.
Add another layer of gray to your
drawing. Use 20 percent for value 2,
40 percent for value 3, 60 percent for
value 4, and 80 percent for value 5. If
you really want your dark to “pop,” use
90 percent for value 5. More contrast will
create a more dynamic and dramatic
interior sketch. After completing the two
versions of this view, you can decide if
you prefer a more diluted or contrasted
rendering for your space.

INTERIOR SPECIFICATION

Church of the Light

Tadao Ando I Osaka, Japan I 1989

83