Observational Drawing

Workshop

Steve Bowkett
Why do we draw ?
The simple answer is to
communicate with each other.
This however will take many
different forms and have many
different reasons. The desire to
capture and preserve memory
is one that as a human race we
have been engaged in for
thousands of years. Drawing
allows us to express feelings
and emotions, to record
information, to understand
how the world works. Drawings
also helps us to relay stories
and historical events as well
allowing us to use our
imagination and project a
vision of the future

This painting of a wild pig in the Leang Tedongnge cave on the Indonesian island of Sulawesi is thought to be the oldest representational art in the world. Archaeologists believe they
have discovered the world’s oldest-known representational artwork: three wild pigs painted deep in a limestone cave on the Indonesian island of Sulawesi at least 45,500 years ago.
Introduction
Discovering a Style and
Signature.

Before we begin to look at

the fundaments of
drawing and in particular
sketching, I think that it is
important to show the
great variety of different
methods and styles of
drawing. Over the next
few pages, I have selected
a range of freehand
drawings from some of
the most celebrated Artist
and Architects throughout
history. The purpose of
this is to illustrate that
there is no ‘right or
wrong’ way to
communicate through
drawing. Each of these
examples displays a
particular quality and a
particular intention.

Leonardo Da Vinci (1452-1519) sketches of Anatomy, Machines and Architecture

Plan and elevation: This drawing
ruler and stylus, shows one of the
compasses, pen version of Porta
and brown ink, Pia and it was
brush and pale grey realised between
wash; details: pen the spring and the
and brown ink, summer of 1561.
drawn freehand; The gate, several
underdrawing and times elaborated
some calculations with frenetically
in black chalk or overlapping
graphite; the note sketches that
at the bottom of reflects various
the page was added design ideas,
later by Palladio in a shows the
darker ink; London, Michelangelo’s
RIBA Library, way to proceed.
Drawings and The artist used a
Archives Collection, sheet already used
SC213/VIII to investigate
lbr (right) some figures, still
visible on both
sides.

Andrea Palladio Plan, elevation and details of the Round

Temple (Temple of Vesta) in the Forum Boarium 1560 Michelangelo, Porta Pia 1561
Giovanni Battista Piranesi
(1720-1778)
was an Italian artist best known
for his hundreds of etchings
including views of Rome, Pompeii
and his series on "Le Carceri
d'Invenzione" or "The Imaginary
Prisons. Piranesi was born and
raised in the Veneto region and
spent most of his life in Rome
which gave him the inspiration for
most of his work.
he Imaginary Prisons (Le Carceri
d'Invenzione) were one series of
his etchings that he published in
1750, he reworked and
republished them about a decade
later. Unlike a typical capriccio,
these weren't created to appeal
to the Grand Tourist and fully
expressed the imagination of the
artist rather than being based on
well known monuments.
An architectural
visionary, Antonio
Sant'Elia is best known
for his futuristic designs
for a modern city, La
Citta Nuovo (1913-14),
that anticipated many
contemporary
technologies. A
significant member of
the Italian Futurists
Sant'Elia helped to form
the movement's ideas on
architecture and was a
key figure in the
production of
the Manifesto of Futurist
Architecture(1914). Few
of his designs were
actually built, but he is
remembered for his
skilled draftsmanship,
bold sketches, and
unique view of the
future.
Erich Mendelson, Einstein Tower observatory, 1920/21.
Potsdam, Germany.
Mendelsohn took Albert Einstein on a tour of the structure, waiting for a sign of
approval.

Einstein said nothing until hours later, when he whispered his one-word
judgment: “Organic”. Mendelsohn said that he had designed it out of some
unknown urge, letting it emerge from “the mystique around Einstein’s universe”.
 20th Century Architectural sketches

Alvar Aalto’s sketches of Rovaniemi Library (above) 1963-64 and

Sir Edwin Lutyen’s sketch for Thiepval Memorial, France 1932
Vuoksenniska Church, Imatra, Finland (below) 1955-58
 Le Corbusier, Villa Savoy, France 1931

Renzo Piano, Early sketches of the Shard, London 2009-2012 Aldo Rossi, Urban Architecture 1976
Aims of the workshop

This short course aims to investigate

a variety of different ways to make
architectural drawings using different
forms of drawing representation and
media. The course is intended to help
students hone their drawing skills via
a series of weekly exercises
incorporating both two and three -
dimensional drawings. Whilst I will
only be covering hand drawing skills
it is envisaged that many of the
issues covered will also be
transferable into digital
visualizations.

Within the Observational Drawing

Workshop, we will study and explore
a range of drawing types including
hand sketching, freehand three-
dimensional visualization
(perspective, axonometric projections
etc.) and two-dimensional
orthographic drawing (plans,
sections, elevations etc)
as well as visualization through
narrative and storyboarding.
What do we need to be able
to learn to draw ?
From Betty Edwards ‘Drawing on the
Right Side of the Brain’

Five component skills of perception

and drawing

Edges and lines (includes copying

drawings and contour drawing
exercises

Negative space (i.e. space between

items)

Relationships (i.e. perspective and

proportion between things)

Light and shadows (shading)

The whole: The synthesis

which emerges as the first four are
taught.

Each of these will covered within

the following Observational drawing
workshops.
 Requirements for
the workshops
To attend this course, it is required that
you will use the following;
• A decent hard backed (not lined) A4
sketch book (Daler/Rowney or
similar) for sketching, notation,
collage and module submission.
• One pad of A3 (90gsm) tracing
paper.
• One pad of A3 (120gsm min)
cartridge paper.
• A variety of fine line drawing pens
(0.1,0.2,0.3.0.5, 0.8), different
grades of pencil (2H, HB, 2B, 4B ,
Mechanical Pencil, Coloured Pencils,
Pencil Sharpener and Eraser
• solid A3 base board / portable
‘drawing’ board for external
sketching.
• Scale Rule
• Mobile Phone with Camera.
• Rolling parallel rule, set square
(both optional)
 The importance of the Sketch Book and how to use it
Sketchbooks can be messy and
unstructured. This makes them
perfect for capturing loose thoughts
or for working out a problem. I have
complete freedom on the page. My
sketchbooks are a mixture of
drawings, text, to-do lists, notes,
tickets from football matches and
music gigs. In other words, a
personal journal. Whilst they are
not meant to be read by anyone but
me, the sketch book can help
explain things to others and record a
shared thought process.
I have always preferred hardbacked
and bound sketchbooks and, if
looked after, will be with you for
ever. In fact, the use of a sketchbook
has remained the one consistent
things in my professional life.
I have tried many different formats
and sizes with a variety of different
paper types and covers. Makes such
as; Daler, Rowney, Moleskin etc.
However, ultimately the choice is up
you and what you feel comfortable
with.
My preferred choice has been an A5
Daler with a black cover. The size is
good for travelling and fits into most
bags
Pencil Type and Line Weight
Mechanical Pencils

3 Reasons To Use Mechanical

Pencils. Mechanical pencils offer
artists many benefits, such as:
They are easy to control.
The fine points are often so thin
they don’t ever need to be
sharpened.
Lines are consistently thin, dark and
sharp (compared to traditional
pencil marks, which will vary in
width and value with even the
slightest change of pressure).
An assortment of some of the many
mechanical pencils available today. At
left is a disposable, non-refillable
pencil. At center are several refillable,
click-style pencils with features
including removable erasers, storage
areas for extra lead and soft,
comfortable grips. At right and at top
are claw-style holders, with features
including built-in sharpeners and
grade-indicator wheels.
 Holding a pencil
There are two basic approaches to holding
a pencil when drawing. The first is to hold it
as though you were writing, gripped by
your thumb, index, and middle fingers. This
grip gives you the most control and is
effective for fine detail and cross-hatching .
Don’t hold the pencil too close to the
graphite. The further back you hold the
pencil, the freer and bolder your line
quality will be. Experiment with holding the
pencil in different places to create different
effects Holding the pencil near the tip. Holding the pencil in the centre Holding the pencil near the end.

The second grip is more of an over-hand

approach, holding the pencil as a
conductor would hold a baton. This is a
nice grip for using the side of the pencil
(not the sharp point) and is useful for
looser strokes and shading large areas.

Overhand grip—top view This is what it looks like from the From the underside.
underside.
Edges and Lines
When we first picked up a pen
or pencil and started making
marks on paper, we began with
line. Whether self-taught,
through trial and error, or
guided by others, we learned
how line defines form, creates
structure, divides a frame,
traces contour, creates tonal
variation (cross-hatching, for
example) and leads the eye
from one part of a work to
another. Initially a mechanism
for getting outlines onto paper
– identifying edges – we begin
to applaud lines for their own
merit: celebrate their
presence…whether a quiet flick Jagged line Smooth line Wobberly line
of charcoal on paper or a streak
of graphite.

Making positive smooth line work and the curse of the jagged line.
During my years of teaching Architecture and witnessing students sketch drawing in the early years of their studies, one of the basic traits of their first
attempts at a line drawing tends to be drawing with a jagged line. This is often the result of a lack of confidence about where the line ‘should go’ and where
the line ‘is going’. The jagged line is sort of compensation for the lack of confidence in mark making and unless the jagged effect is intentional, often results
in the finished drawing lacking clarity and authority. On the other hand a non-straight wobberly line is nor a jagged line.
As counter to this observation I have outlined a few exercises in line drawing which I believe will direct the student to a more confident and positive
approach to hand drawing and sketching.
The Quality of mark-making
The examples shown adjacent represent five
basic ways that one can create different textural
effects using simple pencil and graphite marks
on paper. Practice these in your sketchbook. You
may wish to contain each technique within a
framed square. There are endless varieties ,
experiment and invent others and name them.
1. Blended Fade
Adding value with differing pressure is one of
the main characteristics that makes pencils so
awesome to use. It’s nearly impossible to create
varying lightness and darkness with marker
pressure, but with a pencil, the result of varying
pressure can be seamless.
2. Scumbling
Draw with the pencil in circular marks, adding a
variety of pressure as you go. The more
complex and tight the scumbling is drawn, the
darker the value of the pencil will appear.
Experiment with a new version of scumbling like
a specific repeated scribbled line pattern.
3. Crosshatching, Hatching, or Stippling
Use short pencil line marks to create dashes,
crossed lines, or dots to fill in areas of your
drawing with value. You could modify these
techniques to stipple with a certain letter or
design.
4. Burnishing
Pressing hard with any kind of pencil, create
patches of graphite marks until the surface
appears shiny and smooth. This drawing effect
is useful representing shiny and glossy objects
like ceramics or glass.
5. Directional Lines
Following the movement of the object, use
swooping lines to bring attention to certain
areas of the drawing. Experiment with gentle
pressure changes of your directional lines for
added complexity.
 ‘Taking a line for a walk’. Paul Klee

Blind Contour Drawing

Definition: A blind
contour drawing
contains lines that are
drawn without ever
looking at the piece of
paper. This forces you
to study a scene
closely, observing
every shape and edge
with your eyes, as your
hand mimics these on
paper. The aim is not
to produce a realistic
artwork, but rather to
strengthen the
connection between
eyes, hand and brain: a
reminder that, when
drawing, you must first Blind Contour Drawing Exercise: Blind drawing is an excellent way to start. Drawing wobbly lines that bear little resemblance to the
chosen object is offers us a way to mediate between what we see and how this is recorded. Blind drawing stretches the arms and
learn to see. soul; eases you into observational drawing without fear. This warm-up exercise is not about the final result and how ‘accurate’ it is
but about a process of producing a relaxed and fluid line drawings.
Gesture Drawing / Timed
Drawing / Movement Drawing
Definition: A gesture drawing
is completed quickly – often in
short timed durations, such as
20, 30, 60 or 90 seconds –
using fast, expressive lines.
Gesture drawings capture
basic forms and proportions –
the emotion and essence of a
subject – without focusing on
detail. Due to their rapid
completion, they are a great
way to record movement and
action, as well as increase your
drawing speed, confidence
and intuitive mark-making
skill. Gesture drawings are best
completed with smooth, easily
applied mediums (soft and
chunky graphite pencils,
charcoal sticks, pastels, soft
brushes dipped in Indian ink,
for example), without the use
of an eraser. They are often
completed on large,
inexpensive sheets of paper, Gestural drawing by Rembrandt; Gestural figure drawing by Chelsea Stebar;
where you can move your arm completed using red chalk on rough, textured paper. With just a few expressive lines, Completed while studying Animation, this gesture drawing captures a clothed figure.
fluidly, be bold with mark- we instantly recognise the scene: two women teaching a child to walk. Note the variation in line weight: light lines applied initially, with darker lines and hints
making, and not worry about of detail all that are needed.
mistakes. As with blind
drawings, gesture drawing is
an ideal warm-up activity.
Gesture Drawing Exercise: When you begin investigating your subject matter in the initial phase of this workshop, it can be helpful to
make several first-hand gestural drawings. The best of these can be selected for your final sketch book submission (taking advantage of a
photocopier or digital camera to reduce in size, if necessary). A small still life scene can be depicted just as easily as a large moving form.
Continuous Line Drawing or Single
Unbroken Line Drawing

Definition: A continuous line

drawing is produced without ever
lifting the drawing instrument from
the page. This means that, in
addition to outlines and internal
shapes, the pencil must move back
and forth across the surface of the
paper, with lines doubling back on
each other, so that the drawing is
one free-flowing, unbroken line. To
avoid the temptation to erase lines,
it can be helpful to complete a
continuous line drawing with an ink
pen, varying the line weight, as
needed, to indicate perspective and
areas of light and shadow. Like the
drawing methods described above,
this drawing method develops
confidence and drawing speed, and
encourages your eyes and hand and
brain to work together. Continuous
line drawings work best with in-
depth observation of your subject,
without interference from your
thinking mind.
According to Smithsonian Studio
Arts ‘…continuous line drawing is
actually a very powerful way to
create a piece that is both hard
edged and fluid, representational
and abstract, rational and emotional Continuous Line Drawing Exercises: This drawing method is great for sketchbooks and drawing from life. It can be an excellent starter
all in one’. activity, with drawings completed on large, inexpensive paper that can be scanned / edited / cropped and used in other ways within your
projects.
Contour drawing

Definition: A
contour drawing
shows the
outlines, shapes
and edges of a
scene, but omits
fine detail, surface
texture, colour and
tone (‘contour’ is
French for
‘outline’).
The purpose of
contour drawing is
to emphasize the
mass and volume
of the subject
rather than the
detail; the focus is
on the outlined
shape of the
subject and not
the minor details.

The illusion of
three-dimensional
form, space and
distance can be
conveyed in a
contour drawing
This is an example of a contour drawing from my book ‘Archidoodle City’. It is an image of the water storage tanks above the skyline of New York City, USA.
through the use of
scale, varied line- Whist the drawing is in pen the principle of only using a line to describe volume and shape is adhered to. Depth has been created by the water tanks in the
weight (darker background being smaller than the foreground.
lines in the
foreground / paler
lines in the
distance) and
perspective.
Contour drawing Exercise :Using line alone eliminates the challenge of applying tone, colour and mediums; and instead focuses attention solely upon shape and proportion. After
completing warm-up activities such as blind and gesture drawings, slower, more formal contour drawings can be an excellent way to begin more realistic representations of your subject
matter. Used intermittently throughout projects, contour drawings can also be helpful for the student that needs to work faster. Using this example take some containers from your kitchen
and arrange them so that some sit in front of each other. Use the principles of Contour drawing to show relative form, scale and depth.
Cross contour drawing

Definition: A cross contour drawing contains parallel lines that run across the surface of an object (or radiate
from a central point), such as those that appear on a topographical map or a digital wireframe. The lines can
run at any appropriate angle (sometimes at multiple angles) and may continue across objects and into the
background. Cross contour drawings typically follow the rules of perspective, with lines drawn closer together
in the distance and further apart in the foreground. In this type of drawing, the illusion of three-dimensional
volume is created entirely with line.

Cross Contour Drawing Exercises: This is an excellent way to

gain familiarity with the volumes and three-dimensional forms
in your project, producing analytical cross contour drawings
that are suitable for sketchbooks or early preparatory sheets.
Attempt drawing your hand, or if you feel that this maybe too
complex take an object such as a shell.

Hands are a great subject for a cross contour line drawing exercise. Hands can create interesting, complex,
curving shapes, as in the examples above, and are readily available for ‘first-hand’ observation. Note how the
density and weight of the line also helps to communicate areas of light and shadow.
Landscape contour drawing Landscape contour drawing overdrawn in charcoal

Landscape contour drawing

A wireframe, or a contour study, helps reveal the folds of the hills, and where the planes are catching and blocking light.
Planar analysis drawing

Definition:
A planar analysis
drawing simplifies
complex curved surfaces
into flat planes, using
straight lines. This
process helps students
to think about the
underlying structure of
objects and results in an
analytical drawing, that
is rather mechanical in
appearance.

Planar Analysis Drawing

Exercise: This can be a
great introductory
drawing exercise,
especially if you are
moving towards Cubism
or abstracting scenes
into geometric form.

Deux Nus by Jean Metzinger 1911

Examples
of Artist
line
drawings

Line drawings
by Picasso: a
series of
drawings
showing the
progression
from realistic
form to a few
curving lines.
Tone and
detail have
been
eliminated:
the bull
stripped back
to its essence.
Contour Line drawings by David Hockney

Many drawings by David Hockney, Henry Matisse, Egon Schiele,

Jean Auguste Dominique Ingres and Ellsworth Kelly, are great
examples of contour line drawings.
Vincent Van Gogh’s sketches reveals
all of the techniques that has been
discussed in the the first workshop;
 Example of a student analysing the drawing technique of an existing artwork

In this sketchbook
page a student imitates
and analyses a line
drawing by Vincent
van Gogh, discussing
the suitability and
appropriateness of
each technique. Note
that when learning
from artists, it is rarely
necessary to slavishly
copy an entire work;
replicating small
pieces (as in this
example) is often all
that is needed to
discover .
Observational Drawing
Exercises Summary;

Edges and lines contour

drawing exercises
Before attempting any of the
exercises below make a drawing
which you would naturally do
without thinking. This will act as a
point of reference between your
drawing methods and ability at the
beginning of the workshop sessions
and after the five sessions.

Attempt a few of the following

exercises;

1. Mark Making Examples

2. Blind Contour Drawing

Exercise

3. Gesture Drawing Exercise

4. Continuous Line Drawing

Exercise

5. Cross Contour Drawing /

Contour Landscape Drawing

6. Planar Analysis Drawing

My first design
project sketches in
year 1 at University
First year sketch
book drawings from
a study tour of
Ancient Greece