Architects Draw: Freehand Fundamentals by Sue Ferguson Gussow

By Sue Ferguson Gussow

Architects Draw bargains a pragmatic and important solution to aid scholars and would-be sketchers translate what they see onto the web page, no longer as an imitation of truth, yet as a finished union of voids and solids, gentle and shadows, traces and shapes. for almost 40 years respected Cooper Union professor and artist Sue Gussow has taught aspiring architects of various talents how one can totally discover and understand the areas that make up our actual surroundings. Gussow skillfully applies architectural language to twenty-one drawing routines that take on various forms—from peas in a pod to monkeys, skeletons, dinosaur bones, and the paintings of Giacometti and Mondrian. She exhibits, for instance, how reduce fruit and paper baggage demonstrate that the actual international is made from planes, dimensions, and enclosed area.

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Extra info for Architects Draw: Freehand Fundamentals

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Let the drawing be influenced by the concepts that you are working with at the time. Draw this object with any medium at any size in any manner and scale and for any period of time. 59 F IGURE 1 F IGURE 2 right At first glance this blind-contour drawing seems to be a breezy offhand study of an ordinary circumstance: three hangers suspended from a utilitarian rack. However, the careful eye and hand of the artist has here commented on significant details and points of joining. The zigzag rivets that marry their two halves together show that the hangers are of wood.

The rotating positions of heads and the crossed-over posture of legs imply a central spatialcore pivot. Some barely drawn limbs trace movement too rapid to record, while the density of marking of the central figure(s) underscores the notion of a core. The women circle at the right of the page as a large block of negative space at the left suggests an arena into which the group might next rotate. 33 F IGURE 7 This work presents an array of stages through which a drawing might evolve. From transparency to density, from tentative and unfinished to volumetric and fully realized, from smudged and erased to confident handwriting, the work 34 celebrates the pleasure (and the frustration) of drawing.

Consider one of the first five rapid studies a sketch for the composition of this drawing. Any medium on any size or tone of paper. 1 hour minimum. as well as details of the various figure groupings in their hierarchical positions on the broad expanse of stairs. WEEK III The exercises assigned for this week follow the format of the two previous weeks, but now position the bags at eye level and above, or entirely above. This phase engenders great ingenuity in staging the location of the bags: they may be taped to the ceiling, suspended from strings, or simply placed on high shelves or stacked boxes.

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