nata 2016 study material

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NATA SOLVED DRAWINGSNATA ONLINE CLASSROOM NATA ONLINE MOCK TESTwww.precept.in

Copyright 2014 PRECEPT DESIGN STUDIO

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Basics: Units, Conversions, etc.The section describes the basics of different units of measurement and their respective conversion, along with different sizes of paper and types of pencil grades.

page- 01

Non-verbal ReasoningThis section contains different parts related to logical reasoning like analogy, series, mirror image, water image, embedded image, pattern completion, etc.

page- 13

3-D Visualization

The section encourages and sharpens their visualization sense by means of exercises like surface counting, view recognition, etc of a 3-D form.

page- 07

Basics of design

The section describes the elements and principles of design, illustrating the basics of an artwork.

page- 23

Color Theory

The part explores the basics of primary, secondary and tertiary colors, along with color harmony principles like complimentary, triad, split-complimentary, etc.

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Architectural TerminologyThis part introduces with different architectural terminology with images illustrating the same.

page- 28

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11Architecture AwarenessThe chapter introduces to different styles and architects within India and across the world along with their famous works of architecture.

page- 43

Basics of Building MaterialThe part introduces to different building materials of construction and their uses, like aluminum, asbestos, bitumen, asphalt, brick, concrete, steel, etc.

page- 72

History of ArchitectureThe section introduces to different architecture styles of the past times, like Greek, Roman, Byzantine, Gothic, Romanesque, etc.

page- 61

Mathematics AptitudeThe section has different questions of Arithmetic with topics, like algebra, speed-motion, percentage, area, perimeter, etc.

page- 85

Vocabulary

The part gives glimpses of questions based on synonyms-antonyms asked in NATA Online Exam.

page- 96

Sample NATA Online Mock Test

page- 99

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2|3-D Visualization

Right Side Elevation

Left Side Elevation

Right Side ElevationLeft Side Elevation

3-D Object

3-D Object

Right Side Elevation Left Side Elevation3-D Object

3-D Visualization7



2|2|3-D Visualization3-D Visualization2|2|

Right Side Elevation

Left Side Elevation

Right Side ElevationLeft Side Elevation

3-D Object

3-D Object

Right Side Elevation Left Side Elevation3-D Object

3-D Visualization

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4|Basics of DesignBasics of DesignThe elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all paintings will contain most of if not all, the seven elements of design.

The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.

Elements of Design• Line- Line can be considered in two ways. The linear marks made with a pen or brush or the edge

created when two shapes meet.

• Shape- A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.

• Direction- All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action.

• Size- Size is simply the relationship of the area occupied by one shape to that of another.

• Texture- Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual.

• Color- Also called Hue. The 12 part color wheel below is based on the three primary colors ( Red, Yellow and Blue ) placed evenly around a circle. Between the three primaries are the secondary colors (Green, Orange and Violet) which are mixtures of the two primaries they sit between. The tertiary colors fall between each primary and secondary. Between yellow and orange, for example, is yellow orange, between blue and violet is blue violet and so on. All these colors around the outside of the color wheel are called saturated colors. They contain no black, no white and none of their complimentary or opposite color.

• VALUE- Value is the lightness or darkness of a colour. Value is also called Tone

Color Wheel

Basics of Design23



4|4|Basics of DesignBasics of DesignBasics of DesignThe elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all paintings will contain most of if not all, the seven elements of design.

The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.

Elements of Design• Line- Line can be considered in two ways. The linear marks made with a pen or brush or the edge

created when two shapes meet.

• Shape- A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.

• Direction- All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action.

• Size- Size is simply the relationship of the area occupied by one shape to that of another.

• Texture- Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual.

• Color- Also called Hue. The 12 part color wheel below is based on the three primary colors ( Red, Yellow and Blue ) placed evenly around a circle. Between the three primaries are the secondary colors (Green, Orange and Violet) which are mixtures of the two primaries they sit between. The tertiary colors fall between each primary and secondary. Between yellow and orange, for example, is yellow orange, between blue and violet is blue violet and so on. All these colors around the outside of the color wheel are called saturated colors. They contain no black, no white and none of their complimentary or opposite color.

• VALUE- Value is the lightness or darkness of a colour. Value is also called Tone

Color Wheel

4|4|Basics of Design

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5|Color Theory

In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.

Green, orange and purpleThese are the colors formed by mixing the primary colors.

Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green. These are the colors formed by mixing a primary and a secondary color. That’s why the hue is a two word name, such as blue-green, red-violet, etc.

Color is the visual perceptual property corresponding in humans to the categories called red, blue, yellow, etc. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. A color wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, tertiary colors etc.

Color Theory26



5|5|Color TheoryColor Theory

In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.

Green, orange and purpleThese are the colors formed by mixing the primary colors.

Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green. These are the colors formed by mixing a primary and a secondary color. That’s why the hue is a two word name, such as blue-green, red-violet, etc.

Color is the visual perceptual property corresponding in humans to the categories called red, blue, yellow, etc. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. A color wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, tertiary colors etc.

5|5|Color Theory

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1. Apse

A semicircular, polygonal, or rectangular extension at the end of a Roman basilica or a Christian church.

2. Arcade

A series of arches supported on piers or columns. A “blind” arcade is a row of arches applied to the wall as an ornamental feature.3. Azulejo

Azulejo is a form of Spanish and Portuguese painted tin-glazed ceramic tile work. They were not only used as an ornamental art form, but also had a specific functional capacity like temperature control in homes.

4. Adobe Bricks

Bricks formed out of mud or clay, and baked in a kiln or under the sun. Adobe bricks are often bonded together with mud- or lime-mortar joints, and coats of lime-and-sand stucco often cover adobe walls to prevent them from eroding in the rain.

5. Arch

A structural devise, curved in shape, to span an opening by means of wedge-shaped bricks or stones (voussoirs) that support each other by exerting mutual pressure and that are buttressed at the sides.6. Architectural Symmetry

A characteristic (particularly of classical architecture) by which the two sides of a facade or architectural floor plan of a building present mirror images of one another.7. AtticWindow

A window lighting an attic story, and often located in a cornice. Attic windows are common to ancient Greek and Greek Revival architecture.

8. Aisle

A passage or corridor parallel to the nave of a church or an ancient basilica and separated from it by columns or piers.

Architecture Terminology

6|Architecture Terminology

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1. Apse

A semicircular, polygonal, or rectangular extension at the end of a Roman basilica or a Christian church.

2. Arcade

A series of arches supported on piers or columns. A “blind” arcade is a row of arches applied to the wall as an ornamental feature.3. Azulejo

Azulejo is a form of Spanish and Portuguese painted tin-glazed ceramic tile work. They were not only used as an ornamental art form, but also had a specific functional capacity like temperature control in homes.

4. Adobe Bricks

Bricks formed out of mud or clay, and baked in a kiln or under the sun. Adobe bricks are often bonded together with mud- or lime-mortar joints, and coats of lime-and-sand stucco often cover adobe walls to prevent them from eroding in the rain.

5. Arch

A structural devise, curved in shape, to span an opening by means of wedge-shaped bricks or stones (voussoirs) that support each other by exerting mutual pressure and that are buttressed at the sides.6. Architectural Symmetry

A characteristic (particularly of classical architecture) by which the two sides of a facade or architectural floor plan of a building present mirror images of one another.7. AtticWindow

A window lighting an attic story, and often located in a cornice. Attic windows are common to ancient Greek and Greek Revival architecture.

8. Aisle

A passage or corridor parallel to the nave of a church or an ancient basilica and separated from it by columns or piers.


6|6|Architecture TerminologyArchitecture Terminology6|6|

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9. Attic

An attic or a loft is a space found directly below the pitched roof of a house or other building (also called garret or sky parlor). 10. Balustrade

A railing composition composed of upper and lower rails, balusters and pedestals. Materials used can range from stone to brick, wood and sheet metal.11. Barrel Vault

A barrel vault, also known as a tunnel vault or a wagon vault, is an architectural element formed by the extrusion of a single curve along a given distance. The curves are typically circular in shape, lending a semi-cylindrical appearance to the total design.

12. Blind Arch

A blind arch is an arch-shaped opening within a structure that has been filled in, making it unusable as a traditional door or window. A blind arch may be filled in immediately after construction, allowing it to serve as a primarily aesthetic function from the very beginning.

13. Brackets

A projection from a vertical surface that provides structural and/or visual support for overhanging elements such as cornices, balconies, and eaves.14. Balcony

A platform that projects from the wall of a building, and which is enclosed on its outer three sides by a balustrade, railing, or parapet.15. Bay

Bay, in architecture, is the space between two columns, or pilasters, or from pier to pier in a church, including that part of the vaulting or ceiling between them, is known as a bay.16. Bousillage

A form of plaster made of mud, clay and moss used in p o t e a u x - e n - t e r r e construction in French Colonial architecture, particularly in Louisiana.17. Belvedere

A small, square cupola that functions as a lookout tower, located at the top of a building. Belvederes are characteristic of Italianate houses.

Architecture Terminology29



9. Attic

An attic or a loft is a space found directly below the pitched roof of a house or other building (also called garret or sky parlor). 10. Balustrade

A railing composition composed of upper and lower rails, balusters and pedestals. Materials used can range from stone to brick, wood and sheet metal.11. Barrel Vault

A barrel vault, also known as a tunnel vault or a wagon vault, is an architectural element formed by the extrusion of a single curve along a given distance. The curves are typically circular in shape, lending a semi-cylindrical appearance to the total design.

12. Blind Arch

A blind arch is an arch-shaped opening within a structure that has been filled in, making it unusable as a traditional door or window. A blind arch may be filled in immediately after construction, allowing it to serve as a primarily aesthetic function from the very beginning.

13. Brackets

A projection from a vertical surface that provides structural and/or visual support for overhanging elements such as cornices, balconies, and eaves.14. Balcony

A platform that projects from the wall of a building, and which is enclosed on its outer three sides by a balustrade, railing, or parapet.15. Bay

Bay, in architecture, is the space between two columns, or pilasters, or from pier to pier in a church, including that part of the vaulting or ceiling between them, is known as a bay.16. Bousillage

A form of plaster made of mud, clay and moss used in p o t e a u x - e n - t e r r e construction in French Colonial architecture, particularly in Louisiana.17. Belvedere

A small, square cupola that functions as a lookout tower, located at the top of a building. Belvederes are characteristic of Italianate houses.


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7|Architecture Awareness

Antoni Gaudi

Park Guell

Park GuellCasa Mila

Palacio Guell

Casa Vicens

Sagrada Familia

Sagrada Familia

Frank Ghery

Norman Foster

Sainsbury center

City Hall, London

Hearst Tower Gherkin

Guggenheim Museum, Bilbao

Waly Disney Concert Hall

Vitra Design Museum Dancing House

Architecture Awareness43



7|7|Architecture AwarenessArchitecture Awareness

Antoni Gaudi

Park Guell

Park GuellCasa Mila

Palacio Guell

Casa Vicens

Sagrada Familia

Sagrada Familia

Frank Ghery

7|7|

Norman Foster

Sainsbury center

City Hall, London

Hearst Tower Gherkin

Guggenheim Museum, Bilbao

Waly Disney Concert Hall

Vitra Design Museum Dancing House

Architecture Awareness

48



Renzo Piano

Pompidou

Harvard Arts Museum The Shard

Millenium Dome

Madrid-Barajas Airport

Lloyd’s Building

Richard Roger

Santiago Calatrava

Auditorio de Tenerife

City of Arts and Sciences, Valencia

Turning Torso

Satolas TGV Station, Lyon

Architecture Awareness48



Renzo Piano

Pompidou

Harvard Arts Museum The Shard

Millenium Dome

Madrid-Barajas Airport

Lloyd’s Building

Richard Roger

Santiago Calatrava

Auditorio de Tenerife

City of Arts and Sciences, Valencia

Turning Torso

Satolas TGV Station, Lyon

Architecture Awareness

63



RomanArchitecture(509BC-400AD)

• Centred on Rome and spread to the whole of the European continent, northern parts of Africa & West Asia.

• The ancient Roman style is said to be a reproductive form of the Greek and Etruscan architecture.

• Before Concrete, the Romans utilized a volcanic stone native to Italy called tufa to construct their buildings. Although tufa never went out of use, travertine began to be utilized in the late 2nd century B.C.E because it was more durable.

• Roman concrete (opus caementicium), was developed early in the 2nd century BCE in which the mortar was a combination of sand, lime and water in proper proportions. The major contribution the Romans made to the mortar recipe was the introduction of volcanic Italian sand (also known as “pozzolana”).

• Although the Romans have borrowed much of the Greek style, they have used their own knowledge in construction to improve the arch and vault for the architectural.

Arches were used not just for their immense support capabilities but also for their power to amaze and glorify. The extension of the arch idea lead to the development of domes, vaults and aqueducts.

Aerial View of the City of Pompeii

RomanCities

Roman cities were typically focused on the forum (a large open plaza, surrounded by important buildings), which was the civic, religious and economic heart of the city. It was in the city’s forum that major temples were located, as well as other important shrines, basilica (a law court), and other official meeting places for the town council, such as a curia building. Surrounding the forum, lining the city’s streets, framing gateways, and marking crossings stood the connective architecture of the city: the porticoes, colonnades, arches and fountains that beautified a Roman city and welcomed weary travelers to town. Pompeii, Italy is an excellent example of a city with a well preserved forum.

Aerial View of the Forum of Pompeii

Map of the Forum of Pompeii

History of Architecture63



RomanArchitecture(509BC-400AD)

• Centred on Rome and spread to the whole of the European continent, northern parts of Africa & West Asia.

• The ancient Roman style is said to be a reproductive form of the Greek and Etruscan architecture.

• Before Concrete, the Romans utilized a volcanic stone native to Italy called tufa to construct their buildings. Although tufa never went out of use, travertine began to be utilized in the late 2nd century B.C.E because it was more durable.

• Roman concrete (opus caementicium), was developed early in the 2nd century BCE in which the mortar was a combination of sand, lime and water in proper proportions. The major contribution the Romans made to the mortar recipe was the introduction of volcanic Italian sand (also known as “pozzolana”).

• Although the Romans have borrowed much of the Greek style, they have used their own knowledge in construction to improve the arch and vault for the architectural.

Arches were used not just for their immense support capabilities but also for their power to amaze and glorify. The extension of the arch idea lead to the development of domes, vaults and aqueducts.

Aerial View of the City of Pompeii

RomanCities

Roman cities were typically focused on the forum (a large open plaza, surrounded by important buildings), which was the civic, religious and economic heart of the city. It was in the city’s forum that major temples were located, as well as other important shrines, basilica (a law court), and other official meeting places for the town council, such as a curia building. Surrounding the forum, lining the city’s streets, framing gateways, and marking crossings stood the connective architecture of the city: the porticoes, colonnades, arches and fountains that beautified a Roman city and welcomed weary travelers to town. Pompeii, Italy is an excellent example of a city with a well preserved forum.

Aerial View of the Forum of Pompeii

Map of the Forum of Pompeii

History of Architecture

66



RomanesqueArchitecture(800AD-1100AD)• Major regions of Romanesque influence in Europe- France, Italy, Germany, England and Spain.• Romanesque architecture is characterized by round arches and vaults and by the substitution of

piers for columns.• A fusion of Roman, Carolingian and Ottonian, Byzantine, and local Germanic traditions, it was a

product of the great expansion of monasticism in the 10th–11th century.• It is the first style that can be found all over Europe, even when regional differences. The expansion

of the style was linked to the pilgrimages, mainly to Santiago. • Romanesque churches characteristically incorporated semicircular arches for windows, doors, and

arcades; barrel or groin vaults to support the roof of the nave; massive piers and walls, with few windows, to contain the outward thrust of the vaults; side aisles with galleries above them; a large tower over the crossing of nave and transept; and smaller towers at the church’s western end.

• The interiors of Romanesque churches were usually covered with brightly-coloured sculptures, carvings, and paintings, depicting scenes from the Bible.

• The move from wooden to stone buildings was also a characteristic of the period in which Romanesque architecture developed.

Santiago de Compostela Cathedral Duomo Cathedral

Pisa Cathedral Leaning Tower of Pisa

Bodiam Castle, England

Ely Cathedral

History of Architecture66



RomanesqueArchitecture(800AD-1100AD)• Major regions of Romanesque influence in Europe- France, Italy, Germany, England and Spain.• Romanesque architecture is characterized by round arches and vaults and by the substitution of

piers for columns.• A fusion of Roman, Carolingian and Ottonian, Byzantine, and local Germanic traditions, it was a

product of the great expansion of monasticism in the 10th–11th century.• It is the first style that can be found all over Europe, even when regional differences. The expansion

of the style was linked to the pilgrimages, mainly to Santiago. • Romanesque churches characteristically incorporated semicircular arches for windows, doors, and

arcades; barrel or groin vaults to support the roof of the nave; massive piers and walls, with few windows, to contain the outward thrust of the vaults; side aisles with galleries above them; a large tower over the crossing of nave and transept; and smaller towers at the church’s western end.

• The interiors of Romanesque churches were usually covered with brightly-coloured sculptures, carvings, and paintings, depicting scenes from the Bible.

• The move from wooden to stone buildings was also a characteristic of the period in which Romanesque architecture developed.

Santiago de Compostela Cathedral Duomo Cathedral

Pisa Cathedral Leaning Tower of Pisa

Bodiam Castle, England

Ely Cathedral

History of Architecture

74



4. BrickA brick is building material used to make walls, pavements and other elements in masonry construction. A brick can be composed of clay-bearing soil, sand and lime, or concrete materials. Bricks are produced in numerous classes, types, materials, and sizes which vary with region and time period, and are produced in bulk quantities. Two basic categories of bricks are fired and non-fired bricks.

Sizes of BrickStandard Size: 190 X 90 X 90 mm (7.5” X 3.5” X 3.5”) and 230 X 110 X 76 mm (9” X 4.5” 2- 3/4”)

Colors of BrickThe fired color of tired clay bricks is influenced by the chemical and mineral content of the raw materials, the firing temperature, and the atmosphere in the kiln. For example, pink colored bricks are the result of a high iron content, white or yellow bricks have a higher lime content. Most bricks burn to various red hues; as the temperature is increased the color moves through dark red, purple and then to brown or Grey at around 1,300 °C (2,372 °F).

TextureRough and Porous

Properties of Good quality of bricks• Color- The color of good brick should be uniform. It may deep red, cherry or copper colored.• Shape- Bricks should be uniform in shape with sharp straight right angled edges.• Size- Size of the bricks should be standard as prescribed by Indian standards. [19cm x 9cm x 9cm]• Soundness- A good brick should give metallic ringing sound when struck with another brick.’• Hardness- A good brick should be sufficiently hard which can be tested by a finger nail. No mark

should be left on the surface of the brick when scratched with thumb-nail.• Water absorption- First class brick should not absorb water more than 20% of its dry weight when

soaked in water for 24hrs.• Structure- A good brick should show fine, compact and uniform structure in broken form.• Thermal conductivity & Fire resistance- It should have thermal conductivity. • Strength- Bricks should not break when dripped on hard ground from a height of about 1m.• Durability- A good brick should be able to resist the effects of weathering agencies like

temperature, rain, etc.

Types of Bricks

Basics of Building Materials74



4. BrickA brick is building material used to make walls, pavements and other elements in masonry construction. A brick can be composed of clay-bearing soil, sand and lime, or concrete materials. Bricks are produced in numerous classes, types, materials, and sizes which vary with region and time period, and are produced in bulk quantities. Two basic categories of bricks are fired and non-fired bricks.

Sizes of BrickStandard Size: 190 X 90 X 90 mm (7.5” X 3.5” X 3.5”) and 230 X 110 X 76 mm (9” X 4.5” 2- 3/4”)

Colors of BrickThe fired color of tired clay bricks is influenced by the chemical and mineral content of the raw materials, the firing temperature, and the atmosphere in the kiln. For example, pink colored bricks are the result of a high iron content, white or yellow bricks have a higher lime content. Most bricks burn to various red hues; as the temperature is increased the color moves through dark red, purple and then to brown or Grey at around 1,300 °C (2,372 °F).

TextureRough and Porous

Properties of Good quality of bricks• Color- The color of good brick should be uniform. It may deep red, cherry or copper colored.• Shape- Bricks should be uniform in shape with sharp straight right angled edges.• Size- Size of the bricks should be standard as prescribed by Indian standards. [19cm x 9cm x 9cm]• Soundness- A good brick should give metallic ringing sound when struck with another brick.’• Hardness- A good brick should be sufficiently hard which can be tested by a finger nail. No mark

should be left on the surface of the brick when scratched with thumb-nail.• Water absorption- First class brick should not absorb water more than 20% of its dry weight when

soaked in water for 24hrs.• Structure- A good brick should show fine, compact and uniform structure in broken form.• Thermal conductivity & Fire resistance- It should have thermal conductivity. • Strength- Bricks should not break when dripped on hard ground from a height of about 1m.• Durability- A good brick should be able to resist the effects of weathering agencies like

temperature, rain, etc.

Types of Bricks

Basics of Building Materials

75



Types of Brick Bond

• English Bond

• Flemish Bond

• Common Bond

• Block and stack bond

• Herringbone bond

• Running bond

• Rat-trap bond

• English Cross or Dutch bond

• Garden wall bond

Basics of Building Materials75



Types of Brick Bond

• English Bond

• Flemish Bond

• Common Bond

• Block and stack bond

• Herringbone bond

• Running bond

• Rat-trap bond

• English Cross or Dutch bond

• Garden wall bond

Basics of Building Materials

1 3

2 4 6

5Basics of SketchingThe chapter introduces the basics of sketching and the primary elements of form like point, line, shape, plane, volume, etc.

page- 01

2D Composition

The part introduces to principles of a two dimensional composition of shapes and profiles along with sample solved NATA questions

page- 21

Composition of FormThe section introduces to types of form composition and sciagraphy along with making of a 3D composition of objects and sample solved drawings related to NATA

page- 11

Logo Design

The section introduces to the basics and the types of Logo Design and Color theory along with sample solved drawings related to NATA

page- 24

Free-hand Drawing

page- 36

Perspective Drawing

page- 54

The section introduces to types of Perspective drawing like one point, two point and three point. Further, showing sample solved drawings related to NATA

2



Primary Elements of FormThe primary elements of form in the order of their growth from the point to a one-dimensional line, from the line to a two- dimensional plane, and from the plane to a three-dimensional volume. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. As conceptual elements, the point, line, plane, and volume are not visible except to the mind’s eye. When made visible to the eye on paper or in three-dimensional space, these elements become form with characteristics of substance, shape, size, color, and texture. As we experience these forms in our environment, we should be able to perceive in their structure the existence of the primary elements of point, line, plane, and volume.

As the prime generator of form, the:

Point indicates position in space.

A point extended becomes a,

Line with properties of:• Length• Direction• Position

A line extended becomes a,Plane with properties of:• Length and width• Space• Surface• Orientation• Position

A plane extended becomes a,Volume with properties of:• Length, width and

depth• Form and Space• Surface• Orientation• Position

2



Primary Elements of FormThe primary elements of form in the order of their growth from the point to a one-dimensional line, from the line to a two- dimensional plane, and from the plane to a three-dimensional volume. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. As conceptual elements, the point, line, plane, and volume are not visible except to the mind’s eye. When made visible to the eye on paper or in three-dimensional space, these elements become form with characteristics of substance, shape, size, color, and texture. As we experience these forms in our environment, we should be able to perceive in their structure the existence of the primary elements of point, line, plane, and volume.

As the prime generator of form, the:

Point indicates position in space.

A point extended becomes a,

Line with properties of:• Length• Direction• Position

A line extended becomes a,Plane with properties of:• Length and width• Space• Surface• Orientation• Position

A plane extended becomes a,Volume with properties of:• Length, width and

depth• Form and Space• Surface• Orientation• Position



PointA point marks a position in space. Conceptually, it has no length, width, or depth, and is therefore static, centralized, and direction-less.As the prime element in the vocabulary of form, a point can serve to mark:

• The two ends of a line

• The intersection of two lines

• The meeting of lines at the corner of a plane or volume

• The center of a field

Although a point theoretically has neither shape nor form, it begins to make its presence felt when placed within a visual field. At the center of its environment, a point is stable and at rest, organizing surrounding elements about itself and dominating its field.When the point is moved off-center, however, its field becomes more aggressive and begins to compete for visual supremacy. Visual tension is created between the point and its field.

LineTwo points further suggest an axis perpendicular to the line they describe and about which they are symmetrical. Because this axis may be infinite in length, it can be at times more dominant than the described line.In both cases, however, the described line and the perpendicular axis are optically more dominant than the infinite number of lines that may pass through each of the individual points.

Making Gradated Parallel LinesStart with a line. Make it either very light or very dark. Make each stroke lighter or darker than the previous stroke (depending on where you started) and make each new stroke parallel to the previous strokes. See how much gradation you can create just with lines.Further, you can use different grades of Pencils like 2H, H, HB, B, 2B, 4B, 6B 8B etc to check the compatibility of your hand with a particular grade.



PointA point marks a position in space. Conceptually, it has no length, width, or depth, and is therefore static, centralized, and direction-less.As the prime element in the vocabulary of form, a point can serve to mark:

• The two ends of a line

• The intersection of two lines

• The meeting of lines at the corner of a plane or volume

• The center of a field

Although a point theoretically has neither shape nor form, it begins to make its presence felt when placed within a visual field. At the center of its environment, a point is stable and at rest, organizing surrounding elements about itself and dominating its field.When the point is moved off-center, however, its field becomes more aggressive and begins to compete for visual supremacy. Visual tension is created between the point and its field.

LineTwo points further suggest an axis perpendicular to the line they describe and about which they are symmetrical. Because this axis may be infinite in length, it can be at times more dominant than the described line.In both cases, however, the described line and the perpendicular axis are optically more dominant than the infinite number of lines that may pass through each of the individual points.

Making Gradated Parallel LinesStart with a line. Make it either very light or very dark. Make each stroke lighter or darker than the previous stroke (depending on where you started) and make each new stroke parallel to the previous strokes. See how much gradation you can create just with lines.Further, you can use different grades of Pencils like 2H, H, HB, B, 2B, 4B, 6B 8B etc to check the compatibility of your hand with a particular grade.

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Drawing 3D Shapes

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Drawing 3D Shapes



SubtractiveTransformationA form can be transformed by subtracting a portion of its volume. Depending on the extent of the subtractive process, the form can retain its initial identity or be transformed into a form of another family. For example, a cube can retain its identity as a cube even though a portion of it is removed, or be transformed into a series of regular polyhedrons that begin to approximate a sphere.

Some Examples of Subtractive Geometry



SubtractiveTransformationA form can be transformed by subtracting a portion of its volume. Depending on the extent of the subtractive process, the form can retain its initial identity or be transformed into a form of another family. For example, a cube can retain its identity as a cube even though a portion of it is removed, or be transformed into a series of regular polyhedrons that begin to approximate a sphere.

Some Examples of Subtractive GeometrySome Examples of Subtractive GeometrySome Examples of Subtractive Geometry

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Drawing Letters and Numbers in 3D

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Drawing Letters and Numbers in 3D

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SciagraphyA method of casting Shadows. It is basically the use of shading and the projection of shadows to show perspective in architectural or technical drawing.

Shadow casted by a cube, when light is coming from a

point source like a Bulb.

Shadow casted by a cube, when light (parallel rays) is

coming from Sun

Concept of casting of shadow

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SciagraphyA method of casting Shadows. It is basically the use of shading and the projection of shadows to show perspective in architectural or technical drawing.

Shadow casted by a cube, Shadow casted by a cube, when light is coming from a when light is coming from a

point source like a Bulb.point source like a Bulb.

Shadow casted by a cube, Shadow casted by a cube, when light (parallel rays) is

coming from Suncoming from Suncoming from Sun

Concept of casting of Concept of casting of shadowshadow

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The Unity of OppositesOur visual field normally consists of elements that differ in shape, size, color, or orientation. To better understand the structure of a visual field, we tend to organize its elements into two opposing groups: positive elements, which are perceived as figures and negative elements, which provide a background for the figures.Our perception and understanding of a composition depends on how we interpret the visual interaction between the positive and negative elements within its field. Consequently, we are able to perceive their organization into words, sentences, and paragraphs. In the diagrams to the left, the letter ‘a’ is seen as a figure not only because we recognize it as a letter in our alphabet but also because its profile is distinct, its value contrasts with that of its background, and its placement isolates it from its context. As it grows in size relative to its field, however, other elements within and around it begin to compete for our attention as figures. At times, the relationship between figures and their background is so ambiguous that we visually switch their identities back and forth almost simultaneously.

Types of Composition

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The Unity of OppositesOur visual field normally consists of elements that differ in shape, size, color, or orientation. To better understand the structure of a visual field, we tend to organize its elements into two opposing groups: positive elements, which are perceived as figures and negative elements, which provide a background for the figures.Our perception and understanding of a composition depends on how we interpret the visual interaction between the positive and negative elements within its field. Consequently, we are able to perceive their organization into words, sentences, and paragraphs. In the diagrams to the left, the letter ‘a’ is seen as a figure not only because we recognize it as a letter in our alphabet but also because its profile is distinct, its value contrasts with that of its background, and its placement isolates it from its context. As it grows in size relative to its field, however, other elements within and around it begin to compete for our attention as figures. At times, the relationship between figures and their background is so ambiguous that we visually switch their identities back and forth almost simultaneously.

Types of Composition

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Drawing an interior of a room in One-point Perspective

One-pointPerspectiveInteriorView-Suppose you are giving an HSC examination in an examination hall. There is a supervisor examining the examination hall. Depict the scene using pencil only.

Front wall with eye level Vanishing point where observer’s eye-level and position intersect

Draw lines of wall planes, passing through the vanishing point

Marking tiles grid on the floor plane at equal distance

Marking lines of lintel level and sill level

Draw the lintel and sill lines, which pass through the vanishing

point

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Drawing an interior of a room in One-point Perspective

One-pointPerspectiveInteriorView-Suppose you are giving an HSC examination in an examination hall. There is a supervisor examining the examination hall. Depict the scene using pencil only.

Front wall with eye level Vanishing point where observer’s eye-level and position intersect

Draw lines of wall planes, passing through the vanishing point

Marking tiles grid on the floor plane at equal distance

Marking lines of lintel level and sill level

Draw the lintel and sill lines, which pass through the vanishing

point

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Two-point Perspective

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Two-point Perspective

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Process of making two-point Perspective

Draw the height of wall corner

Mark the eye-level and the two vanishing points

Draw the two wall planes, with edges passing through the vanishing points

Mark the tile grid

Draw reference lines for the tile grid, which passes through the vanishing points

Draw the tile grid along with it mark the lintel and sill level for the wall plane

Draw the door and windows of the wall plane

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Process of making two-point Perspective

Draw the height of wall corner

Mark the eye-level and the two vanishing points

Draw the two wall planes, with edges passing through the vanishing points

Mark the tile grid

Draw reference lines for the tile grid, which passes through the vanishing points

Draw the tile grid along with it mark the lintel and sill level for the wall plane

Draw the door and windows of the wall plane

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