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PENCIL SKETCHINGSecond Edition

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Thomas C. Wang

PENCIL SKETCHING

John Wiley & Sons, Inc.

Second Edition

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Copyright © 2002 by John Wiley & Sons, Inc., New York. All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850-6008, E-mail: PERMREQ @ WILEY.COM.

This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold with the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional person should be sought.

This title is also available in print as ISBN 0-471-39919-1. Some content that may appear in the print version of this book may not be available in the electronic edition.

For more information about Wiley products, visit our web site at www.Wiley.com

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to my wife Jacqueline and my sons Joseph, Andrew, and Matthew

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PREFACE IX

1. INTRODUCTION . . . . . . . . . . . . . . . . . . .1

2. MATERIALS AND EQUIPMENT . . . . . . . . . . 7Pencils 7Papers 13Accessories 17

3. TECHNIQUES . . . . . . . . . . . . . . . . . . . 19Holding the Pencil 19Pressure 23Movement of the Hand 27Lines and Strokes 31

4. SKETCHING . . . . . . . . . . . . . . . . . . . 37Introduction 37Observation and Recording 39

Landscape Sketching 41Trees 43Trees in the Foreground 51Trees in the Background 52Landforms 55Water 59Architecture 63Sketching the Cityscape 67

5. COMPOSITION . . . . . . . . . . . . . . . . . . . 71

6. SKETCHING FROM MEMORY . . . . . . . . . 85

7. EXAMPLES . . . . . . . . . . . . . . . . . . . . 91

INDEX . . . . . . . . . . . . . . . . . . . . . . . . 1 13

CONTENTS

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viii

Venice

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The purpose of revising Pencil Sketching is to update the content andto make it more suitable to the needs of today’s users. Although thepedagogical intent established 20 years ago remains valid and intact,most of the examples were in my opinion outdated. There are alsotechniques I learned after over 25 years of teaching and practicethat I want to incorporate in the new publication. Since the purposeof this book is to teach pencil sketching, I believe that a new book,with all new writings and illustrations, will serve the purpose well.Sketching with color pencil is intentionally left out because I feelstrongly that the basics in learning how to sketch and draw muststart with a simple black and white medium. Pencil is very specialbecause the traditional sketching techniques often go way beyond thetool itself and into the mind and body of the artist. To me, this is theonly way to learn and to master pencil sketching. Pencil sketching isthe door to all other drawing media, and good pencil sketching skills laythe foundation for a good artist. There are many great “technicians”who can draw, but what I really want is to make you an “artist.” I hopethis book will continue to be a helpful guide to all future artists.

PREFACE

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Pencil: The Medium

Pencil is special. Pencil is versatile. There is not a single drawingmedium that can perform so many tasks as a pencil. Because itcan produce lines of different widths, the same pencil can beused for shading, texture making, and emulating a wide range oftonal differences.

To some, a pencil is no different from a pen or a marker becausethey can all be used for sketching. This kind of thinking ignores the fact that the look of pencil is unique and cannot be duplicated. The ability to visually understand and appreciate the differences is essential. The intention of this book is to clarify the differencesbetween pencil and other sketching media. Many publications onpencil sketching and drawing never venture to the heart of thingsand discuss in detail the unique characteristic of pencil. They allspeak rather briefly about the medium and move quickly into tech-niques and demonstrations. Very few spend time talking about the“art of pencil sketching.”

To me, the real understanding of pencil sketching goes beyondknowing the “state-of-the-art” pencils and accessories. It is aboutcreative seeing, such as how to isolate things from a complex visualfield. It is about emotions and feelings and the communicationbetween artist and object. I believe that the in-depth discussionof the fundamentals is what will set this book apart from othersimilar publications.

#2 pencil

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Windtower in Bahrain; 314 pencil

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Why Sketching?

The trends of drawing in the last decade have includedconcerns about colors, styles, expression, and speed.These features are responses to new technology and ourcontemporary lifestyle. Yet these trends have little to dowith the pedagogy of design education and drawing. I seesketching as the foundation of a strong design curriculumand a prerequisite course for all future designers.Sketching is about eye–hand coordination. We see,observe, and then record. Pencil becomes the mediumthrough which images are transferred and documented.Pencil becomes the physical link between the eyes, themind, and the hand. It happens to be the ideal sketchingtool because it is easy to pick up and inexpensive to culti-vate as a hobby. The flexibility and fluidity of pencilsketching is again another unique feature ideal for begin-ners. Knowledge and skills learned from pencil sketchingare easily transferable to other design subjects, and thebenefits are immeasurable and permanent.

Sketching field notes on the back of printed material.It demonstrates the ease and simplicity of sketching.

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Ninomiya Harbor in Japan; ebony pencil, emphasizing contrast

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Sagami Bay in Japan; ebony pencil, emphasizing dark value

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Venice, Italy; 2B pencil

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Pencils

I always recommend that beginners start with the lowlynumber 2 yellow pencil. Number 2 is equivalent to HBgrade in terms of the hardness of the lead. Its markingsare medium in darkness and the lead has a moderatewear, which means that it doesn’t need frequent sharp-ening. It handles well and has a friendly touch. It’s a per-fect pencil for a beginner.

There are many types of pencils that do more or lessthe same task. The key is to find the few that you arecomfortable with. An ordinary pencil comes in differentgrades from high Bs to high Hs. Harder pencils havethe H markings and softer pencils bear B markings.Hard pencils are used primarily for drafting and technicalpurposes because the hard lead can maintain a very thin,sharp, and consistent line. It was very popular amongarchitects before the age of computers because smalland tidy lettering was required to accompany the care-fully prepared architectural drawings. However, thesehigh-H pencils are not suitable for normal sketching anddrawing purposes. But soft pencil is ideal. Softer leadscreate darker values and they glide more easily onpaper. Yet, because the point of the lead will wear awayquickly, the lines from a soft pencil will inevitablybecome wider and less consistent.

Different types of sketching pencils

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TYPICAL PENCIL VARIETIES

medium = 2 or HBsoft = 3 B

extra soft = 6 B

TYPICAL LEAD HOLDERS

• the top holder holds 1⁄4" diametersoft lead

• the other two are mechanicallead holders for drafting only

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There are also charcoal pencils, layout pencils, flat sketching pencils,ebony pencils, etc. Charcoal pencil has a charcoal core and it works justlike regular charcoal stick except for the fact that the tip can be sharp-ened like a pencil. Because it is encased in wood, it is a lot cleaner touse. I like the flat sketching pencil because it contains a square or rec-tangular lead that becomes a flat chisel when sharpened. It produceswide, broad strokes with many dynamic variations when twisted andturned. One of my favorites is the classic “draughting” pencil commonlyknown as 314. It has a rounded, dark brown wood casing with the lead noless than 1⁄8" in diameter. Because of the large lead, the exposed tip ofthe 314 is about half an inch long after sharpening. The long tip is valu-able in sketching because it can do so many things from making a thinline to a broad half-inch stroke by holding the pencil on its side. It hasdark values and the tone is very intense.

314 draughting pencil

Mechanically sharpened 314 pencil

Chisel point after repeated use

Rectangular pencil

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Mars Lumograph H

2/HB (regular pencil)

314 (draughting pencil)

Ebony pencil

Charcoal

Five major pencilsand the differencesin line quality.

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1 1

Pres

sure

Hard

Light

Mars Lumograph H 2/HB (regular pencil) 314 (draughting pencil) Ebony pencil Prang charcoal

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Quick sketch using 314 pencil on sketching vellum. The soft pencil and the fine tooth of the vellum surface areperfect partners in sketching . (Portofino, Italy)

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Papers

Pencil sketching can be done on just about any kind of surface fromdinner napkins to fancy, smooth bristol board. For beginners, the mostimportant thing to remember is to use the least expensive whitepaper. I always recommend starting with a plain 81⁄2" x 11" white sheet.The advantage is not just because of the cost but because you canwork with one sheet at a time. It is a lot harder to learn sketching ona tablet or sketchbook if you have never done so. The thickness ofthe tablets and their edges can be a major hindrance to hand move-ment. This situation is definitely not the best way to build confidencewith your pencil. A single, flat sheet allows the beginning artist torest the palm of the hand comfortably on the drawing surface. Thetable also serves as a security anchor and allows for better balancingof the hand and prevents shaking. If one side is full, you can turn thepaper over and work on the other side. (But try doing this on athick sketching tablet: working on the back side of each page can bejust as hard as sketching on the right side.) Use these inexpensivepapers for shading practices or other loosening-up exercises. Onceyou gain enough confidence and control with your hand, you can thenmove on to something more fancy.

Good sketching paper comes in many weights and textures. Weightrefers to the heaviness (i.e., thickness) of the paper. A 110-lb.paper is heavier or thicker than a 40-lb. paper. Normal drawing paperis between 50 to 110 lbs. Texture refers to the degree of grain ofthe drawing surface but, unfortunately, there is no numerical stan-dard for the differences. The standard practice is to identify themby their names. Watercolor paper is rough and very grainy whileplate bristol is smooth and shiny. There are many commercial brandsof paper makers and you should choose by your sketching intents

Sketching on paper: the hand can rest comfortably on the table.

Sketching on sketch book: the hand glides along the edge—not a comfortable position to get used to for beginners.

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LIGHT DARK LINES LIGHT DARK LINES LIGHT DARK LINES

Charcoal

Ebonypencil

314

2/HB

MarsLumograph

H

Shading and lines on illustration paper(smooth/glossy stock). Notice the lackof variation in value and line quality.

Shading and lines on regular copy paper. Shading and lines on watercolor paper.

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and by how much you can afford. Remain neutral on the issue ofcotton fibers versus wood pulp and the whole business of recycledpaper, as the differences between them will not affect the outcomeof your sketch.

My own definition of a good sketching paper is one that has a mod-erate degree of roughness: its surface should have a little bit of“grain” or “tooth” that can grab and hold onto the lead. The surfaceof a very smooth illustration board, however, is not recommended forgeneral sketching. It is too smooth and is therefore given to deepgrooves or indentations from the pencil markings which makes it diffi-cult to draw back over them. Although some argue that a smoothsurface is better for building up textures, I do not think it is ideal for beginners.

On the other hand, cold-press watercolor paper has a very roughsurface and can easily wear out a typical pencil point. It is so roughthat the pencil has a very hard time navigating it. A beginner willhave trouble controlling the line quality and making a decent sketch.A well-intended straight line often turns out broken and the shadedarea becomes laced with small white dots. Rough paper is very diffi-cult to master and is only recommended for advanced artists who arelooking for a certain kind of effect.

My favorite paper is the plain sketching or drawing paper in moder-ate weight (around 80 lbs.). It often comes in several sizes, fromsmall sketching pads to large easel-size sketch tablets. I oftencarry a small 81⁄2" x 5" sketch book with me for quick visual record-ing on the run. This is a habit that I developed in my early collegedays and it has proven to be a most useful practice for someonewho loves to draw.

LIGHT DARK LINES

Charcoal

Ebonypencil

314

2/HB

MarsLumograph

H

Shading and lines on sketching vellum

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Quick sketch (Serena Inn, Zanzibar, Tanzania; 314 pencil on watercolor paper)

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Accessories

You can sharpen your pencil with a small pocketknife if you don’t have an electric pencil sharpener,but I prefer the latter because it tends to producea longer exposed tip, which is good for the veryreasons discussed in the first section of this chap-ter. A longer tip also prolongs the life of thesharpened lead and thus maximizes the time inter-vals between each sharpening. Sanding boards,emory pads, and sandpaper are all improviseddevices to help keep the tip sharp. Use whateveryou prefer. Strike on a piece of rock or pavement ifyou don’t have any of the above.

I am not a fan of erasers because I think they pro-duce an attitude of dependency, and this is counter-productive to improvement. I prefer sketching overthe mistakes or building on them to create some-thing new and non-static. In case you need one, useeither a kneaded eraser or a soft white plastic one.The soft rubber of the kneaded eraser simplyabsorbs and picks up the unwanted graphic markingswithout leaving crumbs on the drawings. The plasticwhite eraser can pick up a great deal of theresidue, but leaves crumbs that require sweeping.Neither eraser can erase cleanly. Each will mar thesketching surface and change the texture of thepaper. A smooth paper is very unforgiving and anyattempt to erase can easily lead to disaster.

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LINE DRAWING

The use of simple pencil lines to describethe object. Except in the areas under thearches where spacing between lines becomesvery close, the rest of the lines are inde-pendent, with clean and single pencil strokesclarifying the spatial edges of the tower.

LINE AND TONE DRAWING

Shading is used to differentiate thelight and shaded planes. Short and con-tinuous pencil strokes are used to give a suggestion of shadows; this techniquetends to reinforce the three-dimensionalquality of the tower.

LINE AND TONE DRAWING DONE WITH 314 PENCIL

The softness of the lead gives a bettervalue definition of the black. It also simplifiesthe shading process because you can actuallyuse fewer strokes to cover the same areathan when you use a traditional No. 2 pencil.

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Holding the Pencil

There are many ways to hold the pencil but thekey word to remember when sketching is “relax.”Avoid holding the pencil as if you were writingbecause the writing grip is rather firm and tight.The sketching grip is comparatively looser andeasier. Hold the pencil approximately two to threeinches from the tip of the lead. The grip positionshould involve the thumb and the first two fingersonly, with the pencil resting comfortably on theinside of the tip of the third finger. Use the sec-ond finger and the thumb to stabilize the penciland to prevent it from slipping out.

The relationship between the second finger and the thumb usually dictates the type of lines andsketching style. When the tips of the two are relatively close together, anchoring the pencil, the entire hand generally folds inward; and thus themobility and reach of the pencil movement is limitedby how far the fingers can stretch. This position iscalled Position A and is quite similar to the writinggrip. It is very useful in sketching short strokes anddetails, and it gives the artist more control of thetool while it is less prone to making mistakes.

The grip should be relaxed but firm. Control themovement with the same three fingers.

TECHNIQUES 3

Control the pencil with three fingers.

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WRITING POSITION

• tight grip• no flexibility• hold very close to lead

SKETCHING POSITIONS

• looser grip• flexible• hold farther up the shaft

POSITION A

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Position B is when the tips of the second finger andthumb are far apart. The second and third fingers areusually straight instead of being curled inward, increasingthe mobility and reach of the pencil. By sweeping upand down with the extended second and third fingers,the strokes can reach six to seven inches. This is anideal position for shading because the grip is loose andthe fingers are much easier to move. This position alsoallows the artist to hold the pencil sideways and maxi-mizes the effectiveness of the entire pencil tip. Broadstrokes are one result of this grip. Simply extend thefingers of the entire hand with the palm down and glidethe pencil across the page. The angle of the pencil mustbe adjusted to the individual artist’s hand and degree offlexibility. One should be able to switch from Position Ato Position B in a continuous movement without hesita-tion or stoppage.

The third position (Position C) involves holding the pencilas if holding a putty knife or small hand tool. The pencil isheld between the thumb and the second finger. Thiseliminates any form of finger or hand movement and istherefore mainly suited for long and broad strokes. Theentire forearm is used, giving the artist maximum reach.Depending on the size of paper available and the reach ofthe artist’s arm, pencil strokes can reach over threefeet. This position can also be used to create chiselstrokes. Just hold the pencil and strike it up and downusing short and abrupt strokes.

POSITION B

POSITION C

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Lower Manhattan, New York; H pencil

Perfect example of sketching inPosition A. Focusing on architecturaldetails requires a tight grip of thepencil (for better control). Down/upand lateral movement is minimal.Mars Lumograph H pencil was chosenfor the hard lead.

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Pressure

Applying pressure (force) to the pencil is what gives grace and liveli-ness to a line. Without pressure, the strokes and lines are plain and bor-ing. A simple line drawing in pen and ink can be quite beautiful when thereis a consistency in the lines, as this kind of uniformity can bring out theclarity and lightness of the sketch. A pencil is not a pen, however, and apencil line should not strive for consistency. A hard lead can provide a linethat is relatively consistent when compared with a softer lead. But thebeauty of pencil sketching lies in the artist’s ability to apply pressure tothe pencil in order to alter the quality of the lines. The striking, liftingand rotating, the occasional nudging and twisting, and the sudden changeof the angle of the lead all contribute to a multitude of effects which are unique to pencil sketching. And it is this uniqueness that makes pencil special.

A pencil should and must be treated as an extension of the artist’s hand,arm, and fingers. After all, it is only through this kind of intimate joining thata sketch can be produced. The mechanics of sketching involve not just themotion of a hand holding a pencil, but the entire sensory relay from eyes tobrain to hand, and so forth. We observe and examine with our eyes; simplifywith our brain and eyes; reason with our brain about what should be kept;record with our hand; evaluate with our eyes again to see if the image looksat all like the one we saw earlier; make instant changes and reevaluateeverything again in a perpetual cycle. This is the sketching process in anutshell. And just as sketching is undoubtedly a mental process that isvery personal and intimate, so too is the act of applying pressure to thepencil a personal and intimate experience. There is no scientific standard forhow much force one should exert on a certain lead. It is basically a trial-and-error process because you learn from your mistakes and successes.You do it repeatedly to achieve a consistent pattern and you try to keep itthat way, but no one can teach you how to do it. Finding the right force

Simple lines with no pressure applied to the pencil; associated mostly with hard pencil.

Lines which show signs of pressure and the twist and turn of the pencil; the trademark of using a soft pencil.

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Begin lightly Increase pressure Press hard

Mars Lumograph H

2/HB

314

Ebony pencil

Charcoal

STROKE AND PRESSURE

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and knowing how hard to press the lead is something which novicesdream about. It takes time and devotion, and there are certainly noshortcuts on this journey of learning and experiencing.

. . . Time to return from getting too philosophical and Zen-like. Thereare actually a few tricks one can learn in the exploration of pressureand force. The key here lies in the grip. Since pressure emanatesfrom the fingertips, the grip and the contact between the fingersand pencils are extremely crucial. For example, using the Position Bgrip, when the thumb is the only finger that exerts the force, thethird finger becomes the receiving side and must offer some form ofresistance. This knowledge can be taught and learned. The amount ofresistance is the key in determining the value of the shading. Adarker value is due to less resistance and vice versa. To alter andvary the value of the pencil shading depends entirely on the artist’sability to press and lift at the appropriate moment. Unlike learninghow to hold the pencil, this is not something that can be quicklytaught, but it must be practiced over time.

I hope this helps to clarify what I said earlier about the personaland intimate experience of sketching. Yes, pencil is the easiestsketching practice to learn. But it is nevertheless a very hardpractice to master because of the nature of the material. Still, this should not keep you away from learning how to sketch with apencil. On the contrary, I hope that this quality will attract you tothe medium.

314 pencil

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Abbey of San Fruttuoso, Italy

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Movement of the Hand

In essence, movement of the hand refersspecifically to the act of sketching. Thethree grip positions described in the pre-vious chapter correlate directly to thethree different kinds of movement.

Finger movement (Position A)

Because the grip is relatively tight inthis position, movement is limited to justthe fingers. Lines and strokes can bedrawn by the gentle motion of pushingand pulling the pencil with the thumb andthe second and third fingers. Verticalstrokes can be easily drawn by movingthe fingers up and down while plantingthe hand steadily on the drawing surface.Horizontal strokes, however, require fixingthe finger grip while moving the wristfrom left to right and keeping the handloose at the same time. By turning thehand slightly to the side, you canincrease the reach. This gives the artistmore freedom to move the pencil and theability to create longer strokes. The shiftin the grip and angle signals the gradualchange from Position A to B.

Up/down strokes Diagonal strokes

Minimum finger movement

Normal finger movement

POSITION A

Maximum finger movement (notice slightarc in strokes)

Up and down movement of Position A

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Hand movement (Position B)

The grip in Position B is slightly higher and gives the artist thegreatest flexibility to draw a wide range of strokes and lines.By moving the hand, the strokes can cover a larger area. Thefingers must be locked in a fixed position, allowing the entirehand to move freely, pivoting from the wrist. The center of thewrist in this kind of movement becomes the center while thehand becomes the radius. Strokes therefore tend to appear as an arc but the effect can be modified by extending the arm.

Strokes tend to be more diagonal;consistently adjust the position ofthe hand to change the directionof strokes; notice the strokestend to get wider because of theangle at which the lead strikesthe paper.

Up and down movement of position B. (Note thelonger reach and slight arc.)

POSITION B

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Taking advantage of the low angle ofthe pencil and using the entire side ofthe exposed lead to strike the paper; an ideal position for broad strokes.

Arm movement (Position C and others)

Sketching goes “big time” when the arm begins to getinvolved. It’s also when you need to move beyond the small 81⁄2"by 11" sketch pad and onto something bigger. By changing thegrip and by moving and extending the entire arm, an artist cancreate long, sweeping strokes that fly across the page (orwall, if necessary). Large format sketching must be accompa-nied by a proper sketching medium, such as a large pencil withsoft lead. Charcoal stick is also a very appropriate medium touse. This kind of movement is very suitable for expressinglandscape scenery on a grand scale.

Left to right movement of Position C

POSITION C

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Strokes

Strokes

Lines

Lines

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Lines and Strokes

Line refers to a long and continuous thread with aconsistent width, while strokes are comparativelyshort and broken lines in a variety of widths. Lineis the residual mark left on the paper as a resultof a pencil gliding across it. It is graceful and fluidin nature. Strokes, on the other hand, are strikemarks and they are often bold and deliberate.

In sketching, line is used to define spatial edgesand describe objects. A variety of widths can beachieved by simply adjusting the angle of the lead.In theory, a hard lead produces a thin and lightline, while a soft lead produces a dark and thickline. However, a good quality, soft sketching pencilis equally capable of producing a wide range oflines by itself. It is quite unnecessary to stockyourself with an array of leads because one ortwo simple pencils will do all the tricks.

In sketching, it is always a good idea to try to use a variety of line widths to avoid a monotonouslook. For example, a profile line (a thicker linewidth) is used to visually lift the object from thebackground and to make the object look morethree-dimensional. Different line widths within asketch give the sketch a better sense of depthand space. This is especially evident when sketch-ing landscape.

Simple line

Short strokes

Long strokes

Continuing strokes

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Short individual strokes; change direction occasionally to create a cross-hatching effect.

Short, continuous strokes; changedirection occasionally.

A

B

C

D

E

BASIC TEXTURES

Continuous M-strokes; changedirection constantly.

Continuous W-strokes; changedirection constantly.

Very short M-strokes withconstant direction.

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Begin with small finger movement; increase pressure on pencil; expand movement to include moving of thehand; use the wrist.2/HB pencil

Focus primarily on finger movement; adjust angle ofhand accordingly.2/HB pencil

PRACTICE STROKES (B)

PRACTICE STROKES (A)

PRACTICE STROKES (C)

Rotate pencil to get a sharp point

Short up/down strokes using finger movement; glide the hand across the page to repeat stroke;rotate pencil.314 pencil

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Bandstand in Zanzibar, Tanzania; H pencil

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Use texture to separate planes and explainthe three-dimensional quality of the object.

Use texture to explain the sun/shade relationship.

Use texture to help describe the shapes.

TEXTURES AND PURPOSES

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Texture and foliage

Describe receding planes

Create contrast

Describe ground

CREATIVE USE OF TEXTURES

Separate wall from roof

Use contrast to push building forward

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Introduction

The ultimate goal of sketching is to graphically interpret the imagecorrectly. Although the manner of interpretation and presentation isan individual matter (and every artist has his or her ways ofexpressing it), the final outcome of a sketch is often governed bysome agreeable standards. The sketch must have some degree ofrealism and the subject of interpretation must be somewhat recogniz-able. For example, on the simplistic level, a sketched tree ought to looklike a tree and not a person. On the more advanced level, an old treeshould not look like a young sapling. The trunk and the bark shouldsomehow reveal its age. A house with a stone facade should be drawnso that the subtle differences in the joints and mortar can berevealed and highlighted.

SKETCHING

A page from the sketchbook

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Mosque in Bahrain; regular #2/HB pencil

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Observation and Recording

In order to correctly interpret the image that we are attempting to sketch,we must spend time observing it carefully. Careful observation is a veryimportant first step in the making of a good sketch. Observation must bekeen and sharp. Repeated observation and recording are required to trulyunderstand the subject. Sometimes measurements are taken just to make surethat the proper relationship is correctly portrayed. Landscape sketching (andparticularly the sketching of trees) provides one of the best vehicles todemonstrate the importance of observation and recording. Measurements andrecordings have an amazing benefit for designers because these correct andproperly proportioned images can become the visual data bank from whichthey can later derive inspiration and ideas for future work.

LIFE SKETCHING

Seeing

Pencil

Sketching

The Sketch

• See• Identify• Isolate• Simplify• Translate

Object

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The size of the pictureframe is at the discretionof the artist.

The picture frame (same aspicture frame in composition)can be the paper itself.

The picture frame is ahypothetical frame betweenthe object and the artist.

The picture frame is used toisolate the object of interest.

THE IMPORTANCE OF THE PICTURE FRAME

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Landscape Sketching

A simple landscape sketch often includes the following components:trees, shrubs, grounds, hills, water, and some man-made elements,like houses. A good landscape sketch is a careful composition ofsome or all of the above components. We seldom sketch a singletree, a lonely hill, or a body of water without including its sur-roundings. It is hard to imagine a hill without trees unless it is in a desert environment. Therefore, we must train our eyes to seethese landscape components as a picture of good composition. This means first selecting an appropriate viewing angle. When andif nature fails to give us that kind of ideal setting, we must thenmove the components around in order to achieve a good composi-tion. I will discuss composition in detail in a later chapter. At thistime, the focus is to emphasize the accurate recording of theimages, and the first step begins with keen observation.

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Terrace, Imperiale Palace Hotel, Santa Margherita Ligure, Italy

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Trees

Trees are probably the most important landscape elementsof all, as well as the most difficult to sketch. This isbecause a tree is a living organism and it grows andchanges in the course of time. Some trees shed theirleaves in winter, and some trees flower in spring. So sea-sonal differences can alter a tree’s appearance; but so canwind, snow, and ice. The species of tree can dictate thebranching structure, and thus the entire appearance, withor without leaves. Individual trees with plenty of room togrow look different from trees found in a group setting.The trunk of an older tree often reveals the crackling ofthe bark as well as broken or twisted branches near thebase of the canopy. Often, a portion of the roots at thebase of the trunk is revealed as the soil near it is slowlyeroded away. These characteristics are a result of carefulobservation and recording. Every artist should have his orher own way of observing and looking out for details andspecial features. They must also find a personal way ofrecording the results. Recording is how sketching begins.

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WITHOUT FOLIAGE

WITH FOLIAGE

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Mature tree with smooth bark (e.g ., beech)

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Mature tree with cracked bark (e.g ., oak)

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A mature elm

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A mature maple

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Conifers

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STEP BY STEP ILLUSTRATION ON HOW TO DRAW A TREE

Step 1: Outline the form and majortrunk structure.

Step 2: Fill in minor branching. Step 3: Add details and shading.

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Trees in the Foreground

Foreground trees are used mostly as framing elements in composition.They frame the picture and direct your eyes toward the center ofthe page where the theme of the sketch often resides. Foregroundelements should be drawn with some degree of detail because theyare, after all, closer to the viewers. However, these details, such asbark textures, twigs, leaves, etc., should be drawn in such a way thatthey do not steal the attention from the center of attraction. Usecontrast in the level of details as well as contrast in light and dark todifferentiate the fields of visual grounds.

Left side was a rough outline and unfinished portion of the sketch. (#2/HB pencil)

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Trees in the Background

Trees in the background are oftenseen in groups. The different levels ofdepth are therefore compressed andthe details are often lost. However,the form and shape of trees mustnot be forgotten even as they dis-solve into the background. Use simplelines and appropriate line width toexpress these masses. Use shadingto simplify the layers of foliage, anduse dark shading and highlights tobring out the three-dimensional qualityof the subjects in the background.

Shade

Crossedbranchings

Forwardbranchings

SUBTLE CHANGES IN TONAL EFFECT

Note the dark contrast of branchesthat project towards the viewer.

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314 pencil

STROKES, TEXTURES, AND FOLIAGE

Shade

Sun

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Landforms

Landforms consist of hills and valleys and flatlands with occasionalrock outcrops. These elements do not appear alone in most land-scapes but exist with one or more other elements. For example, hillsand valleys often appear together as contrasting and complimentaryelements; the horizon of a flat landscape is often interrupted withoutcrops of rock formations or mountains in the background. Thesecombinations make the picture more interesting to look at and arebetter subjects to sketch. They provide more layers and help createa more interesting composition.

Again, in sketching landforms, the artist must carefully observe theinteraction and expression of these elements. Simplifying the multi-dimensional layers of the land into a few simple line strokes is the keyto all good pencil sketching. The trick is to avoid sketching and record-ing all the details. Look for the structure of the land and identify themajor flows of the hills and valleys. Identify the major breaks in theridge lines and use simple pencil strokes to rough out the profile ofthe ridge. Observe the direction of the sun and how the ridges andvalleys react to the specific light conditions. Observe how the suninteracts with the ridge lines and how the valleys react to shades andshadows. Test and see how a singular twist-and-turn pencil stroke cansimultaneously express the three-dimensional aspect of the landforms.Use parallel shading to express the slopes and rough terrain.

Pencil is by far the best medium to render landforms because of theexpressiveness of the soft lead tip. Because it is so responsive topressure, the soft tip can turn into a broad chisel point within sec-onds. The width of line can vary with each turn, creating a simple yetexpressive illustration of landscape profile. No other drawing media canaccomplish as many effects as the pencil.Quiling, China; #2 pencil

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SIMPLE EXPRESSION OF LANDFORM

A simple ground line

Slight undulation (notice slight pressure as thelines are pulled across the page)

Suggests distance landscape is higher

Suggestion of valley

Valley deepens

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Distant hills

Shading increases sense of depth

Series of mountain ranges—shows roughness of the topography

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Quiling, China; #2 pencil

#2 pencil on watercolor paper

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Water

Bodies of water are usually contained as a lake, a pond,a river, a waterfall, or an ocean. In other words, watercannot be seen and drawn alone. There is often some-thing else besides water, something that holds it,something that frames it, or something that allowswater to fall on it. There are the riverbanks, the shore-lines, the edge of a swimming pool, the edge of a foun-tain, and the rocks or cliffs beside the waterfall.

Water can also be expressed indirectly by sketchingthe associated subject matter. For example, by sketch-ing a boat with waves around it you imply that the boatis bobbing in the water. A few sails on the horizon linecreate an image of a distant regatta in full action.Reflection brings out the mirror effect and stillnessof the water’s surface.

Water seeks a level and horizontal surface, so the bestway to sketch it is to start with a simple horizontal lineby pulling the pencil across the page. To maintain asharp and consistent line, turn the pencil slightly whenpulling it across. Use short horizontal strokes to createan uneven surface, and use slightly curved horizontalstrokes to show the waves in action. Repeat thesepatterns in a horizontal manner down the page if nec-essary to give the sketch a sense of depth. Varyingthe values of the lines and shading also suggestsmotion on the water’s surface as well as how the waterreacts with light.

Charles River Esplanade, Boston, MA; #2 pencil

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Horizon lines, with no sense of distance.

Landmass on both sides encloses the water.

Tonal differences in shading reinforce the sense of distance and strengthen thepresence of water.

Adding sailboats further reinforces thefeeling of water.

SIMPLE EXPRESSIONS OF WATER

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Water can be best expressed by showingthat it is contained and framed.

For example:

1. Waterfall• shows the rock outcrops and vegetation

on both sides of the fall

2. River• shows the riverbank, with or without

vegetation (depends on scale and distance)

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Shading portion of sky asframing device.

Different size sailboats suggestdistance—depth of visual field.

Shading the sea to suggest waves.

Use curvilinear lines to highlight the wave action.

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Tower in Venice, Italy; #2 pencil

Architecture

Drawing buildings can be a lot of fun. Basic building form issomewhat rectangular in shape and it modulates light and shadowmore vividly than landscape does. Because of the angular rela-tionship between the planes, the tonal contrast between themis sharp and strong. Vertical planes include all the walls, columns,windows, gateways, doors, etc. Horizontal planes include ceilings,floors, terraces, tabletops, flat roofs, and minor horizontal sur-faces. A pitched roof is an inclined plane, and the inside of anarchway is a slightly curved plane. These planes come togetherto create spaces. Depending on the direction of the sun, one ormore planes may be in sunlight while the opposite sides of thesame planes are in shade. Similar planes also cast shadows, andthe tonal values of the shadows are generally darker than thoseof the shaded planes. A good sketch is the result of looking forways to develop a meaningful pattern and manipulating the vari-ous tonal values. For example, the details and pattern of themasonry of a very interesting house may have to be sacrificedif the plane happens to be in direct sunlight, as it is sometimesmore important to establish a strong tonal contrast than toshow the details.

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Geneva, Switzerland; #2/HB pencil

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Church in Venice, Italy; #2 pencil

Bear in mind that texture and pattern play avery important role in the sketching of a building.Patterns are used to suggest materials andmethods of construction. They are sometimesused as tonal fillers to cover a void, perhaps ablank wall. The purpose is to use them strategi-cally to clarify the different layers of planes andarticulate the three-dimensional quality of theobject. Most of the patterns are made up ofdifferent strokes that are drawn in many direc-tions, from parallel lines to cross-hatching. Thekey is to follow the direction of the plane whileavoiding obvious consistency and dullness. Alwaysuse some diagonal pattern to break up themonotony, and liven up the situation by reservingsome strong white planes for contrast. Use darkshadow to exaggerate the depth of the spaceand to enhance the readability of the subject.

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Street scene in Basel, Switzerland; #2/HB pencil

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Monte Carlo, Monaco; #2 pencil

Sketching the Cityscape

City and town are filled with visual excitements and are some of thebest subjects to sketch on location. Cityscape tends to be dominated bybuildings, but it is the spaces between buildings that become the mostattractive thing of all. In addition to the different styles of architecture,street furnishings such as streetlights, signs, awnings, storefronts, anddisplay windows all contribute to enhancing the colorful street life. Thissort of multidimensional space is ideal, as it has all the proper ingredientsto make a good sketch. They include: a controlled space with strong ver-tical and horizontal reference planes; interesting architecture; greatpotential to manipulate light and tonal values; and most important of all, ascale which allows the viewer to walk right into the space through thesketch. The emotional affinity possible in this kind of sketch is far moreseductive than a wide-open landscape.

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Alley in Annecy, France

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Annecy, France

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Kamakura, Japan; 2B pencil

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I mentioned the act of observation in the previous chapter asthe most important part in sketching. Here I would like to reem-phasize it. A good sketch begins with careful observation andcreative seeing. Creative seeing has to do with learning how toisolate things. Earnest Watson said in his book The Art of PencilSketching that “in pencil drawing, one always avoids any leaningtoward photographic simulation.” How true that is. Sketching isabout capturing the essence of the real thing. A sketch repre-sents a new language, very much like a shorthand that recordsthe real thing with abbreviated symbols of lines and textures.Creative seeing is about finding the prominent feature, showcas-ing it, and discarding the rest. It is about capturing the skeletalstructure and the spirit that transcends it. Surely, the realthing can be a disorganized mess, but a good sketch knows whatto discard.

Composition is part of the entire creative seeing process. Itinvolves visual selection, visual ranking, and visual focus. Perhaps we know what to discard, but what do we do with the items thatwe keep? How do we rank them in the order that we want toemphasize them in a sketch? For example, should the focus be onthe doorway or the windows? How do we isolate the point ofinterest and use contrast to highlight the importance? How do webalance tone and value, and how do we frame the sketch in orderto visually lead the viewers into the picture? By addressing thesequestions successfully, a good composition has the rare ability tounite the artist and viewer both visually and emotionally.

COMPOSITION

Nagoya Castle, Japan; 314 pencil

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A quick tonal study to explore light and shade;explore ways of framing the picture area.

SKETCHING: ISOLATION ANDABSTRACTION

EXAMPLE 1: TYPICAL LAS VEGASSTRIP SCENE

Knowing that there is too much tosketch, one must first isolate theobject of interest by putting aframe around it.

Isolate image area; sketch a quick massingdiagram to check scale and proportion.

THUMBNAIL STUDY A THUMBNAIL STUDY B

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FINISHED SKETCH (full-size with ebony pencil)

Shade the roof and use contrastto separate it from the domesand tower.

Ignore cars and other foreground material; movepalms over to the left to use as foregroundframing device.

Highlight overhangs and eaves with darkertones to exaggerate the 3-dimensional qualityof the architecture.

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EXAMPLE 2: PLAZA, TOKYOFORUM

The intent is to sketch thespace between buildings; theframe in this case musttherefore include the tworows of trees (which createsa large picture frame).

• establish a simple massing study• identify all reference planes• a row of trees is a typical vertical reference plane• the ground plane is a typical horizontal reference plane

SKETCHING: ISOLATION ANDABSTRACTION

THUMBNAIL

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FINISHED SKETCH (full-size with 314 pencil)

• avoid overdoing it• take out details, simplify the forms• use simple lines and shading

Shading of ground planeclarifies the tree forms.

Darker contrast at center of vision—this iswhere you want your eyes to focus.

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EXAMPLE 3: MOUNT AUBURN CEMETERY

The intent is to sketch the tree in the foregroundplus a few tombstones and the monument. The keyis to ignore most of the background: you must learnhow to visually lift your objects of interest up fromthe messy background.

SKETCHING: ISOLATION AND ABSTRACTION

THUMBNAIL

Consolidate all backgrounds intoa simple shaded plane.

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FINISHED SKETCH (full-size with rectangular sketching pencil)

Notice the broad strokes created by the rectangular chisel-pointed lead; it can coveran area quicker than using a sharp, hard pencil. The chisel point is an excellent choicefor sketching trees—especially the branches and twigs.

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KEY ELEMENTS OF COMPOSITION

1. FRAMING

• using foreground devices to frame the image area• using foreground devices to direct the attention toward the

“theme,” which is placed near the center of the page

A typical sketch

THEME

Framing device Framing device

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Foreground tree, tree trunk

Foreground foliage, hanging branch, and rocks

Corner of a foreground building

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Shadows of trees on the ground

Contrast between dark planes and bright object

Framing by balance— strategic placement ofthe theme and using the “void” as a frame(reverse framing)

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A seemingly balanced composition maybe static and boring.

A composition taking advantage of the frameand shifting the thematic elements to oneside; using the sky as counterbalance.

COMPOSITION

2. BALANCE

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The key in learning balance is to avoid equalemphasis within the same picture frame.

This shows a static composition.

This shows a more dynamic composition by moving thepivoting point (“p”) off to one side.

This arrangement takes advantage of the space tothe right of “p” and uses it to balance “A”— a veryeffective strategy when used with framing.

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p

p

p

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COMPOSITION

3. CONTRAST

Tonal contrast; difference in lighted and shaded planes; differencebetween light–shade–shadow.

plane in the sun

planes in the shade

shadow

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Tonal contrast at the base of the canopy is used toseparate the trunk from the canopy.

Tonal contrast between building and tree trunk.

Reflection in water suggests the height of thebuildings and the movement of the water’s surface.

Tonal contrast between foreground and backgroundlandform suggests the valley in between.

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I believe sketching from memory is a disciplinethat produces great designers. Design is,after all, a creative process that involvesrecollection and imagination. Sketching frommemory deals with the recollection ofimagery, perhaps from many different situa-tions, and rearranging them to make a newcomposition. This is design. It takes imagina-tion to put these images together; and newimages (sketches) are often the vehiclesthat help the designers visualize their newdesigns. Therefore, design effectiveness tosome extent depends on the speed andfluidity of recollection and sketching.

Sketching from memory requires a resource-ful memory bank and the only way to stock-pile the memory bank is through creativeseeing and on-the-spot sketching. The moreyou sketch, the better you can remember.Many students can draw trees and buildingswell but find it difficult to tackle cars orpeople. The reason is very simple. They sel-dom spend time observing people and cars;they seldom observe the relationship betweendifferent parts, how they interact, how they

SKETCHING FROM MEMORY 6• recall images• select/scale images• sketch• compose and

rearrange• sketch and visually

judge

Sketching from memoryThe sketch

Sketching

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SKETCHING FROM MEMORY

1. You must first establish a reference frame(a way to contain the image area).

2. Horizon: i.e., eye levelGround: foot level

The assumption is that the normal distance betweenhorizon and ground is approximately five to six feet.This establishes a reference scale.

Horizon

Ground line

1.

2.

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affect textures, and how they modulate lightand shadow. The physical eye is very similar toa camera’s lens. It captures everything withoutdiscrimination and filtering. Creative seeing, asdescribed in the previous chapter, is a selectiveseeing process. Our eyes must search, identify,compare, isolate, and filter everything we see.This in combination with a methodical way ofsketching will make sketching from memory aneasy and natural task.

Depending on the subject matter you want tosketch, the first step in sketching from mem-ory is to draw a horizon line across the entirepage. Pick a center point on this line and drawtwo lines from the center towards the lowerleft and right corners. Then draw a second hor-izontal line across the page approximately oneinch below the first horizon line. At the twopoints where this lower line intersects with thetwo diagonal lines, draw two vertical lines about3 to 4 inches high. This move establishes aframework for all the recalled objects. The dis-tances between the reference lines are all rela-tive and must be judged with your eyes fromtrial and error. Likewise, the scale and size ofthe objects can be adjusted accordingly.

CREATIVE USE OF VISUAL SCALE

a: Take the distance betweenhorizon and ground as five feet.

b: Repeat the same distance onthe ground line three times toget 15 feet.

c: Transfer the 15 feet up asvertical reference line.

• The center of vision/vanishingpoint (CV/VP) can be anywherealong the horizon.

• Diagonal perspective lines radiatefrom the center toward the fourcorners of the picture frame.

3. CV/VP is at the middle.

4. CV/VP is off to one side.

3.

4.

a.

c.

b.

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Use initial 15-feet reference to construct the side of thebuilding. Set the window at a certain height.

Use initial 15-feet reference to approximate thebottom of the tree canopy.

Use initial 15-feet reference to construct shorterbuildings.

Put a larger human figure in front to suggestthe depth of space.

Extend horizontal lines forward to suggest pavement.

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RECALL IMAGES

Frame TreesStreetlight Stores

Foreground figures Sports cars

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Finished drawing in pen/ink (mark-up sketch done in pencil).

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Pencil sketching can be done anywhere. Most of thesesketches were done on the spur of the moment whiletraveling, and without too much consideration for compo-sition and framing. They are spontaneous and quick. Theyrecord rather than express, describing the facts insteadof interpreting hidden meanings. They are intended to besimple in order to illustrate how easy a technique pencilsketching can be.

Most of the sketches were drawn with regular number2 pencils. They demonstrate that pencil sketching doesnot have to be an elaborate process. Unlike water color-ing or painting, there is virtually no “prep” time involved.All you need is a piece of paper and a pencil.

EXAMPLES

Venice, Italy; #2 pencil

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Hotel in Pasadena, California; #2 pencil

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314 pencil

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314 pencil

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Black Prismacolor pencil

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#2 pencil

details

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Roof study (Basel, Switzerland)

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Japanese temple; #2 pencil

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Curbside check-in at Kansai Airport, Japan; #2 pencil

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Interior of Tokyo Forum; HB pencil

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Steel, glass, stone (subway station at Tokyo Forum; HB pencil)

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Series of 5 sketches from Zanzibardone on 70-lb. regular drawing paperwith Mars Lumograph pencil.

Dispensary building, Zanzibar; Mars Lumograph H pencil used for detail and good lead

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Streetscape, Zanzibar

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Museum in Zanzibar

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Old pier in Zanzibar

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Waterfront in Zanzibar

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Series of 5 sketches of interiorfurnishings done on 100-lb. vellumbristol sketching paper with 314draughting pencil.

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#2 pencil for first sketch; 314 pencil for finished sketch

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1 1 1

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113

Abstraction 72, 76Accessories 17Architecture 63–66Arm movement 21, 29

Background 76, 84Background tree 52Balance 81, 82Bark 43, 45Branching 43, 50, 52Broad strokes 9, 29

Center of vision 87Charcoal 9–11, 24Chisel point 9, 77Cityscape 67

Composition 78–84Contrast 38, 75, 80, 83–84Creative seeing 85

Depth 57Details 50

Equipment 7–17Erasers 17Evergreen 49

Finger movement 21, 78Foliage 54Foreground 51, 79Foreground trees 51Framing 72, 78

INDEX

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114

Grip 19–21; 27–29Ground line 56

Hard lead 7, 23Horizon 59–60, 86, 88Horizontal reference plane 74Human figures 88

Interpretation 37Isolation 39, 42, 72, 76

Landforms 55–58Landscape 31Landscape profile 55Line drawing 18Line quality 10Line width 31

Massing study 72, 74Memory 85–86Mental process 23Movement 27–29

Outline 50

Papers 13–16Pattern 65Perspective 87–88

Picture frame 41Pressure 23–25

Recall 85Reference frame 86Reference plane 74Reflection 59, 84River 61

Seeing 39Shade 83Shading 14, 18Shadow 80, 83Simplify 59Simulation 71Soft lead 7Strokes 30–33; 54, 59

Texture 35, 38, 54Theme 78Thumbnail study 72, 74, 76Tonal contrast 84Tonal drawing 18Tonal study 72Tonal values 67Tree 43–53; 77–78Trunk 43

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115

Unification 71

Values 9Vanishing point 87Vellum 15Vertical strokes 27Visual selection 71

Water 59–62Watercolor paper 16Waterfall 59, 61Waves 62Wrist 27

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THOMAS C. WANG, FASLA, is a talented artist and designer who has spent hiscareer inspiring his many colleagues and students. His unique ability to createsimple, yet substantive, spontaneous drawings combined with his passion forvisual communication has inspired tens of thousands to draw.

Currently, Tom is president of Wang Associates International, a consulting firmengaged in the practice of landscape architecture, land planning, and urbandesign. He received his bachelor’s degree in landscape architecture from theUniversity of Oregon and a master’s degree in landscape architecture from theHarvard Graduate School of Design. He is a registered landscape architect inMassachusetts, Minnesota, and Michigan.

Tom was the director of design at Sasaki Associates, Inc., where he was incharge of international landscape architectural projects from 1990 to 1993. Hewas a senior project designer and manager for a variety of multidisciplinary proj-ects involving landscape architecture and urban design. He has twenty-fiveyears of professional experience including conceptual design, master planning, anddesign development services for a variety of land planning, resort development,theme park, and urban landscape projects. He specializes in creative conceptformulation, visual communication, and design expressions.

Tom has authored five best-selling titles including Plan and Section Drawing,Second Edition, also available from Wiley. His drawings have been exhibited inmajor U.S. institutions and he frequently lectures at universities and majordesign conferences.

Tom was a professor in landscape architecture at the University of Michigan andat the Harvard Graduate School of Design.

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