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Extra info for Drawing and Perceiving: Life Drawing for Students of Architecture and Design (3rd Edition)

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They fostered understanding of plans, sections, and elevations that went beyond an understanding of a bu ilding's material; they addressed the bu ilding's space as we ll. In al l of the projec ts, it was assumed that the buildings were to be carved out or erode d out of a preexisting monolith. 58 Chapter One l want to highlight several important characteristics of these projects: Space is rare. With the beg inning cond ition of a monolith occupying the entire potential volume of the site, at the outset, solid material is maximized.

30 Chapter One 2) Every view must have a route for the eye to travel -the connection of foreground to middle and background must be clear. 3) Every view must have a destination- a place the eye can go to. Delight And what about delight? Sure ly there is more to composition than just establish ing foreground,middleground,and background. There is in New Mexico a wonderful trad ition at Christmastime. ,~ ' • v ... 45 Patricia Cla rk. 44 Mark Siwek. Christchild, luminarias, candles in sm all translucent bags, are laid out every few yards along both sides o f the roads across the b arren desert landscape.

L5 Adapted from "Modeled in Li tho-Crayon," in Kimon Nicholaides, The Natural Way to Draw, pp. 36-39. 53 Andres Petruscak. 54 Kimberly Ruane Biagioli. 55 David Barge r. Engaging the Visual World 39 MASS3 Model with ink scribble. Felt-tipped pen, newsprint Lig htly build out the mass of the fi gure with ink sc ribble (as you did in exercises 1 and 2, but more rapid ly and lightly). When you reach the surface of the figure, model that su rfac e. Where the surface moves back away from you, sc ribble more; where the surface moves out toward you,scribble less.

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