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Architects Draw: Freehand Fundamentals by Sue Ferguson Gussow

By Sue Ferguson Gussow

Architects Draw deals a realistic and precious approach to aid scholars and would-be sketchers translate what they see onto the web page, no longer as an imitation of truth, yet as a accomplished union of voids and solids, mild and shadows, strains and shapes. for almost 40 years respected Cooper Union professor and artist Sue Gussow has taught aspiring architects of various talents tips to absolutely become aware of and understand the areas that make up our actual setting. Gussow skillfully applies architectural language to twenty-one drawing routines that take on quite a few forms—from peas in a pod to monkeys, skeletons, dinosaur bones, and the paintings of Giacometti and Mondrian. She exhibits, for instance, how minimize fruit and paper luggage show that the actual international is made from planes, dimensions, and enclosed house.

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Additional resources for Architects Draw: Freehand Fundamentals

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Scribble and partly erase another such page, and then move into rapid figure drawing (poses of anywhere from 30 seconds to 2 minutes), keeping the same energetic and fluid calligraphy of the hand achieved in the scribble pages. The drawings that result from this exercise are seductively sophisticated, resembling variations of a Cy Twombly and hinting at any number of Abstract Expressionist painters. More importantly it is an enlivening exercise, a way to loosen up the hand. Thereafter, the class begins each studio session with this exercise.

Judith Beheading Holofernes, c. 1598. F IGURE 2 Study after Leonardo da Vinci. Title unknown, 1510–13. the design of the page with concern for negative space and passageway through the page. ) F IGURE 3 Derived from Albrecht Dürer’s Portrait of Dürer’s Mother, the study provides a classic example of a response to the first exercise in this series. The lines weave together the profiles, the jaw line, the carefully studied eyes, and an aging neck, combining these elements to create an intriguing ambiguity of positive and negative intervals and volumes.

She extends impossibly off the page, needing to be drawn larger than we initially imagine. The class, we realize, is not cosmically inverted after all. We scatter at the end of the day, leaving our circle of easels in the empty room. — AMBER CHAPIN and the supine figure. Depending on the structure of the chair and the posture of its occupant, weight is distributed in various and complex ways. It is common that many architectural careers at some point encompass furniture and chair design. For the student of architecture the chair and its occupant possess a special significance as subject matter for drawing.

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