DRAWING BUILDINGS
immediately establishes a
recognisable sense of scale.
When tackling a subject that
contains a great amount of detail,
I try to find a way of suggesting this,
rather than laboriously including
everything I see. I also like to
introduce contrast by adding sections
of detail next to areas where there is
little, which allows the viewer to fill in
the missing bits in their mind’s eye.
Working on a small scale will
mean that too much detail can be
eliminated, but more drama can
be created by increasing the size
of your image.
When confronted with older
buildings containing masses of
ornamental detail, it’s best to
establish their structure first by
seeking out the repeated dominant
elements. Unless you want draw
everything in great detail – which
can result in a rather flat and boring
image – you can develop a kind of
shorthand for describing this with
a series of squiggles or repeated
shapes that immediately tell the
viewer what period of architecture the
building comes from.
There may be great skill involved
in drawing every brick and stone,
but there are more interesting and
creative alternatives. I like to
experiment with different techniques,
rather than adopting a singular style
for everything I produce.
TOOLS FOR PURPOSE
Materials for drawing are simply a
matter of choice. You might like to
work in pencil and watercolour, or your
preference might be for pen and
wash. There are so many different
tools at your disposable, but simply for
speed of application, it’s hard to beat
markers. These are obtainable as
either alcohol-based or water-based
versions. The former is best used on
special bleed-proof marker paper, and
the latter can be used on good-quality
cartridge paper, Bristol board, and of
course watercolour paper.
The advantage of the alcohol-based
markers is they dry instantly. They
may however dissolve a drawing in
graphite pencil, so you will have to
substitute this with a suitable fineliner
pen that won’t smudge. Many an
excellent drawing has been ruined by
using a pen that bleeds the moment
you start colouring-in with either
watercolour or markers. Two inks
that definitely stand their ground
are Indian ink and acrylic ink.
I have a large selection of markers
and, if I’m making a sketch to be
worked up later in the studio, I tend
to use these for making colour notes.
I have a reasonably good memory
when it comes to colour, but if several
weeks have passed between making
a sketch and then deciding to
produce a finished drawing, a written
note on my sketch that says ‘cream
render on walls’ is just too vague.
It’s actually just as quick to add the
correct colour in either markers or
watercolour, as it is to write a
description of it.UNUSUAL DETAILS
In places that are unfamiliar to me,
particularly foreign countries, the
vernacular architecture is always
fascinating to draw. Those buildingsTop tip
Rather than drawing
every single brick,
suggest a few and
then add a wash of
colour on top