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visual 102
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2. COURSE TITLE : ARV 102 – ARCHITECTURAL VISUAL
COMMUNICATIONS 4 : VISUAL TECHNIQUES 2
COURSE DESCRIPTION : The study of visualization and graphic
presentation in the form of freehand drawings including still-life and
architectural forms and entourage using different media, in black
and white/monochrome.
COURSE OBJECTIVES : At the end of the course, the students should
be able to:
CO1: Visualize three-dimensional forms.
CO2: Prepare freehand drawings of still-life, architectural
perspectives and other architectural forms using different media in
black and white and monochrome.
LIST OF RESOURCES:
Architectural Graphic Standard, Ramsey and Sleeper
Architecture drafting and design, Helper and Wallach
Architectural graphics, C. Leslie Martin 2
3. I. HISTORY OF PEN AND INK
Pen and Ink denotes a
drawing technique involving of black
and other coloured inks which is
applied on a paper and dip pen or a
reservoir pen. It has been used by
artists since ancient Egyptian times,
for sketches, drawings or ink and
wash paintings.
The earliest surviving images in Greek
art, drawn in pen and dye (on papyrus)
The Abduction of Briseis (c.300CE).
- Developed medium in the Chinese art during the era of Tang Dynasty arts
(618-906). It was the main medium of Asian art and calligraphy in China,
Japan and Korea.
- Ink remained popular throughout the Renaissance for a wide variety of
drawing from rapid sketches to detailed compositions.
- And during the Baroque, Rococo, Romantic, Neoclassical art movements
and throughout the nineteenth century, pen and ink was used by many
draughtsman. Visual-arts-cork.com
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4. Atmosphere – In painting,
“atmosphere” relates to the feeling of
space and distance between the
foreground and the background.
TERMS :
Complementary Colours – Any
colour is complementary to the
colour with which it contrasts most
strongly, as red with green, yellow
with violet, blue with orange.
Complementary colours occur
opposite each other on the
conventional colour wheel.
Composition – The satisfactory
placing and arrangement of the
various shapes and colours in a
painting and drawing.
Hatching and Crosshatching – A
technique where parallel lines are
drawn to create an effect of density.
Lines drawn in the opposite
direction, covering the original lines
produce the effect known as
“crosshatching”.
Highlight – An important point in a
painting produced by the white paper
being left blank, or when white is
added over a darker colour.
Line Drawing – A drawing made up
of fine or thick lines. Shadows or half
tones are not used.
Monochrome – A work of art
painted in only one colour. This is
usually black or brown mixed with
white or used in a diluted form.
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5. Opaque – Pigment which can
obscure the colour surface of the
paper on which it is applied.
Perspective – Methods of
representing the impression of depth
and recession on a flat surface.
Linear perspective makes use of
parallel lines and a vanishing point to
which the lines converge. Aerial
perspective suggests distance by
use of tones.
Pigment – Pigments are made from
natural or synthetic substances and
can when mixed with water and a
binder provide colour for painting.
Sepia – A cool brown ink or
watercolour often used for sketches
and studies.
Still Life – Painting a group of
objects which does not include
figures.
Stippling – Dotting with the point of
a brush. “Stipple” has a similar
effect.
Texture – The tactile appearance
and feel of a painted surface.
Tone - The degrees of light to dark
are measured on a scale of
gradation from black to white and
referred to as dark, light, mid to half
tones. Colours can be dark or light in
tone and so have a tonal value.
Wash – Diluted watercolour which
can be applied with either a large
brush or a sponge.
Wet on wet – Any watercolour
technique which involves the artist
adding paint to an already wet
surface.
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7. B. INK SHADING TECHNIQUES
C. MATERIALS
a. Pen and Ink
b. Pencils
c. Erasers
d. Paper
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C. LINE DRAWINGS
D. TONE
Line drawings a drawing done using
only narrow lines, the variation of
which, in width and density, produce
such effects as tone and shading.
Drawing includes profile that
differentiate a background and a
foreground.
In art and design, tone refers to how light
or dark something is. Tones could refer
to black, white and the grey tones
between. It could refer to how light or dark
a colour appears. In real life tone is
created by the way light falls on an object.
10. Designers most exciting element.
Colour pertains to the quality or kind of light reflected by the surface of
an object.
Colour is a vibratory phenomenon
II. COLOUR
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11. A. The Visible Spectrum
Green Light –
The visible green
light has a
wavelength of
about 510nm.
Grass, for
example, appears
green because all
of the colours in
the visible part of
the spectrum are
absorbed into the
leaves of the
grass except
green. Green is
reflected,
therefore grass
appears green.
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13. Environmental variables
B. Colour Perception – variables
The major environmental variable concerns the kind of ambient light under
which a colour is seen. This is directly related to the spectral power
distributions. What we see outdoors is illuminated by the sun. Light from
artificial sources is rarely that bright. Since luminance is an important factor
in seeing colour the brightness of your environment will have a lot to do
with the colour you see.
Colour
Perceptions
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14. C. Colour has Three dimensions or qualities:
1. Hue – the name given to a colour.
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15. 2. Value – the lightness or darkness of a colour.
Value represents the luminescent contrast value between black and white.
“the quality by which we distinguish a light colour from a dark one” Albert
Henry Munsell (A Color Notation 1905)
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16. 3. Intensity – the purity of the colour; the brightness or dullness of a
colour.
Intensity when some other colour or neutral is added, the intensity is
changed.
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17. Mixing colours generate new colours; additive colour mixing is what
happens when lights of different wavelengths are mixed. It is the
combination of different wavelengths that creates the diversity of colours.
III. MIXING COLOUR
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18. b. Tone – any Hue or mixture of pure colours with only Gray added.
b. Shade – made by adding black to a colour so that it is darker.
a. Tint – made by adding white to a colour so that it is lighter.
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19. IV. NEUTRALS – not really colours
No color
All colors
White + Black
Can be used with most colors
White
Black
Gray
Beige
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20. V. THE COLOR WHEEL – if the ends of the spectrum are
bent around a wheel is formed.
• Only full hues as they appears in the spectrum
are usually shown in a colour wheel. If value is
also included then the colour wheel is usually
presented as a colour sphere or solid.
• The circular arrangement of a colour wheel
suggests that the progression of colours is
circular, that the arrangement of colours turns
back on itself the way a circle does. If that were
the case the next hue in the sequence…green,
blue, violet will be red.
Colour Wheel – a Colour Wheel is a
conventional arrangement of hues in a
circle to demonstrate their relationships.
• The wavelengths that produce colour, however, progress linearly and the
band of electromagnetic energy that appears after violet is ultraviolet
which is invisible to the human eye.
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21. Prang or Artist’s Colour System
The primaries in the system are red, blue and yellow.
Prang was a printer and developed a four – colour printing process known
as chromolithography in the 1860’s. Prang’s system was the first workable
system to reproduce colour in print. The Prang Colour Wheel arrangement
was also used by Johannes Itten in his work on colour.
The
Prang/Artist’s/Itten
Colour Wheel
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22. A guide to study how to choose and
combine colours.
a. PRIMARY HUES
• Pure and basic
• Cannot be made from any other
colours
• All other colours are made from
these
• Equal distance from each other
on colour wheel.
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23. • Made by mixing equal amounts of
2 primary colours
• Found halfway between the
primary hues on the wheel
• Made by mixing equal amounts of
adjoining primary and secondary
colours.
c. INTERMEDIATE (TERTIARY)
HUES
b. SECONDARY HUES
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24. VI. THE COLOUR WHEEL CAN BE DIVIDED INTO WARM
AND COOL COLOURS
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25. 1. WARM COLOURS
• Appear hot like the sun or like fire;
• Give feelings of gaiety, activity or cheerfulness;
• Appear to advance;
• Can give a nervous impression if overdone.
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26. 2. COOL COLOURS
• Remind us of water or sky;
• Give feelings of quietness or restfulness;
• Appear to recede;
• Can be depressing if overdone.
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27. VII. 2 TYPES OF COLOUR
SCHEMES
A. RELATED
1. Monochromatic Harmony – is
otherwise referred to as one-mode or
one hue harmony. It combines
different intensities or values
lightness and darkness or brightness
and dullness – of one colour only.
Examples:
blue, light
blue, dark
blue
2. Analogous harmony – means a
combination of two or more
neighbouring colours in the colour
chart.
Examples: yellow, yellow-green,
green.
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28. Monochromatic Colour Scheme
This is a one-color plan that uses
different tints, shades and intensities
of the colour.
Monochromatic colours are one
colour (hue) with the tints and
shades of that colour.
Tint – adding white to the colour
Shade – adding black to the
colour
Value – lights and darks of an
object.
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30. B. CONTRASTING
1. Complementary– This colour
scheme uses opposite hues on the
colour wheel. These colours are
across from each other on the wheel
and have great contrast.
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31. 2. Split-Complementary– This colour
scheme uses three colours, one
colour with the two colours on each
side pf its complement.
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33. 4. Triad Colour– This colour scheme
combines three equidistant on the
colour wheel and has a great deal of
contrast.
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34. 5. Tetrad Colour– This colour
scheme combines four colours
equidistant on the colour wheel and
has a great deal of contrast.
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35. 6. Accented Neutral Colour – This
colour scheme combines white,
black, grey or sometimes beige with
a bright colour accent.
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36. VIII. COLOUR THEORY
IN SUMMARY
Colour theory is both the science and art of
using colour.
It explains how humans perceive colour;
and the visual effects of how colours mix,
match or contrast with each other.
Colour theory also involves the
messages colours communicate; and
the methods used to replicate colour.
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37. All colours are beautiful, depending on personal taste.
If not used wisely or combined well, colours can
cause a room to look too gaudy or very drab.
Harmony results when hues, values and intensities
are combined in a pleasing way.
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38. SUGGESTED TEXTBOOKS AND REFERENCES :
References :
http://www.colormatters.com/colortheory.html
http://www.poynter.org/centerpiece/080601.htm
http://www.angelfire.com/linux/gopalfamily/colorwheel.html (colours
and codes for HTML)
OTHER REQUIREMENTS :
Watercolour Paper
Watercolour
www.wvonline.com/dchs/COLOR.ppt
www.crayola.com/...articles/color-what-is-color.aspx
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39. Watercolour is one of the oldest painting media known to artists. It was
used as a basis for cave paintings. Medieval manuscripts and studies for
many of the greatest paintings in the world. The picture-making problems,
drawing, composition and techniques, were just as important to the artist in
the past as they are today.
A cave painting at Lascaux, France, painted by early caveman
more than 10,000 years ago.
Flower painting by German artist and engraver
Albrecht Dürer, one of the first artist to employ thin
washes of watercolour over a drawing done in
painstaking detail of fiine lines.
I. HISTORY AND BACKGROUND OF WATERCOLOUR
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40. • Ancient men drew animals and events on walls of caves with basic
pigments;
• Ancient Egyptian artists use water-based pigments on plaster to
decorate tombs;
• Illustrators created and decorated manuscripts using watercolour;
• Michelangelo's celling in the Sistine chapel is probably one of the largest
and greatest watercolours ever painted, the supreme example of water-
based paints used in a grand functional manner.
Other uses:
• For studies, roughs and sketches for large commissioned projects;
• Still-life, figures and landscapes;
• Expressionism medium in Europe;
• Urban landscapes with light and shadow in the US;
• and Graphic designs for commercial projects.
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41. 1. Water
2. Watercolour (Tubes, Dry Cakes, Bottles of Liquid)
3. Waterpots & Mixing Plates
4. Brushes (Taper to fine point)
5. Watercolour Paper
6. HB Pencils
7. Rubber or Putty/kneadable eraser
8. Tapes
9. Tissue Paper
II. MATERIALS
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42. WATERCOLOUR TECHNIQUES AND CRITERIA
a. Use light and dark colours throughout your composition. (When you
provide more water it produces light colour. Less water produces dark
colour).
b. Mix enough colour to fill the area you need to paint.
c. Light pressure on brush gets you a pointed brush stroke or thin.
d. Heavy pressure on the brush gets you a thick brush stroke.
e. Paint LARGEST area first.
f. Wet on wet speeds the paint use wisely.
g. Avoid bleeding, don’t paint wet touching wet paint.
h. Paint detail on top of light dry paint.
i. Choose the correct brush size for the area you are painting.
j. If the colour becomes dry TIP & DIP. Tip your brush in the water and dip
into the paint.
k. Rinse and clean brush ONLY when you change colour.
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43. Trees, Grass & Bushes
*Apply Monochrome and Analogous Harmony
Tree Forms Light source
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CO2 - Plate # 2 – LINE DRAWING (FENESTRATIONS)
French doors with rectangular transom lights.
*Indicate : Short description of the drawing.
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CO3 - Plate # 3 – LINE AND TONE DRAWING
(ARCHITECTURAL DETAILS) MIDTERM
Ornamental treatment of a corbel connecting the
beam and column, No. 14 Rowell Road.
Typical roof-gutter-rainwater downpipe junction,
No. 85 Serangoon Road.
*Indicate : Short description of the drawing,
Location of image taken.
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SCHEDULE SUBMISSIONS
PLATE NO. 1 – March 15, 2022
PLATE NO. 2 – March 22, 2022
PLATE NO. 3 (MIDTERM) – March 29, 2022
*Note: Midterm Exam March 30, 31 and April 1-
No submissions during these days.
51. CO5 - Plate #5 - BASIC TECHNIQUES (FLAT WASH,
GRADED WASH & VARIEGATED WASH)
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*Finish until the end of the frame.
3cm.
Divide into six (6) equal frames.
52. CO6 - Plate # 6 - ENTOURAGE
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*Provide colour for each drawing using the basic
water colour techniques.
53. CO7 - Plate # 7– URBANSCAPE (FINAL)
Urbanscape or Urban
Landscape
Urban landscaping is so much
more than an effort to beautify
city streets — it's essential to a
city's operation. Urban landscape
design refers to the planning,
designing, and implementation of
a city's greenways, plants, and
other landscaping elements.
USA SHADE resources
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