2010. május 18., kedd

Valencia Poster

New Methodological Teaching Tools

in Architectural Freehand Drawing

by Balazs MEHES PhD

Budapest University of Technology and Economics, Hungary

Proportion MeterGiant Horizon – Compass MapProjected Demo

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Working with the Proportion Meter - determination of extreme oblique lines. By joining the drawing board’s top edge outfitted with the Proportion Meter to the view’s detail in question, structural oblique lines might be impartially controlled.

Objects

By the help of original tools facilitating the workflow of linear perspective, I intend to close up weaker students to the average. My chief challenge is to popularize simple measuring devices based on self-control. Introducing new items, my preliminary demo should equally be transmitted to every course participant.

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Relation between Master Picture Plane and the drawing board (lower and upper edges).

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Outdoor experiment with the Proportion Meter – fixing a gable’s slope within the Master Picture Plane.

Methods

The Proportion Meter helps for beginners to determine the inclination degree of oblique lines.

Possessing large surfaces apt to lodge off drawing vanishing points, the Giant Horizon spectacularly controls convergence.

Operating with more than two vanishing points, the Compass Map helps in controlling multiple convergences.

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Lay outs of Giant Horizon and Compass Map 

The “Projected Demo” can be applied in any teaching phase when it is highly desirable to share pedagogic ideas about drawing’s sequence or technical realization with a huge audience, wishing to inspire every single participant through personal example at the beginning of new tasks just to be observed quite like constructed.

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Convergence controlling steps with the Giant Horizon’s prototype (elastic strings guided by pins faithfully follow converging lines).

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Experimenting with the Compass Map – convergences for more than two vanishing points.

Results

The Proportion Meter (eventually combined with the Master Picture Plane) has proved to be useful first of all at the object drawing stage for beginners with non-European preliminary training. My patented invention has been working well also in teaching of students in Engineering who like to measure slowly and leisurely. It helps students in Architecture in catching of delicate extreme oblique lines like gutters at street drawing items. The portable device’s principal practical use is due to its objective error measurement capacity.

My convergence controlling tools have been generally approved in every course.

The complex technique of Projected Demo needs further tests experimenting different conditions. Its simplified variation is the Playback Demo.

PENTAX Image

The Projected Demo democratically transmits teacher’s live pattern to every course participant in equal quality.

2010. május 15., szombat

Proportion Meter

 

A New Methodological Approach for Teaching Architectural Freehand Drawing

 

1-Andris

Key-words: basic structure (framing grid of cubes), extreme oblique line, Master Picture Plane, perspective distortion, target of observation, Y-shaped junction.

2-Proportion-Meter

In teaching the basic structure of Architectural Freehand Drawing, most problems are due to how to make the illusion of depth.

It is about the determination of oblique lines principally responsible for perspective effect: about their inclination compared to verticals and horizontals insured by drawing paper’s edges.

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Within the frames of the "Master Picture Plane", converging lines of the perspective create a system of lines appearing to be inclined.

To every viewpoint belongs a unique perspective distortion.

2. nézõpont

In the initial phase of teaching we often need the possibility for convincing demonstration of certain critical connections in the view – observed directly through the pupil's angle of vision.

The name of the tool developed for this personal method is: "Proportion Meter".

DSCF2704

Its educative role is to devide the mental process of space presentation in plane into some decisive steps.

This auxiliary instrument improves the development of the sense of proportion and the correct judgement by naked eye through self-control.

It proves critical comments by impartial demonstration.

6-MPP-drawing.bord-relation

With the help of the "Proportion Meter" the drawer can temporarily fix certain points or lines - by covering them - on his Master Picture Plane which he imagines to be joint to drawing board’s top edge.

5-Balazs

During the measuring process he follows the target of observation on this Master Picture Plane, accomplishing the needed comparisons and projections in a suitable chronological order.

 Who masters to transmit in an appropriate proportion the virtual picture plane’s data to the drawing plane, essentially solves the secret of perspective depicting’s basic structure.

4. felezõsík

Although the "Proportion Meter" seems to be adequate for controlling any oblique lines appearing on our picture plane, we should use it first of all for presenting the phenomena of convergence and foreshortening within the framing grid of cubes.

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My methodological experiments were carried out in the initial phase of teaching Freehand Drawing at the Department for Drawing and Design at the Technical University of Budapest, among Hungarian and Foreign students for Architecture and Civil Engineering (1998-98). In 1997, I tested my new approach also at the Ecole d'Architecture de Strasbourg, France.

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Early experiments with combined metering tools and Master Picture Plane.

Teaching linear perspective’s basic elements by the reductive method

The way to oblique lines appearing in the picture plane leads through simple lines. Our subject is the space, which we represent by the method of projection. The result we produce is: a drawing in plane.

ferdetan négyfelõl piktogrammok

Four-way reduction to pure lines

We reduce space’s limits to vertical  and horizontal planes. We relieve objects through framing cubic grids. Curves are replaced by tangents or chords. Curved surfaces are substituted by covering planes.

1. kompozíció

We substitute objects and volumes by cubes. The initial teaching aim is how to present correctly the framing basic grid - distorted according to our single viewpoint.

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Subdivisions and other details which differ from the grid remain to be elaborated in the next phase of presentation process, being adjusted outside or inside of the shell-structure, considering it as scaffolding.

We analyse in the core (at the Y-shaped junction) the largest distortions. We disassemble the object-cube and the space-cube into their typical components: positive and negative corners.

Most important basic phenomena are: convergence, foreshortening  and hiding. Examining their effect on the line, we understand that convergence-foreshortening cause mainly increasing line density. Hiding results an absence of lines.

4-B-measuring

Outdoor experiment with the Proportion Meter mounted on easel.

An instinctive approach to perspective’s basic phenomena

If an architect-teacher like me, creatively dealing also with arts, becomes really immersed in the scientific theory of perspective, he soon schrinks back from complicated demonstrations in which the working process (the chronological order of creation) can hardly be followed.

ME cikk  2. abra -  Aranymero karja (parhuzamos elobecsles)

We, draftsmen, stick less to a scientific background and prefer more instinctive observations, individual experiences aquired with many practices: we better study famous predecessors and work with other patterns. Who can draw a cube even by heart, according to a given viewpoint, masters really the science of perspective. The minimal level of Architectural Freehand Drawing is the skill of correct presentation of main directions of space which converge in a cube's corner.

We approach to depth's illusion from the side of instinctive observation. We delimit ourselves from the omnipotence of vanishing points: they are often far off from the drawing surface. We control convergences afterwards only.

My principal goal is to make perspective perceptible as a phenomenon. The perspective is an illusion, the experience of depth-sensation in space. Rendering perspective is a graphical mode of presentation, by which we produce pictures about real or imaginary objects which are similar to pictures originating of normal sight. Practising perspective is a two-way action: we let see what exists already, what has been and what it becomes! Thus perspective serves both imagination and surveying. The task of a perspective picture is to make the spectator believe that lines on the paper express "depth" - thanks to the oblique lines!

The sensation of perspective depth within a picture reduced to simple lines is mainly due convergence and foreshortening. We register this phenomenon in the picture plane as line slantins, compared with main directions.

DSCF2697
Pulling down perspective to simple lines

From the viewpoint of our rendering goal, we separate scientific drawing (constructed by ruler and belonging to Descriptive Geometry) and fine arts related Freehand Drawing.

Next we carry out the reduction of the perspective picture, leading to simple lines. Let’s devide the requisits of our graphical store in two groups: "linear" and "other" means for distance expression! Linear drawing might be a contour-drawing, made of simple lines only, enriched by surface-subdivision and material rendering later.

23. összetartások ellenõrzése Teaching of "lines" is indispensable in drawing teaching. We analyse the optimal chronological order of web-layers woven of lines, grouping them accordingly to their depth-expressing function. Let's disregard all kinds of "other" depth-creating graphical means, and let's walk backwards from the finished picture to the empty paper! First we take leave of colours, tones; next of other details, surface-subdivisions and material renderings. Finally the essential basic structure of linear web remains only. Here the illusion of depth might mainly be expressed by lines’ direction and length: operating with line condensing or abandoning them.

16-18. perspektíva alapjelenségei

In his manual on lines and perspectives, J.P. JUNGMANN calls a picture made entirely of lines as "white graphic". He considers architectural rendering as an optical mechanism, grouping all kinds of graphical effects in drawings according to the mutual mechanism between diverse light conditions, distances, materials, styles and adapted graphical means.

In my opinion, we may most economically (with less investment) reach the illusion of depth if we use the simple line web - measuring the result by the length of correct lines within given time! Our task remains to find these suitable places only. My research intends to focus Reader's attention to this special method for "catching" extreme oblique lines which express uttermost the illusion of depth.

8. aránymérés

The traditional method for inclination measuring

The traditional “pencil” method for observing oblique lines, realizing their virtual inclination, could be described as "measuring by straight arm, holding a pencil in hand". In the pure-line phase of freehand drawing, we attach special importance to certain line-sections of the sight, compared with each other in an appropriate chronological order.

The advantage of the classic method is that a pencil is always close at hand and stretching arm is easy. Its disadvantage is that it involves many uncertain elements: the distance between head and picture plane (traced out by pencil) is unstable, the line-segment marked with the thumb's nail on the pencil is limited, and thus the sight-detail remains tiny.

 

The new approach

The "Proportion Measuring" method can temporarily fix and increase the characteristic data of the observed foreshortening. This happens on the surface of the "Master Picture Plane" which we imagine to be attached to drawing board’ upper edge. On the Master Picture Plane we exactly accomplish the comparison of segments in order to quantify proportions. That means we find out differences between horizontal and vertical components of the "diagonal" – hypotenuse - in question.

My "Proportion Meter" developed for this methodological approach is a teaching help for measuring oblique lines within the basic structure of linear web. By visualizing the master picture plane, it clearly surmounts the uncertainties of the traditional “pencil” method.

By introducing this help, the connection between the Master Picture Plane and the correct position of the drawing board might be better understood.

If we succeed in developing special capacities of realizing comparing choice and proportion quantifying in the early stage of teaching; and if we succeed in instructing our students how to catch oblique lines, we may step forward.

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After having tested the prototype Three Hand Meter, its successor the of Proportion Meter was completed January 17, 1997.

The ability to judge proportions with naked eye is more or less an inborn aptitude, which can, nevertheless, be spectacularly improved through practice. Its development is an important task of freehand drawing instruction.

30 Early experiments with the Three Hand Meter.

My teaching help plays a role in training at beginning, when students usually have an open and receptive mind for all kind of new approaches.

My experiments proved that the Proportion Measuring Method is suitable for: checking convergence and foreshortening, developing awareness for target areas of observation, disintegrating of oblique lines in the basic structure of linear web, comparing of (enlarged) perpendicular sides.

The method has proved as a suitable help for finding the picture's frame and for determining  vanishing points occasionally falling off paper.

Lines inside the paper could be outwardly extended - short segments could be enlarged. With the help of the "Proportion Meter" we may discover further important intersections and demonstrate many characteristic features of the basic structure of linear web.

It has a role in simplifying outlines, in determining important intersections, in substituting lines and in identifying axes. By adjusting the device's hand we evidently show the position of the Master Picture Plane.

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This observation method of dissecting the picture plane also teaches some kind of chronological order. The teacher can help even his weakest pupil to realize the basic phenomena of perspective - even without drawing’s touching – when, from the student's viewpoint, he prepares the help’s measuring hand by which he determines the virtual position of extreme oblique lines.

Auxiliary devices for perspective construction, having been discovered until now, were either too complicated for practical use, or too simple. Before the computer's appearance, the greatest efforts have been made in the mechanization of perspective reconstructions, using orthogonal pictures.

persp

Architectural Freehand Drawing requires few instruments only: the Proportion Meter may complement these at the beginning. Its educative role lies in demonstrative guiding and in practising of observation - in teaching how to see.

Nothing can substitute one's inborn ability to judge proportion by naked eye: however, in order to develop and to improve it, any new method promising success is allowed.

Published in: New Hungarian Art of Architecture (Új Magyar Építőművészet) Budapest, 1998/6, pp 59-61

2010. május 13., csütörtök

Convergence Control by Giant Horizon

 

A new teaching help in architectural freehand drawing

Key-words: extreme oblique line, framing cubic grid, giant horizon, linear perspective, oblique line of in-between, Vanishing Points’ Distance (VPD).

2-Mappa-nyitas-zsinorkoteg-feszites

At the beginning of teaching architectural freehand drawing we are dealing with basic phenomena of linear perspective: convergence, foreshortening and hiding. The training of object and space drawing is based on observation. The role of a structural shell absolutely needed in these items is generally played by an enveloping cubic grid.

Reality’s parallel lines seem to converge in perspective and run toward vanishing points. These vanishing points happen very often to fall outside the paper’s surface. Forcing vanishing points to remain inside is a typical error. Being the consequence of our view point and chosen object size, the distance between vanishing points can’t be set in advance [1].

We should control the central cube’s credibility first of all with our own eye’s compass [2].

For objectively controlling the converging parts of the structural grid hereby I offer my new teaching help baptized Giant Horizon. The following steps show how to use the tool:

5-Ip-kituzes

1 - Open air experiment with the map outfitted with an elastic cord. The wings can be widely out folded.

2 - While opening the map the rubber cord stretches itself and marks the Giant Horizon.

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3 – The horizon is expanding. Fitting drawing’s horizon to map’s horizon, we slip the drawing to be controlled under the rubber cord.

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In order to find even the remote vanishing point within the reach of the expanded horizon, we ought to start in suitable work zone. With a little practice the position of central cube’s vertical edge compared to the map’s halving axe can be evaluated in advance. This matches the proportion of central cube’s lateral planes. In symmetric (diagonal) position it can be just at map’s ridge.

4 – Approaching catch of extreme oblique lines. We are hanging the rubber cord on a pin stubbed into the farthest cube corner related to the horizon. Now the rubber cord’s arms are approximately catching the oblique lines.

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5 – Précising of extreme oblique lines. In two more steps we accurately cover with rubber cord’s arms the extreme oblique lines which point toward vanishing points on the horizon. We realize the precise mark out of vanishing points by the help of pins.

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6 – Oblique lines of in-between are to be compressed between extreme oblique lines and the horizon. Knowing the position of vanishing points we may control all of them.

To set map’s dimensions I was looking first for largest possible vanishing points’ distance occurring on regular A/3 sized drawing paper. In an open air experiment, sketching an almost parallel positioned 30 cm high giant cube with floor-line horizon, its remote vanishing point fell to 5 m off vertical scale. Generally dealing with smaller (third-sized of this) cubes in traditional object drawing subject, a 2 meter sized basic plate seems to be appropriate for teaching goals. Folded together as a map, it remains easily transportable.

Bukta-Simon-mb

In case of extreme VP-distance let us halve the cube! Let us directly work with diagonals’ vanishing points!

Exercise: Let us fix the vanishing points’ distance in advance and let us determine the biggest possible (still credible) cube’s value! [4]

Summary

Beside objective and convincing structural control, the convergence controlling teaching help called Giant Horizon has an opinion shaping effect, too. It induces us to consciously identify our own horizon in time. As a precondition we have to determine the horizon within our own drawing. It educates us to handle framing cubic grid’s related edges as pairs.

It habituates us to group in bundles reality’s parallel edges, which converge in perspective.

The Giant Horizon is adequate for controlling structural lines running in different planes as well [3].

Using the teaching help we may spectacularly demonstrate how an originally quadratic corner of a tower’s slab is transforming into a single line on the horizon in perspective.

While spanning along the nearest vertical edge with a pin marking the height of horizontal square planes, the rubber cord hang on it produces in row enlarging obtuse angles of perspective distortion.

egtaj-mappa-4

References and links:

[1] MB: First Cube as Extreme Cube, the Paper Band Method – (Első kocka – szélső kocka, a Papírcsík-módszer) http://mehesb.rajzi.bme.hu/szerkesztesek_eksk.htm

[2] MB: Illustrated Drawing of Cubic Forms – (Képes Kockatan), figures no. 19-24. http://mehesb.rajzi.bme.hu/perspektiva_kk.htm

[3] MB: Regular Interior Space – (Szabályos belső tér szerkezete - Aula-térrajz), http://mehesb.rajzi.bme.hu/kulso_feledatok_ka.htm

[4] MB: Third Vanishing Point – (Harmadik iránypont), http://mehesb.blogspot.com/2009/10/harmadik-iranypont-papircsik-modszerrel.html