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By Sue Ferguson Gussow
Architects Draw deals a realistic and worthwhile technique 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 entire union of voids and solids, gentle and shadows, strains and shapes. for almost 40 years respected Cooper Union professor and artist Sue Gussow has taught aspiring architects of various talents how one can absolutely notice and understand the areas that make up our actual setting. Gussow skillfully applies architectural language to twenty-one drawing routines that take on a number of forms—from peas in a pod to monkeys, skeletons, dinosaur bones, and the paintings of Giacometti and Mondrian. She exhibits, for instance, how reduce fruit and paper baggage show that the actual global is made of planes, dimensions, and enclosed house.
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Extra info for Architects Draw: Freehand Fundamentals
Once the drawing has been “corrected,” its author is forced to make bolder marks to inscribe new intentions. Double Figures (and Chairs) Placed in Close Proximity. This creates a tangle of chair and human legs. Negative space plays a key role in sorting out legs, rungs, and chair locations as well as in assessing the twoheaded, multilimbed creature before you. It should be stressed that drawing everything all together is of critical importance. Note: Any of the above studio assignments may be combined with one another— Collaboration with High Vantage Point or these two with Double Figure—or all three together.
1 hour each drawing. F IGURE 8 right The drawing successfully addresses two difficult drawing challenges: scaling the immense skeleton to a 36” x 24” sheet of paper and the foreshortening resulting from this all-butfrontal vantage point, which made it necessary for the author to choose a perspective from beneath and through the ribcage and to observe the neck and skull from underneath. Momentum gathers in an abrupt curve starting at the open-jawed skull and moves along the spine, which diminishes in scale and focus into the illusory distance.
That leg obscures and substitutes for a chair leg. Similarly, the right leg of the seated woman conceals a second chair leg. What is created is a four-legged creature, three of whose legs are human. Dark horizontal bands echo the composition’s framing; the distant baseboard links up with the miniskirt across the model’s lap, repeated again by vertical strips that represent the chair seat and rung. At the base the dark shadow shape mirrors the triangle created by the woman’s legs, also echoed by the smaller triangle her high-heeled shoe creates meeting the floor.
Architects Draw: Freehand Fundamentals by Sue Ferguson Gussow