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Extra info for Drawing and Perceiving: Life Drawing for Students of Architecture and Design (3rd Edition)

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In the end, these drawings achieve a heavy, brood ing sense of weight that does not reflect the subject 's appearance at all. But though they may not look like our subject, they are made like it! Nicholaides' and Toby McCarthy's drawings suggest something very different from our common understanding of the relati onship of a drawing to what is represented . This is hardly an adequate description for a d rawing such as Toby's. After all, how many plan es have you seen lately that have turrets o n their wings?

Just as in the previous exercise, your drawing should give the volume a material character. It should seem m urky and soupy, like a foggy day. 80 Lyanne Schuster. 81 Rebecca Schultz. 82 Anthony Wee. 83 Tanvir N. Bashar. SPACE 5 mu ltiple structural bays. If you can't find a suitable architectural subject, a skeleton or an arrangement of bicycles would do. Th en, with charcoal, describe the thickness of the space within the subject. In the sense that you strive to give the space a material quality, you should draw as you did in the previous exerc ise, make the volume between, but in this instance, consc iously try to occupy the internal space wi th your charcoa l while you d raw.

Gombrich 's brilliant essay,"Meditations on a Hobby Horse," in Aspects of Form ; Edited by L. L. Whyte ( Bloomington: Indiana University Press, 1966), pp. 209- 228. Engaging the Visual World 35 MASS 1 Build mass with lithographic crayon. Crayon, bond paper Position the lithographi c crayon at the center of the page. Imag ine that th e crayon is positi oned at th e center o f gravity of the mode l. Buil d mass ou t from that center : behin d, below, to the sid es, and in front of the center. Work as if packing laye rs of snow onto a snowball or laye rs of clay onto an armature.

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