D R A W I N G S U B S T R A T E S
D R A W I N G S U B S T R A T E S
Embedded Files
INTRODUCTION
INTRODUCTION
Drawing boards, drawing tables and T-squares have become so rare in the professional life of the architect today that large sheets or rolls of paper are practically never used. CAD programs with an infinitely larger user interface and plotters that transfer the drawing to paper take over the large-scale work. Consequently, the selection below is restricted to drawing substrates in the form of smaller sheets of paper. First of all we should focus on those substrates that can be considered for the design process. Essentially, every kind of paper substrate can be used as the basis for a freehand drawing – including scraps of paper, notes or even beer mats or paper napkins. Sketchbooks are valuable companions both during the design process and for the architectural drawing on site. Information, ideas, architecture sketches and interesting things from everyday life can be recorded in them permanently and developments documented.
SKETCHING PAPER ROLLS
SKETCHING PAPER ROLLS
The most important kind of paper in the design process is the sketching paper roll. This is very thin, transparent paper rolled around a cylindrical cardboard core. The sketching paper roll is generally around 30 cm wide and has a length of between 20 and 100 m. It is available in different paper strengths from 20 to 40 g/m2 of wood-free cellulose, the thicker papers (unit: g/m2) being less translucent. It is generally transparent white; brownish or corn yellow sketching paper rolls are rarer. They offer the advantage that white pencils or chalks can be used on them to emphasize certain lines and surfaces.
Note: The sketching paper roll can be used in every design phase whenever ideas and studies must be given a sketched visual form and different versions and examinations are necessary. It offers a number of advantages;
Sketching paper rolls are relatively inexpensive. This aids the creative flow, as there are no financial repercussions if a sketch just made has to be torn off the roll, crumpled up and tossed into the waste-paper basket.
The roll of sketching paper can be laid over every kind of drawing and even across the computer screen. Changes or improvements are repeatedly drawn on new translucent layers of paper. The paper’s translucence makes direct comparison with the earlier sketch possible. This procedure can be repeated until the desired goal is achieved.
Sketching paper roll can also be used as drawing substrate without any other drawing beneath it. In particularly tall or long buildings, situations can arise where a long piece of paper is needed in order to draw an elevation, a section or a certain perspective.
TRACING PAPER
TRACING PAPER
A very light weight transparent paper used for tracing images and transferring the image to another paper. It is good for sketching, preliminary drawing, and overlaying images.
It accepts graphite, marker, and ink. It is thicker than sketching paper (80 to 200 g/m2) and consequently less transparent, which can lead to the problem that the drawing beneath is not completely legible.
Note: Tracing paper generally comes in sheets in DIN A formats and also, but more rarely, in rolls.
Tracing paper is more suitable for drawing instruments with hard tips such as ballpoint pens and classic ink pens with different line widths.
Incorrect lines can be scratched away using a razor blade or special kinds of erasers.
However, this also removes the uppermost layer of the tracing paper and care must be taken to avoid scratching a hole in the paper.
DRAWING PAPER
DRAWING PAPER
The most undemanding paper for freehand drawing is simple, brilliant white, wood-free drawing paper or drawing card, which resembles multi-function printer paper. It has the character of an empty sheet of paper and at the start of a project represents in a metaphorical sense a “tabula rasa” for free drawing without any influences.
It is available in different thicknesses from 80 to 300 g/m2 and generally in DIN A formats. It is not ideally suited to any specific drawing instrument. > Tab. 1 This kind of paper is more an “all-rounder”. Lines drawn on it with water- or alcohol-based pens bleed easily. If they are too watery, watercolours cause the paper to tear or to become wavy. Hard tips, such as ballpoint pens and hard pencil leads, often print through the paper and, if a pad or block is being used, leave a relief-like imprint on the next page. Lined paper is not really suitable for sketching. If a design is being drawn at a particular scale, squared paper provides beginners with a sure guide as regards dimensions.
GRAY & BROWN PAPER
GRAY & BROWN PAPER
Compared to white papers, of which there is a wide range, greyish hand brownish paper offer the advantage that white lines and areas can be draw on them, and the brightest part of the drawing does not have to be paper untouched by the drawing, as is the case with white paper.
This is ideal for emphasizing areas or surfaces, space and atmosphere. For instance: in a perspective, colouring the sides of the building that stand in the sun white and those in the shade black makes the line drawing more spatial and atmospheric.
It is also easier to indicate differences in the materials used in the planned buildings. The grey or brown area of the paper that remains untouched by lines and blocks of colour then stand for a middle tonal value that is in neither sun nor shade. > Fig. 10
Note: The rule of thumb is: the finer the grain, the thinner the paper, and the smoother the surface of the paper the more suitable it is for hard drawing instruments such as pencils or ink and felt pens. Markers can also be used more easily on smooth paper, as the lines and areas of colour do not bleed to such an extent. Conversely, coarse-grained paper is better for water-colours, soft pencils or charcoal and pastels. It should be acid-free as this means it is resistant to ageing and can also be used for inks and watercolours.
SKETCHBOOKS
SKETCHBOOKS
Sketching paper is a lighter version of Drawing paper. It is typically used for practicing drawing, experimenting with dry media, and quick studies to use for finished drawings on heavier, better quality paper. Many artists use this type of paper in sketchbooks that they keep for references in future compositions. Mediums that work best on sketching paper are colored pencils, graphite, charcoal drawing chalks, monochrome chalks, and oil pencils. It is believed that many of Van Gogh’s drawings were on sketch and drawing paper. He used graphite and light ink with a reed pen.
The prospective architect should keep a sketchbook in which the progress of a design can be documented and which offers the opportunity to note down an idea, something seen or a piece of information. Sketch-books are available in wide variety of shapes and sizes, but for an architect’s purposes some kinds are more suitable.
Tab. 1: Combinations of different drawing grounds and drawing instruments (++ very good, + good, o middling,
- bad, – very bad)
Sketchbooks need to be filled. Drawing by drawing a fine collection can be built up, a travel sketchbook, or the chronology of one’s own progress. Sketchbooks accompany their owner over a longer period of time and should therefore have a sturdy cover with thread-stitched pages. This kind of cover also can serve as a base or support when drawing. The paper should be acid-free and have a thickness of at least 150 g/m2. The kind of paper depends entirely on the drawing instrument chosen. If you use mainly pencil and watercolours, you should choose coarse-grain or even watercolour paper. For markers and ballpoint pens smooth paper is more suitable. > Tab. 1
Note: This technique can also be used with sketching paper or tracing paper. If using tracing paper the white is applied to the back to avoid contact with the pencil or ink lines drawn on the front. This also has the advantage that the area to be covered in white can be drawn more clearly.
Note: Some sketchbooks have useful features that improve everyday (sketching) life. Some have an attachment to hold the pencil, other have a pocket inside the back cover to take visiting cards or similar information. With smaller sketchbooks an external rubberised band is an advantage, as it prevents the book from opening accidentally when in a bag or satchel. Sketchbooks with rounded corners prevent dog-ears.
CHARCOAL PAPER
CHARCOAL PAPER
Charcoal paper has history going back over 100 years. It is 100% cotton with a unique laid finish. It allows the artist to gain precise shading control, and works best with charcoal, drawing chalks, monochromes, pastel, and graphite. Some artists in the past had even used light washes of ink, watercolor and gouache, though this paper is very light weight and would not accept much water. Many papers made in the past that were like this laid pape would be called woven paper. Ingres was well known to do fine drawings on woven paper that reflected this surface texture and grain. Another well know draftsman from the past that you might want to study would be Giovanni Paolo Panini (nothing to do with the sandwich). His depictions of old-world architecture from Italy are astounding.
PASTEL PAPER
PASTEL PAPER
Pastel paper has a unique pebbled surface on one side, with the other side being somewhat smoother. As indicated by the name, pastel paper is best with pastel, charcoal, drawing chalks, monochromes, and colored pencil (most colored pencil artists use the smoother side of the paper). Some artists even use light washes of watercolor for underpainting. Some well know artists that worked on this paper were Mary Cassatt, and her dear friend Edgar Degas. Mary Cassatt was known to love using a blue toned pastel paper for much of her work.
TONED PAPER
TONED PAPER
Toned papers come in 3 mid-range shades: Tan, Gray and Blue. Starting your artwork using mid-range colored paper allows for unique sketching & drawing possibilities by providing the middle value that would otherwise need to be rendered by the artist. A wider range of values from light to dark can be used, and the middle tone makes it easier for the artist to deliberately place shadows and highlights. Keeping the value of the paper as one of the values in the drawing not only saves time, but allows the artist to use graphite or other dark media to push darker values and white pencils or other light media to add highlights, making sketches and drawings pop. Our Toned papers are 100% recycled, contain 30% post-consumer fiber, and also contain kraft and bark fiber inclusions which adds visual interest.
PALETTE PAPER
PALETTE PAPER
This is a poly-coated paper to be used as a disposable paint-mixing palette. Typically artists use it for acrylic and oil, however, one could use it for watercolor and gouache. The idea is that the artist uses this for their session, dispose of the sheet, then use the next sheet in the pad for the next session. It frees the artist from having to clean their palette.
VELLUM PAPER
VELLUM PAPER
This is a translucent paper with many different uses for fine art and craft projects. It can be used to protect artwork, used with cards and letters to add decorative elements, and used as a tracing paper. It accepts pastels, chalk, colored pencils, graphite, and markers. Vellum has an interesting history that in the past it was manufactured using calf skin. Of course it is not manufactured that way anymore. This was the paper used for the content in The Book of Kells, and Degas was known to draw some of his pastel works on Vellum.
So, there you have it in a nutshell; many of the papers that we manufacture to date and proper mediums to use with each type. We hope you found some useful information within, and some fun tips and facts. Have a very creative day!
ACTIVITY: Let's give a try!
ACTIVITY: Let's give a try!
Page updated
Report abuse