L I N E S & I N S T R U M E N T S
L I N E S & I N S T R U M E N T S
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LINES
LINES
Like the technical drawing, a freehand drawing also consists largely of lines that vary in terms of form and weight from drawing to drawing. They can be used to depict almost everything in drawing and sketching architecture: from site boundaries, building outlines and edges to individual storeys and to wall constructions, furniture and door handles. But it is only through accentuation, different kinds of lines and the differentiated use of strokes in different sizes and scales of drawings that the sketch becomes legible and understandable. Sketches illegible to out-side observers are intended only for the author and help transfer important information to the next design stage.
Somewhat illegible, intimate design sketches
The lines that gradually create the design grow more concrete over the course of time to form a sketch or drawing. Here the draughtsman or woman constantly improves what has been drawn, rejects it, erases it or – in the best case scenario – finds it good. The draughtsperson always sees what has been “done” a moment previously, engaging in an emotional relationship with what has been drawn. Object – eye – hand – pencil – paper: a complex sequence of activities and reactions is concealed behind creative drawing.
In on-site architectural drawing the dimension of this interaction changes: you do not compare what has been drawn with the image in your head but with the depiction of real architecture. We do not draw imaginary lines but rather we abstract outlines that do not exist in real nature. We interpret them as lines, although in fact only a changeof volume, material, colour or light takes place. We therefore draw the
visual boundary between two volumes (or material or colours), a boundary between light and shade or between a volume and the air surrounding it as a line.
On-site architectural drawing, where edges, changes of material, colour and light (here shown as dotted lines) are abstracted and depicted as strokes.
T Y P E S O F L I N E S
T Y P E S O F L I N E S
Sketch elevation made with different line thicknesses; the volume at the bottom left is emphasized by the use thicker outlines.
Although freehand drawing and sketching tends to be a relatively fast activity and must not comply with the rules of technical drawing, it nevertheless makes sense to differentiate between the most common types of lines: full lines, dashed or broken lines, and dotted lines. Differences cannot be made between line thicknesses, as in each sketch this depends on the instrument with which the lines are drawn. Nevertheless, sketches that use a wide variety of different line thicknesses are more vivid and more legible.
FULL LINES
FULL LINES
Are those used to describe all the visible edges of objects and building parts in a depiction. In section drawings the parts of the buildings cut through are indicated by the use of thicker lines. In elevations the line of the ground is emphasized. Buildings in the foreground are often given heavier outlines and shown with thicker lines than the less important edges or parts of the building in the background.
BROKEN LINES
BROKEN LINES
Also known as (dashed lines) denote volumes, building parts, or other important edges that lie behind or beneath the actual depiction. Dotted lines, on the other hand, describe the edges of building parts that are over or above what is depicted. Dotted lines should truly consist of dots. The need to use dashed or dotted lines in depicting building parts arises particularly frequently in floor plans or section drawings.
DRAWINGS LINE CORRECTLY
DRAWINGS LINE CORRECTLY
Straight lines should be drawn straight.
Frequent mistakes include lines that, due to the given radius between wrist and arm, are drawn curved although in fact they should be straight.
Care should also be taken that a line consists of only a single line.
To draw straight ground lines the little finger can be led along the edge of the table or of the sketchbook at the same time drawing a straight line parallel to this edge.
A second line should not be drawn over an interrupted or broken line in order to correct it. The interrupted line can be continued at a slight distance.
ACTIVITY: Let's give a try!
ACTIVITY: Let's give a try!
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