freehand drawing and discovery The Blue Mosque, Istanbul Layover in Frankfurt, en route to Athens freehand drawing and discovery urban sketching and concept drawing for designers james richards Cover Illustration courtesy of James Richards Cover Design: Michael Rutkowski This book is printed on acid-free paper Copyright © 2013 by John Wiley & Sons, Inc All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright com Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/ go/permissions Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose No warranty may be created or extended by sales representatives or written sales materials The advice and strategies contained herein may not be suitable for your situation You should consult with a professional where appropriate Neither the publisher nor the author shall be liable for damages arising herefrom For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002 Wiley publishes in a variety of print and electronic formats and by print-on-demand Some material included with standard print versions of this book may not be included in e-books or in print-on-demand If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com For more information about Wiley products, visit www.wiley.com Library of Congress Cataloging-in-Publication Data: Richards, James, 1955Freehand drawing and discovery : urban sketching and concept drawing for designers / James Richards pages cm Includes index ISBN 978-1-118-23210-1 (cloth); 978-1-118-41946-5 (ebk); 978-1-118-42120-8 (ebk); 978-1-118-43388-1 (ebk); 978-1-118-47995-7 (ebk); 978-1-118-47997-1 (ebk); 978-1-118-63566-7 (ebk); 978-1-118-63567-4 (ebk) Architectural drawing Technique Cities and towns in art I Title NA2708.R53 2013 720.28’4 dc23 2012025750 Printed in the United States of America 10 On location at Angkor Wat, Cambodia Farmer’s market concept sketch for urban design study This work and the creative journey that led to it could not have been done without the love and support of my wife and best friend, Patti This book is for her s t Part 1: Learning a Language Chapter 1: The Freehand Renaissance 2 Influences 8 Art and Technology 12 Reintegrating Work and Play 16 Drawing and Discovery with Michael Vergason 20 Chapter 2: Nine Keys to Exploratory Drawing 24 Simplify Tools 27 Simplify Message 29 Work Small 31 Simplify Technique 32 Attack the Drawing 36 Draw People First 39 Pull It Together with Darks 43 Leave It Loose 44 Annotate Everything 45 Drawing and Discovery with Kevin Sloan 46 C o n t e n Foreword by Francis D.K Ching x Preface xiii Acknowledgments xvii Chapter 3: Elements and Entourage 50 People 52 Vehicles 55 Trees, Shrubs, Groundcovers 58 Rock and Landforms 62 Water 69 Furnishings 72 Sky 76 Buildings 83 Drawing and Discovery with Christine Ten Eyck 92 Chapter 4: Creating Believable Worlds 98 Perspective: What You Really Need to Know 99 Creating Depth: Foreground, Middle Ground, Background 111 Building Up Color 115 Pulling It Together 119 Drawing and Discovery with Luis Ruiz 122 r e f Yet here I was, drawing, and thinking, and drawing more, and receiving college credits for it! Design and design thinking were realms where not only was drawing encouraged, it could serve higher purposes of effecting change and enhancing lives We were changing the world with freehand visions, and there was no turning back With excellent teachers, generous classmates, and mountains of project work, drawing became a very natural second language to me To my surprise and relief, I realized over time that in sketching, mastery isn’t requisite In fact, a preoccupation with perfection may be the greatest enemy of the freshness and spontaneity that characterize great sketches I learned that freehand sketching isn’t about photographic realism It isn’t about art, per se It’s more about authenticity It’s about being in the moment, honestly recording what’s in front of you or in your mind’s eye, and gaining a deeper awareness and appreciation of your subject or idea Mostly, it’s about experiencing the joy of the creative dance of the mind, eye, and hand P The first drawings weren’t very good, really I had been led to undergraduate studies in landscape architecture and urban design by my love of drawing Looking at sketches made in my first years at LSU, it’s apparent that my sketching ability had no where to go but up a c The Palais Garnier, Paris e Freehand sketching isn’t about art, per se It’s more about authenticity Something of one’s persona always emerges in a sketch Your sketches won’t look like mine, or mine like yours That’s beautiful A great sketch is an unself-conscious fusion of pen and place and personality It will have its own unique creative energy, reflective of its subject and its maker And if you don’t draw it, that unique expression won’t be voiced Seeing sketching as a window into one’s personal creativity underscores its value in an age when digital tools so thoroughly dominate design education I was recently asked in an interview for a Turkish magazine whether “crayons or computers” were the essential tool for design students I responded that the essential tools were openness, imagination, and the creative impulse Then, the question becomes, how does one nurture and develop creative capacity? At the beginning of the creative process, one needs to be able to generate a lot of ideas quickly, and to be able to record and communicate a flow of ideas as they occur Spontaneous freehand sketching remains the most efficient and effective way to that Very soon afterward, it’s critical to be able to quickly explore various aspects of concepts in three dimensions and in increasingly greater levels of detail These are applications where digital programs are indispensable The best designers in many creative fields—architecture, graphic design, advertising, filmmaking—have learned to merge the advantages of computer technology and workflow with the speed, creative flexibility, and emotional connection of hand drawing The wisdom lies in using the tools and techniques that are most appropriate for where you are in the creative process In reflecting on the path that’s brought me to writing this book, it became clear in hindsight that my career has unfolded in thirds, and drawing has been central to each The “first third” was about becoming a design professional—securing a position, learning from mentors, assuming creative and management responsibility for projects, achieving a measure of recognition from peers Frankly, drawing my way through that phase of my career (whether invited to or not) probably played a significant role in landing great jobs, getting my work noticed, and in affording me professional opportunities that may have been harder to accomplish otherwise The “second third” was about moving beyond established career tracks and disciplinary bounds and learning to trust my creative instincts I started my own firms to focus on my passions for cities, design, and drawing Travel and drawing became the fuel for a journey of self-discovery, resulting in the development of project work, writing, and a discipline of sketching that helped me find my own creative voice Entrance to campus building xiv Freehand Drawing and Discovery Aerial sketch for urban design guidelines The “third third” has become about helping others find their creative voice— sharing hard-won lessons I have learned about using drawing and other means to record impressions and explore ideas that result in change And the best teaching I can offer at the outset is this: Jump in Pick up whatever notebook or business card or scrap of paper is within reach, and begin making marks, just for the pure joy of it There’s a reason writers, artists, and designers carry notebooks and sketchbooks There’s the convenience of being able to record a fleeting impression or idea But just as importantly—perhaps more so—it becomes a portal to a stream of creative thought In my experience, drawing is a gate through which we can enter the stream, and let it carry us along where it will When truly in connection with that stream and tapped into its flow, we lose a sense of time, its ideas move through us, and we become a medium through which the dreams living there become visible The last thing we want when recording or communicating our impressions is for inhibition or lack of a few basic drawing skills to get in the way My aim with this book is to give you tools to transcend that hesitation, and to make freehand sketching an unselfconscious joy and a valuable tool on your own journey of self-discovery Start now On this page, if you like Don’t wait to find a picturesque scene to record, or for “inspiration” to strike Move the hand The mind and imagination will follow Preface xv A Note on the Contributors I’m very grateful for the richness of imagery and the diversity of drawing styles my contributors bring to this effort They represent a range of disciplines and interests, but share a passion for seeking out the truth of a place through sketching, and celebrate the seminal role it plays in their creative process Because they represent different backgrounds, experiences, and parts of the world, they each have their own distinctive voice I’ve chosen not to heavily edit their narrative styles for the sake of consistency, but rather to let the reader meet them through their own words, unique personalities, and views of drawing St Peter’s Square, The Vatican xvi Freehand Drawing and Discovery I recall that while a kid in New Orleans, my parents, Jim and Mary Richards, openly worried (only partly in jest) that I might end up with a beret and goatee hawking paintings and living on Lucky Dogs in Jackson Square Yet they loved me unconditionally, kept me stocked with art supplies, sought out lessons, and later encouraged me to pursue drawing and design with the same focus on excellence and leadership that they insisted my brothers and I bring to any endeavor And the personal and professional accomplishments of those four brothers—Larry, Dave, Don, and Steve—have always kept the bar high I’m grateful beyond words for that foundation My TOWNSCAPE co-founder and partner Dennis Wilson has extended friendship, support, and encouragement to pursue creative directions that required him to cover my flank on countless occasions Our associate Wade Miller has likewise been an indispensible supporter and advisor To them, and to our clients and collaborators, I extend my heartfelt thanks Luis Ruiz Padrón Panorama, Malaga, Spain, by Luis Ruiz Ac knowled gmen ts This book could not have been written as a solo endeavor It was co-written with the help of what American mythologist Joseph Campbell referred to as “Unseen Hands,” and undoubtedly my strongest contribution was in trying to stay out of the way of that unfolding creative process But just as importantly, there have been very active teachers, supporters, friends, and family whose influence has left an indelible stamp on me and this work The Duomo in Florence, Italy, seen from Piazzale Michelangelo Micron ink pen and watercolor, in n 10 in The Spanish Steps, Rome, Italy xviii Freehand Drawing and Discovery I likely would not be writing these words without the mentorship and guidance of Lake Douglas, who saw the potential for this book in my heap of workshop materials, coached me through the proposal process, and introduced me to Senior Editor Margaret Cummins of John Wiley & Sons Margaret’s encouragement to reach beyond my own vision helped set an ambitious course for this work The professionalism, guidance, and encouragement of my editor, Lauren Poplawski, has been the bridge between that vision and the book you hold in your hands My contributors have added tremendous depth and richness to the work I’m indebted to Frank Ching, Christy Ten Eyck, Michael Vergason, Kim Perry, Luis Ruiz, Kevin Sloan, Gabi Campanario, Liz Steel, Bob Hopewell, Tadao Ando, Asnee Tasna, Paul Wang, Benedetta Dossi, Mark McMahon, John Lavin, and Harley Jessup for their talent and thoughtful contributions Thanks to the Alvar Aalto Museum for its assistance I’m especially grateful to my friend Bob Chipman, whose talent, intellectual curiosity, and personal dedication to the advancement of landscape architecture has resulted in his generous contribution to Chapter I’ve been blessed with extraordinary teachers The influence of the late Robert S “Doc” Reich—teacher, mentor, and friend—is so pervasive as to defy easy description, but at its core, Doc’s was a gift of awareness that taught me and thousands like me to delight in a breathtakingly beautiful world that few take time to see Max Conrad Concept sketch for a trailhead Acknowledgments xix personally initiated me into the ongoing adventure of world travel, without which my work and worldview could never have come together as richly as they have James Turner taught me to look beyond arbitrary divisions between art, design, and professionalism, and to claim them all as aspects of a full, creative life Many others have provided well-timed, not-so-subtle nudges to keep me on a path of professional and creative growth My mentors and later fellow principals at Johnson, Johnson and Roy (now SmithGroup/JJR)—Clarence Roy, Dale Sass, Carl Johnson, and Jim Christman— patiently taught me a philosophy of design drawing and visual thinking that provided a foundation for many of the lessons shared here Many of these lessons were perhaps best articulated and exemplified by Bill Johnson, whose consistently amazing drawings and paintings continue to dazzle and inspire me Lawrence W Speck, a valued friend and collaborator of Johnson Johnson and Roy, was a seminal influence in design thinking and the symbiotic relationship between teaching and practice A great number of generous spirits have provided grounding and support, and made sure I never took myself too seriously My thanks to Sam Lolan, Jack Fry, Jim Anderson, Earl Thornton, Stewart Wren, Tim Orlando, Alan and Marianne Mumford, Chris Miller, Mike and Debbie Paolini, Mike and Rita Grogan, Jeff Williams, Chuck McDaniel, Ace Torre, Gary Hilderbrand, Chip Sullivan, Charles Birnbaum, Taner Ozdil, Kate Matthews, Rebecca Venn, Mary Minton, Tim Oliver, Kathy Bailey, Don Gatzke, Pat Taylor, Chris Flagg, Kurt Culbertson, Sergio Santana, Jonny “Waffle” Stouffer, Tim Baldwin, Vic Baxter, Michael and Leslie Versen, Sadik Artunc, Bill and Ashley Reich, Michael Robinson, Van Cox, Tony Catchot, Mike and Dorothy Tejada, Steve and Kaye Gumm, Stephanie Main, Evelyn Utke, Lynn Miller, Fran Beatty, Mark Boyer, Judy Brittenum, Diane Collier, Lara Moffat, Chunling Wu, Dana Brown, Bill Thompson, Paul Nieratko, Fr Damien Thompson, Tim Bruster, Susan Hatchell, and Yasin Çağatay Seçkin Special thanks to my creative coach and spiritual advisor, Bruce “Big Daddy” Hearn Throughout my career, my best barometers for whether or not a thought or drawing moved forward or ended up on the cutting room floor have been my daughters, Jessica Richards Paolini and Cassie Richards If they were excited about a place I envisioned and drew, I was excited As kids they accompanied me to meetings, on road trips, and with Patti and I to study and draw cities around the world I’m grateful for their love, patience, and adventurous spirits My Concept sketch for a transit station shelter xx Freehand Drawing and Discovery son-in-law, Michael Paolini, is likewise a rock in my life, and a valued sounding board for gauging the creative heft of an idea Finally, I want to offer gratitude to my grandson, Michael James Paolini, eight months old at this writing, in whose laughter and unbridled joy I see the hopes and dreams of the future As Satchmo sang, “What a wonderful world.” Acknowledgments xxi Part Learning a Language This waterfront scene achieves an illusion of depth through one-point perspective and creation of a foreground, middle ground, and background Loose line quality, color, and people in motion add life and energy to the sketch The Freehand Renaissance Figure 1.1 The author’s annotated sketch highlights key planning and design attributes of an urban village C h a p t e r o n e Figure 1.2 A striking on-the-spot sketch from Rome by urban sketcher and illustrator Benedetta Dossi Something’s happening here Concurrent with the rise of stunning digital technology and computer imagery, online groups dedicated to freehand sketching are proliferating at a startling pace Figure 1.3 Architect and urban sketcher Asnee Tasna’s on-the-spot sketch of Bangkok’s Ratchaprasong junction, sketched from the comfort of a posh restaurant where he was spared from the heat and traffic 4 Freehand Drawing and Discovery Attendance in hand-drawing classes, declining in recent years, is surging Creative compositions blending lively hand drawings with digital imagery crop up all around us in retail interiors, print ads, book jackets for bestsellers, and website design On-site design charrettes requiring quick sketching of rapidly evolving ideas have become the norm in town planning practice, and the rapid freehand storyboarding techniques of filmmaking are finding their way into the creative processes of cutting-edge architects and urban designers The 2003 MOMA exhibition “Drawing Now: Eight Propositions” argued for “the renewed importance of drawing in the discourse of recent contemporary art,” marking a moment “when drawing has become a primary mode of expression for the most inventive and influential artists of the time.” We are witnessing a pendulum swing from oversaturation with digital imagery to a newfound appreciation for the immediacy and freshness of hand drawing and the emotional response it triggers The ubiquitous digitalization of commerce and communications has resulted in a yearning for the authentic and the handmade, as the culture seeks to reconnect to some essential aspects of human endeavor Consequently, the world is rediscovering the magic Figure 1.4 Stage designer and urban sketcher Paul Wang’s capture of the lavish blend of classical elements with Chinese symbolism in a shophouse at Purvis Street, Singapore Figure 1.5 Collages of hand-drawn line, paint, and cut paper by artist John Lavin are featured as murals in Starbucks stores all over the world The Freehand Renaissance 5