architecture tutorial

A watercolour illustration for a book called 「名建築の空想イラスト図鑑」(Famous Architecture Daydream Illustrations) featuring 20 illustrators painting famous, but no longer existing architecture marvels.

I painted a wooden fire station that was located in Aomori prefecture, build in 1920 inspired by Russian architecture, and demolished in 1982. Using old photos and plans as references I tried to depict the building and a fresh, late spring day using bright, saturated colours while staying true to the original building’s shape, details and colours.



Technical details:

  • Lines: mitsu-bishi pencils from HB to 8B
  • Colors: Shmincke and Winsor and Newton watercolours

  • Paper:  300g/㎡ Holbein SAUNDERS cold press F4 size


  • 線画 ー MITSU-BISHI HB〜8B

  • 水彩紙 ー 300g/㎡ Holbein  ナチュラル   水彩紙 中性紙   中目

Book details:

Tittle: 「名建築の空想イラスト図鑑」

Publisher: X-Knowledge エクスナレッジ

Language: Japanese 日本語

ISBN-10: 476782298X ISBN-13: 978-4767822983

Dimensions: 10.1 x 7.2 x 0.7 inches

Amazon jp link:

I wanted to try a new watercolour sketchbook I bought recently for my plein-air painting. I did a simple sketch this time with my lightweight Holbein set in a style similar to concept-art works found in Studio Ghibli art-books.

 I painted this based on a photo of a tea house located in a Japanese garden belonging to a hotel located near my house (It’s a shame I can not paint there).  You can see the painting process in the making-of video but to make things short I did not like how the paper worked with the watercolours really much. In the end to “save” the picture I decided to use ink on top of the watercolours to give it a little bit of depth.

Technical stuff:  

  • Medium:  Canson Montval WATERCOLOUR F2 sketchbook
  • Sketch: Mitsu-bishi Hi-Uni pencil grade HB & 2B
  • Line: COPIC Multiliner SP 0.5mm
  • Colours: my main 48 colour Holbein set

外で水彩を描くために買ったスケッチブックを試したくて、シンプルな絵を描いてみました。コンパクトな12色のホルベイン水彩セットと2B鉛筆を使って、スタジオジブリのアートブックにあるスケッチのスタイルを目指しました。 以前撮った写真を参考にして、近所の日本庭園にある古い茶屋を描いてみました(ホテルの敷地内にある庭園なので、その場では描くのはやめました)。 最終的にキャンソンのスケッチブックの紙が水彩と相性があまりよくなくて、完成した着色はフラットになってしまっておもしろくなかったです。なので、奥行感を作るためにインクの線を足してみました。


  • 紙: モンバルキャンソン 水彩紙 スケッチブック F2
  • 下描き: HB & 2B Mitsu-bishi Hi-Uni 鉛筆
  • 線画: コピック マルチライナーSP 0.5
  • 着色: 48色のホルベイン水彩セット

alaa-rb  asked:

She's one hot grandma alright ! I was wondering when were you going to draw something from your OC story, even though in already on cloud 9 with your lapidot AU :> . Mind me asking, where do you get your OC story inspiration? in terms of clothing and such :]

in my OC folder there are three folders that look like this

and if you click ‘clothing’ it takes you to a magical world of this

and that’s just the tip of the iceberg………….I tend to collect a heap of references for clothing and background details, even for AUs (my Seelie AU folder back in the day was a fucking mess let me tell you….)

that being said I have a few favourite detail designs I fall back on where clothing is concerned in Among the Hollow. I use two in particular very often: Scrolls + Egg and Dart

Creating Isometric Architecture Drawings

In this tutorial we will go through my process of how I make these isometric drawing.

Programs needed

  • Rhino 5 
  • Illustrator

First of all we need to start with a new file, so what ever file you are working on save it as, for example, Iso_drawing_model.  We do this because we will be changing the layers around and you don’t want to mess up the work flow of the original file.

Step one

We need to go through the layers and delete the excess layers.

Much better in terms of management

Step two: Setting up the view port

The default setting for the three dimensional view port is Perspective, we can change this and save the view for future uses of the file if you need the same view.


  1. Right-Click the box in the upper left corner of your view port window
  2. Scroll down to set view
  3. scroll then to isometric and depending on the view you want you have options but if those don’t work you can manually set the isometric view in the view port by panning and rotating the view.

Named Views

Now to make sure you always have this view for future reference, you can save this by going to your docked window on the right side (default) and right-clicking and making sure Named views is checked.  This will allow you to save the views you like for renders, diagrams,etc…

Now the next step is to save the view, to do this it’s as simple as saving anything. you Can either right-click in the Named View box and save current viewport or their is a button in the upper right hand corner of the named view box is a save button.

Name the file, and you are done with the first step of the process.

Once you have your layers and your view set up the next step is making the three dimensional model into flat line work, the command for that is Make2d

An option menu will pop up and give you options for how you want the lines to be processed, always click Maintain Layer Source. this makes the drawing process go super fast.

You will receive something similar to this

I have added a crop box in yellow because he diagram I am doing doesn’t need all the excess information. the resulting looks much cleaner and site orientated.

So far it’s looking good, we have all the line work needed in the right layers, This is important to do all of this before illustrator because the process just goes so much faster in illustrator pertaining to line weights and color fills.

Exporting Layers

Select all the line work you want to export from the top viewport, but you don’t want to just export, make sure you choose the export selected option.

Export the file as an adobe Illustrator file and preserve the model scale, I have chosen to scale my diagram 1/16" scale this might be too big but you can always re-save it a different scale if needed.

You should have your file imported into illustrator and looking similar to what the image below

Since changing the line weights is now a simple task just select the layer and change accordingly, i start with all my lines at .25 and adjust from there. 

I really like the look of more thin lines than one thick line

Design Building

Change outer perimeter lines to a 2 point line

Surrounding Buildings

Since we want the same overall look for the whole diagram hard exterior lines and soft interior but not to take away from the focus of the main design I choose a lighter line say 1 pt outside and .15 inside 

To get this effect you will have to split the lines to change some of the lines and the hot key is ©

All the lines are now popping a little better and the drawing does not look flat

Next the drawing needs color i use a variation of two shades of the same color, for example I use a light grey for the east side and a darker gray for the north side of the buildings.

To do this select separately by layer and start filling in one color for the north and one for the east or west depending on the orientation of your view

The image is now starting to develop, after this point it is all up to you to do what you want with the image. Do you want to add a color to your structure for program, do you want to add the grass, do you want to do nodes, the limits are endless but now you have a basis for a graphic standard. 

Lets add some color to the main structure 

Thank you for reading this tutorial and I hope this helped in your Architecture Graphics

-Christopher Voltl

anonymous asked:

How did you make those clock/window things???? They are so cool!!

Thank you!!!!! I like how they turned out too… and I can show you my process work because I have it all scanned in for some portfolio-building…

OKAY so first I started out with some super basic sketches in my sketchbook. I knew I wanted two astronomical clock/rose window hybrids but I didn’t really know how I wanted them to look. At this point I had a very limited knowledge of how astronomical clocks actually work, which was foolish on my part and never a good way to start a project. These sketches were based off of my previous knowledge of astronomical clocks, my (far more extensive) previous knowledge of rose windows, and a logo I designed last semester for the fictional country the clocks were for.

Then I actually did some research. I learned about the basic parts and functions that make astronomical clocks tick (HA. nice joke. moving right along). I’m really fond of the Prague astronomical clock, the astronomical clock in St. Mark’s, Venice, and your standard gothic rose windows. I would recommend saving a lot of images and labelling them clearly (or taking notes about them in your sketchbook) so you can easily refer back to them.

Now that I know what makes up these clocks/windows, I figured out how I could manipulate those pieces to match my needs. The world I’m building these for has one sun, two moons, and 12 other planets in the solar system. Thus, I had to figure out how to expand the basic “earth” astronomical clock to function in this world. I decided to have one clock track the planet, its two moons, and the sun. Similar to many astronomical clocks, the sun hand functions much like a regular clock, tracking the time in a 24 hour span (top is noon, bottom is midnight). I also devised a new number system for the world at this point. It functions similarly to roman numerals, except there are digits for one, two, five, ten, and twenty. (It is probable the system goes beyond that, but for these purposes I did not figure out the rest because I only needed to go up to 24).

The bottom clock tracks all thirteen planets in the solar system, the hands marking out where each planet is in comparison to the “starting” position of all the other planets (the position in space where all the planets are “aligned”). So the window backdrop part of the clock is divided by 13 (about 27.69 degrees each) to represent each planet. (I didn’t illustrate the 13 hands at this point so I could focus on the actual design)

Now I started working in Adobe Illustrator. I mapped out each clock in a vector format, making sure to keep all my math correct when rotating, copying, and positioning each piece so everything is as even and mathematical as possible (working with a base of 13 is difficult though, so it is not perfect). I started out with just black and white, moved into grayscale, then eventually added flat colors. At this point I also used to create a custom typeface for my number system (I only used the keys 1-5 for each digit). This allowed me to use textboxes multiplied around the rim of each clock rather than trying to use custom vector shapes for each number.

Last step!!! Move into Photoshop. I exported my .ai file into Photoshop format (making sure I preserved my layers) and started working. I added inner bevel effects, dropped shadows, used some art filters for the glass, and added some basic gradients over top for added depth.

And there you go!!! You’ve got a solid, working design for use in background layouts, process work, or whatever you need. I’m using them as part of a temple I’m designing for a fictional world.

I hope that was useful/helpful/interesting in any way! sorry it’s a little long, but it’s an involved process.


A Tutorial by Linescapes on Drawing Trees

“The most important thing to understand is the level of detail we want to apply to a tree. The type of drawing we want to use for a tree depends on the scale. We abstract the trees that are more distant and apply more detail to the ones up front or the ones we want to emphasize.

We usually get the best results when combining those different levels of abstraction in one drawing. Now let’s look at three simple ways to draw trees with a pen.

The first to draw the habitus of the tree with the branches. We start with the trunk and the outline of the habitus and start spreading the branches. They split into smaller and smaller branches. It’s important to reach all the way up to the outline with the small branches. This gives the tree a realistic look. 
This way of drawing is especially good for showing tree species, since they each have a different shape of growth. 

The second way is to draw a volume instead of the branches. It's useful when we want to emphasize the spatial quality of a tree. We draw the shape of the habitus. It’s almost never a single shape, but consist of several shapes. Often we can see some branches through the canopy. Drawing them makes the tree seem more realistic. In the end I give the tree an oblique hatch to give it a feeling of volume.
The finally type of drawing is applying texture to a tree. I do this when texture is important or I want to add a lot of detail to a tree that is very near. I start by drawing the trunk and some basic branches, then start adding the texture of the leaves. I draw more of them where I want the tree to appear darker.”


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