Progressive Drawing in AutoCAD

From Hand Drawing to AutoCAD....

This post is one of a few I am trying to do right now that start to combine drawings produced by hand in the early design phases of a project with their final iterations as AutoCAD design and working drawings and, hopefully, show that they share a common and mutually supportive vocabulary. Perhaps I should start by saying that, blog title notwithstanding, I do almost no working drawings by hand. That would be insane. If you have to share files or submit digitally (and you always do), your using AutoCAD as a bare minimum. Which is what I work with in the digital drawings you will see here. But as I've hinted at less directly in previous posts is that how you work in hand at the beginning becomes the template for the graphic vocabulary you use your in AutoCAD.  There are so many decorative elements like alphabets, entourage and shading, that allow a level of indulgence 

The Project...

This is a set of drawings for a proposed residential project in Denver, Colorado. The program is a complete remodeling and full second floor addition to an existing single story duplex residence in the largely historic Bannock Street neighborhood. The duplex arrangement will remain but be expressed as two urban townhouses with a brick common wall and shared common exterior stair to a roof deck with exceptionally nice mountain views to the west that the main elevation . The first studies shown here explored a more contemporary expression in massing, fenestration and use of materials. The existing common brick building is being treated as a shell with reconfigured exterior openings and a new shared covered porch. Each unit i

Scheme One...

The first few design studies of the front elevation where we were definitely pursuing a less restrained, more contemporary and urban level of expression with all of the major second floor spaces treated as volume spaces capturing dramatic views of the Rocky Mountains to the West. Both of the early schemes have the feature of common rear yard stair access to individual roof decks. With tightly abutting neighbors to the north and south and, as we went along, an increasingly restrictive zoning plane that severely restricted our building height options at the side yard elevations, the flat roof schemes were abandoned fairly early on.  Here, the existing one story building is treated as a neutral base for with the fenestration and new porch organized around the new 2nd floor spaces. 

Scheme Two...
This scheme was the last scheme using flat roofs we looked at before transitioning to the gable roof scheme you will see below. The project is in a neighborhood where the American "Four Square" single family house is the predominant building type typically with either hipped or Arts & Crafts-era gabled roofs. The setback from the sidewalk to the face of the building is about 15 feet so you really don't have a front yard to work with, which I think this scheme responded well to. The building height is only about 28' to the uppermost parapet on the front elevation. The common entrance area kind of changed the project syllabus from a development and sale standpoint (creating condominiums), so the we decided to stay with the expression of side by side "autonomous" townhouses.
The Drawings at this Stage...
All the hand drawings shown in this post are shown literally "on the boards", capturing them as they were still taped down and being worked on. Most of them are developed as hard line pencil & ink drawings on white tracing paper and rendered on both sides of the media with the usually assortment of Prismacolor pencils and lighter ChartPak AD base marker washes.

Playhouse Design Competition Drawings...

Okay, I've really been ignoring this blog. This is, unbelievably, my third post in two days. Today's post is about some drawings that I did last year for the "Life of an Architect" 2015 Playhouse Design Competition. While the doing the drawings by hand was never really in question, how the drawings were made here was affected by an evolving condition in the drawing process that kind of caught me by surprise.

Final Board submitted to Competition
Jury at 24" x 36". Composed and noted
in Adobe Photo Shop. See below for
enlarged images of each panel.

The more I stay with this blog the more I am constantly amazed at the ever accelerating death of hand drawing in architecture. It's not just the computers. I can draw well with a computer, lots of people do. If you're reading this blog, you probably do too. Nor is it about what seems to be an often overwhelming lack of interest. It is more about the unintended consequences that this early death is bringing to the supply chain for people who still draw, out of habit, inertia or sometimes because it just plain ol' works. By supply chain, I mean access to materials and supplies you need on hand to effectively draw well. It's becoming almost impossible to find what used to be just your run-of-the-mill, every day drafting supplies. Essential doesn't even begin to cover it. Even, oddly enough, things like pink electric eraser strips. Absolutely a must-have for anyone who draws in ink on tracing paper or vellum and you can't find them anywhere. Anywhere except Amazon or eBay, where a box of twelve can go for as much as 120 to 150 bucks, I kid you not. For something that, just a few years you could get for, like, four dollars. If had known in advance and seriously stocked up for it, you'd have gotten a better return  on investment than most meth or arms dealers. And that's just the eraser strips. It's the loss of good art and architectural supply stores like Pearl, Charrette, Utrecht and on and on. And good luck finding people will to try dry mounting yellow trace drawings to gator board (another must for drawings like these). Maybe the thing to do is read the obituaries and start going to estate sales of dead architects. Not as absurd as it sounds. A working erasing machine is impossible to find new anywhere but eBay or Amazon, and there only if your lucky if you want truly new.

Design Study Drawing for Playhouse - Pencil and Ink on
white tracing paper. Drawn at 1/2" scale to accurately
study material profiles and alternate design features. Also
used to study color and rendering techniques later on in
the design process.

The funny thing here about drawing supplies is that they are ridiculously less expensive than most digital rendering software, even if you buy the best stuff than you can find. I was asked recently to help write a syllabus for an introductory class in architectural drawing by hand. We had a couple of discussions about the course goals and studio methods and the supply chain issue came up as more than a bit of an obstacle. I put together a basic list of materials I felt a student would need to effectively pursue the course syllabus. Many were either no longer available or so expensive as to be laughably impractical. The final cost would have exceeded the cost of the class. End of class. But it seems to have reached critical mass with the utter dearth of eraser strips on the market. I can't overstate the importance of electrical erasers in being to able to render in ink on anything other than Mylar. And Mylar has become so rare that even my spell check doesn't know what that is. I've talked on this blog before about yellow and white tracing paper can be surprisingly durable as a final rendering media. You can even make some major mistakes in ink work and save a drawing from an early death on your sideboard or in your trash can. You need a light touch and the right pens (Micron being the best), but revisions are possible. Which is, of course, huge. And it's not your trying to render in ink on linen. But you should put that on your drawing bucket list.

Design Study Drawing for Playhouse - Pencil and Ink on
white tracing paper. Drawn at 1/2" scale to accurately 
study material profiles and major design features. Also
used to study color and rendering techniques later on in
the design process.

So what about these drawings right here? Well, I went through the entire design and rendering process here with about 3/16" of an inch left of my very last eraser strip. Which means minimal mistakes on the final drawing, if any at all beyond the pedantic things only I would notice. Usually with drawings like these I do a study / base drawing to ink over before going into the rendering stage. You develop as much as you need to to trace over. Any tracing paper is good for this stage but match your final media so you can study rendering issues (colors / entourage) and techniques (pencil / marker / pastel). These drawings are maybe my favorite part of both the design and rendering process.

The competition rules required  a mobile (no foundation) playhouse with a maximum size of 8'w. x 7'd.x 8'h. with child friendly materials. Mobility was the overriding design criteria. Beyond that, it was up to you. Issues of permanence, appropriateness of scale, understanding a child's perceptions of space and shelter and the opportunities for long term use by means of an elemental and widely accommodating architectural vocabulary these drawings were developed at 1/2" inch and 3/4" inch scale. The drawings above show what these early design process drawings look like. The competition rules set a limit of one 24" x 36"  board per entry, submitted as a .jpg or pdf file. So I chose a portrait orientation for for my board, broken down into 4 A4 (11" x 17") portrait oriented panels with the final drawings done at  3/4" scale and scanned individually. Because this is a project for young children, material profiles and user safety were an ongoing design concern. Studying the project graphically by hand at such a large scale made the representation of the material profiles an immediate part of the design vocabulary without a separate, "post-schematic"  level of study. I mean, this is a playhouse. Speaking of which, these drawings have a design statement image you can click on and read down below , so I don't need to tread water here but I will point out that the goal wasn't just to create an imaginative play environment at a variety of levels but to do something with a high degree of constructibility and ability to be modified and/or moved to a wide variety of site contexts. So communicating that the project is made almost entirely and simply of nominal lumber was one of the major drawing goals here. In fact, one trip to Home Depot should do it in terms of buying what you need to build this project. The range of design expression here can run the gamut from straightforward carpentry to a "large toy" to a piece of fine exterior mill work designed to "stay in place" for a very long time.

Playhouse Axonometric and Plan. The 'money' drawing, as it were.

So what about the erasers? Like I said, all the drawings had to be set up like the images above and then very carefully inked. Small mistakes were possible with my remaining little eraser nub and I drew the final images on white tracing paper (not my first choice) if the the last ditch use of white-out became necessary. It's also the reason the main drawing is composed of four smaller, separate panels. Noting your drawing in Photoshop or Illustrator also minimizes a lot of risks and lets you study different board compositions and fonts as the presentation is finalized. Don't listen to what the person running the large format scanner at Staples or Kinko's tells you. Scan your images at 300 dpi minimum. With more color and pencil washes on a drawing (especially on white tracing paper) 600 dpi makes a difference. You can always reduce the size of the board in Photoshop after you have done your final composition and noting at a higher resolution.


While much of the design drawing emphasis here focused on the playhouse's simple constructibility and safety, the most enjoyable part of drawings like these at the end is in developing a supportive level of entourage. I kind of rolled the dice with here with that, hoping that something a little more relaxed and fanciful would be more appealing than the animatronic, pixel-eyed computer children that seemed to dwell in 99% of the other presentations that I saw. Looks like I was wrong about that but I still like my dragon, teddy bears and house pets. A personal process that hopefully every good draftsperson has, manual or digital. Here, each elevation panel's entourage tells a slightly different story about different features of the playhouse that I want to highlight. For example, the night views use contrasting color to emphasize the internally illuminated "lantern- like" quality the playhouse will hopefully have. Other entourage figures do more than convey scale, they identify design feature that show this is a playhouse for "parallel" play, for children of a wide range of ages. When built outside of the constraints of the competition rules (something to explored later), this playhouse could have a life long beyond its own childhood as a permanent addition to a suburban garden garden or urban roof top.

Save me, save me...!

I'll let the remaining drawings tell their own story. Frankly, I ran out of time on the submittal deadline before the drawings were rendered with pencil washes to a level that I would have been happy with. Wondering also if I should enter again since apparently this time the competition is moving to www.houzz.com.  So this year I am going to let the eraser strip gods decide this one. Almost a year later, I still can't find pink or soft green eraser strips for my Koh-I-Nor. If I can find them, sure, I'll bite. If not, forget it. If they're some of the few hand  drawings entered, whatever. But they should remain fun to do.

Elevations of Playhouse drawn at 1/2" scale. 

Playhouse Cross-Section, Alternate Design Studies and Design Statement.
Hand drawn at 3/4" scale and noted in Photoshop.

Elevations of Playhouse drawn at 1/2" scale.

Oh, one more thing. If you like this playhouse and would like to see a materials list that you could give to a builder and what the fully dimensioned drawings look like, that can be arranged. The material list doesn't include an estimate but it can be used to get a very accurate take-off price at a Home Depot, Lowes, from your Grandpa or another similar resource, such as a carpenter or good millworker. Or you could download these and figure out how to proportionally print to scale. Good luck with that.

In-Law Apartment & Carriage House...AutoCAD Working Drawings

Narrative Drawing...a New Carriage House

A recent small project here, a rear yard carriage house and future in-law apartment for a very nice small 1910's-ish existing frame house in Essex, MA. A very lush and challenging site with mature tree canopies protecting the building on all sides. A lot of communities on the North Shore have begun to relax their previously strict rules regarding back yard residential structures as they begin to recognize the economic imperatives that elder care is beginning to place on many families. This project has a small workshop on the first floor and a open studio space on the second floor that has a lot future possibilities for residential use. The perspective drawing shown below is one of the early design study drawings I did to look at the second floor main studio space and stair. And a section drawing me a lot but it's not a presentation tool that always. 

This small project was perfect for a set of quick, fast drawings by hand. One of the clients is a both a good friend and a retired GC, so he knew exactly what he was looking at but his partner needed a set of drawings a little more graceful and descriptive than something from an AutoCAD file. A good set of drawings, even, or perhaps especially, working drawings should have a narrative quality. Here the drawing narrative combines the technical information needed to price and permit from, along with a more "story book" feel I often use for the entourage and title graphics. Being able to take liberties with consistency in how drawings are graphically framed and composed let's you work with your media size in more creative and supportive ways, such as portrait and landscape oriented sheets in the same set. This was typical of many of the beautiful working and presentation drawings from the late 19th / early 20th century when some degree of drawing standardization was beginning to emerge in architectural drafting rooms. Check out Cass Gilbert's working drawings some time. Seriously, go to Amazon and get "Inventing The Skyline: The Architecture of Cass Gilbert", Margaret Heilbrun, c.2000. Beautiful examples of this type of drawing that set the standard of its time and a great essay on his drafting room.

Here, all the drawings are 11" x 17" (A4/Tabloid), an obviously useful and universal size that allows you to print and copy in color pretty much anywhere and also (hopefully) maintain drawing scale. They are drawn on Bienfang heavy white tracing paper in pencil and Micron / Razor point ink pens and rendered on both sides of the media with Prismacolor pencils and ChartPak Ad markers.Being an all white building really helps here in terms of drawing time but these were the first and second design steps in terms of where the project has eventually ended up going. The graphic alphabet is something I have developed over time and use in a variety of sizes from both tracing templates and rubber stamps to lay the ground work for the drawings common graphic vocabulary.

This is the principal elevation facing the existing house. It sits at the rear yard's high point with the entry about two feet above the main floor level at the workroom.

Side yard elevation facing north into adjoining neighbor's rear yard. The site slopes down towards the existing house's rear yard about 32" and keeps on going.

First Floor Plan. The workroom to the right faces the existing house. The clients asked specifically for the 4 panel sliding doors to open the first level up to the rear yard. A nice idea that we are refining by using traditional french doors on folding panel hinges.

Second Floor Plan. The deck on the south side sits under a canopy of lush and mature trees, both deciduous and perennial. 

East Elevation facing the driveway. The building uses large shed dormers to capture the necessary headroom at the 2nd floor because of a restricted ridge height. The most technically developed elevation in a preliminary set of drawings. Note the use of smaller overhead carriage house doors.

All told, the drawing set above took about 50 hours over 5 days to complete, making it completely competitive with the cost of doing the drawings in AutoCAD and, I think, much more descriptive in terms of conveying what we were trying to do to a lot of different people. But this is the absolute threshold for that competitiveness in doing working drawings by hand. As a matter of fact, the final construction and permit drawings I did for this project were done in AutoCAD 2016. I will put those up in a separate post. They maintain the "narrative" graphic vocabulary explored and used here, they just do it digitally. To see this scheme, check out the post preceding this one about AutoCAD working drawings.

After some review, we decided you investigate a smaller build in terms of volume and ridge height. These are some of the quick design studies we did, which eliminated the full second floor in favor of a lower ship ladder loft. The detail and material vocabulary remained unchanged. We explored this as a concept only briefly before shifting back to the final scheme which has a full 2nd floor again and a solar roof. 

Each of these drawings took about 2-1/2 to 3-1/2 hours to complete, including rendering time. The implied circular view port is a great framing technique and helpful in reducing the rendering time for a small drawing to the right is another 2nd Floor perspective of some alternate interior design options we studied during this phase of the project. Again, the final interior design concept is illustrated in the AutoCAD working drawing post before this one. A much larger building but the appropriately diminutive scale of the project remained a constant across all three schemes.

Each drawing is about 8-1/2" x 11", drawn freehand in ink with Pilot "Razor Point" pens over 3H pencil constructed bases on Bienfang yellow tracing paper. Color is developed using Prismacolor pencils and ChartPak AD markers on both sides of the media. The white building tones where applied on the back with soft white Prismacolor pencils. That took a little time, I must admit.

Note how the outsides limits and profile of the previous scheme are dotted in to provide a scale reference to the reduction in project size. This actually a vastly revised South Elevation that I kind of liked better. Don't miss the deck here at all.

I guess the last thing that I will add is that the graphic alphabet I used on both sets of these drawings I have digitized and converted to AutoCAD blocks (.dwg files, not fonts) that you can use as in a manner similar to what I have shown in many of my drawing posts here. Feel free to post a message here if interested.

Narrow Lot Urban Housing

These are some preliminary design drawings of elevations for a narrow lot urban housing project in Denver, CO. An interesting yet frustrating design problem in several ways, primarily because of an obtuse and unnecessary zoning plane envelope and very restrictive maximum floor elevation, ridge, eave and exterior wall bearing plate heights. The restrictions are very unevenly applied and seem more designed to protect the  rights and needs of the adjoining properties. While some of those needs are definitely legitimate and need some oversight, many of the restrictions are unduly prohibitive and are definitely not in the interests of generating good urban design. I'm a veteran of the Chicago zoning wars regarding urban infill housing, so for me to call these zoning ordinances and overlays obtuse and arbitrary means they are exactly that.

All that being said, these are narrow housing designs that had some of the following restrictions: A maximum ridge height of 27.5 feet; a maximum roof pitch of 9 over 12; a maximum exterior wall bearing plate elevation of 20'; a maximum ceiling height of 9' at the first floor and 8' and the second floor; and, finally a very restrictive FAR on site coverage. In other words, a building designed to max out the zoning envelope just to make a financially viable project.

Exterior Design Option using copper and cedar shake roofs, high density composite

material trim, 5-1/2" exposure cedar shake siding with mitered corners and a tuscan

red brick "plinth" base. See image below for description of drawing media. This is 

the most straightforward and simple of the schemes studied so far and the zoning

departments favorite. That should tell you a lot, right?

  

The buildings are approximately 22' wide by 55', excluding the first floor sun room extensions and bay windows at the 2nd floors. Note that by extending the bay windows as window seats only they are excluded from the gross floor area and keep the project at the threshold of the allowable FAR. The remaining portion of the design study focused on the materiality and fenestration issues and a working contextual vocabulary in a neighborhood of late 19th / early 20th century houses dominated by the iconoclastic American "Four Square" house type.

Exterior Design Option using copper and metal shingle "checker board" roof, high density
composite material trim and wide exposure mitered corner lap siding and Tuscan red brick
plinth base. All of the drawings presented in this post are hand drawn at 1/4" scale on Bien-
fang yellow tracing paper in pencil and ink and rendered with Prismacolor pencils on the back,
Chartpak AD markers on the front and back and light pastel washes on the back . The draw-
ings took 5 to 7 hours each to complete, excluding pencil setup. 

Different material options were studied for a variety reasons, the foremost being that the houses will often be built as pairs or in groups on adjoining lots with minimal side yards and detached rear yard garages. Ultimately, only these houses built as pairs will absolutely share common material vocabularies. The opportunities presented in varying the materiality  of houses in larger groups will be studied on a case by case basis. A full masonry version is currently being studied that eliminates the sidewall bay windows in favor of more privacy oriented fenestration.

Of all the schemes presented here this is my personal favorite. Copper and slate or wood shingle roofing with stained exterior wood trim, wide exposure wood lap siding with mitered outside corners and a deep red brick "plinth" base are the major materials here. Very simple as a form but still requiring a high level of craftsmanship to pull off. Those outside mitered corners can be a bitch to pull off in lap wood siding so the smart move would be to us a high density composite material like Azec which could also be used for the trim to create a truly maintenance free exterior with no sacrifice in terms of design quality. 

This is the rear yard elevation in terms of roof and fenestration design. The rear yard elevation was developed in response to assumed narrow lot width constraints including front entry and a detached rear yard garage with alley access. Different entry, sun room and porch options are possible with each design options shown here, including a covered roof connection between the house and garage.

Exterior Design Option for Corner Lot showing Transverse (non-entry) street front elev-
ation. Note the use of alternating shingle exposure coursing (two/one/two). The classic
shingle detail with its implied rustication is very effective here. Otherwise, the same ex-
terior materials and roofing as the image at the top of this post.

Okay, if you've stuck around this long I can already hear you asking, "where are the damn floor plans?" Not to worry but we do have a slight problem. They're too big to scan as a single image. So until I get to Staples later this week, elevations are going to have to do. That being said, these un-rendered elevations are part of the final design iteration of a proposed corner lot scheme using the same design footprint, basic composition and massing. I really pleased with this scheme for a lot of reasons but since the longitudinal elevations also won't fit on my scanner, I'll have to wait a day or two to post those images along with plans.

Hand drawn at 1/4" scale on Bienfang yellow tracing paper with 3H / 4H pencils, Micron
ink pens and Sharpie fine point markers. Render the windows on the back of the paper
to create the filtered effect shown here.

Proposed rear elevation for corner lot scheme. As for all schemes, note the deep (36") roof overhangs and the use of simple paired roof brackets. That's all for the day. Plans, site and side elevations coming soon.

Sketchbooks...A Small Portfolio

Sketchbooks. We all have them and use them. And if we don't, we should, right? But we don't and that is unfortunate because they were, and remain, the most immediate, descriptive and romantic means of expression and exploration in any architects' or designers' graphic vocabulary. Unlike the more elemental forms of architectural graphics, both digital and manual, it is rare today to find some means of instruction (beyond basic, generic drawing classes) in the importance and relevance of sketchbook drawing as part of an on-going design process. Architectural schools used to firstly lead the student to believe that architecture was properly to be practiced by those who had a talent for drawing pictures or, perhaps more properly, plans, sections and elevations. Secondly, it lead students to believe that the basis of their education should embrace to some degree an acquired familiarity with classical forms and building technologies and training in "design", and finally an understanding of the principles (unfortunately not always the details,) of construction.

Sketchbook Design Concept Drawing - Pencil and Ink on Canson Sketchbook Paper with Prisma-

color Pencil Washes. Original image size is 11"w. x 14" h. Constructed as free hand drawing in ink

over hardline pencil set-up.

However, mere facility in drawing (or in this case, drafting) without imagination, the ability to conceive forms, and the confidence to carry them out, will not always produce an original or real work of architecture. It used to be a fact that in rare instances original and vibrant works of architecture and design were produced by those who had little or no aptitude for drawing; these might once have been "the exceptions that proved the rule". Even as recently as 20 years ago, many architects were as recognizable by their style of drawing as they were by their actual buildings. But now that representation in architecture is almost entirely digital, what was once the exception is now entirely the rule. Ideas are always the essence of any design project; the ability to explain them in their formative stage by skillful use of pencil, pen and paper, especially in a sketchbook, was and remains a valuable and absolutely necessary accomplishment. The language of the day, it least in terms of sketchbook drawing and exploration was "be yourself". Imitate those you admire to gain technique and understanding. When it comes to the process of creation, honestly all you really have to draw on is yourself and your own abilities. By embracing your own individual view of the world you pursue the best possible route by which you can  make a drawing or a building a fresh and original creation. Regardless of whether you embrace precedent.    



Sketchbook Design Concept Drawing for Public Library - Pencil and Ink on Canson Sketchbook Paper with

Prismacolor Pencil Washes. Original image size is 14"w. x 11"h. Constructed free hand in ink over hardline pencil setup.

The cultivation and development of the faculty of observation through drawing is, I believe, one of the great essentials of design and should be a formative aspect in both education and practice. If you observe or explore with a pencil in your hand, you really see and understand  the reason for specific things into the plan or the most elemental forms of design.

 

The habit of unrestrained drawing is a habit of immense value, as a means of developing your powers of observation, of refining your own graphic vocabulary and techniques, and of expanding your own horizons in the realm of what is possible. Much of what is normal in one's own beginning work experiences is the expression of someone else's ideas.   



Sketchbook Precedent Study Drawing of Trinity Church Rectory Building by H.H. Richardson in Boston, MA. Drawn in Pencil and Ink on Canson Sketchbook Paper and rendered with Prismacolor and graphite pencil washes. Original image size is 9"w. x 6-1/2"h. Constructed entirely as a free hand drawing with no hardline base.

First Concept Sketchbook Drawing of Residence in Vermont - Pencil and Ink on Canson Sketchbook Paper with graphite pencil washes. Original image size is 11"w. x 11"h. Drawn in ink over hard line pencil setup.

 

Sketchbook Concept Drawing for Pole Barn - Study for both typology of building type and graphic vocabulary for presentation drawings. Pencil and ink on Canson sketchbook paper with graphite pencil washes. Original image size is approximately 20"w. x 14" h. 

First Conceptual Sketchbook Drawing for Residence in New Hampshire. Pencil and Ink on Canson Sketchbook Paper with Prismacolor pencil washes. Original image size is 5-1/2"w. x 8-1/2"h. Constructed entirely as a freehand drawing with no hardline layout.



First Conceptual Sketchbook Drawing for Residence in New Hampshire. Pencil and Ink on Canson Sketchbook Paper with Prismacolor pencil washes. Original image size is 8-1/2"w. x 5-1/2"h. Constructed entirely as a freehand drawing with no hardline layout.



First Conceptual Sketchbook Drawing for Residence in Memphis, TN. Pencil and Ink on Canson Sketchbook Paper with Prismacolor pencil washes. Original image size is 11"w. x 8-1/2"h. Constructed entirely as a freehand drawing with no hardline layout.

One last point about sketchbooks...if you're like me your sketchbook, or books, themselves become an on-going work of art. Kind of a graphic journal of where you've been and where you are going and how you think, create and develop ideas. And you naturally want to keep them whole. So, you think, here you have a problem. Because sometimes the best (or most immediately acceptable) means of distributing or presenting your image is with a desktop (flat bed) scanner. Which means that you often have to cut your drawing out of your sketchbook so you can close the platen and get the best possible scan. I know, I know. heresy, right? All I can tell you is try to get over it. If the drawing is really worth digital reproduction and presentation sometimes you have to sacrifice the sanctity of your sketchbook for the greater good. There are no hard and fast rules here. Sometimes you don't need a high quality scan. Or an iPhone jpeg is quality enough (see above). When it's possible to keep your sketchbook whole, by all means do so. But be ready to neatly cut or otherwise remove you drawing for digital reproduction. There are always additional refinements you bring to any drawing

First Conceptual Sketchbook Drawing for Residence in Massachusetts. Pencil and Ink on Canson Sketchbook Paper with Prismacolor pencil washes. Original image size is 11"w. x 8-1/2"h. Constructed entirely as a freehand drawing with no hardline layout.



Sketchbook study drawing for larger rendering of NYC. Pencil and Ink on Canson Sketchbook Paper with Prismacolor pencil washes. Original image size is 11"w. x 8-1/2"h. Constructed entirely as a freehand drawing with no hardline layout.

First Conceptual Sketchbook Study for Mixed-use building in New York City. Ink on Canson Sketchbook Paper. Original image sixe is 11"w. x 14"h.