I am always impressed by the quality of the paper I use for my commercial work. It's a 90Ib NOT made by Canson and in this example I had to change the facing brickwork of this new "Georgian" style property from red to buff. At first I thought Photoshop would be best but then realised that the windows had also changed so I just flooded water over the entire surface and soaked all the colour off. Once dried with my trusty hairdrier I used various grades of eraser to bring the surface back to near white ready to take new washes - here's the "before and after".
This is the poster that Julia Moszowicz and I had designed by two 3rd year graphics students at Solent School of Art, Lilly Marfy and Oliver Russell: thanks both - a great job! It was for a poster presentation at the recent illustration conference "The Science, Imagination and the Illustration of Knowledge" at the Pitt Rivers in Oxford. Julia and I intend to pursue the theme of linking topographical illustration with Michel Foucault's Heterotopia and hope to give a paper later in the year. The quote on the poster makes more sense when I tell you that it refers to a view in a mirror. The illustrations are taken from a sketch and painting I did of Stokesay Castle.
I've been busy of late with commercial work alongside teaching - here's a recent project. This is very much "bread and butter" to me but I still enjoy visualising new developments of this vernacular type. My commissions vary in interest but the process of drawing an architect's design in perspective still holds its magic for me. Knowing I am following in the footsteps of the likes of Cyril Farey and Charles Cockerell validates my enthusiasm. My topographical watercolour paintings on the other hand, present different challenges in representing the natural and built environment. For me the two activities go hand-in-hand and are complimentary.
Just found some old 6" x 4" prints of these I did about 15 years ago. I was asked by the architect Stephen Mattick to illustrate a new house he was designing for Mark Knopfler of Dire Straits. As you can see it is in a very traditional vernacular style using hand-made materials including red cedar shingles for part of the roof and knapped flint walling, Stephen asked for three views to show the project "in the round" and to represent the building with atmosphere. I have taken the liberty of posting a photograph from Stephen's website of the finished building so you can compare with the artworks. An interesting project although disappointing not to meet Mark Knopfler himself!
The SAI exhibition opens on 21 April at the Anise Gallery Shad Thames London. All welcome at the reception on 20 April from 5 to 8.00 pm. http://www.anisegallery.co.uk/stories-in-light-and-line/
Although named Tudor House this Grade II listed building is early 17th century and built in local limestone near Peterborough. Due to be renovated with a new-build to the left in a vacant plot this was a pleasant commission just completed. Most new houses in this region have to be stone-built and often with Collyweston slate roofs in order to blend with the local vernacular. You'll notice that the roof slates are graded with the smallest at the top and largest at the gutter. Drawn traditionally in one-point perspective from architect's plans this took around 16 hours to complete.
Just completed this proposed design for a Georgian style property to be built in Dunmow, Essex. The designer is Stephen Mattick who specialises in traditional and vernacular houses. The house and outbuilding will replace an existing house which sits on land of nearly two acres in a rural setting. The illustration is designed to show how the property will look from the road and improve on the existing building. I have worked on many commissions with Stephen: one of the most interesting was a series of perspective views for a house in the New Forest for Mark Knopfler (Dire Straits)
For the first time ever Anise Gallery will be exhibiting a collection of art works by members of the Society of Architectural Illustration (SAI), the world’s oldest and most prestigious architectural illustrators organisation.With a keen interest and passion in illustration, Anise Gallery is excited to have this unique opportunity to bring together the leading architectural artists, illustrators, model makers, animators and photographers in one show.The art works on display will span from traditional watercolours and pencil sketches to CGIs and photo real imagery reflecting the diversity in disciplines that the SAI as an organisation represents and encourages.
April 22 to May 20 2012. For more info go to: http://www.anisegallery.co.uk/?page_id=46
Here's an interesting commission - a large residential building with an observatory under a sliding roof. A very remote plot away from the street lights - well it would have to be!
...and here's the final approved version with minor details amended - spot the differences - there are 3!
Finished watercolour drawing for planning application
Here's a thoughtful design with some existing and new build. The farm house and outbuildings to the left are not part of the development and so I left them faded to knock them back. Aerial views like this help to communicate an architect's vision as part of the planning process and go a long way in avoiding misunderstandings. Perfect subject matter for the medium of watercolour - I don't thnk this would have been as successful as a CGI (discuss!).
Here is the finished drawing in watercolour on 90lb Canson NOT paper.
Pencil draft for approval
I'm wearing my commercial hat at the moment and working on a range of projects for planning applications. Here's the process I use for an aerial view showing a lovely barn conversion for two dwellings in Northants. The first drawing was prepared using SketchUp to establish a basic view from plans supplied and approval from the client (1); the final pencil draft drawn traditionally (2) and the finished watercolour drawing (3).
A rather belated mention of the SAI drawing and rendering workshops held at the University of Bath in October. Given it was held on a saturday morning the turn-out was extraordinary. The Architecture seminar room was the venue for a series of workshops delivered by myself and four other SAI members to a packed audience of more than eighty B.Arch. undergraduates hungry to learn the masters' secrets! This is me in full flow: How to draw a peg in three easy lessons! Here's a link for more info: http://www.sai.org.uk/blog/?p=584
...and of course I had to sketch a delightful church nestling on the corner of St Mary's Axe in contrast to the high tech steel and glass which dominates this part of the city.
Here you can see part of the Lloyds Building on the right.
Here are some sketches I made on saturday's Big Draw event as part of the City of London Festival. The workshop called "From Brief to Vision with the SAI" was put on by the Society of Architectural Illustration at 30 St Mary Axe. SAI artists invited participants to design and visualise their personal ideas for sites within the City of London using both traditional and digital media. You can see our marquee here - the one on the right. It was very well attended and enjoyed by all - photographs to follow. Thanks must go to Joe Robson our President and friends for its success - also to Don Coe our Chair.