PREFACE

I have drawn for as long as I can

remember. I grew up in a family
of artists where any drawing and
painting medium was always handy,
and where experimentation was
always encouraged.
While in art school I would visit the
Prado Museum, in Madrid, to admire
the works of Velazquez, Greco, and the
early Renaissance pieces, and I fell in
love with the use of line weight and
color. Back in my fathers printmaking
class I still remember perusing through
the schools collection of prints and
grabbing a magnifying glass to admire
up-close the line work of Hokusai,
Piranessi, Rembrandt, Drer, or Goya.
I started thinking about a book like
this one when I prepared my Ph.D.
dissertation back in 2004, titled
Freehand Drawing in Industrial
Design, and I am grateful for the good
advice and direction I got from my thesis
advisor Manuel Alvarez Junco. Ten years
later, I find that much of what I had
written in those pages still holds true:
drawing and perspective sketching is
a core skill that artists and designers
have to nurture constantly.
Finally, I am indebted to so many
talented students that wanted to
share their work in this publication.

CHAPTER 1

SCALE DRAWING
When we are ready to draw in perspective, it is important that we gure out
the best method to use, according to the type of design we are developing.
In this example, we see a nished rendering of a forklift that is done in
a two-point perspective, which is one of the most common types of
perspective drawing. In the following pages we will discuss the advantages
and disadvantages of using different perspectives, focusing mainly on
analyzing the differences between axonometric, two-point, and three-point
perspective drawing.

10 PERSPECTIVE SKETCHING

The final two steps got much easier,

as I was confident that the main
proportions provided my drawings the
necessary foundation. At this stage I
erased some of the original straight lines
to give room to more curvilinear shapes
that defined the cabriole legs with the
ball and foot ending and the double splat
for the corner Chippendale chair.
I also brought some curved lines to
define the shield-shaped backrest on
the Hepplewhite chair, and starting
working with a pencil on some shading
to add depth.
The final step involved the use of
soft-colored markers in one or two
passes, mainly to separate upholstery
from wood.
A: And once we have the main volumes,
we can start erasing our construction
details to make room for detail.

B: The nal step involves adding some

light marker tones to differentiate the
materials, and adding some shadows
under the legs.

32 PERSPECTIVE SKETCHING