Drawing for Interior Designers 1408129914, 9781408129913

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First published in Great Britain 2010 A&C Black Publishers 36 Soho Square LondonWlD 3QY w'ww.acblack.com ISBN: 978-1408-12991-3 Copyright @ Dessainet Tolra/Larousse2009 A CIP cataloguerecord for this book is availablefrom the British Library. Gilles Ronin has assertedhis rights under the Copyright, Design and PatentsAct, 1988,to be ldentlfiod $ thc author of this work. All rights reserved.No part of this publication may be reproducedin any form or by any mctru - gfsphls, electronic or mechanical,including photocopying, recording,taping or information storsgcInd r€trlcvd ryltcmi without the prior permissionin writing from the publishers. Publisher:Collette Hanicotre Editor: Corinne de Montalembert Pagedesign:Florence Le Maux Cover design:James'W'atson Proofreader:Madeleine Biaujeaud, Photography:Olivier Ploton English text layout: Penny Mills Translator:Alexa Stace Editorial assistant: Ellen Parnavelas This book is produced using paper that is made from wood grown in managcd,sustainableforests,It is natural, renewableand recyclable.Thelogging and manufacturing processesconfornx to the environnental regulationsof the country of origin. Printed and bound in China

contents Introduction Representing An Interior Developing your project

Space

The progression Variations and transformations

4

Walls and partitions

5 5 5

Format and scale Floor plan Layout ofa Flat

24 25 25 26

5

PERSPECT Materials The Line Graphics, tonal values and colours Figures Proportions Constructing a drawing

PLANSANDL OUTS Drawing

the Plan

Scales Conventions and Syrnbols Doors Windows Convenrions regardinglines A base line, or contour A thin Line A thin dotted line The logic behind the symbois Furniture and equipment Changing Around the Furniture Elevation and Section I\earranging an area of wall I)esign in modules Making aLayottt Organisation of the layout A team effort A sketch of the ground plan Thc dimensions

2ft 30 3l

Ptojection

6

Isornetric

8

An effect of reduction

10 10 1I

DrawingThree-ditnensional arrd Furniture Designing an o{lice space

1.2

A foldaway oflice on a shelf Grouping office furmture Playing about with space

13

Objects

1.4

Drawing a kitchen

16 16

Swapping around kitchen and bathroorn Visualising a kitchen corner Creating an open partition Transforrning a flat

18 18

18

Creating a dressing room and a bathroom Seeing things in perspective The vanishing point

18 19 19

The horizon Moving the vanishing point on the horizort The height of the horizon

20

23 24

The height of the horizon in the drawing The height of the horizon, people ancl scalc The view frorn the front The principles of a frongal view The problem of depth

24 24 24

To draw the depth Mastering the depth To rnove a partition

24

Creating an extension to block off a corner

18 18 18

22 23

wall

32 34 34 35 3(r 37 .]tt 4() 42 44 46 4fl 4tt 50 5l 52 52 53 54 55 55 5(r 57 5ri 60

Planning the space Converting a space undet the eaves | ) c s i g n i r r gr r p l r t f i r r r u f o r r r l r c d | ) c s i g r r i n lr;r s r r l l l f l i g l r t o f s t c p s | ) e s i g n i r r;gr s k y l i g l r t A Fcw Sirrrplc (lonstrrtction Tricks I l o w t o c s t r r t r l i sc lt rl t r r rt l c p t l t s 'lir t l i v i t l cr r w r r l l I l o w t o r l c r r lw i t l r i t t t i t ' t ' c 1 . 1 t t l l t r - s l r sl ppcl cdc I l o w t l o y t t t t r l t ' ; t wl r ' i r tl c ? l \ ' r ' s l t cl it v c o t ' p t r r i l '11i 1 1v1i1, ' * 2 'Ihking l)owu n l)trtition ril/all ( l r r ' : ti lrr g , r trt t ' z z ; trittt c o t ' o v t ' t ' l r : t t t 1 . 1 'I'lrc ()blirlut, Viow l)r.sigrrirrg n r()(rn by Eye S t ' l t i n gI l r c l r o t t n r l r t t ' i t ' s l t l r ritr r gt l r t 'l t o t ' i z o t t l ) l : t itt r gl l t c l t o ti z o t ti r r t l r c t l r l w i r r g l ) l ; rirr r gt l r t ': r r r g l crsr r r ttll t c l i r r co l ' t l r ct c i l i r r g oirrt l ) l r ritn g ,t l t r ' v ; r t t i s l t i tpr g f l ' t l r r 'v ; r r r i s l r i upgo i t t t i s t t o l o t t t l r c p l p c r I)illcrcrrt ()blit;rro Vic,ws 'f t rrll i r k i r r go r r t ; r p r r t l i l i o rw A Vitrw firxrr Abovc . . . ...And o High-AnglcVicw l)rnwirrg orr thc Ctxrrputer

62 64 64 65 65 66 66 66 66 67 67 68 6L)

70 72 /z

72 73 73 74 75 76 77 78 79

S k t ' t tl r l J p lixlrlolltiorr |ilst Stcps M r r k i r r gu r r r o t l c lf i r r y o r r r p r o j c c t s

80 u0 8i) 80 8i

Grids for Isometric Projections Grids for FrontalViews Grids for Oblique Views

82 84 86

Infroductior-r Sittingquietl.y at home,sketchbook in hand,is theideatwayto tackte d r a w i n gI.n f a c t ,y o u rh o m ei s a n absotute mineof subjects to draw,perhaps youalready havea ptanin yourheadfora makeover or ionversion? House spacenot only containsobjectsto be drawn, but offers a setting,enablingyou to understandperspectiveand to explore the different waysof depicting space.Once you have graspedthe principles,drawing will become a game,even a pleasure. If you want to study a litde carpentry prqect, take down a partition wall, or simply dream about what you could do later,you will find here how to draw a layout, enablingyou to make several plansfor your space.Itt alsoa good exercisein drawing. You will alsofind here the practicalprinciples which will help you put your plans down on paperand better expressyour ideas,for no serious project getsmade without a progressiveplan. It is alsoan opportunity to learn some tricks of the trade and conventionswhich are part of an architecttknow-how and which willhelp with ideas. The relationshipbetween a drawing and a project is at the heart of this book, and is reciprocal.If the capaclryto representa spaceis the prerequisitefor convertingit, and is a techniqueto be acquired, the different variationsalsooffer many absorbing exercisesfor those learning to draw.

n -6r I jI nI IttoUr Ij I U I. \ T a n 2 n C R CD c rUr r- l1 yr ,rrt li n l vr r o r \ uCI Jnrf u DIJO_Urt Y o ud o n ' tn e e dt o m a k ea d r a w t ntgo t a k eo u ta p a r t i t i own a L tB. u ti f t h es i t u a t i oins m o r ec o m p t i c a t eydo,uc a n n otth i n k i t t h r o u gw h i t h o ust o m es u p p o r tB. y p u t t i n yg o u ri d e a sd o w no n p a p e tr h e yc a nt h e nd e v e t oapn de n t a r g en,o tj u s ta s disconnecte t hdo u g h t a s n di d e a sb, u tc o h e r e n t lA. yf .r e e h a n d r a w i n gi n p e n c i t g i v eyso ut h e L i b e r ttyo b e c r e a t i v e . your project Developing

V a r i a t i o nasn dt r a n s f o r m a t i o n s

It is by means of several kinds of representation, drawings and plans, that we learn how to develop a

From the first you will be confronted witlt tlrc practice of conversion. Getting into thc hrrbit of' varying elements from the start, on the grrplrics side as well as from a model, is way of bcttcr'

project. In this book, some of these representations rurebased on real spaces- houses and flats - and we will give you finished examples of real conversions, like the numerous books on home decoration or irrterior design which you will find in the public library. But becauseyou live in your own space,the cxamples you find are never just right. This book therefore aims to show above all a real method of clrawing, with a progressive acquisition of the skills which wiii enable you to carry out operations logrcllly, and to put your own ideas down on paper.

The progression First of all there are the principal drawings, like the ground plan and the section, the technique ofscale drawing, which allows you to measure the spaces to be converted, and then finally the different kinds of perspective which enable you to understand space,whiie studying its modifications.

understanding the rules of design, at the sanrc tirrre as inventing modifications, of finding and projct ting ideas. Let's take an example.You can draw a particrrlur' space or room like a camera, strictly copying wlrlt is in front ofyou, but you would not be makirrs usc of the rules which permit you to show the splcc in question a little differently: a partition less,sorrrc panels here and a transparent space there, tl-rc cciling taken down to increasethe loft space,anci why not a flight ofstairs to facilitate access,etc. Some of the elementary principles of persl.rct'tive and some professional tricks will teach you trrr, sitting-room or kitchen) will be introcluccd progressively,but also more general,architccturll iclcls, such asdepth, thickness,geometry and tlansp:rrcrrty.

PR-FP AP-AT]oN FOR- DP-AWIN( e a s i cf r e e h a n d r a w i n gt e c h n i q u eTs h . e s ea r e L e a r na n dp r a c t i s b yo an i ndg , uw i [ [n e e ds o m e i n d i s p e n s a bf ot er a L rI e p r e s e n t a t i o n a I d r a w s r t h ef o t L o w i ncgh a p t e r s . understandin og f t h e s es k i l . Lf o

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Graphics, tonaIvaluesand cotours

A line is not just a thirrg irr itsclt, lr r.cprcscnrs You have to show surfaces, shadows, differences of something - it is a synrbol ()f il (.()nt()r.rf, rrrr ;rxis, tone in your drawing. But the pencil is not made a horizon, the motifs orr thc floor or. thc scttirrg for showing a suface.'W'ork out a range of values, of the door-frame. A lirrc hrrsu firrrrr, nrost oficrr in small 2-3cm squares, from the lightest to the straight,a point of departurc rrrrdirrrivul,it posirion darkest, in five or six stages,then do gradations. in spaceand on the pagc, rrrrorictrt;rtiorr.lrr prrrcNote how you can avoid it looking too mechanical tical terms a line is the routc bctwecrr two poirrts, by combining repetition and variations. and it is the points that rrrc criricrrl rrrrtl nrtrst lrc well placed.

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Figures The construction of certain shapes, notably the square,and then the circle, is a pernanent exercise in drawing.The shapesenable us to see the value of the vertical and horizontal, basis of all proportion and orientation of line, in brief the nreasure of the whole drawing.The constructions arc lirnbering-up exercises,to practise regularly,likc goitrg to the gym!

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P r o p o r t i o nasr e r e [ a t i v m e e a s u r e m e n tW s .ea r e n o td i s c u s s i nage s t h e t i c s h e r e ,i t i s s i m p t ya q u e s t i o o n f t h e L e n g tohf c o n n e c t i obne t w e e tnh ev a r i o u s e t e m e n tas n dt h e d i s t a n c b e e t w e e tnh ev a r i o u sp o i n t si n t h e d r a w i n g . N o t et h a t ,i f y o ug e tt h e s ec o n n e c t i o nasb s o L u t erLi gyh ta t a [ [p o i n t sy, o u r d r a w i n gw i L b l "e p e r f e c t tayc c u r a t eT.h i si s a v i t a t s k i L L m t oa s t e r .

When drawing, get into the habit of observing proportions, and watch out for the errors which will inevitably arise.To look at the proportions of arcctangle,the simplest way is to compare it mentally with one or several squares.

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C o n s t r u c t i nagd r a w i n g liol your first try, choose a wall panel, with a door, rvirrdow, picture frames, pieces of furniture etc. | )r';rw it all on the flat, as though there were no l)crspcctive (there probably is) respecting not just t lrc proportions of each element, but showing how tlrcy a1ign, the diagonal, horizontal and vertical lirrcswhich connect all these objects This operatiorr is what we call constructing the drawing.

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