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Urban Sketching Handbook: Architecture and Cityscapes by Gabriel Campanario

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skeTch here!
Have you ever stopped to think about the kind of lines you make?
Short, long, straight, curvy, thick, thin, swoopy, hard, and soft.
Lines are the backbone of drawing and are especially important
when sketching architecture. Short, evenly spaced lines can
represent a wall of windows. Long, confident strokes will make that
drawing of the Empire State Building look as grounded and majestic
as the real thing. The architectural details of a baroque building call
for squiggly lines, even dots.
You can’t draw every building with the same set of marks. Vary
the type of lines you make to add interest and richness to your work.
And remember that a line made with assertion, even if it’s in the
wrong spot, is worth a thousand marks made with hesitation.
KEY V
lINe
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Architecture and Cityscapes
Ä Focus on the design of
one window and repeat the
process to complete the row.
TEOH YI CHIE
Purvis Street, Singapore
13” x 17” | 33 x 43.2 cm; Hero
fountain pen, on Daler Rowney
Aquafine watercolor paper
300 gsm; 1.5 hours.
Find patterns and repetition.
Windows. Bricks. Arches. If you pay close attention,
you’ll realize the urban landscape is full of recurring
shapes. Building façades are ideal places to
spot patterns. Draw one shape and you’ll have a
template to fill in the rest.
à PAUL WANG
Shophouses at Club Street,
Singapore
11.5” x 9” | 29.2 x 22.9 cm;
Pencil, water-soluble color pencil,
and watercolor on Cotman 425 gsm
cold press watercolor paper; 1 hour.
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Key V: Line
|
61
Ä Focus on the design of
one window and repeat the
process to complete the row.
TEOH YI CHIE
Purvis Street, Singapore
13” x 17” | 33 x 43.2 cm; Hero
fountain pen, on Daler Rowney
Aquafine watercolor paper
300 gsm; 1.5 hours.
à PAUL WANG
Shophouses at Club Street,
Singapore
11.5” x 9” | 29.2 x 22.9 cm;
Pencil, water-soluble color pencil,
and watercolor on Cotman 425 gsm
cold press watercolor paper; 1 hour.
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Architecture and Cityscapes
Be economical; don’t overwork it.
Unfinished always beats overworked. A sketch
is about suggestion, so you can never go wrong
being too economical or stepping away from it too
early. Make every line count. Too many lines can
muddy the sketch.
Ä Straight lines on the build-
ing contrast with the swoopy
linework on the water.
Madison Park
8” x 6” | 20.3 x 15.2 cm; G-Tec
Pilot pen on Stillman & Birn
Gamma Series sketchbook;
30 minutes
à The idea of being
economical also applies to
watercolor sketches. There’s
no need to draw every
brick—less is more.
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Key V: Line
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63
Ä Straight lines on the build-
ing contrast with the swoopy
linework on the water.
Madison Park
8” x 6” | 20.3 x 15.2 cm; G-Tec
Pilot pen on Stillman & Birn
Gamma Series sketchbook;
30 minutes
à The idea of being
economical also applies to
watercolor sketches. There’s
no need to draw every
brick—less is more.
CATHY JOHNSON
Saint George Hotel,
Weston, Missouri
8.2” x 7” | 21 x 17.8 cm; Pencil
and watercolor on handmade
journals on Fabriano hot press
watercolor paper; 45 minutes.
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