RELEVANT SKETCHBOOK PAGES
differentiate between them and the primary structure. Then, before even touching the large paper, I drafted the layout in order to see how many different elements I could combine on one sheet without it getting confused.
One drawing would be axonometric, from which were projected two plans of the top part of the box. These were accompanied by select elevations and sections, all of which were related orthogonally to the primary drawing.
To top off our final project, we were briefed to create large-scale architectural drawings of our models. These could and should include axonometric drawings, elevations, sections, plans, etc., and should, of course, follow a system that relayed as much information as possible.
I began by documenting my structure in detail, first roughly, left, then more precisely, below. Because the secondary systems had become so important to the appearance of my model, I added a separate layer of tracing paper so that I might more easily
The basis of the second drawing constituted two elevations, from the front and the side, as well as a large plan. This differed from those in the first drawing by not being axonometric.
In contrast to the detailed planning I had done prior, the actual process of the drawings was one of wild experimentation. Whereas most took a conservative approach, largely using pencil and careful shading, I wanted the cliff to look and feel like a cliff, which I did by filling out large spaces with crumpled tissue paper. (This scared me so much that I don't actually have process pictures from that stage.) Ultimately, however, it worked.
The dominant systems I used are as follows: tracing paper for the grey chipboard planes, gum strip acting as construction lines for large elements, and collaged-in photographs to develop complexity and break up the poché shading. All in all, I loved it.