Archive for ‘DSGN 248’

VPG Project 4: One-Point Perspective Kitchen

0 Commentsby   |  03.22.11  |  Assignments, DSGN 248


Design a residential kitchen that measures 15′-0″ x 18′-0″. Include an eat-in bar that will seat 4 – 5 people and the following appliances. Measurements vary by manufacturer, but these are typical approximations.

  • Refrigerator: 36″w x 66″ h
  • Range: 30″ or 36″w (includes an oven in the base)
  • Cooktop: 30″ or 36″w
  • Wall Oven: 27″w x 22″h x 27″d (single), 27″w x 45″h x 27″d (double)
  • Microwave Oven: 24″w x 15″h x 20″d (counter top), 30″w x 15″h x 15″d (vent hood), 27″w x 19″h x 16″d (built-in)
  • Dishwasher: 24″w x 34″h x 24″d

Use the following measurements for cabinetry guidelines:

  • Lower Cabinets: 36″h x 24″d (standard) w/30″d option as needed
  • Upper Cabinets: install 18″ above counter, 12″d (height variable)
  • Back Splash: 4″h min., waterproof material, 18″h preferred (goes to underside of upper cabinets)
  • Toe Space: 3″d x 4″h (typical)
  • Upper Soffit/Furdown: 12″-14″d (depending on finish moulding used), upper cabinets can extend to ceiling
  • Eating Bar Options: 30″h w/ 18″h chair seat height, 36″h w/24″h bar stools, 42″h w/30″ bar stools

As with the previous projects, students are advised to find a picture of a kitchen interior as a reference for the design. This facilitates “seeing and understanding,” and aids in making design decisions quickly to develop a realistic view.

The final drawing sheet should include a rendered one-point perspective (ink, art pencil and marker) along with a floor plan of the kitchen drafted in ink only.


  • Tuesday, Mar. 22: Introduce project and one-point perspective methodology
  • Thursday, April 7: Project 4 due at the beginning of class

Project = 15% of final course grade.

VPG Project 3: Isometric Drawing

0 Commentsby   |  02.24.11  |  Assignments, DSGN 248


Create a presentation quality drawing of a room using an isometric view.

Media: Ink, Art Pencils and Markers


1. On a piece of paper (drawing or trace), draw an isometric rectangle (30º angle from horizontal) that is 25′-0″ wide by 26′-0″ long at 3/8″ = 1′-0″ scale. Divide the rectangle into a grid with 1′-0″ x 1′-0″ squares.

2. Overlay the isometric grid with tracing paper and, using the floor plan provided for reference, draft an isometric view of the floor plan. Use the reference points and grid to begin and include the walls, windows and door as shown. Be sure to position the platform and step on the grid as well (this will be on the same plane as the floor plan at this point).

3. Place the furnishings and accessories in the isometric view according to the position on the reference floor plan grid. Remember all areas of the drawing are at 3/8″ = 1′-0″ scale.

4. Build the interior walls up to a ceiling height of 9′-6″ on the back window wall and the fireplace/bookcase wall. (Do not draw a grid on the walls.) Locate and draw the windows on the back wall.

5. Build the furnishings and platform up in height (see Standard Heights below) in isometric view. This is accomplished by using a 30º triangle against a t-square to establish positions along axial lines. Furnishings in the foreground should be drawn first as they will obscure some elements in the background.

6. Finalize the isometric view with window treatments, art/accessories on the walls, books/collectibles within the cases, tabletop and mantel items, and upholstered furniture materials.

7. Create a final inked drawing on marker paper and render with marker and colored pencil. Mounting TBD.

Standard Heights:

  • 30″ – Table on platform
  • 18″ – All seat heights
  • 38″-42″ – Dining chair heights
  • 33″ – Back and arm of chaise
  • 30″ – Firebox opening
  • 42″ (min) – Mantle over fireplace w/lower edge (may be higher for design purposes)
  • 36″ – Back of sectional
  • 6″ – Step risers
  • 30″ – Bookcase base (includes standard toe space)

Other important aspects: Be sure the size, proportion and placement of the art, plants and accessories is appropriate for balance. Remember circles in isometric view are ellipses, so use an ellipse template.

Methodology references in course text:

Sky (pg. 211), shading a tree (pg. 184, 198-200), city scape view (pg. 201-202), lighting (pg. 114+), books (pg. 101), wicker furniture (pg. 97), leather furniture (pg. 95), wall details (pg. 80-81), shadows (pg. 70-75).

Schedule + Deadline

  • Tues., Feb. 22: Isometric drawings explained, Project introduced
  • Thurs., Feb. 24: Draft isometric grid and floor plan, Draft back walls, windows, fireplace and bookcases, begin drafting furnishings in isometric viewDraft furnishings in isometric view with detail specific to style
  • Tues., Mar. 1: Drafting of back walls, windows, fireplace and bookcases should be complete, Begin drafting furnishings.
  • Thurs., Mar. 3: Introduce rendering with art markers, Begin final inked drawing on marker paper
  • Tues., Mar. 8: Rendering with marker and pencil
  • Thurs., Mar. 10: Rendering
  • Fri., Mar. 11: Project Due by 5 p.m. (critique during class following  Spring Break)

Click here to view Student Examples

Colored Pencil Basics

0 Commentsby   |  02.08.11  |  DSGN 248, Reference

Colored pencil can be applied to many surfaces effectively very successfully, including the following:

  • Blue or black line diazo prints (blueprints)
  • Hot or cold-pressed illustration board
  • Architectural or tracing weight papers
  • Textured (heavy tooth) drawing paper (typ. cold-pressed)
  • Marker paper
  • Matboard

It is important to use a soft lead pencil that allows one to lay down the color effortlessly. Many map or art pencils are either too hard or greasy, and will go on completely different from Prismacolor design brand pencils.

One should apply the color lightly at first until they have discovered the intensity and result of their own hand pressure. It may be that the direction of the stroke can also play a part in helping to describe the texture of the surface being drawn (i.e. carpet fiber, tooth, weave, softness, reflectivity, etc.).

Color Matching

With lighter colors finding the closest hue match may be possible. Typically, exceedingly dark colors do not read well in a visual presentation unless highlights are emphasized (rather than the true depth of the selected hue). Color matching can be achieved by layering various colored pencils.

Patterns + Surfaces

Express in reference to the surface’s plane, just as a fabric would “lay” on the surface. In this way, a striped sofa appears as a believable representation of how the fabric looks on the upholstered piece than if the plane direction was not considered.


Color contrast may be beneficial in the development of a color scheme in general, but may be especially important in the visual drawing itself to add a feeling of liveliness to even an all white room. Tints of color and accents should be used to achieve contrast. Window treatments are useful elements that can add color contrast.

Highlights + Illumination

These are helpful in the creation of visual interest and provide a sense of depth to the drawing. Use sparingly to maintain a sense of realism.

Outlining + Graphic Texture

These add structural clarity and edge definition. Black ink technical pens and/or fine tip felt tip pen are good tools for this.


These can add warmth and texture to the drawing. Use shadowing to achieve appropriate volume, and variation in stroke and color for texture.


Hang pictures on the walls, add features to the tabletops, combine fabrics and flooring, and consider how lighting (lamps, wall sconces, ceiling fixtures, etc.) may complete the design.

Human Figures

Need to be included for the viewer to interpret both scale and proportion relative to the interior space.

VPG Project 2: Orthographic Projections

0 Commentsby   |  02.08.11  |  Assignments, DSGN 248


  • Render fabrics, furnishings and surfaces to represent true color, texture, style, and three-dimensionality
  • Refine precision and neatness in drawing
  • Develop writing skills related to design concepts
  • Develop time management skills


Produce rendered orthographic views of a residential living room floor plan and its corresponding elevations. Arrange the five drawings on a single drawing sheet for presentation or create a model.

Media: Black ink, colored art pencil, graphite

Design Requirements:

  • Select one of the floor plans provided for your project. Each is at 1/4″ = 1′-0″ scale with the interior dimensions of 24′-6″ x 18′-0″. The interior walls are drawn with a 5″ thickness and the exterior walls (on two sides) represent a brick veneer.
  • Elevations should have a minimum ceiling height of 9′-0″.
  • Design a ceiling that is not flat. It should have a distinctive profile (such as a vault, shed, cove, etc.).
  • Indicate a significant area of windows on the exterior walls (should not be small windows).
  • Arrange furnishings and accessories as desired. Do not let arranging furniture take too much time away from inking, rendering and creating the presentation layout.
  • Select and collect visuals of furniture, rugs, art, accessories, etc. to be incorporated into your design. These will allow you to draw the pieces accurately and develop your attention to detail.

Drawing Requirements:

  • All drawings should be completed in ink and rendered with colored art pencil.
  • Include a human figure at the correct scale in two of the elevations (use entourage).
  • Images for wall hung art can be used if desired.
  • Final size of drawing sheet = 16″ x 20″ (horizontal or vertical orientation)

Writing Requirements:

  • Write a 200 – 250 word design concept narrative. The narrative should be a clear, concise, visually descriptive “story” that describes the style and atmosphere of the space you’ve created. Think of it as a way to paint a picture with words. Use design-specific terminology.
  • Start with identifying the client and location, then address their needs, concerns or requests through the solutions you are proposing.
  • Do not write this in first person, or otherwise refer to the designer in your writing. Rather, place the focus on the design itself.
  • Following are a few categories to consider as you craft the narrative:
    • Style + Character (motifs, features, historical references)
    • Function + Space Utilization (circulation, usability, decorative, adjacencies)
    • Materials + Finishes (walls, floors, ceilings, furniture, doors, windows)
    • Color + Lighting (scheme, hues, natural, artificial, accent, general)
    • Accessories + Accents (special objects, focal points)
    • Connection to the exterior (views, orientation)
  • A template with formatting will be provided. Print and submit narrative with final drawing.

Text References:

  • Scalise pages: 29, 33, 46-52, 69, 100-108, 156-165191-192, 217-219, Chapters 8, and 9
  • Michael Doyle pages: 41-49; 69-71; 76-88; 95-97; 100-101; 113; 125-127; 313 (layout)
  • Retrocolor Method 58-59; 289-294
  • Refer to Mitton; p. 200; Color plates p. 54-63, 80, 151-156

Schedule + Deadlines

  • Tues., Feb. 8: Begin project, discuss orthographic projections
  • Thurs., Feb. 10: Style chosen (collect examples of furnishings and design style elements), rough draft of floor plan
  • Tues., Feb. 15: Rough draft of all elevations, begin final drawings and rendering
  • Thurs., Feb. 17: Rendering, blog post due
  • Tues., Feb. 22: Project due at the beginning of class, critique

Student Examples (link)

VPG Project 1: Site Plan

0 Commentsby   |  01.20.11  |  Assignments, DSGN 248


  • Render texture, style and three-dimensionality using an ink process to achieve contrast, shadow and shade
  • Use distinct line weights in drawing to establish depth of view
  • Refine precision and neatness in drawing
  • Develop time management skills

Media: Black ink


Produce ink “texture” drawings on vellum using the provided site plan. These drawings should portray visually developed views enhanced through the use of practiced inking textures, while using a 45-degree and 1/4″ offset shadow technique.


  • Begin by producing a drawing on trace paper. Overlay the trace paper on the site plan drawing and redraw the site plan using appropriate line weights.
  • Experiment with different types of tonal value techniques (hatching, cross-hatching, stippling, etc.). Feel free to overlay multiple sheets of trace to refine your drawing.
  • Once you have decided on the technique for the drawing. Complete a final version on vellum.
  • Create a simple title block, with scale and north arrow. (We will discuss in class.)

Schedule + Deadline:

  • Thurs., Jan 20: Begin project,  Draw first draft of plan on trace paper.
  • Tues., Jan 25: Develop site plan textures, patterns and shadow.
  • Thurs., Jan 27: No Class
  • Tues., Feb 1: Work on final drawing of site plan
  • Thurs., Feb 3: Project due, Critique at beginning of class

Student Examples on Flickr

VPG Exercise 1: Values, Patterns and Texture

0 Commentsby   |  01.18.11  |  Assignments, DSGN 248


  • Render texture, style and three-dimensionality using an ink process to achieve contrast, shadow and shade
  • Refine precision and neatness in drawing

Media: Graphite and Black Ink


  1. Replicate each texture box on the worksheet in pencil and then in ink on a second sheet of worksheets. The goal is to replicate consistency of line, angle of line, method of shape formation and drawing.
  2. Complete two value scales (handout) – one using graphite and the other black ink. Experiment with hatching and crosshatching.
  3. Complete tonal value exercises (handout) experimenting with hatching, crosshatching, scribbling and stippling.

Assignment is due at the beginning of class Thursday, Jan. 20.