Expanded Outline: Lecture on Rendering

Arch 3 TTH Sections: Araneta, de Leon, Varona, Yazon

UPCA MOFA, 10 March 2015
0.0

Introduction
0.1
The saying - A picture is worth a thousand words. applies so well in architectural
communication. It refers to the notion that a complex idea can be conveyed with just a
single still image. A simple drawing can pass on a great amount of information.
0.2

Illustration.

Intellectual property (IP) is a term that refers to creations of the mind. Examples of
intellectual property are artistic works like in music and literature; designs by architects,
industrial designers, graphic designers and other professionals; discoveries and inventions;
even words, phrases and symbols. Legally and under IP laws, owners of IPs are granted
certain exclusive rights. The more common types of intellectual property rights (IPR) are
copyright and patents. Other examples are rights that protect trademarks, and in some
cases, trade secrets.
In securing a patent for, say, an invention, there are certain requirements which must be
submitted by the applicant who may be its original creator or an assignee. These
requirements ought to include a precise and clear description of the object of the patent
application. This is important because should the description prove to be ambiguous and
lacking specific details, there could be legal problems that might rise later which can
compromise the IPR of the patent owner. And in most patents, drawings illustrating the
invention can communicate better and faster.

Figure 1.Diagram from James Albert Bonsacks patent application (U.S. patent 238,640,
granted March 8, 1881) for the machine he invented that could theoretically roll as many
cigarettes in a day as 48 workers could make.
0.3

The language of architectural communication is mainly visual.Visual means it

involves graphics and images. This includes photographs, drawings, graphs, diagrams,
typography, numbers, symbols, geometric designs, maps, engineering drawings, etc.

0.4

Can you think of a better way by which designers can express and communicate their ideas?
The message is design and the medium of its expression is graphics. Design and
graphics are so interrelated that it is difficult to see one without the other. And just like
learning any language, students who intend to be proficient in architectural communication
need to acquire certain skills and be familiar with its elements. [Just like any other language,
be it spoken or some technical lingo like a computer program, it has its linguistic elements
and characteristics: structure (grammar and syntax), morphology (form), semantics
(meaning - multivalence, arbitrariness), dynamic (can change, be refined), etc.].

0.5

1.0

2.0

Drawing as tool for creative visualization and architectural communication.Over

the last twenty-five years, there have been incredible advances in digital computer
technology. The use of computers caused, and is still effecting, revolutionary changes in
generating images and drawings vital to the design process. However, it remains true that
creative visualization and architectural communication rely on drawings and graphic images
to effectively convey ideas whether these are produced manually or using current
technological innovations.

Brief Overview of Traditional Drawing Typesin Architectural Presentation

1.1

Observation drawing refers to the process in which one creates a sketch from directly
observing a subject. While there are parallels and similarities in photography as a method of
graphically capturing an object, a drawing of the same object by direct observation relies
heavily on the interpretation of theobserver andsubject to present observable physical
conditions. [Exercises and plates on this type were given to students in Arch 2.]

1.2

Imagination Drawing. This method of drawing is basically creating from the minds eye
and used mainly in the creative design process. It often involves drawing without tracing
over an image or directly seeing anobject. Similar to cartooning, this method of drawing
can be quick to generate. Another form of imagination drawing is visual scribing in which
illustrations are generated from listening to a dialogue or conversation.

1.3

Overlay and Trace Drawing. This step-by-step drawing method utilizes a base image (it
can be another drawing but usually a photograph or a SketchUp model view) which is then
covered with trace paper and developed into a sketch. By layinga tracing sheet over the
base image, one can create a drawing that matches the proportions and perspective
delineation accuracy of the original.

1.4

Thumbnail and Concept Drawings. As either a single image or a series of several ones,
thumbnail drawings provide effective visual support in graphic presentations. These small
drawings can break up large blocks of text to enhance the overall layout.

Introduction to Hybrid Visualization: Leggittstradigital drawing; merging traditional hand

drawing with digital tools
2.1

Tradigital drawings are visualizations generated by a process that intentionally combines

traditional hand-drawing techniques with computer-generated 3D digital modeling and 2D
manipulation to produce visual images having the craftsmanship of a traditional drawing and
thetechnical accuracy of a digital image. According to Jim Leggitt, tradigital drawings fall into
three methods:

2.2

Overlay and trace method. This drawing method involves a basic overlay and trace
drawing method (as discussed in1.3) with the original artwork drawn directly over a print
(usually from a SketchUp model). Both the original artwork and base model image are then
scanned together. The model view is visible beneath the artwork and creates an interesting
hybrid that blendshand drawing with 3D computer modeling.

2.3

Simple composite method.The simple composite method of tradigital drawing produces a

presentation rendering which is roughly 50% digital and 50% hand-drawn. Modifying these
percentages can give the final image a harder (= having more computer-generated
elements) character or a softer (= with more hand-drawn features) look. This visualization
technique produces a drawing that has all the characteristics of a hand drawing and yet
hidden beneath the lines and colors is the computer model. Since a good part of the drawing
is computer-generated, the amount of time spent to finish it can be greatly reduced. A
SketchUp model can present several viewpoints to choose from and, at the same time, be
correct in perspective delineation.

2.4

Advanced composite method.This composite method of tradigital drawing depends

heavily on digital imaging processes and produces a presentation rendering which is about
90% digital and 10% hand-drawn. Most of the final image involves digital manipulation.

SketchUp is used for setting the perspective view and level of detailing. The most commonly
used graphic manipulation software is Adobe Photoshop. Other software:Revit, 3Ds Max,
Lumion and AutoCad. Moreover, there arerendering plug-in software available like: for
SketchUp, theres V-Ray, Kerkythea and SU Podium; and for 3Ds Max, there isV-Ray also.
Some digital processes are discussed below:
a. Digital painting techniques. Digital painting is a visualization option generated
entirely in the computer.Adobe Photoshopis used for illustrating and coloring a digital
image.
b. Digital watercolor process. Digital watercolor is a hybrid visualization technique
involving a multi-step approach that starts with a SketchUp model view that has been
photo-realistically rendered using Shaderlightor some other plug-in software program,
then printed and drawn directly onto with graphite pencil, colored markers and colored
pencils. The artwork is finally scanned and altered with a watercolor filter using Adobe
Photoshop. The resulting image looks very much like a traditional hand painted
watercolor rendering.
c. Advanced digital montage.Digital mashup is a complex hybrid rendering technique
incorporating digital photography, 3D computer modeling in SketchUp, traditional hand
drawing and digital painting. The resulting visual representation is a blend of digital tools
and traditional hand drawing techniques.
3.0

Introduction to Digital Drawing Tools: High impact digital tools for visualizing design
3.1

Evolution of 3D computer visualization and value SketchUp modeling

a. SketchUp. This 3D software which originated in 2001 is an easy to use computer
modeling program that allows for infinite construction options, perspective control and
visual effects.
SketchUp (formerly Google Sketchup) is a 3D modeling computer program for a vast range
of design applications. A freeware version, SketchUp Make, and a paid version with
additional functionality, SketchUp Pro, are available.SketchUp is currently owned by Trimble
Navigation, a mapping, surveying, and navigation equipment company.SketchUp was
independent from 2000 to 2006 and then owned by Google from 2006 to 2012.
There is an online open source repository of free-of-charge model assemblies (e.g., windows,
doors, automobiles, etc.), 3D Warehouse, to which users may contribute models. The
program includes drawing layout functionality, allows surface rendering in variable styles,
supports third-party plug-in programs hosted on a site called Extension Warehouse to
provide other capabilities (e.g., near photo-realistic rendering), and enables placement of its
models within Google Earth.
b. SketchUp modeling strategies for different project types. In constructing a
SketchUp model for a visualization project, instead of building a highly detailed and timeconsuming model, construct either a massing model or a stage set model with the
intent to capture the basic 3D information with the least amount of time investment and
detail.

3.2

Drawing from digital photography. The rapid development in computer technology has
made photography very inexpensive. Even today, the revolutionary digital camera, invented
in 2002, is practically already upstaged by smart phones for capturing images of existing
conditions.
Tip: Print photographs in letter size on a standard home printer and trace over the
photograph to create drawings. The existing photograph paired with the drawing makes a
cool before and after presentation.

3.3

Internet sourced imaging

a. Google Image. This internet tool is an excellent source for visual information when
constructing a drawing. There are numerous sources of photography when researching
subjects to draw in the web. houzz.com is a great source for precedent photos.
b. Google Earth. More information with high resolution aerial photography is available for
use in creating SketchUp models and renderings. Use Google Earth for site dimensions,

integrating 3D buildings in SketchUp and quickly building base images for drawings. The
Google Street View is an excellent source for generating base information for sketches.
The high position of Street View cameras is ideal for creating perspectives.
c. The-Blueprints.com is a website dedicated to collecting 3/4/5-view drawings,
templates and blueprints for as many objects as possible. Ranging from humans to
aircraft and cars to mobile phones, the goal is to provide reference material for 3D
modelers, scale modelers, replica builders, etc. By updating the website on a daily basis,
it currently has more than 65,000 images in its collection, which makes this the largest
free collection on the internet.
3.4

4.0

The growing potential of digital tablets and touch screen monitors. More designers
are creating digital drawings on Samsung and Apple tablets using a large number of drawing
apps. Another gadget is the Wacom Cintiq drawing monitor used for creating 100% digital
drawings - completely drawn and colored in the computer.

The Stuff of Architectural Rendering: Principles, Elements, Techniques

4.1

Basic Rendering Elements

a. Drawing Size. Having the drawing as small as possible A3, 11x17 or even smaller
enables you to easily scan the original artwork on a standard desktop scanner. Any
drawing at a larger size will dramatically increase drawing time.
b. Drawing Format. The subject of the drawing will invariably dictate the format by which
the image is presented. The shape and orientation of the frame of a rendered drawing
(square, vertical rectangle or portrait, horizontal rectangle or landscape) will largely
depend on theshape and form of thesubject, whether a 2D (plan or elevation) or 3D
(perspective) presentation. Moreover, we need to consider principles of good
composition in the kind of format to follow: the overall layout of all elements found in the
drawing (graphics, text, diagrams, inset images, etc.) and their relationship to one
another. A good landscape drawing format is 6:9 in proportion.
c. Drawing Layout. Based on the effect you want to achieve (e.g., drama, character of
place, etc.) determine the positioning of the main object (= focus)in relation to the other
elements in the drawing. Other aspects that can help achieve your desired effectare
lighting, color and detail (Cf. 4.5d Drawing Detail).

4.2

Rendering orthographic drawings. Before starting to render, check if youve included all
the important drawing elements on the drawing; these can be labels, dimensions, graphical
scale, north pointer, relevant symbols and pictograms, etc.
a) 2D design presentation drawings and construction working drawings.
b) Site development plans
(1) Buildings and other structures (roof or building footprint?)
(2) Roads, driveways, pathways, paved open areas
(3) Landscaping: trees and foliage, hardscape, water, etc.
(4) Details
(5) Shadows (indicating height and solar orientation)
c) Floor plans
(1) Finishes
(2) Details: furniture, accessories, planters, etc.
(3) Is it advisable to include shadows?
d) Elevations
(1) Finishes: texture, color, glass.
(2) Shades and shadows
(3) Entourage: trees, people, vehicles
(4) Others: signage, lamp posts, bollards, etc.
e) Sections
(1) Finishes: texture, color, glass.
(2) Shades and shadows (light source?)
(3) Entourage: people, plants, etc.
f) Shadows in 2D drawings. Plotting shadow lines.Possible rendering media.

4.3

Brief review of linear perspective

a. One-point, two-point and three-point perspective - depending on the subject.

b. Shadows and reflections in perspective.

N.B.:
4.4

Perspective plotting shortcuts will not be part of this lecture. However, it can be
briefly discussed in the open forum should anyone ask about the topic.

Drawing/rendering entourage
a. Drawing human figures.
(1) Placing people in the drawing requires checking if the figures are correctly delineated
and consistent with the perspective view. This means that they are set on their
correct mounting heights relative to the viewing height at the station point. The
figures should also have the right scale and proportion relative to the distance of
their placement on the field from the station point (= principles of diminution and
foreshortening). Remember that in a perspective at normal viewing height (about
1.50m from the GL), the eyes of standing figureswill all be nearthe horizon.
(2)Trace people from image files. However, avoid creating people any larger than 2
inches in a drawing or you will find yourself getting bogged down in too much
illustrative detail.
(3) Give a fair level of realism to the people you put in the drawing; height, posture,
age,details like clothes and accessories (e.g., bags, umbrellas), etc.
(4) SketchUp provides an easy way of correctly placing people in the perspective
drawing.
(5) Be consistent in the shades, shadows and reflections.
b. Drawing Motor Vehicles
(1) Before putting cars and vehicles in the drawing, check if these are consistent with the
perspective view, i.e., scale and proportion in terms of their placement with respect
to the depth of field (diminution), their correct lay on the surface and in relation to
the viewing height at the station pointand their correct orientation as they may have
different vanishing points. Draw the box of a vehicle first. [N.B. - Tires of parked
vehicles are deformed at the bottom. Why? What do think is the shape of tires of
vehicles in motion?]
(2) Caution on drawing motor vehicles from imagination as these can be tricky in terms
of scale and proportion. I still suggest copying vehicles from photos as itsconvenient,
fast, correct in scale and fairly accurate in detail. Be mindful though of the level of
detail you want to put in.
(3) Checkif shades, shadows and reflections are consistent. (If its a day scene, whats
the position of the sun? Are there other light sources?)
(4) SketchUp can easily and correctly place motor vehicles in perspective.
c. Drawing Trees, Foliage and Other Landscaping Elements.
(1) Imagine the structural framing of the tree; the positive and negative areas in its form;
shades, shadows and highlights; the level of detail trees and foliage nearer to the
viewer will have more detail, bigger leaves, etc. (= principles of diminution and aerial
perspective).
(2) Keep the details simple. Its so easy to over-render and risk taking the focus off the
main subject of the drawing.
(3) Aside from the usual entourage elements, addaccessories like outdoor lighting,
signage, outdoor furniture, etc. Again be mindful of the level of detail.
d. Drawing detail. In drawing details, the less is more approach is something good to
keep in mind. A rendering with minimal detail can be adequately representational and
will take less time to generate than one with a great amount of detail. So
(1) Before starting a drawing project, determine ahead of time the level of detail you
want to show. There is a good chance that overdetailing can take the focus away
from the main object of the drawing.
(2) Zoning your drawing into areas (e.g., foreground, middle and background, right side,
left side) will help you decide the level of detailing you will apply on each portion.
Zoning also helps in the layout.
(3) Objects in the foreground and nearer to the viewer will have more detail. However,
this is not an absolute rule because a super-detailed element can steal the viewers

attention away from the focus of the drawing. On the other hand, objects at the
background and are less detailed (= principle of aerial perspective).
Aerial perspective or atmospheric perspective refers to the effect the atmosphere
has on the appearance of an object as it is viewed from a distance. As the distance
between an object and a viewer increases, the contrast between the object and its
background decreases, and the contrast of anydetails within the object also decreases.
The colors of the object also become less saturated and shift towards the background
color, which is usually blue, but under some conditions may be some other color (for
example, at sunrise or sunset distant colors may shift towards red).
(4) Remember: keepit simpleand quick.
4.5

Traditional rendering media

a. Color Markers.Markers have solvent based ink (alcohol or xylol) and usually are pens
having dual tips (fine point, broad point).
(1) Available brands.Kurecolor is the most readily-available color marker brand here in
the Philippines. It is alcohol based and has a range of 135 colors. Other brands are:
- Yoken, alcohol based, 146 colors, Japan-made, commercially available here;
- ChartpakAD, xylol based, single tri-nib tip,130 colors, US-made, generally
preferred due to its large ink capacity and very good blending characteristics,
commercially available here;
- Copic, alcohol based, 358 color range,Japan-made, expensive, available but rare
in Manila;
- Prismacolor, less common, expensive (about $4).
- Letraset, alcohol based, wide range of colors, made in UK, uncommon and very
expensive.
(2) Advantages
- convenient to use - easier compared to water color;
- colors are consistent and predictable;
- can be layered and blended;
- using with graphite and colored pencils can give excellent results.
(3) Some disadvantages
- hardto control, especially in defining and holding crisp edges;
- some brands do not blend well(Yoken, Kurecolor) though they have separate
blender pens available;
- generally markers do not mix well with water-based media.
b. Colored Pencils. Colored pencils are mostly used to supplement markers by creating
variable tones and textures (skies, paving materials,etc.). A technique I often use for
adding tones is smudging color pencil filings or powder directly on the drawing. Itis easy
to apply, fast, safe (just use an eraser should you make a mistake), and can yield good
results.
The industry standard colored pencil brand abroad is Prismacolor. Thesecolored pencils
can be bought in sets for about $1 (PhP45) a pencil; very good blending capabilities; US
brand; 150 color range.

5.0

Open Forum and Wrap-up

Internet Resources
SketchUp Software: www.sketchup.com
Shaderlight Rendering: www.shaderlight.com
SketchUp Video Tutorials:www.danieltal.com
Hand Drawing Blog and Tutorials: www.drawingshortcuts.com
ROY/09Mar2015

REQUIRED SUBMISSIONS AND DEADLINES

(PLEASE NOTE THE CHANGE IN REQUIREMENTS IN B.2.)
Follow the Instructions given on the handouts with the following final outputs for submission.
PHOTOGRAPHY MODULE
A. Minor Exercise on Photography (due March 17, Tuesday)
A.1 Pdf file of 10 Photos of Kirigami, Origamic Architecture consisting of A.1a Three (3) photos each of 2 kirigami constructs = 6 images
A.2 a Four (4) photos of your best origamic architecture.
A.2 5R prints
A.2a One (1) 5R print of best photo of first kirigami model
A.2b One (1) 5R print of best photo of second kirigami model
A.2c One (1) 5R print of best origamic architecture photo
B. Major Exercise on Photography (also due March 17, Tuesday)
PLEASE TAKE NOTE OF CHANGE IN REQUIREMENTS.
B.1 Three (3) 5R prints of selected UP Diliman building at different points of view and/or
different times of the day
B.2 Three (3) 5R prints of architectural details of the subject UP Diliman building.
B.3 Two (2) 5R prints of your AFH model with the intention of using the photo in the plate for
Rendering.
Put all prints in envelope. Label each of your photos with your last name, other names; Arch 3
- Yazon; Date of submission. Label the envelope in the same way.
COLOR RENDERING MODULE
All requirements due Thursday, March 19, all in A3 (select your format)
A. Minor Plate - Rendered 2D (Orthographic Drawings of your AFH)
Site Development Plan (show graphical scale)
Floor plan/s (show graphical scale)

Two (2) elevations (show graphical scale)

One (1) section (longitudinal and showing stairs)
B. Major Plate (A3)
Exterior Perspective
Interior Perspective

Arch 3 |

Module on Advanced Rendering

Araneta | De Leon | Luna | Rivera | Santos | Varona | Yazon

EXERCISE ON ADVANCED RENDERING: PREPARATION

Objectives
1. To be familiar with the preparatory activities and materials for advanced rendering.
2. To take photos/digital images of models to serve as base images for overlaid advanced
rendering.
Instructions
1. Take photos/digital images of the following angles of your Awesomely Fantastic House
(AFH) and topography model together:
a. 1 Top View
b. 1 Front View/Elevation
c. 1 Right or Left Side View/Elevation photograph the side that shows more
architecture elements e.g. window/s, door, or terrace/balcony, etc.
d. 1 Exterior Perspective (normal eye view)
e. 1 Interior Perspective
2. Print each view to fit an A3 size copy paper in Black and White/Grayscale, landscape
orientation. Be sure that there are no distortions in the printed image.Print allowing for
margins and title block.
3. Bring the following on Thursday, March 12, 2015:
a. Printed images
b. Rendering materials your preferred media (markers, color pencils, water color, pen
and ink, etc.)
c. 4 A3 size Tracing paper (at least 80gsm) [title block and margins may be drawn in
advance]
d. 4 A3 size Copy paper [title block and margins may be drawn in advance]
4. Start conceptualizing the plans and sections of your AFH. You may prepare initial

sketches/studies for your personal use.

ARCHITECTURAL MODEL MAKING ADVICE FOR STUDENTS

Let me explain first of all that I am writing this from the perspective of someone who has had personal
experience of having to make architectural models with limited resources. Although I am now a professional
model maker I was once a student at the Welsh School of Architecture where they viewed models as an
important part of the design process. Through my three years on the course and subsequent many years in the
model making profession I have seen, or made myself, most of the common mistakes people make when
setting out to produce an architectural model. Hopefully I can help you avoid these errors and save you a lot of
wasted time and effort.

Planning your architectural model

The first and most important step for any architectural model making project is to establish a clear
goal for the model. In other words, what is the model for, what is its purpose, what does it need to
communicate? Very few people have the budget and resources to make a model that shows everything about
their project. It is more realistic to choose an aspect of your design that the model can show well.
For example, if you are designing a building in a sensitive area, a monochrome massing model can show the
overall form and layout of your design and how it sits in its context. This will give viewers an instant general
understanding of your project. The colors, materials and any other detailed elements can be explained through
additional drawings, photographs, swatches, etc.
Another approach is to let your drawings show the general overview of your project and use an architectural
model to illustrate one of the detailed aspects. For example you could make a part-model of a particularly
interesting area of the building; an entrance feature perhaps or a decorative elevation. Or you could make a
sectional model that slices through the building to show the internal spatial organization.
The important thing is to start with a clear purpose for your architectural model and then work out what sort of
model will best achieve your goals.

What scale should the architectural model be?

Once you have decided what your model needs to illustrate, the next step is choose the most appropriate
scale. This decision is affected by two things: (1) how big an area you need to model; and (2) how
much detail you want to show. If you need to show a big area, perhaps for a site context model, you would
have to choose a smaller scale, say 1:500 or even 1:1000. This is to avoid the model becoming too big to be
practical. But at these smaller scales you need to be aware that is not really possible to show much in the way
of detail.
If the purpose of the model is to show just the building itself you could consider 1:200 or even 1:100 scale. At
these scales you can show windows, doors, balconies, etc. However, if your goal is to illustrate a particular
area or detailed element of the building you may well need to go bigger again, say 1:50 scale or even 1:20
scale.
Whatever the purpose of your model, being able to understand scales will enable you to work out practical,
achievable options for your particular project. Many students will already have a clear understanding of scales
and those who have can skip this next bit, but if you are a little unclear on the subject it is probably worth
reading.

Scales are actually very simple. The scale of architectural models is a ratio - in other words, the relative size of
the model to the real thing. For example, 1:1 scale (we would say it as "one to one") would be a life size model.
Whereas, 1:10 scale ("one to ten" or "one tenth scale") would be one tenth of actual size. Likewise, 1:100
would be one hundredth of actual size, and so on. The larger the scale indicator number, the smaller the
model, which means less detail can be shown.
Another useful way to think about scales is to work out how many millimeters represent one meter at the
particular scale you are considering. We do this by dividing 1000 by the scale indicator number. For example,
for 1:200 scale, divide 1000 by 200 and you get the answer 5. Which tells you that one meter in real life will be
represented by 5mm on the model. So if the area you need to model is 100 meters x 100 meters square, your
1:200 scale model would be 500mm x 500mm (100 x 5mm).
For particularly large sites you will need to use a much smaller scale, say, 1:1000. At this scale the
architectural model will be one thousandth of the actual size. To work out how many millimeters will represent a
meter we redo the sum we did above, 1000 divided by the scale indicator number (in this case also 1000). The
answer is obviously 1, meaning that one meter on site will be represented by 1 millimeter on the model. A
square site 1000 meters x 1000 meters would therefore be 1000 millimeters square as a 1:1000 scale model.

Architectural model making methods and materials

For the purposes of this general guide I will not go into a lot of specific detail on architectural model making
techniques and materials as this is a very broad area and will be covered in a separate article. Here are some
basic rules to follow though.
Be realistic about what you can achieve with the time, materials and facilities available to you. Do not
try and make the model show every detail of your design or you just won't finish it. Very often it is students with
good model making skills that do not finish their architectural model, simply because their enthusiasm has got
the better of them and they have tried to show too much. Or, the model does get finished but it has taken up so
much of their time and energy that other important parts of their presentation have to be rushed or do not get
done at all.
It is tricky to get the balance right but it is better to be a little less ambitious with the model and focus on
submitting a coordinated, fully realized overall presentation.
The use of color is another area where models can go wrong. Sometimes it's safer to keep things monochrome
(white, for example, can look quite "architectural" and stylish) unless you are very confident with color or it's a
vital part of what your model is trying to show.
Always present your model on a good, solid base with a clean edge finish this acts almost like a picture
frame and enhances the general appearance of your model.
As far as materials are concerned, unless you have easy access to a workshop and a reasonable level of
experience with machinery, it would be best to work with card or foam-board or similar, easy-to-cut materials
such as Balsa or Lime wood. In other words, anything that you can cut with either a sharp blade or junior hack
saw and stick together with conventional shop bought glues.
And when you are cutting, if possible, try to use a square, especially if you are cutting out floor plates or
elevations. Keeping everything square is crucial if you want to achieve a neat, crisp finish for your building. It is
also worth investing in a metal ruler as you will find a plastic or wooden ruler will get damaged very quickly.

Whether you are cutting with a craft knife or a scalpel, it's better to use several light passes rather than trying
to cut all the way through with one go. You will get a cleaner cut and you are less likely to slip and cut your
finger.
Sourcing materials can be difficult, but your best bet is to investigate your local Art & Craft shop and check also
if there is a hobbyist model shop in the area. These shops will usually have a good range of materials but do
get what you need early. It is surprising how quickly a group of students all working on a similar design brief
can empty the shelves of all the best materials.
If you cannot get what you need locally there are several model making supplies companies with on-line
catalogues who provide a good mail order service. Visit my web site www.modelmakers-uk.co.uk and click on
Links at the top right hand side of the page where you will find a list of useful links for architectural model
making supplies. Or use a search engine and see what that turns up.
Good luck with building your architectural models. If there is only one thing you remember from this information
make it this It will take twice as long as you think it will.
Gareth Morgan

Architectural Model Building Tips

By Larry Simmons, eHow Contributor

UW Architectural Commission model of the new Business School building on the Seattle campus.

Architectural models are required professionally for representing buildings and building sites
prior to creation. As a way to demonstrate design details and visual impact on the environment,
a model draws the viewer in, showing from every angle precisely what the builder has in mind.
Providing the proper impact with a model can make the difference in getting across your idea, so
keep a few useful tips in mind when performing your model construction.

Building to Scale
For visualization, scale is extremely important. Choose a scale for your building that shows off
the design details without overwhelming the viewer by being too large. For residential models a
1:50 scale of 1/4 inch representing 1 foot is commonly used. If your model includes landscaping
features you can drop the scale further in order to keep the model's base size manageable. For
commercial buildings, smaller scales are used for the same reasons, to keep the base the model

sits on small, and to allow viewers to take in major architectural features while still being able to
see the building as a whole. Commercial models should be kept smaller than 1:100 scale or 1/8
inch to the foot.
When modeling interiors, a scale of 1:25 which is 1/2 inch to 1 foot, is common. The larger scale
is useful for when you need to show specific patterns and textures in interior design. Another
common scale you can choose to model interiors in is 1 inch to 1 foot, which is the scale
commonly used by miniaturists and dollhouse manufacturers. This scale is particularly useful for
the number of interior items available for use in your model, including building materials,
windows and doors, carpets, wallpaper, furniture and lighting fixtures.

Materials
You can use many different modeling materials in building an architectural model. The materials
used are not as important as the way in which they are used. A model put together well with
inexpensive materials based on a good design is better than any model using expensive
materials but designed poorly, so spend what you feel comfortable with on materials you're
confident in working with.
For ease of use when modeling, both amateurs and professionals use high-impact polystyrene.
You can typically find this plastic material in sheets of solid white from hobby shops. The material
is easy to cut and color, and binds well using solvent cement. For creating the base for your
model, the material used in household insulation can be easily shaped into any needed form with
a hot wire cutter. You can also use this open cell spray foam material for creating block buildings
where little detail is required, for example, when demonstrating a large industrial site or
cityscape.

Visual Aids
To aid in the visual appreciation of your model, include extraneous objects such as cars or
people. Additional objects can help to provide scale comparison for your model as well as to
show entrance and exit areas, traffic and activity areas. For example, if your model includes a
playground, playing children can bring attention to the feature; shopping centers can include
figures of shoppers, and parking areas adjacent to a building can include cars to show
comparative size.
Include landscaping for your models. Even if you're modeling a single-family residence, a
minimal amount of landscaping can help the viewer relate to the model as a representation of an
actual object. Foliage, sidewalks, parking lots, anything that makes your model look a part of the
surrounding landscape can help connect viewers to what you're representing.

How to Build a Scale House Model

By Alexis Lawrence, eHow Contributor

Architects and developers often use scale models in their work as a way of showing their client
exactly what they are planning. A scale model of a house is an exact replica form that shows
exactly how the house will look when it is built, down to the precise measurements. You don't
have to be a professional to build a scale house model, though. If you are planning to build, you
can see what your house will look like by making your own scale model out of simple materials.

Instructions

Measure the house. The house you want to build may just be a plan on paper, or you may
need to make a model of a house that is already in existence, such as a historical home. If that's
the case, you will need to get the dimensions of the house on all sides. You will measure all sides,
the height at the tallest point of the roof and the lowest, the porch and the window sizes. Any
detail you plan to include on your model, you will need a precise measurement for, both inside
and outside. It's possible that the blueprints for the house are still around somewhere. If you can
find those, they will come in very handy.

Determine the scale that you are going to use. 1/4 inch = 1 foot is a standard scale. If you
are doing a model of a smaller house, you may be able to use 1/2 inch = 1 foot. After you decide
on your scale, you will convert all of your measurements. If the house is 100 feet long on each
side and you are using a 1/4 inch = 1 foot scale, your new measurements will be 25 inches all
around.

Draft your model. Before beginning your model, draw a scale version of the house you want to
build, using your scale measurements. This will serve as the basis for your model. If you are
making the model from blueprints, make a copy of the prints and change all of the
measurements to your new scale so that you will have an easy reference.

Cut the pieces for your model. You can use any kind of building material that you want, but
wood will hold up better than cardboard. Balsa wood is easy to cut and work with. You can cut it
with just an X-acto knife, which makes it easy to control your cuts. Use your scale building plans
to measure and cut out each section of the house.

Assemble your pieces. Refer to your modeling plans often. Balsa wood will hold together very
well with superglue. Just hold the pieces together while the glue dries.
Glue the parts of the roof together, but just set it on the top of the house without gluing it on.
This will allow you to lift the top off and peek inside if you have created a detailed interior.

How to Make a Scale Model

By Eric Benac, eHow Contributor

Make a Scale Model

Scale models represent a re-creation of an object. However, scale models try to keep the relative
length, width and height of each part of the model the same as on the original object. Making a
scale model requires careful math, sculpting, drawing and building skills. The model
should be planned out well in advance of building. A poorly planned scale model won't
accurately represent its source object well.

Instructions

Measure the dimensions of each aspect of the object you are modeling. This can be
done by using a tape measure or by looking up the dimensions online. Write these dimensions
down in a method you can understand. For example, for a car you could have measurements of
the overall length and width of the car, as well as the hood, tires and roof.

Scale the dimensions down to model size. This is accomplished by dividing the length by a
consistent number. For example, achieving a model that is 1/30th the size of the original requires
dividing all original measurements by 30. Keep track of these new measurements.

Draw a plan for your model; make sure each part looks as accurate as possible. Use
your tape measure or a ruler to make sure each measurement is correct. Your plan will help you
prepare for the construction of each piece of your car as well as understand how they will look
when glued together.

Use your knife to carve out each piece from your building material; the building
material can be anything that you feel comfortable using. Use your tape measure or ruler
to make sure each piece of the model is the correct size.

Paint each piece the correct color or colors. Use multiple coats on each piece. Put all pieces
of the same color next to one another to ensure the color coating matches as perfectly as
possible.

Glue all your pieces together according to your paper drawing. Let the model sit for several hours
until the glue is dry.