Polytechnic University of the Philippines-Manila

College of Architecture, Design and the Built Environment

Department of Architecture

MODULE

ARCH 30022 - Architectural Visual Communication 2 –VISUAL TECHNIQUES 1 –

Monochromatic Drawings

Prepared By :

Ar. Ted Villamor G. Inocencio, M. Arch, FUAP

Associate Professor V
CAFA

Revised as of October 13, 2021 to align with E.O. #06

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 Polytechnic University of the Philippines
College of Architecture, Design and the Built Environment
Department of Architecture

College Instructional Materials Development

Introduction
The College of Architecture, Design and the Built Environment course module was envisaged to
be a catalyst for learning and was developed for facility in the sharing and transfer of knowledge for its
students. It was structured to be precise and concise, and therefore, intended to be straightforward and
forthright on its direction. Based from this intention, the module shall be comprised of course learning
materials which will cover the topics needed for successful understanding and comprehension towards
critical thinking and a new body of learning for the students. This learning tool is comprised as well of
supportive and adjunct conventional and net-based activities for the furtherance of basic and new
knowledge applications.

MODULE
ARCH 30022 - Architectural Visual Communication 2 –VISUAL
TECHNIQUES 1 – Monochromatic Drawings
Module Outline This PUP CADBE Module is broken down in the following major parts as follows :

 Introduction
 Overview
 Program Outcomes
 Course Learning Outcomes
 Module Objectives
 Lecture Notes and Resources
 Learning Materials and Topics
 Content Matrix
 Assessment and Rubric Scale
 References
 Author’s Copyright Statement
 Syllabus

Overview

We would like to introduce you to this subject-course, it is the first in a series of three Visual Techniques
courses in the curriculum. Basically, it is the formal introduction of the students on how to do formal
drawings and sketches in freehand norm. As the subject description states, “The course encompasses
study of visualization and graphic presentation in the form of freehand drawings including still life and
architectural forms and entourage using different media in black and white or monochrome.” Freehand
norm is emphatically mentioned, meaning though the technicality in sketching is taught but all exercises
must be done generally speaking without any majorly use of technical drawing instruments or
equipments. In this case, pencil shall be the vehicle medium for drawing expressions.

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Program Outcomes (BS Architecture) :

1. Creation of architectural solution by applying knowledge in history, theory, planning, building

technology and utilities, structural concepts and professional practice.
2. Application of research methods to address architectural problems.
3. Acquisition of entrepreneurial and business acumen relevant to Architecture practice.
Involvement in the management of the construction works and Building administration
Service orientation in one's profession.
4. To keep abreast with the developments in the field of architecture practice.
Use of concepts and principles from specialized fields and allied disciplines into various architectural
problems.
The ability to participate in the generation of new knowledge such as pioneering concepts beyond
the regular physical and location boundaries and contexts.
5. The ability to participate in various types of employment, development activities, and the public
discourses particularly in response to the needs of the community.
6. Use of various information and communication technology media for architectural solutions,
presentation and techniques in design and construction.
7. The ability to work effectively and independently in multi-disciplinary and multi-cultural teams.
8. Recognition of professional, social and ethical responsibilities.
Preparation of contract documents, technical reports and other legal documents used in
architectural practice adhering to applicable laws, standards and regulations.
9. Interpretation and application of relevant laws, codes, charters and standards of architecture and
the built environment.
The competencies to support national, regional and local development plans. (RA 7722)

Course Objectives (Visual Techniques 1) :

At the end of the course, the students should be able to:

1. Visualize three – dimensional forms through creative/imaginative exercises and use of visual aids
like live study models as subject for drawing/sketching as well as visual references/inspiration.

2. Prepare freehand drawings of basic learning exercises, still – life expressions, architectural
perspective and other architectural forms using media in black and white or monochrome with the
proper observation and application of set skills taught and learned.

3. Compile and submit portfolio of works as a preparation tool for proper works documentation and
as a matter of procedure in actual practice.

Module Objectives

1.) To express visual images in freehand norm following the basic principles applicable in drawing and
sketching. (expressive)

2.) To experience developmental progression for the students’ learning coming from knowledge shared
in the basic exercises to completing more complex images with the application and observance of the
visual properties and principles expected in the outcomes following certain drawing techniques and
strategies. (explorative)

3.) To enable the students in elucidating their visual thoughts and ideas into a tangible manifestation of
appreciable drawings pursued from the viewpoints of integrating art elements and its presence felt in
every creation. (empowerment-capacitative)

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Lecture/Notes

Freehand Drawing Defined

A freehand drawing is drawn without using instruments such as a ruler or a pair of compasses . It may also
include exercises without guides , use of straightedges and measurements. Its synonym is a sketch.
(https://www.collinsdictionary.com/dictionary/english/freehand)

It is one of the most necessary and valuable means of expression in Architecture by graphical
manner. While, mechanical drawing which utilizes drawing tools and equipment in production
drawing is also part of the course, there are certain situations or requirements to where
desirability to have knowledge in freehand drawing must be a basic knowledge for aspirants in
Architecture.

Students must learn to meet the following traits or personality criteria in order to
provide/produce acceptable sketches :

1. Possess a keen and accurate observation.

2. Must develop a good sense of proportion.
3. Should have a definite comprehension in handling or manipulating the use of a certain
drawing medium.

All these traits can be realized through constant practice tied with the right attitude and
values like patience and perseverance to achieve an aptitude in this field of study. It must be
noted that in the job opportunities listed in the curriculum, proficiency in drawing can be a source
of employment in some other fields related to Architecture or maybe indirect ones but in similar
fashion of visual expression.

Drawing is known as a graphic language and regarded as a universal form of basic

communication. This is so because there can be no amount of written words or language that
can best describe the shape of an object than a drawing. Why? It is for the simple reason that in
drawing a physical object, say, a human figure, it can be understood by anyone even if the person
being showed the drawing cannot understand nor speak a single word. If at all the word human
figure is communicated to a person, who does not speak the English language, chances are, he
may not be able to get the message across.

Examples :

Sketches by Michaelangelo and Peter Paul Reubens (https://www.quora.com/What-are-

someexamples-of-freehand-drawings)

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Various freehand architectural sketches using B/W media.
(https://www.google.com/search?q=freehand+architectural+drawing&sxsrf=ALeKk02gWXu50A
9v2jRmgHmC5-
xS41HnMQ:1596194000387&tbm=isch&source=iu&ictx=1&fir=hQesmSz7pAygaM%252CBHo-
w1z5XJI70M%252C_&vet=1&usg=AI4_-
kSoJWpPp3jwc75eToTWOBKS4Nz7PA&sa=X&ved=2ahUKEwjjvIqDrvfqAhWSfXAKHaOuDBYQ9Q
EwBnoECAMQMA&biw=1366&bih=657#imgrc=5ogvRUXl67JmmM)

Attaining drawing skills are not far-fetched, nor remote, if only one can develop the
preferred attitude and values, can devote time, can exert extra effort to learn and absorb learning
and give dedication to it.

Various Media for Graphical Expressions/Drawings :

1. Pencils/Graphite (Staedtler, Rapidographs, Rotrings, etc.) either conventional ones,

clutch or mechanical pencils with points.
2. Charcoals
3. Colored Pencils - Standard/Dilutable (Watercolor Pencils)
4. Pen and Ink – it includes technical pens of varied points, felt-tipped drawing pens,
gel/metallic loaded pens, and others…
5. Pentels, Yokens, Kurecolors, and other brands
6. Craypas, Glass markers (Dermatographs)
7. Opaques, Water colors (Aquarelle), Oils. Poster colors, Acrylics, and others like
alternative media.

Drawing Pencils

Graphite pencil is produced in various grades or degrees according to the softness or hardness
of the material. Different grades produce different types of marks. The grade of the pencil is
usually designated on the side or the end of the pencil. For drawing pencils, this designation is
in an alphanumeric value.

Writing pencils differ in how they are categorized and usually only feature a number. For
example, a #2 pencil is a standard writing pencil - which happens to be of the same softness as
an "HB" drawing pencil.
Grades of drawing pencils are organized in a scale based on softness or hardness. An "HB"
pencil is found directly in the center of the scale.

The "H" pencils feature harder graphite. (The "H" stands for "hard".) "B" pencils feature softer
graphite. (The "B" stands for "black".)
The number found in front of the letter reveals just how soft or hard the pencil is. In other
words, a "4H" pencil is harder than a "2H" pencil while a "4B" pencil is softer than a "2B" pencil.
Harder pencils produce lighter marks since less of the material is released as pressure is
applied. Softer pencils make darker marks since more of the material is released. Therefore, a

5
 "4H" pencil will produce lighter marks than an "2H" pencil while a "4B" pencil will make darker
marks than a "2B" pencil.

The Pencil Grade Meter :

The Pencil Grade “F”

The "F" pencil is similar in mark to an "HB" pencil, only slightly lighter. Like an "HB" pencil, it is
also capable of producing darker and lighter marks, but without any extremes. The graphite
material found in an "F" pencil is slightly harder than an "HB" pencil meaning that it can stay
sharp for a longer period of use. For this reason, this pencil is designated as "fine" which is why
this pencil is labeled with an "F".

There are various grades of drawing pencils which are grouped into the following :
General Class Grade/Type Usage
A.) Soft Pencils 2B, 3B, 4B, 5B, 6B and 7B Used for letterings and shadings
B.) Medium Pencils B, HB, F, H, 2H, 3H Used for final lines and for line emphasis
C.) Hard Pencils 4H, 5H, 6H, 7H, 8H, and 9H Used for blocking, guidelines, and layout lines.

Advantages and Disadvantages of Using Various Pencil Grades

One of the most important advantage of the "H" pencils is that they can stay sharp for a longer
period of use. In contrast, "B" pencils tend to dull quickly due to their softness. "H" pencils are
better suited for filling the tooth or texture of the paper, resulting in smoother transitions of tone
and value. "B" pencils fill the tooth to a lesser degree, making the texture of the paper more
noticeable. By combining "H" and "B" pencils in a drawing, smooth transitions of tone can be
developed without compromising a full range of value.

In rendering with the use of pencils, the "H" pencils are clearly capable of producing light marks,
but are limited in the range of tone. Putting more pressure on a "4H" pencil will not result in a
very dark mark. "B" pencils, however allow for a much broader range of possibilities. A "4B" pencil
for example can produce lighter marks by reducing pressure, but is also capable of producing
darker marks with additional pressure.

Available Pencil Brands

There are some drawing pencils brand in the Philippines, among them are Faber Castell,
Staedtler, Generals Layout Pencil, Derwent, Mongol, and Dixon Ticonderoga pencils and are
produced by different manufacturers and they vary in quality and behavior as well as the felt
belief that the student will find out which among them may give them more confidence and
facility in drawing.

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The first two are the most used by Architecture and Art students hereabouts, but other brands
not only here in the country maybe enjoyed to use and can be acquired via on-line selling
platform, if not directly from Office, School and Art Supplies stores. Locally, Mongol can be an
alternative though limited in grades since it comes only with # 1, #2, #2.5 and # 3 gradations.

As one draws, having a whole range of value should be one of the priorities of the artist or
renderer. By using a variety of degrees of graphite, we are at an advantage to develop the full
range of tonal qualities. One must understand that every pencil grade is not required to produce
the necessary contrast and that there are advantages and disadvantages for each grade of
graphite pencils.

(https://thevirtualinstructor.com/members/pencil-drawing-the-guide-to-graphite/)

Other Sketching/Drawing Instruments :

1. Sketch Pad – an artist’s sketch pad comes in various sizes and quantity. Usually spring-
binded with hard cover and white, soft textured paper or “leaves”.

2. Cutter – a device used to sharpen pencils. It has an adjustable blade with lock for safety
purposes.

3. Kneadead/Kneadable eraser – a gum-clay-like eraser that absorbs lead tailings and used
to erase pencil markings on paper without harming its texture and innate fibers.

4. Sharpening Pad – pieces of sandpaper adhered on a thin piece of balsa wood or palo-
china wood. It is used for the maintenance of pencil point by grinding the same to the
surface of sandpaper strip to enhance desired point configuration like chiseled, pointed
or rounded whenever necessary.

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 5. Erasing Shield – a thin piece of aluminum plate punched with holes of various sizes and
shapes and basically acting as a camouflage used to to avoid unnecessary erasures of
sketched portions not intended to. Likewise it is utilized to avoid damage on paper by
heavy-pressed erasing motion.

6. Drafting Brush or Fan Brush - it is used to clean debris resulting from drawings
especially eraser residues. It comes in lengths of 10”, 14-1/2”, 151/2”.

(https://www.google.com/search?sxsrf=ALeKk01RAlamJNVH1Re5mFV_bLbnvsf8Pw%3A159
6251141568&ei=BdwkX7qGIriVr7wPxc6DsAI&q=drafting+brush+definition&oq=drafting+brush
+use&gs_lcp=CgZwc3ktYWIQARgAMgQIABBHMgQIABBHMgQIABBHMgQIABBHMgQIABBHMgQI
ABBHMgQIABBHMgQIABBHUABYAGDQyAFoAHABeACAAQCIAQCSAQCYAQCqAQdnd3Mtd2l6w
AEB&sclient=psy-ab)

7. Shading or Blending Stump - it is a cylindrical drawing tool, usually made of soft paper
that is tightly wound into a stick and sanded to a point at both ends. It is used by artists to
smudge or blend marks made with pencil, charcoal, crayon, or other drawing media to
where its use could be applicable.

(https://www.google.com/search?q=shading+stump&oq=shading+stump&aqs=chrome..69i
57j0l6.3385j0j15&sourceid=chrome&ie=UTF-8)

Terminologies:

1. Surface – it is the exterior of an object having length and breadth with no thickness.

2. Solids – 3D figures or objects having length, breadth and thickness.

3. Point – it is considered as a geometrical object but dimensionless in quality. It

is generally represented by a small dot.

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4. Line – it is a thin or thick mark containing length but without depth. These
are considered principal kinds of lines as follows :

a.) Right Lines – commonly known as straight lines and regarded as the shortest
distance between two given points.
b.) Curved Lines - line having no straight part.
c.) Mixed Lines – it is consisting of both straight and curved lines in usage.
d.) Oblique Lines – it refer to lines which are not perpendicular nor parallel with
each other.

Line in Art

A line in art is defined as a point moving in space, and it’s one of the seven elements of art (line,
color, shape, form, texture, value, space). It is one of the most crucial elements, as everything
begins with just a simple dot in space, that transforms into lines and then drawings.
(https://yourartpath.com/types-of-line-in-art-meaning)

Types of Lines in Art

a.) Vertical lines are straight up and down lines that are moving in space without any slant and
are perpendicular to horizontal lines. They suggest height and strength because they extend
towards the sky and seem unshakeable.

b.) Horizontal lines are straight lines parallel to the horizon that move from left to right. They
suggest width, distance, calmness, and stability.

c.) Diagonal lines are straight lines that slant in any direction except horizontal or vertical.
When in use, they suggest movement or lack of stability.

d.) Zigzag lines are a series of diagonal lines joined at ends. They can convey action and
excitement, as well as restlessness and anxiety.

e.) Curved lines are lines that bend and change direction gradually. They can be simply wavy or
spiral. Such lines convey the feelings of comfort and ease, as well as sensual quality as they
remind us of the human body.

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Variations of Lines in Art

a.) Length in lines can be long (tall, strong, far) or short (small, cute, close).

b.) Width in lines goes from thin (delicate, slim, lightweight) to thick (strength,
weight, power).

c.) Weight in lines means the continuous change of width. By varying the weight,
one can capture energy, movement and even suggest when one object is in
front of the other.

d.) Texture in lines defines how smooth or rough it is. Varying it can simply mean
changing your working medium (for example, going from marker to charcoal or
changing your digital brush).

Style of Lines in Art

Style of lines refers to continuous, dotted, dashed or implied lines. Continuous or
implied lines are great for leading the eye of the viewer in the direction you want
them to go. Dashed or dotted lines are great for patterns, energy and calling for
attention.

Types of Lines in Art According to Use

a.) Contour lines - are a continuous line that defines the outline of a shape. They can
exist outside and inside a shape, or a figure and are often referred to as line art.
Some artists create contour lines by using the same width line, while others
change the width to give more energy and volume suggestions.

10
 b.) Continuous line - is when a drawing is done at one go without ever lifting it from
the page. This type of art ends up being very expressive and energetic if done
right, if done not-so-well it can simply end up looking messy.

c.) Parallel or cross-hatching lines - are used to create texture, volume, shading or
patterns. They are often used as one at a time and are very effective during
sketching. The more lines there are close together, the darker the area seems,
creating a shadow.

d.) Gesture lines - are quick continuous lines often used to represent human form
and movement, thus gesture drawing.

e.) Implied lines - are lines that aren’t physically present, but generated by our minds
based on other subjects. They are a very powerful tool in art and design, as they
guide the viewer’s eyes right where artist wants them to go.

5. Line Tone – considered as line effect which translates an expression of moods or intent
by applying or releasing pressure on hands to the pencil as one go along in drawing a
line as desired.

6.) Blocking/Blocking-in – a term used to denote a method of determining the silhouette of

an object or group of objects establishing proportionate extent of the drawing as it
should appear on paper.

7.) Shading – a method of giving depth to an object by means of lines, dots, gray tones, or
solids as a means of representation. Soft pencils are the most convenient and effective
medium to convey shades or shadows. In shading presentation, the rule-of-thumb is
that all the parts of an object that are exposed to the assumed position and angle of the
light source, they are the lightest portion of them. In drawing they are considered as the

11
 highlights’ of the delineation. While those parts of the object that are turned away from
the light, they are made darker only, the reason for this is that anyone should always
remember light has the capability to bounce from other surface/s resulting in deflection
or reflection of it on the same object.

8.) Rendu - an artistically finished architectural drawing representing a design problem.

(https://www.merriam-webster.com/dictionary/rendu)

9.) Exemplar - a person or thing serving as a typical example or excellent model.

(https://www.google.com/search?q=exemplars+meaning&oq=exemplars+mewaninni&a
qs=chrome.1.69i57j0l7.10310j1j8&sourceid=chrome&ie=UTF-8)

10.) Value - it is one of the most important dimension of monochromatic rendering as in

the use of pencil in a sketch. It represents the tonal quality of an object from white to
black in a range of achromatic grays. It is best represented in drawing exercises
through the use of a matrix known as the value scale.

The Value Scale

White (non-color,
absence of color)
High light
Application:

Light Value is the only dimension of

color which can exist outside of
color in a range of achromatic
Low light
grays between black and white. It
is probably the most important
Medium dimension in seeking to simulate
form and effect emphasis
through contrasts in light and
High dark
shade. With this, depth is
achieved in drawing/rendering
Dark techniques.

Low dark

Black (composition of all colors)

Course Materials

A. BASIC LINE EXERCISES AND APPLICATION

This topic dwells on the basic understanding of lines as used in sketching. Lines are moving points
in general accepted definition, but lines may represent certain things in expression, moreso, in
Architectural rendition especially in perspective and in the actual product of creation. A straight line may
represent man, horizontal lines or reposing lines may represent woman or nature, vertical lines may
signify God, and so on and so forth. As soon as man started to draw lines in caves’ inscriptions found in
Europe thousands of years ago, it is the virtual manifestation of humans taking into recorded account
through figurative expression the things he sees in his surroundings.

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 Topic 1 – The Alphabet of Lines
The alphabet of lines is the starting point of understanding lines as elements of art because
figures and images traced their roots from how the artist develop his creative expression by
comprehending the uses of lines in drawings. The exercise for this topic involve various line types as
expressed through line drawings on frames with an assumed distances between each other in freehand
norm in uniform tone. The student must start to develop how to draw lines confidently with consistency
and to train his eyes in consonance with the movement of his hand as he draw those lines, an early training
on confidence-building and acquiring personal skills in drawing.

Topic 2 – Line Tones/Values

Line tones and value creation is the primary exercise on pressure-controlled hand movement as
one goes along in drawing. The set line tone in a single stroke of pencil can give character and mood in
the outcome of the drawing and also start the stage for understanding the importance of value application
in the succeeding exercises.

B. PRINCIPLES OF CREATION IN SKETCHING

The principles of creation in sketching follows the basic elements of art and in design. Focus is one
aspect of it like in layout design, there are norms to be followed, for example, in creating an object or
group of objects in painting, the rule of thirds is observed.

Topic 3 – Creative Principles

Creative principles in drawing has to do with an approach the student must undertake especially
on exercises that deals with the provision of expressed requirements like patterns and textures where
representational images must be borne first from imagination and from whereby, the exercise shall show
the required renderings for the intended outcomes.

C. FORM CREATION IN GEOMETRY WITH SHADES AND SHADOWS APPLICATION

Geometrical forms are the basis of architectural expressions that expound on an objects mass and
volume. But they would remain a one-dimensional entity if not applied with the correct assumption of
shades and shadows. The five basic solid geometrical forms are Cube, Pyramid, Sphere, Cylinder and Cone
and on this topic shall be the basis for understanding massing and configuration as can be applied to
design and drawings.

Topic 4 – The Flagpole Assumption and its Components

The flagpole assumption is an application technique for shades and shadows (S/S) to where the
basis for understanding shall be the “flagpole”. An upright structure as the simple flagpole can cast
shadow on the ground plane to where it is standing. Observation showed that at any given time of day,
the characteristics and behavior of shadows can best be viewed especially the angular changes depending
on the solar azimuth the sun is taking according to season. This principle when applied in freehand drawing
gains a more closer representation of objects and images as they would appear in reality. It adds volume
and mass to renderings and gives an expression of firmness and solidity. One must understand the
components of this theory in S/S application as follows :
Light Source (LS) – where the light is coming from, left or right of the object or at a certain angle
in front or at the back in relation to the object
Light Angle (LA or theta) - the angle of the light from source towards the object
Light Direction (LD) or Light Plane (LP) – if indicative of parallel and uniform distribution, maybe
represented by light rays.
Light Elevation (LE) – height of the light source in relation to the object.
Casting Ray (CR) – the ray of light as it touches the object
Casting Edge (CE) – the transition point between areas that are exposed to light and areas that
are turned away from the light.
Ground Plane (GP) – the surface that would receive the light and shadows
Note : “The rule is : cWhen a shadow is intercepted by another object, the shadow goes up”

13
The exercise involved in this topic is the first technically-based encounter by the students on how to
delineate shades and shadows in freehand drawing in the closest possible means to what they may be
seeing in reality granted that the environmental qualities are the same in the assumption chosen. The
procedures shall be discussed in the lecture to be given.

Topic 5 – Casting of Shades and Shadows Application in Sketching

The topic here deals with the application of S/S in a more complicated setting as the figures
required is derived from certain conditions and configuration coming from the basic solid geometrical
forms of the previous exercise. Through this approach, the student would learn how to deal with figurative
casting of shades and shadows more eloquently and critically.
Derivation of forms shall be instructed and the procedures of placement/arrangement shall
likewise de discussed prior to the creation of how will be the composition.

D. REPRODUCTION TECHNIQUES IN PICTORIAL DRAWINGS

Reproduction techniques in drawings is a tool to transfer images following a more technical
application of the observance of scale and proportion. This is to introduce the student on how to make
renderings of a chosen image coming from references and imported it to be imprinted on the paper
following each and every detail and proportional rendition on the size of the required paper.

Topic – 6 – Graphing Technique/Technical Visual Translation

This is the basic technique required for the exercise needed. By graphing method, the translation
is exact and definitive since whatever graphs were made on the reference image or photograph, it follows
that the same number of graph lines to be made bothways on paper are the same but in a bigger gaps or
distances from each other mimicking the original ones done but certainly having the intention of creating
a bigger image. For clarity and facility in interpretation, the student may designate alphanumeric
codification on the vertical and horizontal lines from topmost left to right and from topmost left
downwards to the bottom,

E. STILL LIFE AND COMPOSITION

Definition of Still Life

It is a painting or drawing of an arrangement of objects, typically including fruit and flowers and
objects contrasting with these in texture, such as bowls and glassware.
(https://www.google.com/search?q=still+life+compositions&oq=still+life+compositions&aqs=chrome..6
9i57j0l5.6800j0j15&sourceid=chrome&ie=UTF-8)

It is also defined as a type of painting or drawing of an arrangement of objects that do not move,
such as flowers, fruit, bowls, etc… (https://dictionary.cambridge.org/us/dictionary/english/still-life)

It is a picture consisting predominantly of inanimate objects or the category of graphic arts

concerned with inanimate subject matter. (https://www.merriam-webster.com/dictionary/still%20life)

Definition of Composition

The composition is an arrangement of elements of the artwork that unites the elements into one
whole. Pay careful attention to the object placement inside the drawing from the beginning. There must
be a balance between the drawn objects and the space around them. ... This is the first stage of drawing
the still life.

14
(https://www.google.com/search?q=composition+in+drawing&oq=composition+in+drawing&aqs=chro
me..69i57j0l7.721105j1j15&sourceid=chrome&ie=UTF-8)

In the visual arts, composition is the placement or arrangement of the visual elements, such as
figures, trees, and so on in a work of art, as distinct from the subject or the style with which it is depicted.
It can also be thought of as the organization of the elements of art according to the principles of art.

The 7 Rules of Composition : :

1.) The Rule of Thirds.

The rule of thirds describes a basic compositional structure of a photograph. Taking any
image, you can split it into 9 segments by using 3 vertical and 3 horizontal lines. ... The rule
of thirds suggests placing key elements of your photo at the points where any of the lines
intersect.
(https://www.google.com/search?q=rule+of+thirds+in+composition&oq=rule+of+thirds+in+
composition&aqs=chrome..69i57j0l7.6962j0j15&sourceid=chrome&ie=UTF-8)

2.) Achieving Balance

Balance is a technique used in photography composition to juxtapose opposing elements

within a frame equally. In other words, when different parts of an image draw the viewer's
attention equally, the image is considered to be balanced.
(https://www.google.com/search?q=balance+in+composition&oq=balance+in+composition
&aqs=chrome..69i57j0l7.1538589j0j15&sourceid=chrome&ie=UTF-8)

3.) Use Leading Lines

A strong composition will tend to have leading lines that draw attention to your subject:
these can be horizontal, vertical or diagonal lines depending on the placement of your
subject in the frame.
(https://www.google.com/search?sxsrf=ALeKk02o_lTdnyPqa_7r1SeEynsGM4b65w%3A1597
200954927&q=use+of+leading+lines+in+composition&oq=use+of+leading+lines+in+composi
tion&aqs=heirloom-srp..)

4.) Be Aware of Patterns and Symmetry

We are surrounded by symmetry and patterns, both natural and man-made., They can make
for very eye-catching compositions, particularly in situations where they are not expected.
Another great way to use them is to break the symmetry or pattern in some way,
introducing tension and a focal point to the scene.
(https://www.google.com/search?sxsrf=ALeKk02L75ajcgH1O2cYEuUziVY2Y1LhMg%3A1597
201142758&q=patterns+and+symmetry+in+composition&oq=patterns+and+symmetry+in+c
omposition&aqs=heirloom-srp..)

5.) Framing Your Subject.

Framing refers to using elements of a scene to create a frame within your frame. For
example, you might shoot through a doorway, pulled back curtains, branches, fences,
tunnels, or arches to highlight your subject.
(https://www.google.com/search?sxsrf=ALeKk01q_gCbtxO9jCGjgxkxOFGwfXmgUA%3A1597
201343922&q=framing+subject+in+composition&oq=framing+subject+in+composition&aqs
=heirloom-srp..)

6.) Utilize Cropping.

Image composition is in many respects an art form. Rules are meant to be broken but a few
rules which should be considered when cropping for composition include: Rule of Thirds:

15
 Divide the frame into thirds horizontally and vertically. ... Focus Attention: Crop to make the
primary focus or center of attention clear.
(https://www.google.com/search?sxsrf=ALeKk02wIJpMWGLofUwVN8avQNzv0GoP9g%3A159
7201667176&q=cropping+composition&oq=cropping++in+composition&aqs=heirloom-
srp.2.0l4)

7.) Create a Focus.

The arrangement of elements to place emphasis on desired areas in your painting. Gradation:
A gradual change in a certain element to help connect the composition (long lines to short
lines, large shapes to small shapes, dark to light tones, etc).
(https://www.google.com/search?sxsrf=ALeKk01nwRAMWVtISHAs-
6fYu_XlisVv1Q%3A1597201973217&q=focus+in++composition+drawing+&oq=focus+in++co
mposition+drawing+&aqs=heirloom-srp..)

Topic 7 – The Principles of Artistic Composition

Composition is the term used to describe the arrangement of the visual elements in a painting
or other artwork. It is how the elements of art and design—line, shape, color, value, texture,
form, and space—are organized or composed according to the principles of art and design—
balance, contrast, emphasis, movement, pattern, rhythm, unity/variety—and other elements
of composition, to give the painting structure and convey the intent of the artist.

Composition is different from the subject matter of a painting. Every painting, whether
abstract or representational, regardless of subject matter, has a composition. Good
composition is essential to the success of a painting. Done successfully, good composition
draws the viewer in and then moves the viewer's eye across the whole painting so that
everything is taken in, finally settling on the main subject of the painting.

Elements of Composition
The elements of composition in art are used to arrange or organize the visual components in
a way that is pleasing to the artist and, one hopes, the viewer. They help give structure to the
layout of the painting and the way the subject is presented. They can also encourage or lead
the viewer's eye to wander around the whole painting, taking in everything and ultimately
coming back to rest on the focal point. In Western art the elements of composition are
generally considered to be:

1.) Unity: Do all the parts of the composition feel as if they belong together, or does
something feel stuck on, awkwardly out of place?

2.) Balance: Balance is the sense that the painting "feels right" and not heavier on one side.
Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical
arrangement creates a more dynamic feeling. A painting that is not balanced creates a sense
of unease.

3.) Movement: There are many ways to give a sense of movement in a painting, such as the
arrangement of objects, the position of figures, the flow of a river. You can use leading lines
(a photography term applicable to painting) to direct the viewer's eye into and around the
painting. Leading lines can be actual lines, such as the lines of a fence or railroad, or they can
be implied lines, such as a row of trees or curve of stones or circles.

4.) Rhythm: In much the same way music does, a piece of art can have a rhythm or underlying
beat that leads your eye to view the artwork at a certain pace. Look for the large underlying
shapes (squares, triangles, etc.) and repeated color.

5.) Focus (or Emphasis): The viewer's eye ultimately wants to rest on the "most important"
thing or focal point in the painting, otherwise the eye feels lost, wandering around in space.

16
 6.) Contrast: Paintings with high contrast—strong differences between light and dark, for
example—have a different feel than paintings with minimal contrast in light and dark, such as
in Whistler Nocturne series. In addition to light and dark, contrast can be differences in shape,
color, size, texture, type of line, etc.

7.) Pattern: A regular repetition of lines, shapes, colors, or values in a composition.

Proportion: How things fit together and relate to each other in terms of size and scale;
whether big or small, nearby or distant.

The elements of composition are not the same as the elements of art, though composition is
sometimes included as one of the latter.
(https://www.liveabout.com/elements-of-composition-in-art-2577514)

Topic 8 – The Use of Still Life Models as Application

A still life (plural: still lifes) is a work of art depicting mostly inanimate subject matter,
typically commonplace objects which are either natural (food, flowers, animals, plants, rocks,
shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).
Students do it in an actual assembly or in cases of animals or natural elements in natural
habitats, take photos of them and then translate into drawings.
Other objects are intended for certain skills-based exercises or practice sessions in terms
of effects like glass or metallic objects for reflection and light emission on those materials,
some other still life models were chosen based on the textures that are required to be
captured in rendering.

F. ARCHITECTURAL STRUCTURE RENDERING

As this learning material section implies, it is about a direct interpretation in drawing of structures
that are man-made and architectural in nature or appearance. The exercises are composed of actual
structures or proposed structures coming from references or implied ones through Imagineering activity.

Topic – 9 – Interior Perspective Rendering

The interior space is basically a domain of Architects, simply because moods/ambiance is
dictated by them and as interpreted via the clients’ requirements and based from the design
concept formulated. In drawing interior space renderings are usually done in 0ne or two-
point perspective plots and shall be in colored finish. However in this course(subject), since it
is monochromatic pencil, it is more on textural treatment that it should be made out with.
Include shades and shadows as depicted from chosen references.

Topic - 10 – Exterior Rendering

This exterior appearance of the building is best exemplified with a rendered exterior
perspective embodying the concept design of the architect. Here, architectural entourage
takes its essence to complete the drawing in an architectural way. Certain styles must be
developed and immersed in the architectural psyche of the student to differentiate his
distinctive rendering art from cartooning, comics, animé, or similar artforms. Include shades
and shadows as depicted from chosen references

G. OUTDOOR RENDU

Actual rendering of a chosen subject with emphasis on the actual application of scale and
proportion achieve through object-distance cognition technique via scaling tool utilization; pencil blocking
or boxing-in method and light, shades and shadows integration with textural treatment of surfaces
including softscape and hardscape elements.
Landscape - all the visible features of an area of countryside or land, often considered in terms of
their aesthetic appeal.
a.) Softscape - it refers to the live horticultural elements of a landscape. Softscaping can
include flowers, plants, shrubs, trees, flower beds, and duties like weed/nuisance management,

17
 grading, planting, mowing, trimming, aerating, spraying, and digging for everything from plants
and shrubs to flower beds. Water elements naturally integrated can be considered as a softscape
element.
b.) Hardscape - the man-made features used in landscape architecture, e.g. paths or
walls, fences, stepping stones, lanterns, sculptures, fountains ,rock arrangements, outdoor
furnitures, fixtures and contraptions, structural features such as gazebos and pergolas as
contrasted with vegetation. "Hardscape can take any manner of structure."

https://www.google.com/search?sxsrf=ALeKk01qpFS1kql6RMIxXBATevittyFV9Q%3A15972043299
80&q=landscape+definition&oq=landscape+definition&aqs=heirloom-srp..0l5

https://www.google.com/search?sxsrf=ALeKk03RUlq0ua8yoxVNMG9NRw3yhc2ChQ%3A1597219
433614&q=softscape+definition&oq=softscape+definition&aqs=heirloom-srp..

https://www.google.com/search?sxsrf=ALeKk03PuL9Jw4VQdRT2ouj1QBhPW6UkMw%3A1597219
678584&q=hardscape+definition&oq=hardscape+definition&aqs=heirloom-srp.0.0l5

Topic - 11 – Exterior Rendu - Landscape Spot or Chosen Community Structure

In this part of this topical activity, actual rendering of exterior spots or community
structure would represent a student’s encounter with drawing on the outdoors bereft of the comforts of
a specific studio-classroom amenities or the comforts of home. The rendering must be in actual and not
altered. “As is where is” shall be the norm in rendering.

Topic –12 - Exterior Rendu – Option 1 - Own House or Place of Residence/Option 2 – Your major
Plate in Design 1 ( FINAL EXAMINATION)
For Option 1 - Your house is an important influence in the collective memory of your being, having been
born, reared or have stayed for a greater part of your life now to where you are residing in the present.
Whether it is owned, rented, leased, homestead, rights only, caretakered, or whatever means of being
there doesn’t matter, nor located in a gated subdivision or in an informal location. It is a rendition of your
sentiments and must be captured in drawing. This, for the moment, shall be your testament of what you
are now and what will be your aspirations later on in your life. The rendition shall be honest, unpretentious
and truthfully captured.

For Option 2 – Your final Architectural Design 1 Plate is a major undertaking, whatever the design problem
that is posed upon you by your professor following the syllabus, would have a lasting impact on your
design cognition and decision later on as you develop your own design conviction as a professional. For
this option, you are to make a rendered perspective of your design project embodying all the techniques
and skills you acquired and develop this semester

18
 Content Activities – Visual Expression Exercises

The following are major activities required for the students to undergo as reflected in the Course Plan of the syllabus :

Week Topic/Plate/Exercise/A Material/Resources Procedures Exemplars

ctivity Title
Week 1 Initial Syllabus  Introduction to the course and policy statements.
Meeting/First Handouts  Briefing and rapport-building None.
day of classes Student Handbook  Statement of expectations and confidence-building/Classroom Procedure Diagnostic Assessment
 Course Outline presentation
 Course background lecture
 Required Materials - information and explanation (pls. refer to handouts)
 Standard class plate/exercises layout (see adjacent exemplar on the right column).
a.) For PORTRAIT LAYOUT (vertical) :
b.) Margins – 1.0 cm all around from the edge of the 12”x18”leaf of athe sketchpad.
c.) Title Block – from the lowest margin draw a line, height is 3.0 cms, then construct a 3.0 cms. box from
the rightmost margin and then trisect horizontally the remaining larger portion into equal parts
employing the line division techniques and then bisect vertically the whole field.
d.) Entries – on the first segment place P.U.P. above and below it C.A.F.A. On the second segment place
above the Plate # and Date, below shall be the Plate Title. On the last trisection, place above your name
and section directly under the name and below , the professor’s name and on the rightmost 3.0x3.0
cms box shall be reserved blank for the grade.
e.) For LANDSCAPE LAYOUT (horizontal), follow the same layout parts and content but lateral in
appearance.
Week 2 Plate # 1 - Line 1.) Sketchpad (12”x 18”) – 2 pcs.  Proper portrait layout of sketchpad leaves (prepare 2 pcs. for this exercise) and follow the required class
Exercises 1 – A/B 2.) Use conventional pencils as official layout and entries. No example is given for this very basic line exercises.
(Each line type required according to the  Boxing/frames – 8 sets ( 4 each sketchpad leaf) with top, left and right margins serving as part of the frames
must be need-specific usage as and 1.0 cm. gaps in-between each other and same width of gap above the title block ( these shall be the
expressed having lectured, here, use ‘HB’ for spaces for labellings)
uniform quality – application of lines. Do not use  Required line types to be drawn in FREEHAND only shall be as follows :
line thickness, clutch or mechanical pencils. 1.) Vertical
line tone and 3.) Kneadable/kneaded eraser 2.) Horizontal
approximate line 4.) Erasing shield. 3.) Diagonal (left origin)
gaps) 5.) Sharpening pad 4.) Diagonal (right origin)
6.) Heavy-duty cutter 5.) Sawtooth/Chevron
7.) Drafting brush (optional) 6.) Ripple/ring
7.) Undulating
8.) Harlequin
Notes:
1. Lines shall be drawn continuously and with approximately 0.75 cm. gaps in between
2. Lines must be drawn in uniform thickness. This can de ideally achieved if you roll the pencil between your
fingers as you move your hand in motion to draw the lines.
3. You are allowed to use your triangles in doing the frames’ layout and the title block only, however, the line
exercises, labellings and letterings must be in FREEHAND as stated.
4. Make abrupt line strokes, avoid stop-gap application.

19
 5. Do not do watermark lineguides and then tracing-out the lines having perfect distances and straightness.
6. Do not use pencil-rule manipulation.
Week 3 Plate # 2 - Line 1.) Sketchpad (12”x 18”) – 1 pc.  Proper portrait sheet layout of sketchpad leaves (prepare 1 pc. for this exercise) and follow the required
Exercise 2 (Line 2.) Use conventional pencils as class official layout and entries.
tone exercise) required according to the  First, create a geometric, edgy and contemporary-modern sculptural piece with segments.
need-specific usage as  Line types in previous exercise shall be again represented on each segment with expressed line tone quality.
lectured, here, use ‘B’ for Line types maybe repeated as long as the 8 line types must be explicitly shown.
application of lines. Do not use  Notes :
clutch or mechanical pencils. 1. Expressing line tone shall be the essence of this exercise as each line must be drawn with tonal progression
3.) Kneadable/kneaded eraser from dark to light or vice versa. This can be achieved by putting pressure
4.) Erasing shield. 2. Line gaps may be at a lesser distance at approximately at 3.0 – 5.0 mms. only.
5.) Sharpening pad Composition must be geometrically inspired like a modern abstract sculpture not representational.
6.) Heavy-duty cutter 3. Assumed that the created piece maybe made of concrete and as an exterior sculpture.
7.) Drafting brush (optional) 4. Use B pencil in uniform wedge pencil point with the wider part as the starting point for application.

Week 4 Plate # 3 - Value 1.) Sketchpad (12”x 18”) – 1 pc.  Proper portrait sheet layout of sketchpad leaves (prepare 1 pc. for this exercise) and follow the required
Scale and 2.) Use conventional pencils as class official layout and entries.
Application required according to the  After having laid out the margins and title block, and on the remaining open/blank portion draw a vertical
need-specific usage as line at 10.0 cms from the left margin touching the upper portion of the title block and the top margin. On
Objects : lectured, here, use ‘B’ for this part draw 9 boxes at 3.0 cms x 5.0 cms. with 0.75 cm gap in between boxes set at the center of the field.
Crumpled Paper application of the Value Scale The boxes shall represent the value scale having the lightest/white portion on top (it shall have the color of
and Own hand (VS) and the required the paper itself). It is comprised of the following in progressive manner : WHITE(W), HIGHLIGHT(HL),
(for rendering) application objects’ rendering LIGHT(L), LOWLIGHT(LL), MEDIUM(M), HIGH DARK(HD, DARK(D), LOW DARK(LD) , and, BLACK (B)
. Do not use clutch or  The remaining larger portion at the right side shall then be bisected vertically into equal parts to
mechanical pencils. accommodate the application part having on top a crumpled paper rendering and at the bottom having your
3.) Kneadable/kneaded eraser own hand resting on a table with a volume, not flat, as the live study model.
4.) Erasing shield.
5.) Sharpening pad
6.) Heavy-duty cutter
6.) Drafting brush (optional)
Week 5 Lecture – Discussion – Instruction
Week 6 Plate # 4 – 1.) Sketchpad (12”x 18”) – 1 pc.  Proper portrait sheet layout of sketchpad leaf (prepare 1 pc. for this exercise) and follow the required class
Design Patterns 2.) Use conventional pencils as official layout for margins, title block and entries.
for Finishing required according to the  Create design patterns for the following materials (choose two only) :
Materials need-specific usage as a.) Tile
lectured, here, use ‘B’ for the b.) Wallpaper
pattern designs rendu. Do not c.) Fabric
use clutch or mechanical d.) Panels
pencils.  On a hard cardboard or used folder, make cut-outs of the chosen/created prototype design for each material
3.) Kneadable/kneaded eraser representation (two different ones but appropriate with respect to the chosen material amongst the 4 given
4.) Erasing shield. above.)
5.) Sharpening pad  After making-out the margins and title block, the remaining portions shall be divided into two – upper and
6.) Heavy-duty cutter lower frames.
6.) Drafting brush (optional)  Pattern repeat : shall be either full-drop or half-drop)
 Represent and render the patterns in full observance of technical requirements learned in prior plates.
a.) Full-Drop – the design-patterns shall be set in a line and aligned bothways.

20
 b.) Half-Drop – the design-patterns are half-set off from the top of the initial pattern and in-between
them creating an alternately set unit of designs.

Week 7 Plate # 5 – 1.) Sketchpad (12”x 18”) – 1 pc.  Proper portrait sheet layout of sketchpad leaf (prepare 1 pc. for this exercise) and follow the required class
Material 2.) Use conventional pencils as official layout for margins, title block and entries.
Textures Rendu required according to the need-  Prepare 4 frames ( peripheral part of the frame coincides with the margin, provide 1.0 cm. gap in-between
specific usage as lectured, here, the frames at both the vertical and horizontal centerlines and the part between the bottom frame and the
use from ‘B’ to ‘6B’for the topline of the title block to accommodate the labellings) to represent the specified texture for the exercise
appropriate textural as follows :
representation. Do not use clutch a. Marble
or mechanical pencils. b. Ashlar/Rubble
3.) Kneadable/kneaded eraser c. Sawali
4.) Erasing shield. d. Wood (planks or block)
5.) Sharpening pad  Capture them realistically especially in the rendering of their intrinsic texture.
6.) Heavy-duty cutter  Use various pencil types to create the needed effects and details as deemed needed.
6.) Drafting brush (optional)  Improvise some techniques to enhance the texture like using finely pointed 3H pencil to create blank grains,
highlight streaks by using your erasing shield and kneaded eraser, etc…
 Explore other uses of some of your tools that maybe beneficial for your rendering.
Week 8 Plate # 6 – 1.) Sketchpad (12”x 18”) – 1 pc.  Proper landscape sheet layout of sketchpad leaf (prepare 1 pc. for this exercise) and follow the required
Shades and 2.) Use conventional pencils as class official layout for margins, title block and entries.
Shadows 1 required according to the need-  Consider the following basic geometrical solids – cube, pyramid, sphere, cone, and cylinder and make a
specific usage as lectured, here, grouping of them as like in an assemblage of forms and set them contiguous with one another as in creating
use from ‘B’ to ‘6B’for the balance and equilibrium.
appropriate rendering of  The solid forms can be set lying down, juxtaposed, or leaned-to, as long as they may show a coherent
objects’shades and the casting of grouping. This is intended to know the effects of casting shadow when they overlap each other because of
S/S. Do not use clutch or the objects’position and arrangement.
mechanical pencils.  Set your assembly of forms with the edge of the leftmost figure be located at the third portion of the field so
3.) Kneadable/kneaded eraser it can accommodate the shadows for casting on the right surface of the assembly.
4.) Erasing shield.  Technical Lecture on casting of shades and shadows using the flagpole assumption principle (pls. refer to
5.) Sharpening pad handouts).
6.) Heavy-duty cutter  Application of shades and shadows S/S on a chosen assembly/grouping of basic solid geometrical forms.
6.) Drafting brush (optional)  Explore rendering method application like contrasting light and dark parts and their transition in defining
your casting edges instead of full lines.

21
Week 9 Lecture – Discussion – Instruction
Week Plate # 7 – 1.) Sketchpad (12”x 18”) – 1 pc.  Proper landscape sheet layout of sketchpad leaf (prepare 1 pc. for this exercise) and follow the required
10 Shades and 2.) Use conventional pencils as class official layout for margins, title block and entries.
Shadows 2 - required according to the  Just like the previous exercise (Plate # 7), create an assembly of similar basic solid geometrical forms but
MIDTERM need-specific usage as with a twist, the forms shall be treated to have a different configuration as follows :
EXAMS lectured, here, use from ‘B’ to a. Truncated g. Twisted
‘6B’for the appropriate b. Bored – through h. De-constructed
rendering of objects’shades c. Holed-in i. Penetrated
and the casting of S/S. Do not d. Depressed j. Pierced-through
use clutch or mechanical e. Chamfered k. Slanted
pencils. f. Coffered l. Twirled
3.) Kneadable/kneaded eraser  The forms must be created where it can clearly be discerned that each are coming from the 5 basic solid
4.) Erasing shield. geometrical forms. They must be set as a grouping as well following the previous required positioning – lying
5.) Sharpening pad down, juxtaposed, or leaned-to .
6.) Heavy-duty cutter  Application of S/S on the chosen assembly/grouping of complex solid geometrical forms as stated above.
6.) Drafting brush (optional)

Week Lecture – Discussion – Instruction

11
Week Plate # 8 - 1.) Sketchpad (12”x 18”) – 1 pc.  Proper FREE (any orientation depending on the blocking quality of the object whether landscape or
12 Reproduction 2.) Use conventional pencils as portrait) sheet layout and follow the required class official layout for margins, title block and entries.
Techniques required according to the  Blocking quality is the massing of object/s in relation to its extreme width against its height.
need-specific usage as  First, choose a picture or photo of the desired architectural object, say an Oriental bracket or a portion of a
lectured, here, use from ‘B’ to classical moulding, esconces, medallions, floral motifs, emblems, statuaries, building dacade or folkloric
‘6B’for the appropriate decoration as in a panolong in Mindanao.
rendering of objects’shades  Use the graphing method – put grids on the photo using a pencil set at smaller gaps, say 75.0 mm. and then
and the casting of S/S. Do not on your paper set same grid at a bigger distance between each gridline bothways. You may place horizontal
use clutch or mechanical or vertical line designations in alphanumeric manner, assigned on each side.
pencils.  Do the transfer of images or object/s exactly what you can see on the photo and onto the sketchpad.
3.) Kneadable/kneaded eraser  Attached or show a copy of reference for reproduction techniques.
4.) Erasing shield.  Maybe a collab plate with your Architectural Design/HOA 1/ TOA 1 subjects.
5.) Sharpening pad
6.) Heavy-duty cutter
7.) Drafting brush (optional)
8.) Shading stamp
Week Plate # 9 - Still 1.) Sketchpad (12”x 18”) – 1 pc.  Proper FREE (any orientation depending on the blocking quality of the object whether landscape or
13 Life 1 – Materials 2.) Use conventional pencils as portrait) sheet layout and follow the required class official layout for margins, title block and entries.
of Decoration required according to the  Make an assembly of live models comprised of decorative materials found in your home like vases,
need-specific usage as figurines, mobiles arts and crafts products.
lectured, here, use from ‘B’ to  It must have a pronounced foreground (place mats, table linens, crochet, doilies, etc) and background
‘6B’for the appropriate ( curtains or drapes, paintings, tapestry, wallpaper, etc.) with the objects arranged on middle ground.
rendering of objects’shades  Decorative objectsOwn assembly of objects.
and the casting of S/S. Do not  Use of spotlight beamed on the assembled still-life models if applicable, otherwise, assumed light
use clutch or mechanical source.
pencils.  You may use shading stamp for S/S application.
3.) Kneadable/kneaded eraser
4.) Erasing shield.
5.) Sharpening pad

22
 6.) Heavy-duty cutter
7.) Drafting brush (optional)
8.) Shading stamp

Week Plate # 10 - 1.) Sketchpad (12”x 18”) – 1 pc.  Proper landscape sheet layout and follow the required class official layout for margins, title block and
13 Interior 2.) Use conventional pencils as entries.
Perspective required according to the need-  Get inspiration of an interior perspective of a museum whether existing or proposed from printed
specific usage as lectured, here, reference materials like books, journals or from e-sources.
use from ‘B’ to ‘6B’for the  You may employ the graphing method for reproduction or may directly make the sketch on paper.
appropriate rendering of  Observe proper scale and proportion.
objects’shades and the casting of • You may use shading stamp for S/S application.
S/S. Do not use clutch or
mechanical pencils.
3.) Kneadable/kneaded eraser
4.) Erasing shield.
5.) Sharpening pad
6.) Heavy-duty cutter
7.) Drafting brush (optional)
Week Lecture – Discussion – Instruction
14
Plate # 11 – 1.) Sketchpad (12”x 18”) – 1 pc.  Proper FREE (any orientation depending on the blocking quality of the object whether landscape or
Week Outdoors 1 – 2.) Use conventional pencils as portrait) sheet layout and follow the required class official layout for margins, title block and entries.
15 Our House required according to the  Draw and render an exterior perspective of the house you are staying whether your family own it or
(FINAL EXAMS) need-specific usage as renting/leasing or owned by someone else as long as it is what you call home,
lectured, here, use from ‘B’ to  Make an honest rendition, meaning sketch it as is, no tampering or making it more pleasing.
‘6B’for the appropriate  Capture the scene naturally. Do not glamorize nor beautify.
rendering of objects’shades  Do not use shading stamp, render it by pencil strokes.
and the casting of S/S. Do not  Apply all the techniques in drawing that you have learned.
use clutch or mechanical
pencils.
3.) Kneadable/kneaded eraser
4.) Erasing shield.
5.) Sharpening pad
6.) Heavy-duty cutter
7.) Drafting brush (optional)
WEEK Lecture – Discussion – Instruction
16

23
Week Compilation 1. All plates that were returned  Proper presentation techniques for portfolio making
17 Activities  Steps to follow :
a.) Front and back cover shall be cartolina paper and must follow the assigned color code per
section.
b.) The size of the cover must coincide with the size of the sketch pad size of 12”x 18”.
c.) Arrangement of the plates according to orientation shall be as follows, for portrait layout – title
block shall be at the bottom side while for landscape layout – title block shall be on the right
side.
d.) Afterwhich, set the location for two (2) sets of fasteners that must be attached on the topmost
part of the compilation to hold the leaves of the sketch pad. Then, the front and back portion of
the pastener must be covered with a continuous 3/4”width masking tape running from the left
to right edges. Prior to this, and after having all the letterings done, the student may wrap the
front and back cover with plastic acetate sheet (may use book cover plastic). The inside fold of
this plastic protective material maybe secured first with a continuous tape using a clear scotch
tape.
e.) The front cover shall have the following information :
1.) At the third portion from the top, place, Portfolio-Compilation of Output Exercises in Visual
Techniques 1 – Monochromatic Drawings
2.) At the lower right corner, place your Full Name, Course, Year and Section, Professor’s
Name, and Date of Submission.
f.) On the first page after the front cover shall be the Table of Contents following the Matrix shown
below :
Table of Contents
Plate Plate Title Date Grade Remarks
Number Submitted Obtained
1
2
Etc.
g. The “Remarks”shall be as indicator of plate being “Retained” (Excellent)
h. Font Style and appropriate size to be used in lettering for the Front Cover and Table of Contents
shall be the student’s choice.

Week Removal/ Class 1.) Sketchpad (12”x 18”) – 1 pc.  To be ascertained.

18 Round-up 2.) Use conventional pencils as
activities required according to the
need-specific usage as
lectured, here, use from ‘B’ to
‘6B’for the appropriate
rendering of objects’shades
and the casting of S/S. Do not
use clutch or mechanical
pencils.
3.) Kneadable/kneaded eraser
4.) Erasing shield.
5.) Sharpening pad
6.) Heavy-duty cutter
7.) Drafting brush (optional)

24
8.) Shading stamp

25
Rubrics/Assessment Norm:

ASSESSMENT RUBRIC
Student’s Name :
Plate No./Title:
A B C D Failed
Excellent Very Good Good Fair Poor Professor’s
Criteria Outstanding Above Average Average Below Average Unsatisfactory Grade
Exemplary Acceptable Generally Acceptable Barely Acceptable Unacceptable
93-100 86-92 78-85 75-76 74 and below
1.) Consistency, Skills and Craftsmanship
2.) Creativity, Artistry and Originality
3.) Effort and Perseverance
4.) Observe Principles of Visual Composition
5.) Adherence to all Requirements and Instructions both
Technical and Aesthetical
Average (Total/5)

GRADE

Component Criteria Indicators :

1.) Craftsmanship/Skills/Consistency
A: The artwork was beautiful and patiently done; it was as good as hard work could make it.
B: With a little more effort, the work could have been outstanding; lacks the finishing touches.
C: The student showed average craftsmanship; adequate, but not as good as it could have been, a bit careless.
D: The student showed below average craftsmanship, lack of pride in finished work.
F: The student showed poor craftsmanship; evidence of lazy this or lack of understanding.
2.) Creativity, Artistry and Originality
A: The student explored several choices before selecting one; generating many ideas; tried unusual combinations or changes on several ideas; made connections to
previous knowledge; demonstrated understanding problem solving skills.
B: The student tried a few ideas for selecting one; or based his or her work on someone else's idea; made decisions after referring to one source; solve the problem in
logical way.

26
 C: The student tried in idea, and help out adequately, but it lacked originality; substituted "symbols" for personal observation; might have copied work.
D: The student fulfill the assignment, but gave no evidence of trying anything unusual.
F: The student showed no evidence of original thought.
3.) Effort and Perseverance
A: The project was continued until it was complete as the student could make it; gave it effort far beyond that required; to pride in going well beyond the requirement.
B: The student work hard and completed the project, but with a loom or effort it might have been outstanding.
C: The student finished the project, but it could have been improved with more effort; adequate interpretation of the assignment, but lacking finish; chose an easy project
and did it indifferently.
D: The project was completed with minimum effort.
F: The student did not finished the work adequately.
4.) Observe Principles of Visual Composition
A. The principles were fully shown justifiably.
B. There were certain principles or components that were not clearly conveyed and shown in the drawing.
C. The drawing does not showed adoption of some visual composition principles.
D. There were limited visual composition principles shown as adopted in the rendering.
F. Very clear manifestation of minimal visual composition principles used.
5,) Adherence to all Requirements and Instructions both Technical and Aesthetical
A: The student has followed and fully all the given requirements and instruction both technically and aesthetically.
B: The student has complied but with less sensitivity to the requirements.
C. The student lacks some adherence to the requirements and instructions given.
D. The student showed a much lesser adherence and compliance.
F. The student barely showed adherence and compliance to the requirements and instructions.

27
References

1.) ARCHITECTURAL PRESENTATION, Bert Bielefeld, John Wiley and Sons, In c., 2007
2.) ARCHITECTURAL DRAWING : A Visual Compedium of Types and Methods, Rendon Yee, John Wiley
and Sons, Inc., 2013
3.) DRAWING WITH PENCILS AND PASTELS : Practical Handbook, Hazel Harrison, Lorenz Books, Inc.,
1999
4.) ASIAN ART : An Illustrated History of Sculpture, Painting and Architecture, Hamlyn, Publisher,
1987
5.) UNDERSTANDING ART, Lois Fichner-Rathus, Cengage Learning, Publisher, 2017

Copyright Statement

No part of this module shall be copied, reproduced, printed, published

or used in similar or related actions without a written permission from
the author as embodied in R.A. 8293, the Philippine Copyright Law.

28
 POLYTECHNIC UNIVERSITY OF THE PHILIPPINES
Name of College
Name of DEPARTMENT

COURSE TITLE Architectural Visual Communication 2 - VISUAL TECHNIQUES 1

COURSE CODE ARCH 30022
CREDIT UNITS 2 credit units (4 hours: 1 hour lecture and 3 hours studio work/week)
COURSE PREREQUISITE NONE, Post-Requisite : ARCH 30092- Architectural Visual Communication 4 – Visual Techniques 2
COURSE DESCRIPTION The course encompasses study of visualization and graphic presentation in the form of freehand drawings including still life and architectural forms and entourage using different
media in black and white/ monochrome.
Institutional Learning Outcomes Program Outcomes Course Outcomes
1. Creative and Critical Thinking 1. Creation of architectural solution by applying knowledge in At the end of the course, the students should be able to:
Graduates use their imaginative as well as a rational thinking abilities history, theory, planning, building technology and utilities, structural
to life situations in order push boundaries, realize possibilities, and concepts and professional practice. 1. Visualize three – dimensional forms through creative exercises and
deepen their interdisciplinary and general understanding of the world. 2. Application of research methods to address architectural problems. use of live study models as subject for drawing/sketching.
2. Effective Communication 3. Acquisition of entrepreneurial and business acumen relevant to
Graduates are proficient in the four macro skills in communication Architecture practice. 2. Prepare freehand drawings of still – life, architectural perspective
(reading, writing, listening, and speaking) and are able to use these Involvement in the management of the construction works and and other architectural forms using different media in black and white
skills in solving problems. Making decisions, and articulating thoughts Building administration and monochrome with the proper observation and application of set
when engaging with people in various circumstances. Service orientation in one's profession. skills taught and learned.
3. Strong Service Orientation 4. To keep abreast with the developments in the field of architecture
Graduates exemplify the potentialities of an efficient, well-rounded practice. 3. Compile and submit portfolio of works as a preparation for proper
and responsible professional deeply committed to service excellence. Use of concepts and principles from specialized fields and allied documentation of works as a matter of procedure and in actual practice.
4. Community Engagement disciplines into various architectural problems.
Graduates take an active role in the promotion and fulfillment of The ability to participate in the generation of new knowledge such as
various advocacies (educational, social and environmental) for the pioneering concepts beyond the regular physical and location
advancement of community welfare. boundaries and contexts.
5. Adeptness in the Responsible Use of Technology 5. The ability to participate in various types of employment,
Graduates demonstrate optimized use of digital learning abilities, development activities, and the public discourses particularly in
including technical and numerical skills. response to the needs of the community.
6. Passion to Lifelong Learning 6. Use of various information and communication technology media
Graduates are enabled to perform and function in the society by taking for architectural solutions, presentation and techniques in design and
responsibility in their quest to know more about the world through construction.
lifelong learning. 7. The ability to work effectively and independently in multi-
7. High Level of Leadership and Organizational Skills disciplinary and multi-cultural teams.
Graduates are developed to become the best professionals in their 8. Recognition of professional, social and ethical responsibilities.
respective disciplines by manifesting the appropriate skills and Preparation of contract documents, technical reports and other legal
leaderships qualities. documents used in architectural practice adhering to applicable laws,
8. Sense of Personal and Professional Ethics standards and regulations.
Graduates show desirable attitudes and behavior either in their 9. Interpretation and application of relevant laws, codes, charters and
personal and professional circumstances. standards of architecture and the built environment.

29
9. Sense of National and Global Responsiveness The competencies to support national, regional and local development
Graduates’ deep sense of national compliments the need to live in a plans. (RA 7722)
global village where one’s culture and other people culture are respected.

Course Plan

Week Topic Learning Outcomes Methodology Resources Assessment

Week 1 Initial Meeting/First day LO1. Understand and appreciate the basics of  Introduction to the course and policy Course Syllabus Diagnostic Exercise
of classes freehand drawing and sketching by way of statements.
exercises and plates imbued with appropriate  Briefing and rapport-building BASIC DRAWING, Jean Gallagher Comprehension
values and attitudes needed.  Statement of expectations and HOW TO DRAW, Adrian Hill Survey
confidence-building DRAWING STEP-TO-STEP GUIDETO
LO2. Become familiar with materials of visual  Course Outline presentation DRAWING TECHNIQUES, Angela Gair
expression in freehand drawing and how to  Course background lecture ARCHITECTURAL PRESENTATION, Bert
gauge, manipulate and use them accordingly in  Materials needed information and Bielefeld, John Wiley and Sons, In c., 2007
their studio exercises/activities. explanation. ARCHITECTURAL DRAWING : A Visual
Compedium of Types and Methods, Rendon
Yee, John Wiley and Sons, Inc., 2013
DRAWING WITH PENCILS AND PASTELS :
Practical Handbook, Hazel Harrison, Lorenz
Books, Inc., 1999
ASIAN ART : An Illustrated History of
Sculpture, Painting and Architecture,
Hamlyn, Publisher, 1987
UNDERSTANDING ART, Lois Fichner-
Rathus, Cengage Learning, Publisher, 2017
Handouts

PUP Students Handbook (2013 Edition –

latest)
Week 2 Line Exercises 1 – A/B LO1. Understand and appreciate the basics of  Proper layouting of sketchpad leaves (2) Handouts Studio Exercises/Plate
(Uniform lines – freehand drawing and sketching by way of  Boxing/frames – 8 sets ( 4 each sketchpad
thickness, tone and gaps) exercises and plates imbued with appropriate leaf) with imaginary margins and 1.0 cm. Drawing materials, tools and equipments
values and attitudes needed. gaps in-between each other and with the needed for the exercise/plate based from prior
title block ( these shall be the spaces for instructions.
labellings)
LO3 Learn how to sketch in a more formal way  Line types shall be as follows : References as stated above
with proper observance of the technical aspects 1.) Vertical
of freehand drawing. 2.) Horizontal

30
 3.) Diagonal (left)
LO4. Gain self-confidence in the belief that in 4.) Diagonal (right)
drawing or sketching, talents can be developed 5.) Sawtooth/Chevron
through constant practice and application of 6.) Ripple/ring
knowledge learned. 7.) Undulating
8.) Harlequin
Note:
Lines shall be drawn continuously and with
approximately 0.75 cm. gaps in between.

Week 3 Line Exercise 2 (Line LO1. Understand and appreciate the basics of  Proper sheet layout Handouts Studio Exercises/Plate
tone exercise) freehand drawing and sketching by way of  Create a geometric, edgy and
exercises and plates imbued with appropriate contemporary-modern sculptural piece Drawing materials, tools and equipments
values and attitudes needed. with segments. needed for the exercise/plate based from prior
 Line types given shall be drawn on each instructions.
segment with line tone quality.
LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.
Week 4 Value Scale and LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
Application freehand drawing and sketching by way of class including the steps (blind plate)
Objects : Crumpled exercises and plates imbued with appropriate Drawing materials, tools and equipments
Paper and Own hand values and attitudes needed. needed for the exercise/plate based from prior
(for rendering) instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 5 Value Scale LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
Representation freehand drawing and sketching by way of class including the steps (blind plate)

31
 exercises and plates imbued with appropriate  Think of a graphic representation to Drawing materials, tools and equipments
values and attitudes needed. make the 9-grade value scale. needed for the exercise/plate based from prior
 Render in freehand drawing. instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 6 Patterns LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
freehand drawing and sketching by way of class including the steps.
exercises and plates imbued with appropriate  Create design patterns for the following Drawing materials, tools and equipments
values and attitudes needed. materials (choose two only) : needed for the exercise/plate based from prior
a.) Tile instructions.
b.) Wallpaper
LO3 Learn how to sketch in a more formal way c.) Fabric References as stated above
with proper observance of the technical aspects d.) Panels
of freehand drawing.  Make cut-outs of the chosen/created
prototype design for each material
LO4. Gain self-confidence in the belief that in representation (two only)
drawing or sketching, talents can be developed  Layout is portrait with the remaining
through constant practice and application of portions after the margins and title block
knowledge learned. be divided into two horizontal frames.
Pattern repeat : shall be either full-drop
or half-drop )for discussion)
 Represent and render the patterns in full
observance of technical requirements
learned in prior plates.
Week 7 Textures LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
freehand drawing and sketching by way of class including the steps.
exercises and plates imbued with appropriate  Layout : Portrait/Vertical Drawing materials, tools and equipments
values and attitudes needed.  Prepare 4 frames to represent the needed for the exercise/plate based from prior
specified texture for the exercise. instructions.
 Use various pencil types to create the
LO3 Learn how to sketch in a more formal way needed effects/details. References as stated above
with proper observance of the technical aspects  Improvise some techniques to enhance
of freehand drawing. the texture.

32
 LO4. Gain self-confidence in the belief that in
drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 8 Shades and Shadows 1 LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
freehand drawing and sketching by way of class including the steps.
exercises and plates imbued with appropriate  Layout : Landscape/Horizontal Drawing materials, tools and equipments
values and attitudes needed.  Technical Lecture on casting of shades needed for the exercise/plate based from prior
and shadows using the flagpole instructions.
assumption principle.
LO3 Learn how to sketch in a more formal way  Application of S/S on a chosen References as stated above
with proper observance of the technical aspects assembly/grouping of basic solid
of freehand drawing. geometrical forms.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 9 Shades and Shadows 2 - LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
MIDTERM EXAMS freehand drawing and sketching by way of class including the steps.
exercises and plates imbued with appropriate  Layout : Landscape/Horizontal Drawing materials, tools and equipments
values and attitudes needed.  Application of S/S on a chosen needed for the exercise/plate based from prior
assembly/grouping of complex solid instructions.
geometrical forms as stated in the
LO3 Learn how to sketch in a more formal way rationale. References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 10 Reproduction LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts StudioExercises/Plate
Techniques : A and B freehand drawing and sketching by way of class including the steps.
exercises and plates imbued with appropriate  Layout : Landscape/Horizontal Drawing materials, tools and equipments
values and attitudes needed.  Attached copy of reference for needed for the exercise/plate based from prior
reproduction techniques in Plate #9B instructions.

33
 Note: Plate #9B is take- (Motor Vehicles : Calesa, tricycle, cars
home plate. LO3 Learn how to sketch in a more formal way (old or new models), motorbikes) – References as stated above
with proper observance of the technical aspects photocopy or photo of subject/object
of freehand drawing. inspiration
 Lecture-discussion and instructions.
LO4. Gain self-confidence in the belief that in
drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 11 Still Life 1 – Studio LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio
Assembly (as-is, where- freehand drawing and sketching by way of class including the steps. Exercises/Plates –
is) exercises and plates imbued with appropriate  Layout : TBA Drawing materials, tools and equipments 2Dimensional
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
presentation
 Assembly of objects. instructions.
 Use of spotlight beamed on the still-life
LO3 Learn how to sketch in a more formal way models. References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 12 Still Life 2 – Materials of LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
Decoration freehand drawing and sketching by way of class including the steps. – Relief-modelling
exercises and plates imbued with appropriate  Layout : TBA Drawing materials, tools and equipments
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
 Own assembly of objects. instructions.
 Use of spotlight beamed on the
LO3 Learn how to sketch in a more formal way assembled still-life models if applicable, References as stated above
with proper observance of the technical aspects otherwise, assumed light source.
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

34
Week 13 Interior Perspective LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
freehand drawing and sketching by way of class including the steps. – Topographical
exercises and plates imbued with appropriate  Layout : FREE Drawing materials, tools and equipments modelling
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 14 Exterior Perspective LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
(Normal view) freehand drawing and sketching by way of class including the steps. – Scaled table-
exercises and plates imbued with appropriate  Layout : FREE Drawing materials, tools and equipments modelling
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Outdoors 1 - Obelisk LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Studio Exercises/Plate
Week 15 freehand drawing and sketching by way of class including the steps. - Layouting
exercises and plates imbued with appropriate  Layout : Portrait Drawing materials, tools and equipments
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

35
 LO4. Gain self-confidence in the belief that in
drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Outdoors 2 – FINAL LO1. Understand and appreciate the basics of  Proper sheet layout as to be discussed in Handouts Personal/Individual
Week 16 EXAMS freehand drawing and sketching by way of class including the steps. Company Profile
exercises and plates imbued with appropriate  Layout : FREE Drawing materials, tools and equipments Brochure for the
values and attitudes needed.  Lecture-discussion and instructions. needed for the exercise/plate based from prior
future.
 No littering on coveted spot instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

Week 17 Compilation Activities LO5. Develop the habit of documentation of  Proper presentation techniques for Handouts Individual
works and compiling them in a portfolio of portfolio making. presentation styling
works showing the progress they have made in Drawing materials, tools and equipments
the course of their studies and set skills learned needed for the exercise/plate based from prior
in the process . instructions.

References as stated above

Week 18 Removal/ Class Round- LO1. Understand and appreciate the basics of  To be ascertained Handouts Removal
up activities freehand drawing and sketching by way of Exercise/Plate/Related
exercises and plates imbued with appropriate Drawing materials, tools and equipments Special Project
values and attitudes needed. needed for the exercise/plate based from prior
instructions.

LO3 Learn how to sketch in a more formal way References as stated above
with proper observance of the technical aspects
of freehand drawing.

LO4. Gain self-confidence in the belief that in

drawing or sketching, talents can be developed
through constant practice and application of
knowledge learned.

36
Suggested Readings and References
1.) ARCHITECTURAL PRESENTATION, Bert Bielefeld, John Wiley and Sons, In c., 2007
2.) ARCHITECTURAL DRAWING : A Visual Compedium of Types and Methods, Rendon Yee, John Wiley and Sons, Inc., 2013
3.) DRAWING WITH PENCILS AND PASTELS : Practical Handbook, Hazel Harrison, Lorenz Books, Inc., 1999
4.) ASIAN ART : An Illustrated History of Sculpture, Painting and Architecture, Hamlyn, Publisher, 1987
5.) UNDERSTANDING ART, Lois Fichner-Rathus, Cengage Learning, Publisher, 2017

Course Grading System

INPUTS PER GRADING PERIOD GRADE COMPUTATION
1. PL/EX Plates/Exercises Laboratory/Studio Subject:
2. AS Assignments
3. CW Collab Works (Group undertaking) 1st Grading Period
5. CSG Class Standing Grade (PL/EX + AS + CW)/n = CSG (Midterm Period)
6. n Total no. of class requirements (CSG x 60%)+(ME x 40%) = 1st Grading Period Grade
7. ME Midterm Examination
8. FE Final Examination 2nd Grading Period
9. DE Departmental Examination (PL/EX + AS + CW)/n = CSG (Final Period)
10. FR Final Rating (CSG x 60%)+(DE x 20%)+ (FE x 20%) = 2ndst Period Grading

Final Rating (FR):

FR= 1st Gading Period + 2nd Grading Period
2

PERCENTAGES EQUIVALENT PERCENTAGES EQUIVALENT

1.0 98-100* Excellent 3.00 75-76* Passing
1.25 95-97 Excellent 5.00 Failure
1.50 91-94 Very Good INC Incomplete
1.75 88-90 Very Good W Withdrawn
2.00 85-87 Good
2.25 82-84 Good
2.50 80-81 Satisfactory
2.75 77-79 Satisfactory
*For Verification
Classroom Policy
UNIVERSITY POLICIES:
Source: Student Handbook 2013 Revised Edition

37
ACADEMIC INTEGRITY: The College of Architecture and Fine Arts of the Polytechnic University of the Philippines commits itself to the principles of truth and honestly. All students are expected to abide by high standards of honesty in all
the academic endeavor. Plagiarism and cheating in any form will not be tolerated. This serious violation will result to sanctions as stipulated in the Student Handbook 2013 Revised Edition Title 9 Code of Discipline.

CLASS PARTICIPATION:
A mid-term grade will be entered in the SIS grading system one week after the mid-term examination. Active class participation expect. Active class participation is define as – completion of assignments, reports, oral presentation of work, and
attending the class regularly provides the students opportunity to effectively succeed in the course. Students are expected to come to class on time and turn in acceptable work on or before due dates. The students will be given WITHDRAWN
from the class before the mid-term if EITHER of the following is evident.
1. The student has 20% (4 class schedules) or more unexcused absences by the mid-point in the semester, OR
2. The student has received fewer than 50% of the grade required by the mid-point.
If either of the two condition is evident, it is the responsibility of the student to meet with the profession outside the class hours to discuss the possibility of remaining enrolled in the course.

ATTENDANCE and TARDINESS POLICY:

All students are required to attend all classes.
Attendance is compulsory for the entire semester. Students are expected to be on time and stay for the whole duration of the period. Students that leave early will not be counted present for the period. Attendance will be taken at the start of the
class and/or before the end of the period. Students are considered late/tardy if they come 16minutes after the start of the class. Every two (2) tardiness will be counted as one unexcused absences. Legitimate absences are sometimes inevitable; if
there are compelling reason why you were not in class it will not be counted as an unexcused absences. Students are responsible for getting lecture notes, assignments and other instructions from a classmate for any class they missed.

CLASS STRUCTURE:
The format of the class is lecture. During the lecture students are encouraged to participate. No talking between the students while lecture is ongoing. If there are questions, raise your hand and the question will be address. All chairs and tables
should be return to its proper position after the class.

CELL PHONE and PERSONAL LISTENING DEVICES:

Turn off all listening devices during the lecture. Put your phone on a mute mode. No use of cellphone or personal listening devices in the classroom. If you have to use your cellphone step out of the classroom when lecture is done. If you forgot to
turn your phone off and there is a message give it to your classmate on your right so he can read it aloud if it rings answer it and switch to speaker so everyone can hear what put the class on a hold mode.

CLASS ASSIGNMENTS:
All readings and assignments will be distributed during the class. Due dates should be strictly followed. Late submissions will not be accepted.
CLASS PROCEDURES:
There will also be three (3) examinations: Mid-term, Departmental Exam and Finals. All Hands-on-Examinations/Exercises will be announced
PROVISION:
The syllabus may be subjected to change as the need arise to accommodate exigencies in the school calendar. The changes will be done to enhance the class learning opportunity. All changes will be communicated clearly.

STUDENTS WITH SPECIAL NEEDS

Students with special physical needs and requesting classroom accommodation must register with the Dean and/or Department Chairperson. The Dean will provide documentation to the student who must then provide this document to the
Instructor when requesting accommodation. All attempts to provide an equal learning environment for all will be made.

Consultation Time
Consultation time shall be during the first hour of each class meeting and as permissible during the required faculty advising time based from load assignment per semester.

38
Prepared by: Enhanced by: Reviewed by:

Assoc. Prof. Ted Villamor G, Inocencio, M. Arch. Asst. Prof. Gina G. Flandes, MSCM Asst. Prof. Emilie T. Garcia, MSCM
Faculty Member, CAFA Faculty Member, CAFA Department/Academic Program Head
Date : Date : _____________________________ Date : ____________________________

Recommending Approval:

Assoc. Prof. Jocelyn R. Lutap, MS Arch., DPA

Dean, CAFA
Date :____________________________________

Approved by:

Prof. Emanuel C. de Guzman, PhD

Vice President for Academic Affairs
Date : ____________________________________

39
40