The document discusses the traditional approach to architectural visualization. It focuses on sketching and serial vision as primary design tools. Serial vision involves sketching a site as the illustrator moves through it, revealing elements gradually. This allows the viewer to experience the space as a series of discoveries and emotional responses. Sketching a site using serial vision helps the visualist and clients understand how proposed projects fit into their surroundings and create a sense of place.

1. V isualist’s s
Workshop
A Traditional Approach
and Serial Vision
EXCERPT FROM THE VISUALISTS
WORKSHOP BY STEVE STANNARD
TRADITIONAL VISUALIZATION STEVE STANNARD’s 1
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Artists

2. The TradiTional approach
WHAT IS A TRADITIONAL APPROACH?
Architectural visualization is generally concerned with seeing into
the future. It is most often environmentally based, focusing on the
sites and the relationship of man-made and natural elements sur-
rounding them, both existing and proposed.
Nearly all architectural, engineering, or planning projects are visu-
alized at some point in the design process. What varies is the ap-
proach. Many designers use visualization as a sales tool when they
have a resolved design, producing a drawing that reflects a final
product. Most often this type of illustration is purely digital, as all
the information needed is thought through and computerized.
Alternately, some choose a visualization approach that is more de-
sign oriented, one that takes place during the design process and
can start from the moment an idea is hatched. I call this the tradi-
tional approach. By definition, it is deliberately using sketches as
a primary design tool. The tools used can be digital but more often
the visualist uses traditional tools or a combination of both. In prac-
tice, it is the essential practice of design drawing.
Through the years the traditional approach to drawing has proven
to be invaluable for ease of use, immediacy, ability to engage, and
inherent charm. It is used most effectively early in design projects,
during the time when initial ideas are formed, when decisions as
to function and character are made. Used properly, traditional il-
lustration techniques offer an economy, flexibility, and insight
that cannot be matched easily with most digital visualization tech-
niques.
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3. The TradiTional approach
Serial Vision
The traditional approach, because of it’s design value and speed, is often
used early in a project. Rather than render a likeness of a building, your
task will be to help weave together the elements of a site environment-
trees, buildings, water, traffic, people- until drama is released.
To make this often complicated task simpler, it helps to think in terms
of relationships. Consider this: a building standing alone in a field is
experienced as a work of architecture. Bring several buildings together
and something different happens. Your audience begins to consider sizes
and shapes against one another. All the elements start to work with each
other, developing an emotional response based on their relationship with
each other.
To easily study relationships, many architectural visualists turn to a
planning tool called serial vision. Serial vision is seeing a site as the
illustrator moves through a space at a uniform speed. This allows the
viewer to see a space as a series of revelations, generating a series of
emotional responses based on the act of exiting and entering. Serial vi-
sion is one of the most powerful tools in the traditional approach.
A visualist/ designer should get in the habit of traveling through every
project on paper (or computer), sketching as they go. This will allow
intimate study of form and function, provide a multitude of graphics for
clients, and help determine how to best build drama. It will help you
build a deeper understanding of a place and generates a sales tool that
can only lead to success.
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4. The TradiTional approach
Serial ViSion createS anticipation through manipulation
of exiSting and emerging ViewS. within thiS action fallS
the idea of place and the idea of content.
place iS concerned with the poSition of our body in the
enVironment and iS inStinctiVe. in illuStration, aS in na-
ture, where one StandS produceS a range of emotionS
that reSult from the phySical experienceS of encloSure and
expoSure. think of thiS in termS of here and there. when
you create a here, you automatically create a there.
Walking a site in serial vision helps the visualist and viewer to under-
stand a plan as a series of discoveries. As the viewer travels from here content examineS the fabric of place’ color, texture, and
to there, they begin to understand how a proposed project fits into the
existing fabric of a place. Scale, and how they are aSSembled to create balance and
Note the level of information provided in this plan. Early in a project, harmony. content proVideS ViSual cueS that help locate
a sketch of this nature, a financial agenda with necessary elements,
and a vague notion of a visual theme is all the visualist has to work
projectS in geographic Space, helping to create imageS that
with. This is where the traditional approach and serial vision can be haVe a conVincing air to a local audience.
most useful. It also helps to gain a working knowledge of building
form, and construction. Knowing what things normally look like will
allow your imagination to work freely when you lack specific infor-
mation.
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5. The TradiTional approach
Because you will often be creating images with very little information, it helps to think like an urban designer and exploit the ideas of place and content.
As you work through a project using serial vision, think about the following elements- they will help your viewer move from here to there.
Looking into enclosure draws Netting slows the eye and brings
the viewer inward. It suggests the distance forward by fram-
occupancy, security, and attach- ing, or capturing it’s details.
ment.
The Grand vista directly links
Truncation cuts a background the background with the fore-
with foreground, interrupting ground. The effect of distance
the normal path of the eye. With can produce a sense of power or
no middle ground, the back- omnipresence.
ground is emphasized.
A closed vista increases the
sense of being here. This is a
Change of level imparts emo- common and valuable tool for
tional response. Below implies creating intimacy.
intimacy while above implies
superiority. The act of moving
down implies decending into
the known while moving up im-
plies going into the unknown. Tell- tale elements give a clue to
an action or location. In this ex-
ample, the shed, boats, and dis-
tant masts all tell the viewer the
scene is near water, even though
no water is visible.
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6. The TradiTional approach
The maw uses dark space to Punctuation allows to eye to
create a sense of the unknown. enter, mingle, then continue on
a path.
Projection allows the eye to Recession refers to the effects
dwell and meander. This can of value and scale on distance.
create a sense of charm if used In this sketch, the white build-
in moderation. Too much cre- ing appears closer because it
ates a sense of chaos. has a higher value and larger
elements like the windows.
Incident draws attention. It en-
traps the eye and keeps it from Anticipation can be used to
sliding into the distance in an promote an air of mystery as
otherwise routine scene. the there is unknown. A power-
ful path for the eye is required.
Hazards prevent movement Intricacy can absorb the viewer
into or out of an image ele- as they explore detail. It en-
ment while revealing that ele- tangles the eye and allows it
ment. Fences, railings, water to mingle. Intricacy creates in-
features, change of level are timacy.
examples of hazards.
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