Vladovici Alexandru

An 2, Facultatea de Arhitectura si Urbanism Cluj- Napoca

Gr. 5 Sgr. 9



Culoarea si textura in perspectiva de arhitectura.




Asemeni muzicii i dansului, desenul permite omului s se exprime fr
cuvinte, s dea sens lumii sale interioare fr s traduc in concept, ii permite s
vorbeasc lumii, existenei, celuilalt i siei, despre sine printr-o modalitate care
reuete s rein in concretul desenului, sunetului sau micrii, atat ceea ce este
exprimabil verbal, dar i inelesuri trite dar inexplicabile prin cuvinte. Culoarea
este o insuire cosmic a existenei noastre, prezent in viaa i activitatea noastr
zilnic la fiecare pas. 1





Culoarea:

Elaborarea desenului apare ca un compromis intre dou tendine: schema
grafic iniial gandit i transformrile, schimbrile, adugirile. 1.0
Termenul CULOARE este definit de DEX la sensul de baz drept
totalitatea radiaiilor de lumin de diferite frecvene pe care le reflect corpurile i
care creeaz asupra retinei ochiului o impresie specific; aspectul colorat al
lucrurilor.
Culoarea este un atribut fundamental al lumii! Ea este principalul vehicul
prin care aparatul senzorial recepioneaz semnale emise de lumea exterioar.
Condiionarea percepiei coloristice umane, a unei fiine prin execelen vizual,
diurne, cu o sensibilitate cromatic unic in lume, este ins un proces mult mai
amplu i mai puin cunoscut decat se crede in general.(Paul Constantin Culoare,
art, ambient Alba Iulia, 1979). Capacitatea omului de a deosebi gradele, treptele
de luminozitate este foarte mare. Nu este ins la fel de mare pentru a deosebi
tonurile i nuanele culorilor. Aceasta se rezolv prin prin educaie, plecand uor de
la realitatea c ceea ce este mai luminos se percepe mai uor.1.2
Culoarea impresioneaz prin trei componente: luminozitatea, calitatea i intensitatea culorilor.1.3
Culorile au putere de influenare asupra strii fiziologice a organismului, proceselor psihice
i strii noastre afective, lucru dovedit printr-o serie de cercetritiinifice. De exemplu, un mediu
nconjurtor prea monoton i rece, din punct
dev e d e r e c o l o r i s t i c , i n d u c e o c r e t e r e a t e n s i u n i i n e r v o a s e , o s t a r e d e i
r i t a r e permanent, pe cnd alegerea cu discernmnt a culorilor creeaz o stare de bundispoziie i
optimism. Cunoaterea carateristicilor afective ale culorilor permiterealizarea de aranjamente
coloristice plcute ochiului, care s contribuie la creareaunor stri de confort fizic i psihic n locuine
1.4

O culoare este cu atat mai cald cu cat se apropie mai mult de rou i cu atat
mai rece cu cat este mai dominant albastrul. Culorile inchise induc stri depresive,
descurajante, cele prea vii sunt obositoare, iar culorile deschise inveselesc.
(Pavel Murean, Culoarea in viaa noastr, Bucureti, 1988)

Culoarea dinamizeaz. spatiul, ii innobileaz dimensiunile. Tot culoarea este aceea care poate dilata sau
contracta spatiul, il poate incalzi sau raci, il poate diminua si inveseli sau il poate face monoton,
neagreabil si chiar ostil. Cu ajutorul culorilor putem crea senzatia de marire sau micsorare a unui spatiu si
tot ele sunt cele care ne pot face bucurosi, deschisi, comunicativi, sociabili sau dimpotriva tacuti,
interiorizati, mediativi.1.6
Tonurile se deosebesc n treptele de intensitate luminoas a unei culori. Maria Ilioaia, in Metodica
predrii desenului la clasele primare afirm c elevii mici pot obine tonuri mai mult sau mai puin clare
dand culorii mai puin sau mai mult alb, i la fel prin mai mult sau mai puin negru obin tonuri mai
inchise. Tonurile se impart in dou categorii:
- tonuri cromatice care rezult prin amestec culorilor pigment cu alb
rezultand tonuri deschise, sau cu negru dand tonuri inchise; (ANEXA 5)
- tonuri acromatice care se obin prin amestecul noculorilor, alb i negru; (ANEXA 6)
Culorile se pot gsi una lang alta nuanate in tent i in ton, in inchis i
deschis, ceea ce inseamn c se gsesc in raporturi tonale diferite. Exemplu: stinsstrlucitor,
rou englez lang rou de cadmiu, rou vermillon lang indigo. Apoi,
inchis-deschis: violet lang verde, verde lang galben. Aceste raporturi se numesc
i raporturi de valoare i ele se refer in special la luminozitatea culorilor.1.7
Intr-un tablou, un pictor poate intrebuina culorile fcandu-le s difere puternic, unele de altele prin
tent, prin ton i prin gen (caldur sau rceal). Acestea sunt contrastele de culoare. Ele exprim
conflictul mai mult sau mai puin dramatic dintre culori sau dintre alb i negru. De exemplu un rou pur
lang un albastru pur d un contrast pur spectral; un rou pur lang un verde pur contrast complementar;
un rou pur intens lang un verde stins ori in griurile lui rocate d contrast de saturaie sau de calitate. O
suprafa de galben mai mare decat una de violet face un contrast mai mare, spaial, de culoare. Un galben
lang un violet sau un roz lang un rosu inchis d contraste de inchis deschis, dup cum o culoare cald
lang una rece un contrast de cald rece. Contrastul alb-negru este cel mai tios, net, dur, ce acioneaz
asemenea unei lame bine ascuite. 1.8

Nuantele sunt variatiile unei culori.
in arhitectura este cu deosebire important sa se decida daca vor fi utilizate culorile naturale ale
materialelor sau daca acestea vor fi acoperite cu culori artificiale, asa cum procedau vechii greci. In
fiecare caz, trebuie sa le utilizam ca si cum opera ar fi construita cu ele. Cu alte cuvinte, daca pentru baza
edificiului se aleg culorile sobre, pentru suprastructura se vor utiliza culorile mai clare, si invers. Este
suficient sa existe acest contrat pentru a suscita impresia dominanta de gradatie. Este, totusi, normal ca
culorile inchise sa se situeze la baza, pentru ca culorile clare par mai usoare si, gratie acestui fapt, convin
mai mult elementelor superioare ale operei arhitecturale. 2

Culoarea reprezinta unul din elementele fundamentale ale existentei umane. Culorile sunt impartite in:
Culori calde rosu, oranj, galben culorile focului, tind sa fie folosite in spatii mari si fac incaperea sa
para mai mica si mai intima; Culori reci albastru, verde, violet culorile marii, cerului, plantielor, se
folosec mult in spatii mici deoarece dau senzatia de spatiu, relaxare, dar si raceala. Culori neuter(de obicei
sunt calde sau reci) bej, crem, negru, alb, gri culori care pot fi baza pentru alte culori puternice, pe
care le calmeaza; culori versatile. 3


Contrastul intre culorile reci si calde
Culorile calde (grupate in jurul rosului, oranjului si galbenului) prin contrast cu cele reci (grupate
in general in jurul verdelui, albastrului si violetului) beneficiaza in cazul ecranelor specializate de acelasi
efect de distantare. Ele se imping unele pe altele in fata sau se retrag in profunzime in functie de
cantitatea si calitatea zonelor colorate. Asadar profunzimea perspectivei aeriene este accentuata in
plus de efectul factorului cromatic coroborat cu cel al factorului valoric .
Departarile sunt redate in culori din ce in ce mai reci si mai deschise ,lipsite de contraste , in
vreme ce zonele apropiate sunt redate in culori calde in general inchise valoric, cu contraste valorice in
masa de culoare .
Gamele in general inchise si calde folosite in reprezentarea solului si a reliefului acestuia au o
corespondenta in sugestia soliditatii asa cum gamele in general deschise si reci, folosite in reprezentarea
cerului au o corespondenta in sugestia zonelor aerate si usoare .
Portiunea cea mai apropiata de ochi sau cea mai luminata, intr-un cuvint punctual care va
trebui sa para cel mai solid, va avea portocaliul drept culoare fundamental. Portiunea cea mai lipsita de
lumina sau cea mai indepartata de ochi , care va trebui sa para cea mai putin solida , va poseda
dominanta albastra. 4

A successful rendering cannot be made without first determining the values of the various parts of the
picture. Without contrast, even subtle colors do not show off to good advantage. Before proceeding with
the application of any color, a value study must be made. Be sure that the colors you use are suitable.[]
The color chosen must be able to produce a deep value, if one is desired. The colors used in such
incidental items as scale figures and automobiles must complement the colors in the building being
rendered, and should not draw attention to themselves by their brightness or garishness.5

This perspective rendering of an urban development is a fine example of the architects use of two
point perspective for visualizing a proposed development in an existing urban street. The pedestrians
and motor vehicles are used in this case to give the drawing a sense of relative scale. A visual device is
used to make the pedestrians and motor vehicles slightly smaller than they would actually be to give the
proposed building a grander sense of scale. If the opposite effectis required, the pedestrians and
vehicles would be drawn larger, therefore reducing the apparent size of the building. 6






The pencil study is a good example of
multi-point perspective. All the
elements make for complication; the
rising steps on one side and the lane
movng on the other, and the fact that
none of the buildings are square to
one another, make it very difficult for
the beginner to work out all the
various vanishing points. The viewing
frame should be used to nderstand the
relationship of all the elements. With
practice, the student will gain enough
confidence to use his or her eyes
without the necessity to refer to laws
of multipoint perspective.6.2
A free and direct study in pencil
and chalk; the wild tangle of the trees
is bult up using chalk, and the firmer
lines are made with a hard pencil. The
lack of careful delineation makes the
scene enticing, leading the eye to the
doorway6.3




Textura
Creion
Roof shingles. Cover the roof area with some strokes parallel to the ridge and with others parallel to the
pitch of the roof. These can be drawn in relatively short strokes, leaving plenty of light between them and
between groups of strokes. When this has been done, shingle butts and joints between shingles can be
drawn oover the base wash in wavy, varying lines, using a pointed pencil. Purposely avoid drawing too
many of these, particularly joints between shingles. The base washes will vary in intensity according to
the local color of the shingles to be used. For a white roof, for instance, no general value need be laid
down first.
Tile roof. Follow the same procedure for flat shingles, except that the edges of the tile, like the single
butts for flat shingles, should be drawn with the sharp point of the pencil.
Stucco or cement. The value of stucco or cement will depend upon its actual local color, as well as how
it will fit in with the total pictorial composition. It should be remembered that even white stucco will have
a light-gray quality in shade. If any value is given to the stucco in sunlight, it should be done with an H or
2H pencil. Sometimes it is best not to put a wash on the light side at all, but to indicate texture by the use
of dots made with a fairly hard pencil.
Cut stone. Cut stones, such as limestone or granite, are rendered in a manner similar to stucco, except, of
course, that joints must be indicated. If the entire wall is covered with joints, they will be monotonous;
therefore eliminate many of them, making them appear washed out by bright light in certain areas.
Fieldstone. Draw the pattern of fieldstone with a sharply pointed B pencil. Remember that its local color
will vary from very light to medium dark, and therefore each stone must be rendered separately. Try using
vertical lines to express the verticality of the wall. Generally speaking, it is advisable not to render all
stones, but only enough to express the texture of the wall. In most cases this means showing the stones at
the edges, top and bottom of the walls. A pleasing pattern can be formed by leaving streaks of white
running in the direction of the suns rays, with perhaps an occasional stone or joint breaking into this area.
A pencil landscape in which the
reflected lightfrom the clouds has
been used to illuminate this drawing.
Notice in reality how the sun reflects
off the clouds sending beams of light
often running contrary to the main
light source.
Brick. There are two ways of rendering brick in pencil, according to the scale of the drawing. In both
cases the brick joints should first be drawn in lightly. For a small scale, a general wash, varying in
intensity, should first be put upon the wall surface. Remember to leave plenty of light areas. The brick
joints can then be put in with slightly wavy lines, varying in intensity throughout the drawing. Here and
there the faces of a few of the bricks can be rendered.
Bricks at larger scale can be best rendered by a broad stroke, the width of a single brick course, leaving
the joints white. Monotony can be avoided by the occasional omission of bricks and the inclusion of
diagonal strokes made in the direction of light rays.
Bricks in shade are merely rendered darker by the use of a softer pencil. In shadow, bricks are rendered
individually with clean, sharp strokes, leaving the joints white and giving an occasional shadow next to or
on top of some of the bricks.
Windows. One of the most important things to remember in rendering windows is that sash and glass
usually occupy a position slightly back from the face of the wall. In addition to the outside reveal thus
formed, an inner reveal, which may or may not be covered by curtains, also exists. In small window
openings (particularly if venetian blinds, shades, or curtains are used) the amount of the inside of the
building that can be seen is so limited that dark shading of varying intensity can be used to indicate the
interior.
A small window is best rendered as follows:
1. Draw the window complete with shade, blinds, curtains, etc.
2. Darken that portion of the window not obscured by the items as shown.
3. Put in shade at head and jamb.
4. Put in shadows cast by muntins and meeting rail on curtains and blinds.
5. Put in shadows cast on glass by muntins and meeting rail.7

Acuarela
Perhaps no other medium accepts modifications for the creation of textures as does watercolor.
Wood sliding and Clapboards. After the base tone has been placed on the sheet, wood-grain texture can
be introduced with a wiping motion, using a fairly dry brush. It the drawing is at a scale large enough to
clearly show the grain of the wood, the No. 4 brush can be used to introduce actual grain texture, working
freehand over the base wash before the joint lines have been put in.
Wall and roof shingles. The actual color of the shingles, of course, will determine the mixture that is to
be used. Since shingles vary in shade a great deal, particularly after they are stained, the base tones are
best made by placing a number of washes one upon the other, being careful not to mix the colors
thoroughly in the wash pan but merely drawing them together. After the base washes are dry, the shadow
lines can be introduced with a slightly wavy freehand stroke.
Brick. The rendering of brick will vary according to the scale of the drawing, but no matter what the
scale, the brick joints should first be drawn in with pencil. A wash of colour of the masonry between the
bricks should first be passed over the paper. Another wash, the color of the brick and failry intense in
value, is then used to show the courses of brickwork. Using a small brush and small wavy lines, the
various courses are painted over the base wash. Finally, some of the bricks are darkened with additional
washes.
Metal. An increasing amount of metal is being used in contemporary architecture. The color, of course,
depends upon the composition of the metal but, generally speaking, is rather light. Since, for the most
part, metal is flat and lacking in texture, interest is best obtained by grading the washes, or by placing the
washes, letting them dry, and then scrubbing with a sponge to create differentiations in value.
Glass openings. First, working in pencil, completely draw the window that you plan to render, being
careful at the same time to draw the curtains, shades, blinds, or other window treatment being considered.
Using a paper palette and a small amount of each of the colours of your rendering, paint the opening left
between or below the window treatment; create variation in tone throughout the small wash. When this is
dry, paint the shades or blinds their proper colors. Then put in shade and shadow areas such as the shadow
cast by the window frame on the curtains and blinds. Finally, with a fine brush or ruling pen, and a fairly
dark, grayish color, draw the shadows cast by the various members of the windows on the glass, etc. 8
Tempera
Wood sliding. The color of the wood, of course, will vary with its finish, but for a natural-finish wood,
make a pale mixture of white, yellow, green, and a small amount of alizarin crimson. Lay a flat, opaque
wash to this color in the first rectangle.When it is dry, using a graphite pencil, draw the siding across the
wass. Then mix a darker wash using the same pigment with perhaps a small amount of cobalt blue. With a
ruling pen, draw the shadows under the butts in the upper half of the rectangle.
Wall shingles. Place a base tone upon the paper, then draw the wood shingles with a sharp HB pencil.
Using a small brush and a darker mixture of the same paint used for the base tone, draw the butts of the
shingles with short, broken, wavy lines. Then draw occasional vertical spaces between the shingles with
straight lines with the aid of the raised edge of a straightedge.
Stucco, concrete and dressed stone ashlar. An excellent color for stucco, concrete or cut stone in
sunlight can be made by mixing a small amount of with with No. 2 gray. A flat tone of this color will
suffice for stucco or concrete. For cut stone, the joints should either be lined in, using a graphite pencil,
straightedge, and triangle, and then covered with an off-white tempere in a ruling pen, or drawn with a
small brush, using the raised edge of the straightedge as a guide.
Brickwork. The type of indication for brickwork will depend upon the scale of the drawing. A wash of
the brick color is first applied to the area, and the joints are ruled over it in pencil. Brick, of course, varies
in color . The joint color will be a pale gray mixed with white and a small amount of the same colors.
Metal. Like all building materials, metals vary in color. Aluminium usually has a warm gray tone,
stainless steel a tone that is more bluish. 9


Bibliografie:
1.Desenu Mijloc de cunoastere a copiilor
0. Pag 1;
1.pag 4;
2. Pag 5;
3 pag5;
4 pag nusht;
6 pag. 10;
7 .pag 9 ;
8 pag. 18
2. P.A.Michelis Estetica Arhitecturii, ed. Meridiane, 1982, pg. 289
3. CULOAREA efecte fiziologice, psihologice si semnificatii

4. Zamfir Dumitrescu Ars Perspectivae, ed. Nemira, 2003, pg. 442-452
5. Albert O. Halse Architectural Rendering The techniques of contemporary presentation,
McGraw-Hill Book Company, 1988, pg. 60
6. John Jackson , Introduction to drawing.
1-Pag 27;
2-pag.52 ;
3-pag.34
7. Albert O. Halse Architectural Rendering The techniques of contemporary presentation,
McGraw-Hill Book Company, 1988, pg. 91-95
8. Ibidem, pg. 154 158
9. Ibidem, pg. 171-172