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INDEX
PAGE

COMMUNICATING ACCURATELY 3

THINGS TO CONSIDER 7

THE DESIGN BRIEF 7

DRAWING: ITS RELATIONSHIP TO YOUR WORK 9

IMAGINING COLOUR 11

DEVELOPING A CONCEPT 12

DRAWING EQUIPMENT 14

ORTHOGRAPHIC DRAWINGS 20

INTERIOR ELEVATIONS 21

DRAWING KITCHEN ELEVATIONS 26

SECTIONS 29

ADDITIONAL DRAWINGS 31

AXONOMETRIC DRAWINGS 33

RENDERING 37

SKETCHING 42

PERSPECTIVE DRAWINGS 44

ONE-POINT PERSPECTIVE 48

TWO-POINT PERSPECTIVE 52

HOW TO DRAW A ONE-POINT PERSPECTIVE 61

HOW TO VISUALLY PRESENT IDEAS TO YOUR CLIENT 77

MATERIAL BOARDS 78

LAYOUT 79

CONSTRUCTION 82

ASSIGNMENT ELEVEN 84

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COMMUNICATING
ACCURATELY

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COMMUNICATING ACCURATELY
You have already moved through many topics and skills, which you are required to master
in order to become an effective professional interior designer.

At this stage, you are being introduced to a number of even more specialised skills that
must be developed in order to successfully produce excellent design work for yourself and
for others.

The design process requires the designer:

■ To engage in identifying and understanding design issues that need to be resolved;

■ To research the available options for resolution of the issues you have identified;

■ To find applicable solutions to the issues identified;

■ To evaluate and if necessary, revise the likely solutions to ensure they will work in
practice;

■ To accurately document the result so it can be communicated to clients,

colleagues and contractors.

The issue of communication is a complex and essential element to your success. You need to
communicate in a number of disciplined and specific ways. Visual communication in several
forms is the essence of successful design development. It impacts on all aspects of design
realisation, from research to understanding, idea generation to evaluation and culminates
with documentation.

Drawings and other forms of visual communication used in interior design range from
conceptual and schematic sketches to roughly plotted layouts to carefully notated scale
drawings.

If you are planning to work in the interior design field, you will be required to develop
computer drafting skills using Computer-Aided Design (CAD) software in order to be
employed by an interior design firm.

There are a number of CAD software programs available to familiarise yourself with this
process.

They can be divided into two groups — those used to produce two-dimensional plan drawings
and three-dimensional models.

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AUTOCAD

AutoCAD is essentially an electronic drafting board that has replaced the manual drafting
boards used by architects and interior designers in the past.

Although this software can produce three-dimensional geometry, it is predominantly used

to produce two-dimensional plan drawings and is the industry standard that is required in
most interior design practices.

Many students use AutoCAD as a first step on the way to creating 3D models. It allows
you to develop drawings that represent your buildings at a basic level. Designers will often
transfer these drawings to other software packages to work on the more advanced modelling
concepts. Because of AutoCAD’s popularity, most other design packages are compatible with
its files.

We provide an Advanced Module in AutoCAD for Interior Designers, which is available for
purchase via the Student Site.

SKETCHUP

SketchUp is used to create three-dimensional models but can also be used to draw two-
dimensional floor plans as you learned in Module 4. The key advantage to SketchUp is the
price, which makes it ideal for students and those operating on slim budgets.

Many students use SketchUp to get to grips with 3D modelling before moving onto other
software. Speed is also a key aspect of SketchUp, as you can create simple 3D models
quickly. Additional plug-in extensions can be added (for an additional fee) to the software
that is used to render your models and make them look photorealistic.

We provide an Advanced Module in SketchUp for Interior Designers, which is available for
purchase via the Student Site.

REVIT

Revit is a highly sophisticated software package used to create three-dimensional building

models using BIM technology (Building Information Modelling) to essentially plan, design
and construct the entire building from the frame outward.

They are used by architects, engineers and construction professionals along with interior
designers. The added advantage to using this type of software is that they both have powerful
in-built rendering capabilities use to produce photorealistic three-dimensional models.

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ARCHICAD

ArchiCAD’s main feature is its user-friendly nature and is used to produce 2D and 3D models.
You can learn the basics of the software with minimal effort; this has made it a favourite
with students and those just starting out in architecture.

It offers a time-effective way to create detailed models, and as such, it is great for projects
where time is a factor. It can create realistic models and can be integrated with other
software packages like V-Ray to create photorealistic models.

VRAY

V-Ray is not a standalone design software; it is actually a plug-in that is purchased separately.
You can use it with ArchiCAD and SketchUp, and its purpose is to create realistic renderings.
This allows you to show off your 3D models as they would look in the real world.

This makes V-Ray ideal for those who need to add that extra spark to their designs as the
software offers access to stunning textures. Furthermore, its colour palette has few rivals.
This means you can use light and shade to your advantage with V-Ray more so than most
other design software.

There are a number of techniques available to depict design intent, so you need to determine
the most appropriate for any given situation.

In this module, we will discuss some of the options you have to communicate your designs
in a visual format accurately.

There is no one correct way to present all projects.

When you have mastered a range of visual communication and presentation options, you
can make strategic choices with regard to appropriate techniques and formats, depending
on the nature of the design project.

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THINGS TO
CONSIDER

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THINGS TO CONSIDER
In order to succeed as a professional, you also need to develop specific verbal communication
skills.

You must learn how to translate verbal and conceptual information into a relevant design
direction, develop your concepts and visually communicate the ideas to your client and
other parties involved in your project.

Verbal communication is essential for research and understanding and can be the
catalyst for generating your design ideas.

To begin this process, you must actively listen and understand what your client is saying at
the start of your design project.

THE DESIGN BRIEF

This is the development of the design brief, which is the prelude to your design research.
Whether your client chooses to outline the work verbally or in the form of written instructions,
it is important to remember that he is probably not a design professional.

A residential design client may not be using the correct terminology to describe what he or
she is visualising for the design project.

Sometimes, a designer is hired to save time and collate samples for an expert client, who
has previously engaged in several renovations or residential building projects, but more
frequently, you are being commissioned for the expertise you have to offer home and
business owners who are unfamiliar with the design process.

There is a professional requirement for you to lead the client to a higher standard of design
and a more disciplined application of the design process. It begins with the first consultation
when you establish a design brief.

Listen carefully to what your client has to say, and then interpret it well and very specifically.
Sketching is a useful technique in the initial stages of a project for visually recording
information presented to you rather than portraying design concepts.

Adjectives are totally subjective, so you need to achieve some kind of visual benchmark
as part of the exploration of ideas to ensure that you are both discussing the same goals.
At times, a client may not be able to verbally identify the end result to be achieved in the
design process. Instead, he may only tell you what is currently bothering him about the
existing environment.

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For example, you may be told the space seems too chaotic and dark. Or you may be given
emotional objectives by a residential client:

“I want it to be cosy and comfortable and not too formal.”

OR

“I want it to be elegant, a little quirky and very spacious.”

It is up to you to interpret these subjective descriptions within the limitations of the site, its
functional requirements and the budget.

You need to listen carefully and make sure the images in your client’s head are being
communicated to you accurately.

One of the best ways to understand your client’s needs and goals is by using pictures and
samples as a reference.

These can be sketches; preferably with rudimentary dimensions, photographs of the site, or
inspirational images, which contain aesthetic information.

Even if you are embarking on a design project for yourself, it is useful to clarify your thinking
by beginning with inspiring images and then analysing why they have that effect and appeal
to you.

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DRAWING: ITS RELATIONSHIP TO YOUR WORK

Following the first meeting with your client, you can begin the planning phase of your work
by drawing sketches to record any relevant images, and remind yourself of the client’s
objectives.

You can clarify your understanding by drawing an adaptation of an image you have been
shown.

Is this what your client has in mind? Is this an image that appeals?

It may not be what the client was thinking, but a direction you would like to explore. Take
note and save it for when you have gathered all your preliminary information.

Are the ideas beginning to gel for both of you?

This visual process and conversation will help develop your understanding of the brief. You can
then be assured that your design proposal will work and satisfy your client’s requirements.

A client may show you a picture of gigantic, orange, silk tie back curtains in a formal dining
room, which would be unsuitable for his small breakfast area.

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You need to explore why the idea appeals, and how you can incorporate it into a room,
which has minimal, Scandinavian, modern furniture and exposure to strong sunlight.

Is it the colour the client loves? Is it the use of a lot of fabric? Is it the texture of the fabric
or the fact that it is silk?

In a sketch, you may indicate how long, straight curtains made from a similar sheer fabric
will aesthetically suit the breakfast area, filter the light and have greater resistance to
sunlight than silk fabric.

Walls can be painted in the client’s preferred shade of orange with curtains made from a
cooler and more neutral off-white colour.

You could also sketch and show the horizontal lines of roman blinds with a sheer fabric face
that has a similar texture to the silk but would filter light and help reduce fading on the
bright orange upholstered seats of the modern Scandinavian dining chairs.

You can sketch these alternative window treatments with felt tip blocks of colour to be
considered as part of the entire project before presenting your final proposal.

By making several initial sketches, such as elevations of the window wall or simple outline
drawings including the Scandinavian dining chairs or credenza, you can see for yourself how
these suggestions will achieve balance and proportion in the actual space.

Save these first impressions, and come back to them as you develop the design concepts.
Clear sketches help to clarify the process required to achieve a successful end result.

When the drawings are final, you should have the client sign off on them, so you can refer
back to them if there is any dispute.

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IMAGINING COLOUR

When taking a design brief or communicating with a client, colleague or contractor, it is very
important never just to discuss colour.

A client could tell you they would like the walls to be sky blue.

As we have discussed in our colour module, the perception of colour is so completely

subjective. You must view various blues onsite in combination with other colours and finishes
to be sure that you agree on the interpretation of “sky blue” prior to specification.

For some people, sky blue is a pastel colour. Another person’s idea of sky blue is a strong,
almost mid-value blue.

As you have also learned, colour can be affected by the surface finish, gloss level, lighting
and other variables, so always view the actual fabric swatches, paint colours and other
finishes in the same proportions and adjacencies that you are planning to use.

Sometimes it is helpful to show coloured, rendered plans, elevation drawings and/or colour
boards to illustrate the balance and proportion of colour in your design.

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DEVELOPING A CONCEPT

Usually, the more you draw, the easier it will be to visualise possible solutions.

You may begin drawing abstractly or you may be inspired to begin with bubble diagrams
based on your client’s directions.

Some drawings can be very simple and relate to the way a seating group will be organised
or the way a doorway and staircase will lead from an interior to an exterior.

You may begin with the consideration of a view from a large window, the outline of a space
with a raised ceiling or some other interesting architectural feature.

You may consider how to establish rhythm or repetition as a general concept before
addressing more practical issues in greater detail.

You may begin with a colour to match or contrast with the outlook or suit the orientation
of a room. A good way to start the creative thought process for a renovation is with a
photograph of the existing space.

If your job precludes demolition or new construction, you can even begin to sketch by
placing a photograph of the space underneath a sheet of tracing paper. Then you can easily
experiment with new shapes and forms within the structure that will remain in place.

Use good quality tracing paper for all sketch drawings. It is a slick surface, which allows for
smooth lines with a range of pencils and marking devices. It also allows you to retain images
and build on them as the project progresses. You can find high quality tracing paper at art
shops along with all other items mentioned in this module.

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DRAWING
EQUIPMENT

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DRAWING EQUIPMENT
It is a good idea to have the proper drawing tools to develop your job with minimum
distraction and the best result.

PAPER SIZES

Most architectural drawings are still produced on either A0 or A1, but the recommended size
for interior design drawings is generally A2 or A3 because they are easier to manage.

Each smaller sheet size is exactly half the area of the previous size.

If you cut an A0 sheet in half, you get two A1 sheets. If you cut an A1 sheet in half, you get
two A2 sheets and so on.

Paper sizes are as follows:

A0 - 841mm x 1189mm
A1 - 594mm x 841mm
A2 - 420mm x 594mm
A3 - 297mm x 420mm
A4 - 210mm x 297mm

PAPER WEIGHT

The heavier a paper, is the more mass that paper has per sheet.

This affects the paper’s thickness and durability. An A0 sheet is 1m². This allows paper
weights to be expressed in grams per square metre. Example: 110gsm paper.

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PAPER TOOTH

Besides weight, you also need to pay attention to a paper’s tooth. A paper’s tooth is its
surface texture. Some media requires very little tooth, such as markers, while other media
warrants a heavier tooth, such as charcoal.

Most manufacturers of quality drawing paper will provide some advice when presenting their
products to consumers. Often, the tooth is hinted at when shopping for drawing paper. Pads
of drawing paper that have a heavy tooth will be sold as charcoal / pastel paper. Smoother
paper with less tooth is typically sold as pencil / pen paper.

PENCILS

The standard pencil as we know it today was developed by painter, chemist and physicist
Nicolas-Jacques Conte in 1794, who worked up his design into a more practical everyday
item for general use. The English pencil was originally graded as B for Black and H for Hard,
and to further progress this, very soft was BB and extra hard was HHH.

The grade of the pencil affects how dark or fine a mark that pencil can make.

Nowadays, the most recognised English scale is set out below:

Soft pencils are useful for sketching, whilst harder leads are used for actual drafting.

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As with all topics in this module, the best way to master the use of pencil types is to practice,
and start by drawing a simple box with different pencils to get the feel of the different leads.

This will help you to see and understand the end result and to become familiar with how you
can best utilise them.

Whether you prefer to draw with a conventional, wooden pencil or a grip pencil that clutches
a thin lead inside, B leads can be easily erased with a soft, grey/white eraser provided you
use good quality smooth paper.

Choose your materials with care. In the beginning, your drawings are an exploration not a
document, so stay loose and keep your mind working.

COPIC MARKERS

Copic markers are used widely by interior designers to apply colour and render materials in
a drawing. They are used to lay a thin, watercolour-like layer of pigment without streaking
as normal markers do.

The alcohol-based ink stays wet and workable a little longer than regular markers to create
more depth and interest in the drawing. The markers can be used for loose concept sketches
or developed further to produce final design drawings.

An added advantage with the markers is that they can be used in conjunction with other
mediums, such as colour pencils, to produce more realistic, artistic effects.

They are available in over 350 colours including a clear marker that is used to saturate the
paper to blend multiple colours together.

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There are four styles of markers available with tip shapes to choose from. A popular choice
for interior designers would be the Copic Ciao range because it has a chisel tip on one end
and a soft paintbrush tip on the other to lay down colour quickly and offer superior blending
ability.

COLOUR PENCILS

There are three types of coloured pencils:

Wax: Pigments are bound together with wax to create either hard or soft pencil cores. Wax-
based pencils provide excellent coverage and superior blending ability but are more prone
to breakage, quick wear and debris.

Oil: The binder (a substance that holds the pigment together) consists of vegetable oil.
Oil-based pencils are slightly harder than wax-based and therefore do not break as easily.
These types of pencils are harder to find and can be more expensive than other types of
pencil.

Water-soluble: These pencils can be either wax or oil-based, hard or soft. They contain
a blend of materials that dissolve in water when you get them wet. They’re also known as
watercolour pencils and are usually seen in coloured varieties, but graphite types are easy
to find as well.

Wax Based Oil Based

Prismacolour Pencils Polychromos Pencils Watercolour Pencils

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FELT TIP PEN

Felt tip black pens will make a useful addition to your set of drawing tools. They are available
in a variety of thicknesses. In Module 4, you used a size 0.5mm to produce the hand drawn
floor plan, but for illustration purposes, it is better to select a finer size of 0.3mm to 0.4mm
to avoid the line weight dominating the drawing.

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ORTHOGRAPHIC
DRAWINGS

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ORTHOGRAPHIC DRAWINGS
While you have already been using plans in this course, we will review the basic types of
drawings, which are necessary for the correct depiction of interior designs.

As a group, these are called Orthographic Projection Drawings.

Orthographic projections depict information about a three-dimensional object as projected

onto an imaginary flat picture plane.

Orthography projection creates views of an object, which are separated into one view at a
time, resulting in the need for several drawings to describe the multiple planes of an object.

These include:

1) Plans, which are views of the floor looking down from above.

2) Elevations, which show any wall viewed from a completely flat, central point with
no distortion to show perspective.

3) Sections, which are a view through a wall, like taking a knife and cutting through
the structure as if it was a cake.

4) Reflected Ceiling Plans, which show a ceiling layout as if you were looking down
on the ceiling from above or the roof.

All drawings used to depict the different planes of a single space must line up accurately. It
is a good idea to draw them in the same scale initially to ensure that they will line up, even
if you later scale up elevations and other details.

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INTERIOR ELEVATIONS

In Module 4, we looked at orthographic drawings in detail and learned how to draw a floor
plan to scale, and in Module 5, we built on this knowledge to produce a Reflected Ceiling
Plan.

Interior elevations depict the vertical and horizontal measurements across the picture plane
of one wall, and in its simplest form, it is easier to think of them as a vertical floor plan.
Imagine yourself inside the room directly facing the wall you are drawing. Document the
whole room, one wall at a time, with the full width and height of the wall shown on the
drawing.

Each of these is an interior elevation and can be labelled as the direction of their orientation
(north wall, east wall, south wall or west wall).

To communicate the elevation direction, an elevation symbol is used on the floor plan,
located inside the room it is describing.

Single Elevation Symbol

Arrow points to what is being viewed.

(1) Elevation detail number used to identify the elevation.

(A2) Sheet number of elevation detail. This is used on

more complex sets of drawing that have multiple pages;
the number refers to the actual page number. On simpler
sets of drawings this information is not included.

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 Multiple Elevation Symbol

Used to identify 4 walls of a room.

(A, B, C, D) Elevation direction is indicated by the

letter.

(1) Elevation detail number used to identify the all

elevations (A, B, C, D).

(A1) Sheet number of elevation detail. This is used

on more complex sets of drawing that have multiple
pages; the number refers to the actual page number.
On simpler sets of drawings, this information is not
included.

If the level of detail shown in the floor plan and elevations is not enough for a part of your
design, you will need to include a separate drawing called a “detail”.

This is common for a design that includes custom-designed cabinetry working drawings or
design features that are hidden from view. To indicate that an additional drawing has been
made, you are to include a detail symbol with an arrow pointing to the area.

Detail Symbol

The symbol will need to have a line or arrow connecting

it to the part of the drawing that has been detailed.

Detail symbols can be used on floor plans, elevations

or sections.

(1) Detail number used to identify the drawing.

(L4) Sheet number of detail. This is used on more

complex sets of drawing that have multiple pages. The
number refers to the actual page number, and the letter
used is different to the elevation identifier. On simpler
sets of drawings this information is not included.

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In a typical room, 1:20 scale is a useful size to develop details you may want to associate
with a wall, such as cabinets, skirting boards, paneling, cornices, door and window details
and window treatments. This scale can be adjusted to suit the size of the paper or you may
want to reduce the scale to 1:50 so that you can fit multiple drawings onto the one sheet.

Elevations are essential to design development after the initial space planning on a horizontal
plane, which is represented by a floor plan.

CABINETRY DRAWINGS

An extension of the elevation is called a “working drawing” that is used to visually document
parts of an operational design. For example, cabinetry with doors and drawers. These items
are drawn into the elevation using a dashed line to indicate the type of cabinetry it is and
the operation it is to perform.

For Example:

This drawing is of a double hinged door cabinet sitting on top of a

set of 3 drawers.

(A) Hinge location (on hinged doors)

(B) Door handle location (on hinged doors)

(C) Drawers

NOTE: If the unit had any sliding parts, the movement direction
would be shown with an arrow.

When drawing the cabinetry design, you will need to know the thickness of the material
used for the carcass and draw this to scale for the areas that be visible, such as for open
shelving.

In most countries, the standard thickness for custom kitchen and wardrobe cabinetry is
16mm.

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Working drawings are to have a full set of dimensions to show the detail and the overall sizes
of the components. Just like dimensioning a floor plan, it is advised that you visually dissect
the elevation into separate segments to make it easier to read, and for more complicated
designs, multiple rows will need to be added.

In this example, each side has been dimensioned in this order:

Row 1 – The inside row measures the closet internal components.

Row 2 – Moves toward the centre of the drawing and to measure the central components.
Row 3 – Shows the overall measurement.

An elevation is used to describe the entire width of the wall and all of the contents. The
example above shows a single wardrobe that is the full width of a wall.

If the design of the wardrobe changed to an “L” or a “U” shape, we would still need to show
the full width of the wall, but the side that is invisible to view would be left blank.

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To describe how the elevation would change, an example is provided below. The wardrobe
is an “L” shape running along the right-hand side. The blank area, indicating the part that is
invisible to view, is shown in orange for this example, but for a working drawing, it would be
left blank in white or grey. The wardrobe cabinetry depth is 500mm, and the profile of the
side cabinetry would be drawn to show this and documented on the dimensions.

The primary function of a drawing is to communicate a design, and as the draftsperson, you
can use any tools at your disposal to help the reader obtain all of the information. To the
elevation, you may want to add shading or colour to indicate depth as in the example above:

■ The back wall of the unit is light grey.

■ The drawers and hinged doors are a mid grey.

■ Kickboards are darker grey.

■ Any parts of the carcass shown in profile as an outline only. This is different to a
floor plan, where the walls are shown as solid black or grey.

To the drawing, you may need to include notes to help describe an element, but if the detail
is hidden from view, an additional “detail drawing” will need to be created.

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Be sure to include an elevation symbol on the floor plan, and use this information as the
title for the elevation.

For example:

A multiple elevation symbol was used on the floor

plan, and 4 x elevations (A, B, C, D) were drawn to
show all walls within a room.

The elevation title will reference the direction

of the wall (A) and the direction of the arrow
reinforces this because it face upwards. The
elevation number (1) is also shown.

DRAWING KITCHEN ELEVATIONS

In Module 4, we focused on kitchen dimensions in “Plan View” (looking from above) but
when drawing a kitchen elevation (as a vertical plan), we are required to detail the height
of the items included in the design.

Kitchens are built in two ways:

FLATPACK OR PRE-BUILT UNITS

These types of cabinetry utilise a series of set sizes that are mixed and matched to create
an overall kitchen design. Because the units have set sizes, if you intend to use this system,
you will need to obtain the sizes from the supplier and use these to draw the elevations.

CUSTOM CABINETRY
This type of build does not have any size restrictions, and if you intend to employ a custom
cabinetry company to build a kitchen, you will be required to supply a full set of working
drawings.

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Here are some standard sizes to consider when designing a custom kitchen:

STANDARD HEIGHTS

■ Kickboard – The height can range from 100mm to 200mm, and the standard is
150mm.

■ Base Cabinet (Floor Cabinet) – Overall height of 900mm minus the kickboard
and benchtop thickness. The standard height is 720mm high, which excludes the
kickboard, but this can be modified for custom cabinetry.

■ Benchtop Material – The thickness of the benchtop is dictated by the material to

be used, and research will need to be undertaken on the standard sizes available for
the material. If the benchtop material is custom made (i.e. concrete), then you can
dictate your preferred thickness.

■ Overall Benchtop Height – From the floor to the top of the benchtop, the standard
height is 900mm.

■ Distance Between Cooktop and Range Hood – If you intend to install a gas
cooktop, the distance should be a minimum of 650mm, and if it is electric, a
minimum of 600mm is needed. For both types, the distance can be greater than the
recommended minimum, and most manufacturers recommend 700mm to 750mm for
gas cooktops.

■ Distance Between Benchtop and Wall Cabinet – It is recommended to use the

same distance between the cooktop and range hood.

■ Wall Cabinet Height – The standard height is 720mm, but the height can be
adjusted to suit the overall ceiling height of the room it is to be installed in.

STANDARD CABINETRY WIDTHS

The sizes are the standard unit sizes, but with custom cabinetry kitchen design, they can be
made to any size to fit the size of the room exactly.

■ Drawer units – 300mm, 450mm, 600mm, 900mm

■ Cabinetry – 300mm, 450mm, 600mm, 750mm, 900mm, 1050mm, 1200mm

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Example Kitchen Plan & Elevation

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SECTIONS

Section drawings are similar to elevations; however, they show a graphical view cut through
of the entire building in the position and direction indicated on the floor plan.

Where an elevation would often focus on one room, a section cut will show all of the rooms
and floors (for multi-storey residences) including the structural building materials used.

The section drawing is a cross-section through the building from the footings (foundations)
through the walls, ceilings and roof structure.

These drawings are more commonly produced by architects or drafting professionals because
they are more structurally detailed as opposed to an interior elevation that is decorative.

Design sections depict form, surface finishes and the arrangement of interior space.

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To make a section easily understood, indicate a notation on your floor plan to show where
you have made your imaginary vertical cut.

It may be necessary to produce more than one section depending upon the complexity of
a project.

When commencing any design project, it is recommended to look at the following:

■ The size of the project

■ The potential scope of works

■ The client budget

■ The number of drawings that you will need to produce

■ The format the drawings will take: plan, elevation, section, working drawings, etc.

This will not only help you in estimating a fee for the project, but it will also give you a
good idea of what you are dealing with going forward. The same applies when setting out
drawings on a page, and again, the scale of the actual property you are working on will
dictate from an early stage the size of paper you will want to use.

It might just be a single room in a house or it might be a restaurant or something larger

like an office fit-out over several floors. This will require forward planning to work out what
drawings will match up with others and how many sheets will be required.

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ADDITIONAL DRAWINGS

In addition to plans, elevations, sections and reflected ceiling plans, there are other types
of drawings, which may be required to communicate your design fully.

These include site plans, foundation plans, wall sections, framing plans, landscape plans,
exterior elevations and design details.

You must be able to read and understand drawings generated by others involved with any
project on which you are working.

An example of a landscape plan is shown below.

LANDSCAPE PLAN

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Drawing enables you to communicate ideas to yourself or another party, such as a client,
colleague or contractor.

Even if you have a great visual imagination, setting a thought out on paper tests and refines
your concepts.

Drawings, as well as models of buildings, are useful for the final presentation of your design.

Even if computer plans are the foundation for your finished visual presentation, learn to use
manual drawing skills as an extension of your creative problem solving ability, starting with
the first spontaneous thoughts and initial planning.

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AXONOMETRIC DRAWINGS

To view an entire designed space, you can use the doll’s house idea to develop an easily read
drawing called an axonometric drawing.

An axonometric drawing is a method of drawing a plan view with a third dimension. It is

used by interior designers, architects and landscape gardeners.

If you start with your floor plan and place it at a 45-degree angle, you can draw vertical lines
from the points where walls and other structures are indicated.

You can then add the walls as you have shown them in your elevations, and connect the
details in one drawing to an adjacent one in order to create a sense of viewing internal
space.

If you are creating several rooms in a house, you can link these drawings together, and
show how the rooms relate to each other or how one room can be viewed from another.

TYPICAL AXONOMETRIC PROJECTION OF PLAN DRAWING

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Floor plan placed at a 45-degree angle, showing vertical lines extending upwards to
create 3D Axonometric Plan

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HOW TO DRAW AN AXONOMETRIC PLAN

This technique is an excellent skill to master as an additional design tool.

■ Draw a scale floor plan of a kitchen, living room, bedroom or bathroom, showing
the placement of fixtures and/or furniture.

■ Rotate your piece of paper so the floor plan is at a 45-degree angle as shown on
page 34.

■ Using the same scale as your floor plan, extend the vertical lines up to create the
floor base of your 3D drawing.

■ From this floor base, you will then extend the lines further to a height of 2.4
metres (wall height) to form the outline of your axonometric drawing.

■ Create the ceiling by joining all four walls.

■ Follow the same procedure to project your furniture and/or fixtures onto the 3D
drawing. You will need to know the height of the furniture, benches, etc.

Axonometric drawings are an impressive visual presentation tool to show your clients. By
linking all the drawings together, you are helping to review your plans to ensure you have
considered the whole space. This also enables your client to understand what to expect,
which is an added benefit.

Remember, we have discussed design drawings, not construction drawings.

If you require complex information to be conveyed, be sure to use a qualified drafting

service for detailed plans; then your tradesmen can complete the required work accurately
and efficiently.

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RENDERING

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RENDERING
The term rendering refers to the way that we can visually describe the colours and materials
to be used in the finished design, manually using drawing mediums or with specific computer
software like SketchUp.

If you intend to study the separate SketchUp Advanced Module, you will learn a number of
rendering techniques that are used to convert a simple 3D model into a finished room with
materials applied.

The introduction of computer generated renders offer the interior designer the tools to
create photorealistic images, but the art of producing manual renders by hand still plays an
important role in the design process because they are quick to produce and offer an artistic
touch to the design.

One of the main differences between architectural drawings and interior design drawings
is that the former historically tended to be produced mainly in black & white to facilitate
printing processes.

Interior design drawings have more colour to accentuate finishes and surfaces.

Colour can be used on a plan to either zone different areas or to show examples of the
colour schemes the designer wishes to use, and help the client see how the end result will
look on paper.

When you become more proficient, you will be able to illustrate a variety of materials and
finishes on paper, from glass to timber and metal.

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We recommend that you visit your local art store to learn the best types of paper to draw on.

To manually render a drawing, the most popular mediums used are pen and markers, and
these are often combined with colour pencils and pastels.

For some interior designers, watercolour paint is used instead of markers, but this medium
takes longer to learn how to use, and it is recommended to start with markers.

Rendering with felt tip markers is a learned skill that takes time to master, but it is worth
looking at, as the results can be most satisfying and impressive.

The drawing is outlined using a fine black felt tip pen; then the markers are used to render
the colours and materials.

We would recommend that you always use quality alcohol markers, such as Copic Brand
Markers, which come in a variety of colours and nib sizes.

The fine tips can be used for detailed work, while the wider nib allows for greater
spread or wash of colour.

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The professional pens, as mentioned, have a much greater selection of colours that will
please any designer and will enable you to produce detailed and attractive drawings in a
wide variety of tones.

Markers, if properly used, can produce rich, vibrant colours to illustrate a scheme or can also
be utilised to portray more restrained greys or pastel tones.

When combining markers with other mediums, it is important to layer them in the correct
order, as some mediums are designed to be absorbed into the paper and others to sit on
top of it.

A suggested order would be as follows:

1. Draw the outline using a fine black felt tip pen.

2. Apply the marker layer. The markers are absorbed by the paper and will not damage
the “tooth” (texture) of the paper that colour pencils require to draw on. To create a
more realistic effect, use a grey marker that is slightly darker than the colour around
it to create shadow areas.

3. Apply finer details with colour pencils; these will be wax based and designed to sit
on top of the paper. Start by applying these lightly, and build up the drawing using
multiple layers of pencil to give it more depth.

4. Finish the drawing off by applying highlights with a white pastel to give it a more
realistic effect.

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It is important to note that the wax base of the pencils will repel the alcohol in the marker.
Once pencils have been applied, you will not be able to use the markers again in the same
area.

To improve on your hand rendering skills, try practising drawing common materials that are
used to decorate interiors.

A simple way to do this is with a printed image of a room interior. Use tracing paper to draw
the outline of the objects and photocopy this a few times. On the photocopy, try to copy the
materials in the source image using pen, markers and pencils layered in the order outlined
above.

Here are some examples of this practice exercise:

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Be inspired by the works of @steviepoep:

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SKETCHING
Being able to produce quick ‘thumbnail sketches’ is a vital skill for any designer to have,
as the ability to whip up a quick sketch for a client whilst describing a space is always
impressive.

Practice as always is the key here, and students should carry a sketchbook with them at all
times. An A5 sized pad will suffice or something that will fit into a bag or backpack in order
to be able to record interesting interiors, details or ideas that you see as you move through
your day.

In this age of instant photography, the skill of sketching should be kept alive and should be
practised and developed whenever possible.

EXAMPLE OF A BUILDING SKETCH RECORD

Being able to describe a thought or scheme is one thing, but as a designer, you need to be
able to manifest your ideas in graphic format.

Even if it’s the oft quoted ‘drawing on a paper napkin’ or ‘the back of an envelope’, you need
to be able to communicate your ideas in a legible format to another person, and you can
impress a client with your creativity and quick reactions to a suggestion.

The best designs often start as a series of scribbles and lines before they become
the manicured line drawings we have seen earlier in this module. The aptitude to
be able to set down your ideas on paper as a flow or stream of consciousness is very
useful, and you are encouraged to practice and develop your skills in this field.

This is not only helpful in developing creativity, but it also promotes a greater
understanding and awareness of the built environment about us.

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PERSPECTIVE
DRAWINGS

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PERSPECTIVE DRAWINGS
A perspective is a three dimensional view of an object or interior space represented on a
two dimensional surface. Perspective drawing is a method of drawing based on how the
human eye sees objects in three dimensional space. It is, therefore, a more realistic form of
drawing than axonometric drawing.

Perspective drawing produces the illusion of depth by using these principles:

■ Decrease in apparent size with distance. Same size objects appear to be smaller the
further away they are from us.

■ Convergence of parallel lines. Parallel lines appear to converge at a point far away.

■ The amount we see of a particular ‘side’ of an object depends on the angle of view.
This is called foreshortening.

All of these are, of course, an illusion created by our eyes.

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 Decrease in apparent size with distance.
Same size objects appear to be smaller the further away they are from the viewer.

Convergence of parallel lines. Parallel lines appear to converge at a point far away.

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An extension of the previous principle is the idea that the distance between two parallel
lines appears to reduce with distance from the observer until they appear to meet at a
point. This point is called a ‘vanishing point’. This image shows how the parallel lines have
converged in the distance, meeting at a single point on the horizon line. This point is called
the vanishing point.

In the example below of the hallway, all parallel walls, floor and ceiling lines converge
at a vanishing point on the back wall of the hallway.

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The amount we see of a particular ‘side’ of an object depends on the angle of view. This is
called foreshortening.

When an object is turned in perspective or foreshortened, it appears smaller than its original
size. The amount of a particular surface seen is relative to the eye level.

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ONE-POINT PERSPECTIVE
A one-point perspective is achieved when the viewer stands parallel to one wall of a room.
It is called a one-point perspective because there is only one vanishing point and one set of
converging lines.

When a rectilinear object is viewed from the front, it is also being viewed from a one-point
perspective.

The front and back horizontal lines of the object remain horizontal and parallel to each other
(shown by the red dashed lines), and only the sides will converge at the vanishing point.

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In the following example of the kitchen, if you mentally extend the major horizontal lines
such as the ceiling line and the cabinetry lines into the distance, you’ll find that they meet
at a single point – the vanishing point – and that this point is on the eye level.

It is an imaginary point directly in front of the viewer’s and, in this case, the photographer’s
eyes.

Something else you’ll notice about horizontal lines besides the fact that they all meet at a
vanishing point is the lines below eye level will slant upwards to the vanishing point, and the
lines above eye level will slant downwards to meet the vanishing point.

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In a one-point perspective, the viewer is facing the back wall (shown in green) and sees the
two perpendicular walls also.

Luigi Rosselli Architects

Photographer: Justin Alexander

If we were to mentally extend the floor, walls and ceiling lines, they would intersect at the
vanishing point (shown in yellow), which sits on the horizon line, also the eye level of the
viewer, which is positioned on average at 1500mm.

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TWO-POINT PERSPECTIVE
A two-point perspective is achieved when an object is viewed from an angle or when the
viewer looks into the corner of a room.

The viewer sees two walls, and each wall with its set of parallel lines converges at a separate
vanishing point, one to the left and one to the right. As there are two vanishing points, it is
called a “two-point perspective”.

When a rectilinear object is viewed from a two-point perspective, the viewer sees two sides
of the object, and each side has a set of converging parallel lines shown in the example
below.

In this module, you will concentrate on learning how to draw one point perspectives as they
are less complex to draw and easier to learn than two-point perspectives.

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In a two-point perspective, we are looking into the “corner” of the room, and we see two
walls instead of three. Now, we have two vanishing points instead of one. There are also two
sets of converging parallel lines created by each wall.

In the two-point perspective room example below, the converging lines belonging to the left
wall converge at a vanishing point on the right, and the converging lines belonging to the
right wall converge at the vanishing point on the left.

If we mentally extend the floor and ceiling lines, we will be able to see this. Here we have
the same interior as before, photographed in a two-point perspective.

Luigi Rosselli Architects

Photographer: Justin Alexander

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GLOSSARY
Eye Level

Also known as the Horizon line (HL). However, this is not the horizon; it is the eye level of
the observer. A horizontal line lying on the back wall (on the picture plane) perpendicular to
the observer’s line of sight.

Ground Line (GL)

The intersection of the perspective floor and the back wall (picture plane); the ground line
is 0mm and is used primarily to measure heights vertically up from.

Back Wall

The back wall of a room in a one-point perspective, from which all measurements are taken
from. Its also known as the Picture plane (PP), the transparent, two-dimensional plane
perpendicular to the observer’s line of sight, through which the observer views what is seen
in perspective.

Vanishing Point (VP)

The imaginary point on the eye level directly in front of the observer and at the end of the
line of sight. All sets of parallel lines (not parallel to the back wall) appear in perspective to
converge toward a common vanishing point. Each set of parallel lines has its own vanishing
point:

1. All sets of parallel horizontal lines appear to converge on the horizon line.
2. All lines parallel to the back wall do not converge but rather retain their true orientation.

Standing Point (SP)

The position and orientation of the observer; the pictorial effect obtained in a perspective
drawing is determined by the position of SP, its distance from the back wall, what is viewed
and the angle of view.

Cone of Vision

The maximum angle of vision (60º) of the observer within which what is viewed is in focus;
everything of importance to be drawn in perspective should be within this cone of vision.
Objects outside the cone of vision will look distorted.

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ONE-POINT PERSPECTIVE DRAWING
There are a variety of methods used to draw perspectives of interiors, including both hand
drawing techniques and computer software programs like SketchUp. With some basic
knowledge and practice, freehand hand sketching interiors can be a very useful skill to have
when required to quickly convey an idea to a client. One of its biggest advantages is the
immediacy of drawing on site.

USING A ONE-POINT PERSPECTIVE GRID

Diagram 1: One-point Perspective Grid Template

One method of sketching an interior is called the grid method because it uses a pre-
prepared perspective grid template. You can find some perspective grids online, use a
premade grid or draw one yourself.

The grid method requires you to have a floor plan drawn to scale. The floor plan and
perspective grid use the same scale for this method.

If, for some reason, either the floor plan or the perspective grid is not to scale or the same
scale, then you should resize either one or both by enlarging or reducing it on a photocopier
so that they correspond. It is not essential, but it is less confusing when drawing.

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TAKING MEASUREMENTS

All measurements must be taken on the back wall and cannot be taken anywhere else in the
drawing; that’s why it is shown in red in the diagrams. It is important to remember that it is
the only part of the drawing that is to scale and the only place you can use a scale ruler to
measure. All other grids on the floor, walls and ceiling are distorted by the perspective and
by foreshortening.

All heights are measured up from the ground line in red (0mm). This is the intersection line
between the back wall and the floor.

Diagram 2: Taking Measurements

Due to the visual distortion of perspective drawing, the only areas of the drawing we can use
to take measurements are on the back wall (in the shaded red area), measuring up from
0mm (red line).

a) Width measurements are to be taken from the grid on the back wall
b) Height measurements are to be taken from the grid on the back wall
c) Depth measurements – use the horizontal lines on the floor as depth guides
d) In this template, each grid measures 500 x 500mm; however, premade
templates can also be 1000 x 1000mm etc.

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SUMMARY PERSPECTIVE GRIDS

■ If creating your own or downloading your grid should be drawn to a known scale, e.g.
1:50 or 1:20.

■ Advantage - Is designed to be used as a generic template for each new perspective

drawing that you do. There is no need to redraw a new grid each time. The grid
makes it easier to work out distances and depths in 3D space.

■ Use only as much of the grid as needed; tailor it to suit the size of your room.

■ Your floor plan and your perspective grid must be the same scale for this method.

■ Disadvantage – you are limited by the location of the viewpoint as you cannot
change it.

■ Once printed (you can photocopy multiple copies), you can either draw directly over
it for each new perspective drawing or alternatively overlay it with tracing paper or
baking paper and draw onto it (using the grid beneath).

Here is a practice exercise designed to take you through the steps of producing a one-point
perspective using this method. On the following pages you will be guided through drawing
a simple one-point perspective of a bedroom.

PRACTICE DRAWING EXERCISE

For this drawing exercise, you will need to download the following files:

1:20 Scale
Grid Template - 1:20 Scale on A4 Paper
NOTE: If you do not have an A3 printer, please
Grid Template - 1:20 Scale on A3 Paper download the A4 grid and follow the printing
1:50 Scale* instructions.

Grid Template - 1:50 Scale on A4 Paper

*An alternate 1:50 scale grid template has been provided to be used as a reference only when required on future
perspective drawing projects. NOTE: Please do not use these for the practice drawing exercise.

Bedroom Plan
Bedroom Plan - 1:20 Scale on A4 Paper

Please ensure you set it at 100% when printing. For this exercise, you will also need a grey
lead pencil, eraser and sharpener, scale and metal ruler, some coloured pencils, and some
masking tape/sticky tape.

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Here is the finished perspective of the bedroom example, which was produced using a
perspective grid. This is what our finished perspective will look like.

Diagram 3: Finished Bedroom Perspective

At first, it may look complex, but all furniture can be simplified into geometric shapes. The
wardrobes are rectangular, and the round side table is a cylinder etc. If you take a closer
look, you will also notice:

1. A vanishing point (VP). This is a point on the eye level directly in front of the observer

2. The eye level. This is the eye line of the observer, positioned on average at 1500mm

3. All lines parallel to the back wall remain parallel

4. All lines perpendicular (at right angles) to the back wall converge at the vanishing
point

5. All converging lines above the eye level slope down (green lines) to the VP

6. All converging lines below the eye level slope up (pink lines) to the VP

We will begin by firstly drawing the floors, walls and ceiling and then continue by drawing
each object as follows:

1. Floors, walls and ceiling

2. Bed

3. Robe

4. Round side table

5. Ottoman on angle

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You must locate the position of the viewer in the space, the standpoint (SP). This will
determine the Vanishing Point as the VP is on the SP and directly in front of the observer.

Diagram 4: Bedroom Plan

Diagram 5: Bedroom Elevation

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HOW TO DRAW A ONE-POINT PERSPECTIVE

STEP-BY-STEP GUIDE

Begin by sticking down the grid template onto your drawing surface with masking tape to
stop it from moving around with your floor plan as a reference to one side.

*Please note where there is no grid ruled over the given floor plan; you will need to do this
yourself. Using your scale and metal rulers, draw a grid of 500 x 500mm squares lightly with
a pencil over the top at scale 1:20 on the copy of the plan.

Diagram 6: Bedroom Plan with Grid

Drawing Tip #1 - How to Measure Scale 1:20 – Refer to the “How to Use a Scale Ruler”
Chapter in Module 4.

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STEP 1 – CUSTOMISE THE GRID AND DRAW FLOOR, WALLS AND CEILING

Diagram 7: Draw Back Wall

■ Customise the grid template to the room size. Take the room dimensions (5000mm
length x 4000mm depth x 3000mm height) from the floor plan and elevation
drawings.

■ Draw in the ground line in red. This is the intersection line between the back wall and
the floor and is 0mm.

■ Start by drawing in the back wall 5000mm length x 3000mm height (the red shaded
area), taken from the plan and elevation drawings.

■ Remember that each grid equals 500mm x 500mm, so count 10 grids long and 6
grids high (shaded red).

■ Draw in the vanishing point (in yellow). From the floor plan, you can see that the
VP is 2500mm in from the right wall. This is the critical point needed for every
perspective!

Drawing Tip #2 - Perspective drawings can become messy because of the many ‘construction’
lines. Choose to draw each object in pencil on a separate sheet of tracing paper. When all
items of furniture and objects are complete, trace over all of them onto one sheet.

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 Diagram 8: Draw Floor, Walls and Ceiling

■ Draw in the floor, walls and ceiling by drawing lines from the vanishing point (VP)
through each of the four corners of the back wall (red shaded area) and extending the
lines from the corners along the grid lines (shown in the solid blue lines).

■ Start by drawing the floor. Use the grid to measure the depth of the room. The room
is 4000 mm deep (refer to the floorplan drawing). Count 8 grids from the back wall
and draw in the floor.

■ To draw in the walls and ceiling, draw vertical lines up from the corners of the floor
until they intersect the ceiling lines. Join them with a line horizontal line; this is the
ceiling closing the room.

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STEP 2 – DRAW IN THE OUTLINES OF THE SHAPE (BASE) OF ALL
FURNITURE ON THE FLOOR

Diagram 9: Draw the Base of the Objects on the Floor

■ The grids on the 2D floor plan drawing correspond to the grids in the 3D perspective
grid drawing. This makes it easy to plot the location of objects and furniture in the
perspective drawing by counting grids.

■ Cross-reference the grids on the floor plan to the corresponding grids on the floor in
the perspective grid to position the base of all the furniture. Let’s draw the furniture
one at a time, starting with the bed (2).

■ Draw bed base (2). Draw the outline of the shape (base) of the bed on the floor
(shown in blue) by counting grids. The bed is 2000mm (4 grids) x 2000mm (4 grids).

Drawing Tip # 3 – This method always involves firstly drawing the base of the object on
the floor and secondly drawing the heights to complete the object, not unlike when we are
drawing in SketchUp. Think of how we draw the base rectangle first, and secondly, we use
the push/pull tool to extrude the object into 3D to give it height.

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Diagram 10: Draw the Base of the Objects on the Floor

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STEP 3 – DRAW THE FURNITURE HEIGHTS

Drawing in the Bed Height

■ Draw a vertical line from each corner of the blue base (this will make the sides of the
bed). Draw these lines up without measuring them.

■ The bed is 500mm high, so to do this count one grid up from the 0mm line (red).

NOTE: You cannot measure up from these lines as this space is distorted perspective depth.
You must measure up from the back wall.

Diagram 11

Drawing Tip # 4 – Measuring Heights – It is also very useful to always draw the
elevation of the wall in which you are facing to scale on the back wall. As the bed is
positioned against the wall, draw in the elevation of the bed on the wall (shown in pink).

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STEP 4 – DRAW A LINE FROM THE VANISHING POINT (VP) THROUGH THE
MEASURED HEIGHT ON THE BACK WALL

Drawing Tip # 5 – Measuring Heights in Perspective

You cannot measure anywhere up from the perspective floor grid as it is distorted perspective
depth. See, for example, how the grids decrease in size with distance. All measurements
must be measured up from the 0mm red line on the back wall. In a sense, the object is
measured on the wall and extruded out toward the viewer.

Refer to 1, 2, 3 in Diagram 12:

1. To find the height of a vertical line anywhere in the perspective drawing, except for
the shaded area, extend an imaginary line from the bottom of the line back to the
vanishing point along the grid line to the red 0mm line.

2. Measure the height to scale on the back wall (shown in red) vertically up from the
redline (0mm) either by counting grids or using the scale ruler and mark it.

3. Draw a line from the VP through this measure or mark (shown as a red dot) onto the
blue height lines drawn up from the object.

Diagram 12: Drawing Heights in Perspective

■ Draw a line from the VP (magenta) through the measured 500mm line or at the top
of the first 500mm high grid on the back wall until it intersects the previously drawn
vertical lines (blue). See Drawing Tip # 5.

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 Diagram 13

■ Now that the converging lines, sides of the bed are drawn, draw the horizontal lines
parallel to the back wall, the front and back lines of the bed. Connect the four corners
of the object (shown in pink) to draw the top of the bed.

Diagram 14

■ You have now also drawn in the front of the bed (blue).

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Drawing Tip # 6

All lines parallel to the back wall remain parallel and all lines perpendicular to back wall
converge at the vanishing point.

Diagram 15

■ Draw the outline of the completed bed.

REPEAT STEPS 2, 3 & 4 TO DRAW WARDROBE (3)

Diagram 16

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 Diagram 17

Diagram 18

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 Diagram 19

Diagram 20

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STEP 5 – DRAW CYLINDRICAL OBJECTS

Drawing Tip # 7 – Drawing Circles in Perspective

To draw a circle in perspective (this will always look like an ellipse or squashed circle), you
must first draw the square first. For example, if your circle is 500 diameter, first draw the
500mm x 500mm square, which bounds the circle.

To draw any cylindrical object, you must draw the cube around it first. For example, if your
cylinder is 500 diameter, first draw the 500mm x 500mm cube, which bounds the cylinder.

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Draw Bedside Table (4)

■ Start by drawing the base of the side table. From step 2, we have already drawn the
circular base of the side table. Note that since it is 500mm in diameter, the 4 grid
lines touch the sides of the circle.

■ Next, draw an ellipse inside. Now, refer to the elevation drawings for the side table
height (500mm).

■ To draw any cylindrical object, you must draw the cube around it first, so next draw a
500mm x 500mm cube (shown in grey in diagram 21).

■ Draw another ellipse on the top face of the cube.

■ Finally, draw in the two vertical lines, which connect the two outermost points of both
ellipses (tangents of the circles).

Diagram 21

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STEP 6 – DRAW OBJECTS ON AN ANGLE

Diagram 22

Draw Ottoman (5)

■ Start by drawing the base of the ottoman. From step 2, we have already
drawn the base of the ottoman by estimating its position in relation to the
perspective gridlines on the floor.
■ Then, draw over the grid lines touching all four corners of the angled object
shown by the red square base on the floor in diagram 22.
■ Next, draw the cube 400mm high from the elevation drawing. The ottoman is
400mm high, shown in grey.
■ Locate the intersection points of the gridlines (red lines) and the angled object
on the floor (purple lines) shown by the red dots in diagram 22.
■ Draw vertical lines up from these 4 intersection points on the floor to the top
face of the grey cube.
■ Now, join these 4 red dots on the top face of the cube with purple lines.

Drawing Tip # 8 – Drawing Angled Objects in Perspective

To draw an angled object in perspective, you must draw a cube around it first.

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STEP 7 – TRACE OVER ALL OBJECTS

■ Take a sheet of tracing paper and trace over all walls, floor and ceiling lines and
objects drawn in perspective. Draw over the visible lines only and leave out lines
which would not be seen.

Diagram 23: Finished Bedroom Drawing

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HOW TO
VISUALLY
PRESENT IDEAS
TO YOUR CLIENT

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HOW TO VISUALLY PRESENT IDEAS TO
YOUR CLIENT
Previously in Module 3, we outlined the different types of boards that interior designers use
to visually communicate their design ideas to their clients.

■ Mood Board ■ Sample Board ■ Material Board

For the assignment in this module, you will be creating a material board to present your final
selections to the client. We have provided an overview of what a material board consists
of to help you with the assignment. First, let us inspire you with a selection of boards from
fellow #IDIstudent’s.

@exedrainteriors @studioisabella @av__design__

@[Link] @[Link] @ririasty

@samantha_milne_designs @whelansdesign @[Link]

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MATERIAL BOARDS

Project Stage

Material boards are used in the last stages of the design project. They are commonly a
selection of materials that are presented at the same as the sample board or in a later
meeting with the client.

Communication Intent

A material board is used to present physical samples and swatches of the materials to be
used in the final design. It allows the client to see, touch and feel the samples and highlights
the texture of materials, which can be lost using images alone.

Samples and swatches to include on a material board are as follows:

■ Wallpaper

■ Tiles

■ Paint colours – swatches or physical paint sample

■ Soft furnishings - fabric

■ Carpet / Flooring

■ Timber – varnish or veneers

■ Flooring

■ Hard surfaces - stone, laminex

■ Fixtures & fittings, i.e., handles

■ Decorative accessories, i.e., tie backs

Things to exclude:

■ Images of furniture, accessories or completed rooms

There are two factors to be considered when you are making a material board:

1. Layout
2. Construction

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LAYOUT

■ The layout style can be formal or informal. Early in the project, it is common for
designers to gather a variety of samples, loose and unmounted for the client to make
selections. Later in the design process, it is recommended that your material board
layout is more formal.

■ Generally, the one material board is used to display all the materials in a project.
Depending on the size of the project, this may be increased.

■ Individual materials can be grouped into subcategories by room or intermixed.

■ Board title is optional.

■ Generally, the background is left plain or if you have a large physical sample like a
tile, you can use this as the background and arrange the other samples over it.

■ Materials are to be numbered using a small discrete font, and a legend containing the
details of the selections is to be provided. This can be displayed on the front of the
board or can be supplied separately.

■ Using proximity to arrange the materials by layering them over each other becomes
more important as you are showing the relationship of how the items will work
together especially if they are to be used in the one room.

■ The use of negative space is important as the overall design of the board should be
uncluttered and professionally presented.

There are two layout styles that are used to arrange the materials on the board:

Traditional Layout
Lay out the samples in relation to their actual physical location: floor finishes at the bottom
of the board, soft furnishing samples above, wall finishes on the side and window treatments
and ceiling finishes at the top.

Modern Layout
Lay out the samples according to their visual impact: floor, wall or ceiling surfaces are bigger
samples that are followed by smaller decorative finishes.

When deciding on a material board or any other layout, it is recommended that you revisit
and apply the 2D design elements and principles rules that you have learned in Module 3 to
your design.

The key design elements and principles to address in your design are:

Balance – It is recommended that you avoid a symmetrical design, and instead use an
asymmetrical layout.

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Proximity – It is better to avoid spreading items out evenly across the board because this
layout does not have a focal point; instead, group them together. For board designs that
involve several rooms, you may want to group these together creating small clusters, and
arrange the clusters on the board preferably using an asymmetrical balance.

Space – Ensure that you have left negative space around the arrangement. This will help to
focus the attention back onto the items. The way that we do this with a material board is by
layering the items on top of each other until we achieve the desired result.

Shape – Think of what the overall shape of the combined items has made as this will have
an impact on the other design principles. It is better to make the overall shape outline
interesting (see examples below) and avoid a dull static straight-sided shape.

Image source: [Link]

Colour – The colour of the materials used will influence the overall board design, but it
is important that we do not overlook the background colour. Why not integrate your paint
colour by painting the board in this colour? Or you can choose to leave it white to maximise
the effect of negative space. Either way, before you start, try laying out the materials on
different colour boards to assess what colour will benefit the design.

Image source: [Link]

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The arrangement of the size of the items on the board will have an impact on the visual
weight that the board has. It is recommended to place larger items either behind the other
items or at the bottom of the board and smaller items at the top.

This rule can also be applied to the value (tone) of an item by moving the darker items to
the bottom of the board, which will make it appear more grounded.

In this example, imagine if it were to be turned upside down. The rearrangement of the
darker material moving to the top gives the board a different feeling.

Image source: [Link]

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CONSTRUCTION

The layout of the board is very important, but a poorly executed one could turn off a potential
client more than an unrefined layout would. When we are physically making a board, it is
important that all of the cut materials are done neatly, and when the items are arranged,
they are lined up correctly. The substrate that is selected needs to be strong enough to hold
the materials, and the glue is correct for the purpose.

SUBSTRATE MATERIALS

Foam Core Board – The boards are made up of a

layer of foam sandwiched between two cardboard
sheets. They are available in a number of thicknesses
and are the preferred substrate to make a material
board because they are cheap to purchase, strong
and lightweight.

Timber or MDF – These boards are heavier than foam

core but can hold more weight. They are available in
different thicknesses, and it is recommended to use a
thin 3mm thickness for this application.

Tray – A tray is a great temporary option to display

materials without damaging them permanently with
glue and fixing. The materials can be left loose in the
tray or held in place temporarily with blue tack.

Image source: [Link]

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ADHESIVES (GLUE)

The type of glue needed will depend on what materials you are to use it on. Each type of
glue has its benefits, and quite often, you will need more than one type to make a material
board.

Spray Adhesive – Aerosol-based glue spray that works well

for light weight materials. The benefit of this is that it will coat
the material evenly, and it is suited to gluing paper to your
substrate. The downside is this product is aerosol-based and
must be used in a well ventilated area.

PVA Glue – This glue is the best all-round option for making a
material board. It is strong enough to use on heavy materials
yet can also be spread thinly to use on lighter materials. It
dries clear and is water-based, so it is easy to clean up. The
downside is that the dried glue is glossy and can stand out on
a matt surface if you make an error. It is also a wet glue and
can damage paper by causing it to wrinkle.

Glue Stick – This type of glue is a dry stick of low tack glue.
It works perfectly on paper but is not strong enough for any
other material.

CUTTING

To produce a clean edge when cutting, it is advisable not to use scissors. Instead, it is better
to use a retractable knife along with a steel ruler. The steel ruler will save damage to the
ruler because of the knife sliding along it. When using these tools, it is better to cut on a
specialty cutting matt or if you do not have one of these, a kitchen chopping board will also
work.

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ASSIGNMENT ELEVEN
ELEVATION AND MATERIAL BOARD

STEP 1 STEP 2 STEP 3 STEP 4

REVIEW YOUR CREATE A CREATE A INCLUDE A
FLOOR PLAN KITCHEN ELEVATION MATERIAL BOARD LEGEND

PART A - CABINETRY DRAWING

The client would like to implement your kitchen design from the floor plan you produced in
Module 4, and they have employed a custom cabinet maker to build the kitchen based on
your design.

They have asked you to draw an elevation of one wall of your kitchen so that they can
review the design before submitting the drawings to the cabinet maker. It is recommended
that you select a wall that contains the most detail for this assignment.

The cabinet maker has advised that they will use 16mm thick substrate for the construction
of the kitchen carcass, shelves and drawers of which you are to select a suitable laminate
finish or solid timber.

The benchtop thickness will be dictated by your material selection, and it is part of your role
to research the recommended thickness and include this detail into the elevation.

WHAT YOU NEED TO CREATE

You are required to draw an elevation of one wall of the kitchen. The elevation can be hand
drawn or produced with any CAD-based drawing program and will need to incorporate the
following specifications:

■ A4 title block (or A3 if it will not fit onto an A4 sheet)

■ Landscape orientation

■ Scale 1:20

■ Dimensions

■ Incorporate the “Working Drawing” details as outlined on page 23.

■ Incorporate any permanent fixtures and appliances like sink, dishwasher, oven,
cooktop or fridge as required.

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The final drawing will need to be saved as a PDF or JPEG and uploaded on the Student Site.

Example of a Completed Assignment

Drawing: Scale: Student Name: Date: ELEVATION A 1

Kitchen Elevation 1:20

RESOURCES

Blank Multiple Elevation Symbol

Blank Single Elevation Symbol
Kitchen Elevation Example
Kitchen Elevation Template - A4

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PART B - MATERIAL BOARD

You are to prepare a material board to present the kitchen materials to the client that you
specified in Module 7.

Material Board Examples

The materials are to be made up of real samples and mounted onto a board using layout
techniques outlined in this module. You have the option to use the actual materials specified
in Module 7 for the house you have been working on or create a totally new design.

To help with the task, we have compiled a small list of suppliers that offer samples of their
products at little or no cost. If possible, you can also visit your local hardware stores or tile
shops and ask for some samples.

Material Sample List

If you have trouble obtaining real, physical samples, you can use a good quality image from
a magazine or source the samples online and then create a digital material board.

Digital Material Board Examples Using Morpholio Board

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WHAT YOU NEED TO CREATE

The material board is to contain the following samples:

■ Flooring

■ Cabinetry

■ Benchtop

■ Splashback

■ Paint sample for the walls, ceiling, trims and door

Each of the materials are to be numbered, and an accompanying legend outlining what the
materials are is to be submitted on the Student Site in the text box.

On completion, photograph the board and upload the image into the assignment section on
the Student Site, along with the accompanying legend.

SUBMISSION REQUIREMENTS

This assignment requires you to upload:

A total of 3 files containing your elevation drawing, material board and the most up to
date floor plan from Assignment 4.

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#IDISTUDENT ASSIGNMENT EXAMPLES

We have included a few assignment submissions by fellow students to give you an idea on
ways to set your assignment out. Use them as inspiration only and do not copy word for
word. Note that most of these examples are snippets and do not contain the full submission.

8990

415 2050 670 2050 1050 1950 805

300
500

850
1500
1000

650

2400
2100
30

BAR
900

900

720

INTEGRATED
DISHWASHER
BREAKFAST
150

185
600 380 500 500 600 600 30 1990 30

5230 3760

Juliette xxx-xxx-xxx DATE: ELEVATION A

p DRAWING: SCALE STUDENT NAME: 1
Elith a xxx-xxx-xxx Kitchen Elevation 1:20 Juliette Elith 10/8/2020
INTERIORS e xxx-xxx-xxx

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IMAGE SOURCES

COVER IMAGES

Module Cover Image by Dylan James

Communicating Accurately Cover Image by Stocksy

Things to Consider Cover Image by Shutter Stock

Drawing Equipment Cover Image by 123rf

Orthographic Drawings Cover Image by iStock

Rendering Cover Image by iStock

Perspective Drawings Cover Image by 123rf

How to Visually Present Your Ideas to Your Client Cover Image by 123rf

OTHER IMAGES SOURCED FROM

Stephan Pöppelmann
Sophie Patterson Interiors
Behance
Pinterest
Instagram
Google Images
Shutter Stock
Adobe Stock
Stocksy
123rf

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