Hand-drawing in architecture is to reflect the general appearance of the scheme and the outstanding design points of the designer. For example, the main entrance, a facade full of design sense and so on. I think the so-called sense of hierarchy can be highlighted from the following three aspects.
1. perspective. When drawing ink lines, we should pay attention to distance perspective and air perspective, just as when we climb high and look far, we can always see the outline, material, color and even details of nearby buildings, while distant buildings have only a rough sense of volume. Similarly, when drawing ink lines, we should consider the clarity near and the fuzziness far away, that is to say, the place close to the viewpoint needs to be portrayed emphatically, while the distant building can show its general outline only by drawing a few strokes. It should be empty or even "blank" if necessary. Don't draw too much.
2. color. When using markers, you should start with light gray, and you should also have primary and secondary points when reflecting materials. Give a chestnut: the nearby glass is transparent before and after painting. Paint it gray first, then blue-green. Finally, you can draw the reflection of the mirror with a high-gloss pen (correction fluid). But the premise of everything is that your ink lines are drawn carefully enough. Moreover, it is enough to gently sweep the glass in the distance without tiling. This is the effect of aerial perspective.
3. The relationship between foreground and background. Shade, reflection, shadow, people, ground. It is an effective way to reflect the sense of space. Only by considering the various elements and their relationships can we draw excellent hand-drawn buildings.
However, after all, we are not professional rendering tools or painters, thinking that we can clearly show your design and have a certain aesthetic feeling.
Take the hand-painted marker as an example.
1. Pay attention to the selection of perspective and vanishing point position, and the placement and selection of indoor scenery.
2. Color the interface with light warm gray, and pay attention to the use of lines and the drawing of light and dark gradients.
3. Pay attention to the analysis of light and shadow changes for the first time, and leave blank appropriately.
4. Through the bright and dark performance of the interface, the three-dimensional sense is more prominent. The pen on the ground should be smooth, and it can be used vertically or horizontally.
5. Strengthen the depth description of each component of the picture, and draw dark parts or shadows with medium-depth markers through light and shadow analysis.
6. Look at the picture as a whole, from which you can find the coordination between each detail and the whole, for individual places.