Brama coat of arms

Transcription

Hello everyone, today we’re going to draw a castle from a bird’s eye view, as I promised last week. I’ll show you how to do it based on a view and I’m going to use this occasion to talk about the castle’s plan and its typical elements. We have here a view of an imagined by me castle inspired mostly by English and French castles. At first what is crucial for every castle, so the main walls’ outline with the corner towers. The inner area is divided into two courtyards. In the bigger and more important part is the heart of the castle, the residential tower of the castle’s master and the remaining agricultural buildings, such as stables, the forge, the kitchen and the warehouses. In some castles chapels were also placed. . The smaller courtyard separated from the bigger one with a wall could be another defense spot from the enemy that could cross the main gate. Behind the gate, hanged above the water filled moat, is a drawbridge that leads to the barbican. Barbicans were often built before the fortifications as small, independent lodgments that could have been abandoned painlessly in case of an emergency. What’s most important from the drawing point however is how to inscribe the described elements into a net that’ll next be easily recreated in perspective. As you can see here I fit the main castle part into a 5a x 5a square and the barbican with the gate towers into a smaller 2,5a x 2,5a square. I start off by drawing in perspective the presented a second ago view. Firstly I create a square on an ellipse to which I add next ones. I divide the squares so that I get a required for the big part 5 to 5 division. I divide the squares so that I get a required for the big part 5 to 5 division. During the dividing it turned out that the whole thing has moved too much to the bottom of the frame so I leave the lower row of squares and draw another at the top. I also add a smaller part intended for the barbican. I now draw with ellipses the bases of the main towers and connect them with a line that is the outline of the walls. Similarly I draw the outline of the keeps and the walls of the barbican. I then add the walls’ thicknesses. In similar way, in accordance with the view, I find and draw the placement of the remaining elements of the castle. I can now pull up in perspective all the drawn elements to create a 3D solid. Firstly I create the towers’ cylinders. I move the ellipses up, exactly like I did in the first film of this course about perspective basics. While drawing the residential tower I first pull up a rectangular base, creating a cuboid and then later add corner towers to it. Because by adding next elements the drawing is going to thicken it’s good to draw delicately from the very beginning and avoid unnecessary lines. After the towers I pull up the walls that are going to be more less a half lower. One of the towers by the gate’s going to be lower than the others. That’ll make it easier to show what’s behind it and diversify the castle’s solid. Next I similarly pull up the inner wall with the towers and the barbican with the keeps. Here by the way is a small explanation: a tower is not the same thing as a keep. Towers are surrounded by wall from every side and keeps are open to the inner part of the fortification. I mention it because both terms are often being used interchangeably by mistake. When I have the main solid of the fortress ready I can start playing around with the details. The most characteristic thing is of course the battlement also called the crenellation, the tooth shaped wall’s coping. The battlement could stand out a little before the face of the wall and be placed over an arcade frieze or a machicolation, the holes from which the defenders poured out on the attackers i.e. hot oil or tar. As well as in the wall itself or in the battlements, embrasures might have been placed that often had quite decorative shapes. Over the castle a flag should blow in the breeze with a coat of arms of a master or a king, so here it is. Right below the coping of the residential tower, so in a rather safe place, a bigger and more decorative window beautified with stone details or tracery could be placed. Over the fortifications I could place the same crenellation as over the towers but to make it more interesting I draw a hoarding there, a roof covered wooden porch with embrasures and machicolation. Similarly I cope the lower tower to which I additionally add an upper story between the extents of conical roofs. Hoarding from the courtyard’s side is going to look differently than the one from the outside. Here we’re going to see its interior and the construction of the posts. Where there is some space left I draw a roof over the agricultural buildings inside the castle and above the chapel standing out a bit before the wall’s face. The main entrance to the castle is of course the drawbridge and a massive grate. Let’s now move the castle up a little, above the surrounding ground and add a widening to the bottom foundation. Such shape of theirs is going to give the building extra massiveness. I know that with this film I touched the subject only a little I know that with this film I touched the subject only a little and that’s why I already promise that to the castles, the Middle Ages and to fortifications we’re going to come back in a while and that’s why I already promise that to the castles, the Middle Ages and to fortifications we’re going to come back in a while and in a much more spectacular way. But let that be a surprise for now. And in the next film that I invite you to right now we’re going to play a little with drawing solids. See you.