Painting of urban architecture Automatic translate

Urban architecture has captivated artists for centuries. From 18th-century Venetian vedute to modern plein-air sketches of megacities, painters have developed a variety of techniques for conveying architectural forms, light, and the atmosphere of urban spaces. Working with architectural motifs requires an understanding of perspective, mastery of compositional techniques, and the ability to simplify complex structures without losing the character of the objects.

Historical development of the genre

The heyday of cityscape painting is associated with Giovanni Antonio Canal, known as Canaletto, who worked in Venice in the first half of the 18th century. His nephew, Bernardo Bellotto, developed the vedute tradition, creating topographically accurate depictions of European cities. Bellotto paid particular attention to the rendering of light characteristic of each specific location and to mathematically precise perspective.

Masters of the Venetian school likely used the camera obscura to achieve the highest precision in depicting urban views. This technique allowed them to capture complex perspectives and the precise proportions of buildings. Bellotto’s paintings were distinguished by such detailed architectural elaboration that after World War II, they were used as blueprints for the reconstruction of Warsaw’s historic center.

Canaletto created large-scale depictions of Venetian canals and the Doge’s Palace, using vibrant local colors and atmospheric effects. His approach to conveying light and atmosphere anticipated some of the Impressionists’ discoveries. In his works, the city appears as a living organism, where architectural volumes interact with light, water, and human figures.

The 19th-century Impressionists transformed the urban landscape genre, shifting the emphasis from topographic accuracy to the conveyance of impressions and atmosphere. Parisian boulevards and industrial outskirts became objects of artistic reflection. Painters explored how urbanization was changing visual culture and creating new types of spaces for observation and creativity.

Materials for architectural painting

The choice of materials determines the technical capabilities and nature of the work to be done. Each type of paint has specific properties that influence the process of creating architectural images.

Oil paints

Oil remains the most stable material over the long term. A special drying process through oxidation protects the pigments from deterioration. Oil paints allow for the rich color gradations and subtle tonal transitions necessary for rendering complex architectural forms. Slow drying allows for extended periods of detailing and adjustments.

When working with oils en plein air, artists face the need to transport wet works. Special carriers for panels measuring 23 x 30 cm or 20 x 25 cm can accommodate two to four works. Primed panels on a rigid base are more convenient than canvas for architectural motifs, as they provide a stable surface for precise compositions.

Watercolor

Watercolor painting requires special planning. The artist works from light to dark areas, as applied paint cannot be completely removed. White and light architectural elements require preliminary coverage with masking fluid.

Watercolor allows for the creation of a light, airy environment characteristic of urban landscapes. The wet-painting technique helps convey atmospheric effects such as fog, rain, and evening light. Artist Alla Zarvanitskaya uses watercolor to create an image of the city as a harmonious blend of architectural authenticity and poetic emotion. The light, airy environment actualizes the city not only as a material space but also as a cultural phenomenon.

When working on a rainy cityscape with watercolor, light reflections are more elongated and exaggerated. Paints can be applied more saturated than usual, conveying the drama of wet surfaces. Hot pink opera is one of the most intense pigments, creating the effect of neon lights.

Gouache and tempera

Gouache is distinguished by the unique behavior of its pigments in both wet and dry states. When wet, the paints exhibit high saturation, but when dry, their lightness increases by 15-20 percent. Experienced painters take these changes into account when mixing colors. Gouache’s rapid drying time — about 10-15 minutes at room temperature — speeds up the work but requires prompt adjustments.

Gouache is suitable for creating dense matte surfaces and clear contours necessary for depicting architectural details. The material allows for working from dark to light, making it easier to create complex building facades.

Acrylic paints

Acrylic emerged in the mid-20th century and quickly gained popularity due to its versatility. The paint can be thinned with water to the transparency of watercolor or applied thickly, mimicking the texture of oil. The polymer film, once dry, is resistant to moisture and light, maintaining its original appearance for up to five to eight years when placed outdoors, making acrylic a suitable material for monumental painting.

Acrylic dries in 20-30 minutes, requiring a mastery of the wet-on-wet technique to create smooth transitions. The material can be applied to any non-greasy surface — canvas, wood, walls, fabric. Its rapid drying allows for the creation of multi-layered structures in a short time.

Linear perspective in architectural painting

Perspective determines the persuasiveness of three-dimensional architectural forms depicted on a flat surface. Linear perspective creates a mathematically based illusion of space and depth.

One-point perspective

The composition begins with the horizon line, which corresponds to the observer’s eye level. The vanishing point is located on the horizon line. The central position of the vanishing point creates a formal, symmetrical composition; its off-center position adds dynamic tension.

All orthogonal lines extending into depth converge at a single vanishing point. Lines parallel to the picture plane remain horizontal or vertical. One-point perspective works when the building’s façade is parallel to the picture plane, and the viewer looks directly at it.

Two-point perspective

The two-point system is necessary when depicting buildings positioned at an angle to the picture plane. This method uses two vanishing points on the horizon line. Vertical lines remain strictly vertical, and horizontal edges of objects converge at one of the two points.

The angular placement of buildings creates more dynamic compositions than a frontal view. Depth is dramatically enhanced. The distance between vanishing points influences the nature of perspective: close placement creates a wide-angle effect, while a long distance mimics a telephoto lens.

Urban landscapes benefit most from two-point construction. Streets, building complexes, and architectural studies all require this approach. Still lifes with objects positioned at an angle to the picture plane are also constructed using the two-point system.

Before you begin drawing, it’s helpful to mark the corners of your main objects so you can easily connect them to vanishing points and avoid space constraints. A lightweight ruler makes manipulation easier, especially when drawing multiple repeating lines.

Measurement and proportions

Each divider between major sections is measured several times relative to the previously established shape. The negative space between objects helps verify the correct proportions. The rules of perspective determine the slope of each diagonal line.

Canaletto demonstrated a masterful grasp of linear perspective in his depictions of Piazza San Marco. The unusual geometry of the square and the many works executed from close perspectives throughout the artist’s career offer an opportunity to study how painters applied various aspects of perspective in highly regarded works.

Atmospheric perspective

Atmospheric perspective complements linear perspective by creating the illusion of depth through changes in color, tone, and clarity of objects as they recede.

Tonal changes

Atmosphere reduces the tonality of objects as they recede. Tonal range — the difference between light and dark — decreases with distance. Foreground objects exhibit the greatest contrast between light and dark areas, while distant objects lose contrast.

When constructing an urban landscape, start with dark values and lighten the shadows in the background. This technique enhances the sense of reality. The foreground receives darker tones and greater detail, creating a sense of depth.

Color transformations

Distant objects acquire a bluish tint due to the scattering of light by air particles. Cooler, lighter tones effectively convey distance, exploiting the influence of atmospheric perspective on color perception. The transition from light tones near the horizon to darker tones closer to the observer enhances the sense of depth.

Colors lose saturation with distance, especially noticeable in greens and yellows. When creating depth in cityscapes or architectural views, these principles are applied to buildings, streets, and other man-made elements, maintaining a realistic appearance.

The contrast between warm and cool color temperatures enhances the sense of depth between the foreground and background. Applying a bluish tint to distant objects simulates atmospheric effects. Subtle changes in color temperature significantly impact the perceived depth of a work.

Detail and texture

The clarity of detail decreases with distance. The foreground requires careful texture elaboration, while the background is simplified to general masses. Dividing the image into planes — foreground, middle ground, and background — creates a sense of depth.

Nearby objects overlap more distant ones, adding to the sense of depth. Detailed studies of individual trees, plants, architectural elements, and micro-landscapes help avoid monotony and create a sense of "portrait" in natural and urban motifs.

Compositional techniques

Composition determines how the viewer’s eye moves through the image and which elements attract attention.

The rule of thirds

Dividing an image into nine equal parts using two horizontal and two vertical lines creates a grid. Placing significant elements along the grid lines or at their intersections creates a sense of stability and helps avoid a static or unbalanced image.

In landscapes, grid lines help establish the foreground, middle ground, and background. This technique draws the viewer deeper into the scene, creating a more emotional and immersive experience. The horizon is typically positioned along the upper or lower third of the composition.

Placing the focal point at the intersection of thirds instead of the center adds visual interest and draws the viewer’s attention. A secondary center of interest at the diagonally opposite intersection creates a diagonal within the image, adding depth.

Simplification and editing

Before beginning work, observe how people move around the area you plan to paint. Mark the composition with check marks to ensure the elements are positioned correctly. Squinting helps determine tonal relationships. Eyes tire more quickly during plein air sessions due to changing light, so squinting compensates for this.

Editing and simplification are necessary. Fragments that look awkward or distracting are omitted. Avoid overloading the image of a multi-story building with windows — a darker underpainting combined with a few vertical lines creates the impression of windows.

Start with the largest shapes, marking the highest point. Measuring elements relative to the first largest shape ensures correct proportions. Straight lines shouldn’t be a concern — in sketches of cityscapes, loose lines add vibrancy.

Working with color and light

Light determines the character of an architectural image. Shadows give buildings volume and weight. The direction of the shadows determines the time of day — if the shadows fall to the right, the scene takes place in the morning, with the sun rising in the east.

Underpainting

The underpainting creates the foundation for all subsequent work. Instead of a traditional solid color wash, you can mark out areas of color, indicating the composition and approximate placement of elements. Choosing very bright, saturated colors for the first layer is effective, as subsequent layers will be built upon.

When working on a watercolor cityscape, people begin with the light areas in the center of the image. Everything is done in one pass on a wet surface. Unlike oil painting, where people work from dark to light, in watercolor they begin with the lightest areas.

After the underpainting has dried, the masking fluid is removed, revealing the white of the paper and allowing the brighter areas of the cityscape to be seen more clearly. Using the same colors, depth is added to the image. This step is performed with a smaller brush, adding fine lines, car silhouettes, and reflections from below. This work is done on a dry surface, unlike the previous layer, which was done wet-on-wet.

Building tonal relationships

Working on the watercolor, the artist applies washes over the buildings, mixing yellow ochre and Payne’s gray, ensuring they don’t bleed into the sky. Textures and details are added with a drybrush, mixing burnt sienna with yellow ochre.

The sky is painted with a mixture of cobalt blue and Windsor blue, creating gradations through dilution of hue. Shadows on the architecture require special attention to reflexes — reflected light. Even in shadowed areas of the structures, reflected light is present.

Windows and architectural details

Windows create rhythm on building facades. The technique for rendering glazing depends on the lighting and distance from the object. Foreground windows require careful attention to their frames, mullions, and reflections in the glass. In the middle ground, it’s enough to indicate dark openings with a few vertical strokes.

Detailing the doors begins with drawing the corner lines with a soft graphite pencil and a triangle. The door details are painted with a mixture of white, Venetian red, and Spanish earth. The brickwork of the entrance is added in the same colors plus natural umber. The sidewalk lines in perspective complete the work.

To create the architectural textures, a warm, transparent color of Venetian Red and Burnt Sienna is used for the red door in partial shadow and the door brick. A cooler, transparent shadow color is then mixed for the brickwork using Raw Umber and Transparent Yellow Oxide.

Techniques for different materials

Oil painting

After creating the underpainting, the artist begins to establish tonal values and add building details. Continuing to work on the underpainting, the artist refines the details and refines the drawing. Once satisfied with the underpainting and its tonal relationships, the artist begins to apply thin washes of dark colors over the underpainting.

A week after finishing the work, the "oil out" technique is used to restore the darkened matte areas. This method involves applying a thin layer of oil to the dried surface, restoring depth to the dark tones.

The combination of various techniques — brush, palette knife, and layering — creates a richness of texture. The palette knife allows for the sharp edges characteristic of architectural forms, while the brush creates soft transitions and atmospheric effects.

Watercolor technique

Careful study of the motif at different times of day and in changing weather conditions is emphasized to precisely define chiaroscuro, linear, and color relationships. The studies capture fleeting natural phenomena, with the artist consciously selecting material to establish the compositional center, define proportions, and regulate the rhythm of all spatial elements.

The importance of constructing compositions in pencil and underpainting is revealed as intermediate stages that allow for control of scale, perspective, object placement, and overall tonal structure. Detailed studies of individual elements create a sense of authenticity.

Graphic techniques

Pen and ink techniques include line drawings and brushwork with washes. Colored drawings are made with pastels or colored pencils. Abstract, flat compositions are created using collage.

Graphic techniques allow for the rapid capture of architectural motifs. A set of pencils of varying hardness and a sharpener allows for rapid tonal capture. Without an eraser, the work becomes less labor-intensive and faster, as these sketches serve only as a preparatory step for painting.

Graphite pencils offer an alternative to a full set of pencils for simple sketches; they’re easy to transport, though they can stain your bag or hands. City drawings contribute to an understanding of the complexity of the urban environment. A researcher’s attentive gaze during the drawing process enhances their understanding of urban phenomena and suggests patterns and forms collected in sketchbooks.

Plein air painting of urban architecture

Working outdoors places special demands on equipment and process organization.

Equipment

When choosing a plein air painting kit, the first consideration is whether you want to paint standing or sitting. For standing work, a French easel or a field easel with a painter’s box are suitable. Adjustable easels allow you to position the canvas at the correct height and level on an uneven surface.

Primed panels provide a good, rigid support for plein air painting. Compatible with both the Jackson sketchbook and the French sketchbook, multiple panels can be used without taking up much space. The Jackson sketchbook holds two wet 25 x 30 cm (10 x 12 in) panels or two 25 x 35 cm (10 x 14 in) panels.

An umbrella with a clip helps with changing light, keeping glare off the work. This allows you to set up in places where it would otherwise be difficult to assess color tone. The included hooks allow you to adapt the setup to your surroundings — keep a rag nearby or hang the solvent at the right height.

The flexible, lightweight aluminum easel features secure clamps at the top and bottom and folds compactly. A standard screw fits any tripod, or a quick-release plate can be attached. After consulting with numerous artists and extensive research, we created a setup that meets the needs of mobile street sketching.

Organization of the process

This compact setup allows you to paint outdoors regularly without the hassle, drama, setup time, or space requirements of a full-fledged plein air painting. This lightweight kit frees you from restrictions and allows you to focus on the creative process.

Plein-air practice for architecture students is aimed at developing their perception of nature, compositional, and technical skills. Students explore the principles of the plein-air program at leading architecture universities. This interdisciplinary approach is based on the connection between architecture and the fine arts — drawing and studying architectural monuments, and conducting plein-air workshops with professional artists, focusing on techniques and technologies.

The methodological features of the program for developing universal and general professional competencies of an architect and designer are revealed through an acquaintance with architectural heritage monuments, a creative research approach to the object of study, the development of compositional thinking and the basics of linear-constructive drawing, and the mastery of graphic techniques necessary for working on project sketches.

Creating depth and atmosphere

The combination of linear and atmospheric perspective creates the impression of distance, lending a three-dimensional feel to the images. Landscape forms and river flows are used as natural cues to direct the viewer’s gaze and create a dynamic composition.

Foreground textures are emphasized to create a strong contrast with distant objects, enhancing the illusion of depth. Colors lose saturation with distance, especially noticeable in greens and yellows; the palette is adjusted accordingly to convey a realistic atmospheric perspective.

These practical tips provide versatile approaches to applying atmospheric perspective in a variety of artistic settings, offering a range of techniques for enhancing depth and distance in landscape paintings without excessive complexity or technical jargon.

Modern approaches

Mural Painting in Urban Spaces demonstrates a wide range of methods for designing contemporary architectural surfaces using painting techniques. A description of previously unpublished methods for combining artistic and construction techniques and materials includes a special focus on the prefabrication of paintings for public spaces.

This article presents an overview of pictorial methods for designing architectural surfaces, whose potential allows for the fusion of contemporary architecture with the latest trends in modern art. The blend of tradition and originality, characteristic of the artistic community, can pave the way for new directions in architectural design.

Monumental painting has evolved from prehistoric cave paintings to contemporary street interventions. This article explores how monumentalism has evolved across civilizations in terms of techniques, symbolic systems, social function, and integration into architectural and urban contexts.

The analysis is structured around key historical periods, using emblematic examples to explore the interplay between materiality, iconography, and sociopolitical meaning. From sacred spaces and civic monuments to post-industrial walls and digital projections, monumental painting reflects shifting cultural paradigms and spatial dynamics.

Once integrated into sacred and imperial architecture, monumental painting has become a tool for public participation, protest, and urban narrative. Particular attention is paid to the evolving relationship between mural painting and the spaces it inhabits, highlighting the transition from permanence to ephemeralism and from monumentality to immediacy.

Working with architectural details

Large forms are created, still working downwards, adding dividing lines to roughly mark the shapes to be painted before defining the details. The midtone and color of each of these planes are selected, ignoring any variations within. Many of these markings are temporary.

Negative space and perspective are used when working on the smaller tower, using the negative space between the two towers. The rules of perspective help determine the slope of each slope.

Now that a rough base has been established, sections can be expanded in all directions, building each paint fragment in accordance with what was established earlier. Work begins on top of large planes to give them more definition. Although more detail is added, everything remains loose.

The use of the church’s broken roof and the sky beyond, with its abstract geometric character, serves as the foundation for all subsequent information. The strong contrast between the elements creates a compositional structure.

Details are added to refine areas and move downward to install the foundation for complex windows. A flat, uniform surface is added for the section under the windows, although the details for this section must wait until this layer dries.

Digital technologies in architectural visualization

Renderings are digital visualizations of urban development projects in the field of urban design, aimed at creating spatial understanding of the future built urban environment. Specialized visual artists use design elements such as photorealistic aesthetics and lighting to make presentations compelling and engaging.

The analysis demonstrates how visual artists attempt to make urban development projects compelling and appealing. Renderings create affective atmospheres and spatial awareness of future urban environments.

Deep learning is applied to mapping the color of urban façades using street-level images. Accurate urban façade color serves as the basis for urban color planning. Existing urban color studies typically rely on manual sampling due to technical limitations, which creates difficulties in assessing the color of urban façades while coexisting at both urban scale and fine-grained resolution.

A deep learning-based approach for mapping the color of urban façades using street-level images is proposed. The dominant color of the urban façade is used as an indicator for describing the color of the urban façade.

Skill development

Practical work on urban motifs requires a systematic approach. The step-by-step methodology for creating landscape compositions emphasizes a phased approach, from the initial selection of a motif to the implementation of the finished work.

Key stages of the creative process include plein air observation, sketches and studies, the creation of studies, the preparation of color and cardboard sketches, and the formation of the final composition on canvas. The importance of carefully studying the motif at different times of day and in changing weather conditions is emphasized to accurately determine chiaroscuro, linear, and color relationships.

Landscape painting involves a combination of sensory perception and intellectual effort: sketches capture fleeting natural phenomena, while the artist consciously selects material to establish a compositional center, determine proportions, and regulate the rhythm of all spatial elements.

The importance of constructing compositions with pencil and underpainting is revealed as intermediate stages that allow for control of scale, perspective, object placement, and overall tonal structure. The role of detailed studies of individual trees, plants, architectural elements, and micro-landscapes is emphasized to avoid monotony and create a sense of "portrait-like" quality in natural and urban motifs.

The importance of combining various techniques — brushwork, palette knife, and layering — is emphasized to create a richness of texture and a convincing rendering of spatial relationships. The methodology offers a structured path from observation to finished composition, emphasizing a balance between spontaneity and deliberate construction.

Sketching serves as an antidote to the high-tech, social-media world. After a year of sketching in a small sketchbook, the transition to a larger format meant upgrading equipment. The search for a plein air setup suitable for portable street sketching led to the creation of an effective kit.