Part 3 (2/2)
nor subordinated to any scenic effect of landscape or chiaroscuro
Natural accessories or interesting bits of street life ; but the result , with landscape,” not ”Landscape, with building”
Much suggestion for the sy of particular subjects may be found in the character of the architecture itself The illustrator ought to enter into the spirit of the designer, ought to feel just what natural accessories lend themselves most harmoniously to this or that particular type If the architecture be quaint and picturesque it s If, on the other hand, it be formal or monumental, the character and scale of the accessories should be accordingly serious and dignified The rendering ought also to vary with the subject,--a free picturesquefor the other Technique is the language of art, and a stiff poy will accord ill with a story of quaint huht answer very ould be sure to struggle at a disadvantage with the stately s and diplomatic subtleties of a state docu of Detail_]
It would be well for the student, before venturing upon whole subjects, to learn to render details, such as s, cornices, etc Windows are a , and the beginnerfor the lassy surfaces No lass does Oneis never absolutely like another; so that while a certain uniformity in their valueof a building, there is plenty of opportunity for incidental variety in their treat of s may prove serviceable
Always emphasize the sash Where there is no recess, as in wooden buildings, strengthen the inner line of sash, as in Fig 41 In iven their proper values, the area of wood being treated broadly, without regard to the individual members The wood may, however, be left white if required, as would be the case in Colonial designs In either case the dark shadohich the sash casts on the glass should be suggested, if the scale of the drawing be such as to permit of it
Do not try to show too much One is apt to make a fussy effect, if, for instance, one insists on always shading the soffit of thebe small
Besides, a white soffit is not a false but ht is considerable If the fraht to be shaded, otherwise it will be difficult to keep the values distinct In respect of wooden buildings there is no need to always co 41 that, in the ithout the ive color, but that in the other they are ested at the corners so as to avoid confusion Care should be taken to avoid lass itself, a uniforuely It will be found, too, that it is not advisable to have a strong dark effect at the top of theand another at the bottom; one should predominate
[Illustration: FIG 41 C D M]
The student after careful study of Fig 41 shouldthe book aside, proceed to render them in his oay When he has done so, let hiht to be repeated several ti always for _siet equally good results with another method he need not be disconcerted at the lack of any further resemblance
The cornice with its shadow is another salient feature In short shadows, such as those cast by cornices, it is well, if a sunny effect be desired, to accent the bottoenerally parallel, but with enough variation to obviate a mechanical effect They need not be vertical lines,--in fact it is better that they should take the saht
If they are not absolutely perpendicular, however, it is well to make them distinctly oblique, otherwise the effect will be unpleasant
A clever sketch of a cornice by Mr George F Newton is shown in Fig 42 Notice hoell the texture of the brick is expressed by the looseness of the pen work Some of the detail, too, is dexterously handled, notably the bead and button th of the cornice shadow should be determined by the tone of the roof above it To obtain for this shadow the very distinct value which it ought to have, however, does not require that the roof be kept always57, the tone of the roof is shaded lighter as it approaches the eaves, so that the shadow may count more emphatically This orderwith dark roof and light walls, in which case the shadow rayer than the lower portion of the roof, as in ”B” in Fig 44
[Illustration: FIG 42 GEORGE F NEWTON]
But the beginner should not yet hurry on to whole subjects A church porch, as in Fig 35, or a dor 43, will be just as beneficial a study for hiood an opportunity for testing his knowledge of the principles of pen drawing, with the added advantage that either of the subjects mentioned can be mapped out in a few minutes, and that a failure or two, therefore, will not prove so discouraging as if a more intricate subject had to be re-drawn I have known pro in despair because they found themselves unequal to subjects which would have presented not a few difficulties to the experienced illustrator When the beginner grows faint-hearted, let hiht that were pen drawing so to be mastered in a week or a month there would be small merit in the accomplishment
[Illustration: FIG 43 C D M]
[Side note: _A General System_]
It is a coly, beginning anywhere, without the vaguest plan of a general effect, whereas it is of the utmost ient regard to the ultieneral method will be found valuable
Pencil the outline of the entire subject before beginning the pen work It will not do to start on the rendering as soon as the building alone is pencilled out, leaving the accessories to be put in as one goes along The adjacent buildings, the foliage, and even the figures must be drawn--carefully drawn--before the pen is taken up
The whole subject fro should be under control, and to that end it becoed
[Side note: _Arrangement of the Values_]
Next sche Do not start out rashly as soon as everything is outlined in pencil, confident in the belief that all s, for instance, are dark, and that you may as well make them so at once and be done with them This will be only to court disaster Besides, all s are not dark; theyis absolute A shadow ure passes into it, when it ray by co full upon it, or even one in shade, on which a reflected light is cast, ht until the next instant a cloud shadow is reflected in it, e the values, therefore, with reference to one general effect, deciding first of all on the direction of the light Should this be such as to throw large areas of shadow, these ray will be important elements in the color-sche-paper copy of the line drawing and to experi several sketches if necessary After having deterh sketch and keep it in sight Otherwise, one is liable, especially if the subject is an intricate one, to be led astray by little opportunities for interesting effects here and there, only to discover, when too late, that these effects do not hang together and that the drawing has lost its breadth The rough sketch is to the draughts man what manuscript notes are to the lecturer
[Side note: _Treatment of Detail_]
Do not be over-conscious of detail It is a cohts man to be too sophisticated in his pictorial illustration He knows sothat no matter how many thousand yards away fros that would not reveal thelass He is conscious of the fact that there are just so many brick courses to the foot, that the clapboards are laid just so many inches to the weather, that there are just so eneral is very, very , but because it is too small He who sees so _ Let his Even should he succeed in forgetting some of these factitious details, the result will still be stiff enough, so hard is it to re-adjust one's attitude after ly recommend, as an invaluable aid toward such a re-adjusture during the winter evenings, and out of doors in suinner is apt to find his effects at first rather hard and mechanical at the best, because he has not yet attained that freedoests rather than states, gives interesting variations of line and tone, and differentiates textures A good part of the unpleasantness of effect will undoubtedly be found to be due to a s being lined in as deliberately as in the geohted Take, for exa with its white cornice, or any building hite tris See the effect of such a one in an ”elevation” where all the detail is drawn, as in ”A,” Fig 44 Observe that the amount of ink necessary to express this detail has , and yet this is quite the reverse of the value which it would have in the actual building, see ”B” To obtain the true value the different ested Where it is not a question of local color, however, this encies of reproduction; the more precisely and intimately one attempts to render detail, the sreater the difficulty Consequently, the o in printing, the ard the finer details These finer details need not, however, be absolutely ignored Notice, for instance, the clever suggestion of the sculpture in the ad 45 The conventional drawing of the facade, Fig 46, is a fine illustration of the decorative effect of color obtainable by en
[Illustration: FIG 45 FRANK E WALLIS]
[Side note: _Foliage and Figures_]