Part 4 (1/2)
The ele which present e and figures These are, however, most important accessories, and must be cleverly handled It is difficult to say which is the harder to draw, a tree or a huure; and if the student has not sketched -block Presu, therefore, that he has already filled a few sketch-books, he had better resort to these, or to his photograph albuures and trees out of one's inner consciousness is sloork and not very profitable; and if the figure draughtsman may eraphs
[Illustration: FIG 46 HARRY ALLAN JACOBS]
Unhappily for the beginner, no two illustrators consent to render foliage, or anything else for that matter, in quite the same way, and so I cannot present any authoritative for so
This subject has been treated, however, in a previous chapter, and nothing need be added here except to call attention to an es This is the broad suggestive rendering of dark leafage at the sides of a building, to give it relief The exas
[Illustration: FIG 47 D A GREGG]
The rendering of the huures in an architectural subject are of necessity relatively small, and therefore have to be rendered very broadly
Careful drawing is none the less essential, however, if their presence is to be justified; and badly drawn figures furnish a teet for the critic of architectural pictures Certainly, it is only too evident that the people usually seen in such pictures are utterly incapable of taking the slightest interest whatever in architecture, or in anything else; and not infrequently they sees theures as these only detract fro to it, and the draughts the very few, and is perhaps still wiser if he entrusts the drawing of these to one of his associates more acco to decide in the , and when this has been deterhtly in pencil In this connection a feords by way of suggestionlike an equal spacing of the figures Group the people interestingly
I have seen as , no two of whom seemed to be acquainted,--a very unhappy condition of affairs even from a purely pictorial point of view Do not over-eures along the sidewalks
The lines of the curbs would thus confine and frame them in unpleasantly Break the continuity of the street lines with figures or carriages in the roadway, as in Fig 55 After the figures have been satisfactorily arranged, they ought to be carefully drawn as to outline In doing so, take pains to vary the postures, giving the the stiff wooden, fashi+on-plate type of person so cos When the time coht, by the way, to be the last thing done) do not lose the freedo on them Rise superior to such details as the patterns of neckties
We will now consider the application to architectural subjects of the remarks on technique and color contained in the previous chapters
[Side note: _Architectural Textures_]
To learn to render the different textures of the materials used in architecture, the student would do well to examine and study the et the meanwhile a method of his own It will be instructive for hi the opportunity for play of individuality, to notice how very different, for instance, is Mr Gregg'sbrick work to that of Mr Railton Cos 48 and 49 One is splendidly broad,--almost decorative,--the other intimate and picturesque The work of both these men is eminently worthy of study For the sophisticated simplicity and directness of his , no less than for his uide could be co architectural pen- Architectural illustration in America owes much to his influence and, indeed, he ra 50 It is a masterly piece of pen work There is not a feeble or tentative stroke in the whole of it The color is brilliant and the textures are expressed onderful skill
The student ought to carefully observe the rendering of the various roofs Notice how the character of the thatch on the second cottage differs fro of either varies frole roof at the end of the picture Coable chimneys with each other as well as with the old ruin seen over the tree-tops
Here is a drawing by an architectural draughtsman of an architectural _actuality_ and not of an artificial abstraction This is a fairer ground on which to meet the illustrators of the picturesque
[Illustration: FIG 48 D A GREGG]
[Illustration: FIG 49 HERBERT RAILTON]
[Illustration: FIG 50 D A GREGG]
[Illustration: FIG 51 WALTER M CAMPBELL]
[Illustration: FIG 52 HERBERT RAILTON]
[Illustration: FIG 53 A F JACCACI]
[Illustration: FIG 54 C F BRAGDON]
[Illustration: FIG 55 HARVEY ELLIS]
[Side note: _Exaood exa of stone textures The old ular line The student is advised to select so exas he may make, a pen not smaller than number 303 I know of no architectural illustrator who hits stonework off quite so cleverly as Mr Goodhue Notice, in his drawing of the8, how the stones are picked out and rendered individually in places and how this intimate treatainst the textures of the various roofs and how it is then ray tone which is carried to the street Mr Railton's sketches are full of clever suggestion for the architectural illustrator in the way of texture Figs 7 and 52 show his free rendering of ood subject for study Observe hoell the texture tells in the high portion of the abutment by reason of the thick, broken lines For a distant effect of stone texture, the drawing by Mr Jaccaci, Fig 53, is a fine exa is confined anic lines of the architecture, and yet the texture is capitally expressed by the quality of the stroke, which is loose and eneral result is extre of brick textures, perhaps there is no one who shows such aAs48, he e The brick panel by Mr Bragdon, Fig 54, is a neat piece of work There is excellent texture, too, in the picturesque drawing by Mr Harvey Ellis, Fig 55:--observe the rendering of the rough brick surface at the left side of the building A more intimate treatment is that illustrated in the detail by Mr C
E Mallows, the English draughts es of the building are unpleasantly hard, and are so of the surfaces
Mr Goodhue uses a similar treatment, and, I think, rather more successfully On the whole, the broader method, where the texture is carried out more uniformly, is inner Sole and slate textures are illustrated by Fig 57 It is advisable to ele, so as to ensure the requisite coarseness of effect
[Illustration: FIG 56 C E MALLOWS]