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 ARCNITECTVRAL 
 RCNDCniNG IN 
 
 PIA 
 
 BY fRANKpRRDT f REDCRlCr; 
 
 NEW YORK 
 
 WILLIAM TCOMSrOCK, 
 
 M DCCC XC I I
 
 ARCHITECTURAL 
 
 RENDERING IN SEPIA 
 
 Bv FRANK FORREST FREDERICK 
 
 Professor of Industrial Art and Drsign, University of Illino 
 
 New York 
 
 WILLIAM T. COMSTOCK 
 
 23 Warren Street 
 
 1892
 
 COPYRIGHT, 
 
 FRANK FORREST FREDERICK. 
 I Sg2.
 
 
 
 CONTENTS 
 
 Introduction, ----- 9 
 
 Chiaroscuro, - - - - - - 11 
 
 Composition, - - " - " '4 
 
 Handling, - - - - - - '7 
 
 Materials, - - - - - - -' 
 
 Exercises, - -'
 
 INTRODUCTION 
 
 LIE architect inust be master of delineation, chiaro- 
 scuro and color, if he would make a perfect repre- 
 
 T] 
 
 scuro and color, if he would make a perfect repre- ^V ''^'-''""^'=' 
 
 ^ ' snoulcl be an art- 
 
 sentation of the scene before him, or picture the ist. 
 
 fancy of his imagination. 
 
 It is the purpose of these notes to point out to the student 
 of architecture some facts of chiaroscuro, and to tell him 
 how these facts may be rendered in washes of water color 
 (sepia), that he may make the representation of a building. 
 
 The two methods of rendering perspectives — by ink lines 
 
 Pen inferior to 
 
 drawn with the pen and by washes of water color — cannot brush. 
 be compared. The means employed are totally unlike, and 
 the results obtained almost as unlike. 
 
 The lack of truthfulness and the meagre power of expres- 
 sion in the pen-rendered perspectives led to the formation, 
 in the School of Art and Design of the University of Illinois, 
 of a class in Sepia Rendering, made up of students of archi- 
 tecture. 
 
 These notes contain virtually the same matter as is there i„ university of 
 given in class lectures, and the exercises here reproduced iii'""'s- 
 show the manner in which the work is taken up. 
 
 To prove that this method of rendering is successful we 
 have but to look at Plates III., IV., V., VI., VII., VIII., IX., 
 X. and XIII., all of which were rendered by students who woru of students. 
 devoted one term, or twelve weeks of nine hours each, to 
 this class of work. Plate III. is the work of Ernest N. 
 Braucher ; Plate IV., of Charles B. Young ; Plate V., Rans- 
 ford M. French ; Plate VI., Herbert E. Hewitt ; Plate VII.,
 
 lo Architectural Rendering in Sepia. 
 
 Frederic W. Clarke ; Plate VIII., Ernest N. Braucher ; Plate 
 IX.. Lawrence Fischer ; Plate X., Walter F. Shattuck ; Plate 
 XIII., Frederic W. Clarke ; and to these gentlemen I extend 
 my thanks for the use of their drawings, and wish them un- 
 qualified success in their profession as architects. 
 
 The plates not to It is not cxpcctcd that the student will use these plates as 
 be copied. copies, but rather as suggestions for his own work. As these 
 
 drawings are reduced from the original size, it will be impos- 
 sible to get the same effect even if drawn to original scale. 
 The exercises should be followed, and the drawings here 
 given used as copies for method and effect only. 
 
 It is supposed that the student taking up this work already 
 
 Student must understands perspective, and is able to make an accurate 
 
 understand per- . .,.,,. . , , 
 
 spective. drawmg — a copy of a buildmg, or a perspective trom plans 
 
 and elevations of a building not yet erected. It is al-so sup- 
 posed that he does not possess a great amount of artistic 
 ability, but is willing, by hard study and the acceptance of 
 many defeats, to work through a series of exercises, which, 
 if he works conscientiously, will enable him to make a true 
 and graphic picture. 
 Aim of exercises. j^e g^d and aim of this course in Sepia Rendering is to 
 prepare the student for working directly from nature, or for 
 rendering ideal effects of light and shade upon his own per- 
 spectives.
 
 
 
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 ilue. 
 
 CHIAROSCURO. 
 
 IN a perspective rendered in sepia (or any other mono- 
 chrome), everything except color — form, character, 
 relation to surroundings and position in space — can be 
 expressed by means of values of shade. By value Vau. 
 meaning the intensity of light and shade as compared with 
 other parts of the object, or accessories. And color can be 
 suggested by giving a value for it. 
 
 The real color of objects is called their "local color"; 
 this local color is much affected by light and shade, and in- 
 creases the difficulty of the architect's problem. It will be L.uai color. 
 seen that the shade on a white house cannot be like that on 
 a red one ; and if a house is white it must be so handled as 
 to suggest white ; if red, red. To express this, different 
 scales of shade have to be adopted when several buildings, scales >.f value. 
 unlike in color, are rendered in the same drawing, in order 
 that the local color of each may be expressed. 
 
 In an art school, the student is placed in a studio where a 
 steady light falls upon a cast or group of objects. It is then 
 pointed out to him that the object, intersecting the light, has 
 one side in light, the other in shade, that a shadow is cast, 
 and to truthfully represent this is the student's problem. 
 
 This is precisely the problem before the architect. He has The architect's 
 a building to represent ; the sun shines and illumines a part i'™ 
 of it, another part is in shade, and a shadow is cast. The
 
 12 
 
 Architectural Rendering ifi Sepia. 
 
 A solid buililins; 
 surrounded liy 
 atm(ts[iliurc. 
 
 Repose demanded. 
 
 Omit non-c<;sen 
 tials. 
 
 position of the sun must l)c at once evident ; the building 
 must appear solid, and must cast a shadow. It must be en- 
 veloped in atmosphere, and take its place in the picture near 
 or far, as the case may be. It must hold proper relation 
 with the sky, the trees, and the buildings about it. The 
 values of all things in the picture must express not only 
 solidity, but color, and give an effect of reality. 
 
 A water color drawing is not the rival of a photograph ; it 
 should accentuate the essential and characteristic features, 
 subordinate detail, and. by masses of light and shade, give 
 the effect of repose without which there is no resemblance 
 to nature. 
 
 The architect must learn to generalize and to express 
 much in a simple way ; he must learn what to leave out, as 
 well as what to put in, to suggest without fully stating ; in 
 fact, he must not try to draw every moulding, every pane of 
 glass, every joint between the bricks, every leaf on the tree ; 
 he must not see reflected lights that cut the shades, giving 
 variety where simplicity is needed ; but he must suggest all 
 these by rendering his building in simple flat washes, with 
 detail judiciously introduced where a little will suggest 
 much. He must learn to sacrifice little things that the great 
 may be expressed. 
 
 The student of chiaroscuro must learn to look at things 
 simply — there is a mass of light and a mass of shade. These 
 various " planes of shade " have a certain shape as well as 
 value. Look at the building as made up of these planes or 
 values, not as a collection of walls, towers and windows ; 
 and when working consider them as parts of one whole, 
 never increasing the value of one part without due regard 
 Shape of cast si.ad- to all othcr parts. Remember that the shape of a cast 
 °'''^- shadow depends upon the shape of the object casting it, and 
 
 the surface over which it falls ; and that shadows are darker 
 and more distinct near the objects that cast them. And, 
 
 Look at 
 simplv. 
 
 things
 
 C/iiarosc7tro. 13 
 
 finally, strive for " breadth," which is obtained by means of Breadth, 
 intermediate shade, not by abrupt contrasts. 
 
 The facts of chiaroscuro are the same whether one color 
 is used or many. The method of handling to be described 
 applies equally well to color rendering, but the student *'°'°'^' 
 should not attempt color until he is quite skillful in the use 
 of monochrome. 
 
 An architect has no more right to give his client wrong Be truthful. 
 impressions of color than he has of form or cost. 
 
 A color effect, quite true to nature, can be obtained by 
 going over the sepia drawing when completed with flat 
 washes of color. When this is done, light surfaces should coior over sepia. 
 be given very slight values of sepia, as the color has a ten- 
 jdency to increase value as well as give color.
 
 II. 
 
 COMPOSITION 
 
 Composition 
 fined. 
 
 de 
 
 Study nature. 
 
 Beware of confu- 
 sion. 
 
 " In all good compositions you will find three most important qualities — 
 simplicity, breadth and character — and these are gained, not by rules, but by 
 feeling for good drawing and color." — Sir Joshua Reynolds. 
 
 FOR the. last word in this quotation read "value," 
 and it will be equally true. 
 All artists, in their work, consider three things — 
 the quality and position of lines, the size, shape and 
 position of areas of dark and light, and the color. 
 
 The arrangement of these lines and areas to express an 
 idea is composition. 
 
 The problems in composition are as numerous as the num- 
 ber of drawings. No rules can be given, and but few sug- 
 gestions made. Every architect who makes perspectives of 
 his buildings is advised to observe buildings already erected 
 from different positions and under different conditions of 
 light ; and, by so doing, he will absorb a feeling for form 
 and for light and shade to be gained in no other way. 
 
 Care should be taken, in laying out a perspective, to have 
 the most interesting and prominent features of the building 
 near the centre of the drawing. 
 
 Choose .such a position that the building will compose 
 simply without confusion of members ; and, where several 
 are to be in the same composition, simplify the drawing of 
 those in the distance into ma.sses of value, for a confused 
 composition can never invite the attention. Whatever is
 
 Composiiion. 15 
 
 done be truthful ; the building in the picture must have tne 
 same scheme of light and shade that it will have in nature ; 
 that is, the shadows must be cast in the same direction that 
 they will be cast by the sun, even if we have to sacrifice 
 something of interest in the drawing. 
 
 The part of composition that particularly concerns the 
 student of Architectural Rendering in Sepia is the treat- 
 ment of light and shade. 
 
 It is the province of light and shade to give solidity and Light and shade. 
 an effect of reality to the drawing ; to bring out, by the 
 various values, the proportion of the building ; and by its 
 shadows of cornice, gable and projection add interest and 
 beauty. It is also the province of light and shade to coun- 
 teract any disagreeable tendency of line, ^nd to set forth the 
 beauties of the building in every legitimate way. 
 
 It is a mistake to make much of the accessories. 
 
 The architect is not a painter of scenery, and he is lessen- simplify accesso- 
 ing the effect of his work by burying it in imaginary foliage, 
 or surrounding it by Arcadian landscape, which outweighs 
 in interest the building itself. He should add truthful, 
 agreeable and proper surroundings suggesting the location, 
 and these should be treated as a foil to enhance the beauty , 
 and add to the interest of his building^. 
 
 A good atmospheric effect can be obtained by making 
 the sky grade to light near the horizon, and, if masses of The sky. 
 foliage flank the building, make them lighter than the build- 
 ing on the shade side and darker on the light. • 
 
 Horizontal clouds growing nearer together as they ap- 
 proach the horizon give an effect of distance ; a sky so 
 treated as to be dark at the horizon and grade upward will 
 give an effect of height to the building. 
 
 If the building is simple and expressed in large masses it 
 is well to give variety to the sky by cloud forms; if it is Contrast (if sky 
 
 1 1 111 I • *^"^ huilding. 
 
 complex and cuts the sky by many chimneys, towers, etc.,
 
 1 6 Arcliitechiral Rendering in Sepia. 
 
 the sky should be simple. Where Uttle sky is seen, it should 
 be expressed by a flat wash. 
 
 To prevent a heavy and mechanical effect, equal quanti- 
 ties of light and shade should be avoided. 
 
 Generally it will be found better to have more space about 
 the lig^ht than the shade side. 
 
 Beware of long continued lines, as a cornice ; break them 
 by a play of light and shade.
 
 F 
 
 III. 
 
 HANDLING. 
 
 "^IRST strain the paper, though if the accessories in- 
 troduce distant hills, masses of foliage, etc., it will 
 be well to first draw the general outline of the 
 building and wash in the distance while the paper is 
 
 moist. The sky can be put in when the paper is in this state study the subject 
 without fear of hard edges, and, when the paper is dry, com- ^^iL ^^^" 
 plete the drawing. 
 
 " Modern Dutch " methods cannot be successfully em- 
 ployed in architectural rendering. 
 
 The student should make a very careful drawing. Wher- 
 ever there is width or thickness, lines should be drawn to 
 express it. Such small lines as the joints between bricks, 
 stones or slates should not be drawn in pencil. 
 
 The student will find it much easier to cover some un- 
 necessary lines when laying washes, than to determine the The drawing. 
 shape and area of washes without lines to aid him. As he 
 gains command over his materials, he will depend more and 
 more upon his brush, until, when rendering simple build- 
 ings, the principal long vanishing lines and a few verticals 
 to give widths will be all that he will require ; the drawing 
 will be made largely with the brush. Oraw win. i.rush. 
 
 Exercise great care in selecting the pencil. Lines drawn 
 upon water-color paper must have strength enough to be 
 seen clearly even through light washes, but must not soil 
 the paper or wash about under the brush. The pencil must The pencil.
 
 l8 Architcctit7-al Rendering in Sepia. 
 
 not be hard enough to cvit channels in the paper, as these 
 will fill with color and leave lines. 
 
 Experience alone will show the proper grade of pencil to 
 use. Erase as little as possible on water-color paper, and 
 that with a soft eraser, that the texture of the paper may 
 not be destroyed. 
 
 In the finished drawing no lines whatever should be seen. 
 We see buildings as masses of value relieved against each 
 other by their value, not by their outline. We realize that 
 one wall is nearer than another because it appears lighter or 
 
 No outlines in darker ; there is no line where these values meet, therefore 
 nature. ^^^ exprcss thcsc surfaccs by laying washes of proper value 
 
 side by .side, and not by drawing lines where these values 
 meet. 
 
 The drawing completed, pass over the paper with a large 
 
 Wet the paper brush or soft spougc, wctting the entire surface, and at 
 once take up the superfluous water with blotting paper or a 
 soft cloth. If a large surface is to be covered, it is well to 
 leave the damp cloth on the lower part of the sheet, that 
 the paper may not dry before it is reached. 
 
 A flat wash To lay a flat wash, incline the board slightly and, while 
 
 the paper is yet damp, with brush full of color pass along 
 the upper edge of the space to be covered, whether large or 
 small, forming a pool or wave of color. Keeping the brush 
 full and holding it at right angles to the paper, coax this 
 wave to flow slowly down the paper, keeping it moving 
 evenly and allowing no part to .stand longer than another. 
 
 On no account " drag " the color or try to "paint it on," 
 but let it settle on the paper as the wave passes over it. 
 When the lower edge of the space is reached, take up the 
 superfluous color with blotting paper or dry brush. Never 
 paint " up hill." 
 
 The .student is advised to mix his pigment in a cup, or 
 other receptacle larger than the compartments in the cover
 
 Handli7ig. 
 
 19 
 
 cnt effect. 
 
 Keep t li e brush 
 full of color. 
 
 of the water-color box. It is better to throw away a httle 
 sepia than to spoil a drawin*^. 
 
 Blotting paper cut into rectangles about i>^"x3" will be isiotting paper. 
 found the most convenient size. 
 
 Strive to have the values transparent. Get the value right Keep a transpar 
 by trying it on a paper aside, remembering it will dry 
 lighter than it seems when wet; put it on and let it sta)-, 
 never touch into a value when wet ; s^et the ed^es x\<y\v\. as 
 the area is covered. Do not pass hurriedly over corners and 
 slightly projecting mouldings, in the hope that they can be 
 corrected later. The ruinous condition suggested by angles 
 so handled will increase with each succeeding wash. 
 
 Always keep the brush full of color; beware of the "cut 
 and dried " appearance resulting from lack of water in the 
 washes ; get dark accents, not by dragging on thick color, 
 but by wet touches of dark value allowed to dry out. (See 
 handling of upper part of tower, Plate IV.) 
 
 Do not be afraid of losing the drawing. If the roof and 
 sky look the same value, make them so ; they can be dis- 
 tinguished later. Study to cover as much area with each 
 wash as possible ; this saves time and gives a feeling of unity 
 by binding together the several parts of the drawing. 
 
 Do not try to make the water-color resemble a photo- 
 graph, a lithograph, a pen and ink drawing, or an oil paint- 
 ing. It has a character of its own — keep it. 
 
 The student is advised to lay several values of various sizes 
 and intensity before taking up the work of the Exercises. 
 
 In rendering Plate I., the first thing to decide was the 
 position of the sun. This was taken as it appears in the 
 early morning, that the simplest side of the building might 
 be in shade, that the vertical shadows on the front might 
 have a width to properly express the projections, and that 
 the interesting .shadows across the roof might be seen. It 
 is m^uch easier to render a surface cut up b\- projections 
 when it is in litrht than when in shade. 
 
 A sepia dra\\'ing 
 has a character 
 of its own. 
 
 Trinciples 
 trated. 
 
 iUus-
 
 20 A7'cliitcchiral Rendering in Sepia. 
 
 Plate I. In Plate I. the roof was given a medium value, except 
 
 where it was thought the light would be reflected most di- 
 rectly to the eye ; here it was left Hght, as the gable on the 
 shade side, and the pyramidal roof over the centre, which 
 was left quite light in order to give contrast to the shade 
 and shadow of the gable in front. The apex itself is given 
 relief by being opposed to the cloud form behind it. These 
 
 Lead the eye into clouds wcrc put in in their present direction to counteract 
 the picture. ^j^^ influence of the long lines of the building, which slant 
 down to the left and have a tendency to lead the eye of the 
 spectator out of the picture. 
 
 Lono- horizontal and all lines which lead the eye from the 
 centre of interest must be avoided, and values which detract 
 from the point of greatest contrast must also be avoided. 
 This point of greatest contrast of value is usually the near- 
 
 createst contrast cst comcr of the buildiug. (Scc Plate I.) This corner, 
 
 of value. uhich should be near the centre of the drawing, should be 
 
 lightest and brightest ; and all values should increase as 
 
 they go away from this point on the light side and decrease 
 
 on the dark side, that a uniformity ol value may be obtained 
 
 Aerial perspective, for the distancc, thus fulfilling the demands of aerial per- 
 spective, which requires a blurring of outline and subduing 
 of contrast to give an atmospheric effect. 
 
 About the centre of interest, draw mentally a circle or an 
 ellipse, as the shape of the composition may suggest (as is 
 
 Keep the corners skctchcd on Plate XL, Fig. 2), and let the values without this 
 ^'g'^'- be comparatively light. By keeping the pronounced con- 
 
 trasts out of the corners we force the eye where we wish it — 
 to the centre of interest. 
 
 The point of greatest contrast must not be taken to mean 
 the contrast of the dark spots in windows or doors, for 
 these, while useful as accents, are in no sense necessary to 
 the light and shade effect, as will be shown later. 
 
 Other matters of composition will be considered in the 
 Exercises.
 
 IV. 
 
 MATERIALS. 
 
 THE best materials are the cheapest. Whatman's 
 medium weight water-color paper is the best for 
 general use. A picturesque subject, handled by 
 one accustomed to the work, can be well rendered 
 on the very rough paper. Small sketches and simple build- 
 ings are well rendered on any drawing paper that does not The paper. 
 have a calendered surface. 
 
 The brush for work of this description should be large and The brush. 
 of good quality, red sable or camel's hair. When dry it 
 should be about an inch long and one-fourth inch in diam- 
 eter. When wet it should come to a perfect point and be 
 elastic enough to spring back into shape after having been 
 pressed against the paper. A brush without elasticity can- 
 not be used ; the point of a brush may be improved by 
 being carefully washed after use and then drawn through 
 the lips. The saliva will hold the hairs in place and quickly 
 dissolve when the brush is again wet. 
 
 For pigment use Winsor & Newton's make. Pigments. 
 
 Payne's gray, neutral tint, brown madder, burnt sienna, 
 India ink and cold sepia are often used, but warm sepia is 
 the general favorite. 
 
 A little carmine mixed with India ink gives a photograph 
 tint.
 
 V. 
 
 EXERCISES. 
 
 EXERCISE I. 
 
 FOR PRACTICE IN TRANSLATING THE VALUES OF A PHOTOGRAPH 
 INTO VALUES OF SEPIA. 
 
 s 
 
 Select simple sub- /^"^ ELECT a photograph of some simple building, one 
 ^'"''*' ^^^^ that has large uninterrupted masses of light and 
 
 shade, and with little in the way of foliage or of 
 other buildings about it — as Plate II. 
 If the subject is too complex, it will be difficult to appreci- 
 ate the values of shade, and the difficulty of handling the 
 washes of color will take more time than is worth giving 
 the first exercise. 
 
 If a photograph is not at hand, take a reproduction from 
 one of the architectural magazines. The tendency in all 
 reproductive processes is toward uniformity in value, and 
 even a photograph is not a perfect guide. Many quite clear 
 photographs, if rendered in sepia with the same contrast of 
 light and shade, would be flat and uninteresting, lacking the 
 sparkle of sunlight. It is often necessary to make near light 
 Force the lights, surfaccs lighter than they appear, to leave out reflected 
 lights, and to make dark areas in the distance much lighter. 
 The student, of course, will not endeavor to represent all 
 the minutiae of the photograph, but will simply strive to 
 render the spirit of his subject in the medium at hand.
 
 Exercises. 
 
 The size of the drawing will depend upon the subject, size of drawing. 
 Most of the plates (notice original sizes) were drawn from 
 7x9" reproductions of photographs. 
 
 Make the drawing as already directed, and study, the 
 subject carefully, keeping in mind that the whole thing is 
 to be represented by a few flat washes ; each wash covering au cxpresscci by 
 less space than its predecessor, until from covering th(- 
 whole paper it will have decreased to the size of the small- 
 est dark touch required to give accent to some small detail. 
 
 Observe the direction of the light ; the position, area and study the subject, 
 intensity of the shades and shadows ; the position of the 
 darkest spot on the building and the lightest ; the relative 
 value of the roof compared with the light and dark walls. 
 
 Think what motion the hand will take to cover irregular 
 areas ; decide upon the best position to hold the board (it is 
 easier to carry a wash from an angle to a straight line than 
 vice versa). 
 
 Decide how many different values will be required to ex- 
 press certain parts, and settle upon the shapes of these 
 values, remembering that it is always advisable to cover all 
 surfaces that are of about the same value at the same time. 
 
 Study everything relating to the problem with the utmost 
 care ; plan it out, for later, with brush in hand and washes 
 of color drying, there will be little time for thought. 
 
 Compare your problem with the drawings here repro- 
 duced, and see if schemes of light and shade there carried 
 out can be applied to the problem in hand. 
 
 Having studied his subject, the student is ready to pro- 
 ceed with the rendering, but before doing so he is advised 
 to read the notes relating to all the exercises. 
 
 The method is as follows : 
 
 First. — Wet the paper as directed. 
 
 Second. — Lay over the entire paper a very light wash — 
 lighter than is seen in plate II. — leaving the white paper to 
 
 Read the notes.
 
 24 Arcliitcctitral Rendering in Sepia. 
 
 Highlights. represent white clouds and the highest hghts upon the 
 
 building, whether shown on the photograph or not, in 
 order to get a proper effect of sunlight ; but such white 
 places should be used sparingly, and only on the nearest 
 exposed corners, or mouldings, or in windows, and never on 
 the shade sides or in the distance. 
 
 It will be noticed that the highest lights and brightest 
 surfaces are generally directly opposed to the darkest 
 surfaces. 
 
 This light wash should go over the entire paper to cover 
 all white not wanted for high lights, and to give a surface 
 upon which darker values can be easily washed. All values 
 of sky, ground, etc., should be carried farther from the 
 building than wanted, that the completed drawing, when 
 cut out, may appear finished at the edges. 
 
 It will be well for the student to carefully study the 
 plates, noting the position of the high lights in each. 
 
 Third. — Decide upon the relation of the building to the 
 Plate II. sky, whether darker or lighter. In Plate II. the mass of the 
 
 building was to be darker than the sky, and a light wash 
 (see roof) was passed over the entire building, the street, 
 and the other buildings to right and left, leaving the white 
 lights and some of the first value in the windows of the 
 light side to suggest the play of light on the glass. 
 
 Some of the first light value was left upon the sidewalk 
 
 to contrast with the shade and express sunshine. The steps 
 
 also were left of the original value. It is well to let the 
 
 Express form by shapc of vcry Small surfaces, especially when in light, be 
 
 shadows. shown by the shape of shadows falling across them. (See 
 
 Plates I. and V.) 
 
 Keep the lights Lights lost Can ncvcr be regained ; scratched paper or 
 
 from the first, Chinese white will not give a true effect. 
 
 Great care should be exercised in bringing washes up to 
 the bright lights, that the washes do not all stop at the same
 
 Exercises. 2 5 
 
 place, giving the light the effect of a line of white painted 
 on the building instead of the brightness of reflected light. 
 If several washes are to be laid each can stop a little farther 
 from the light and so give a graded effect. If a dark wash 
 is to be brought up to a light, as sometimes happens even 
 on light sides, a piece of blotting paper w ith straight edge 
 can be placed on the paper, and enough color removed to 
 give a proper gradation. 
 
 Fourth. — Put in the darkest spot. This will probably be 
 a doorway or window. There should be one principal 
 dark, and this should be as dark as sepia can make it. 
 
 Now, having the lightest place in the drawing represented 
 by white paper and the darkest by a full tone of sepia, we '"'« darkest spot. 
 can grade between these two extremes. Constantly refer 
 to the white and dark, for, knowing that nothing can be 
 lighter or darker, we must exercise care in laying the inter- 
 mediate values. 
 
 The contrast of light and dark gives brilliancy, but it must 
 be remembered that it is the masses of intermediate shade 'hrinight"'^'' " 
 that give the effect of solidity and truth. 
 
 Only the darkest spot is to be shown at this stage of the 
 work. When the drawing is ready for the detail, this dark 
 can be repeated in decreasing values as the edge of the 
 drawing is reached. But do not have several very dark 
 places, for a spotted drawing gives the effect of unrest. Let Do not make a 
 the dark values lead up to the dark spot, as the light ones 
 do to the white. 
 
 A light value cannot be washed over a dark without float- 
 ing some of the dry pigment. It is therefore necessary to 
 place this dark w'ith care that it may not interfere with 
 future washes. 
 
 In Plate II. the darkest spot was seen to be the doorway, 
 and this was put in as shown ; first, all the opening was 
 covered with a dark value, then the space beyond was given 
 
 spotted draw- 
 ing.
 
 26 Architcciural Rendering in Septa. 
 
 To get the full the cfFcct of depth by allowing a pool of sepia, slightly 
 strength of se- ^j^j^^^^j ^^j^j^ ^.^e watcr, to dry out. In large areas, the 
 board must be held perfectly horizontal that the pigment 
 may settle evenly as the water evaporates. (See door in 
 Plate I., and space in broken wall of monument in Plate 
 VIII.) 
 
 Fifth. — Express the mass of the building by laying over 
 The shade. shades and shadows a value that will represent the average 
 
 intensity of shade. 
 
 In Plate II. the value of the block of houses to the right 
 was taken as that of the average intensity, and a value laid 
 over all shades and shadows. The same value was also car- 
 ried over the street. 
 
 A value was then prepared dark enough to give proper 
 contrast with the light side, and, turning the. board 
 slightly, the wash was put on, beginning with the gable and 
 extending over the first building beyond, covering both 
 shade and shadow. 
 
 As this wash progressed a little clear water was added to 
 
 the cup of pigment, from time to time, giving a graded 
 
 Agra e \a ue. ^.^j^g — ^.^^\^ j^g^j. ^^ light, and lighter as the wall recedes. 
 
 A value about equal to the centre of the wall in shade was 
 put over the circular projection and its shadow. 
 
 Upon the success of these values depends the success of 
 the drawing. 
 , Too much stress cannot be laid upon the importance of 
 
 Importance of ' * 
 
 masses of shade, realizing the masses of shade. If the student does not 
 grasp the fact that objects are expressed by value and not 
 by outline, that detail must be subordinated that the gen- 
 eral effect may be true," he will not be successful. 
 
 These dark values must express not only shade, but much 
 
 of the detail in shade. The play of light on glass must not 
 
 Think of the last ]-,£ forgottcu, and window casings, ornament, etc., can be 
 
 f^rstismade. cxprcsscd by leaving uncovered parts of the first washes. 
 
 (See Plate 1.)
 
 Exercises. 27 
 
 Plate II. is not carried beyond this stage in order that the 
 treatment of masses of shade may be better reahzed. 
 
 When the student first takes up this class of work he has 
 difficulty in realizing the depth of value necessary to express 
 shade and shadow ; almost invariably he makes them too 
 light. 
 
 Sixtli. — Increase the values where necessary. Let no two 
 surfaces be of the same value. Beginning with the shade 
 surface nearest the light, let the surfaces gradually grow variety, 
 lighter and simpler as they are more distant ; and on the 
 light side let the surfaces grow darker. This will give an 
 atmospheric effect. 
 
 It frequently happens, especially with students who have Lack of freedom. 
 been drawing a " Plate of Orders," that the drawing, when 
 it reaches this stage, has a very hard and crisp appearance, 
 apparently representing a building of cardboard, and is 
 without a trace of feeling of atmosphere. 
 
 This appearance is obviated by applying the washes with 
 more freedom, and remedied by going over different sur- 
 faces, or parts of surfaces, with washes of almost impercep- 
 tible value, and by laying broken washes — irregularly over Broken values. 
 roof and walls — across from one surface to another, without 
 any attempt to blend edges. This gives a play of light, and 
 is always successful if not put on too dark. (See Plate I., 
 where such touches were used to good advantage.) 
 
 A transparent effect is obtained, when a dark wash is put 
 over a light, by leaving small, irregular areas of the first 
 wash to give life to the second. In this way material can 
 often be expressed and the scintillations of the light sug- 
 gested. (See Plate V. for example of this handling.) 
 
 Much of the freedom in the handling of Plate IV. is ob- 
 tained by the irregularity of line, resulting from drawing 
 with the brush. This is an excellent practice for those who 
 understand rendering in water color, but should not be at- 
 tempted until skill has been attained.
 
 28 
 
 Architectural Rendering in Sepia. 
 
 Avoid indistinct- 
 ness. 
 
 The sponge. 
 
 Hard edges. 
 
 Most to be avoided is the drawing laboriously worked 
 over, and rendered by a multitude of light washes, with 
 edges washed and blotted into indistinctness. If a value is 
 too dark or " muddy," it is sometimes necessary to sponge 
 it off by wetting the paper, and lifting the color by repeated 
 dehcate touches of a soft sponge. 
 
 But much of the irregularity of edge, especially in first 
 washes, will not be noticed when the drawing is finished. 
 While the first two or three washes are being handled, the 
 paper can be wet as at first, allowing washes to flow evenly. 
 If the edge is too hard, it can be reduced by drawing clean 
 water over it to dissolve it, and then lifted by applying the 
 blotter ; but strive to lay washes without hard and irregular 
 edges. 
 
 It sometimes happens that the sepia does not dissolve, but 
 settles upon the paper in visible particles. If this occurs in 
 the sky or distant landscape, it should be sponged off at 
 once, but it often gives a good texture to foregrounds or 
 near stone work. 
 
 Seventh. — When all values, except cast shadows, are 
 found to be of proper intensity, these should be washed in. 
 
 If it cannot be determined whether the shadows are dark 
 enough, put photograph and drawing off at a great distance 
 and compare the two ; or hold them before a mirror ; or 
 Use of diminish- compare them through a diminishing glass. 
 
 ing glass. 
 
 Cast shadows should be put in perfectly flat, not worked 
 over, and dark enough the first wash. Notice the shadow 
 cast by the bridge in Plate III., by the porch in Plate V., by 
 the invisible balcony in Plate VI., and by the cornice of the 
 monument in Plate VIII. 
 
 Eighth. — Indicate the detail. 
 
 Students invariably make the mistake of putting in the 
 Finishing. details before the masses of shade have been brought up to 
 
 the proper value. 
 
 The shadows.
 
 Exercises. 29 
 
 All color, up to this point, should have been put on in flat 
 washes ; but the drawing is now far enough advanced to 
 permit the grading of values here and there on roofs, etc., 
 and of working up details to any degree of finish wished. 
 
 A o-eneral rule to follow for the rendering of details is to Rule for rendering 
 omit all that can be omitted, and to express the rcmamder 
 in the simplest possible manner ; many of them can be ex- 
 pressed by flat washes. 
 
 Window-caps, belt courses, voussoirs of arched openings, 
 the finish on wooden houses, etc., can be expressed by being 
 made a little darker or lighter than the walls around them. 
 (See Plate I.) 
 
 Surfaces in shadow show little detail. This is also true 
 of those exposed to bright light. Detail is most clearly seen detail seen in half 
 
 ' 00 lights. 
 
 in intermediate values. 
 
 Do not rely upon detail to give the efi'ect. Dark lines and 
 spots can never take the place of values. 
 
 Express the mouldings simply. Remember that the 
 joints in the brick and stone work really show not at all 
 compared with the important lines of the building ; treat all 
 carving simply, and let the detail of the window be very 
 simply and broadly treated. (Study Plate V.) 
 
 Before any of the detail is indicated, the drawing should 
 fully express the essential parts of the building, i.e., its 
 mass, outline and the effect of light upon it. 
 
 The drawing should now be in such a condition that if r^'^'='>' ""' "<^'=<'^<^- 
 worked on no longer it would yet tell its story. If, how- 
 ever, the play of light on a window can be indicated, 
 accents placed under the mouldings, very small shadows 
 put in and details of carving brought out — if, in fact, the 
 right touches can be put in the right places and in the right 
 way, our drawing will be, not the work of a draughtsman, 
 but the work of an artist. 
 
 FoUowino: out the above order of work, Plate II. would 
 be completed as follows :
 
 30 ArcJiitcctuTal Rcndcrijig ill Sepia. 
 
 To finish Plate 11. SixtJi. — If the detail was now rendered the building 
 would have no substance, would not have the effect of 
 reality. The different surfaces must expi^ess themselves, 
 and the building- must stand out from the sky and the dis- 
 tance as it does in nature. 
 
 A value should be put over the roof on the light side, 
 and the conical roof should receive a value graded 
 toward the light. The roof on the shade side should receive 
 a tender value against the sky, but most of it should remain 
 ,7 as at present to suggest the path of the light across the 
 
 building. A broken value should pass over the light side, 
 and the ventilators should receive, attention, the values of 
 the nearer being much the darker. The buildings in the 
 distance should be treated like those in Plates VIII. and 
 IX., and a stronger value given the street in the fore- 
 ground. 
 
 Seventh. — The cast shadows should now be washed in. 
 Begin with the narrow shadow of the building upon the end 
 
 Shadows must be of the block of houscs, bring this down, and draw the nar- 
 row shadow of them all across the sidewalk, letting the 
 value grow lighter as it grows more distant. A pool of 
 color, to act as accent, should be left to dry out where the 
 shadow meets the nearest vertical corner of the building. 
 (See shadow of monument, Plate VIII.) 
 
 The shadow of the projection should be perfectly flat 
 where it falls on the wall, but should grade into the shade 
 to assist in expressing the cylindrical form. Always make 
 the most of anything that will aid the perspective, either 
 lineal or aerial. 
 
 Let the cast shadow of the edge-stone of the sidewalk be 
 quite dark in the foreground, and of the same value as the 
 cast shadow it runs into in the distance. 
 
 If possible, the drawing should now be put, away for 
 
 Rest the eyes. scvcral hours. When it is again taken up, the eye, having
 
 Plate III
 
 Exercises. 3 1 
 
 looked at other things, can better see if the values are of 
 proper intensity. 
 
 Eighth. — With the exception of the windows very Httle 
 detail is needed to give proper character to the building. 
 
 See the plates for method of rendering cornice, roof, etc. 
 
 The windows in this problem should be treated similarly 
 to those in Plate I., the nearer drawn quite fully, then grow- 
 ing simpler as their distance increases until, in those at the 
 end of the building, a wash expresses all. 
 
 It may not be possible, in all cases, to follow the order of 
 the less important steps described above. 
 
 No absolute rule can be given for rendering a building in Exceptions to aii 
 washes of water color, for every drawing presents problems 
 of its own. 
 
 The student will soon discover the methods of work that 
 give him the power of obtaining true effects, and any individuality. 
 method that enables him to obtain these effects quickly is 
 legitimate. 
 
 Strive to handle the medium freely. Freedom of han- 
 dling is not carelessness. If one is thoroughly acquainted 
 with his subject he can talk freely — if one thoroughly under- 
 stands his medium and knows what he washes to do, he can 
 draw freely. 
 
 Plate I. (original size of drawing, 16x24") '^'^'^s rendered, 
 from plans and elevations, to be reduced to size of 2x3!". 
 The student is advised to always work as if for reproduc- ^^'^'■k as if for re- 
 
 c ' 1 11 11 '111 production. 
 
 tion ; ior, smce the work has to be done m a bold manner 
 to get the necessary strength of contrast, he obtains a power 
 and freedom not to be gained by working out fully finished 
 drawings on a small scale. 
 
 The above described method w-as followed in rendering 
 Plate III. (original size, 10x15^-"). pi.ite in. 
 
 Second. — A very light wash, same as sky, was passed over 
 the entire surface with the exception of the high lights.
 
 32 Architectural Rendering in Sepia. 
 
 Third. — Still omitting the high lights, a wash, same as 
 light side of near tower, was passed over the group of build- 
 ings and the street. 
 
 Foiirth. — The darkest spot (door to right) was put in 
 with full strength of sepia. 
 
 Fifth. — A value, same as roof of farther tower, was put 
 over all dark surfaces at once. 
 
 Sixth. — The roof of nearer tower, its shade side, the low 
 roof to right, and the near wall, including shade and 
 shadow of bridge, received a value like light side of roof. 
 
 Next the near wall in shade received a graded value ; the 
 shade side of near tower was also graded ; other small sur- 
 faces were given light values that they might take their 
 places in the drawing, and tender broken values passed 
 over Hght and semi-light surfaces. 
 Shade sometimes Seventh. — The shadow under the bridge was put on very 
 shldo" ^" ^'^*- ^"^^ allowed to dry out darker in the shade, instead of 
 shadow, in order to lift the bridge and make it stand at 
 right angles to the wall. 
 
 Eighth. — The touches to render detail were handled so as 
 to assist in expressing the position of the different parts of 
 Never forget the the group. Thus the stoncwork is fully rendered near the 
 oJ,y"t" ° ^ spectator, and barely suggested in the distance ; the shad- 
 dows of the cornice of the near tower are much more dis- 
 tinct than those in the more distant one. 
 
 The student is advised to write out a description of the 
 Plate IV. method of rendering Plate IV. (original size, 8x15"), follow- 
 
 ing the order described above. This will help fix the mat- 
 ter in his mind, and should be done before attempting to 
 work out Exercise I. 
 
 Exercise I. should be repeated until the student gains 
 power over his medium, and appreciates the meaning of 
 masses of shade. 
 
 It is impossible to make 2i facsimile wash drawing of a 
 photograph, and it is not advisable to work from photo-
 
 Plate T
 
 Excrciscx. 3 3 
 
 graphs longer than to oahi the experience mentioned above, 
 for the student is hkcly to fall into narrow methods of 
 thinking and working. 
 
 EXERCISE II. 
 
 FOR PRACTICE IN ORIGINATING SCALES OF VALUE. 
 
 We will go a step further toward our goal — the concep- 
 tion and rendering of a purely original scheme of light and 
 shade — and select from an^' source — architectural pubhca 
 
 \\ ork from pen- 
 
 tion, magazine or newspaper — some simple building that is rendered per- 
 a reproduction of a pen-rendered perspective. specme. 
 
 This subject should be studied in the manner and order 
 described when the photograph was taken, but more care- 
 ful attention must be given the chiaroscuro. 
 
 It will be found that the shadows are necessarily very 
 much alike in value, and that much is expressed in outline Originality re- 
 
 ... . ,. . quired. 
 
 where no outhne exists ; therefore very careful considera- 
 tion must be given to planning the washes that the light 
 and shade may give the true eifect. The order of work 
 should be the same as for Exercise I. 
 
 As the student progresses, let less fully rendered subjects 
 be taken, till the merest sketch will give him suggestions 
 for a problem. 
 
 Plate V. (original size, 10x14") was rendered from a riatev. 
 small sketch in outline. The success of this drawing, par- 
 ticularly, depended upon the treatment of the large area in 
 shade. 
 
 Observe the shadow upon the ground (students usually smdy this plate. 
 neglect to give the ground its proper value) ; the cast 
 shadow of the porch (here is a case where the shadow is 
 lighter than the shade with good effect); the ornamental 
 frieze, very simple in the light and shade, but more fully 
 expressed in the half-light ; the simply-rendered chimney
 
 34 ArcJiilcciitral Rendering in Sepia. 
 
 top ; the \\inclo\\s expressed by one flat wash, over which 
 are drawn a few suggestive touches. 
 
 EXERCISE III. 
 
 FOR PRACTICE IN RENDERING DETAIL. 
 
 Detail, however, 
 is always sub- 
 ordinate. 
 
 Make large draw- 
 ings. 
 
 Plate VI. 
 
 Rough 
 
 work. 
 
 The student should not confine himself to one class of 
 subjects ; having mastered the work suggested in the 
 previous exercises, he is advised to select a photograph of 
 some doorway, loggia or similar subject (see Plates VI. and 
 VII.), for the practice of rendering detail, as stonework, 
 carving, etc. Here, again, the object will not be to copy 
 the photograph, but to gain that knowledge and manipula- 
 tive skill necessary to express with a brush the character of 
 stone simply cut or elaborately carved. 
 
 But remember that the picture is not made up of detail ; 
 that the same harmony and relation should exist between 
 the various parts, and the same subordination of detail to 
 general effect should be observed as in rendei-ing an entiie 
 building. 
 
 Drawings of this class should be made as large as con- 
 venient. 
 
 The main idea in rendering Plate VI. (original size, 
 18x22") was to obtain the effect of bright sunlight without and 
 deep shade within, with the sun high in the heavens bring- 
 ing out strongly the details by their shadows. 
 
 In subjects of this class, the white paper should be re- 
 served for the boldly projecting mouldings in the light, the 
 reflection of light in glass, and the glint of light on marble 
 columns. 
 
 Rough stonework in shade or shadow should receive 
 little handling. In light, the whole surface should receive 
 a flat value of proper intensity to express its local color. 
 With a very light value next draw lines of separation be-
 
 1' 
 
 Plate TT
 
 fxar^ PMN.- H t. f|izwf//-f fia-V
 
 ^H
 
 Exercises. 35 
 
 tween the stones. Wash a sHghtly stronger vakie on each 
 stone separately for the half-hghts, shades, and shadows, 
 occasionally blending into the light. 
 
 If the edges are very abruptly cut (see voussoirs of arch 
 in Plate VI.) the shadows are drawn as any cast shadows; 
 but if the edges are not so cut and the surface is irregular, 
 catching the light here and there and casting shadows now 
 sharp, now diffused, it is well to handle the deep shades and 
 shadows with a dry brush (a brush in which there is little Oniy use for a dry 
 color), with a value not washed on but stippled. (Compare 
 upper left with upper right corner of Plate VI.) 
 
 Ornament should be carried on from the first ; its shades omament. 
 and shadows treated as parts of the other shades and shad- 
 ows, and as other detail. 
 
 Ornament must be understood to be properly expressed, 
 and every architectural draughtsman should render full size Render detail fuii 
 capitals, etc., from nature or from cast, in order that he 
 may understandingly suggest ornament on the small scale 
 necessary in a perspective. (See top of monument and 
 mutilated capitals, Plate VIII., capitals in Plate IX. and 
 ornament in border of title page.) 
 
 In Plate VII. (original size, 15x20") the effect intended Piaie vii. 
 was that of brilliant sunshine casting pronounced shadows, 
 with the shade appearing rather indistinct in contrast. 
 
 The large area of light in the foreground was, therefore, 
 left almost white and the near shadows kept flat, that the 
 eye might not be led away from the cluster of shafts and 
 carved capitals that form the centre of interest. 
 
 The shadows cast across the floor fall at the proper angle 
 for good composition. If they made greater angles, were Avoid horizomai 
 parallel to the spectator, or were cast toward him, they ''""'■ 
 would cut the picture into parts and destroy the present 
 feeling of unity.
 
 36 ArcJiitcctiiral Rc7idcr2ng in Sepia. 
 
 EXERCISE IV. 
 
 FOR I'RACTICE IN SIMPLIFICATION. 
 
 Heretofore we have confined ourselves to rendering simple 
 subjects, buildings where the effects were very readily seen 
 and represented. 
 
 The student has found that the most difficult part of the 
 problems has been the simplification necessary. 
 
 It is not probable that the architect, in practical work, 
 
 A means to an end. would havc occasiou to render a subject in the line of those 
 
 reproduced in Plates VIII., IX. and X. ; but the practice in 
 
 simplifying infinite detail, in giving the work the character 
 
 of the orio-inal, makes this exercise most valuable. 
 
 If the foregoing notes have- been understood, the fact will 
 be readily appreciated that the rendering of an historic 
 monument of architecture contains all the problems found 
 in the previous exercises, and many more that cannot be 
 met by verbal rule. 
 
 The student is advised to render as many subjects of this 
 description as time allows, making carefully finished draw- 
 ings to large scale. 
 Plate VIII. In handling a subject like Plate VIII. (original size, 
 
 18x25"), where the values are nearly uniform throughout, 
 great care must be exercised in rendering detail. For, there 
 being no pronounced contrasting masses of light and shade, 
 the dark spots may cut up the drawing, producing a feeling 
 of unrest. 
 Compare with This drawing should be compared with a photograph of 
 photograph. ^^^ monument to better realize the problem that confronted 
 the draughtsman. Notice how surfaces, cut by countless 
 licrhts and shadows, are here rendered in a wash that, 
 though the greater part are omitted, still gives what is most 
 
 important — the character. 
 
 Notice the ruined base, a few irregular washes here ex- 
 press it ; the crowning ornament, three waslies express iL ;
 
 ^, 'Plate"¥]I[
 
 i-^ 
 
 s: i
 
 ■ A
 
 ^J 
 
 xcrciscs. 
 
 i7 
 
 handling. 
 
 Character of line. 
 
 the mass of houses to the right, four washes with one 
 darker spot express it. And further notice, as an illustra- 
 tion of one of the first principles stated, that this render- 
 ing accentuates the essential and characteristic features by 
 making detail subordinate. 
 
 Plate IX. (original size, 17x21") illustrates the truth of I'late i.\. 
 the statement that accessories simply treated act as a foil 
 and enhance the beauty of the principal object. 
 
 The first light wash represents the sky. A flat wash, over 
 which is graded one slightly stronger, represents the fore- 
 ground, and the distance is treated in flat washes. Notice 
 the simplicity of the shadows upon the shafts. It is an easy Example of simple- 
 matter to draw crooked lines with a brush, but quite an- 
 other thing to draw irregular lines that express character. 
 
 The old Japanese artist was master of line ; his simplest 
 brush mark could express rest or motion. Fleecy clouds in 
 the summer sky and storm-driven waves on a rocky coast 
 were expressed by the same number of lines, but the 
 character of the hnes expresses these two extremes. 
 
 The student who studies character expresses it. Hap- 
 hazard touches of the brush never mean anything. 
 
 "Artistic touches" are the final accents to preconceived Artistic touches. 
 schemes of expression, added to give life to the drawing 
 as the breath gives life to the body. 
 
 The handling of these columns well expresses their 
 material, age and condition. 
 
 Plate X. (original size, 8x11") clearly shows that eS'ects PUiteX. 
 do not depend upon the expression of detail. Students have 
 a tendency to exaggerate. New buildings are given the students exagger- 
 crisp, mechanical appearance of a problem in descriptive 
 geometry, and old ones have their ruinous condition so 
 exaggerated that ruin alone is thought of when viewing 
 the picture.
 
 38 
 
 Architectural Rendering in Sepia. 
 
 The accessories. 
 
 ' Artists are born, 
 not made." 
 
 Association. 
 
 Take advantage of 
 everything. 
 
 A method of ren- 
 dering accesso- 
 ries. 
 
 As the student works through these exercises, he finds 
 that his power over the medium rapidly increases. If he 
 should now attempt to render a problem like Plate II., 
 much less time and fewer washes would be required. 
 
 Heretofore little has been made of the accessories; sub- 
 jects have been selected that required but little attention 
 outside of the buildino^ itself. Attention must now be g-iven 
 to this matter. 
 
 No instruction from books could ever enable a student to 
 interpret nature. If, having learned the method of handling 
 water color, he can appreciate the effects of sunshine and 
 shadow in nature, and has a feeling for the effects of masses 
 of foHage relieved against other masses or against the sky, 
 he does not need to read a book to learn to paint a 
 landscape. 
 
 However, few of us are artists. But, in our practice, it is 
 almost always necessary to place trees, etc., about our build- 
 ings, and to give variety to our skies by cloud forms. 
 
 With our lack of study of character, we are accustomed 
 to associate certain shapes, values and positions with certain 
 things. A shape that in the sky we would recognize as a 
 cloud, as easily passes for a stone if seen in the foreground. 
 A tree in the distance, represented by a light flat wash, can, 
 by simply increasing the value, be made to appear near. A 
 horizontal reach of land becomes a lake by drawing in the 
 reflections of surrounding objects. The architectural artist 
 takes advantage of this. 
 
 He wishes to keep the accessories simple that attention 
 may be directed to his building, and he, therefore, expresses 
 these accessories in flat washes. 
 
 Plate XI. illustrates this method of rendering the acces- 
 sories of a building by the use of flat washes of color. In 
 this work all things arc expressed by flat values, leavmg all 
 edges sharp and with no blending or grading. Effects are 
 obtained by the shapes of the values.
 
 -^ U \ji 
 
 m'«>--- '«.. -J 
 
 I 
 
 •k. 
 
 PlatfXIL i
 
 Exercises. 39 
 
 Fig. I is rendered in three washes. The first over ''i^": -^'• 
 everything except the white clouds and the light surfaces 
 on the house. The second is a value for shade side of house 
 and for trees. The third gives the cast shadows. 
 
 Ficr. 2 is the work of four flat washes. The area 
 covered by each wash can be seen. Fig. 3 is rendered by 
 five washes and Fig. 4 by six. 
 
 It will be well to copy Figs. 3 and 4 of this plate before 
 workino- throusfh many of the exercises, and then, having 
 finished them, return to this problem, and, with two or 
 three graded values, render it with the power gained by 
 additional knowledge and skill. 
 
 To obtain the best results, the student should now work 
 directly from nature ; if this is impossible, it will be well to 
 render subjects made up largely of landscape or sea views, 
 sup-o-estions for which can be found everywhere. (See 
 Plate XII. These cottages were rendered from small pen- mtc xii. 
 sketches found in a catalogue of architectural publications.) 
 
 The aim of the student should be not only to produce a 
 true and beautiful picture, but to produce it quickly. He 
 should endeavor, for obvious reasons, to take advantage of 
 everything that will aid him in obtaining effects in the ^..i'ckiy.'' 
 shortest possible length of time. 
 
 EXERCISE. Y. 
 
 FOR PRACTICE IN RAPID SKETCHING. 
 
 A good exercise to cultivate the power of quickly decid- 
 ing what is to be done and the best way to do it, is the 
 time sketch. In this the student limits himself to a certain 'the time .ketch, 
 period, and in that time attempts to do a certain amount of 
 work. For example : Sketch a picturesque sea-side cottage 
 in ninety minutes. Sketch a clock tower for town hall in 
 sixty minutes. Sketch a gateway for city park in two hours.
 
 sketches. 
 
 40 Architectural Rendering in Sepia. 
 
 The ability to put thoughts upon paper quickly and 
 beautifully expressed is of the greatest advantage to the 
 
 "Time is money." architcct, hol only froHi an artistic but from a financial 
 point of view. 
 
 Plate XIII. Plate XIII. is a time sketch rendered in ninety minutes, 
 
 and the two sketches on Plate XII., by washing in the large 
 
 Keep several valucs whilc the paper was wet and the finishing values of 
 
 drawings going 
 
 at once. oiic whilc the Other dried, was rendered in but little more 
 
 time. 
 
 If these notes are being worked through systematically, 
 
 as by a class of architectural students, it will be well to set 
 
 Competition asidc oiic day per wcck for a time sketch. It will add to 
 
 the interest if some competent person assigns the problems, 
 
 and, at the end of the time, criticizes the drawings. 
 
 This work will prepare the student for sketching from 
 nature. 
 
 Skill comes only To attain skill, sketch constantly; no building is so small 
 or simple as not to present a good problem. 
 
 When sketching from nature, do not be confused by the 
 light and the apparent importance of detail, but look only 
 for large masses of light, shade and shadow. 
 
 Art must always fall far short of nature, for white paper 
 can never rival sunlight, or the pigments of the palette do 
 more than suggest nature's coloring. 
 
 In our work of rendering architectural subjects in sepia, 
 we select what will add most to our buildings, and, since 
 we cannot express everything, make as little as possible of 
 all that does not add directly to the efi^ect of solidity and 
 sunligrht. 
 
 with practice.
 
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 Architecture & Urban Planning Library, 825-2747. 
 This book is DUE on the last date stamped below. 
 
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 FEB 2 5 199) 
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