This section is from the book "Cyclopedia Of Architecture, Carpentry, And Building", by James C. et al. Also available from Amazon: Cyclopedia Of Architecture, Carpentry And Building.
In order to get quickly into the practice, the student will be asked to make a copy of this rendering, Fig. A. Do not try to copy too exactly, but use the same freedom.
Having thus formed the accent, it is best that the shadow under the hood in the roof should be made rather light, lest it come into competition with the porch shadow. If the student prefers he may make it a trifle darker than here shown.
A little clapboard rendering is put in on the left, to make still more evident the large light, which occurs mainly on the roof but at the same time takes in other white spaces at that end of the drawing.
This subject introduces a roof rendering, also a simple treatment of windows and blinds. Here the roof serves as a half-tone value. The shadow of the eaves and some of the blinds are the black values. To get the dark accent, the nearest blinds and the near portion of the shadow on the eaves are made very dark.
The shadow under the porch shows how safely much of the detail of the door itself may be omitted and not be missed. A broad treatment is better than a fussy one. Observe that the roof lines are made as free as possible, avoiding a straight, wiry line.
After copying this plate original work may be attempted.
Make the shadows only for the first rendering, Plate III, just as shown in this value scheme, Fig. C. Then make a second drawing of the same, Plate IV, and give a half tone to the front area of the roof, and to the end of the roof a darker value, as shown in suggestion in upper corner. Finally on this second drawing, put a small amount of rendering on the wall at the distant right, in the same manner as on Plate II. This will give a large white light on the walls nearest the observer.
OUTLINE DRAWING READY FOR RENDERING. All lines should be very light so as not to show through rendering.
Fig A. (For Plate I.) FINISHED DRAWING.
Fig. B. (For Plate II).
TWO DIFFERENT TREATMENTS OF SAME SUBJECT. (See opposite page.). PLATE- 6.
Put in the shadows first. Get the nearest shadows very dark', then give a half-tone rendering to the whole of the brick-wall surface. Do not ink in the lines at the edges of the brick walls. Let your rendering make the edge as shown in Fig. 18. An outline in such a place produces a mechanical looking rendering, as is seen in the illustration. Outlining is absolutely necessary where there is no rendering, but in connection with it, omit the outline, if possible.
Fig. C. (For Plates III and IV).
Fig. D. (For Plate V).
is no rendering, but in connection with it, omit the outline, if possible.
The doorway shadow selects for itself the honor of being the leading accent; the shadows at left and right simply repeat it in a small way. The roof affords an opportunity for half-tone. The grass, which may be rendered as illustrated in the two preceding examples, gives also an additional half-tone value. To retain or produce a large light area, the stone jointing should be omitted on the upper portion of the wall, as indicated in the scheme. The roof may be rendered in a free line method, as shown in the sketch. With a good quality of line, and a free, vigorous method, this drawing will be a brilliant one, as its composition of values is favorable.
Fig. E. (For Plate VI).
This ends the practice. Only a beginning has been made in the work-a foundation laid, but it is a safe one. What has been taught will be a help to a further pursuit of the subject should the student feel that he has developed sufficient talent to encourage further study.
Suggestion for treatment of house showing roof in light with halt-tone value to walls.
EXAMPLE OF PEN AND INK RENDERING Drawing by N. Max Dunning, Chicago, 111.