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.
To render in pen and ink a large and important drawing is no small accomplishment. Usually years of experience are necessary before one can sucess-fully undertake such drawings. Now and then a student is to be found having talent to the extent that the attainment of this skill seems a very easy matter, but in general this talent is comparatively rare. N inety-five out of every hundred have a long task ahead before success is possible. This difficulty of attainment, however, makes the accomplishment all the more valuable. No one would expect to learn engraving on wood in a few brief lessons, and yet in pen and ink rendering difficulties are to be met not unlike those connected with engraving.
But there are many things concerning pen and ink work which can be readily learned; they are worth the trouble and the labor expended, and may prove useful. A consideration of these will, in any case, introduce the art and serve also as a good foundation for further pursuit of the subject if desired.
It is the purpose of this paper to seek the most modest of results, which may be set forth thus,-the rendering of a small building at a small scale in the very simplest manner, with few or no accessories.
Kind of Drawing. There are three ways in which a sketch may be rendered, viz: with pen, pencil, or brush. Pen rendering will be considered first, and later additional notes will be made as to pencil work. Rendering with the brush is another line of work, but much that may be advised in regard to pen rendering would also apply to brush work.
Pens. The tendency of beginners is to use too fine a pen. It must be remembered that many pen drawings are reproductions much smaller than the originals, and consequently the lines appear much liner than in the drawing itself. There are two pens that can be recommended, shown herewith. Years of experience prove them to be perfectly satisfactory. Occasionally a finer pen is needed, such as Gillott No. 303. The Esterbrook No. 14, a larger pen, is necessary in making the blacker portions of a drawing. The Gillott 404 is to he used for general work in the same drawing.
Ink is not of as much importance as pens. The va-rious prepared India inks put up in bottles are all that can be desired. They are more convenient than ink that must be rubbed up, and they have the advantage of always being properly black. Some ordinary writing inks serve the purpose very well if reproduction is not an object, but if reproduction is desired, India ink, being black, is preferred.
Paper. The very best surface is a hard Bristol board. The softer kinds of Bristol boards should be avoided, as they will not stand erasure. Most of the drawing papers do very well. "Whatulan's hot pressed paper is very satisfactory. An excellent drawing surface is obtained by mounting a smooth paper on cardboard, thus obtaining a level surface that will not spring up with each pressure of the pen. This is equivalent to a Bristol board. However, the size of Bristol board is limited and frequently drawings must be much larger, in which case the mounted paper is a necessity.