The examination plates are planned to give as great a variety to the style of drawing as possible. The architect is called upon to use freehand drawing in two general ways; to make working drawings of ornament, either painted or carved, and to make, tor reference, sketches or notes, more or less elaborate, from ornament already in existence, or from buildings either entire or in part, as well as from their landscape setting. This course will not include drawing of architecture and landscape.

In making a working drawing of ornament every shape and curve should be drawn to perfection, with clean, careful lines, in order that there shall be no opportunity for the craftsman who executes the work to interpret it differently from the designer's intention. Light and shade are used sparingly as the exact amount of relief is indicated by sections.

In making sketches or notes, while proportions must be accurately studied, form may be suggested by a much freer quality of line. In a working drawing light and shade may be merely indicated or may be carried to any degree of elaboration. The natural way of teaching this kind of drawing is to work from the objects themselves or from casts. This is not possible in a correspondence course, but all the principles of sketching may be very well taught by drawing from photographs of ornament, and this method has some decided advantages of its own for a beginner. The light and shade in the photograph are fixed, while in sketching objects out of doors it changes constantly, and even indoors is subject to some fluctuation; and then, in the photograph the object is more isolated from its surroundings and so is less confusing to perceive.

In order to train the sense of proportion as thoroughly as possible, the plates are to be executed on a much larger scale than the examples, but at no fixed scale. Plan each drawing to be as large as possible, where no dimensions are given, but do not allow any point in the drawing to approach nearer than one inch to the border line.