9/28/12 rocbo : ARCHITECTURAL DRAWING by Wooster Bard Field

ARCHITECTURAL DRAWING ARCHITECTURAL DRAWING

RENDERING

Architectural drawings may be rendered or colored in a number of different

mediums according to the result desired. Most common among these are
pencil, crayon and water-color. The shadows, the relative color of materials,
and the environment of the building may thus be indicated either in mono- tone
or in their natural colors. The medium first used for the rendering of school
problems is water- color in monotone washes. These washes are of two kinds,
the smooth and the settled wash. In the first the color dries leaving a smooth
even tint while in the latter, if applied quite wet and allowed to stand
undisturbed, a mottled effect is secured. India ink is perhaps the best color for
smooth, soft grey washes, while Charcoal Gray, French Blue and other
combinations will produce the settled wash.
Material. The material needed is as follows: India ink, which comes in sticks,
a slate ink slab in which the ink is ground by rubbing it around on the slate with
water, a set of camel's hair or sable brushes which will come to a good fine
point when wet, a nest of china water-color saucers, a soft sponge, some white
blotters and a piece of clean, absorbent cloth. Later, if the student desires to do
color work, he may secure the necessary water-colors. He will have much to
learn in monotone however before attempting the other, and should leave that
for future development.
Mounting the Paper. So that the paper will not wrinkle up when water is
applied, it must be mounted or pasted down onto the drawing board. For this
operation are needed a clean, soft sponge, some white blotting paper and a
bottle of Higgin's Drawing Board Paste (not mucilage). There is no paste "just
as good." Follow the directions carefully and a satisfactory stretch will be
obtained.
Be sure that the board is clean, then lay the paper on it (face up) and, using
the sponge, wet the paper thoroughly with clean water, being careful not to rub
the surface hard. Squeeze the water from the sponge and take up any that
stands in puddles. Turn the paper over, keeping it flat in the process, and wet
the back similarly. Take up the surplus water and, with the blotter, take the
moisture well out of the paper for a strip about an inch wide all around the
edge. It is now ready for pasting. The paste may be taken in a ball beneath the
fore fingers of the two hands and run along onto the dried strip around the
paper. It is too heavy to be applied with a paste brush and should not be
thinned with water. Rub it out until it lies in a very thin coat. If left thick in
places it is apt to crack off. Now turn the paper over and press the pasted
edges down securely to the board at the same time stretching out all wrinkles
and pulling the paper taut. It sometimes helps if a number of thumb tacks are

set around the edge until the paste has dried completely. While the paste is
drying, keep the center of the paper slightly moist up to within two inches from
the edge. This prevents any tension from coming onto the pasted edge before it
is dry. When the center is allowed to dry the sheet will be found to have
stretched tightly, affording a perfect surface for both drawing and rendering.
The stretching of the paper can be over- done and, when such is the case, it
may pull so tightly upon drying as to break when moistened again in the
rendering of the drawing. It will take the mounting of several sheets to acquaint
the student with the ins and outs of the process.

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