Fig. 1 is from the pavement in the Baptistery at Florence and is in the style called Tuscan Romanesque. The pointed acanthus leaves in the small border at the top, are identical in character with the Byzantine acanthus.
This drawing is to be treated like a sketch made from the object. After sketching in the pattern and correcting in the usual way by drawing new lines, erase superfluous lines and strengthen the outlines by lines made with one stroke. The final outline should, however, be loose and free in character and express the somewhat roughened edges of the pattern in white. This does not mean that the direction of the line must vary enough to distort any shapes. Observe that most of the shapes appear to be perfectly symmetrical only their edges seem slightly softened and broken. Fill in the background with a tone equal to the dark (D) of the value scale. Make this tone by upright lines nearly touching each other and if the value is too light at first, go over them again by lines in the same direction. If a back ground line occasionally runs over the outline, it will help to produce the effect of the original.
Figs. 2, 3, 4 and 5 comprise typical forms of Greek decorated mouldings. The examples have much the character of a working drawing and the plates are to be enlarged copies, but instead of fol lowing the character of the light and shade of the original, the shadows are to by upright lines. (See Section 37.) The darker shadows are to be the value of dark (D) of the scale, the lighter ones the value of middle (M).
Place these drawings so that there will be at least an inch be tween them and about half an inch between the border line and the top and bottom.
Fig. 1 is from a drawing of a wrought iron grille in a church in Prague. Some idea of the shape of the pieces of iron is conveyed by the occasional lines of shading. The pattern will be seen to be dis posed on radii dividing the circle into sixths. Construct the skeleton of the pattern shown, establishing first an equilateral triangle and. the lines which subdivide its angles and sides. About this draw the inner line of the circle and extend the lines which subdivide the angles of the triangles, to form the six radii of the circle. Complete the outlines of the pattern before drawing the shading lines. This drawing with its lines and curves all carefully perfected represents the kind of working drawing which an architect might give to an iron smith to work with, although in a working drawing, a section of the iron would be given and each motive of the design would propably be drawn out only once and then as it was repeated it would be merely indicated by a line or two sketched in.
Fig. 2 is from a photograph of a wrought iron grille at Lucca in the style of the Italian Renaissance. The drawing to be made from this, the student must consider to be a sketch, the sort of note or memorandum he might make were he before the original.
The accompanying detail gives a suggestion of the proper treat ment. The general shape of the whole outline should be indicated and the larger geometric subdivisions; the details of two of the compartments suggested by light lines and those of the remainder either omitted or very slightly suggested. Try to make the drawing suggest the "hammered" quality of the iron. Although the curves are all beautifully felt, there are slight variations in them produced by the hammer, or they are bent out of shape by time, and the thick ness of the iron varies sometimes by intention and sometimes by acci dent. Take care, however, not to exaggerate the freedom of the lines and do not carry the variation so far that curves are distorted. Make the drawing in outline first with a line which breaks ally, with portions of the line omitted. This helps to indicate the texture of the iron and suggests its free hand-made character.
That part of the background which in the photograph appears black behind the iron, should be filled in with a tone equal to the Clark (D) of the value scale. It should only be placed behind the two compartments which are most carefully drawn, with perhaps an irregular patch of it in the adjoining compartment. In making the background use single pencil strokes, side by side, with the solid ink pencil, very near together or occasion ally touching. Give a slight curve to each stroke. The direction of the lines may be either upright, or they may keep the leading direction of the general lines of the pattern, but they should not be stiff or mechanical. If the value is not dark enough another set of lines may be made over the first ones, keeping the same direction. The only parts of the ironwork itself which require shading are those twisted pieces which mark the subdivision, the outer edge, and the clasp. For this use a tone equal to the middle (M) of the value scale. Avoid explaining too carefully the twists and use the shading only in the dark side. Use a few broken outlines on the right side, just enough to suggest it and do not darken the flat piece of iron behind the twists except on the shadow side. Do not count the number of twists but indicate them in their proper size and the effect will be near enough for this kind of a drawing. Shade only those twists which are nearest the compartments which are detailed; from them let the detail gradually die away.