Schell Lewis makes his pencil renderings on tracing paper, using a rag bond with a good "tooth" — not slick or smooth. Aftera perspective line drawing and a preliminary study (Figure 9.13a) are made, another sheet of tracing paper is placed over the line drawing, and the finished rendering is made, beginning at
Fig. 9.13b Partially Completed Rendering of Preliminary Study. (Renderer: Schell Lewis.)
the left and finishing at the right, as shown in Figure 9.13b, being guided by the line perspective which can be seen through the top sheet of tracing paper.
An analysis of Schell Lewis's technique of indicating building materials reveals some interesting things. Brick is made in single strokes, with a pencil point the exact width of one course. Its pattern is purposely made imperfect so it will not appear stiff. Some stones are treated with great tonal variation. Sometimes stones are plainly shown; elsewhere they are so light that they are left the color of the paper. Occasionally stones are omitted altogether, and angular smudges as well as white spaces are used to relieve the monotony. Where stones are in shadow, they are rendered dark, and the joints are left white. But aside from the variation of the stones themselves, notice that there is a definite gradation from dark at the bottom of the building to light at the top. In Figure 9.14ii
Fig. 9.14o Study for a Church. (Architect: O'Connor and Kilham. Architects. Ren-derer: Schell Lewis.)
and b, however, the brick is graded from dark at the top to light at the bottom. Kach is interesting in its own way.
Foliage is rendered with rather wide strokesabout % inch long, most of which are diagonal. Shadows cast on trunks and branches by foliage masses are soft in quality and have wavy, indistinct edges. Finally, some trunks and branches are outlined for emphasis.
The skies in Schell Lewis's renderings were made with broad strokes of the pencil, the washes then being muted by rubbing with a paper stump.
Scale figures and automobiles complete the renderings.
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