The Art of Architectural Modelling in Paper

by T. A. Richardson

DETAILS OF WINDOWS. No. 3.
MORNING ROOM.

KITCHEN.

We have, in describing the method of working several important details connected with the building, and illustrated on page [61], been, we fear, somewhat premature, and have not sufficiently urged upon the student the necessity of preparing his groundwork for these details in a perfectly accurate manner. For, as it is well known, no colouring, however fine, will in a picture make up for bad and incorrect drawing, so in a model, walls out of square or windows and other apertures ill-cut will not present the wished-for appearance, though all the details be most skilfully and beautifully modelled. Draw in all doors, windows, &c., &c., with a very hard pencil, in order that the lines may be as fine as possible, and cut them out with knife No. 1, or No. 2, whichever may be considered most suitable to the size of opening it is required to cut; the knife No. 3, as before observed, being used exclusively for curved and circular work. In cutting out the windows, hold your knife perfectly upright; and, as you arrive at the end of the cut, let the edge of the blade be perpendicular, thus avoiding cutting past the line. In cutting through thick, or indeed even through one thickness of paper, do not be too anxious to sever the piece with one cut, as this way of proceeding is almost sure to cause unevenness of line. But commence by drawing a line, as it were, in the required direction; that the rule may guide it accurately, press but slightly at first; and as the track of the knife gets deeper, exert more pressure. Simple as this direction may appear, it is nevertheless of the utmost practical utility, as will readily be found upon trial, as it is only by these means that the paper will be left at the edge clean, sharp, and even.

DETAILS OF GREENHOUSE. No. 1.

The next object we would call attention to is the Greenhouse, page [73], and state that there are two ways of modelling this very general appendage to a modern mansion. The first and the simplest method is to form the backing of blue paper behind the mica. The other, by doing away with the blue backing, and allowing the mica to remain transparent. The former method saves some amount of labour; but the latter being in our opinion the best and most artistic method, we shall proceed to describe it: First form the pilasters (you will require double the number than for the opaque backing), and cut them in their length from A to B (see elevation, page [73]), from the commencement of the base mouldings to the underside of those of the cap. The way of proceeding in modelling cap and base will be readily understood from the accompanying sketch, where it will at once be seen better than we can describe. The best way to cut them is as if they were a window or opening, cutting the piece out of the centre at A, after having moulded the edge all round. Then dividing them into two along the line D L as below, fix them in their respective places. The angle ones must be double, to avoid having to mitre them. A piece of mica or thin glass cut to the size of the one side is now taken, and the pilasters and other portions, divisional bars, &c., are gummed to it, on both sides; and when with the end it is finished, let it occupy its intended position on the outline plan.

D L Divisional line.

Now proceed to the roof, to be constructed really of iron and glass, to be modelled of paper and mica: First, bend round a paper or other cylinder the piece of mica for the roof, and proceed to cut a number of strips of cardboard for the ribs, which may be coloured any suitable tint.