Arco di Settimio Severo

Light streams from the upper left, casting deep shadows into the arch openings and along the right sides of structures. The composition is anchored by a towering Corinthian column on the left—its verticality and isolation command immediate attention—while the monumental arch sits partially beneath it, creating a spatial puzzle. To the right, a domed church rises with full architectural elaboration, and a lower residential building grounds the composition. Tiny figures scattered across the dusty foreground establish human scale against the ruins. Your eye travels vertically up the column first, then horizontally across the arch and toward the church dome.

The deepest blacks concentrate in shadow recesses: the arch opening, the base shadows of architectural forms, and the colonnade capitals. The sky and upper atmosphere are the brightest whites, with clouds modulating the value. The middle tones—created entirely through line density—dominate the illuminated architectural surfaces. When you squint, the clear value groups are: the deep shadow of the arch vault, the mid-lit stone masses of buildings, and the bright sky creating separation.

• #f2f2f2

  pure white paper

  sky, particularly upper register and cloud highlights

• #e6e6e6

  white with lightest gray wash or very sparse hatching

  cloud undersides and architectural highlights

• #d7d7d7

  light gray achieved through fine parallel hatching

  illuminated stone surfaces, building facades in direct light

• #bbbbbb

  medium gray through denser cross-hatching

  mid-tone shadows on architectural forms, recessed architectural detail

• #979797

  darker gray through very dense parallel lines

  deep shadow passages under arches, within column flutes

• #575757

  black ink, pure or very dense layering

  deepest shadows in arch vaults, capital shadows, and darkest recesses

This work is pure linear technique—no tonal washes, only precise black lines on white paper, likely etched or engraved. Edges are sharply defined where light strikes form, but shadow edges soften through accumulated hatching. The hatching follows surface geometry: parallel lines hug the cylindrical column, curved lines model the dome, and rectilinear patterns follow stonework. The linework is so controlled it becomes nearly invisible—your eye reads architecture, not hand.

1. 01

   Map the perspective framework

   Lightly sketch the vanishing point and horizon line—it sits roughly in the middle distance where the plaza meets the far buildings. Map the footprint of the arch at ground level and its vertical rise to the entablature. Block in the column's central vertical and the dome's placement to the right. This composition relies entirely on accurate perspective; invest time here.

2. 02

   Define the major architectural masses

   Sketch the solitary column with its fluting, the arch's three-dimensional structure (front face and receding depth), the church building with its dome and lower structures, and the residential building on the left. Pay attention to how the arch recedes backward—this depth is crucial. Indicate the foreground ground plane with its slight perspective tilt.

3. 03

   Establish light direction and shadow placement

   Light comes from upper left. Mark the shadow face of the column (right side), the deep shadow inside the arch opening, and all ground shadows cast by architecture. The church dome's right face catches light; the church's left flank and interior are in shadow. These shadow zones will receive your heaviest hatching. Squint frequently to clarify where lights and darks truly separate.

4. 04

   Begin the darkest passages with organized hatching

   Start with the arch vault interior—this is the deepest black. Use closely-spaced parallel lines, then cross-hatch over them. Work the shadows at the base of the column and under the entablature. Build these areas slowly; darkness from layered line work is more convincing than a single heavy stroke. The linework here creates the sense of recessed stone and shadow.

5. 05

   Hatch the mid-tone architectural surfaces

   Illuminate the column's fluting with carefully spaced parallel lines running vertically—they create its cylindrical form. Hatch the sun-facing facades of the church and buildings with medium-density parallel lines. The linework should follow surface direction: horizontals for horizontal surfaces, diagonals for receding planes. Leave some paper white for the brightest highlights on the dome and upper architecture.

6. 06

   Add architectural ornament and molding detail

   Now render the capitals, bases, entablatures, and decorative elements. The Corinthian capital is intricate—use tighter parallel lines to shade its volutes and carved surfaces. Define window and door openings with precise rectangles and interior shadow. Small details like string courses and cornices guide the eye and anchor the illusion of carved stone.

7. 07

   Model the sky and atmospheric effects

   The sky is nearly white but has soft cloud forms. Add gentle parallel hatching to cloud undersides—keep these light. Let the upper sky remain mostly white to create brightness. Use the sky's value to separate the dark architectural silhouettes. The contrast between bright sky and dark stone is essential to the composition's drama.

8. 08

   Add foreground figures and refine final details

   Indicate tiny human figures in groups across the plaza—they need only suggestion, a few lines for posture and shadow. Add scattered debris and rocks with quick cross-hatching. Make final passes: sharpen dark-to-light edges where shadow meets light, deepen any shadow areas that read too light, and confirm that your line weight and spacing are consistent throughout. Step back frequently to assess overall value balance.

9. 09

   Final refinement and edge control

   Review your linework for consistency—hatching angle, line spacing, and pressure should feel uniform across similar value ranges. Soften some shadow edges through gentler hatching; keep others sharp where sunlight creates clear division. The work should feel like a unified linear composition, not patches of different techniques. A single wandering mark now reads loudly; resist over-working.

• Perspective collapse: The arch recedes sharply backward; if your orthogonals aren't true, the structure will feel flat or twisted. Test perspective relationships repeatedly with your ruler.
• Hatching inconsistency: It's easy for line weight and spacing to drift as fatigue sets in. Mark a small hatching reference swatch on scrap paper and match it throughout—consistency in technique is what sells the illusion.
• Overworking the column: It dominates visually but is relatively simple geometrically. Resist the urge to add texture that isn't there; the fluting and subtle shadow modeling are enough.
• Sky value errors: If your sky hatches too densely, it competes with the architecture instead of receding. Keep it very light—the clouds are the only modulation needed.
• Losing the architecture in detail: It's tempting to render every ornament equally. Step back constantly; the dome, arch, and column should read first, details second.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility