Although he has made an international reputation for himself for scholarship, thoroughness of research, and lucidity of style, his drawings have often been admired as much as his elegant prose. His clear and precise line-drawings (in pencil and pen-and-ink) have graced several publications, not least his magisterial Dictionary of Architecture and Landscape Architecture, published in hardback and paperback by Oxford University Press in 2006, and many, produced as design-drawings for artefacts and buildings, have also survived. However, he has, on occasion, turned his skills as a draughtsman to critical purpose, attacking with biting effect certain tendencies he finds offensive, and his barbs have reached their targets. He has also proved to be a skilled water-colourist when occasion demands: he has employed colour to enhance some of his line-drawings; he has turned to the medium of water-colour in order to capture landscapes, effects, moods, and buildings; and he has taken delight in colour found in Nature and in Architecture. He believes that an understanding of a building or a detail can be gained only when it is studied and drawn: drawing helps the eye and mind to take in matters that the widespread use of the camera cannot possibly bring about. Drawing, he insists, is essential for the study of how a building is put together using materials such as stone, brick, timber, and so on. This section shows a selection of his work.