"The primary purpose of drawing/imaging in architecture has been to facilitate the mental experience of a three-dimensional world. Working with the long-held assumption that an idea preceeded its representation, consumers of design services are reliant upon the ability of designers to represent their ideas in order to responsibly contribute to design decisions. The implicit contract of this service dictates that the reading of those drawings/images be within the bounds of what is familiar and accessible. The presentation of designs to clients has evolved from hand-made drawing to the technology available in computer graphics and video. At its best, this evolution represents hand-drawing as an effective way of exploring design ideas. At its worst, it has led to a quasi-art form, encouraged by paper architecture shows, sales, and promotional renderings The concern expressed here is over the metamorphosis of architectural drawing from a tool which embraces the designer in the process of knowing to an art historian's art form encumbered with the problems of a finished product. In any craft-related endeavor there is the notion that art and service answer to completely different agendas. Peter Dormer in his essay The Ideal World of Vermeer's Little Lacemaker explains the difference this way: "The official contemporary crafts world of museums, galleries and magazines is not concerned with sheet metal workers or artisans in concrete, since they represent 'trade'. Their exclusion is understandable given that the interests of the museum/gallery world are aesthetic and, moreover, concerned not with teams of people who work and make together but with individuals who either set the design and prescribe its manfacture or design and make the product entirely by themselves." Historically, craft involved the making of things for use and service. The success of the potter, the weaver and the lacemaker was measured and valued in how well customers were satisfied with the quality of the product. The hand-crafted working drawing, likewise, not only informed us of the normative standard of construction but also gave us some insight as to the nature and character of the architecture. Sheet content, composition, and lettering style were judged as critical factors when a contractor bidding the work looked for completeness or complexity of the project. In other words, a crafted set of drawings, or a well-rendered and communicated building, represented a well-thought out design. Technology, however, has imposed a shift. The service aspects of architecture (getting the work built) can be met very nicely with the economy and efficiency of the computer. The craft in drawing by hand can "move over" to the utility of technology. The metamorphosis can be seen in this anology: like the notion that crafts no longer serve a strictly utilitarian function in modern life and work, but still appeal to our fancy (by giving us touchstones to the past, or an appreciation of a time when humanity was more self-reliant), the hand-made drawing has become a tool that caters not to our need to build the work, but rather appeals to our fancy that work is essentially of and about the human being. Just as post-war craft aesthetics encouraged a hand-made lumpiness which set it apart from the machine, there seems a need for drawings that allow the viewer to share in the evolution of the process undertaken by the designer. Initial "idea" or material studies give the hand-made drawing a new and genuine craft. It is an act of service. That is, they can return the hand-made drawing from the superfluous to the necessary. Drawing is that creative insight into the bridge between knowing and doing.This essay and slide presentation considers three aspects of the metamorphosis of the craft phenomenon in drawing and rendering: the failure of the art-service concept; the mystique of being able to render well; and the new craft-service role of architectural drawings as a measure of aesthetic thought in our society."