ARCHITECTURAL RENDERING GUIDE

=Finale= The Combined Technique of Gouche & Airbrush

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43. Drawing the flower stand. Pay a similar attention to the stratified pattern and the polished looks of the granite stone as was paid to the pillars.
44. Adding the human interest. As purple represents the color of this picture on the whole, the complimentary green should be effectively arranged for the sake of the color structure. Draw carefully with the use of the countenace brush. This process becomes quite enjoyable as the picture draws near to completion, but the color tones should be attended to carefully by observing the balance of the whole picture.

45. The items of crockery and cutlery on the table are important to produce the gorgeous_atmosphere of the restaurant. As the characteristics of a restaurant can be determined by the kind of crockery and cutlery used. it is necessary to use elaborate drawing' here. If you can draw them so you can almost hear the sound of them clinking then you have achieved the aim.

46. Heavy painting are not recommendable {or restaurants. The palntln,gs should be selected to SUit the atmosphere like the cutlery and crockery.

47. The colors in the picture should be decided in accordance to the balnce of the colors available in the views.
48. Add the final. touches to the wooden surfaces

49. The craters and shadows on the moon are added to complete the entire process of the picture.

=FINALE=

=Part 4= The Combined Technique of Gouche & Airbrush

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35. Airbrush on a darker color to the top of the wood graining. Add more-red coloring as it gets darker.
36. After the over-all graduation has been added, spray on the shadows of the instruments and finish the floor plane surface.

37. Drawing the furniture. The surface of the musical instrument and the furniture should be made using the same process. The fine details must be left to the very end as they involve very delicate work.

38. Initially natural coloring should be used on the chair

39. The completion of the chairs and tables. A clear grasp of the light direction is necessary in order to add the flow of the shade and highlights and add the presence needed.

40. Drawing the instruments. As three kinds of wooden textures the floor, Hle cembalo and the cello are to be painted here, the tone of the colors should be slightly altered in order to clarify their identity.
41. Putting in the detail. Complete the instruments. As the wooden texture is not yet expressed well here, color adjustment is still needed but the process should be completed by studying the har¬mony of the whole picture.

42. The room is complete except from the human interest items

=to be continued=

=Part 3= The Combined Technique of Gouche & Airbrush

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24. Drawing the ceiling. The final impression of the picture as a whole will depend greatly on the role of the ceiling that takes quite a large area of the scene. The colors should be decided upon after thorough consideration of the over-all sectional, formation.
25. Half of the vaulted area should be filled with the fresco. The light tones of typical frescos should be used.
26. Ceiling decorations. Paint with the use of a grooved ruler and a countenance brush.

27. Completion of the ceiling. The indirect lighting surrounds the vaulted ceiling twice. As the fresco will become a painting within a painting, a certain amount of vagueness is necessary.

28. The top part of the pillar. Redraw this part with the use of the grooved ruler. Where the focus is not clear, the nature of the ruler's direction should be care fully decided upon.
29. Gold-plated decorations. A change in color and light is used to emphasize and express the gold look. This is a direct change from white highlights to black shadow. The face of the pillar should be carefully drawn by hand with gothic lettering. The colors to be chosen are chartreuse (N), raw umber (N), burnt sienna (T) and transparent sepia.

30. The completed pillar.

31. Place the shade around the window frames. The circle areas should be drawn by hand using the finger-tips and wrist as the axis. Pay attention to the q!Jantity of paint used and the control of the brush tip.
32. Make the graduations of the frame-work by brush.

33. Undercoating the wooden floor. Paint the floor with bright colors such as yellow ocre (N) and raw sienna (W). As these colors will remain as the reflections on the floor, care should be taken to ensure that they are too dark.
34. Drawing the wood grain. The tip of the countenance should be seperated and the wood grain drawn in with the use or a grooved ruler.

=to be continued=

The Combined Technique of Gouche and Airbrush =part 2=

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13. Draw in the carpet's pattern. Draw the sketches directly onto the top of the actual picture with the use of a white pencil.
Ensure that the drawing is done neatly with the use of the perspective method. Each line should be drawn lightly to simplify the rubbing out with an eraser. ,
14. The completion of the carpet surface. The pattern emphasizes the feeling of distance. The pieces of masking film cut out earlier and carefully retained may now be stuck back into their original places without leaving any gaps, This same process should be continued throughout the painting.

15. Paint in the outside sky. As this drawing assumes the evening twighlight the lower part of the sky shuold be painted in purplish red turning into ultra-marine as it moves upwards. As this extreme change from light-red to dark-blue is a reverse hue translation, the colors shuold be merged where they meet. The thorough planning of color schemes must be carried out before-hand. The undercoat graduation should use lilac (T) and ultra-marine (W).
16. Lightly spray in the border of the lower and middle section of the sky. If it seems too dark it will get mixed with the ultramarine that will be sprayed on later. Pink (T) and lilac (T) should be used here. * Caution: Care should be taken to ensure that too much dark color is not sprayed on it one go. When using a dryer, the temperature should be set on cold air.

17. This down the ultra-marine (N) until it reaches a transparent ~ color and spray it onto the mid.dle sky in order to link it with the Iower sky. As you reach the upper area of sky add purple to make it darker. Black was used here to complete the topmost sky area.

18. Insert the stars. The stars are added by applying white course sand blasting to give it a random effect with the hand-piece held some distance above the surface to allow the drops of paint to drip on!9 the picture. Another method of using a net and brush and known as spattering may be utilized.
19. Drawing the trees. The outside trees are drawn as shadows againsf the skyline to produce the effect of a beautiful sunset. Black (T) and transparent carmine (H) are used here. The lighter blue-green is used for the bushes. In this case there is no necessity to distinguish them.

20. The completion of the outside view.
21. The undercoat of the wall. The wall is painted white with a touch of yellow. Darker colors will then be sprayed over. White (T), chartreus (N), burnt sienna (T) and jaune brilliant should be used for the colors ..

22. Coloring the granite pillar. The pattern should be painted on after the first coat of bright paint. Once the flow of the stone grain is painted on in a lighter color, the detail should be picked out in a darker color to increase the density. Attention should be paid to the metamorphic quality of the rock which has various colors and distinguishing patterns.
23. Drawing the quality. The solid look is added by the airbrush after the pattern of the granite is pained on. Be careful not to spoil the transparent look of the beautifully polished stone. Highlights should be added after having studied the whole balance and the direction of the light. Yellow ocre (N), burnt sienna (T)and transparent burnt umber should be used for the colors.

=to be continued=

The Combined Technique of Gouche and Airbrush =part 1=

2008-09-05T16:12:00.009+07:00

Drawing Tools

01. This rough sketch is used as the original base for the so-called perspective drawing as the actual plan is not available. The stylish modelling and wide windows are distiguishing here as the model is a restaurant with a night scene as a backdrop. A large amount of space was taken for the 'ceiling in order to display the vaulted interior. The fresco and skylight will be laid out in this area.
02. Copy this sketch onto the illustration board. Apart from the vertical lines, the sketch is hand-drawn which makes the drawing quite rough, but the details will be altered during the coloring stage.

03. Apply a masking film to the drawing. the masking film used here is of Toricon make and is a strong adhesive SP200 type. Carefully apply the film from the centre in all directions and press out all air bubbles and creases.
04. Cutting. Basically the coloring will commence from the wide open areas. Cut out the masking surface in order to correct the unclear lines on the sketch. As the end result of the airbrushing,will depend on the accuracy of the cutting proccess, a great deal of care should be taken here. The cut-out portions of film should be lightly stuck onto a spare piece of paper for later use.

05. Coloring. Azure blue and ultra-marine of Nicker's gouache are used for the undercoat of the carpet. The colors may be controlled by adding white to the gouache. Paint swiftly and evenly without leaving any patches with the use of a flat brush. This will require special attention as the airbrush will leave patches on any uneven surfaces. Hereinafter the makes of airbrushes will be abbreviated to the following: Nicker=(N), Windsor & Newton=(W), Holbein = (H). Additionally, individual makers will be indicated simply as gouache and transparent colors will be known as transparents..
06. Airbrush, Test the spray, Use ultra-marine (N) and royal purple (N).

07. The advantages of using an airbrush are the capability of simplifying the uncontrollable stages of color graduation, and expressing the texture of materials by controlling the size of the particles. The distance is of expressed by spraying coures particles of paint onto the fore of the carpet,
08. Check the color tones. Wipe away the excess paint on the masking surface in order to confirm the change in color. This must be repeated at each stage of spraying.

09. The first coat of the carpet, The initial step is complete.
10. Airbrush sand blasting, Sand blasting is considered to be one of the most important techniques of airbrushing, This is done by the use of the pressure controller on the compressor or the finger adjustments on the hand-piece lever (some hand-pieces have lever adjustment functions and some are adjusted by the nozzle),

11. Sand blasting is applied on the fore section of the carpet with the use of black (T) in order to emphasize the texture.

12. Once the airbrushing is finished, Tripub (water-paint fixing solution) is sprayed onto the airbrushed surface. As gouache is used here for airbrushing, masking film cannot be applied onto the surface without the processing. Tripub-A supplements the weak nature of the gouache by fixing the surface and lessening the problem of paint being stripped off by the application of the masking film. * Caution: Care should be taken to avoid spraying on too much Tripabu as there is a chance that the tone of color may be spoilt.

=== to be continued ===

Drawing Presentation - 4

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Drawing Presentation - 3

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Drawing Presentation - 2

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Drawing Presentation

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STEP-BY-STEP OF AN EVENING RENDERING =FINISH=

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31. Drawing the detached view (no 1). As the rough sketches of the cars are painted in when the road surface is added, the glass of the car windows must be painted in to confirm their positions. Pay attention to the angle of light reflected from the building.
32. Drawing the detached views (no 2). Express the road surface. Draw it in boldly after considering the light and reflection that pierces from the rooms. Deep colors need to be used to form the base of the picture in order to produce the effective existence of the building.
33. Drawing the detached views (no 3). Express the reflection of the pillar. Up and down movements of a sharp brush are needed to add movement to the detached view. Draw in the border line of the road as well. The paints used here are: silver grey (H), light green (T), white (T), burnt sienna (N), sepia (N), cobalt violet (N), yellow ochre (N), blue grey (N), orange (N), yellow grey (H), Prussian blue (H), and warn sepia (N).

34. Drawing the detached view. Cars play the role of indicating the scale of the building and provide a liveliness to the picture as they are moving objects. The most effective colors in contrast to the building should be chosen for the cars. They should be drawn slightly smaller with a metallic effect, but with a warmth inside.

35. The completion of the cars.

36. Complete the picture with the use of the airbrush. Spray on the pillar brackets, the search lights and headlights of the cars with the aid of a piece of card board as masking. The beams of light are painted in white with a touch of yellow.
37. Checking. The final check should include an overall scrutinity to ensure nothing has been left out. It is at this time that the alterations are also made.

38. Drawing the people. The depth of the picture is produced by the overlapping people. Draw then in an ad-lib style to express the atmosphere and movement. The degree of coloring should be dropped slightly if the people are featured before light.
39. The completion of the detached view and the people.

40. Completion

STEP-BY-STEP OF AN EVENING RENDERING =PART IV=

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23. Painting the sides. As the top duct follows a circle, the change should be added to the value of the colors of the sides. The difference apparent at the back of the top duct must be distinguished. The graduation on the sides of the building should be drawn boldly as the depth is blocked. The lines of the grain should be discriminated. Express clearly the contrast on the narrow areas.

24. The sides finished.

25. Drawing the distant view. As the shops are located in the suburbs and the area surrounding the building is car park, there are no buildings in the immediate vicinity. The long distance view will provide the finished picture with depth. Paint it very lightly with dark colors so it merges into the evening scene. The lines nearer the bottom should be emphasized.
26. Adding the illuminations (no 1). As one of the distinguishing characters of the leisure facility is neon illuminations, it is necessary to become involved with the neon chart in addition to the general drawing. Much attention must be paid to the illuminations as failure to do so will destroy the overall effect of the picture. It is possible to mix fluorescent coloring with the paint, but this must not be overdone as it will cause later fading.
27. Adding the illuminations (no 2). Although neon lights flash on and off, in the picture they are drawn as if all are on. The round strip lighting should be drawn on carefully as it stands out in the picture.

28. The top duct and side channel.

29. Adding the illuminations (no 3). It is not necessary to use lighter colors for the neon lighting on the side of the building at night. Having drawn the surrounding pillar ornaments and downlights, the work on the building is finished. The paints used here are: brilliant red (T), pink (T), lumi scarlet (N), cobalt green (N), cerulean blue (N), Prussian blue (N), chrome yellow (N) and white (T).
30. The building is completed. The next step is the detached view.

STEP-BY-STEP OF AN EVENING RENDERING =PART III=

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17. Painting the exterior walls (no 1). A good grasp of the surroundings should be made with special attention given to the effect of reflection to ensure that the image of the completed sky is not altered. Although the quality should not be tampered with, with commercial buildings it is necessary to add a little sensuous exaggeration to give a bright and lively surface impression. As a bracket needs to be added on the pillar in the foreground, the reflection of the light should be drawn in beforehand. The paints used here are: blue grey, yellow ochre, sky blue, cerulean blue, cobalt blue, cobalt violet, burnt sienna (N), white (T), warm sepia (W), yellow grey (H), Prussian blue (H).
18. Painting the exterior walls (no 2). Create the graduation in the grid form while concentrating on the distance available from the visual point and the change of the brightness due to the angles in order to express the check patterns (painted with new san pitro blue and criamea). Supply the texture along the eaves (bonded steel sheets) with the use of an airbrush.

19. Exterior walls before spraying with the airbrush.

20. Exterior walls after spraying with the airbrush.

21. The expression of the grain and ducts. Add the grain to the check pattern and the large eaves. To express the feeling of distance as apparent in the picture, the foreground grain should be painted dark and clearly, while the grain for the distant parts should be lights and vague. The large eave duct (with a stainless steel mirror finish) should be painted in dark colors to make the neon in the background prominent. The top duct (bonded stainless steel) should be painted even darker.

22. The grain and ducts.

STEP-BY-STEP OF AN EVENING RENDERING =PART II=

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10. Expression of the interior rooms (no 2). Add the rough depth. It is important to get the vertical wall of the front hall and the rows of strips just right. Make sure that the contrast is marked clearly even with the lighter colors.

11. Brushing in the detail for the interior rooms. The quality featured in the rooms should be expressed. Add the Nebralbox (Neon), the lighting and highlights. Be sure not to use a single color for the larger panes of glass as the interior decoration should be expressed on the windows. The ribs where the panes overlap should be painted in the same shadowy hues that was used for the room interiors.

12. The completion of the interiors. Although they are part of the external work, the pillars built over the windows should be painted in at this stage. It is one of the distinguishing features of stainless steel that the dark colors and light colors are picked out in extreme contrast.

13. The room interiors completed.

14. Airbrushing the sky and rooms. The same colors that were used for the sky and the interiors should be used. These colors should be thinned down with more water than was used for the brush work and then airbrushed on. It is not necessary to use masking tape at this point. Coordinate the sky that could not be expressed by the plain brush be comparing the image of the completed room interiors. At the same time, put in the long distance view by using a board as a simple mask. The paints used here are: warm sepia (w), yellow grey (H), and Prussian blue (H). The airbrush is effective for expressing the lighting within the rooms, but care should be taken not to spray on too much. The airbrush nozzles must be cleaned after each color. The handpiece used here is the Olympus 101.
15. Spray on the fixing solution. Spray the tripab fixant onto the areas where the airbrushing is finished. This will prevent the airbrushed surface from becoming rubbed during the following procedures. The fixant should not be sprayed on too close to the surface as this will leave marks.

16. The sky and interior after the airbrushing is completed.

STEP-BY-STEP OF AN EVENING RENDERING =PART I=

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1. Drawing Esquisse. Under usual conditions we use architectural perspective plans for work on such places as leisure facilities, inteligent buildings and the exterior design of commercial buildings, but in this case we will use the perspective design. Initially a rough sketch is made which will then be developed into the concrete drawing.
2. Computer input and output. Data is input into the computer to decide angles (distance angles and eye levels). By using a computer a great deal of accuracy can archieved in a short amount of time for works that have many rounded angles, 3 dimensional curves and decorations. In this case an I.S.T.CATIST A3000 is used. The completed work is output as a line perspective drawing and esquisse. The necessary amendments should be made during the arrangements. It is at this stage that the client begins the actual design work.

3. Trace down. Transfer the rough sketch that has been evenly enlarged or scaled down to fit the fixed size of the board. As this perspective drawing is set in the evening, the lines which adjoin the sky, such as the monorail ducts above the building, should be traced strongly enough to leave grooves on the board. The curved lines should be traced precisely with the use of all available curvilinear rulers. A canson board and yellow grey 343 is used.
4. Drawing an additional view and cars on the top of the trace down. Long distance views shouls be drawn lightly and the cars must be placed in positions that do not interfere with the balance of the drawing. The people should be drawn in at the coloring stage.

5. Drawing the sky (no 1). The colors for the top, middle area and bottom of the sky should be decided beforehand. A layer of water should then be brushed onto the section earmarked as the sky. Once a moderate layer has been placed, the coloring will commence. It is necessary from time to time to place the board in a horizontal position to prevent the paint from running.
6. Drawing the sky (no 2). Taking care of the amount of water used, thin down the paint. Load a flat brush with paint and spread the available volume over the paper. The colors used for the sky depends on the work and location, but in this case the following have been used. Top sky : Prusian blue, cobalt blue, sepia. Mid sky: cobalt violet, burnt sienna, sky blue. Low sky: blue grey, orange, permanent yellow, white.

7. Drawing the sky (no 3). Instead of washing the brush after each color, wipe it lightly with a cloth and then load it with the next color. This will enhance the effect of graduation. Work the brush from the top to the bottom very carefully in order not to leave any gaps.
8. Alteration, Any paint splashed on the buildings should be wiped off quickly with a tissue before it has time to dry.

9. Expression of the interior rooms (no 1). Ensure that the light works opposite to day-time perspectives. To begin with, a light color should be painted on in several coats until the correct value of the color is reached. Be careful not to paint over wet paint or to paint in the darker colors in one go. At this stage only the fowl of the room interiors is painted. The colors used here are : yellow (P), Indian yellow (P), yellow ochre (H), yellow-grey (H), warm sepia (W), blue-grey (N), and white (T).

INTERIOR RENDERING GUIDE

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