bac architectural sketching/rendering techniques

BAC

Architectural Sketching/Rendering Techniques

The Nature of COLOR

Color is a visual reaction to a light source. An illusion of the senses.

The “True color” of an object can only be seen accurately by sunlight or its equivalent, since sunlight contains all colors of the spectrum.

Black is not a color, it’s the absence of color.

…color

Primary Colors -Subtractive mix (pigments) - The color wheel can be constructed our of three basic colors or hues: Red, Blue, and Yellow. The sum of primaries= black

Primary Colors -Additive mix- The color wheel can be constructed out of three basic colors: Cyan, Magenta, and light yellow. The sum of primaries= White

…color

Secondary colors: the result of the addition of two primary colors

Complementary color: The opposite color in the color wheel has the property of balancing the first

Hue: The definition of the color. Example: blue, red, orange.

Value: The scale of darkness Chroma or tint: The saturation of the

color

Value

Grayscale

Value has visual “weight”

Value

Grayscale

Value has visual “weight”

Art Elements Line –do not

define lines Space –Empty

space counts as visual weight

Color –limit palette

Volume –equal weight

Empty space

Angled chair in foregroundcreates depth

Isolation creates focus of Attention =visual weight

=

Mid-ground

Background

Depth

BackgroundMid-ground

Foreground

Composition All images are essentially arrangement

of lights and darks, or linear arrangements

You cannot avoid making your subject a tonal statement or a linear statement

Or both Line is contour Tone is form, space and the third

dimension

Formal Composition

Informal Composition

Informal Composition Applied

A Rendering Put to the test

Watercolor Techniques

Wet on wet – essential for skies- wet paper, wet brush

Dry brush – Do not pre-wet paper, only dip color in brush

Image reference –wet on wet

Image Reference -Dry Brush

Dry brush

Combined Wet and Dry

Skies and trees

Use a sponge with dissolved pigment to wet a sky, lift some areas with a tissue for clouds effect

Suggest bark of the tree, do now draw it, the least definition and more suggestion, the best.

Apply green strokes to suggest trees by pressuring and lifting bamboo brush off he paper.

Always combine different hues of green and yellow for leaves

Acrylic Paint With Artist Knife

Use of spatula and acrylic paint

Charcoal

Ink Rendering

3 Renderings One Theme

pen & inkcharcoal

pen & ink with watercolor

Freehand Photoshop

RenderingImage

To remember

A bad sketch can be improved with color An excellent sketch can be DESTROYED with

color Do not “finish” your work Limit your palette Use the white of the paper Cast shadows are darker than object shadows Do not use black, use ultramarine blue Start with the lighter color and work your way

to darker hues Work from background to foreground Mountains are always blue (its an atmosphere

effect)

The 12 rules of watercolor rendering1. Select point of interest2. Select mood (warm or cool) depending on time of the day3. Choose a limited palette (no more than 6 colors, ideally 4 or 5)4. Find your light source (where is the light coming from?)5. Background mid-ground and foreground in that order6. Apply a base color, the lightest chroma of your main hue (leave

white highlights unpainted)7. Apply darker chroma to designated spaces (do not abuse it, keep it

transparent)8. Do details effects (suggest a little, do not paint an entire brick wall,

suggest a few bricks only)9. Balance it out with trees and people. Scale creates perspective &

dimensional reference10. A watercolor should take minutes to complete, (it dries fast), work

at 45 degree angle for fluid control11. It’s a reference, not a masterpiece, its documentative, not

anatomical.12. Capture the gist of the scene! PRACTICE

Materials for watercolors (essentials)

140lb Hot or cold press watercolor paper (cold press is more grainy –more textured)

Bamboo brushes (they can produce any width of line by applying pressure on paper)

Small Large Very fine (for details) Square brush for sky or wide areas Use animal hair brushes, they hold more liquid. Never leave a brush inside water (it widens the brush like a fan)

Spray bottle (to work wet-on-wet) Salt for sand effect Napkins tissue Natural sponge (for clouds) Masking tape Tooth brush (to spatter on trees and/or create sand effect or

rocks, also can be used to suggest brick, or other grainy materials

Charcoal Work

Charcoal is a media that captures the quality of light Types or charcoal: Vine stick or

compressed: vine for gesture drawing soft compressed for volume studies

Apply a layer of tone and work your way to light

Apply darker tone in deep shadowed areas

Artist Knife and Acrylic Paint Work

Use a small spatula for detail A large spatula for larger areas Be sure to have enough paint in

the edge Use the edge for lines

Ink Work

Crosshatching Technique Technical pen

Bamboo Brush Technique Brush, ink stick and grinder

Scribbling technique Technical pen or fine brush

Book references The Watercolourists Guide to Painting Buildings -Richard

Taylor

(This book is the best of its kind, architecture illustrations with an “unfinished” touch that emphasizes suggesting rather than detailing)

Architectural Drawing Course –Mo Zell (This book is a good reference for different rendering

techniques both free-hand and computer based)