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Post by Michael D. Nicola on Mar 5, 2005 22:16:33 GMT -5
Well, I decided to post yet another marker paper rendering. This time, I used the redone demo from the class we had on Monday February 21st, 2005. As you scroll through this one, you'll notice that the sequence of when things are done is a little different than the first marker paper demo, but the techniques are still the same. Some of you have also been asking me if I can put some more detailed tutorials on how to do things like headlights. While I haven't put together a demo like that yet, I've included a few detail shots of how I did the headlights on this car - hopefully that will help you until I get a specific headlight tutorial posted. Enjoy...
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Post by Michael D. Nicola on Mar 5, 2005 22:21:32 GMT -5
As with the first marker paper rendering tutorial, I'm starting again from a completed line drawing on marker paper. And just as before, I'm using the Borden & Riley marker paper along with my black Prismacolor Verithin hard lead pencil.
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Post by Michael D. Nicola on Mar 5, 2005 22:29:25 GMT -5
Before putting down any marker, I decided where I wanted my light source to be. That way, I can determine where my hot-spots and where my shadow areas are going to be. In the case of this rendering, I've decided to put my light source ahead of the car on the passenger's side. Therefore, I should see ALOT of marker and pastel work (indicating alot of shadows) on the driver's side of the body, along with a nice long shadow from the driver's side mirror. Because the demo in class was done in a dark green, I've decided to use the same colour for this redone version. I've started with P-26 Forest Green to layout my dark areas.
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Post by Michael D. Nicola on Mar 5, 2005 22:35:29 GMT -5
I am going to try to keep the amount of shades I use to a minimum on this drawing. I want to do this to prove that you don't have to go out and buy the entire set of Chartpak AD markers in order to produce a killer rendering. Now that my basic shadow areas are darkened in, I want to just go over a few areas with a slightly darker colour to really darken them up. Areas like the rocker panel and the horizon line are key. For this step, I'm using my Evergreen marker P-20. Notice along the lower front corner of the car you can see alot of glare from the flash. That's because of the amount of marker that was put down. When you start seeing that type of glare, it's safe to say that you've got enough marker in that area and it's time to move on. Don't worry - we can get rid of that glare later with some pastel.
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Post by Michael D. Nicola on Mar 5, 2005 22:43:25 GMT -5
I'm going to do something a llittle different this time. I want to give this car's colour a lot of depth so what I've decided to do is apply a lighter base coat of pastel before I apply my final colour. I've only done this once before using vellum paper, and the results where impressive, but I've never done it on marker paper. Keep your fingers crossed. I won't go through the steps of powdering and applying the pastel since you all know how it's done by now. So for this step, I used my Prismacolor Nupastel Dark Green #278-P and lightly applied it using my Webril pad. You'll notice, I didn't put this color everywhere - only in areas that I want to really "punch" when my final pastel colour goes down.
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Post by Michael D. Nicola on Mar 5, 2005 22:56:41 GMT -5
Now that I've lightly brushed the base coat of colour down, I'm going to apply my actual pastel colour. For this, I'm using Prismacolor Nupastel Bottle Green #298-P. And as in the previous step, I used my Webril pad to apply the colour. It's hard to see by these photos, but that lighter base coat really does help to bring some depth to that bottle green colour. I should mention, this is probably the darkest colour pastel I've ever used for a rendering, and needless to say it is very difficult to control. Dark colours tend to go down very strong, so I wouldn't suggest that a novice try this one. For those of you who've asked me to do a black car - this is very close to what you would see if I were to render a black car.
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Post by Michael D. Nicola on Mar 5, 2005 23:02:08 GMT -5
You knew this was coming - MAGIC BLUE! As always, please remember - magic blue is not a cure for a screwed up rendering, it's only an accent colour to help add some punch to your cores. It's hard to see in these photos because of the dark green colour that I've used, but I applyed some magic blue (P-244 blue Violet) pastel right in the middle of most of the dark green cores - especially on the hood and front fender. These areas are right in front of the viewer's eyesight so I really want to grab their attention.
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Post by Michael D. Nicola on Mar 5, 2005 23:09:44 GMT -5
At first I wasn't going to draw an interior, but after looking at the progress of this drawing, I really couldn't bring myself not to, so I went ahead and put one in. I have to warn you, this is actually a pretty dangerous move on my part and not one I would normally do at this stage. Because of all the pastel already applied, there is a serious risk of smearing things around as I sketch an interior. To overcome this problem, I placed a sheet of marker paper on top of the rendering and quickly sketched it out on their. Once I was happy with what I wanted, I placed that sheet of paper under my rendering, and carefully traced over the interior. Here is the result: Luckily, I didn't smear any of the pastel work. But it wasn't easy.
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Post by Michael D. Nicola on Mar 5, 2005 23:14:46 GMT -5
Because of the rich green colour of the exterior, I just couldn't resist putting in a tan-coloured interior. In actuality, it's not really tan but my trusty Warm Grey #2 marker. You'll notice how some areas appear darker than others. All I did was go over these areas repeatedly using the same marker. As I said, I want to use as few shades a possible in this rendering.
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Post by Michael D. Nicola on Mar 5, 2005 23:16:39 GMT -5
Continuing with the interior work, I've taken my Warm Grey #3 marker and begun darkening some of the shadow areas. At this point, I am going to leave the interior alone and continue work on the exterior.
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Post by Michael D. Nicola on Mar 5, 2005 23:20:56 GMT -5
Before moving on to the body, I put a small amount of Cool Grey #2 on the side window to represent our horizon line. I also wanted to put in some Cool Grey on our trim around the side window too.
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Post by Michael D. Nicola on Mar 5, 2005 23:23:33 GMT -5
To help punch out that side window marker work, I applled a small amount of Cool Grey #3 right where the horizon line is, as well as on some of the window trim.
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Post by Michael D. Nicola on Mar 5, 2005 23:26:02 GMT -5
And now, some Cool Grey #4
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Post by Michael D. Nicola on Mar 5, 2005 23:31:37 GMT -5
Because of where our lightsource is and the fact that our windshield is curved, it serves to reason that here would be a dark area on the driver side that curves away from our light source. Normally, I would keep things simple and just use a medium or dark grey pastel for something like this, but this time I've decided to do things a bit different. I'm going to do this in two steps - first by applying some blue pastel, then by putting some magic blue pastel on top of it to really punch it out. The blue that I used was Prismacolor Nupastel #225-P Iron Blue.
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Post by Michael D. Nicola on Mar 5, 2005 23:34:31 GMT -5
And now, some Prismacolor Nupastel #244-P Blue Violet (aka Magic Blue).
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Post by Michael D. Nicola on Mar 5, 2005 23:39:29 GMT -5
This is where the car becomes SHINY! Using my white pastel applied directly on the drawing, then smoothed out using my Webril pad, I concentrate the white in areas closest to my light source. So areas like the hood on the passenger's side, the windshield on the passenger's side, and the roofline are all prime targets. And of course, just above the horizon line on the driver's side (and don't forget that side window). Remeber the rule - your lightest light, next to your darkest dark.
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Post by Michael D. Nicola on Mar 5, 2005 23:42:07 GMT -5
Some of you have asked me to put together a detailed tutorial on how to do headlights. Until I get something like that put together, I figured it might help you out if I spend some time detailing how I will do the head lights for this rendering.
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Post by Michael D. Nicola on Mar 5, 2005 23:45:21 GMT -5
To start, I'll put some Cool Grey #2 around the light bezels and within the lights themselves. Because the inside surfaces of the lights are concave, the darkest areas are going to be the upper surfaces since they actually reflect the ground. I've also put some Cool Grey #2 along the seam line under the lights and the front grill.
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Post by Michael D. Nicola on Mar 5, 2005 23:47:30 GMT -5
Now, I beginning darkening some of the shadow areas using my Cool Grey #4
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Post by Michael D. Nicola on Mar 5, 2005 23:48:57 GMT -5
Continuing to darken with Cool Grey #6.
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