|
Post by Michael D. Nicola on Mar 27, 2005 20:59:51 GMT -5
OK, we are in the home stretch of finishing off this side of the drawing (which means we are only half way done). Here I will concentrate on the wheels themselves. I am focusing on the front wheel, but whatever I do here applies to the rear wheel as well. Using my Cool Grey #3 I begin to fill in some of the shadows, again keeping in mind my light source.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:06:22 GMT -5
And now, I come back in with my Cool Grey #4.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:08:26 GMT -5
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:12:31 GMT -5
Now, using the same 279-P Cool Medium Grey pastel that I used on the chrome side panel, I apply some pastel to the wheel spokes and the center caps.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:14:43 GMT -5
Now, using my black Chartpak, I finish off the tires leaving a small amount of white where the surface of the tire faces the light source.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:20:45 GMT -5
Now, I want to apply some 255-P Iron blue to the side window and windshield.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:29:45 GMT -5
Now here is something I don't think many of you have seen me do yet. This is a technique that only really works well with vellum, again because of it's translucency. By applying some yellow pastel on the upper surface of the drawing that faces the light source and some blue pastel on the upper surface that is away from the light source, you create a warming-cooling effect with your drawing. The yellow that I used is 257-P Deep Cadmium Yellow and the blue is the same 275-P Deep Blue that I use for chrome pieces. When putting these colours on, it is important to remember that they should only be put on very lightly - we are only looking to get a hint of these colours on our drawing.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:31:46 GMT -5
At this point, we are ready to continue working on the front - the ACTUAL side of the drawing that people will see. As you can see, vellum has a translucency that very few papers can duplicate. And any that can, usually don't take marker or pastel very well. Even the marker paper that we use doesn't have the same translucency.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:35:12 GMT -5
Now, taking my Ruby Red marker, I lightly go over all the red marker work that was already done on the back.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:37:44 GMT -5
Now, taking my Maroon marker, I will darken some of the red areas like the shadow areas under the car, the air extractor area behind the chrome front panel, and of course the horizon line.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 21:42:41 GMT -5
Using my Cool Grey #3, I go over the grey marker work on the chrome front fender panel.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:05:14 GMT -5
Now using my 258-P Crimson red pastel - the same as on the back side - I go over all of my cores.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:11:52 GMT -5
Now, I apply the same 279-P Cold Medium Grey pastel to the front panel.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:15:00 GMT -5
And now, to really help bring out some of those cores, I apply some 244-P Blue Violet (aka Magic Blue).
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:17:29 GMT -5
It's hard to see in this photo, but I went over some of the grey pastel on the front fender panel with a small amount of 275-P Deep Blue pastel. Again, this is in an effort to create that chrome effect on this panel. [
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:19:28 GMT -5
Now, using my Cool Grey #6, I pull out the horizon line on the chrome front fender panel.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:21:19 GMT -5
Using my Cool Grey #3, I go over the shadow that goes across the side glass. [
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:23:47 GMT -5
Using my Warm Grey #4, I darken up the seats that are above the glass line, and below the horizon line, leaving the centre section alone creating the effect that it really is behind glass. [
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:26:15 GMT -5
Now, using my Wamr Grey #6, I continue to darken the seats below the horizon line of the side window shadow, and the seat back above the window line.
|
|
|
Post by Michael D. Nicola on Mar 27, 2005 22:28:17 GMT -5
When I get to the point where I'm ready to apply white pastel, I know I'm in the home stretch. Remember the rule - your lightest light next to your darkest dark, so the white pastel goes next to all of our darkest shadows. Now THAT'S shiny!
|
|