Material Issues: Watercolor and Marker Rendering

Working on a dry canvas, use the same application from the wood planks to the brick wall. This time, create shorter strokes and use the same idea as ‘hit-go-hit’ lines for a more dynamic contrast. Choose a side or a portion of the wall to show the detail and leave the rest as it is.

Apply basic colors lightly throughout the dominant elements. In this case, the brick wall and wood panel !ooring. A wet brush (less paint) is desirable as a quick backdrop. Allow a few moments to dry.

After drying, apply a second coat and pay attention to the rest of the canvas by working on areas that would cast shadows and light. Use strokes that support the directionality of the material.

For a more wood plank illusion, shift back to the opposite direction of the strokes at the end of each one--this is similar to Frank Ching’s ‘hit-go-hit’ lines, but rather, ‘go-hit’ lines. Apply another layer of paint to the rest.

photograph

step 1 step 2 step 3

!nal rendering

brick + wood | vcu brandcenter, richm

ond, va | 3:30pm | 04.21.2011 | m

onina ingle

!nal rendering brick + w

ood | vcu brandcenter, richmond, va | 3:30pm

| 04.21.2011 | monina ingle

Apply a darker, and richer tone on top of the base coat of the wall. On this image, Chartpak’s Brick Red was used. Throughout the wall, spread variations of feather lines and ‘professional dots’ following the same direction and using the !ne tip once more to follow the same proportions. Similarly, using Light Sand or other darker tones, create varied strokes for the "ooring to show detail of planks. Follow the same directions as the previous step.

Create a line drawing; lightly sketch the basic outline of the image for a better understanding of the space. A colored pencil may be used as opposed to an ink pen to allow a greater variation in line weight. On this image, an indigo colored pencil was used.

Following the horizontal direction of the brick wall, use continuous strokes from one point to the next for a smooth backdrop. Apply the same technique for the "ooring.

Brick: Chartpak - Kraft Brown

Wood: Chartpak - Maize

Bricks are naturally rough in texture. To capture this e#ect, use the hit-go-hit technique numerously throughout each horizontal line (Chartpak - Flesh). Use the !ne tip for smaller proportions. As far as the wood "oring, follow the previous step but with shorter strokes. Vary lengths.

photograph

step 1 step 2 step 3

!nal rendering

brick + wood | vcu brandcenter, richoim

nd, va | 3:30pm | 03.28.2011 | m

onina ingle

!nal rendering brick + w

ood | vcu brandcenter, richmond, va | 3:30pm

| 03.28.2011 | monina ingle

photograph

step 1 step 2 step 3

!nal rendering

tile + brick + glass | vcu shafer court, richmond, va | 1:30pm

| 04.21.2011 | monina ingle

Tighten up the glass material by dropping contrasting frames around it--use less water for more control. To communicate brick, use darker directional lines that follow Frank Ching’s ‘hit-go-hit’ concept.

Apply basic colors lightly throughout the dominant elements. To exhibit the re!ective quality of the !oor, extend down the objects re!ected. For more control, use slightly less water. Disregard glass and render the objects behind it.

After drying, apply a second coat that would allow overlapping on casted re!ections. Use oblique strokes to emphasize the polished quality of the tile !ooring, leaving out areas that may have extreme light re!ectivity.

Use the same concept for the brick wall: apply strokes that are congruent with the material’s direction. Work on glass by using a wet brush with a hint of blue/gray/green pigment. Disregard overlapping on glass frames.

!nal rendering

tile + brick + glass | vcu shafer court, richmond, va | 1:30pm

| 04.21.2011 | monina ingle

photograph

step 1 step 2 step 3

!nal rendering To visual express the re!ectiveness of the !ooring, accentuate the white areas by using a white colored pencil in a similar direction. At the same time, apply white along side the shadows from other re!ective objects such as the column and the trash cans.

Blend the images behind glass surfaces to create a blurred look without losing the presence of the objects and/or materials. It will translate “glass” without overpowering the glass itself.

Create a line drawing; lightly sketch the basic outline of the image for a better understanding of the space. A colored pencil may be used as opposed to an ink pen to allow a greater variation in line weight. On this image, an indigo colored pencil was used.

The !ooring is re!ective--light and shadow will be visible. Start by dropping down the shadows and leaving white space for light e"ects. Use the same color of the material for the shadows. Fill in the backdrop. Elements seen behind glass surfaces should be considered.

Apply a coat of marker on the !ooring in the same direction as the shadows. Allow for this to dry and apply another coat that mimics the direction of the material. Use the same rule of thumb to the brick wall, following the direction of the material. Use the #ne tip to create a more proportioned look.

tile + brick + glass | vcu shafer court, richoimnd, va | 1:30pm

| 04.07.2011 | monina ingle

!nal rendering tile + brick + glass | vcu shafer court, richm

ond, va | 1:30pm | 03.28.2011 | m

onina ingle

photograph

step 1 step 2 step 3

!nal rendering

Using a wet brush, apply color throughout the whole canvas, disregarding the glass material. Leave white areas to communicate light. Allow to dry.

Apply a wet brush with a hint of blue/gray/green pigment throughout the concentrated area of glass. Set to dry.

To cast a re!ective shadow on the glass panels, use a darker tint and loosely paint from the top left corner, then swooping down to the bottom right corner. Create crisper glass frames by using less water, after drying.

glass + metal fram

es | cary street gym, richm

ond, va | 4:00pm | 04.21.2011 | m

onina ingle

Using a darker tint, apply tighter strokes to the left or bottom sides of the metal frame. Make use of shadows to display the points of connection between materials, as well as to contrast light.

!nal rendering glass + m

etal frames | cary street gym

, richmond, va | 4:00pm

| 04.21.2011 | monina ingle

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step 1 step 2 step 3

!nal rendering Glass surfaces can be accentuated through various colored pencils. White, cool gray, and a shade of green was used for this e!ect. Go over the metal framing once more with a darker french and cool gray to show contrast and shadow.

Create a line drawing; lightly sketch the basic outline of the image for a better understanding of the space. A colored pencil may be used as opposed to an ink pen to allow a greater variation in line weight. On this image, an indigo colored pencil was used.

Images behind a transparent glass surface will always be visible. Lightly input detail of these materials before rendering the glass windows and doors.

Apply indigo throughout glass surface and let it dry. Afterwards, apply sapphire blue to communicate glass. Images underneath window surface may smudge and this is a desirable e!ect.

glass + metal fram

es | cary street gym, richoim

nd, va | 4:00pm | 03.28.2011 | m

onina ingle

!nal rendering glass + m

etal frames | cary street gym

, richmond, va | 4:00pm

| 03.28.2011 | monina ingle