Creating Rough Sketches

Whenever you start a digital model, your first instinct may be to just start modeling without thinking about where you want your model to go.  Trust me, you'll save yourself a lot of time and frustration if you make a quick sketch with pencil to plan your model first.

You can start a drawing using traditional tools like pencil and paper and then transfer these artworks to your computer to help you get confident with digital technology. You may be surprised to find that the results turn out even better than if you used a computer alone.

Ignite Your Sparks of Creativity

No one looks at the world exactly the way you do.  Keep a sketchbook with you so that you can jot down ideas for rendering the moment you have them.

Refill your creative well. When your ideas don't come to you naturally, don't try to force them; you'll only frustrate yourself.  Instead of focusing on yourself, look outward at the things like books, movies, walks, the internet (I would recommend BINGS image search), and conversations with friends. You may be surprised by how spontaneous inspiration you'll find when you're not forcing it!

Architects and Illustrators

We architectural illustrators have a great deal in common. That's why we all get along so well. But there's something about us that may seem a little surprising. When it comes to how we deal with our clients, there are as many methods as there are illustrators. No two are the same.

Well, maybe it isn't all that surprising. A lot of us are self-employed mavericks who enjoy the independence that our career offers, so why would we want to imitate anyone else? As a result, when it comes to our business relationships with our most faithful and dedicated patrons — architects — anything goes. Maybe there should be a few guidelines?

Style

Let's start with how we work. Some of us prefer that our clients give us complete information about a project and then let us vanish until we have finished the job and presented it to wild acclaim. Others want to keep the lines of communication open constantly, avoiding any surprises at the end, pleasant or unpleasant. Some illustrators like projects in which everything has been worked out complete to the last detail. Others would rather have vague instructions — the less information the better — allowing them to create their images almost from scratch.

These opposites describe two poles in the architectural illustrator continuum. At one end, is the illustrator as supplier, selling an artistic product to a client for a price. At the other end is the illustrator as consultant, interacting with the client and providing advice for a fee according to specific needs. This is product vs process. So the first question to ask is: What does the architect-client want — a product or some advice — an illustration or an illustrator? Or a little of both? More than any other consideration, the answer to this question will provide the basis for the success or failure of the relationship.

Trust

In either case, a second element, one that is extremely important to any relationship, must also exist. That element is trust. In my discussions with other illustrators on this topic, this feature was given highest priority. Illustrators feel that each party must understand and appreciate what the other is trying to do as well as how this is to be accomplished — sympathy and accommodation.

For the architect, this means that the illustrator should be treated fairly. Comments will always be helpful ones and given at the right time. Decisions will always be made by the appropriate person. Deadlines will be honestly arrived at and reported and the effect of changes to the work will be considered. within the context of these deadlines. Some media (watercolor, e.g.) are notoriously difficult to change. Clients should understand the process and the necessary sequence of events, especially if the budget and deadline are fixed. One illustrator told me "Some architects seem to want to make changes solely as a way of maintaining control. But what's really annoying is that their changes are often good ones."

For the illustrator, the responsibilities are even greater. Hired for her expertise, the illustrator is being well paid to perform a vital (perhaps critical) function. First, she must meet her clients requirements regarding budget and deadline, but she must equal or surpass the client's expectations regarding quality of work. The illustrator should maintain portfolio samples that are appropriate to the job and represent an accurate example of current capabilities. She should be familiar with and understand, as much as possible, the architect's design philosophy and intent. As discussed above, she should appreciate the degree of involvement, camaraderie, and discussion that the architect is comfortable with. Most importantly, she should understand exactly what the illustrations are to be used for.

Function

This last requirement is the result of the illustrator's unique experience. Architecture in the twenty-first century involves the work of many, many specialists. No one architect can ever possess all the knowledge required. Illustrators are specialists in the communication of architectural ideas. If there is some particular aspect of the project that needs to be communicated in a particular way, it is the illustrator's job to know how to do that. If the architect is having trouble connecting his design intent with the design execution, it is the illustrator's job to find that connection and to help express it. If the project just needs a drop-dead gorgeous image to keep it afloat, then go to it.

OK, Money

But how can we leave the discussion without mentioning money? The illustrators that I spoke to were generally in favor of receiving more, but mostly agreed that they were currently compensated adequately. But, they all want to know: What is the deal with giving the illustrator a week to do the work and then waiting four months to pay for it? Any and all responses to this question will be gratefully entertained.

Just as we illustrators all have different ways of working, we also all have different reasons for having chosen this profession, although we would probably all agree that we do this work because we like it. We chose it — some of us even invented it — for ourselves. Architects tell me the same thing: the work is rewarding, enjoyable and meaningful. Working together, architects and illustrators can expect to accomplish a great deal. And enjoy doing it.

Translating values

Almost everything has more than one value. Depending on the light source, most things have some areas that are very light and others that are quite dark.

If you look closely at a mound of dark earth, you notice that it has several different values. If a fresh layer of snow covered this mound of earth, there would still be lots of values. When you can see a range of different values you can draw your subject in the third dimension.

Squinting to see values and simple shapes 

Seeing values is key to drawing in the third dimension. Many artists can visually simplify complex drawing subjects by simply squinting their eyes. Squinting helps you screen out details and see simple values and shapes. When you can see the shapes created by different values, you can draw your subject more accurately.

Wouldn't it be nice if you could simply press a button in the middle of your forehead and magically transform the world from full color to gray values? This ability would certainly make drawing a lot easier. Thankfully, simply squinting your eyes can help you develop this skill.

 

  • Look around you at different objects. Focus on only the light and dark areas and not the actual colors. Concentrate on the light and shadows. Then squint your eyes until you see the values of that object.
    Take a mental note of where the lights and darks are. Think about how you could draw these darks and lights. Don't get discouraged if you can't do it right away. With practice, you get better.
  • Find a colored photograph with lots of contrast. Squint your eyes to block out the colors and details. In your sketchbook, draw only the simple shapes and values you see. Add shading with only black, white, a light value, and a middle value.

If your subject has, for example, light-pink and dark-red stripes, seeing two different values in the two colors is easy. You simply draw the dark red as a dark value and the pink as a light value. But, some objects have colors that seem to be the same in value. When this is the case, you simply have to rely on your own discretion to decide which colors should be drawn lighter or darker than others. If your subject has stripes of dark green and dark red, you need to pick one to be a lighter value. Otherwise, you end up drawing a solid tone instead of stripes.

Put your renderings on the internet

If you're ready to start sharing your rendering and illustration skill with friends, family, and others (and receive feedback from them), you have many free or inexpensive options to chose from online. Many photo-sharing Web sites offer free memberships, and anyone can fill out a profile form and then upload an unlimited number of images. Depending on your preference, you can usually opt to share them privately or publicly. Here are a few good photo-sharing Web sites to try out.

Although showing your work to others can be scary, especially if doing so is new for you, it's an important and exciting part of being an artist. All the feedback you get, even the negative stuff, is helpful if you embrace it the right way. Because you know your work so thoroughly from your own point of view, other people can often point out things you may not see. You don't have to agree with everything your viewers says, but knowing what kind of response people have to your work is important to your growing as an artist.

If you'd rather create your own free Web page where you can display your work, simply type in free personal Web pages into any search engine and choose a home for your site. Most of these resources offer easy-to-follow instructions for setting up your page and getting online.

Being interested in drawing with your computer, Web sites like www.ratemydrawings.com enable you to use digital tools to create drawings online and then share them with the site's members audience. Sites like this one allow you to get feedback on your work and ind a community of art-minded people th share ideas with

Art Appreciation

If you are ready to start to grow as a digital artist, I recommend beginning with the art of others.  Yep. you heard me correctly - put down your mouse and pick up your note-taking pencil.

You can discover so much about yourself as an artist by studying the works of others, and thanks to the internet, you don't have to go far to find more than enough art to study. So take some time to examine and appreciate a diverse range of art and artist.

Don't worry if you don't like everything you look at; appreciating art means finding out what it's about, not loving every piece you see.

What is chromatic aberration?

Almost every photo has a situation in which a colored halo (usually purple, green or red) is apparent around certain elements of a scene. This sort of optic anomaly, more commonly known as color fringing, is known as chromatic aberration. We, as photo real computer illustrators, can use this effect to help us fake reality. Chromatic aberration is an optical phenomenon in which the camera lens is unable to focus the different wavelengths of light on the same plane (in this case the image sensor) in order to produce a correct image, resulting in a halo or fringe around objects.

  • After opening your image in Photoshop, go to Filter -> Distort -> Lens Correction…
  • On the right side panel you should find a set of controls named Chromatic Aberration
  • Depending on your image, you should adjusting the sliders. To do this in an optimal way make sure you are viewing the image at a magnification of 100% or more.
  • You might have to move only one or both sliders: it all depends on the image you’re dealing with.

Caution! use sparingly, it is suppose to be very subtle, if done correctly.

What is composition?

The term composition, as it relates to rendering, refers to the purposeful arrangement of lines, shapes, value, textures, and sometimes colors within the borders of your rendering spcae. Don't worry if the idea of composing your rendering sounds a little intimidating: I'm happy to help you through it!

Good coposition is one of the most important, if elusive, aspects of making renderings. When composition works, it captivates the viewer's attention and provides clues to the meaning of the rendering. In the next several posts you'll find some simple and effective strategies to help you start making strong compositions.

Looking to the horizon line

In every perspective rendering you create, you determine the viewer's eye level by choosing the position of the horizon line. You control whether you want viewers to feel like they're looking at the objects in your rendering from above, below, or straight on. For this reason, always begin a perspective rendering by making sure your horizon line is parallel to the top and bottom of your rendering space.

If you want viewers of your rendering to feel like they are.

  •  Looking downward: Place the subject below the horizon line.
  • Looking upward: Place your subject above the horizon line.
  • Looking straight on: Place your subject so that they touch or cross over the horizon line.

Sometimes referred to as your eye-level line, the horizon line is an imaginary line that divides earth from sky. The horizon line is exactly at the level of your eyes as you look straight ahead.

 

Balancing a subject in a composition

A balanced rendering is typically more aesthetically pleasing and harmonious than an unbalanced one, so before you start to render, take some time to plan your composition and think about where you want to position the visual weight in your render. Visual weight is an imaginary gravity that compels you to look at a particular subject. When a subject is highly compelling, it has a lot of visual weight; when you don't really notice something, it is little visual weight.

The main problem you run into when rendering subjects with a lot of visual weight is making sure they hold the viewer's eye disproportianatly, throwing off the balance in your rendering. For example, people in renderings automatically have a lot of visual weight, so you have to be careful how you render your people so as not to create unbalanced proportions of weight. When balance is absent from the rendering, the human eye tries to resolve the problem, and you certainly don't want your viewers to focus on fixing balanced problems rather than seeing the meaning you intended in your rendering.

To achieve balance, spread out the visual weight so that every part of your rendering attracts the eye. For example, if you notice that you aren't really looking at the top of your rendering, create a reason for the eye to go there. You could put something like an airplane or hot-air balloon in the sky, or you could use other objects in the rendering to create an eye path that gets the eye of the viewer to the sky. Something as simple as a steeple pointing to an empty expanse of the sky can give the sky visual weight. Don't worry if a single object has more visual weight than any other thing as long as you balance it with other objects that are still interesting enough to draw the eye. Whatever you do, keep it simple! Too many objects in a rendering tend to create overcrowding and disharmony.

Imagine that your rendering is a teeter-totter. If your subjects are the same size, you can balance then perfectly by putting them both the same distance from the center point. On the other hand, if your objects aren't the same size, arrange them asymmetrically. For example, you can balance a tiny object with a larger one if you place the smaller one far enough away from the larger one that your eyes naturally flow to both objects.

Without balance, your rendering may end up visually lopsided, so don't skip this element of composition as you plan for your next rendering project.