Finishing the Rendering Using Canson Paper
Lesson 22 from: Draw like an Interior DesignerJorge Paricio
Finishing the Rendering Using Canson Paper
Lesson 22 from: Draw like an Interior DesignerJorge Paricio
Lesson Info
22. Finishing the Rendering Using Canson Paper
Lessons
Introduction
01:14 2Materials and Tools to Use when Drawing
14:27 3Preliminary Furniture Plans on a Floor Plan
07:45 4Using a Scale Ruler and Templates
05:36 5Rendering Furniture on Floor Plan to give Volume and Depth
06:06 6Line Weights and Adding Texture
04:24 7Architectural Lettering
08:11 8Complete House Floor Plan
03:23Isometric Perspective
03:42 10Why 3-Point Perspective Doesn't Work
04:05 11Benefits of Two-Point Perspective
03:06 12Preliminary Sketches for a Living Room
11:29 13Using Different Textures of Materials in your Drawing
03:51 14Adding Color to the Couch to Create Shiny Leather
11:26 15Rendering Soft and Shiny Textures
09:09 16Starting Elevation for the Kitchen
07:54 17Full Rendering Elevation of the Kitchen
07:28 18Putting the Elevation at a Different Scale
10:33 19Two-Point Perspective for Kitchen
10:04 20Canson Paper with Pastels
05:35 21Transfer Line and Heights
08:27 22Finishing the Rendering Using Canson Paper
08:48 23Creating Chrome and Color Reflections
10:43Lesson Info
Finishing the Rendering Using Canson Paper
All right. So in this last face, I am going to be finishing this rendering you sing our cancer on paper, and then I will show you some chrome's and then some extra highlights that I think are interesting to share with the class. All right, so we had started this rendering. I added already some yellows of different tones and then some marker tones. Let's go a little wild over here. Um, let's get some color for the walls, guys. What colors have you used for your wall? Something interesting. Yellow leaves, baby blue baby blue. Oh, I like that. You guys have any questions so far as there Is there a, uh Is there a better color that works with the to serve thing kind of this color paper versus the blue? Oh, that paper is sexually better because you can have, um you have more leeway. The blue is more limiting. You saw already how difficult it was to add yellow on top of the blue because he goes red. Theo pops out on this. It does. They should work really well. Try to do white on the walls. Ok...
ay? When we do our renderings, we want to work with the extremes, find our darkest spot and then your lightest spot and work from there. Um, is it good enough to show ready to the camera or you wanna wait'll You know? I mean, I can show you it was good. Looks good. Work with your outlines on the isle a bit more. Just the perimeter so that it pops out more. Yeah. I like your reflections there. What colors are you using? Healthy. I like green blue. And I was like, Oh, no, I dumped ahead cause you're gonna talk about reflection. Looks good. Already. You added a highlight right on the corner, people into another one, right in the middle of your counter. Vertical like a straight vertical right there. That looks good. All right, so over here, I'm working on some colors. I need to add more contrast. The first thing that you will find is, um you need to work your with your whitest whites and your darkest darks and work from there. All right, you see over here him using a lot of weight to just get my, um, my ceiling. With contrast, Gracie, over here. Um um, using a lot of white so that I can have contrast. Otherwise, it would just be blending it too much when you guys to have contrast in your drawing, like maybe the back wall that you have should be like an intermediate gray with your markers or if you have your cell ready grave markers, maybe use color. Um, so that would be the first thing. Um, I'm working now on my windows to add some highlights, um, going to steal your idea of using metallic reflections. And when a work a little bit on my refrigerator, which we placed over here, I did some gray and then some highlights for reflections. If you guys think that you're starting to lose a little bit the shapes of your objects of your different furniture pieces or, um, elements. That's that sign that you would have to work with black outlines to bring your shapes back to life again. Let's see, I'm gonna use black or dark grey for my counter in the kitchen. And when they years pilot strokes, pile of strokes minus some highlights. Some spots left for highlights. Again, If I am losing my shapes a little bit, I would want to use I would want to use a black outline again. This is my favorite pen, my paper made to just clean up my shape slightly. The nice thing about rendering in designers that anything goes and you can be your the master of your own game. Don't be afraid of using different textures for materials you can always modifying them later, at least during the conceptualization face, you want to be as open as possible. One thing that you wouldn't want to do, though, is pick materials that you know would be prohibitive for your clients. All right, so you would just have to keep in mind. You know, your true budget. Um, they are also alternatives to expensive materials or the materials that look as nice, but they don't have the price tag on them. I'm thinking, you know, laminates, for example. Right? You have some very good ones that you can use that give you the illusion off. I know. Lie minutes can have, um, don't have always the best reputation, but it's a great material two years for different types of for more affordable budgets. So use your options. Um, so you see, in the example that I'm working on. Once I add my black outlines, everything comes to life a lot more clearly. But not until I add my black lines. Everything is kind of more lose and not as refined. Are you guys resolving the background? I mean, the end of the kitchen into the living room. That's tricky, huh? I don't Have you seen the corner? What would you do there, Right. Oh, that's sideways. Yeah, that's kind of tricky, huh? You know what's the best solution? Watch this. You would just add some gray over it. So it's not as powerful visually, and then it's it's not out of mind. Out off, out of sight, out of mind. But at least you push it to the background. So that would be the first first thing that you would have to dio, um, when you render you always I was say, my students, You have to work with the idea off. Push, pull lighter colors, bring objects to the front. Darker tones makes things going to the into the background. So, um this just prove it, For example, I have in this aisle over here in this island, I have some highlights. If I exaggerate them more. Then suddenly the kitchen island, you know, appears to be closer to me just because it looks, you know, fresher, more interesting. So you have seen me work with my line weights over here. Now, I can do some pencil strokes, um, for texture, because this is going to be would
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Ratings and Reviews
user-8adf9d
It's difficult to find a class like this -- but that's exactly why it may be best to start with some sort of quick foundation in perspective drawing. This class puts together the process at a level that is not easily available outside of formal study and while it's not difficult, it is involved.
user-d2a6ef
Creative LIve Why don't you re-do this class! Its a great subject.....get a new camera operator, who knows the concept of learning from watching.