Fig. 14.10 Interior Lobby. (Architect: Igle-hort & Struhs, Architects. Renderer: Lewis Iglehort, Architect.)
MEDIA: Watercolor and ink with airbrush pencil line, making certain that the drawing is entirely clean before any work is begun. If any dirt —such as a fingerprint — is present, it will show through the airbrush washes. As mentioned before, the value study and color study are both of the utmost importance and must bo relied upon heavily in the course of working with this medium.
You may ask, "What do 1 render first?" Of course, there are many ways to proceed. The author prefers to render the entire building first, then the sky, and finally the ground, trees and bushes, scale figures, and automobiles. Since in airbrush work only a small portion of the rendering can be seen at a time, one may just as well complete the building before proceeding with the sky and foreground. If any difficulty is going to be encountered, it will probably be in working on the building, and if the difficulty is going to develop into a catastrophe, one has not wasted a lot of time on the foreground and sky. Also, some-time's a client needs the rendering before it iscompleted; if the building, at least, has been rendered, the presentation is of some value.
Before beginning any airbrush rendering, you should first carefully plan the order of masks and washes so that trouble can be foreseen before it is met (Figure 14.10). Careful planning can result, of course, in less masking than if the problem is attacked in a haphazard way (Figure 14.1 I).
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