sponsored by

Tuesday, January 6, 2009

=Finale= The Combined Technique of Gouche & Airbrush

43. Drawing the flower stand. Pay a similar attention to the stratified pattern and the polished looks of the granite stone as was paid to the pillars.
44. Adding the human interest. As purple represents the color of this picture on the whole, the complimentary green should be effectively arranged for the sake of the color structure. Draw carefully with the use of the countenace brush. This process becomes quite enjoyable as the picture draws near to completion, but the color tones should be attended to carefully by observing the balance of the whole picture.

45. The items of crockery and cutlery on the table are important to produce the gorgeous_atmosphere of the restaurant. As the characteristics of a restaurant can be determined by the kind of crockery and cutlery used. it is necessary to use elaborate drawing' here. If you can draw them so you can almost hear the sound of them clinking then you have achieved the aim.

46. Heavy painting are not recommendable {or restaurants. The palntln,gs should be selected to SUit the atmosphere like the cutlery and crockery.

47. The colors in the picture should be decided in accordance to the balnce of the colors available in the views. 
48. Add the final. touches to the wooden surfaces

49. The craters and shadows on the moon are added to complete the entire process of the picture.


Sunday, November 30, 2008

=Part 4= The Combined Technique of Gouche & Airbrush

35. Airbrush on a darker color to the top of the wood graining. Add more-red coloring as it gets darker.
36. After the over-all graduation has been added, spray on the shadows of the instruments and finish the floor plane surface.

37. Drawing the furniture. The surface of the musical instrument and the furniture should be made using the same process. The fine details must be left to the very end as they involve very delicate work.

38. Initially natural coloring should be used on the chair

39. The completion of the chairs and tables. A clear grasp of the light direction is necessary in order to add the flow of the shade and highlights and add the presence needed.

40. Drawing the instruments. As three kinds of wooden textures the floor, Hle cembalo and the cello are to be painted here, the tone of the colors should be slightly altered in order to clarify their identity.
41. Putting in the detail. Complete the instruments. As the wooden texture is not yet expressed well here, color adjustment is still needed but the process should be completed by studying the har¬mony of the whole picture.

42. The room is complete except from the human interest items

=to be continued=

Friday, October 31, 2008

=Part 3= The Combined Technique of Gouche & Airbrush

24. Drawing the ceiling. The final impression of the picture as a whole will depend greatly on the role of the ceiling that takes quite a large area of the scene. The colors should be decided upon after thorough consideration of the over-all sectional, formation.
25. Half of the vaulted area should be filled with the fresco. The light tones of typical frescos should be used.
26. Ceiling decorations. Paint with the use of a grooved ruler and a countenance brush.

27. Completion of the ceiling. The indirect lighting surrounds the vaulted ceiling twice. As the fresco will become a painting within a painting, a certain amount of vagueness is necessary.

28. The top part of the pillar. Redraw this part with the use of the grooved ruler. Where the focus is not clear, the nature of the ruler's direction should be care fully decided upon.
29. Gold-plated decorations. A change in color and light is used to emphasize and express the gold look. This is a direct change from white highlights to black shadow. The face of the pillar should be carefully drawn by hand with gothic lettering. The colors to be chosen are chartreuse (N), raw umber (N), burnt sienna (T) and transparent sepia.

30. The completed pillar.

31. Place the shade around the window frames. The circle areas should be drawn by hand using the finger-tips and wrist as the axis. Pay attention to the q!Jantity of paint used and the control of the brush tip.
32. Make the graduations of the frame-work by brush.

33. Undercoating the wooden floor. Paint the floor with bright colors such as yellow ocre (N) and raw sienna (W). As these colors will remain as the reflections on the floor, care should be taken to ensure that they are too dark.
34. Drawing the wood grain. The tip of the countenance should be seperated and the wood grain drawn in with the use or a grooved ruler.

=to be continued=

Wednesday, October 8, 2008

The Combined Technique of Gouche and Airbrush =part 2=

13. Draw in the carpet's pattern. Draw the sketches directly onto the top of the actual picture with the use of a white pencil.
Ensure that the drawing is done neatly with the use of the perspective method. Each line should be drawn lightly to simplify the rubbing out with an eraser. ,
14. The completion of the carpet surface. The pattern emphasizes the feeling of distance. The pieces of masking film cut out earlier and carefully retained may now be stuck back into their original places without leaving any gaps, This same process should be continued throughout the painting.

15. Paint in the outside sky. As this drawing assumes the evening twighlight the lower part of the sky shuold be painted in purplish red turning into ultra-marine as it moves upwards. As this extreme change from light-red to dark-blue is a reverse hue translation, the colors shuold be merged where they meet. The thorough planning of color schemes must be carried out before-hand. The undercoat graduation should use lilac (T) and ultra-marine (W).
16. Lightly spray in the border of the lower and middle section of the sky. If it seems too dark it will get mixed with the ultramarine that will be sprayed on later. Pink (T) and lilac (T) should be used here. * Caution: Care should be taken to ensure that too much dark color is not sprayed on it one go. When using a dryer, the temperature should be set on cold air.

17. This down the ultra-marine (N) until it reaches a transparent ~ color and spray it onto the mid.dle sky in order to link it with the Iower sky. As you reach the upper area of sky add purple to make it darker. Black was used here to complete the topmost sky area.

18. Insert the stars. The stars are added by applying white course sand blasting to give it a random effect with the hand-piece held some distance above the surface to allow the drops of paint to drip on!9 the picture. Another method of using a net and brush and known as spattering may be utilized.
19. Drawing the trees. The outside trees are drawn as shadows againsf the skyline to produce the effect of a beautiful sunset. Black (T) and transparent carmine (H) are used here. The lighter blue-green is used for the bushes. In this case there is no necessity to distinguish them.

20. The completion of the outside view.
21. The undercoat of the wall. The wall is painted white with a touch of yellow. Darker colors will then be sprayed over. White (T), chartreus (N), burnt sienna (T) and jaune brilliant should be used for the colors ..

22. Coloring the granite pillar. The pattern should be painted on after the first coat of bright paint. Once the flow of the stone grain is painted on in a lighter color, the detail should be picked out in a darker color to increase the density. Attention should be paid to the metamorphic quality of the rock which has various colors and distinguishing patterns.
23. Drawing the quality. The solid look is added by the airbrush after the pattern of the granite is pained on. Be careful not to spoil the transparent look of the beautifully polished stone. Highlights should be added after having studied the whole balance and the direction of the light. Yellow ocre (N), burnt sienna (T)and transparent burnt umber should be used for the colors.

=to be continued=

Friday, September 5, 2008

The Combined Technique of Gouche and Airbrush =part 1=

Drawing Tools

01. This rough sketch is used as the original base for the so-called perspective drawing as the actual plan is not available. The stylish modelling and wide windows are distiguishing here as the model is a restaurant with a night scene as a backdrop. A large amount of space was taken for the 'ceiling in order to display the vaulted interior. The fresco and skylight will be laid out in this area.
02. Copy this sketch onto the illustration board. Apart from the vertical lines, the sketch is hand-drawn which makes the drawing quite rough, but the details will be altered during the color­ing stage.

03. Apply a masking film to the drawing. the masking film used here is of Toricon make and is a strong adhesive SP200 type. Carefully apply the film from the centre in all directions and press out all air bubbles and creases.
04. Cutting. Basically the coloring will commence from the wide­ open areas. Cut out the masking surface in order to correct the unclear lines on the sketch. As the end result of the airbrushing,will depend on the accuracy of the cutting proccess, a great deal of care should be taken here. The cut-out portions of film should be lightly stuck onto a spare piece of paper for later use.

05. Coloring. Azure blue and ultra-marine of Nicker's gouache are used for the undercoat of the carpet. The colors may be controlled by adding white to the gouache. Paint swiftly and evenly without leaving any patches with the use of a flat brush. This will require special attention as the airbrush will leave patches on any uneven surfaces. Hereinafter the makes of airbrushes will be ab­breviated to the following: Nicker=(N), Windsor & Newton=(W), Holbein = (H). Additionally, individual makers will be indicated simply as gouache and transparent colors will be known as transparents..
06. Airbrush, Test the spray, Use ultra-marine (N) and royal purple (N).

07. The advantages of using an airbrush are the capability of simplifying the uncontrollable stages of color graduation, and expressing the texture of materials by controlling the size of the particles. The distance is of expressed by spraying coures particles of paint onto the fore of the carpet,
08. Check the color tones. Wipe away the excess paint on the masking surface in order to confirm the change in color. This must be repeated at each stage of spraying.

09. The first coat of the carpet, The initial step is complete.
10. Airbrush sand blasting, Sand blasting is considered to be one of the most important techniques of airbrushing, This is done by the use of the pressure controller on the compressor or the finger adjustments on the hand-piece lever (some hand-pieces have lever adjustment functions and some are adjusted by the nozzle),

11. Sand blasting is applied on the fore section of the carpet with the use of black (T) in order to emphasize the texture.
12. Once the airbrushing is finished, Tripub (water-paint fixing solution) is sprayed onto the airbrushed surface. As gouache is used here for airbrushing, masking film cannot be applied onto the surface without the processing. Tripub-A supplements the weak nature of the gouache by fixing the surface and lessening the problem of paint being stripped off by the application of the masking film. * Caution: Care should be taken to avoid spraying on too much Tripabu as there is a chance that the tone of color may be spoilt.
=== to be continued ===

Friday, February 15, 2008


31. Drawing the detached view (no 1). As the rough sketches of the cars are painted in when the road surface is added, the glass of the car windows must be painted in to confirm their positions. Pay attention to the angle of light reflected from the building.
32. Drawing the detached views (no 2). Express the road surface. Draw it in boldly after considering the light and reflection that pierces from the rooms. Deep colors need to be used to form the base of the picture in order to produce the effective existence of the building.
33. Drawing the detached views (no 3). Express the reflection of the pillar. Up and down movements of a sharp brush are needed to add movement to the detached view. Draw in the border line of the road as well. The paints used here are: silver grey (H), light green (T), white (T), burnt sienna (N), sepia (N), cobalt violet (N), yellow ochre (N), blue grey (N), orange (N), yellow grey (H), Prussian blue (H), and warn sepia (N).

34. Drawing the detached view. Cars play the role of indicating the scale of the building and provide a liveliness to the picture as they are moving objects. The most effective colors in contrast to the building should be chosen for the cars. They should be drawn slightly smaller with a metallic effect, but with a warmth inside.

35. The completion of the cars.

36. Complete the picture with the use of the airbrush. Spray on the pillar brackets, the search lights and headlights of the cars with the aid of a piece of card board as masking. The beams of light are painted in white with a touch of yellow.
37. Checking. The final check should include an overall scrutinity to ensure nothing has been left out. It is at this time that the alterations are also made.

38. Drawing the people. The depth of the picture is produced by the overlapping people. Draw then in an ad-lib style to express the atmosphere and movement. The degree of coloring should be dropped slightly if the people are featured before light.
39. The completion of the detached view and the people.

40. Completion