STEP-BY-STEP OF AN EVENING RENDERING =FINISH=

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

STEP-BY-STEP OF AN EVENING RENDERING =PART IV=

23. Painting the sides. As the top duct follows a circle, the change should be added to the value of the colors of the sides. The difference apparent at the back of the top duct must be distinguished. The graduation on the sides of the building should be drawn boldly as the depth is blocked. The lines of the grain should be discriminated. Express clearly the contrast on the narrow areas.

24. The sides finished.

25. Drawing the distant view. As the shops are located in the suburbs and the area surrounding the building is car park, there are no buildings in the immediate vicinity. The long distance view will provide the finished picture with depth. Paint it very lightly with dark colors so it merges into the evening scene. The lines nearer the bottom should be emphasized.
26. Adding the illuminations (no 1). As one of the distinguishing characters of the leisure facility is neon illuminations, it is necessary to become involved with the neon chart in addition to the general drawing. Much attention must be paid to the illuminations as failure to do so will destroy the overall effect of the picture. It is possible to mix fluorescent coloring with the paint, but this must not be overdone as it will cause later fading.
27. Adding the illuminations (no 2). Although neon lights flash on and off, in the picture they are drawn as if all are on. The round strip lighting should be drawn on carefully as it stands out in the picture.

28. The top duct and side channel.

29. Adding the illuminations (no 3). It is not necessary to use lighter colors for the neon lighting on the side of the building at night. Having drawn the surrounding pillar ornaments and downlights, the work on the building is finished. The paints used here are: brilliant red (T), pink (T), lumi scarlet (N), cobalt green (N), cerulean blue (N), Prussian blue (N), chrome yellow (N) and white (T).
30. The building is completed. The next step is the detached view.

STEP-BY-STEP OF AN EVENING RENDERING =PART III=

17. Painting the exterior walls (no 1). A good grasp of the surroundings should be made with special attention given to the effect of reflection to ensure that the image of the completed sky is not altered. Although the quality should not be tampered with, with commercial buildings it is necessary to add a little sensuous exaggeration to give a bright and lively surface impression. As a bracket needs to be added on the pillar in the foreground, the reflection of the light should be drawn in beforehand. The paints used here are: blue grey, yellow ochre, sky blue, cerulean blue, cobalt blue, cobalt violet, burnt sienna (N), white (T), warm sepia (W), yellow grey (H), Prussian blue (H).
18. Painting the exterior walls (no 2). Create the graduation in the grid form while concentrating on the distance available from the visual point and the change of the brightness due to the angles in order to express the check patterns (painted with new san pitro blue and criamea). Supply the texture along the eaves (bonded steel sheets) with the use of an airbrush.

19. Exterior walls before spraying with the airbrush.

20. Exterior walls after spraying with the airbrush.

21. The expression of the grain and ducts. Add the grain to the check pattern and the large eaves. To express the feeling of distance as apparent in the picture, the foreground grain should be painted dark and clearly, while the grain for the distant parts should be lights and vague. The large eave duct (with a stainless steel mirror finish) should be painted in dark colors to make the neon in the background prominent. The top duct (bonded stainless steel) should be painted even darker.

22. The grain and ducts.

STEP-BY-STEP OF AN EVENING RENDERING =PART II=

10. Expression of the interior rooms (no 2). Add the rough depth. It is important to get the vertical wall of the front hall and the rows of strips just right. Make sure that the contrast is marked clearly even with the lighter colors.

11. Brushing in the detail for the interior rooms. The quality featured in the rooms should be expressed. Add the Nebralbox (Neon), the lighting and highlights. Be sure not to use a single color for the larger panes of glass as the interior decoration should be expressed on the windows. The ribs where the panes overlap should be painted in the same shadowy hues that was used for the room interiors.

12. The completion of the interiors. Although they are part of the external work, the pillars built over the windows should be painted in at this stage. It is one of the distinguishing features of stainless steel that the dark colors and light colors are picked out in extreme contrast.

13. The room interiors completed.

14. Airbrushing the sky and rooms. The same colors that were used for the sky and the interiors should be used. These colors should be thinned down with more water than was used for the brush work and then airbrushed on. It is not necessary to use masking tape at this point. Coordinate the sky that could not be expressed by the plain brush be comparing the image of the completed room interiors. At the same time, put in the long distance view by using a board as a simple mask. The paints used here are: warm sepia (w), yellow grey (H), and Prussian blue (H). The airbrush is effective for expressing the lighting within the rooms, but care should be taken not to spray on too much. The airbrush nozzles must be cleaned after each color. The handpiece used here is the Olympus 101.
15. Spray on the fixing solution. Spray the tripab fixant onto the areas where the airbrushing is finished. This will prevent the airbrushed surface from becoming rubbed during the following procedures. The fixant should not be sprayed on too close to the surface as this will leave marks.

16. The sky and interior after the airbrushing is completed.

STEP-BY-STEP OF AN EVENING RENDERING =PART I=

1. Drawing Esquisse. Under usual conditions we use architectural perspective plans for work on such places as leisure facilities, inteligent buildings and the exterior design of commercial buildings, but in this case we will use the perspective design. Initially a rough sketch is made which will then be developed into the concrete drawing.
2. Computer input and output. Data is input into the computer to decide angles (distance angles and eye levels). By using a computer a great deal of accuracy can archieved in a short amount of time for works that have many rounded angles, 3 dimensional curves and decorations. In this case an I.S.T.CATIST A3000 is used. The completed work is output as a line perspective drawing and esquisse. The necessary amendments should be made during the arrangements. It is at this stage that the client begins the actual design work.

3. Trace down. Transfer the rough sketch that has been evenly enlarged or scaled down to fit the fixed size of the board. As this perspective drawing is set in the evening, the lines which adjoin the sky, such as the monorail ducts above the building, should be traced strongly enough to leave grooves on the board. The curved lines should be traced precisely with the use of all available curvilinear rulers. A canson board and yellow grey 343 is used.
4. Drawing an additional view and cars on the top of the trace down. Long distance views shouls be drawn lightly and the cars must be placed in positions that do not interfere with the balance of the drawing. The people should be drawn in at the coloring stage.

5. Drawing the sky (no 1). The colors for the top, middle area and bottom of the sky should be decided beforehand. A layer of water should then be brushed onto the section earmarked as the sky. Once a moderate layer has been placed, the coloring will commence. It is necessary from time to time to place the board in a horizontal position to prevent the paint from running.
6. Drawing the sky (no 2). Taking care of the amount of water used, thin down the paint. Load a flat brush with paint and spread the available volume over the paper. The colors used for the sky depends on the work and location, but in this case the following have been used. Top sky : Prusian blue, cobalt blue, sepia. Mid sky: cobalt violet, burnt sienna, sky blue. Low sky: blue grey, orange, permanent yellow, white.

7. Drawing the sky (no 3). Instead of washing the brush after each color, wipe it lightly with a cloth and then load it with the next color. This will enhance the effect of graduation. Work the brush from the top to the bottom very carefully in order not to leave any gaps.
8. Alteration, Any paint splashed on the buildings should be wiped off quickly with a tissue before it has time to dry.

9. Expression of the interior rooms (no 1). Ensure that the light works opposite to day-time perspectives. To begin with, a light color should be painted on in several coats until the correct value of the color is reached. Be careful not to paint over wet paint or to paint in the darker colors in one go. At this stage only the fowl of the room interiors is painted. The colors used here are : yellow (P), Indian yellow (P), yellow ochre (H), yellow-grey (H), warm sepia (W), blue-grey (N), and white (T).