Watercolor rendering and related performance skills

Watercolor rendering has a history of more than one hundred years, and it has also experienced decades of development in China. Before the 1960s, students of architecture departments in universities in China generally had to learn watercolor rendering. Traditional watercolor rendering has subtle color changes, which can well represent the environmental atmosphere, but it also has great shortcomings. The main disadvantages are: first, the range of color brightness change is small, and the picture is not eye-catching; Second, because colors need to be rendered repeatedly, it takes a lot of time, which is very contradictory to the requirements of actual work. So this kind of expression has been gradually eliminated.

In recent years, foreign countries have reformed traditional watercolor rendering, such as using large strokes and increasing the range of color brightness, which avoids the shortcomings of traditional watercolor rendering, makes the picture eye-catching and greatly shortens the painting time. In order to distinguish it from traditional watercolor rendering, we call this method modern watercolor rendering.

The shade of watercolor color can't be adjusted by white like gouache rendering, but by adjusting the amount of water added, otherwise the transparency of watercolor rendering will be lost.

The coloring order of watercolor rendering is the same as that of marker rendering, which is light first, then dark, and gradually darkens.

When mixing watercolor pigments, don't mix too many pigments at the same time, so as not to stain the picture.

Watercolor rendering pen: large, medium and small white clouds can be painted with brush or watercolor pen, and details can be described with clothing pattern pen or Ye Jin pen.

Pen watercolor rendering technology

Pen watercolor rendering technique is a kind of rendering technique that shapes the body with lines and colors, with a long history. Traditional pen watercolor rendering is also called pen watercolor rendering. Generally, the picture is full, the color is light, or it is only painted flat. Modern pen watercolor rendering often draws a picture that is not full, the car surface is cut, and the color is heavy, which strengthens the expressive force. This paper introduces the modern pen watercolor rendering technology. Here, don't show the relationship between light and shade. Watercolor pigments are usually used in colors, and only large ones are painted flat or slightly changed in brightness. Markers can also be used for coloring, and the strokes of markers can produce a bold effect. This technology can be used to display not only the external perspective, but also the indoor perspective. Painting paper needs high-quality watercolour paper or cardboard, and ordinary watercolour paper can also be used, but it is best to frame it for painting, so as to avoid warping after coloring on watercolor paper.

Gouache rendering technology

At present, the architectural rendering technology adopted abroad generally has the advantages of fast drawing speed, good drawing effect and easy mastery, among which modern gouache rendering is the most prominent. It not only has the above advantages, but also has its own uniqueness in expressing the texture of materials and the surrounding atmosphere. This rendering technique will be described in detail below.

First, the characteristics of gouache rendering

The history of gouache rendering is very short, and it has a history of several decades abroad, but it started around the 1970s in China.

Architects in our country have been trained in watercolor rendering in schools. In the past, architectural perspective was mostly represented by watercolor rendering. Because of the narrow range of color sharpness, the drawing effect is not eye-catching enough and the drawing speed is slow, in the 1970s, some architects in China began to try to express buildings with gouache pigments. Due to the influence of watercolor rendering techniques, although the pigment has changed, the principle of dealing with screen color is still similar to watercolor rendering. For example, the sky, walls, shadows and other large color blocks should be colored evenly, and gouache should be used for painting, and other pigments are not allowed. The appearance of gouache rendering technology is obviously an improvement for watercolor rendering, which makes the picture more eye-catching and improves the drawing speed, but there are still some shortcomings. For example, to achieve the requirements of drawing a full picture, it is necessary to draw a large area of the sky. Satisfying uniform vignetting is not easy for gouache rendering, which affects the further improvement of rendering speed; In addition, it is difficult for a single gouache pigment to express the texture of some materials more effectively.

Modern gouache rendering technology developed abroad in recent years has avoided the above shortcomings and taken a step forward. This technique is eclectic, comprehensively using various tools and materials, giving full play to their respective strengths, strengthening the expressive force of gouache rendering, further shortening the rendering time and improving the work efficiency. In order to distinguish it from the former, we call it modern gouache rendering technology.

Modern gouache rendering works are generally painted on colored paper or cardboard, which are sold abroad, with different tones, but mostly with different tendencies of implicit gray tones. The main drawing pens are brush, watercolor pen, cosmetic pen, blackboard brush and so on. The pigments used in this rendering technique are not limited by types, and gouache pigments, watercolor pigments, crayons and pencils are used together. Specifically, watercolor is generally used to color glass. The scenery is painted with gouache, and the foreground can also be painted with watercolor or very fine gouache; The ground is colored with watercolor pigments; The sky is generally not colored, but with colored paper itself; Draw with gouache or white pencil; The texture of the material is expressed by gouache pigments, colored pens and pencils. Of course, the individual conditions required by this rendering technology are not fully available in China at present, such as the small variety of colored paper, inapplicability and so on. However, we can slightly change the above rendering techniques according to the specific situation and draw a rendering with the same effect.

Second, the characteristics of gouache pigment

Although gouache pigment is mixed with water, it is very different from watercolor pigment. Before introducing modern gouache rendering, it is necessary to introduce the characteristics of gouache pigments.

The depth of watercolor pigment is controlled by adjusting the amount of water added, and the depth of gouache pigment is adjusted by adding white. The more white you add, the lighter the color. It should be noted that when adjusting the light color, the proportion of white will be quite large and the brightness will be higher.

When preparing gouache pigment, it is necessary to control the amount of water added. Too little water is added, and the color is thick and astringent, so it is difficult to write. If there is too much water, the color blocks will be drawn unevenly.

Watercolor pigments are generally the same color when they are wet and dry, and generally remain the same. Gouache pigment is not, when wet, it usually has low brightness and dark color; When dry, the brightness is higher and the color is lighter. Take this factor into account when coloring, and be sure to leave a color margin.

Watercolor pigments have high transparency, while gouache pigments are opaque. Gouache pigment with low water content has strong coverage. This kind of coverage can bring both convenience and trouble. When one color is not ideal, it can be covered with another thick color. As long as the pigment contains less water, it is light with a pen, and the covered color is generally not easy to turn up (except violet), which undoubtedly provides convenience for drawing modification.

Generally, duckbill pen is used to draw lines with gouache pigment, but the amount of pigment that duckbill pen can fill each time is limited, the pigment is easy to dry and the drawing speed is slow. In order to improve the speed, fine lines can be drawn with brush strokes, and Ye Jin pen or clothing pattern pen can be used as a brush. In addition, we should also prepare a ruler with a convex cross section, which is a tool for drawing borders in China. The production of the ruler is very simple, as long as two rulers or two straight wooden strips are staggered and pasted. The tip of the other pen is up, the pen holder is down, and chopsticks are held in the right hand. The tip of the small clothing pattern pen touches the paper, the end of the pen holder of the other pen touches the ruler, and the right hand moves along the ruler to draw thin and even lines. Because the brush contains a lot of pigments, you can draw long lines once dipped in the pigments, which greatly improves the speed of drawing lines. Of course, if the lines are straight, it is better to use a duckbill pen.

Speaking of gouache pigments, there is another problem that beginners need to pay attention to, that is, to avoid the "timidity", "pink" and "health" of screen colors.

The so-called "timidity" refers to the excessive use of primary colors and intermediate colors in the picture, which is dazzling. The solution is that most of the color blocks in the picture use a variety of colors with different tendencies. This is because among the colorful colors in nature, many colors are the most, and the pictures dominated by many colors can give people a calm and elegant feeling.

The so-called "powder", also known as "powder gas", means that the color of the picture contains white powder. For example, if white powder is added to the color of each color block, the whole picture will appear gray and pink, and the color is not loud and tidy. The solution is to keep a few dark marks on the picture without adding any white powder, such as shadows on the wall and dark parts of trees. Replace the pen cleaning water. When drawing these parts, wash the pen and color, and change the pen washing water. After taking these measures, there will be no "powder gas" in the picture. Watercolor pigments are often used in modern gouache rendering, which can also avoid powder gas in the picture.

The so-called "health" is also called "anger" Contrary to powder gas, it means that you dare not add white powder to the color of the picture. Although there are some complicated colors, you still feel that the color of the picture is raw. The solution is: in the preparation of most pigments, do not avoid adding white powder, as long as not all colors contain white powder.

The above three points are common problems for beginners, which can be avoided as long as appropriate measures are taken.

Third, preparation before coloring

The preparation work before coloring includes drawing pencil outline draft, drawing color sample draft and drawing colored paper, which are introduced respectively below.

1, pencil outline draft description

Because of the opacity of gouache pigment, the pigment will completely cover the outline or color of the pencil below, so it is impossible to determine the position of the outline. In order to prevent this phenomenon, there are two methods that can be adopted. One way is not to draw all the contours at once, but to draw them several times according to the drawing process. Don't draw all the contours at once, but draw them several times according to the drawing process. In order to prevent the base map from being misplaced, you can stick the edge of the base map on the drawing board with drawing tape, and draw two pencil lines on the other three sides of the base map, one half on the base map and the other half on the drawing board for easy positioning. In this way, no matter how many times the outline is drawn, the position is accurate. The second method is to write the lines of the base map through the base map, so that the score on the formal map is deeper. In this way, even if the pencil is painted with gouache, the dent will still be left.

With the development of technology, perspective views can be enlarged by photocopiers, and rendered drawings can be drawn directly on the copied drawings without drawing outlines. In practical work, due to the lack of drawing, this method can win valuable time. However, copy paper is generally thin, so it is best to mount a piece of drawing paper on the drawing board first, then brush the diluted paste on the back of the copied drawing, paste the whole piece on the mounted drawing and squeeze it out from the middle.

There are also disadvantages in gouache rendering with copied images. Because the lines on the reproduction map are oily, the paint is not easy to stick to them, and sometimes it takes a few strokes of paint to stick. Even if it is attached to it, the pigment on the line is easy to fall off, and the ink line is exposed in a short time. In addition, in modern gouache rendering, ink lines are exposed due to the transparency of watercolor pigments. In order to avoid this situation, it is best to use glass when coloring directly on the reproduction base map.

2, color sketch sample

Before formal coloring, you should draw a color sample. Beginners of rendering techniques should first draw a sample, not only when using gouache rendering techniques, but also when using other color rendering techniques. This can make them know fairly well, be sure when writing, and reduce the modification of pictures.

The samples of color manuscripts don't need to be too large, and 8 pieces can be opened, or even smaller. You don't have to draw the outline too carefully, just draw it by hand.

The purpose of drawing a color sample is to determine the relationship between the tone of the picture and the total color. Color proofs don't have to be the most satisfactory, as long as they can express the color relationship of the formal picture.

You can do several schemes at the same time, such as warm or cold tone, deep background or light background. , you can choose the most satisfactory scheme to guide the formal coloring.

3, colored paper brush

As mentioned above, modern gouache painting in foreign countries is rendered on colored paper with different color tendencies, but this condition is not available in China at present. However, according to the author's practical experience for several years, it is also effective to make colored paper with ordinary gouache paper. Because it is self-coloring, the color of colored paper can be adjusted at will, which is more vivid than commercial colored paper and provides convenience for expressing different picture atmospheres.

The water-colored paper used for drawing colored paper should be flat and the surface should not be too rough. Watercolor paper is often turned upside down and used on the back. Before painting paint, brush the colored paper with clear water to make the paper swell, and then stick the four sides of the paper on the drawing board to dry.

You can use watercolor or gouache to draw colored paper, both of which have their own advantages. Painting with watercolor pigments can get the effect close to colored paper, while painting with gouache pigments can get extremely beautiful gray tones with different color tendencies.

There are usually two ways to draw colored paper with watercolor pigments. One is rendering, that is, the technique of large flat painting in watercolor rendering. The other is the color brushing method, that is, using a brush or a wool board to brush the color paper. When drawing colored paper with rendering method, the drawing board should be slightly inclined, and when drawing with watercolor paint, the drawing board should be flat. When painting with watercolor pigments, you don't need to leave the building, but leave the edge of the paper to avoid it.

Pay attention to the concentration of gouache pigment when drawing colored paper with gouache pigment. As mentioned above, if gouache pigment is added with too much water, the pigment will be too thin and the color will be uneven. If you add too little water, the paint will be too thick and it will be astringent when you transport the pen. When the pigment is thickly coated on paper, it will leave traces of dragging pens, and the pigment will easily fall off after drying. When the amount of water is appropriate, the color block is very uniform after drying.

When you draw colored paper with gouache, you should leave the outline of the building, especially the glass part. Be more careful because the glass should be painted with watercolor paint. Once the glass part is coated with gouache pigment, it must be washed off. When leaving the outline of the building, the color of colored paper should cover the outline, and there should be no blank between the background color (colored paper here) and the building. Because gouache pigment is both wet and dry, if it is blank, it is necessary to call another one out.

More pigment should be added to the colored paper to prevent the pigment from being insufficient in the middle of painting. Adding more pigments has two advantages. First, in case there is something that must be filled in or modified on the colored paper, it can be supplemented; Second, when building and landscape are colored, it will be beneficial to the color uniformity of the picture if the colors of some colored paper are blended into the pigments used for coloring.

Colored paper paintings, whether watercolor pigments or gouache pigments, are generally flat. If the colored paper is painted with gradient color, the distance between the background spaces will be widened, so that the sky is more realistic. If you do this vignetting change, it is more convenient to use watercolor paint.

The hue, lightness and purity of colored paper should refer to the sample. In modern gouache rendering, colored paper occupies a large area, which affects the tone of the whole picture. Don't be too bright, and the sky is not necessarily blue. Composite colors are better. The composite tone is elegant, with a wide range of color changes, including various gray tones with different tendencies.

There are usually two ways to mix multiple colors. One way is to add some multicolor to the pigment, such as ochre, brown and so on. , the color becomes a variety of colors. Another way is to add a certain warm color when adjusting the cool color, and add a certain cold color when adjusting the warm color, which will make the color include three primary colors, thus forming a variety of colors.

Adding a small amount of fluorescent pigment will make the composite color more beautiful when toning paper. However, fluorescent pigments can't be directly used in the rendered picture, otherwise it will be too tacky. When blending the color of quasi-color paper, adding a small amount of violets will make the color slightly purple and beautiful.

After the above preparations are completed, you can start the formal coloring.

Four, gouache rendering program

1, drawing program of perspective view.

Exterior perspective renderings account for the largest proportion in architectural renderings, which shows the atmosphere of the building and its environment. In the United States, exterior perspective renderings usually fill up the picture and depict more surrounding environment, similar to domestic gouache rendering, but more delicate; Japanese painting usually cuts the environment and greatly omits it, which saves time, has high efficiency and is more prominent in architecture. Japanese painting comprehensively uses various materials and tools, which is unique in expressing the texture of materials. The rendering technique introduced below is Japanese painting, which is what we call modern gouache rendering technique.

The coloring sequence of modern gouache rendering techniques is: glass and interior-window and door-wall-ground and scenery seen through glass.

(1) glass and indoor coloring seen through glass. Buildings generally have windows, and the window glass is bright and transparent. Compared with the wall, the color of window glass is generally darker. When the glass is colored, the architectural memorandum has a spirit. After the glass painting, it can be said that the rendering has been painted 1/3.

There are two kinds of common glass: transparent glass and reflective glass. Transparent glass can be divided into colorless transparent glass, blue transparent glass, gray transparent glass, black transparent glass and brown transparent glass according to its color. Reflective glass can be divided into mirror glass and semi-mirror glass, some of which have gold or silver color, forming gold or silver mirror glass.

Different types of glass have different painting methods. The following is the drawing of transparent glass and reflective glass.

Transparent glass painting: Transparent glass painting is usually colored with watercolor pigment, and sometimes a little gouache pigment can be added to some parts (such as reflective parts).

Modern gouache rendering techniques generally paint windows darker, and paint indoor lights, figures and furniture, fully showing the sense of transparency of glass. Traditional rendering techniques usually regard color brightness as deep at the top and shallow at the bottom to emphasize the reflection of sky images and the ground. Modern rendering technology usually deals with the light at the top and the depth at the bottom to emphasize the transparency of glass. People standing on the ground can see more indoor ceilings through high-rise windows, and more indoor walls through low-rise windows. The ceiling of a building is often lighter than the wall, which leads to the result that the top is shallow and the bottom is deep. In addition, the lower part of the building is located in the center of the picture, and the brightness of the lower window glass in the center of the picture is deep, which strengthens the contrast and conforms to the change of the picture sketch relationship. As for the distance relationship, the color processing is relatively simple, the near is deep and the far is shallow. Warm near, cold far; Close to reality, far from virtual; Strong near contrast, weak far contrast.

The color tone of colorless transparent glass should obey the color tone of the whole picture. If the picture is cold, the glass is also cold. If the picture is warm, so is the glass.

The specific drawing method of transparent glass is as follows: If the window is not too small, the whole wall can be colored as a glass wall regardless of the existence of the wall surface, so that it can be drawn in one go, with continuous changes and strong overall feeling.

Use a larger brush (such as "Big White Cloud") to paint, which is full of gouache, and use watercolor to paint a layer of Bo Tu, the color changes greatly. When the color is dry, overlay the bright part with a color and repeat it several times until you are satisfied. The reflective part can be omitted as mentioned above, or it can be washed off with a wet brush and added with a little gouache pigment. The effects of the two are somewhat different, compared with the former.

As mentioned above, in order to show the depth of the room, the glass should be painted deeper, but it should be changed. This change is not a uniform gradient like watercolor rendering, but a brush stroke. The darkest color block should be quite dark, so that the picture is vivid compared with the bright color. The dark color in warm colors can be composed of ripe brown, ochre and blue, and a small amount of coal black can also be added to reduce its brightness. Dark colors in cool colors can be matched with plain blue, dark blue and ripe brown, and some coal black can also be added. In the past, watercolor rendering did not use coal black, but there was no need to be taboo. Adding coal black can not only reduce the color brightness, but also produce some subtle color effects, making the picture more colorful.

After painting the glass, paint the indoor scenery with gouache: lights, furniture, people, plants, etc. Because it is colorless and transparent glass, the color purity of indoor scenery can be slightly higher. However, it should be noted that after all, the scenery seen through the glass should not be too prominent and jumping, and its brightness and purity should be different from that of outdoor scenery. If the indoor lighting is fluorescent, you can draw with a duckbill pen, or as mentioned above.

The color of indoor scenery should obey the tone of the whole picture, and contain the components of the main tone to make the whole picture harmonious. For example, fluorescent lamps should not use pure white, but use cold gray or warm gray with higher brightness according to the color tone of the picture.

When painting indoor scenes, we should pay attention to the perspective relationship and use color changes to express the distance relationship.

The painting method of colored transparent glass is basically the same as that of colorless transparent glass, but the tone tendency is more clear. For example, blue glass is painted with blue, dark blue, purple, ochre, coal black and so on. And the indoor scenery should also be shrouded in blue tones; Brown glass is commonly used in ochre, cooked brown, pure blue, dark blue and medium; Brown glass is usually coated with ochre, ripe brown, pure blue, coal black and so on. And the indoor scenery should all be shrouded in a tan tone.

Black glass looks quite dark from the outside, and the indoor scenery is almost invisible, only the indoor lights are faintly visible. Therefore, when painting black glass, except the lighting, other indoor scenery is basically not painted, and the brightness of the lighting should be lowered. When drawing black glass, it is not advisable to use coal black, but very dark warm ash or cold ash. When drawing black glass, we should also pay attention to the reflection of the glass, and determine different degrees of reflection according to different light angles, thus changing the color.

Mirror glass is a new building material, and as a curtain wall, it is a new architectural vocabulary. Mirror glass has strong reflection ability. When expressing this material, it is basically not to draw the indoor scenery, but to draw the image of the surrounding environment on the mirror glass. If it is semi-transparent and semi-reflective glass, sometimes some indoor lighting can be painted in the dark part of the low-rise building.

The sky image on the mirror glass can be colored with watercolor pigment or gouache pigment. Other scenery images are generally colored with gouache pigments, and other scenery images are generally expressed with gouache pigments.

Because the image of mirror glass curtain wall reflects the opposite scene, and the illumination angle of sunlight on the opposite scene is different from the direction of the building, the color of the image should be distinguished from the background, not the same color, otherwise the building will become an empty shelf composed of window frames.

Because it is difficult to avoid errors in construction, the reflection angle of a single glass is often different, and randomly changing the color of several glasses at the edge of the image will increase the realism of the building. As for the painting method of gold mirror glass or silver mirror glass, it is the same as the above method, as long as all glass surfaces are covered with gold or silver gray (cold gray) tone images.

(2) window frame coloring. Window frames used to be made of wood, but now they are mostly steel window frames, aluminum alloy window frames, stainless steel window frames, stainless steel window frames and so on. Aluminum alloy window frames are widely used abroad. Generally, aluminum alloy window frames are often used in the standard layer, and more advanced stainless steel window frames and door frames are used in the bottom layer.

The color of steel window depends on the paint color, but the color change under different light should be taken into account. The sun is warmer, the brightness is higher, and the shadow is colder and the brightness is lower.

Aluminum alloy window frames have many colors, such as silvery white, light ochre, dark ochre and ripe brown.

The color of stainless steel is painted with warm and cold tones, but they are all light. The color of aluminum alloy window frames is also very light, mainly white, and two or three colors can be mixed.

Window frames can be painted with duckbill pens, brushes and rulers. Although the former is slow, the lines are smooth, which is suitable for expressing the hard and smooth texture of aluminum alloy or stainless steel window frames.

The window frame should be painted with the innermost line first, and then painted outward layer by layer. For buildings with windows under walls or between walls, whether there are windows under walls or between walls, window frames can usually be drawn, and the redundant parts will naturally be covered when painting the walls. The color change of window frame should be unified with the color change of glass to enhance the overall feeling.

(3) Exterior wall coloring. Exterior wall materials are generally hard and thick, and gouache pigments are usually used to express this feature.

When the exterior wall is colored, we should pay attention to the big tone relationship that should be coordinated with the overall picture. It is a simple method to add a proper amount of background pigment to the paint on the wall, which can achieve a harmonious effect.

Generally, the wall painting program starts with the bright surface, then paints the gray surface and the dark surface, and finally adds highlights and shadows. Shadows are usually drawn with negative images first, and then cast shadows. Generally, negative surfaces are brighter than shadows.

The color of the wall should be changed according to the spatial relationship. The general rule is that the near wall is warmer, brighter (light wall is the opposite, dark wall is the opposite), with higher purity and stronger contrast, especially the wall in key parts; On the other hand, the distant wall is colder and darker (the light-colored wall is square, but the dark wall is the opposite), and the purity is lower, but it is weaker. There is no need for uniform blooming for color change, only a large color block change is needed. Each color block only needs to be drawn flat. The edges of color blocks should be patchy, and the overlapping parts of color blocks should not be neat, otherwise it will be too dull.

There are many external wall materials and various processing methods. Different materials have different colors and textures, so architectural renderings should show these material characteristics appropriately.

The main wall materials are: concrete, stone, spraying materials, tiles, brick walls, aluminum alloy materials, stainless steel and so on. Here are their characteristics and performance methods.

Concrete products: neutral warm color or neutral cool color system can be used for coloring. The concrete products without decorative surface are rough and have traces of plate joints. In order to show this texture, you can gently add some straight lines with pencils or colored pencils on the gouache background.

Stone: There are many kinds of stone, such as granite, marble and artificial stone. The color and texture of stone are often different from place of origin. Polished granite and marble are polished smoothly by light method, which can vaguely reflect the opposite scenery and have strong highlights. After cutting three long and two short, the surface is rough, the reflective ability is lost, the surface transition is clear, and there are more intermediate tones. The surface of the gravel is uneven. Strong sense of volume. Small-scale stone walls only need to draw some stones on some walls, but pay attention to the big colors. Large stone walls often need to draw the volume of shadows in stones, crevices and even crevices. The texture of marble can be drawn with colored strokes.

Sprayed wall: The painted wall is generally lighter in color, and the surface is rougher than marble. After painting the background color, you can use a brush, pencil or colored pen to express its texture in any place.

Brick: Bricks can be divided into glazed tiles and plain bricks. Glazed tiles have smooth surface and strong reflectivity, which can weakly reflect the image of adjacent buildings and change the brightness of wall color. Plain brick is dull and weak in reflection. If the wall is colored according to the material sample, the color purity will be lower than that of the sample, but the brightness will be improved. This is because a small area of color blocks and a large area of color blocks give people different feelings.

Generally, tiles are flat-seam. White with a small amount of tile color can be used for picture tile seams. Adding the color of the tile joint to the background color will improve the brightness of the color. Consider this factor when drawing the background color.

Brick wall: Brick wall has rough surface and uneven color. When drawing a brick wall, you can sew it with colored pencils. When drawing bricks, you should add several other colors to the color of bricks to draw some bricks, so as to increase the realism of brick walls.

Aluminum alloy material: the aluminum material is smooth, hard and accurate, and the duckbill pen should be used to draw lines at the turning point to highlight its bright spots. There are many kinds of aluminum alloy materials, varying in weight, and most of them are warm.

Stainless steel: the reflection and high light of stainless steel are stronger than that of aluminum, and the color can be painted neutral and warm or neutral and cold.

(4) road coloring. In appearance rendering, the road or ground is essential, which supports the building. Traditional painting always fills up the picture, and as a result, an impossible square often appears in front of the building, which weakens the realism of the environmental atmosphere. Modern gouache rendering technology generally does not fill up the picture, but cuts off the road or ground machine, which saves trouble and makes the environment more realistic.

If the renderings are painted on colored paper or painted with watercolor pigments, the ground and pavement are generally painted with watercolor pigments. The former is colored with watercolor pen or chalk, and the strokes should be left on colored paper.

The tone of the ground or pavement should be coordinated with the tone of the building, and attention should be paid to the change of hue, lightness and purity of the color to express the sense of space. In order to make the picture vivid, some reflections of buildings on the ground or sidewalks are often drawn.

Vehicle dividing lines, crosswalks, pavement dividing lines, ruts, etc. where vehicles often pass on the road should be drawn with high-brightness lines, but not with pure white, otherwise it will be too prominent.

According to the needs of the picture, draw the outline of the scene (people, cars, trees) with a pencil to prepare for the color of the scene.

⑤ Matching the coloring of the scene. The coloring of matching scenes mainly includes the coloring of people, cars, trees, sky, clouds and mountains. The requirements and principles of scene matching have been introduced before. Here, I mainly talk about the matching and coloring procedures in modern gouache rendering techniques.

The coloring procedure of characters is as follows: ① Draw the whole head of a person, regardless of hair and face, and use dark ochre. If the apparent horizon is at the eye level, the human head should be at the eye level or close to the apparent horizon. ② The color purity of clothes drawn in different colors can be slightly the same. ③ The exposed parts of limbs are mainly colored in white, with a small amount of cinnabar and ochre added. If the characters go deep into the picture, there is no need to add faces. If your face is facing forward, point out the facial color on the dark ochre of your head with the color of your limbs. (4) Add the shadow of clothes and the shadow of clothes on the legs to strengthen the sense of volume of the characters. Draw figures' shadows on the ground.

Cars are the most commonly drawn in architectural renderings. The car has the characteristics of accurate processing and straight line driving. When drawing a car body, you should use a ruler or ruler. The specific drawing steps are as follows:

① Draw figures, seats, steering wheel and the interior of the car body that can be seen through the glass with dark ochre Gapp blue, draw wheels with dark ochre and coal black, and draw a cinema with cars on the ground.

(2) Draw glass with white and a little dark blue or cobalt blue diluted, and the color is very thin and bright. After the glass is painted, the interior scenes drawn in the program (1) should be clearly visible and cannot be completely blocked, so these scenes will enter behind the glass.

③ Design the body color according to the picture requirements. The paint surface of the car body is bright and reflective, which is not suitable for flat coating. Make some simple changes with brush strokes to show the reflection effect on the surrounding scenery.

Draw the reflection of window frame, air intake, bumper, headlight, door crack, handlebar and car body on the ground.

Coloring procedure for trees. Foreground trees are often colored with watercolor pigments, with cold colors, high brightness and low purity. But it should be noted that the contour line should not be too rigid. The tree in the middle scene is the most important thing to set off the atmosphere of the picture, but it should not be too realistic. To sum up the colors, you can generally use four gray-green colors with different lightness. Gray-green can be adjusted by general blue, orange and white, and a small amount of green can also be added.

Draw trees with ripe brown and white.

Draw a crown shape with the second brightness of gray-green color.

(3) Use the grayish green with deep third brightness to describe the crown volume.

(4) draw the shadow sum with the dark gray-green with the fourth brightness.