Artistic Rendering Techniques - Essay Example

Artistic rendering techniques OUTLINE Artistic rendering techniques Rendering can be described as the means or process of formulating, adding color, texturing, as well as shading of an image Colored pencil Colored pencil can be described as one of the most important strokes that are useful in artistic rendering. Cutout The Cutout effect is an important artistic rendering technique. Neon Glow Neon glow is extremely important when it comes to colorizing as well as softening the image. Poster edges The poster edges often finds edges and draws black lines all around the central image. Watercolor The watercolor technique in artistic rendering is often achieved through the use of the watercolor pencil. Artistic rendering techniques Rendering can be described as the means or process of formulating, adding color, texturing, as well as shading of an image. Rendering at times is also used to describe the quality that exists in the execution of that process. Rendering has been use for a long time when it comes to designing packaging as well as branding. For the photorealistic rendering styles, the emphasis of the portrait is often on the accurate reproduction of light as well as shadow on the surface properties of the depicted objects, generic qualities and their consequent composition. There are several artistic rendering that exists; they are responsible for determining how color is adjusted, how the image can be made more visible and whether to make the photo realistic or unrealistic. It is imperative to understand that in order to render, one must first apply different attributes such as stroke, colors, clipping paths as well as patterns that will ultimately define the output. The artistic rendering often helps when the output painterly as well as artistic effects that allows for artistic interpretation (De, 2010). Artistic rendering often adds texture to the images and in many cases it is often used to create fine arts or even at times hand drawn looks. Colored pencil Colored pencil can be described as one of the most important strokes that are useful in artistic rendering. It is often advised for one to explore using colored pencil mediums before entering into major drawing. The most fundamental of all colored pencil strokes is the simple side to side shading. With practice, the marks can be kept straight. The colored pencil is important as it often gives a rough cross hatch appearance (De, 2010). It is, however, imperative to understand that one might either decide to side shade or tip shade depending on the effect that is wanted. Shading with the side of the pencil is often useful when one wants to create what can be described as soft, even toned shading that is grainy. However, the tip shading creates a tonal range that is more limited, in fact, when one is shading with the tip of a sharp pencil, one can be able to achieve a much richer and denser layer of color. Further, with this type of shading the grain often appears to be finer. Another style that exists within the colored pencil technique is hatching; this includes rapidly applying color and then creating direction and texture using the colored pencil (Robins, 2003). Hatching in many cases is often used in one direction; however, there are times that one can follow the contours that exist on the surface in order for it to help him or her create a sense of volume and form. With hatching, slight variations do not look dramatic; with it one can be able to vary line weight by lifting the pencil in order to create what can be described as a well toned graded effect. This is important as it ensures that the portrait looks well toned and professional. The line weight should always be observed as it is the one that creates depth when it comes to the portrait. Cutout The Cutout effect is an important artistic rendering technique. This technique often makes an image look like it was made from different cut pieces of colored paper (Gooch, 2001). Crosshatching is often used in order to achieve this effect. Crosshatching can be described basically as two layers of hatching that is drawn at right angles. This cutout effect is a very useful technique that exists in colored pencil drawing. This is because one can be able to color different section different colors as well as create a darker area within each layer of hatching in order to create a visual blending effect of two different colors. Further, in order for one to emphasize the cutout effect, one can create different and diverse textured effects by effectively adding second layers at slightly different angles. Symmetry is extremely important in this technique and consequently there is a need to ensure that all the sides of the picture are balanced and especially the ‘supposed’ cutouts. Without this, the image will look jumbled up and might appear amateurish. Further, another technique can also be used by layering sections at different and random angles. In order for one to achieve cutout, there is a need for one to experiment with line weight (this is how one presses hard the pencil), sharpness, spacing as well as color (Gooch, 2001). In order to achieve a better and well toned effect, there is a need to use a coupled of layers as compared to multiple layers. This will ultimately help in achieving a cutout effect and interesting pictures. Neon Glow Neon glow is extremely important when it comes to colorizing as well as softening the image. It is important to understand that scumbling with the colored pencil in many cases often achieves the neon glow effect. The colored pencil scumbling can be described as a method by which one shades using tiny circles. The texture that is created often depends on the pressure as well as the size that was used in the drawing of the circles. Using this technique one can be able to create smooth finishes or at times rough as well as energetic surfaces (Geng, 2010). Scumbling in many cases can be used to layer a single color with different alternating colors. This effect is important as it is the one that eventually contributes to the neon glow effect in the artistic impression. With the neon glow effect, one can be able to create a more concave or convex texture, further, using a sort of figure eight or even a times daisy shaped scribble and spidery lines, one can be able to create random dark patches. This is frequently used when it comes to the drawing of glowing substances such as the skies or even at times a more organic looking surface. Directional marks are also important in this technique; they are marks that follow a contour, or at times the direction of hair, grass or any other surfaces (Geng, 2010). It is extremely important as it helps in ensuring that one can be able to efficiently create a densely overlaid textural effect. The directional marks are often short as well as broken in a bid to create a continuous and flowing texture depending on what the artist is aiming for. The directional marks that exist are often used subtly; they are overlaid even when shading is present. The directional marks are pivotal when it comes to the creation of the neon glow effect. Poster edges The poster edges often finds edges and draws black lines all around the central image. The poster edges often have energetic lines that can be said to capture the essence of the subject with a few strokes that are fast. The poster edges have to be drawn in fine lines using wither tip shading or side shading. Their texture should be deep and this should be evident from the way they are drawn. Further, just like the cutout technique, symmetry is of huge importance in this technique (Fitch, 2009). Symmetry is important as it helps in the creation of balance, further, it is also important as it helps in the distribution of the picture in a way that appears to be logical. The poster edges technique is a step by step process that helps in the converting of the drawings into portrait like images by use of blend modes, layer opacity as well as filter in order to achieve results. Watercolor The watercolor technique in artistic rendering is often achieved through the use of the watercolor pencil. The color pencil is water soluble and it is often able to draw fine details as well as blend them with water. This technique is in fact one of the oldest when it comes to artistic rendering. The watercolor pencil is often chooses because it is able to quickly cover a large surface. Staining, granulation and flocculation are some of the ways in which this technique is achieved. Staining in many cases does not allow the paint to be removed once it has been applied or dried. However, there are less staining colors that can be lightened or removed completely when they are wet. Granulation often refers to appearance of separate and visible pigment particles that exist in finished color. They are often produced when the paint that is being used has been substantially diluted with a lot of water and a juicy brush stroke has been applied (Leggitt, 2013). The pigments are often notable for their watercolor granulation and they are often used in the creation of ancient images. Flocculation on the other hand, involves the peculiar and irregular clumping up effect. These effects often display the subtle effects of water when the paint eventually dries. They are often unique to watercolors and they are often deemed attractive by many accomplished watercolor painters. However, one can also suppress the pigment textures in a bid to create a homogenous flat color images. References Leggitt, J. (2013). Drawing shortcuts: Developing quick drawing skills using todays technology. Hoboken, N.J: Wiley. Geng, W. (2010). The algorithms and principles of non-photorealistic graphics: Artistic rendering and cartoon animation. Berlin: Springer. Gooch, B., & Gooch, A. (2001). Non-photorealistic rendering. Natick, Mass: A K Peters. De, J. R. (2010). SketchUp 7.1 for architectural visualization: Beginners guide : create stunning photo-realistic and artistic visuals of your SketchUp models. Birmingham, UK: Packt Pub. Fitch, R. W. (2009). The power of diversity and its connection with wealth: An artistic rendering. Denver, Colo. Robins, C. (2003). The art of figure drawing. Cincinnati, Ohio: North Light Books. Read More