Assignment 3

ASSIGNMENT 3 MARIA DEL CARMEN CORRAL LODEIRO 72546664 BRITISH ACADEMY OF INTERIOR DESIGN

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RENDERING

photos by @melacorraldsgn

MATERIALS Water-soluble and aquarellable pencils (Caran d´Ache & Faber Castell Albrech Durero).

Derwent Drawing colour pencils Graphite aquarellable pencil 8B. Pencil 2B Promarkers Molotow Sketch markers

Canson Illustration Paper A3 250 gr Canson Bristol paper A3 250 gr Créa A3 paper 180 gr Schoelleshammer Lay-out paper 80 gr (special marker) Créa tracing paper 70 gr Aquarelle brushes Copies from Ass. 2 plan and elevation A3 1:50 and 1:20.

Faber- Castell Artist Pitt Markers White ink highlighter Staedtler pigment liners (various)

Sketchbook YouTube.

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COLOUR PENCIL RENDERING

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1:50 A3 printed floor plan detail Colour pencils rendering.

Paper A3 120gr

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1:50 A3 printed floor plan Colour pencils rendering. Shades made by layering colours Paper A3 120gr

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1:50 A3 printed floor plan Colour pencils rendering.

Shades made by layering colours Paper A3 120gr

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1:50 A3 printed floor plan detail Colour pencils rendering. Shades made by layering colours Paper A3 120gr MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Quick test on 1:50 elevation.

Colour pencils rendering. Shades made by layering colours Paper Lay Out A3 80gr MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Testing pencils on Paper Lay Out A3 80gr Colour pencils rendering. Shades made by layering colours

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Testing pencils on Paper Lay Out A3 80gr Colour pencils rendering. Shades made by layering colours.

Detail.

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Testing pencils on Paper Lay Out A3 80gr Colour pencils rendering. Shades made by layering colours.

Floor texturizing detail.

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After testing on 1:50 scale printed papers, and in order to get a more delailed drawing, I redrawed designs into 1:20 scale.

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Testing pencils on Multitehnic A3 180gr Colour pencils rendering. Shades made by layering colours.

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Testing pencils on Multitehnic A3 180gr Colour pencils rendering. Shades made by layering colours.

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MARKERS RENDERING Brushmarkers, Promarkers and pigment liners have been used for rendering the following draws.

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T Testing marker on photocopied 1:50 plans. paper 120gr.

My first attempt to mix colours. (tried to mix Brushmarkers & Pitt in a thin paper #EpicFail)

Photocopies on A3 120 gr.

Marker bleeding through.

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T Testing marker on photocopied 1:50 plans. paper 120gr.

2nd attempt. This time I use different tones only for the rug.

Rug lines made with Pitt FC.

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T Brushmarkers & Promarkers on photocopied 1:50 plan. paper 120gr.

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T Brushmarkers & Promarkers on photocopied 1:50 elevation. paper 120gr.

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Same bleeding through result.

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PAPER, PRINTER, DÉSOLÉ.

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T Testing Lay-out marker paper 80gr.

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Promarkers Lay-Out Paper 1:50 MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Promarkers Lay-Out Paper 1:50 MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Detail from pag. 28 rendering.

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Hand drawn 1:20 floor plan Brushmarkers & Promarkers rendering. Bristol A3 250gr MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Hand drawn 1:20 floor plan Pigment liners shading & outlining Bristol A3 250gr MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Hand drawn 1:20 elevation detail Pigment liners shading & outlining.

Canson Illustration Extra white 250gr.

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Hand drawn 1:20 elevation Pigment liners shading & outlining Promarkers & Brushmarkers rendering.

Canson Illustration Extra white 250gr.

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Hand drawn 1:20 elevation detail.

Pigment liners shading & outlining Promarkers & Brushmarkers rendering.

Canson Illustration Extra white 250gr.

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Hand drawn 1:20 floor plan Pigment liners shading & outlining Promarkers & Brushmarkers rendering.

Bristol A3 250gr MARIA DEL CARMEN CORRAL LODEIRO 72546664

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Hand drawn 1:20floor plan details Pigment liners shading & outlining Promarkers & Brushmarkers rendering.

Bristol A3 250gr.

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MIX & MATCH The following drawings have been made by layering pencil or watercolor pencil (dry) over promarkers and brushmarkers. All available kind of paper has been used to test how result looks like.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper white A3 120gr.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper white A3 120gr.

Detail

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper Lay out A3 80gr.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper Lay out A3 80gr.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper Lay out A3 80gr.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Paper Canson Illustration 250gr

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OTHER TECHNICS See here my trials using watercolor pencils and brushes and a trial on tracing paper.

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Watercolour pencils & brush trials.

Illustration paper A3 250gr.

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Watercolour pencils & brush rendering.

Ink hatching for walls.

Illustration paper A3 250gr.

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Watercolour pencils & brush rendering detail.

Ink hatching for walls.

Illustration paper A3 250gr.

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As an experiment, and after visiting the Tomi Ungerer museum in Strasbourg, I wanted to try the markers on tracing paper. Many of the Ungerer illustrations are made on tracing paper with ink. So I drew on this paper the floor plan at 1:50 with pigment ink and on the reverse I colored it slightly to see the effect. Interesting, but I do not consider this technique as likely to present my projects.

Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Tracing paper A3 70gr.

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Promarkers & Brushmarkers rendering for base colors. Layered and burned pencil for textures and shades.

Tracing paper A3 70gr.

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@melacorraldsgn

THE FINAL CHOICE Finally, after having tried different techniques of coloring and shading, my choice is to use markers and colored pencils on bristol paper, which is soft enough to allow the tip of the marker to slide easily over the paper and thick to prevent the ink bleeding through the paper. Using free-hand inking technic on the pieces of furniture we avoid this plain and straight look of the original design in AutoCAD, more flat and schematic. With the help of the use of different black line thicknesses and the use of white highlighter, volumes, weights, textures are created and the incidence of natural light sources is indicated. I have chosen to represent both points of natural light, which come from the room through the glass door that separates it from

the living room, and from the terrace that overlooks the interiorcourtyard, after observing how the light strikes from both sides at midmorning. The paper rope seats of the chairs are lightly represented by very thin lines made with a 0.05 fineliner. Shading look lighter and more expressive when done with colored pencils (I have also used watercolor pencils in dry, depending on the need of the color to apply. A solution when not having all the colors in all the media), since using only the marker, and despite having made remarkable technical progresses from that first attempt, I find that the result is too flat if it does not rely on other techniques. So, and although I like the result of the shading based on ink hatching that I have done preMARIA DEL CARMEN CORRAL LODEIRO 72546664

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viously in the other two drawings (pages 34 and 35) and, even they have more to do with my drawing style, I selected this kind of colour rendering and shading technique because the final result looks cleaner and lighter, avoiding the comic-style drama effect given by the black ink shading.I have also decided to present the designs to the client in 1:20 scale, considering the actual small size of the room we are representing, the 1:50 scale greatly limits the possibilities of the drawing in terms of details. So now it is possible to show the textures of the wood and the seats of the chairs, the textiles, and to work the shades more in detail, showing a richer and fully detailed design and at the same time understandable by the viewer.

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TASK 2: STILL LEARNING

When designing an interior, particularly one that´s involved into a subdivision of an existing space, one word becames essential into the interior designer glossary, and it´s something that an student must keep in mind before starting to sketch and draw: measurements.

Decisions about the location and size of the new decorative elements depend on the existing space´s particularities. Many times, variations or unnaccuracies are very common when confronting paper and reality. So interior designer must pay attention carefully to record the space and its features into the more accurate and comprehensive way possible, taking notes or sketching separately in a larger size or scale some particular features than in a whole surface sketch could appear not as clear as desired. I´ve learnt the importance and advantages to take running dimensions to avoid the accumu-

lative error and the importance of represent it on the sketches as continuous measures, adding specific measures when needed, in order to make this first sketch comprehensible and easily readable when designing a first plan that will work as the base for developing design concepts. Also heights and widths in elevations must be carefully recorded, paying attention to the doors and windows opening directions (by using pointing arrows), taking notes on electrical fittings and window treatments, possible damaged surfaces or structures, or any remarkable feature, such as plaster ceiling fittings (when existing), or the existing shutter roller box that was finally removed in Assignment 2 plans. Additionally, making some hand free sketches on site about the existing espace, or taking pictures, or recording a video, is a good way to help the designer to record details to be remembered later. I´ve learn´t also that´s better to avoid the “artistic style” full of uncontinuous lines that I used on my room survey sketches in order to make them neat and clearer. Of course, every sketch or picture must be correctly tagged and referred to the sketches in room survey, so I´ve learnt how important is to follow a method when tagging pictures, sketches and notes, for putting them together later on.

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Adding imagery and annotations about the surroundings, building´s nature, the entrance and external features was very helpful to develope the style concept in Assignment 2, because the idea was to create an harmonic look inside-outside.

After the visit, the room survey and sketches, and reading the assignment resources, I was ready to start with first plan drawing. I have to say that I found some difficulties on representing the shutter box in the same plan, so I decided to create a new sheet with the reflective ceiling plan in order to not mixing different lines from doors and hidden ones from ceiling features, giving this way a neat look for the technical drawings.

When creating the sketchbook for assignment 2, I took a huge amount of internet pictures to illustrate inspirational ideas, pieces of furniture, fabrics, objects…Save, save, save the picture….but not the source. Referencing all of them was Hell on Earth, so I decided before resubmitting the assignment to do it without some of them, creating my own sketches to illustrate the same ideas. Looking for the source of the pictures was easy in some cases, but for some of them I had to do a reverse search, by uploading the image. This took me a long time. So, for future, I´ll be more careful and methodic when using media pictures, writing down (even in a napkin if neccesary) the website address. Lesson learnt.

I´ve learn how important is to record ideas into a sketchbook, and how helpful is when creativity muse flies around you and you are, let´s say, in doctor´s waiting room. I´ve had a lot of ideas that faded away like a cigarrete smoke in Hyde Park because I had nothing at this moment to write them down properly. May some of them were useless for the final design purposes, but I didn´t have the chance to try them. So, since learning process for every skills are based on “The Big Try and Fail Contest”, writing notes or sketching something that could work well (or not) when developing a design was a good advice I took for myself. Since then, my red notepad has become the new Must Have in my handbag beside my phone (battery doesn´t last forever). Also, I´ve learn how strong is the use of imagery, diagrams, notes, tags and drawings for helping to create and communicate something that at that moment only existed inside my mind. What appears crystal clear into designer´s mind has to be shown the same way to clients or design team, ideas must be shown in a comprehensive way and easy to follow by them. Visual communication is always better, faster and stronger.

Regarding to producing plans and elevations, I kept in mind the advice given in Assignment 1 mark sheet. “Not To Mix Hand Drawn And Computer Drawn Media”. So I decided to start learning AutoCAD .

Firstly, using the course materials, but I have to say that should be good for learning purposes to add a good and updated User Manual to the Additional Resources list. I´ve bought three books (On Amazon or Fnac reviews :“Essential”, “Complete”, “Ultimate”) and I don´t feel satisfied about their content. Most of my slight progress in AutoCAD and production of plans and elevation from Assignment 2 MARIA DEL CARMEN CORRAL LODEIRO 72546664

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were possible thanks to info given by blogs, Youtube, and webpages. Now, it´s easy to imagine how LONG it took to me to produce a set of plans, specially when AutoCAD glossary normally sounds like chinese to the unskilled, begginer student.

One of my favourite part of Assignment 2 was to look for samples.

I´ve found, by reading the Academy´s forum, some sites where it´s possible to order samples, but sometimes, leaving outside UK makes a little bit difficult to get them from there. Research on Internet and visiting some Ateliers de Decoration and specialized stores here around in Strasbourg solved this issue. Sometimes you can find fully detailed PSD samples in manufacturer´s webpage, but nothing compares to see and touch the texture of the sample, and how looks at natural, specially when we´re talking about fabrics. By confronting sample board with designs in sketchbook and plans it´s possible to show the clients a very close idea of final results.

Adding render to the plan and elevation in Assignment 3, fittings appeared well defined, and when confronting renders with sample board it´s easy to understand and imagine how the new design will be look like.

Rendering was a pleasent activity to me. Assignment 3 gave me the opportunity to rediscover my drawing skills and apply them to interior design. So, after my adventures in copy shop and fine arts store, I was able to produce a range of hand coloured renders. I´ve tested different kind of paper and different rendering means applied to Interior Design with heterogeneous results., and also which ones are more likely to be used by me according to my current drawing style.

Also I could check the visual strenght of different inking liner thickness, the impact of lightning representation and its difficulties when considering two different light sources and how the shades are displayed into the drawing. Pencils and markers were the chosen means by me to create assignment 3 renders. I could check the difference between marker tips and different brands. The same with pencils and watercolour pencils. I have to say that I´d really like to improve my watercolour rendering skills: a watercolour rendered plan looks wonderful. So i´ll put an special effort to work and improve this technic. Regarding to pastels, that feeling when scratching the paper was not comfortable to me, and the final effect, joint to my unskilled hand for them, was far away from what I wanted to show.

However, may be in a future I´ll consider to learn how to use them properly. Fine art materials are expensive, the markers are worn out quickly, and it is not easy to mix to obtain a homogeneous color. This is the reason why there is a great variety of colors in the pallets of the manufacturers. With pencils, watercolors and other means, this task is simplified, although the desired effect is not only dependent on the color rendering method, but also on the chosen medium.

Different techniques and media require different supports, and depending on the final aspect that we want to give to our designs we must investigate and try, until feeling comfortable with the chosen means and technics. Therefore is a good advice to make sure for the student or the professional what he/she wants to show and what will be needed for it.

In addition to these rendering methods, I´m starting on learning Photoshop and Illustrator in my laptop, as other software for tablets, such as Procreate, Shapr3D, and SketchUp. Of course I keep on MARIA DEL CARMEN CORRAL LODEIRO 72546664

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working on improving my AutoCAD knowledge. Despite of traditional rendering means are still a Must Have for designer, digital means are taking off on professional environment, meeting the requirements from job offers.

3D rendering skills and specialized software associated are the most demanded for public and enterprises to produce realistic models of spaces that, in many cases, exist only into a conceptual media, but they show such an amount of textures and lightning details that, only after a close an accurate view, can be identified as 3D models. This rendering software technics are able to really bring these first sketches made on a notebook to life, and give to the client the most accurate idea of proposed designs. So, regarding to commercial and professional purposes, software tools skills appear as essential into the Interior Designer curriculum vitae. But the most important point is never stop experimenting. As Francisco de Goya wrote and inmortalized in one of his works, “Aún aprendo”.

Still learning.

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