How to draw a Human base on foreign planet with Tria ... - Letraset

<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet
with Tria Markers
Welcome <strong>to</strong> Letraset’s ‘<strong>How</strong> <strong>to</strong> Draw’ Tu<strong>to</strong>rials
by Jan Kowalewicz
Use the navigation but<strong>to</strong>ns at the bot<strong>to</strong>m of the screen <strong>to</strong>
move through the tu<strong>to</strong>rial.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
A general note.
We divide the process of <strong>draw</strong>ing in<strong>to</strong> three phases. The first phase
is <strong>draw</strong>ing everything linearly. In this phase we decide where all the
objects are, we set the composition, the frame and the centre of the
<strong>draw</strong>ing. The second phase covers making all the details, the third
– the shadows. <strong>How</strong>ever, in case of <strong>draw</strong>ing as complicated picture
as shown above, we don’t stick <strong>to</strong> this process <strong>to</strong>o accurately, after
the linear phase is <strong>draw</strong>n. It is because <strong>draw</strong>ing such a wide variety of
things is hard <strong>to</strong> plan and, in fact, it is not necessary <strong>to</strong> do so.
<strong>How</strong>ever, when we plan a <strong>draw</strong>ing, we have <strong>to</strong> remember about a few
features which are significant for a good composition. These are:
light, contrasts and air space.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
A general note.
Light.
We have <strong>to</strong> think where the source of the light is. We never <strong>draw</strong> objects
along the line of the light. In such a case the picture becomes flat and
lacks of depth. In the picture it is contrastive and full of deep shadow
because of the diverted terrain. Except the situation when we <strong>draw</strong>
against the light, one side of the picture is always in deep shadow while
the opposite is in a glare.
Air space
To show the environment of the planet we have
<strong>to</strong> set wide view frame. We do this by setting
the horizontal line higher then the average and
by placing the <strong>base</strong> in the crater or a valley. It is
important <strong>to</strong> show many different ground sections
as well as harshness of the alien-terrain.
Contrasts
Contrasts in the picture give the observer dynamism and tension.
Moreover, contrasted objects look stronger. For example we use such
contrasts as:
- openwork – solid
- horizontal – vertical – diagonal
- dark - light
- sharp – smooth (texture of objects)
- heights – depressions
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The first phase.
Because <strong>draw</strong>ing by markers is a wet and transparent technique we
generally saturate the picture from the lightest <strong>to</strong> the darkest hues.
The picture below is <strong>draw</strong>n by CG 09 Tria Markers.
The first stage of <strong>draw</strong>ing includes:
1: a line of the horizon
2: lines of mountains
3: a draft of all main objects
Pic.01. The first step – set the horizon line and the composition; CG 09 Tria Markers.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The first phase.
If we are <strong>to</strong> <strong>draw</strong> any scenery or a landscape, it is crucial <strong>to</strong> start with
the horizon line (pic.01). In case of the horizontal frame, we usually
<strong>draw</strong> the line in 1/3 of the paper sheet. The higher you <strong>draw</strong> the
line, the more of the terrain you have <strong>to</strong> fill with rocks, plants etc.
Because of the specific environment of foreign planet it is reasonable
<strong>to</strong> <strong>draw</strong> the line a bit higher. That gives us opportunity <strong>to</strong> show the
differences between the Earth and the planet.
Pic. 02. Contrast of horizontal and vertical lines
The picture is <strong>draw</strong>n as if the observer would be standing on the
hill, next <strong>to</strong> the astronauts. In case of this picture, the horizon line
goes through any object that is on the same level as an observer.
Everything what is above this line is higher than the observer;
everything that is below – is smaller or lower.
As it was mentioned above, it is important <strong>to</strong> put in<strong>to</strong> the
composition many contrasts. In the picture adjacent (pic. 02.) the
horizontal and vertical lines are given.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The first phase.
Moreover, the next picture (pic. 03.) shows contrasts of heights and
depressions both in foreground and in the background.
Those contrasts give us a feeling of a strong tension in a
composition. These effects will be strengthened by the contrasts of
light.
Pic. 03. Contrast of heights and depressions
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The first phase.
In further process of saturation we get further contrasts – light and
textures of the materials. As it was mentioned above, linear <strong>draw</strong>ing
has <strong>to</strong> be finished before the details and the shadows are given.
Therefore, we saturate the picture setting more or less all the objects
(pic. 04.).
Pic. 04. Saturating linear <strong>draw</strong>ing by CG 09 and 06 markers
It is important in such a theme <strong>to</strong> <strong>draw</strong> many different machines and
buildings which suits the roughness of the environment – vehicles,
various broadcasting devices, hangars, covered roads, flying ships,
fac<strong>to</strong>ry chimneys etc. The human figures ought <strong>to</strong> be equipped for
space travelling <strong>to</strong> enhance the effect of inaccessibility and even
hostility of the planet.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The first phase.
Just before the end of the first phase we <strong>draw</strong> a line (CG 02 marker)
which separates sky from the rest of the picture (pic.05.).
That is the end of the first phase. We have almost all the objects set.
The frame and the composition will not change any further.
Pic. 05. Separating line (CG 02).
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
The first thing that the observer notices is that there are many
things going on. There are a few space crafts, large off-road vehicle,
two astronauts setting the aerial, several chimneys exhaling fumes
etc.
Pic. 06. setting the centre of the picture.
Therefore, the first thing we need <strong>to</strong> do now is making a decision
where the centre should be. It is not strict geometrical middle of the
paper-sheet. <strong>How</strong>ever, it is near <strong>to</strong> it. The centre of the picture is the
place where the sketch is most condensed with lines, most <strong>draw</strong>n
and, at last but not least, where the observer has <strong>to</strong> look first (pic.
06.).
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
From now on, we saturate the picture with more and more details
and lines up <strong>to</strong> the darkest hues of colour we use according the
following scheme.
Pic. 07. Drawing the sky – wide tip of very wet CG 02.
We start with CG 09 and CG 06 markers which we put on the whole
picture with more or less the same intensity. Than we use darker and
darker hues on more and more concentrated space of the picture.
Due <strong>to</strong> the composition we can distinguish three grounds – far
background (mountains), middle ground (close mountains, crater)
and foreground (astronauts, vehicle and aerials). To make the
<strong>draw</strong>ing simple and planned we divide the process of <strong>draw</strong>ing more
or less in<strong>to</strong> the four stages: <strong>draw</strong>ing the sky, the background, the
middle ground and the foreground.
After the first phase (linear <strong>draw</strong>ing) we <strong>draw</strong> the dark night sky (pic.
07.) using very wet CG 02 marker. To enhance the effect of hostility
of the planet we do not <strong>draw</strong> any atmosphere so the sky is dark even
at noon.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
For now, the sky looks a bit odd because of the strips, but we fix this
later on. From now on, we <strong>draw</strong> the picture from the background <strong>to</strong>
the foreground. We do it in that manner <strong>to</strong> avoid the mess which
would occur in case of <strong>draw</strong>ing such complicated picture hue by hue.
Therefore, we <strong>draw</strong> the far background mountains using CG 06 for
details and shadow on the right firstly, and CG 09 for their surfaces
(pic. 08) secondly. This sequences of marker usage smooths out the
contrast of hues what is important in the far background objects.
Pic. 08. Drawing and saturating the far background mountains – CG 06 and CG 09
As we can see in the picture below, it is possible <strong>to</strong> add few elements
<strong>to</strong> the composition. This fact shows us that whatever we <strong>draw</strong> using
CG09 marker it may be over<strong>draw</strong>n with darker hues and disappear.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
The next thing we <strong>draw</strong> is the middle ground (pic. 09.). We add
details and shadows using CG 04 marker while CG 06 is used for
smoothing out the surfaces of the mountains and buildings. At
this stage, the CG 04 marker is also used <strong>to</strong> bring out few details
<strong>to</strong> the foreground. It is also used <strong>to</strong> give shadow <strong>to</strong> the figures of
astronauts <strong>to</strong> set the light in it. It is important <strong>to</strong> do so, because we
can easily over<strong>draw</strong> some places in the foreground unintentionally,
that are <strong>to</strong> be left white and shiny.
Pic. 09. Drawing and saturating the middle ground mountains CG 06 and 04.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
It is the time <strong>to</strong> <strong>draw</strong> the main shades and shadows as well as
saturate the closer middle ground (pic.10.). To give a strong tension
and atmosphere of the harsh environment, we <strong>draw</strong> long shades from
the mountains on the right.
Pic. 10. Shadows and shades; details of closer middle ground; CG 04 marker
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
The background and almost whole middle ground is now finished. As
we can see above, there are fumes coming out of the chimneys and
jets of the space crafts. This effect is achieved by taking advantage
of the BL marker (Blender). It dissolves and dilutes ink from the
marker. The things which are not finished in the middle ground are
the details of the valley.
Pic. 11. Darkening the sky (CG 01); <strong>draw</strong>ing the fumes (BL)
<strong>How</strong>ever, before that, we are darkening the sky which became <strong>to</strong>
light in process of the saturation with darker and darker hues. For
that we use CG 01 markers wide tip (pic.11.). Unfortunately, no
matter how wet is the marker, we cannot avoid strips in this <strong>draw</strong>ing
technique. Therefore, it is crucial <strong>to</strong> <strong>draw</strong> these surfaces with parallel
lines instead of chaotic ones. Large surfaces <strong>draw</strong>n chaotically give
real mess <strong>to</strong> the picture, so we try <strong>to</strong> avoid them.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
Thereafter, we focus on the foreground. Using marker CG 01 we
<strong>draw</strong> all the details (pic.12.).
Pic. 12. Details on the foreground – CG 01
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The second phase.
Then, using CG 02 marker we put the details in the middle ground,
and stains of shadow and shades in the foreground (pic.13.).
Pic. 13. Details in the middle ground; stains in the foreground (CG 02)
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
The final phase.
The last thing is <strong>to</strong> saturate the foreground with few final details and
stains using CG 01, mainly in the centre (pic. 14).
Pic. 14. Final details and saturating the Foreground; CG 01 marker.
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<strong>How</strong> <strong>to</strong> <strong>draw</strong> a <strong>Human</strong> <strong>base</strong> on foreign planet: by Jan Kowalewicz
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