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| Rendering with Marker and Airmarker |
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1: The Underlay
The line work can be either pencil or pen but should be dark enough to show through a piece of marker paper or vellum when placed underneath. The view chosen should clearly show the main design theme, in this instance the chrome strip running along the shoulder of the car.
Lighting and colours
Before starting the rendering try to visualise the finished sketch and decide upon the position of the light source. This will determine which surfaces are in shadow and where the highlights will fall.
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2: Marker
Secure the underlay in position and lightly trace the line work for the wheels and glass areas (DLO: daylight opening). Use either biro or pencil, but choose wisely, some brands of marker will pull the colour of the pencil and make biro lines bleed. So practice on a scrap of paper to ensure your mediums are compatible. Always apply the lightest colour first adding darker shades to create more depth (note: 2 or 3 shades of one colour can be achieved simply by going over the area with the same marker). For reflective surfaces such as glass allow the marker to dry before applying additional layers of colour. This will create more contrast, a characteristic of highly reflective materials. For non-reflective areas such as tyres it is better to keep the colour edge wet while applying darker shades creating a much softer tonal transition.
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3: Graduated tones - Airmarker/pastel
Air marker is a cheap, quick alternative to an airbrush. Colour is applied by spraying air across the tip of the marker, creating a targeted mist of ink. Shaved pastels give a similar effect. However, air marker is quicker, creates more intense colour and eliminates the hassle of trying to colour match pastel to the marker as the same marker can be used to apply both flat colour, as well as the graduated tones of the air marker. Place low-tack masking film over the entire drawing and with a scalpel carefully cut around the DLO and wheels. Although different colours will be applied to the two areas the distance between them is sufficient for them to be rendered simultaneously without any overspray from one area affecting the other.
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4:
Here all of the masking film has been removed and the drawing can be assessed more clearly. If the graduated tone is not dark enough, re-position the mask and add more colour. Alternatively progress to the next step.
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5: Body colour - marker
The technique is identical to that used in stage 2. Remember, always lay down the lightest colour first and because the bodywork is glossy let the marker dry before adding darker tones to create more contrast. This will give the impression of reflections in the paintwork. To achieve a crisp edge it is better to apply the marker in quick strokes – too slow and you will get a wobbly line. Practice first holding the marker just above the paper; only applying the colour when you feel confident your hand is following the line on the underlay. Your confidence will grow with practice. Don't worry if the marker bleeds or the line is wobbly – use a similar colour pencil and a flexi-curve to tidy it up.
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