Jim Leggitt / Drawing Shortcuts

Visualizing Planning Concepts for a Small Town

 

In contrast to learning hybrid rendering techniques that merge hand drawing with digital imaging, it is equally valuable to know how to represent concept designs with quickly generated, simply delineated hand drawings! This master planning project involved a series of concept sketches that visualized different landscape and streetscape improvements for a small western town. Because of the wide variety of illustrations being reproduced in a planning document, I chose a consistent 7”x11” horizontal format for each drawing.

I developed a three-step drawing approach by first blocking out the perspective in red pencil on trace, then tracing over the mockup in ink and finally coloring a print with markers. I also used a very loose drawing style with informal diagonal hatching for each drawing. Planning ahead regarding format, drawing technique, illustrative style and coloring strategy allowed me to communicate many ideas with successful results in a short amount of time.

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A Three-Step Process

 

I used a Sanford Col-erase red pencil on trace to block out this scene of a community ball field. The pencil mockup was reviewed and approved by my client before continuing onto the next step. I traced over the mockup with a Staedtler Lumocolor F pen on trace adding more detail and content to the scene. All of my drawings were developed from imagination without any computer or photographic backgrounds. I copied the line drawing onto presentation bond paper and added color with Chartpak AD markers. Informal marker strokes reinforced the casual character of this and all other illustrations in the series.

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Alternative Design Studies

  

These four drawings visualize alternative design options for selected locations. For the waterside bike path alternatives, I drew one perspective view of the river’s edge and simply traced over it a second time changing the location of the bike and pedestrian pathway. The second pair of drawings represented landscape treatment options for the open space adjacent to a major highway.

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Different Drawing Subjects and Scales

Visualizing different planning concepts for a small rural town involved focusing on the downtown streetscapes, residential neighborhoods and commercial properties. I illustrated concepts for landscaping treatments, sidewalk patterns and relationships between the built environment and open space. None of my drawings were intended as specific design solutions but served to generate public interest about the possibilities for improving the overall character and quality of their small but growing town. 

Look for other interesting articles on my blog, visit my website www.drawingshortcuts.com and read my new book Drawing Shortcuts Second Edition. 

 

 

 

NEW! - The 2010 Blog Collection , a 116-page catalog of my best blog posts from 2010 is now available on Blurb!  http://www.blurb.com/bookstore/detail/1963744

 

SketchUp+Shaderlight+Marker = Hybrid Watercolor!

I’ve been learning how to combine Google SketchUp models, Shaderlight Photorealistic rendering software and hand drawing in what I call “Tradigital Imaging” i.e., merging traditional drawing techniques with digital tools to create hybrid visualizations. 

This step-by-step exercise was an exploration layering different visual elements together to achieve an amazing hybrid watercolor effect. This process was developed with three software programs: Google SketchUp (free version is OK), Shaderlight (a plugin for SketchUp, and Adobe Photoshop. I have added printing (standard ink jet printer) and a hand coloring step with Chartpak AD colored markers. Try this method of visualization and let me know if you how well you did as I am always looking to share new quick tips and digital techniques with others! All of the images below are cropped versions of the original composition.

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1- SketchUp Model                      2 - Export Edges

Step 1. I constructed a basic Google SketchUp with a mix of 2D and 3D landscape components. I adjusted trees to cast good leaf patterns across the deck and walls. The model was exported at 5000 pixels wide to maintain the high resolution detail and linework.

Step 2. I then turned off the sky, materials, shadows, ground and exported a high resolution (5000 pixels wide) jpeg of just the 3D model edges. The linework would eventually be added back into the composite image later in step 7 of the process.

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3- Export Shadows                     4- Shaderlight (SL) Rendering

 

Step 3. I also exported a high resolution image from the SketchUp model of just the shadows. This would be added to the composite image following the rendering process.

Step 4. Using the photorealistic rendering plugin for SketchUp named Shaderlight, I rendered the model view to capture the variable quality of light and shadows plus the rich color and reflections of the glass. Although the rendering was more than adequate to represent the scene, I chose to explore options for enhancing the image and improving the overall photorealism by layering in additional digital information.

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5 - SL Chalk Render                   6 - SL Draft Composite

Step 5. I rendered the SketchUp model a second time in Shaderlight using the “Chalk Render” option. This is referred to as Ambient Occlusion, which attempts to approximate the way light radiates in real life, especially off what are normally considered no-reflective surfaces. Notice how some of the landscape components look like folded paper. This was eventually corrected in Photoshop using a smudge to soften the geometry. Note: use high quality 3D landscape components when producing photorealistic renderings!

Step 6. I added the export shadows (3) and chalk render (5) to the Shaderlight Rendering (4) which increased the depth of the shadows. The cast shadows of the leaf patterns which were not present in the photorealistic rendering really improved the sunlight effect. Still, the image was missing some important linework and model edges around the windows and furniture.

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7- SL Final Composite               8 - Lighten Image and Print

Step 7. I added the layer of export edges (2) to the composite image and was very satisfied with the blend of photorealism and detail. Saving a jpeg copy I then proceeded onto the next step of image lightening and printing.

Step 8. I lightened the image by 25% in Adobe Photoshop and printed it 9”x16” on Epson coated bond paper using my Epson Workforce 1100 ink jet printer. 

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9- Colored Markers                     10 - Photoshop Watercolor

Step 9. I colored the print with Chartpak AD markers, dabbing color onto the print with informal and overlapping strokes. The imperfect marks from the color markers disguised the computer generated image giving it a softer and more hand drawn character. I also added some white highlights using a Prismacolor pencil. The pencil created informal line patterns to the landscaping, window reflections and top edges of furniture.

 

Step 10. I scanned the final colored print at 300dpi, adjusted the contrast and applied a watercolor filter in Adobe Photoshop. The resulting digital hybrid image has the wonderful loose character of a hand drawing, the appearance of a watercolor painting and has realistic shadows, reflections and architectural detail! 

Look for other interesting articles on my blog, visit my website www.drawingshortcuts.com and read my new book Drawing Shortcuts Second Edition. 

 

 

 

NEW! - The 2010 Blog Collection , a 116-page catalog of my best blog posts from 2010 is now available on Blurb!  http://www.blurb.com/bookstore/detail/1963744

 

Visualizing a School Safety Training Handbook

I recently completed a project in which I illustrated various scenes involving school safety planning and emergency response exercises. My drawings were used for a slide presentation and printed in a training handbook. Initial discussions with my client included visualizing different concepts with quickly drawn thumbnail sketches, refining ideas, image research and creating the final illustrations. The series of sixty images were all drawn with a Staedtler Lumocolor F pen on tracing paper with no image larger than 4”x5”. The project budget only allowed for black and white line drawings without any color.

I created the images from numerous sources such as drawing from imagination (which I call cartooning), tracing directly from photographs downloaded from the Internet, and combining sources to generate final images.

 

Thumbnail Sketches from Imagination

 

As I read the training document, I tried to visualize many of the elements found in the text. I quickly jotted down some “visual notes” that depicted school safety situations, groups of teams, actions and the many individual components that go into planning and implementing school safety training exercises.

 

Illustrations from Internet Sources

 

I searched “emergency response” on the Internet and found these photographs from a school safety training exercise (the victims were just actors). I lightened the images in Photoshop and printed them 3”x3” for tracing.

 

The line drawings were quickly illustrated using a loose diagonal hatching technique. I created a mix of compositions, some with frames and others without, maintaining a similar drawing style throughout the series of 60 subjects.

 

This drawing supported text describing how emergency response teams must learn how to interface with local media covering school safety events.

 

This drawing was traced directly from the reference photograph with only a minor change to the graphics on the helicopter. I used a simple diagonal hatching technique for the gray tones. Note: if you have trouble seeing detail while you are tracing from a photograph, illuminate the image by working over a light table.

 

This “cartoon diagram” visualized the complexity of coordinating a school safety training exercise where participants and agencies are communicating with each other. The drawings below represent the variety of drawing subjects and formats from the series.

 

 

This photograph was a valuable source for tracing the wheelchair. I modified the image by adding the elevator and second person to depict a school emergency situation that required a planning response.

 

Look for other interesting articles on my blog, visit my website www.drawingshortcuts.com and read my new book Drawing Shortcuts Second Edition. 

 

 

 

NEW! - The 2010 Blog Collection , a 116-page catalog of my best blog posts from 2010 is now available on Blurb!  http://www.blurb.com/bookstore/detail/1963744

Three Different Renderings from a SketchUp Model

 

I have taught students and professionals numerous visual presentation techniques ranging from traditional sketches and drawings to sophisticated computer hybrid methods involving 3D SketchUp models, Photoshop image manipulation and complex digital combinations of lines, textures and color.

The three renderings shown below were created from the same base SketchUp model and represent just three of many different visual outcomes. It is important to learn how to communicate your design with the most effective rendering technique that matches the project complexity, schedule, budget and client expectations. I did not explain any “step-by-step” approach to how I produced these images but would rather”why” each is a strong visual representation. 

1.SketchUp Rendering  2.Photorealistic Rendering  3.Hybrid Watercolor

 

Google SketchUp Rendering 

 

When creating a presentation rendering straight from a Google SketchUp model, pay close attention to all of the basic 3D components, model settings and exporting options. I carefully placed each plant, person, shrub, tree and furniture component in this composition. I rotated the sun angle to create an ideal shadow cast onto the columns from the overhead pergola. Shadow light and dark intensity was adjusted for optimum contrast and I exported a high resolution image 5000pixels wide (which equates to an image 250dpi x 17inches wide).

Note: this rendering option is quick and effective for concept design phases when the design is evolving.

 

Photorealistic Rendering

 

The lack of glass reflection and flat lighting characteristics of a standard SketchUp model can be overcome using a photorealistic plugin to SketchUp such as Shaderlight. The lines disappear and the overall image has a softer and more realistic character. This visualization method is quite popular but can be a detriment to the design process if utilized too early in the design process. Some clients may react with “the design looks finished and there is no room for change…”.

Note: Photorealistic renderings are most effective if the landscape trees and shrubs are well built 3D components. 

 

Hybrid Watercolor Rendering

This technique piggybacks onto the photorealistic option by using the same rendering with Shaderlight process, but “softens” the image with a layer of colored markers and digital filtering in Adobe Photoshop. I printed the photorealistic rendered image at a much lighter tone onto coated matte paper and colored most of the elements with very light Chartpak AD markers. The image was scanned at 300dpi and modified in Adobe Photoshop using the watercolor filter. Note: 

Note: This digital watercolor option has maximum detail from the SketchUp model, great lighting characteristics from the Shaderlight rendering process, and rich image character that you might encounter with a traditional watercolor. 

Look for other interesting articles on my blog, visit my website www.drawingshortcuts.com and read my new book Drawing Shortcuts Second Edition. 

 

 

 

NEW! - The 2010 Blog Collection , a 116-page catalog of my best blog posts from 2010 is now available on Blurb!  http://www.blurb.com/bookstore/detail/1963744

 

Digital SketchUp Watercolor Process Step-by-Step

I recently developed the Digital SketchUp Watercolor - an amazing hybrid visualization technique for transforming a Google SketchUp model view into a digital watercolor. The idea involves a combination of digital image manipulation and traditional hand coloring with markers. 

For anyone who enjoys modeling in SketchUp, this process enables you to create beautiful renderings that have a “hand crafted” character resembling an actual watercolor painting. My “step-by-step” explanation below will show you the process and just how easy it is to do!

Step 1: Google SketchUp Model

I assembled this scene from a set of houses downloaded from 3D Warehouse and populated the model with 2D and 3D people and landscape components. I adjusted the sun intensity and direction to create the foreground tree shadows and depth of the porches. Can you spot my modeling error? The woman in orange is accidentally floating above the steps!

Step 2: Export SketchUp Edges

 

I exported a high resolution (5,000 pixels wide) jpeg of just the model edges that would later be added back into the image. I resized the jpeg and all other images to 300dpi by 16 inches wide.

Step 3: Photorealistic Rendering

This step involved rendering the SketchUp model using a third party photorealistic rendering software program. I prefer using an Integrated Rendering Program (IRP) such as Shaderlight or SU Podium - both serving as plugins directly within the SketchUp software. After assigning reflective characteristics to the window faces, I rendered the model and saved a jpeg which I resized 300dpi by 16 inches wide. Notice that the sky was quite pale in color and the foreground lines in the sidewalk had disappeared. Adding back the linework and dark sky was an important step towards creating the final watercolor effect. 

Step 4: Photoshop Composite

 

I opened the rendered scene in Adobe Photoshop and spliced in the darker sky from a separate jpeg I exported from the original SketchUp model. I also spliced in the foreground grass and tree shadows from that same jpeg. I added the SketchUp edges (lines only) jpeg as a new layer and positioned it on the top layer with a 75% transparency in order to give the linework a very light appearance similar to the faint pencil markings in an actual watercolor painting. This composite image now had the important linework in the sidewalk and architecture as well as photorealistic rendered reflections in the window glass. 

Step 5: Lighten Image and Print

To prepare the image for the colored marker step, I lightened the scene, giving it a 75% transparency in Photoshop. Still wanting the deep blue sky, I spliced in a copy of the sky and cut it around the rest of the  image. The final lightened image was printed in color on 11”x17” Epson coated bond paper using my Epson workforce 1100 ink jet printer. 

Step 6: Colored Markers

 

Picking the lightest colors from my Chartpak AD marker set, I colored the entire page leaving only the white trim on the houses untouched. I purposely let the marker run over line edges and “blob” in order to give an imperfect painted quality to the image. I dabbed several green marker colors on the trees to simulate leaves. Darker cool gray markers added contrast to the shadows and roof overhangs. Note: the informal “don’t color within the lines” marker effort was key to giving the final watercolor step the appearance of an actual painted surface. 

Step 7: Photoshop Watercolor Filter

 

I scanned the colored print at 300dpi and opened the jpeg in Adobe Photoshop. Using the filter/artistic/watercolor tool, I modified the image and transformed it into the digital watercolor. My settings were: Brush Detail 14, Shadow Intensity 0 and Texture 1.

Step 8: Adjust Levels in Photoshop

The colored marker and watercolor versions were each quite dull with little contrast. The final version needed one more adjustment which I made in Photoshop by amodifying the contrast levels. The increased contrast greatly improved the image and the end result was an impressive digital watercolor created from a Google SketchUp model. Try making a Digital SketchUp Watercolor yourself and email me a jpeg of your project!

Look for other interesting articles on my blog, visit my website www.drawingshortcuts.com and read my new book Drawing Shortcuts Second Edition. 

 

 

 

NEW! - The 2010 Blog Collection , a 116-page catalog of my best blog posts from 2010 is now available on Blurb!  http://www.blurb.com/bookstore/detail/1963744