Rendering Wood with markers: Industrial and interior Design sketch technique


rendering wood so I see a lot of pretty
weak videos on YouTube mainly from interior designers the technique is
terrible the objects are lit incorrectly and the results really don’t look so
good so let’s take a look at how you want to approach rendering an organic
material like a piece of wood my name is Eric Strebel I’m an industrial designer
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demonstration purposes we’re just gonna draw a simple board or a plank in
perspective no less three-point perspective so converging the vanishing
points off the page if you don’t know what that is check out some of the other
videos that I have about perspective and there’s tons of them on YouTube as well
so the key to drawing wood is trying to capture its specific irregularities or
organic nature and what different woods are different so different species have
different types of wood grain so in this case we’re doing a standard piece of
pine and he saw me holding a piece of wood as reference earlier in the video
here just a few moments ago and that’s a really really good thing to have as
reference so I’m drawing in pretty light I realized it’s kind of tough to see but
it all get markered in shortly the thing that I do first is I lay in the basic
look or graphic of that wood on the top surface
now wood has grain and it runs throughout the entire piece of wood so
where that grain ends on the end which is end grain is what I’m drawing in
right now that connects to the top surface and it also is visible on the
side so where that end grain ends on the side of the piece of wood I carry those
end grain lines through and I’m doing things very organically very wavy to
pull off that feeling of a piece of wood so I’m going to switch from the
prismacolor pencil that I was using to sketch everything in width to a marker
I’m using a prismacolor markers here probably a 30% gray and I’m putting in
the shadow the direction of the shadow in an object when you are rendering for
industrial design interior design whatever the shadow goes away from the
user because the objects are lit from the front so the shadows go towards the
back of the object objects are not backlit objects are front lit so we can
see what they look like that is the purpose of doing a rendering so you can
see the detail and the information that you wish to convey and tell somebody
else pretty basic but I see a lot of people mess this up
with shadows going towards the viewer it’s just wrong anyway so simple shadow
that I’m laying in here and this helps me frame out my piece of wood as well
with a little bit of dark gray in the back there just to help it pop off the
page and I spend a fair amount of time putting in my shadow correctly if you
don’t know how to calculate shadows I have videos about that as well and
there’s tons of them on YouTube too so make sure you find some that show
shadows going away from the object away from the user not towards the user
here what I’m doing is I am picking out the best colors that I have available at
this time when I’m doing the rendering and I have a bunch of different sharpies
here as well as some other prismacolor markers I’m gonna start first by laying
in the top value of this wood it’s gonna be the lightest value because the light
is coming over my right shoulder from the top down and that’s how it’s
lighting this object standard procedure for lighting a product over your
shoulder top down the top surface is usually the lightest gives you that 1 2
3 read that front facing surface was a little bit darker and then this end
surface which is in shadow is the darkest of all and I’m using a rather
dark or a mm burnt orange burnt umber maybe I’ll post it here right in it
below the video it’s a little bit orange and I end up kind of graying it out with
some other markers it’s a mineral orange on the end there it’s a little bit
orange so let’s go back to the top surface here the top surface originally
had a marker color are called buff so it’s pretty light and this marker that
I’m using here is sand it’s the same color I used on the front face of the
plank of wood and I’m being super light pretty organic I’m just going with the
flow here there’s no sort of set thing but I am following the original wood
grain that I penciled in with the pencil earlier as my guide and I’m just sort of
laying that in very lightly organically just to go get some flow so here I’m
coming back with this mineral orange which is the color that I used on the
end grain to put in the grain that’s visible on that right side and then I
come back with my sand just to soften things up and that makes
the markers kind of bleed together because that mineral Orange is just a
little bit too harsh for me and I’m also gonna pop in this sand color on the end
to kind of dull out some of the orange and that works pretty effective then I
use my Sharpie which is a little bit darker than that end grain color there
to get my end grain and I come back again here probably with the sand to
blend everything together to get it to all work and it really starts to sing
here so I go back I look at my sample piece of wood and let’s get out a brown
prismacolor and this is going to get us a little bit more contrast in the wood
grain here and I’m doing this along the outside edge and I’m laying the pencil
down relatively flat because I want this to fade to go from dark to light in the
wood grain very much the way wood grain is on a piece of pine being relatively
meticulous here because I am trying to simulate a specific type of wood and it
doesn’t matter what kind of wood that you have a sample is going to be a great
reference for you so here I have a little knot again just Colin pulling in
the details I’m not pressing very hard again just very lightly you know just
coming in being real organic kind of loose just the way wood is and this is
one is going to give you the authenticity and be able to pull off the
look and feel of a piece of wood now I switch how I hold the pencil in my
hand and it’s very flat on the page and I’m adding in some more texture and
randomness into the wood and I’m actually using the texture of the paper
to pick up a little bit of that organic nature and feel that you would get in a
piece of wood and I’m using the pencil to help me get that we’re gonna outline
a little bit of the back of the piece of wood just to give it a little bit of
punch a little contrast so it reads better on the page very lightly you can
always working up from light to dark because if you go too dark you kind of
mess things up and you have to erase things so better to do light several
strokes and here I’m just using the edge of a sketchbook because I don’t have a
ruler with me at the moment to just sort of add a little bit of punch and kind of
outline things very much rendering for product design or interior design is
about line weight to make things kind of pop we’re not doing super photorealistic
things where there is no line weight and a little bit in the back here again just
to give the material some form and some definition all right so it’s looking
pretty good at this point but we’re gonna add a little bit more contrast so
it reads a little bit better on the page attracts the viewer to the image
ultimately that’s what you want so we’ll just come back darken things up and you
can do that when you work light to dark if you go in are too heavy with your
pencil or your markers you’re gonna have a tough time things are gonna get too
dark too muddy and you’re going to get out of control so always work light to
dark build up those layers a little bit at a time so this is really just gonna give us a
nice happy piece of wood you know it’s just laying there on the table all by
itself I think Bob Ross would really approve all right we’re really just
adding contrast to the image at this point pulling out the details so it
really reads as a piece of wood maybe it’s a little bit of an over
exaggeration but it is a rendering you’re trying to tell a story ultimately
and you want to drive that point home that it’s wood and it’s very
recognizable as a specific species of wood just take your time have fun
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