Chapter 20

Rendering using media

NCEA Level 2 Graphics material covered in this chapter involves the study of rendering
using media, as part of Achievement Standards 90323 (Graphics 2.6), ‘Design and present
a solution for an architectural or environmental brief’, 90324 (Graphics 2.7), ‘Design and
present a solution for an engineering or technological brief’, and 90325 (Graphics 2.8),
‘Design and present a solution for a media or technical illustration brief’; it is expected that
a wide range of different media will be used. Some of the possibilities are detailed in this
chapter, by an understanding of:
• Equipment for rendering.
• Pen, ink and wash.
• Ballpoint pens.
• Chalk and chalk pencils.
• Charcoal.
• Wax crayons, oil pastels.
• Coloured pencils and aquarelles.
• Gouache.
• Felt and fibre-tipped pens, studio markers.
SA
Equipment for rendering REthe easiestMway to render in
black and white is to use graphite pencils using varying pressures. V
There is a large variety of rendering equipment available. Perhaps PL
NO ISI E
TE ON
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Fig. 20.1: Fishhook carved from whalebone, drawn in graphite pencil

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222 Rendering using media

Ink rendering looks very effective when done with a technical pen approach. Some pencils are
water-soluble and can be used as paints. However, if the paper is wet it will buckle unless it has
previously been stretched or is very heavy. Some pencils are chalk pencils and can produce the
same effects as chalk, but are easier and cleaner to use. Pastels, wax pastels, charcoal, pen and
ink, ink washes and ballpoints all have their place. Don’t be limited by conventional materials. If
the effect you want requires eyebrow pencil, use it.

Pen and ink, pen and wash

Pen and wash involves using a pen to draw with and a brush for putting on the ink, either
undiluted or diluted with water to get different tonal values.

SA
Fig. 20.2: Pen R
EV MP
and ink

Ballpoint pens NO ISI LE

own. However, there is not much variation in the line that isT
OotherNmedia or on their
These come in a range of colours. They can be used in conjunction with
ES
drawn.

Fig. 20.3: Ballpoint

Chalk pencils, chalk

Chalk pencils or chalk are ideal for adding tone and highlights to drawings. They are very
effective for covering a large surface, giving an effect of airbrushing. In addition, the colours
do not fade, they can be easily mixed and toned, easily erased for highlights and the pencils
are readily sharpened. They do, however, need fixing with a studio fixative or hairspray (some
hairsprays contain oil, which would spoil a work, so check first on some paper).

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 Graphics NCEA Level 2 223

To make a chalked background:

• Mask any edges that you want to stay clean.
• Scrape some chalk with a knife on to the paper.

Fig. 20.4: Scraping chalk from a chalk pencil

• Bunch up some tissue paper into a pad and rub the chalk dust into the paper, spreading it.
•
SA
Another colour can be introduced to build up a soft background. Fix with studio fixative or

RE M
hairspray.
Chalk and chalk pencils are very effective in highlighting areas and applying reflections
VI PL
– especially on grey, black or brown-coloured paper. The coloured paper is used as the mid-tone

NO SI E
and light and shade are added with graphite pencil, chalk or marker. Use a removable tape
mask. Shiny glass can be rendered by streaking a mixture of white and pale blue chalk dust

TEremoved ON
diagonally across the drawing of the glass surface.

S with talc before applying the chalk.

Surplus chalk may be with an eraser using a cardboard mask. This works best if the
area had been lightly dusted

Fig. 20.5: Highlighting with an eraser

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202 3-D perspective drawing

Activity 17A: 3-D perspective drawing

Redraw the perspective using the set-up given.
SA
M
ESA COLLEGE

105 77
QU NC PL
ES EA E
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ON
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45°

25
STATION POINT

4 cubes of 30
SCALE:
NAME:

DATE:

PICTURE PLANE
GROUND LEVEL
Topic:

REV:

EYE LEVEL

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310 Answers

Activity 11A: Conic sections

1.

SA
M
AN C PLE
2. Parabola.
N
3. A normal is a line atE
curve. S
W A
90º to the tangent. It is the point where the tangent meets the line or

Activity 12A: Special ERcurves

1. G
S
F

0 1 2 3 4 5 6 7 8 9 10 11 0
C

2.

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 Graphics NCEA Level 2 311

3.
B

4 5

6
3

2
7
12 10 8 6 4 P
2
70 A

12

11
10

Activity 13A: Surface development

1. Cone, pyramid.
2. Drawing the plan and elevation.
3. Folds are drawn in lighter than outlines and darker than construction lines.
4. So that when each twelfth is stepped out along the projection line the length is the
circumference of the cylinder.
5. You should make sure that the slant length is true. SA
6. A cone with the top cut off horizontally. M
AN C PLE
N
7. A truncated pyramid has its top cut off at an angle, a pyramid frustum has a flat top.

SW EA
ER
S

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312 Answers

Activity 14A: Triangulation

D C
1
9
D
12
11
1 7

2 6 10
3 4 5 9
8
7
A B 6
C
H 4 5
3
V 1 2

12 3 4 5 67

TL
TL TL
TL A B

Answer 14

Activity 15A: 3-D drawing – basics

SA
M
AN C PLE
N
SW EA
ER
OBLIQUE
S ISOMETRIC

The oblique drawing system tends to extend to form a narrow and long drawing, making them
seem longer than normally expected. The isometric provides a more balanced view.
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 Glossary/Index
2-D (52): two-dimensional flat shape showing length and width.
3-D (52): three-dimensional solid form showing length, width and height.
aesthetics (27): a principle of design concerned with beauty or style.
airbrushing (222): spraying atomised pigment onto the work.
analogous (colour scheme) (46): colours adjacent to each other in the colour wheel.
annotation (159): short written statements that support design thinking; normally in
sentence form.
anthropometrics (37): the measurement of factors concerned with the human body.
apex (137): the highest point.
aquarelle (227): water-soluble colour pencil.
arc (140): part of the circumference.
Archimedean spiral (153): a geometric progression given that produces a spiral moving
away from a centre point at a constant speed.
assembly drawing (98): orthographic projections of all the parts put together, showing how
individual parts are assembled.
auxiliary (103, 125): an extra drawing to show a special view.
axes (68): imaginary lines through the centre of a solid so that the centre is symmetrical
about an axis; in isometric, the axes are at 120° to each other.
axial lines (58): lines along the axes; in oblique, the axes are horizontal, vertical and at 45°;
in isometric, they are at 30°.
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axonometric (171): an overarching name for any pictorial drawing in the form of isometric,
dimetric and trimetric.
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ball bearings (211): metal balls held within a bearing to spread
bird’s eye view (70): view seen when object is below the HL.
bold (280): heavier darker text.
SA E
RY
CAD (49): computer-aided design.
cam (253): non-circular wheel on an axle that changes rotary to reciprocal motion.
captions (287): information under a picture or diagram.
casting (136): forming objects by pouring molten metal or plastic into a mould.
centre line (63): special line consisting of recurring long and short dashes.
circle guides (51): a plastic drawing aids with circle cut-outs.
circumference (91): the perimeter of a circle.
collage (49): combination of pasted images.
colour association (46): red for danger, green for safety.
complementary (colours) (45): colours opposite each other on the colour wheel.
complementary scheme (46): colours opposite each other on the colour wheel.
component drawing (96): orthographic projections of the individual parts of a project, eg
the drawer in a cabinet, the hands of a clock.
compression (36): a squashing force.
concentric (139): (circles) with the same centre.
cone (78): a geometric form like an ice-cream cone.
conical spiral (154): the trace of a point that revolves around a cone from the base to the
apex stepped in twelfths in both directions (cone diameter and height).
constructing (137): using a compass, not a set square.

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