Markers & watercolor/acrylic painting "mixing media"

After several small test, I found that this mixing media, Works pretty good
I´m going to make several excersizes of different themes, the paper is Canson 300 gr,
I´ll start a pencil sketching following by light watercolor/acrylic color definition, to be complete with markers .- this method looks to work fine, this is my first drawing (needs to be in that order to work it out)

                                                Ref S050 
                          "Children see magic because they look for it."

                                    Ref AS051 Night Drifting
(first.- acrylic, 2nd.-markers, 3rd.- Nupastel,.- finally details thru phosphorecent markers;  all over colored neutral paper 300 gr

 

Ref AS052

Road Warriors

 

Ref AS050

Nocturnal Scene

 

 

 

 

Excersizing with markers
Drawing with markers offers almost instant gratification—markers are simple to use, require little prep time and dry quickly. Because the marking material is fluid, the smooth marks are unlike those made by dry drawing mediums. Drawing with markers will offer you a range of brilliant color that surely help to came up with new ideas. They’re ideal for creating loose lines,  and  precise technical illustrations. One drawback to using them is that it’s not easy to correct mistakes; to work successfully, you need a bit of confidence and some drawing experience
                                                 Ref S048

 

What are good surfaces for marker work? Fine art papers, bristol board and illustration board are all good surfaces for marker artwork. A smooth, cold-pressed surface resists the bleeding that can occur with markers. Bristol board is heavier than drawing paper, but lighter than illustration board, and comes in two finishes: plate (hot-pressed), which is slick and hard; and vellum (cold-pressed), which is softer and has more tooth. Illustration board has only one working surface, which comes in hot- or cold-pressed.
Several manufacturers make paper specifically for markers; this paper is bleed-proof and retains the true colors of the markers. Some examples are Canson Pro-Layout and Bienfang 360

 

Honda Acura NSX in watercolor
I had some experiences which I like to share trough out this particular intent;
Even once watercolor paint has dried, it remains water soluble. but you can re-wet the dried paint with water on a brush and it will 'turn' back into paint. This means that it was easy to lift the paint off the paper to fix a mistake, lighten a color by removing some of it, or even mix it with new paint. Though you do need to be careful you don't scrub at the paper too much and damage the surface.
Watercolor paint is transparent. You can see through the layers of color you've painted, making it near impossible to hide mistakes. Don't fight against this, but embrace it and work with it.
 Because the white in watercolor comes from the white of the paper, not the paint itself, the usual advice is to paint from light to dark. To start with the lightest colors and tones, and build your way up to the darkest. But don't be afraid to experiment with putting down dark colors early on in a watercolor painting, as it may turn out to be an approach that works for you!(note this time wasn´t necessary to use mask I did quite loose
The more paint you use and the thinner the sheet of paper, the greater the likelihood is that the sheet will buckle. This can be prevented by stretching the paper but I didn´t the paper is 300 gr and just buckle the upper side a Little

Main concern I use to care and take more time perfectioning tire and rim details, at the end this section always gives the forcé I need

                                      Ref AS0446 Nissan ACURA NSX
          

Pencil plus pencil blended areas with baby oil (try-out)
                           Ref AS045 Honda CRZ (tuning car)

 

Pencil blended with baby oil but now over a smoot mate paper

Ref AS047 Alfa Romero Zero

 

Note To make a nice red color you have to blend it 

Watercolor Media though an automotive sketch
This time I decided to try just watercolor for an automotive drwg, I use mostly nylon or nylon/sable brushes because I'm so hard on them. They last a long time and take a lot of abuse. I use flats brushes.  Brushes. pointed, and  rigger. I have several sable and nylon of each.  I use a mixture of smaller brushes for details.
Paper: I have tried many, I like 140# for paintings that will be mostly one-pass and wet and the 300# for multiple glazes. This is not the place to cut cost. Stick to the best brands. Winsor & Newton, Fabriano, Kilimanjaro and others make high quality paper. however I did through a cold pressed texture as available for this particular idea
I usually wet the entire paper before starting and then dry the areas that I want to remain white by wiping with tissues. This allows for soft edges, but helps control the pigment from running into areas where I don't want it. As long as the brush and pigment don't add more water to the surface, the pigment will stay pretty much where you put it, but will still diffuse enough to get that beautiful "wet" look where you need it. One of the key learning points in watercolor is to develop a feel for how wet the paper really is, how much pigment in the brush and how wet the brush is. It's frustrating at first, but if you keep at it, you''ll get the idea.

Let me stress once more how important it is to have some sort of plan before you get into the fun of throwing all that wonderful color around. It's easy to overdo it and find that you've gone beyond the point where you should have stopped to think about it. Prior to start , I have a plan for myself, regarding two main tones and the white of the paper . This time I worked quite easy with practically Payne´s grey  and Viridian, Green I want to be loose to check just in color pigment

 

            Ref AS046  Mercedes Benz F1 with Nico Rosberg

 

Painting with phosphorescent markers;
I´m just start working with new markers that glow, the important tip is to keep white tone paper free since the begining, I really don´t know how to take the best part from them, so I´ll start with an automotive sketch, that I intented 2 times "failing or learning" without the result I wanted till the 3rd opportunity, The sketch it is not yet as would like,---> I need more contrast , nevertheless the markers highlight as expected,(this time yellow,orange and pink) I didn´t pay attention to details, I wanted to check first the whole color impact, but like I said more contrast works better .- well in my next drawing I´ll keep high contrast since the begining,

AS046 McLaren F1

trying high contrast

 

More Practice;
                          Ref AA037 Chevrolet Impala 1960

 

Ford F-150 Raptor 2014 "302"

After a happy driving weekend

 

Markers over previos pencil sketch

Ref S039;

 

Ref S040

 

 

 

Modified Mini-Cooper

 Suzuki Warrior

 

 

 

 

Automotive sketching.- my main steps

1.- The first step is the one which take me more time, but it is the most important for me, because the scale dimensions shapes define completely the vehicle, my references are most of the time photographs unless I´ll be working on a new design sometimes I transfer the outline, with tracing paper (just main features and scale dimensions, the rest is made thru free hand with pencil HB
I try to represent shadows but alwas I keep whites as much as posible depending on size 
After rendered I start organizing the black and whites spaces (light and shadows) with few critical lines I usually construct with paint where is posible .- I kept the drawing quite simple 

2nd Layering dark starting from clear spectrum, at this stage I´m trying to créate rhythm, I still avoid to overworking by keeping the image not too highly rendered, but trying to stablish the value range with special attention and care to the tonal.- colors are relatively simple, my 1st focus is the background for a point of tone and color reference.- all these values will be so helpful as serve as fundamentals for further refinement.- keep me moving in the right direction 

3rd.- Up to this point, the extremes of the colors and values needs to start stablishing sometimes I am satisfied with the resemblance, and I can really notice my painting coming togheter (whites or light are the important ones always)

4th.-  Final checks and balances, at this stage I´m re-establishing and refining overal values and final details and some accents are added,. a few clean up strokes in the background, proper edges placed adjusting adjusting o re-painting accordingly
The values decreaced or increased for compositional purposes, and as I said the last strokes for creating proper edges until be happy with the outcome or concept

                      Ref AS035 Cadillac V-16 Boattail Speedster 1930

Automotive sketching methods:
pencil+acrylic painting over 230 gr/m2 mate paper
After work on several automotive drawings, with several lesson learnt, I´ll try to mix some technics,.-  due I like to work wet on wet the paper I´ve got is 230 gr/m2 the heavier the paper the less the paper will cockle, the white áreas color needs to be reserving as much as posible, contrast darks again light and light against dark at the edges of the puddle, sometimes I rather have a predominant color in which case the underground color doesn´t have the white color this doesn´t matter becasuse the white color added afterwards works also very good, applied gradually
The following example ref AS032 start with a predominant color so salt crystals and toothbrush adding white color working pretty good
The spatter mixed with a creamy consistency hold it face down to 1/2 to 1 inch releasing speckes of paint by pulling your fingers swiftly back across the bristles
for this particular painting I didn´t use masking fluid
As it´s a kind of test I didn´t pay attention to lettering details, but I´ll do as increase my confidence for a particular methodology

                               Ref.- AS032--- Ford Fiesta WRC 2011 1.6L

                                     Ref.- AS034   Peugeot 908 2011 3.7L; Diesel V8