MASTER CLASS PROGRAM

Illustrating Tech
Metroscape

METROSCAPE

In this section, we will go through a series of steps to develop a metroscape scene. To make this
a bit simpler, we will represent the skyline in the background essentially as a highly varied sil-
houette with essentially no perspective whatsoever. We are relying upon constantly changing
angles and sizes to provide the interest.

The result, I hope, will be not only a step-by-step construction, but an overall improved version
of the quick sketch I did in the video. Step one is to separate the scene into three distinct sec-
tions: a background (the skyline), a middle ground (dome and an over water road system), and a
monorail supported by tension cables. I felt that the video scene was congested, so we will open
it up a bit here. First the skyline.

Some of the shapes are a bit preposterous, but as more elements are added, their significance
will diminish. The important thing when creating this is...constant changes in height, thickness,
spacing and the opposition of angles. A few overlapping angled shapes have been added to pro-
vide for later development of some layering to the city core. We will leave it just as line shapes,
for this exercise. You will notice some lines added at the base. These are to provide an indication
of things out in front and one angled lines moving out and away from the city.

Because of all the pointed and sharp elements, the next stage should have some round and/or,
curved elements to contrast with these. One of these will be a dome, and its location is very im-
portant to make the scene asymmetrical. The over-water roadways will also have to be carefully
placed to lead the eye into the city.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 1
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

In this exercise, you will begin to see that design and composition are called into play for the
first time. We struggle through the complexities of executing believable perspective only to dis-
cover that we must create well designed objects and arrangements first and then draw them
correctly.

The dome and a pair of curved-face structures provide a relief from the jagged towers. The reflec-
tion of the dome and the roadways are a little too perfect, but we are just organizing at this point.
One roadway curves and crosses the straight ones, thus softening the strong arrow shape the two
create, and allowing our eye to escape some of its power. The two are combined below.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 2
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

The important concept here is to develop one section until satisfied...then add the next. It is
vital to do this on an overlay of tracing paper, which leaves you free to experiment, erase and
perhaps start over several times in order to arrive at a good solution. Destroying an already
correct section, by trying to draw it all on one sheet, is a fool's errand. Once satisfied, slip the
new section under the last and combine them into one. Get another overlay and proceed to
experiment on the next element. This is the way to do it!

Above is the development of the monorail element and its tension supports. They were actually
designed on an overlay, which included all other elements, but some are omitted for clarity. The
relationship with the roadways was very important, so that element is included. Also of interest
was how the train and its supports sliced cleanly past the background towers, and I tried several
unsuccessful approaches before settling on this simpler arrangement.

I did not wish to drift into the design aspect of tech to this extent, but it has become increasingly
apparent that we cannot avoid some discussion of this difficult to quantify subject!

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 3
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

The three major elements are now in place albeit in a semi-transparent form. This was done so
I could add the elements one over another as we went along. It also helps to show the delicate
interaction of one element and its efforts to avoid destroying another by being clumsily placed.

Note the tip of the support tower just over the cab of the train. It needs some work as it is awk-
wardly tangent (just touching) the building edge behind, and it has the appearance of growing
out of the cab; this would have to be addressed. Design is truly a game of inches (or millimeters).

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 4
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

Now that we have gone through the process of assembling a scene, let’s look at some of the pieces
and some answers for...How do you do that? The curving roadway and the monorail probably
come to mind. There is no question that smooth flowing curves in perspective require a lot of
practice, but an approach that works would also be helpful. Curves like these are of the 'Bezier'
variety in that the curve ranges from relaxed to sharper in a smooth and constantly changing
manner.

We first define the corner we will make into a smooth curve. A line starts at the lower right in
the above diagram, heading towards 'A' and at the call out line, suddenly aims toward 'G'. We
have described the corner we intend to curve!

To begin...we divide it into three preliminary sections we are naming A, C, and G. This happened
because of drawing a short line that cuts across the sharp end of our original corner and aims
towards point 'C'. You will need to experiment with its placement, but its angle near us coming
off 'A' should be more relaxed that where it meets the line going towards 'G'. The pairs of lines,
starting with the 'A' pair...determine how wide the roadway will be nearest us, and they both
aim toward point 'A' on the HL. The second 'C' line to 'C' and the final line to 'G' as shown.

The first three segments look good, and a curve is emerging. With the three lettered points
(VPs), A-C-G, I have provided for four more lettered VPs on the HL. We will add a 'B' between
'A' and 'C' and the points 'D' 'E' and 'F' between 'C' and 'G' as shown below. With each new line
segment to a new lettered VP, the sharpness of the curve will be smoothed a bit. Drawing these
lines on an overlay, with the horizon line traced on the overlay, will allow you to move these
points left or right a bit if a lump or a flat spot seems to develop. Work only on the outside edge
of the curve until you are pleased with the look, then add the inside twins. The monorail curve
starts at 'G', where the road ends and seems to form the upper turn of a spiral begun with the
roadway curve. This makes the two elements a balanced pair and a contrast. A series of points
(VPs) builds that curve exactly as we did on the roadway.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 5
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

In this section, we are going to approach the metroscape from an aerial vantage point. The scene
will be a scattered network of vertical towers and connectors. There will be cast shadows shown
and created using a bearing VP and a ray VP directly above it. Neither of these is actually seen,
but you could extend the bearings and rays to get their exact location. We will start with the
simplest decision lines with the horizon line slightly tilted.

In the diagram below two lines are added, the one at the bottom is arbitrarily angled to repre-
sent a second VP to the right and to show my intended limit of perspective (last line leading to
the right) that will be in the scene. The line on the left radiating from the HL also determines
the limit of perspective on the left. This is important to establish early, as it keeps your scene
from getting more distorted than you can accept. Everything else will fit comfortably between
these lines.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 6
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

In the next step, we will add vertical lines that are to represent where towers will be located.
They are placed near but not necessarily on any of our lines and are random in both size and
placement. A large pair in the lower right foreground stops acceleration out of the lower right.

Once this arrangement is established, we set about replacing these verticals with designed
towers and connectors to join them together into a matrix that is not quite totally regular. Too
much order can be boring to look at! The design here is just a starting point and is typical of an
important stage in all concept work.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 7
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

You will notice that a group of structures has been added on the horizon and small node struc-
tures at many of the connector junctions along with some appendages to a few of the towers.
Traces of some of the early verticals are still visible. Note the appendage leg on the near tower...
it acts as a buttress to stop movement out of the lower right as I mentioned earlier.

Some crude surface feature indication has been added along with more appendages to the near
tower. Surface grid lines have been added coming from left and center right. These tend to
cement the separated elements together on a fabric. A taller tower has been added in the distance
to provide a visual destination.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 8
 MASTER CLASS PROGRAM
Illustrating Tech
Metroscape

On this final page of this aerial metroscape series, the shadows have been added using a bearing
VP and a ray VP directly above it as discussed at length in the shadow section. We do not need
to be exhaustively accurate or detailed in our shadow casting to get a good effect, but the ray
and bearing lines should be carefully followed. An equally important aspect here is the point on
these cylindrical forms where the shadow begins...or its shadow core line. This is where a bear-
ing line just touches the bottom ellipse of a cylinder. A vertical from this point is the core line.
What happens at the top is for now best studied from an actual object in sun or other high inten-
sity light source...and study how it changes in relation to the direction of the light striking it.
A picture is worth a thousand of my words. Being approximately right will be sufficient for now.

At this stage it is always better to look at it after walking away for a while. When you return you
will see it in a new light. Things that looked just fine when you left will now jar you in a way that
makes you question your very abilities. A mirror is another great tool for revealing problems
with distortion, composition or just plain...bad drawing.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2015 www.wattsatelier.com 9