Done as a class demo on a Wacom Companion. In this video tutorial Marouane Bembli shows two different methods for drawing cars in perspective. A speed sketch demo by design instructor Bernie Walsh, who creates a quick digital rendering of a cafe racer-inspired futuristic bike.
Complete with written annotations. In this lecture from Autodesk University , vehicle designer Pete Blades shows his workflows for quickly creating concepts using SketchbookPro and Alias Automotive.
A very quick class demo by Bernie Walsh, showing the a speed rendering of a sci-fi prop concept. This tutorials shows an effective technique for quickly creating textures in Autodesk SketchBook Pro using custom brushes. A visual overview of the layers used to quickly sketch a concept using Autodesk SketchBook on a Samsung Galaxy Note In this tutorial in PDF format, industrial designer Kyle Runciman walks through a headphone concept, rendering a few orthographic views.
A tutorial that shows how to quickly create car wheel using Autodesk Sketchbook Designer and Sketchbook Pro for quick speed concept sketching. We respect your email privacy.
Software 2D Tut. The drawing of the Cuda appears like quite an elaborate drawing with the use of the markers and the use of color and highlights, but if you get in closely and look at the actual drawn detail, it is quite light on. There is not a lot of detail in the grille. There is actually not a lot of detail like badging and fine detail in the bodywork. The shape and form is described more through the use of color, as well as some appropriately placed highlights and little splashes of wet paint, than the use of line drawing.
It is a drawing that is very quick and very loose and probably took under an hour to do. The use of color and the placement of highlights and lowlights are what bring out the form. So it is not too detailed, but it appears as though it is. Will previous drawing experience be of benefit in drawing cars? Previous experience always helps. Practice always helps too, but you know you have to start somewhere. Everyone has drawn his or her first car at some stage, so if you have never drawn a car before, you know you need to start somewhere.
Here is a good place to start. If you have been drawing for years, you will know that every time you draw a car, you learn something new. When you get that little bit of extra practice in, the next time you draw a car, you know something else about it — such as what to avoid or what else to try.
As previously mentioned, anyone can learn with practice and interest. You have to be interested in it. If not, you are not going to want to do it so there is no real point in attempting.
But certainly, if you have never drawn a car and you are interested, you can learn how to draw cars. Constant practice, though, helps you become good at it eventually. I think that the first one was done when I was about 7 or 8, and the next one again about 8 or 9 through age 12, up to the 40 Ford delivery van I did when I was about At around this time, I was starting to learn about tone and color — adding tone and shading. I think I learned this from my big brother. He was a pioneer and I was always following in his steps.
So, as you can see, I have been drawing cars all my life. I also went through a phase when everything I was drawing was trucks. Back then, I tried to finish exams early so that I could draw cars during the time that was left of the exam.
It is good to set yourself up in a comfortable place. I like to draw on a good solid surface — a good table with a horizontal surface that does not rock or move around. You also need good lighting. I find that good, all-around lighting is very useful. Not just light that comes from one direction — because I often find that my hand will cast shadows over the drawing if the light is just coming from only one direction and I cannot actually see what I am drawing.
The paper that you draw on is not as important, but I have my preferences. We will cover that a little bit later. The first thing that I always tell people is to not be afraid of the paper. You can trace back over your drawings.
You need to loosen up. When you are drawing big arcs, move your arm from the elbow. You must also practice drawing circles and ellipses. In addition, do not be afraid to move the paper around.
This is so your hand can move at a comfortable angle to keep you from moving your body around the paper. You should move the paper around to what is a comfortable angle for you to draw at. Tips for Getting started Enjoy yourself, do not be afraid of it, and use each drawing as a learning experience for the next drawing.
Do not be worried if you make mistakes, you can always trace over it or redraw the line to get it looking a little bit better.
Notice how everything works symmetrically off a centerline and how the shapes are meshed. The hot rod also has a lot of sketchy lines around it. Remember the Cuda? The same technique was used. Draw in that baseline. Next, draw in those first two ellipses as your wheels that are in view, then draw in the horizontal line for the height of the bumper bar.
Now work across to the right- hand side of the vehicle, draw in that right-hand side front wheel, then work up the bonnet, the windscreen, the overall outline, and then again begin to just sketch in the details — the doors, the side window, the headlights — and work it up from there. They usually do an initial rough sketch to work out the angles and proportions with lots of quick sketchy lines.
They then use that as an underlay and trace over it onto a fresh piece of paper, drawing much neater lines. Draw construction lines lightly in pencil, sketching in until they look right, then firm in the lines that you are happy with in darker pencil or ink. For my finished drawings, I always do it in 2 or 3 stages with a very loose sketch to begin with, working up to the finished rendering. The following two illustrations to demonstrate this technique.
One is the sharp-looking, finished racecar rendering with all the markers and all the multimedia, including all the highlights and clean lines. The other is the initial sketch that I did and which was used as the underlay. Paper Over the years, I have found myself using the simplest type of paper — what is known as bond paper, or the type used in photocopiers. There are types of paper whose pulp, when worked on too hard, run up and becomes furry, making drawing inconvenient.
Bond paper works pretty well all around and you can also see through it a bit, which means that it can even be used for tracing. However, this paper is more expensive and not as strong as Bond paper.
They deliver the ink quickly enough when you are sketching and moving rapidly. Outline-type pens. The Artline type pens with plastic nibs on the end work well for outlines, such as tracing with circle and ellipse guides. However, they are not recommended for quick sketching because they do not deliver the ink quickly enough. Colored pencils. A blue- or sepia-colored pencil offers nice, soft sketches and can be used to make both soft lines and dark, heavy lines. The downside to using colored pencils is that they blunt too easily.
Clutch pencils. Blue leads give a nice, soft look to your drawings, can give you nice fine lines, and can also be smudged. They break a little too often, though, so expect to find little bits of broken lead flying off across the room. You can simply push out the lead a little bit more when you need it, though. These drawings are loose and sketchy, but pens give you the freedom to press hard and light to achieve both dark lines and light lines.
You can use a variety of thicker pens like a black marker to really punch out the lines and give some heavier definition. Figure 1 Figure 2 In contrast, the sepia-colored pencil sketch Figure 3 has nice, soft lines, and again, just by pushing hard on the pencil, you can get some quite heavy lines and dark shading.
You can press reasonably hard and get nice heavy shading or press lightly and get some nice, soft lines and shading as well. You can go over your initial lines with markers and they get slightly darker each time you do so, up to a point, of course.
This is when you have fully saturated the paper and it will not take any more color. You can use one marker and get a little bit of tone going, then go over it to get a bit of a shadow going — the same area a couple of times, with the same marker.
Markers give good, solid color; work quickly; and allow you to perform a variety of techniques. Marker brands: Pantone markers. They have a good range of colors, and come with three different nibs: a fat, wedge-type nib; a thinner, felt-tip nib; and a really fine pen-like nib. That gives you three line thickness options for when you are sketching. These are available only at special art stores and are certainly expensive, so you need to be careful with the colors that you choose.
Copic markers. They come with two nib thicknesses, which both lay down nicely. Stock up on a variety of cool grays of either the Pantone or the Copic.
Start with buying number 3 and add to your set by buying every second one — that is, numbers 3, 5, 7, 9, and These should be sufficient to cover whatever you need to do. Invest in a few colors as well, such as a few different blues and a few different reds. For black, I just use the cheap supermarket brands like Sharpie or Artline.
You can use colored pencils for adding shading and tone. I also use what is known as pastels, which give a very nice, soft shading. They are used in conjunction with makeup removers or cotton wool balls and the technique of using them will be demonstrated later in the book.
A good white pencil is indispensable for bringing out highlights along edges, cut lines, wheels, and so forth. Use white paint, also known as gouache or poster paint, to strengthen the highlights.
The gouache is applied with a nice fine paintbrush. It can be used to dot around little highlights and to paint in little white lines on your rendering. Guides and Templates As opposed to the loose, sketchy-type drawing, which you could do from start to finish using only the freehand technique, tight drawings require a variety of guides for its smooth lines. They come in a variety of angles going from about 5 degrees up to 80 degrees.
My set only goes from 10 degrees up to 60 degrees, but you can buy them from 5 to 80 degrees, and that gives you ellipse angles through that range. We will talk about ellipses later on in the book.
I have them where the curves are quite tight, but I also have some very broad open curves that work like a ruler but in this case, they work like rulers for curved lines. It is virtually the whole kit and caboodle coming into one rendering. In the following illustrations, you can see that the details are defined using the markers, the pastels, and the colored pencils, while a few extra highlights here and there to show the sparkle were added with white pencil and white gouache using a paint brush.
After nailing down the outline, you can then add your own wheel design, chop the top, or do whatever you would like to modify it and come up with your own drawing. Below, you will learn about a variety of ways to trace a vehicle from drawings or pictures in magazines or newspapers. Here are the steps: 1. Get a sheet of tracing paper, lay it down over the drawing or over the photograph that you would like to trace, and just trace the outline of the vehicle with a soft lead pencil.
Once you have finished tracing it, take your piece of tracing paper and turn it over, laying it upside down on the piece of paper on which you want to transfer the image. With the same pencil, trace over the lines that you have just traced off of the picture, pushing down onto the white piece of paper. By doing this, the lead is pushed from the underside of the paper down onto the white paper. After the lead has been transferred from the underside of the tracing paper onto the white paper, remove the tracing paper and you are now left with a faint outline on your fresh white piece of paper.
What happens is that you actually end up with a reverse picture of what was in the magazine or the photo that you have traced off. I used to be happy to deal with that when I was doing my own drawings — it was still the same type of car, only it went the other way. You can avoid that by doing this procedure: Once you have traced the vehicle, you draw all over the backside of the tracing paper that you have just traced onto, and then you face that down onto the white paper to transfer the lead.
Tracing If you have access to a light box, you can easily trace an image onto fresh paper. A light box utilizes light shining from behind the image that you are tracing to help you see the lines. Just place your piece of paper over the image that you are tracing; the light shining from behind brings out everything and it is easier to see what you need to trace. The problem with this is you cannot do it directly out of a magazine because magazine pages are printed both sides — making the image seem confusing.
You therefore need to photocopy the image first, so the underside of the image is just white. If you do not have access to a light box, you can sticky tape the image that you want to trace onto a window so that the light shining through it from outside allows you to see the image underneath. It works like a light box, but natural light is used instead.
Copying vs Drawing from Scratch Copying is a good way to learn how the angles of cars go and how it all works together without actually tracing. The important thing about copying is drawing what you actually see rather than drawing what you think you see. Often we go a little bit off on our own tangent, drawing what we think should be there and ignoring what is actually there.
So when you are copying, pay careful attention to the actual details that are there and use reference points — like the size of the wheels — to determine where everything should go and how one thing relates to everything else. In other words, it gives you a reference point to start with. Using a Grid Another method you can do is, on a piece of tracing paper, draw up a grid —say, 1 cm x 1 cm squares — and lay that grid over a photograph.
Then, on your piece of paper, draw up the same grid very lightly, and then you can copy each square at a time, and work it out that way. You trace each square as it appears on the original photograph, you copy that, just that square — onto your piece of paper, and then you do it square by square and hopefully, at the end, they all line up and come together. Certainly, copying and tracing are effective ways of getting the basics down for the car that you want to draw without trying to struggle with perspectives and proportions.
But I also found that if you want to come up with your own designs, such as of a sports car or a family sedan, you could find a photo of an existing car with similar proportions and perspective, and then change the design completely.
The same goes for side views. Step 1 Always start by just drawing in the horizontal ground line, and then drawing in the two wheels. If it is a sports car, it might be a little bit shorter.
If it is a big station wagon or something as big, or a limousine perhaps, it will be a little bit longer. So the first stage is to draw in that ground line and your two wheels. Generally, I try and draw my wheels freehand when I am moving quickly, but if I am out of practice, I use a template to help them become nice and round.
Here, I used a template to beef up the shape and pull out the actual roundness of the wheels. As kids we used coins and those pop-off bottle tops because they give a big, chunky tread pattern around the side, but it is good to just practice drawing circles so you do not have to struggle with it.
This step could involve a very quick flick of a line to see what evolves. If you are drawing a particular type of vehicle, you should be a bit more careful, as this already roughly determines the height of the vehicle. Know the amount of overhang at the front and the rear, and just draw in that profile. It defines that window sill line and the side window.
Thus, the wheel sizes are a little bit bigger than on the standard car, and the wheel arches go a little bit higher. It all boils down to stance — overall, it looks like it is sitting nice and low and ready to race. In other words, I have just begun to work in more of the parts. Notice that the headlights are not drawn right to the edge of the outline. That is because bonnets and the front ends of cars, particularly modern cars, always have a big curved shape.
So the centerline is really usually sitting higher than the outside line. The headlights, therefore, should sit a bit inboard of the centerline or a bit below the centerline to indicate that curve.
The same thing applies to the taillight; it is drawn back a little bit from the outside line of the rear end. This is because the rear end has that big curve going across it, and this helps indicate that the car is not a square box, but is made up of lots of curves.
The overall shape of the car is now blocked out. I have decided to put a big spoiler on the back, which makes it look very much like a racing car. To achieve this, it is as though the viewer is standing level with the front wheel and looking along the side of the car, and by the time that you get to the rear wheel, you will begin to see appearing underneath, a little bit of the rear wheel on the other side.
Furthermore, towards the rear of the vehicle on the spoiler, I have drawn in just the other side of the spoiler. Just by drawing in these details, the side view all of a sudden acquires a little bit of dimension. If you look through the window, particularly at the back of the side window there, you can also see that I have drawn in just a little bit of the window on the other side of the car. This again helps to emphasize that bit of dimension and perspective.
These very simple techniques are very easy to do but they just add so much to the drawing. It gives the drawing so much life; it is no longer just a boring side view, but almost a perspective view. Later on in the book, we will discuss how to work with shading to indicate chrome, but for this one, I have just finished with the base sketch by adding a little bit of black here and there and by punching out the lines with some heavier lines just to define the shape.
It is what gives objects a 3D look. When you are looking down a road, telegraph poles in the distance get smaller and smaller the further away they are.
Generally, things also appear to get closer together the further away they are. Perspective is how objects appear to us, allowing for the effect of their distance from us. There is actually a third one — the three-point perspective, which is mainly used in the architectural industry.
It is akin to looking up at a skyscraper, when that point of perspective is up in the sky — but we will not deal with that in this book.
As the road gets further away, the two outside lines of the road converge to a single point on the horizon line. The heights of the telegraph poles converge to a single point on the horizon line and they get closer together the further away they get. As you can see in the illustration, it is as though we are standing in the middle of the road.
The white lines in the center of the road converge or go straight up to that single point on the horizon line. The height of the telegraph poles all converge to that single point on the horizon line. Even the lines of the truck are converging down to that single point on the horizon line. Two-Point Perspective In drawing, there are times when the single-point perspective no longer works. This is where the two-point perspective comes into play. Observe the illustration of the two-point perspective of a church on the side of the road.
It is now as though we are standing on the side of the road, as opposed to in the middle of the road — and there are two vanishing points on the horizon line at each extremity of the drawing. Observe the front of the church. These illustrate the basics of two-point perspective. Horizon Lines Perspective also helps you determine the height of where you are standing in relation to the horizon line.
We can say that the horizon line is always at eye level. How is this so? The horizon line will be directly in line with your eyes, and that is what is known as a high horizon line.
The latest video from design instructor Sangwon Seok show the creation process of a SUV concept using pencils and markers. This video shows how to use grey markers in order to experiment and try different layouts before using pens for the final sketch. A video demonstration by design instructor Sangwon Seok who creates a design sketch of a futuristic Audi quattro concept. A video demonstration by Sangwon Seok showing the sketching and rendering process of a car interior. Done with pencil and Photoshop post-processing.
A time-lapse video showing the creation of a quick render of the Velar, from the starting hand-drawn sketch to the final render in Photoshop. We respect your email privacy. Software 2D Tut. Car Design Schools A selection of well-known design schools from around the world that offer Courses in Transportation Design. Monthly Archive. Database Google Search.
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