Oh, SEMA, you bring out the best in me.
Today’s topic: A Half-Dozen Helpful Tips on Fitting in Where You Obviously Don’t Belong — This Means YOU, Guy Who Either Mooched a Pass or Works Somewhere on the Very Fringe of the Industry (ATTN: Guy Who Supplies Thumb Tacks to the Local Auto Parts Store)
1. Don’t grab every pen, Post-It pad, sticker, magnet, ruler, sippy cup, catalog, magazine, DVD, keychain, light-up mascara case, sunglasses clip, lanyard, really tiny pouch to hold, well, really tiny things that you grab at other booths, or extra bags as you stroll by every booth… much less HANDFULLS of them. This tells me that you’re either a complete douchebag, or that you are a hoarder, and yes, probably also a douchebag.
2. Speaking of extra bags, that giant-size tote you’re hauling (with 1/3 of your giant mass listing to starboard to compensate) makes it easier to spot you from afar when I’m looking for outsiders to walk in front of as they take a photo with their flip-phone at mid-stride. There is no fine line between grabbing a few things and EVERY GOD DAMN THING YOU COME UPON. Rather, it’s a giant, conscious leap to make, and your chances of sticking that landing are as good as, well, the next item on our list…
3. No, Skippy, Miss Valve Stem 2014 wasn’t really into you, or super-excited to have another photo shot with you. While you may think that the previous 400 lard-ass, hangers-on waiting an hour to meet her and get that poster were but a warm-up to your brilliant entrance, lugging 3 metric tons of promotional materials and bashing that load into her leg, you can rest assured that all she’s thinking is “only four more hours today, and but three more days until I can cash that check! And why does this guy smell like stress balls and catalog paper, mixed with onions and Axe spray?”
While the people who actually BELONG AT THE SHOW and are WORKING are trying to squeeze past you and the 400 others just like you to get to a meeting, just know that you SHOULD take it personally when I mutter “get the fuck out of my way” to you. That week isn’t play time. It’s feed my family time. Stay home, and look at pictures of booth girls on your favorite forum between taking jabs at cars you’ll never have the skill to build, you pile of shit.
4. Stopping, mid-stride in a busy aisle to text your bros isn’t the wisest idea. I forces me to pretend that I didn’t see you when I plow into you, and then pretend that I’m sorry. That saps energy I was saving for when I have to attempt to control every fiber of my being from punching you in the throat when you finally end your phone call to your bros at home about how hot Miss Fender Washer is, and how she signed your poster “CALL ME, LOL!”, and step out of that stall after 20 minutes of hearing “No, bro, it gets better!”, and look at the line of 35 angry colons waiting to explode.
5. If nothing else, DO NOT use someone else’s pass, or try to slip in with last year’s, or some doctored pass or otherwise. What are you, like five years old? And no, I don’t believe that the Asian guy’s real name was Jesus Angelino Martinez de Venuza. I’m not buying it.
6. For the love of all that is holy, DRESS APPROPRIATELY. Nothing makes you look more out of place than the stained t-shirt, shorts and flip-flops. Honestly. If you can’t respect my industry, at the very least respect yourself. It’s a PROFESSIONAL TRADE EVENT. Not the fucking Piggly Wiggly on Thursday night, you trash.
Hey guys. It’s been a while, and I apologize for that. Today, I’d like to roll out another tutorial, this time, drawing a slick, slammed Fury. This will be an analog (or “traditional”, whichever you prefer) piece, so bust out the pencils, paper, and markers of your choice (I’ll be using Copics, but virtually any marker will do here), and get drawing!
Laying out the guidelines… At this stage, some loose lines to place the key parts of the composition are all that’s needed. Perspective lines give us an idea of where things will be placed, and give a general feel for scale and proportion as well.
I start to tidy-up the car at this point, bringing in a little marker to darken-up the shadow areas, and make permanent those lines I wish to keep:
Blocking-in some gray tones. Just some loose grays to start giving the piece some depth. Key here is deciding which forms will recede in space, and which will be left up front. I also spend a little time defining the car’s shadow:
Cleaning-up some of the stray sketch lines, and adding some color to block in some lighting for later. I like the work to appear translucent, versus having just color planted atop more color (which can get awfully muddy-looking), so a little color washing at this point pays off HUGE later on:
I bring in some color to the car at this stage, tightening-up the shading and lines… While the whole image is loose, I like to have certain areas (like the wheels) show a bunch of detail, to draw the eye in and around the work:
A ton of time spent blocking-in color, and implying some brick on the storefronts. Blending is the key at this stage, and using it in a restrained manner can help to give not only a nice, loose feel, but make the lighting and shadow appear more natural, versus blocked-in and forced. I tend to work from the lightest to darkest areas in stages, moving back over and into those areas that need richer or darker tones:
This is another ‘static’ tutorial, meaning no video. I thought it best to present a few basic tutorials in this way to give you a reference, without any distractions, or need to search for a particular step. This just seems a better way to get you up to speed on the essentials, before we move full-steam into the more advanced tools and techniques. It’s a quick overview, but take your time, and work on controlling every stroke you lay on the page. It’ll pay off in the end.
I thought I’d throw down a quick, step-by-step peek into the process I use to start a rendering, tackling the basics from the sketch through marker shading. That said, let’s get right to it, and bust out some paper, pencils (2B and 4B, as well as some non-photo blue, should you be so inclined) and the trusty Copics (cool and warm grays, as well as a blending marker), and have at it!
From humble beginnings: Let’s start by plotting the angle of the car, and general proportions and perspective with some loose guidelines. Keep things very loose and general at this stage. All we’re looking to do is get an idea of where the car is going to live on our paper.
Moving along on the tutorial, let’s clean up some of those sketchy guide lines, and start roughing-in the parts that will make this a Chevelle. We’re plotting and planning a place for all of the stuff that will need to show later on, so take your time, but keep it loose yet.
Onward with the tutorial! At this stage, I like to add the wheels, and start tightening-up those lines I know will be staying. I pay some extra attention to the front wheel, and keep in mind the offset for the rear. Start by laying in an arc to figure-out just where the wheel face will sit in the rim, and set the stance. You can see in this pic that I’ve changed my mind a few times already. Remember: circular and ellipse templates are your friend. Invite them to play along. I like to lay in a few details as well, just to get an idea of where things like the lug nuts and any hardware might sit… And don’t forget the tire sidewall! This could drastically change the car’s ride height or the wheel’s proportion.
Tutorial continues: Made in the shade…ing. Let’s continue our theme of cleaning-up those stray lines, and get on darkening-up the shaded areas, lightening those areas that will get a blast of light, and, sadly, this pic doesn’t show it too well, but I’ve started loosely adding some rally stripes, per the client’s request. Again, we’re working a bit tighter, and slowly building the tones. Easier to add a little at a time, than to start over when it’s all blotchy and too dark. Still working with the Copics (neutral and toner grays at this stage).
Moving along in the tutorial, let’s get those stripes blocked-in (careful… careful!), and continue working the entire car. We’ll darken up some lines, and detail some reflections on the bumper and wheels, as well as blending a bit on the shading. It doesn’t have to be perfect at this stage, just needs to represent a light source, some reflected light from the ground, and show that the body panels have a slight curve. The tricks here include building the shading slowly in layers, and trying to imagine where the brightest areas of light may be hitting the car’s body. We’ll want to leave those lighter areas alone, and work a little bit more in the darker areas, for example, where the bumper has a small overhang, or just to the sides of the hood scoop.
At this stage, we’re simply tightening-up the shading, and continuing to clean up any stray lines or smudges. We’re starting to go over and darken-up some lines to bring that right front fender closer to the viewer, and making those quarters and roof sink back into space a bit. I’m also paying closer attention to the shadows cast on the wheels as they tuck into the fenders. This is where you can make the sketch a little more believable by creating the illusion of parts being in shadow, with light bouncing around a bit. Again, just have fun with it!
Close to finishing-up the ‘traditional’ part of the big how-to: Tightening-up those final details, lines and shading, blending in the tones, and adding a hint of color. We’ll drop some orange in those stripes (per the client), and drop just a hint of blue and green into the glass and chrome. Normally, I’d have scanned this in a few steps back, but for our purposes today, this way just works. Hope you dug this look into the process… Working on some full-on, step-by-step tutorials as time allows, and those will hit soon, in a handy, easy-to reference guide. Keep at it, and above all, have fun, and work to observe lighting, shadows, and reflections, and just play with them in your work.
Next, let’s start adding some color, and we’ll do this sparingly, with a little contrasting orange on the stripe border, and bring that color ever-so-slightly into the windows and some assorted small places, just to keep things visually consistent.
…and we’ll bring in some greens and blues, to contrast the warm orange, and give some ‘glassy’ feel to the windows. Bring a touch of blue into the chrome pieces, just to make the metal there look cool, temperature-wise, and reinforce that the body color, even though it’s gray, is warmer. Bring in a white Prismacolor pencil, and add a few highlights and spots where the lighting might be a bit stronger (‘hot spots’)… This brings a little more reality to what is, essentially a slightly cartooned drawing (in proportion, anyway). Above all, just keep having fun, and don’t over-do it. Less is very much more at this point.
Next time, we’ll get into the background, as well as some digital techniques to finish the rendering… Winding-up with something that looks eerily similar to this:
Thanks, as always, for looking in! I hope you find these steps and hints useful, and will apply them to your work. Any questions, comments, whatever always welcome! Hope you have fun, and keep at it.
Fact: Your rendering style will inevitably be determined and recognized by your unique talent and drawing skill… or by the software you bought. Not a tough decision to make.
When it comes to creating something, it pays to know a little bit about what you are aiming to make. With illustration, namely vehicle renderings, it’s not only helpful, it’s imperative. After all, how can you visually describe something if you don’t understand it?
Taking that a step further, knowing the tools and mastering their use will only make the work that much better. I’m going to share a bit of what I’ve learned. Granted, it all starts somewhere, and to me, the most important part of being an artist is developing a unique style, a way to have your work stand out. Even if you trace a Picasso, it will have your own style integrated somewhere, so why not just do it in way that is all yours? If thirty people all use the same filter on a photo, you have thirty filtered photos that all look alike. Boring!
That said, for this tutorial, we’re working on drawing, using your own abilities, and I’m simply guiding you in applying those abilities in the methods I use. They may not be for everyone, or they may be the spark that gets you rolling. In any event, I’ve been asked to break-down the technique I use, and here it is.
Any drawing should start with an idea. Hopefully you have one of those. I’ve decided, for the sake of this introductory tutorial, that I’d run with a 1950 Chevy pick-em-up… Coincidentally, I happened to keep step-by-step images from the original drawing… lucky you!
Hopefully, you have some basic knowledge of drawing, as these won’t be entry-level tutorials here on this particular go-round. If, however, you do need some help with the basics, grab a copy of the DVD Special Edition of How to Draw Cars Now. The tutorials included will have you swinging some lead in no time! If, however, you’re ready, let’s nail the basics.
First step: Grab some reference material. Unless you know the subject of your sketch by heart, well, you’ll need a point of reference for the overall scale, proportions, dimension and details. Lacking the real car or truck, photos and books are your best friend.
I like to give my drawings a little bit of energy and action… so I’m going to work with the truck’s overall dimensions, and tweak the proportions just a hair on this one… I’m going to freehand a quick box layout, just to get an idea of where everything will “grow” on the paper. Working with a standard 2B pencil, I’m going to keep everything very loose… Don’t worry if all of your lines aren’t perfect, or if all points intersect or not… we’re simply figuring out where this beast will live on our page, and get the stage set for our drawing.
From here, let’s start figuring out where the main parts of the truck go, with reference to our general boxes.
Think of it like sculpting. At this stage, we’re simply removing everything from those first boxes that isn’t a ’50 Chevy. Essentially, we’re laying in some guide lines to start fleshing-out the truck. We’ll do this in a few passes:
Let’s look to our reference material, and begin rounding the boxes to match the correct profiles. I tend to work freehand at this stage, and will break out the sweeps and French curve later to tighten-up the radius on all corners… but for now, we’re keeping things loose:
I’ve used the sweep a bit here, tightening-up those corners just a bit, but not quite completely. I’ve also begun to block-in some areas to delineate where the grille openings will go, simply because I want to be sure that everything is staying true to scale. In my opinion, there is little worse than screwing up the scale or proportion in a rendering. Cartooning is the place to go wild… for project cars, keep it grounded in reality to help your client and builder…
We’ll start cleaning-up some loose, stray lines at this stage, trying to keep everything clear, and prevent confusion as we start to lay in a couple of details. This leads me to a VERY IMPORTANT TIP:
Observation is your BEST FRIEND. Pay attention to details, and, possibly even more important, observe where lines and points intersect. Get an idea of where one line is in relation to another… think in terms of “if I put THIS body line HERE, where does that trim part line up, and will it be in the right place on my sketch?”
We’re going to start tightening up the lines and overall sketch at this point, so try to keep your lines deliberate… but don’t become afraid of allowing them to flow, and vary in pressure and stroke. Line weight is where the real secret to a lively drawing lies… While we’re adding some observational power here, let’s drop in a little hint of the shadow under the truck… Consider where your main light source will be coming from, and drop a shadow on the dirt. I keep mine tight to the vehicle, especially when they sit low, simply to emphasize just how low they are. In this case, we have a light source coming in on the left side, front quarter, which will allow some fun shadows and highlighting later on to play in that rounded body
At this point, just roll with your own natural drawing style. Your style and technique are what will give your artwork a signature look… like a fingerprint for your drawings. Ever look at an artist’s work, and just know who drew it from the line work or the shading? Ever looked at a rip-off or copy of a know artist’s work, and just know it was a rip-off? You have a unique style, even if you’re just starting out. Celebrate that, and refine it. You’ll reap the rewards of that as your career progresses and people seek out your signature style. I’ve been working on mine for well over a decade, and am just appreciating it’s unique character.
Back to blocking-in some dark areas. Let’s get the shadow in place, and really start to define the grille openings. These are major pieces of the puzzle, and having them in place will help us to define the parts AROUND them, and will get everything where it belongs.
Let’s bring our eraser out to play, shall we?
We’ll knock a little out of that shadow, and make some room for the wheels and tires… Think ahead here, and plan for reflected light from the ground onto your tire sidewalls… this will serve to anchor the car, and prevent it from looking as though it’s floating on some black cloud…
We’ll knock-out some more room for those wheels and, why not, some wide whitewalls… and dust a little kid-tone on the body. Why not? This will help
Let’s continue, shall we? We have the basic lines dropped in, we’ve cleaned up some stray lines, and even started to describe some surface curves… Look at you! Keep it up!
From here, we’ll keep shading in those small areas that the light source is turning dark… Just imagine how a panel like that front fender, for instance, will drop a small shadow on the door… how the cab, where it’s wider than the bed, will drop the leading part of the bed into shade… And so-on, and just roll with it. Have fun at this point!
Remember: this is a work of art, and the goal is to have fun while describing something without words. You are in control. You can use shadows and highlights to emphasize a part of your drawing, or tuck it away to draw the eye… it’s YOUR call. (BTW– next tutorial will be all about using shadows and highlights, so stay tuned!)
Note that I’m throwing in some wheel shapes here, as well… As I drop in a few more detail lines, I’m working the ENTIRE drawing at this point… building it all over to keep the look consistent throughout. By this point, I usually scan a drawing, and move to Illustrator, but, damnit, I’m having too much fun. And, again, that’s the name of the game: HAVING SOME FUN. When it strops being fun, it should all just stop, because it begins to look forced… and cold, and sterile and machine-like, and that’s not art. That’s rote production, and while it hyas a place, that place shouldn’t be in your sketch pad or even in your creative client work. This is the place to get everyone involved with the project excited and crystal clear on the direction. While that’s a HUGE order, it should be those things, no more and no less. And it all starts with how you sketch the subject. Everything else is being built from there.
With that in mind, let’s place a few guides down to plot where our shadows and highlights will appear. Keep it loose, and keep it realistic, at least with reference to where the darker areas, lighter areas, and, possibly most important, where any light will reflect back onto a surface (whether off of adjacent panels, the ground, or something else that will appear in your drawing). This will help to “sell” the idea that your drawing is representing a three-dimensional object, versus simply being some lines on a flat plane.
Let’s continue to build those shaded areas, paying close attention to where light will bounce and fade, and perhaps not even reach with much intensity:
Let’s bust out that eraser again, and knock out some highlights… We’ll start to give ourselves some guidance for later on, at least for knowing where the light is really playing-off of the panels, and start making the fenders and hood and cab look more lifelike, and give them that rounded character! Again, just play in here, and use your reference materials to guide you on the general shapes and volumes you’re rendering… A light touch is preferable here, no doubt… We’ll blow in just a hint of color here, too, adding a little bit of a coolness to the panels. Visual temperature is something we’ll cover later on, but for now, just remember that this thing is, in reality, made of steel, and steel is often seen as “cold”. Let’s give reality a win here, and play up to it for a bit (and before we haul off and break all of the rules a bit further down the tutorial path).
Continue building up the blue, bit by bit. Again, a light hand here will pay dividends in the end… While we’re here, let’s start blowing in just a HINT of orange.
TIP: Always work in complementary colors when and where you can. The contrast will create instant visual drama, and really add some “pop” to your drawing. Besides, how cool is it to get a little instant gratification when you’re neck-deep in a project?!
Continue to build the oranges and blues, and stop every now and then, and darken up some shadows, tighten any stray lines, and again, keep it loose overall, but start tightening your touch in areas that should be showing some edges. This will only help to reinforce the perception of the shapes later on, and prevent the finished piece from looking “drawn over”.
We’ll lightly touch on chrome and trim here. I say that, as I’ll cover rendering chrome and glass (and other reflective materials) further down the road… After all, this is simply an introductory tutorial… Just giving you a taste of what to expect.
Let’s blow in some dark and light tones, simulating the bumper and window trim, and start making that big old grille look nice and shiny. The key here is almost thinking in reverse. Consider how the dark pavement under the truck will show up on the round bumper, and then consider that, no matter how dark the tarmac is, that light will still reflect off of it. So… Where logic says “it’s rounded, thus the area closest to our eye SHOULD be lighter”, we say “screw you, logic… that area will be somewhat lighter, but we’ll underscore that light area with a dark line, and go with another dark line just above it…”. Why? To mimic the pavement’s slight reflection on the chrome, and then to provide the eye with a reference point of the horizon. This looks much more natural in a drawing, and we’ll get into the how’s and why’s in a future lesson… We’ll now start to blow in some white (with a slight blue tint) to mimic the highlighted areas of our drawing. Be sure to mask the areas (i.e. the rest of the paper) with some Frisket or other material to avoid over-spray.
Adding the blue here may gray a few areas on you, but don’t worry… we’ll get the color to pop in a future step. The goal here is just laying in color as a guide.
The idea, at this point, is to start showing where the light is hitting the panels… just play, and let your eye and reference materials guide you, if you’re not familiar or comfortable rendering light just yet…
We’ll start blowing in some more blues, a hint of green (let’s work that glass to look more, well, like glass, shall we?), and continue playing up the oranges (again, complementary colors!), and I’ve dribbled some, so I’ll make those into a nice ground texture, and, after masking (much more on that in the future), I’ve even blown some “behind” the truck. Anything to make it leap from the surface of the paper is a good thing here.
Some cleaning-up, and we’re almost there… this is where the REALLY advanced touches come in… and we’ll cover them all as we put the series together for you. We’ll hit on highlights, hot-spots and reflections as shown in the image below… Here’s hoping you enjoyed this intro and over-view, and look for much more soon!
In the meantime, keep sketching, and observing. Study cars, get to know how light and shadow play off of surfaces, and what makes some colors appear warm, and others colder. Here’s a sneak-peek at where we’ll take all of this sketching and shading nonsense:
To reiterate, relax, observe, and always, always HAVE FUN! Stay true to the fun, and you’ll enjoy the time working, and your work will improve and show how much fun you’re having. This isn’t about layering one filter on top of the next, or trying to hide some referenced photo or model with cliche’d distractions and light flares… it’s about rendering a vehicle in a visually striking manner… making the most of what you have available observationally, and transcribing that in your drawing. More soon, and thanks again for looking in!
Catch you soon, and keep an eye out for the next installment… and check out my other drawing tutorial as well as my primer on line weight, and be sure to check in on my Facebook Fan Page! Thanks for reading and drawing along, and feel free to leave a comment or questions below…
One of the greatest perks of my job is having fun. I get to have a blast when I’m drawing, even during the late-night thrashes, and times when it stops being “car drawing time” and becomes “let’s see this doodle pay a bill”. I hadn’t realized, or consciously thought about the fun part of the equation before… It just never really occurred to me to consider it. It was simply sit and draw, erase, draw again, keep drawing until cross-eyed, rest, draw more… And then it hit me.
When drawing, rendering a project, or sketching a few thumbnails to feel out a logo or whatever, it’s not all about the final product. I’m having a blast in each line I’m placing on paper. Every last one of them, in fact..
…and I know them ALL by the time I’ve set pen, pencil, stylus or brush down.
Continuing our discussion from last time, I received a number of great comments and emails regarding the obsessive detailing that seems prevalent among we car-drawing folk. It just seems to be a natural part of it all, and it’s logical indeed. Consider just how complex the machines themselves are, and then imagine having to convey that complexity in some lines and pigment. A daunting task indeed!
Yet… somewhere between those strokes of a pencil and color work, we have this absolutely enormous area to play in! We can take any number of roads to reach the finished product: Will it be a straightforward portrait, in which we choose to portray each and every line in a rigid, photo-real way? Or go minimalist, and work from that one body line that offers so much energy? Do we find an area in-between? Man… this is where the fun meets panic on some pieces!
I was asked more than once to describe my technique, and I’ll try over the next few installments, and use this as a primer for the upcoming tutorials, if that’s OK.
I try to convey some sense of the vehicle’s personality. Not to humanize things too much, but I look for what makes a particular car or truck jump out at me. Of course, in the case of design renderings (for custom car and hot rod projects), I need to work with what’s existing in some cases… in others, I play creator, and select what stays, what goes, what gets modified… And on those projects, it’s all about giving the thing a personality! Now we’re talking fun.
I’ve found that the best way to do this is often the simplest, most direct route. Let the drawing speak for the car.
One element that seems lost with today’s crop of computer-driven artists is the one thing that “drew” me (sorry) to drawing in the first place:
Consider just how expressive a line can be when you drop some character into it:
Pardon the sloppy pencil guides and inking, but look at the fun that a few lines can have on paper… the way you can describe depth, add some heaviness to an area, even whittle a surface as it rounds or blends into another. Simply altering pressure or lifting or rolling the pencil or marker away from the surface can create an almost unlimited number of effects… and you can do this on the fly! (New to drawing? Check out the pulley on the sewing machine, and compare how thick or heavy the line that makes it up is along the bottom… describing gravity… and then compare it to our rabid ram’s tongue. You immediately feel that one is going to weigh more than another…)
I do this on purpose with each piece. When starting, I grab some reference material, and study the lines of the vehicle I’ll be drawing (especially so if we’re leaving some original panels, doubly-so when really cutting one up). From there, I look over any notes, and collect my thoughts on the project in heavy detail. I try to get a bit of the owner’s personality involved, as, after all, the car tends to be an extension of that. This part of the process can really alter my approach. Are they mellow? Does the owner project an aggressive vibe? Should the car be low and slow, or angry and loud and always at full-bore? My sketch will often go along with my feelings on that (and, on occasion, the music that’s playing).
As the sketching starts, I use the box method to place each major component, and figure-out the space I have to work in. As I begin to rough-in the panel shapes, I start to make a few lines heavier, some lighter, and some more lively than others, varying in width and cleanliness. My goal, at this stage, is to have a visual cue for later on. I want to remember where my head was at when I put each line in there. After all, keeping the mood and personality consistent will make a more cohesive design in the end. And keeping that initial energy alive, whether it’s going full analog or digital is what makes the work unique. My style always builds from this starting point.
When I have the basic line work down, I begin inking, most of the time. I say this because there are times when the pencils are close enough to what I want, and I know that the final piece wis at a size that will not change. When I know (or fear) that I’ll be enlarging or separating a piece for tees or whatnot, I’ll skip inks, and just re-draw my pencils in vector. Look closely at some of my work, and you can pick out the vector lines versus ink lines…
Here’s one that saw ink AND vector (as it was to become a t-shirt):
What’s interesting about this piece, at least with reference to our current topic, is that I was limited to one color, and thus had to really make every line count… to ensure that I conveyed depth, spatial relation, and shading. I love working like this, as it really stretches your abilities, making you think in two and three dimension, not to mention always having to think ahead, and in terms of how multi-subject objects (in this case, two bikes, a rider and a van, plus logos and text and an endless-line design) will interact, and, more importantly how we’ll describe that relationship with shadows, hot spots…
What’s even more fun is using line weight to describe motion! Putting some action into a drawing can be that little thing which puts your rendering so far over the top… Dig this little piece (same drawing as above):
Rather than clutter-up the space with motion lines and streaks, I opted for a more unconventional approach (conventional for me, anyway… I do this a lot). I hinted at a light blur on the spokes, and imitated a strobe-like effect, doubling a few lines, and then streaking a few knobs on the tire. But what I’m most proud of here are the chain and sprocket. Simply varying the line a bit (inked this with a Mack 00 striping brush, for those of you taking notes… oooh), and letting it get just a bit loose, I tried to create a feeling that the pedals were being pumped, and that we froze the moment… with the front wheel closer to us, we’d see the strobe of the spokes, and moving back through space, we’d lose detail in the cranks and sprocket, but still see somewhat defined shapes as they were captured.
They key here, as always, is employing your observational skills, and then putting your own artistic spin on what you see as it hits paper… Understand the physics of what’s going on, but have fun in there!
Let’s show that drawing as it was printed, and move onto another quick point:
When painting, we have aerial perspective working for us, allowing the artist to show distance by blurring and shifting colors to blues, helping distant objects to recede…In a one-color t-shirt, by golly, we could forget all of that, and just draw, right?
This goes right back to the last episode, and my obsessive need to detail everything. It doesn’t stop at things like trim parts and reflections and bolts… I have this need to have some sense of space… distance… an interaction of the forms with the plane they’re drawn on, and with one another. We can, fortunately, take a page from our painter’s handbook, and create a sense of aerial perspective, simply by detailing and defining objects closer to us, and letting things get looser as they recede on the plane. Here, I detailed the seat heavily, and got a little looser on the handlebars (and those Mushroom grips!), and simply hinted at the shape of the bubble port window, and going further back, the rear bumper just trails off… Showing just a hint of light bouncing off of the top. Doing this reinforces the effect of the van being back in the distance, as well as emphasizing that it’s parked at an angle, with the rear deeper in space.
Take this a step further, and pay attention to how you taper a line off, and you begin to create a visual guide for the eye… You create direction, and can move someone through your art, or direct them to an important object.
Always keep this in mind, especially if you, like me, work with both analog AND digital tools:
No brush or filter or plug-in can do what the team of your hand and eye can do together. None. Ever. Make the most of this, then, and put a truly unique spin on your art. Create a style, and build on that style, piece after piece. Pay close attention to the lines you draw, and your ability to react to what you see through those lines.
We’ve discussed the many ways to use a line to convey shapes, spatial distance and relationships, and even to describe motion and shading. We can also use a line with consitent width or stroke weight to provide a foundation, or to ground an element or composition. I used this technique in this design, as well, to draw the eye through the image in a set pattern, to make a sort of visual timeline for the action and still-life happening within the art, giving an illusion that many things are going on, no matter where you look. The endless-line running through the design looks groovy and retro, certainly. That’s why I chose it… But it also serves to anchor the outlined “BMX Challenge” logo and the “3rd Annual” text… and, perhaps more importantly, it frames a select few elements, allowing them to pop and recede in the space of the design:
All of that by playing with lines. Cool, huh?
Keep in mind just how powerful a single line can be. It doesn’t simply create your art or define a piece or look pretty… the lines you draw are an extension of you. You are the only person capable of drawing a line in your own precise manner. It’s like your fingerprints or signature… Unique to you, and the basis for your style, and how you draw or paint. Refine it, work with your natural stroke. I found that once I stopped fighting the way I drew naturally, and dropped the methods so pressed on me in school, that I had something enjoyable in drawing. My own style became evident. Do likewise, and you’ll find your work taking you in all sorts of new directions.
It goes without saying, then, that your digital work will only be as inviting as the analog preparation that goes into it. This is why, for the most part (I’m discussing mechanical objects, as there are many gifted digital artists who can make creatures and humans and organic things look incredibly real and, well, warm… but more on that temperature thing in a second), pure digital – meaning vector and photo-edited (i.e. “Photoshopped” or “photo-chopped”)or 3D model-based car artwork looks colder. It has a definite visual temperature change when compared to a hand-drawn piece. It lacks, I think, the tactile, the hands-on touch of art media to the paper, canvas, board, whatever to bridge the realistic surface with the warmth of art that we seem to seek…
In my opinion (again, an opinion… I’m not knocking 3D models or vector or Photoshop-based work at all. I think that ALL ART is outstanding, and requires a TON of discipline and skill, and I use Photoshop and vector tools as part of my production, so I’m right here with you… just clearing that up before someone sends me an email telling me how they misread this and that I called anyone who build or uses Illustrator 3D models or Painter a hack, and I have to send them a link to listen to Carly Simon belt out Carole King’s You’re So Vain, and then re-explain that I was simply trying to describe the significant visual difference between pure analog and pure digital work, hopefully they can dig what I have to add here), what makes that work look so cold is that it’s not created by the human hand, but rather by math and machine. Math doesn’t observe an object like we do, and can’t put a personal spin on what’s being drawn or represented… Sure, you can program a filter or action to try and simulate the human action, but it can’t change it all up on the fly. In my humble opinion, again, for whatever that’s worth, what makes a work of art so interesting is the conflict and the way someone deciphers and then presents what they’ve taken from experiencing some object or event, using a pen, pencil, brush, whatever… That’s not to say that any one medium or technique is better than another, far from it. Each has its place, and each requires a ton of work to learn the tools to create with, and I’m simply seeking to express my perceived temperature of one medium’s result versus that of another. It’s a perceptual thing, really. You may see it differently, and again, therein lies the fun and experience of all art.
That said, consider just how powerful your initial lines and strokes of the pencil can be. Everything you build from that will still have that first line carrying its weight or direction. The first lines convey action, energy… or, they can be lifeless and flat. You decide!
Check out the detail above. You can see that this was the result of a very quick sketch that I continued to refine, choosing to build and build on top, versus stopping to create a new, perhaps cleaner version. I just kind of liked the energy that it packed. Funny thing is, the sketch was the result of some very angry drawing. I got myself good and mad, as I wanted to make the car look as aggressive as possible. Crank some Ministry and Black Flag for six hours, drink a pot of coffee, listen to some talk radio, and off I went. Add to that a certain distaste for some elements of the ’68/’69 Torino, and what did you think would happen?
What’s fun here is that the lines in the sketch define the widened fenders, and play into the shaded and highlighted areas in the drawing. That thick line along the rear roof line helps to emphasize the bulk back there, but draws the eye in to see that rear spoiler. Even the gestural, angry drawings have a plan.
All of my work has color built up over the original lines. This is, I believe, due in part to my studies and training in painting with oils. When applying paint to canvas, you build pigment in almost transparent layers, working from an underpainting, which creates the basic shadows and helps to define the forms. It’s this application, or should I say the technique and order of the application that allows me to play, visually, with depth. As I build the color, I’m constantly stepping back to see how each new shade or highlight will play with the setting I’ve chosen for the rendering. Am I conveying a subdued twilight moment, or the rage and action of an autocross course? I’m constantly figuring it out as I draw. In the Torino piece above, I opted for a more serene green with a tip of the hat to Monet. I felt that the combination of raw, energetic lines and a bold, aggressive gold could benefit from a little drama, resulting from the calm background. It’s this competition of soothing versus ready-to-strike coloring which reinforces the rapidly applied line work. Pay close attention in your work as you create, and consider how drama and conflict can work for you!
On the flip-side, look at this Buick:
A very mild, almost pleasant, laid-back color scheme in the greens and beige, but what’s that? Some red in the wheel and pinstripe?! Hell yes. Contrasting colors can add instant drama, and here it not only helps to emphasize the edge of the wheel lip and add some pop to the molding, but it hints at the performance lurking under the hood (in this case, it’s a twin-turbo Nailhead). When designing, consider the original car, and compare that to your plans for it. A mundane sedan can benefit from a great stance, but the right colors, and drawn loosely and at a dramatic angle, well… look out. The groceries have never made it home so fast, or with as much attitude!
A last point for this installment (we’ll pick this up next time with a discussion of composition, and the elements to master therein) is working in a rhythm for your drawing. Much like the Beatles made a killing using a simple rhythm in their songs, the way those songs were written also showed a set rhythm. Your line work and color application should be no different.
From the first lines you drop in, get thinking about how the eye will move through the image. Make a mental list of the cool details in your ride that demand some extra attention, and build toward them, varying your line weight and direction to hit a crescendo at those particular features… Give a little action to your highlights, allow them to “dance” across the paint, flowing toward each perpendicular line (i.e. across the fender to the door gaps). This adds visual interest, and even hints at the setting of your rendering playing into the vehicle.
Catch you soon, and keep an eye out for the next installment… and check out my companion tutorials on our Facebook Fan Page! Thanks for reading along, and feel free to leave a comment or questions below…
I’m asked quite often how I create a drawing or rendering… what the technique is, what tools I use, and so-on… But the most common question and comment seems to fall back on “What programs do you use? How can I get my work to look like yours?” There’s a simple reply to that:
The secret isn’t in software. It’s in the sketches that come well before that stage. I was taught early on that observational drawing is the greatest skill any designer or artist can have, and I took that to heart. I took a number of life drawing classes, and sketched a LOT as a kid, and later in life. Developing this skill makes any software use in your tool set that much more fun and effective. The sketches you lay down before hitting the digital side will have a profound effect on what your artwork looks like in the end.
After many, many emails, phone calls and requests on the Facebook Fan Page, I’m putting a few “overview” tutorials up here, just to give a sneak-peek at the full-tilt versions that I’ll be releasing soon. Again, these are by no means full-on, “learn-to-draw” lessons, but a glimpse into my process, and a means to show the basic skills you’ll get to grips with prior to moving on with the more advanced techniques that I’ll be sharing. (This is a sample of the “static” tutorials. Video and audio-enhanced versions to follow.)
That said, let’s draw a deuce three window, shall we? (these images are saved from my time on Dave Lane’s project, which went on to win the 2011 Goodguys Street Rod of the Year award, Dave’s THIRD, BTW!) The ’32 is an iconic design, to say the least, and one of the most popular hot rod platforms of all time, and certainly one to pop-up time and again if you begin a career as a hot rod artist or custom car designer. Besides, it’s a fun car to render, with a great variety of planes and shapes to capture your attention and time on, and a great way to hone your shading and highlighting skills!
Let’s start with the standard box method. We know that a three-window will have a top, the main body, and some fenders, so a typical two-box, profile view will do great for this exercise. Let’s get the roof pillars in the correct locations, with reference to the length of the body, taking into consideration how long the hood is, and how short the deck appears.
Simple? Yep. The idea here is to break even the most complex of shapes into their most rudimentary forms. In “art-speak”, we’d call these primatives. Your goal here is nothing more than figuring out where the car will exist on paper, and then plotting the main shapes, placing them in the proper proportion. I use a straight edge for this on occasion, as shown here, simply because the sketching will get a bit messy moving forward, and if I build on a clean, solid foundation, I can be certain that I’ll keep that in mind when finishing everything.
From here, let’s throw in some guide lines to act as landmarks. We’ll get an idea of where the windows, doors, hood and wheels will go. Keep it gestural and loose, and simply mark the areas that these elements will live in the drawing. Too much detail here will cost time, and lead us to re-working if the placement is off even just a bit. Let’s start tightening the sketch up, once we are sure of where we’re placing things… Use your landmarks to judge where lines will be places, like the belt line, window reveals and so-on:
With the general guides in place, let’s figure out where those windows and other elements will appear, always keeping it light and paying close attention to the proper proportions, so that our rendering will look right:
Doesn’t look like much here… but as we continue to add the windows and door lines, it’ll all come into view, and you’ll be thankful that you gave yourself some sort of guidance:
I’ve begun to throw in some curves, keeping it all freehand. As we begin to tighten things up, reach for your French Curves, which will be tremendously helpful in laying out the guides…
…not to mention using a circle template to rough-in the wheels. Pay close attention here to the scale of the wheels. I often place a center line in, just to help envision the stance. As you can see, I adjusted this one a bit, getting that front end nice and low, almost menacing! I’ve even thrown some thought the way of the door handle and belt line at this stage. I’ll lower that hood just a touch… The importance of sketching comes to light! Better to see it off just a hair at an early stage, versus re-drawing the whole thing later on.
Let’s start to darken-in and clean up the lines that we KNOW we’re keeping…
At this point, I often throw in a shadow. It grounds the drawing for me, and helps later on as I add shading. My reason for this is balance, pure and simple. I want to keep the dark areas visually equal with lighter areas, and use those dark fills to balance-out openings like windows, negative space and so on.
PCK TIP: Remember, it’s not just a sketch, it’s a composition unto itself. Many times, a rendering will help to sell the job. The better the drawing looks, the more excited the client will be. Capitalize on that energy all the way through.
I’m going to throw in some wheels now, just because. As they’re wires, well, I have some work ahead… so I’ll figure out the basic lacing pattern, and give myself a road map to follow when I get to tightening things up later on. I’ll thank me then… By the way, notice my draw-erase-redraw on that rear wheel. Ick.
Let’s darken that shadow a bit, and start cleaning up those stray guidelines and original sketch marks… We don’t want to trap an unused line under anything, and ruin a clean look, or even worse, confuse ourselves moving forward.
We’ll begin figuring out our shading at this point, as well. Throw a few guides in, indicating where the shadows, highlights, and even some hot spots will go. As always, go loose, and remember to use your observational and reference materials… keep it real, but feel free to add your own artistic spin to it.
A good starting point, for me anyway, is along the side flanks of the car. Find the largest surface area that would reflect something back, and start planning just how light and shade will work off of that. In this case, we have the hood sides, doors and rear quarter panels, and they’re relatively flat, yet have a slight bow from front to back (with the apex of that curve just about in the middle of the door), and everything curves ever-so-slightly from grille shell to trunk. Try to mimic the look of a slight arc to give the car some realistic dimension.
We can do that by bringing the line of our shadow/reflection up just a touch on the ends, and allow it to drop a bit through the door. Remember, we’re aiming for visual excitement here, so allow your lines to be loose and have character.
Don’t go overboard here… we only need a few basic lines to indicate where our shadows and highlights will fall. I’ve moved mine a couple of times here, seeking to not only render the panels in a realistic fashion, but taking a small amount of artistic license to help balance the composition. I’m seeking to make the coupe look low and aggressive, and that means drawing the eye a bit higher on the body to emphasize the car’s proximity to the pavement… Raising the eye will only serve to make it appear even lower… and when drawing a sinister hot rod, it’s a damned good thing… Make it look sneaky!
It’s a lot to think about, but try to keep an idea in your head of where the drawing is going, and what you hope to convey through the drawing. I try to set the tone, to give voice to the personality of the car. Your job, as an artist, is to stir an emotion through your pictures. Always think of ways to do that!
Once we have the guides, let’s fill-in, very lightly, where our shaded areas will be… play with different pressures and strokes here, and work up tonal values gradually. A light hand, again, will pay off tremendously later on. Give thought, too, to the final color that your rendering will be. Darker colors can benefit from using more light or white space (to mimic reflections), and lighter colors can benefit from a little more darkness. Yellows (where we’re headed here) can be a bit trickier, and require a bit more thought, especially with regard to how light disperses in the pigment, and how reflections will scatter… MUCH more on that in upcoming tutorials… For now, let’s allow our reference materials and observational skills guide us.
Keep things loose but controlled at this stage. We’re thinking about where light is hitting and shadows are formed, but, at the same time, we want to keep a fluid, organic look to it. Too mechanical, and the drawing will processed and cold… too loose, and things will start to look very sloppy. We want it to look almost natural. Keep your strokes consistent.
Ready for color? Let’s lightly add just a touch of yellow here… if for no other reason than it looking cool. Seriously, though, this will give us an idea of how successful (or not) our shading efforts have been. I start by blowing-in some hue, whether I’m working in analog (like in this example, with pencils, paper, etc) or digital (in Adobe Illustrator, 99.9997% of the time) to get a feel for how to proceed.
If you’re working on paper, grab your airbrush, and thin-down some color. Hit the image with just a light, translucent coat. We don’t want to bury anything, just get the color showing over our shading efforts. If you’re afraid to mess with your sketch, grab some vellum, and paint on that, OVER your sketch, much as you’d use layers in Illustrator or Photoshop or Painter. Choose a hue that’s close to your final color choice… I usually work a shade or two lighter at this stage, painting it like a candy color. It will add tremendous depth later on.
Once we’re happy with the shading and color test, we’ll start blowing in some saturated toners… play in ALL areas of the car, and give everything some thought… Where can we use this base color? In the glass? Hell yes, The wheels? Definitely. In the shadow? Why not?
PCK TIP: a touch of a warm color on the outlying areas will help to blend the shadow to the fore- and background, and look more realistic!
While we’re here, let’s follow my usual plan, and darken-up any lines or blacks… We don’t want to do this last, as it will leave our work looking sloppy, and force an air of “overworked” and “afterthought” all over. Not a good thing. Work tight, but nimble.
PCK TIP: Always, ALWAYS give some thought to line weight.
Alter you line widths to simulate where the eye will be drawn back, to mimic what areas will be closer to the eye and so-on. If you’re new to drawing, please have a look at my primer on line weight. It’s loaded with tips on effectively using different widths and strokes of the hand to not only create the illusion of space, but to add visual excitement to your renderings. One stroke can draw attention to a particular detail, or guide the eye around the piece… and, in many cases, help it to “pop” off of the page! Have fun with this, and go at it with a plan. Give the drawing a nice visual rhythm, keeping the viewer entertained, but not confused.
Once we have the tone figured out, and those areas we want dark and saturated looking right, we’ll bust out the white. The idea here is to slowly, ever-so-carefully build up highlights, Keep your technique loose but controlled. We want the highlights to scatter a bit… no harsh edges just yet. The white will also act to blend any “sketchy-looking shaded areas. It’s a great two-for-one bonus step. Allow the light to look as though it’s dispersed through many layers of paint… Think “candy” at this point, and you’ll do fine! Again, we’re building in layers, as mentioned earlier. We want some depth in our rendering, not some flat doodle!
As always, I suggest some use of a complementary color. We’ll drop in some purple for visual pop, and get just a bit of drama and spice in there… A touch in the shadows, as well as into the yellow hue will help to define the shading, and create some… wait for it… depth! It contrasts beautifully with those greens in the glass, and can add some great taste in chrome. Don’t be afraid to experiement with this. After all, it’s art, and you can have a few freedoms, creating and tweaking realities to suit the look you’re creating.
PCK TIP: Build your complementary colors up in the same way you’ve been building the body base color. This will keep everything looking uniform. Again, a little depth here goes a long way later on for visual appeal. Keep it tight in this stage. Sloppiness kills a great piece.
From here, we’ll concentrate on tightening up the little details, and throw in some blues and purples to get that pop and dimension… Not to mention some green in the glass (it’s my trademark touch, and looks “right”, so why fight it?).
PCK TIP: When rendering any reflective surface, try to use a slightly cooler color. Think in terms of blues and some greens. This will read, to the viewer, as having a slightly smoother and colder feel, just as glass or chrome does in the real world. I tend to work a lot with classic cars, and many of these came from the factory with a slight green/blue tint to the glass. In my mind, it just looks right, and offers just one more place in your rendering to play with reflections, as blues and greens can often reflect light and objects around your subject in a different way than the paint would. We’ll cover this in a much more in-depth way in the near future, but for now, I just wanted to explain why I did that in this and many of my other drawings. Observe how glass reflects its surroundings in the real world, and draw it!
At this stage, keep everything clean, and make sure that all edges are sharp, and that any guides or original sketch lines are gone. Play with detailing, and use some pure white to create hot spots, and draw attention to some areas. As always, just HAVE FUN in there. Let it build, and you’ll enjoy the realism and artistic look that your work will pack.
Whatever you do, though, do NOT over-work an area at this stage. Trying to correct a piece that wasn’t right four steps ago will just look ugly. It’s the equivalent of piling white-out on your term paper… it’s an afterthought and looks as such. If you find that one of these “mistakes” is too noticeable, work an area around it with a little highlight or a hot spot to draw the eye away. Chances are, you’re the only one who will see it anyway.
Finally, we’ll blow in some toners and shades of the body color, as well as just a hint or purple to create a background texture (I know… “wow, Brian… splatters… who’d have thought?” but it’s my work, my trademark thing… I enjoy it.), which is a major tutorial coming soon. Give your rendering a place to “live” on the paper. As tempting as it may be, keep it fairly toned-down. Granted, I go a bit crazy with it sometimes, but each piece has its reasons, and this one is begging for it…
Thanks again for looking in, and following along! Please let your friends know if you found this useful, and be sure to share your work and progress, as well!
Let’s go over a few points one more time, just for good measure:
Keep your drawing clean. Erase stray and guide lines as you go. You don’t want to trap a line under some ink, as it will show up at the wrong time, and be almost, if not impossible to remove. Work from observation. As you walk from the parking lot to your job, the supermarket, wherever, pay attention to how light reflects and plays on different cars, surfaces, colors… Get an idea of what shapes and panel contours pick up the most reflected light from the ground, adjacent panels or other objects around the vehicle. Get to know what looks warm and what looks cold, and what colors are in play to make that happen.
Always give your work some CHARACTER! Play with line weights and vary the strokes and directions of your strokes to make things come alive! Above all, just have some fun. Don’t forget the FUN. If little details start to become tedious, you’re either tired, or over-working (and over-thinking) them. Step back, take a break, or simply move on to something looser in the drawing to freshen-up your attitude. It’ll happen from time to time, and on a last-minute deadline rush, well, it happens even more often. Just roll through it!
Catch you soon, and keep an eye out for the next installment… and check out my companion tutorials on our Facebook Fan Page! Thanks for reading along, and feel free to leave a comment or questions below…