Having gone well off of the beaten path again lately, I thought it would be nice to revisit the original theme of this blog for a bit, and look behind the scenes of some renderings. What do you say?
A peek at the process:
Starting with the tried-and-true box method to nail perspective and proportions, I sketch the essential shapes and components (taking time to design a wheel, too!), and then scan the sketch, and begin the heavy lifting in Illustrator. Around forty-nine layers in total, this one is relatively straightforward, with only minor custom changes, allowing for a little more time to play in the details.
No presets, meshes or brushes, just paths and pen tool. There’s a lot to be said for using the basic tools, and I find it to be a very Zen experience; it becomes the art of massaging your brain while working. It can get tedious, but the key is in finding a rhythm, wherein you can alternate between left and right brain, solving little design and engineering issues as you make everything look “right” or “cool.”
My goal is a smooth, clean piece which retains some of the raw lines, but with a heavy focus on getting the little stuff in all of the right places:
Speaking of playing in the details, lets’ take a peek at the hundreds of paths that sometimes need to be squeezed into a fraction of an inch with some custom ‘Cuda tail lamps. In this case, we were looking at creating the concept art to show the customer what ’71 Charger lamps would look like in his ’70 ‘Cuda (see here for more on that!):
From paths upon paths to a detailed illustration:
A behind-the-scenes look at the rendering for the project, working from a loose box guide to sketch, and then into Illustrator for around forty hours of pen tool work, this time strictly using the mouse as my hands weren’t cooperating:
One more piece for this installment, and a rendering that was a big challenge and a ton of fun at the same time, as it required creating something that didn’t yet exist, and finding a way to create a unique spin on the classic belly tank-based land speed car:
Working with just the basic plan, it was a matter of packaging everything neatly and orderly, and then making the aesthetic work. Starting with the tried-and-true box method, I git the perspective working in my favor, and worked to get the parts and pieces that my client wanted showing, and then built upon that foundation once the loos sketch was scanned and in Illustrator. The post work in Photoshop brings the whole thing to life, and it took lot of restraint to avoid losing the original hand-drawn feel. I think it worked out in the end:
It has been a while since I posted anything here to really do with the actual drawing of cars… I mean, shit, that is the name of this whole mess, after all. I suppose that I could throw a few doodles into the mix now and then, right?
Going through some of the older sketchbooks and whatnot, I’ve compiled a little peek behind the scenes; the stuff that goes on before the vector and digital voodoo-type sorcery. Let’s start with this piece:
I had wanted to do a cartoon-y piece for a while, and the opportunity presented itself back in ’08-ish, so I went at it with some gusto, and created the ultimate swap meet find moment, with this happy gent scraping his way home with a brutal ’55 Chevy in tow. From markers to the scanned and re-drawn, vector art, you can see the importance of staying as true as possible to the original work. All pen tool… no brushes, auto-trace, meshes or other preset nonsense. It’s all about retaining the original line quality, and saving that hand-drawn looseness, but gaining all of the good things that a vector piece can supply!
I do a lot of t-shirt work, and to be honest, I enjoy it a lot more than the hot rod work, especially as things progress with my neuromuscular condition (more on that soon), and it really gives me a chance to play around in my imagination. There are so many things you can get away with, stretching reality on a graphic, versus having to make things work on the street!
This piece was a fun one in so many ways:
My pal Jon had wanted a cool tee for his shop. He knew he wanted a pinup girl with a retro feel, but wanted to include two of the more well-known cars they’ve painted… However, those cars are decidedly modern Pro-Touring style rides, so the challenge was on to make these elements work. I decided that I’d use the opportunity to include elements from some of my favorite science fiction spacecraft, lending a little bit of a retro/space feel. And what space-age pinup would be complete without a glass dome helmet and a ray gun-turned-paint gun? Naturally. Sketch to color-blocking in marker took what seemed like forever as my hands weren’t cooperating too well at the time, but I had managed to bust this out over a couple of days (from sketch to final vector work):
Speaking of tees and posters, here’s a little one from 2012:
This is a peek at that weird moment where the sketch meets the digital work. For me, this is a bittersweet moment at times, knowing that some elements in the original design will probably change, be it to make things more print-friendly, of due to a client’s request… And some of the really neat little bleeds and whatnot in the marker stage will be lost forever to the super-smoothness of a vector curve. I pay a TON of attention at this stage to keep as much of that hand-hewn character and personality in there!
The completed vector art:
Let’s peek at the rendering side of things with a little ’50 Chevy pickup piece. Starting with a pencil sketch (you can find the whole process on this particular illustration as part of a quick tutorial, if you’d like), I refine it to a point where I feel confident that I have enough information to move into the digital side. This one got a bit carried away, as I was putting that how-to together, and thought I’d have an expanded version for the upcoming book:
Mostly pencils with just a touch of gray marker making its way in, just to nail down the shading.
Once it’s all vector drawn (again, I’m a strictly pen tool kinda guy on these personal pieces, as it’s more about getting m,y own hand and style into the art, versus banging out a piece to feed the kids. After a bunch of hours and hundreds of layers and detailing, we get this:
Sketching on-site is always fun, and this piece was the highlight of a fun weekend, hanging in Burbank. While the plan was to go full digital with this one, I decided that it just had too much going on to lose the feel, and decided that markers just fit the bill, and, well…
…it worked out pretty well! Experimenting sometimes with a technique or style that’s outside of your everyday working methods can often bring exciting results! In this case, I had really intended to keep it looser, and get that cool plein air feel… but in the end, I forced a bit of my tighter rendering style in there. Maybe next time!