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Allan Macdonald. All rights reserved. Contact: firstname.lastname@example.org
Up until this point the sketch is a bit
two-dimensional so the background is obscured and blurred out slightly to
make the area of greatest interest also that of the greatest contrast and
sharpness. In order to begin sharpening, some white highlights are added to
the grille and headlamps to strengthen this area as the focal point. The
lines of the design naturally lead your eye here anyway so it doesn't need
To add some punch, hard dark reflections are
added to the bodywork on the shadow side of the car. In doing this the dark
value are shared giving much more cohesive, strong image.
A bit more headlamp detail is applied and some
highlights of varying strength go where the more important features are.
Extra darkening of the bonnet feature to the right confirms the direction of
the main light source which is suggested by the shadow direction. From now
on you know which areas to show in light and shade so that the form can
basically be read without the need for too many explanatory section lines
which may distract from the aesthetic.
Using the quick mask tool put some reflections
in areas where you know there is a crown to the surface over which a
reflection is likely to form. As you can see it is very inexact at this
stage and intended merely as a way of helping the eye see a more complete
form. A shadow wrapping round from the ground shows that there is a rounded
form underneath the car.
A few quick lines are all you need to use as a
base for working on; enough to place your main features and no more. The
next thing to do is apply a broad sweep of airbrush over the area of the car
that is nearest the eye. This shows a beginning of a volume formed by light
RAPID DEVELOPMENT SKETCHING
In this tutorial it is assumed that you already have a design theme
worked out and know roughly what your car will look like. Ideally you would
be working over a photo of a clay or screenshot of an alias model. I have
chosen a supercar to show the methods used here because the forms are
exaggerated and it is easier to see how they are being rendered. It is a
very fast method and one I use when working with a modeller if we have
decided a modification is required because something isn't working in 3D.
Thirty minutes later we can have a new sketch to work from. In this
theoretical case I fantasised that we were having difficulty getting a
traditional Alfa grille to work on a low-nosed design and decided to try
turning it the other way up to see if it still had brand identity.
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