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Again, on a new layer, I have
now started applying the highlights. For the sharp highlights I have again used the "path" tool to ensure that I get a crisp line. At this stage the
drawing really starts to come alive, and you begin to get a real feeling of
three dimensions to your image.
I would suggest at this point taking some time to really look at your reference image and try to understand why the light is falling and reflecting on the surfaces the way it is.
I would suggest at this point taking some time to really look at your reference image and try to understand why the light is falling and reflecting on the surfaces the way it is.
On another new layer I have
started to apply some slightly more detailed shadows and reflections. Whilst
it is obvious that surfaces pointing away from the light source will be
darker, reflections bring their own subtleties and complications. Using a
photograph (or real life) as a reference for such an image is therefore a
useful exercise. Studying these reflections should help you understand how
to apply them to your own designs.
I tend to apply the shadows first, as to me it feels more natural, of course this is not a fixed rule.
I tend to apply the shadows first, as to me it feels more natural, of course this is not a fixed rule.
Here I have added some very
subtle shading to the whole of the object. Simply put, the areas pointing
towards the light source collect more light. At this stage however I have
not worked into any details, and I have also resisted the temptation to make
the image too dark at such an early point in the drawing.
Placing highlights around the
wheel house helps show that these surfaces are a little more upward facing
and are collecting a little more light from the sky. At this stage I have
also added some of the sharp lines, again using the "pen" tool. For the
windows I have made paths around the shapes and then erased away the colour
from the body layer. Something to note... it is important to save each of
your paths as it can be a little annoying having to do them again later if
you have missed something.
Next was to create the primary
paint coat and the second colour on the side of the car. It can be a good
idea to always have a standard palette of colours available to choose from. You can see in
the top left of the drawing space I have a small colour colour swatch,
allowing me to pick colours quickly yet consistently.
At this stage I have simply used paths to make selections which I have then filled using the "paint bucket" tool. It is your choice whether you want to keep each colour on a separate layer or not, although keeping some things separate of course allows a greater degree of adjustability later on.
At this stage I have simply used paths to make selections which I have then filled using the "paint bucket" tool. It is your choice whether you want to keep each colour on a separate layer or not, although keeping some things separate of course allows a greater degree of adjustability later on.
First of all, when you are doing
an illustration it is important to find an image of a car that you really like.
This will ensure you are inspired to produce a successful image. Producing
an illustration can be useful in
understanding more clearly how reflections from the environment hit glossy
surfaces and how the interplay of highlights and shadows happens in
real life. In this case I used a real photo that was taken with my phone,
hence the picture was poor in details. My advice to you is to
have something in high resolution as it can help you analyse every line
and reflection in great detail.
As you can see in the picture I start using the “pen tool” (you can find a good tutorial on how to use it here so I won’t explain it again on how it works) to trace the general shape of the car and to make a selection in order to fill the primary colour. The pen tool can provide the greatest degree of accuracy for this task.
Please note...the red stripes in the image were created only to demonstrate where the paths from the pen tool were placed, so it is not a thing for you to recreate because they have no meaning for the render.
As you can see in the picture I start using the “pen tool” (you can find a good tutorial on how to use it here so I won’t explain it again on how it works) to trace the general shape of the car and to make a selection in order to fill the primary colour. The pen tool can provide the greatest degree of accuracy for this task.
Please note...the red stripes in the image were created only to demonstrate where the paths from the pen tool were placed, so it is not a thing for you to recreate because they have no meaning for the render.
Let me start by presenting
myself. My name is Iulian Vornicu and I am a 25 years old Romanian Industrial
Designer with a strong addiction to this magnificent profession. My passion
for drawing and designing started in high school during the time I studied
architecture. During this time I felt more attracted to
designing new products rather than planning new buildings, so at that point my
choice was easy to make. I finished my design courses from the University of
Fine Arts “George Enescu” Romania, after I received my Bachelor’s degree
in Industrial Design. Although I still work in the architecture field,
collaborating in the interior/exterior design of constructions, I will
soon attend a Master program from Instituto Europeo Di Design in Advanced
Transportation Design and hopefully start my automotive career. For those
who wish to see more of my work, you can view
my portfolio
on Carbonmade.
page last updated;
2014-06-15
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