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3. Here was an
opportunity to do something a bit different with the pillars. What inspires here
are the flowing lines that came about behind the front wheel on the front wing
and above the rear wing.
5. Taking some of the
character of the main features an exaggerated vent is put in with the same
character. This kind of thing is added for fun and curiosity and often taken
away at a later stage but this one is kept for the moment.
7. Now the sketch is
showing a fairly defined concept one last clean up is required, as is a
simplification or removal of any things seen as unnecessary, such as the
aggressive lower front grille. A blue overlaid airbrush is swept over the top to
give some depth to the sketch. Also badges are put on the grille and wheels as
an important detail to give an instant impression of the brand.
8. Time now to look
back at the initial sketch and see if there is any character that has been lost
which should have been kept. In this case there was a volume on the sill behind
the front wheel which was balancing the form of the rear window. An aerodynamic
fin is added to re-capture that. Finally a pale yellow overlaid airbrush gives
it a little more reality, wheel badges go in along with subtle reflections on
the bodywork. In the end you should have a defined sketch containing fresh
6. It is now time to
get to grips with some things like the roof and start to clean up some lines.
The bonnet isn't good up until now so the stronger bodyside line is swept over
the headlamp area forming an asymmetrical grille. Some quick wheels go in which
suit the theme of the whole car. The outline is cleaned up with a subtle shadow.
Grille detail is added; what you want to do with the brand influence (Ford in
this case) is especially important here.
4. Connecting some of
the lines in the body side begins to simplify; more understandable forms come
out. Also a theme with the flowing, ribbon-like lines of the pillars and front
wing feature is recognisable.
2. When you reach a
point where there are a few interesting things to be worked with you can begin
defining some surfaces using an opaque brush which solidifies the form. Notice
here the forms are already there they just need bringing out.
(VIDEO) This is the initial part of the sketch which is probably best explained
by video. Starting with an idea of what kind of car is wanted and a random
scribble which will hopefully spark off some new ideas, this is the equivalent
of a thumbnail sketch.
A graduate of Coventry University, Miles Waterhouse has 9 years experience
at studios including Pininfarina, Volvo Trucks and Shanghai Automotive, as well
as several product design companies in the USA where his experience ranged from
designing watches for Tommy Hilfiger to snowmobiles for Polaris.This diversity
means Miles has been exposed to and developed a variety of design approaches and
presentation skills which he will be sharing with us here on Designer
Techniques, starting with this tutorial on how to apply speedpainting techniques
to car design.
This is a technique which can be used to create new ideas that you wouldn't
normally think of. It uses a random element and combines this with ideas and
influences you already have in your head to create original themes. It differs
from the traditional method of line drawing because it quickly becomes sculpture
from a rough form.
The initial sketch should take around 10 minutes and the rest
about 30 minutes but you can spend as long as you like refining it of course.
What is most important here is not the speed of the method but the fact that it
sparks off ideas.
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