Car design tutorials sketching pdf

In this video Marouane Bembli aka TheSketchMonkey shows his technique for kickstarting creative ideas and overcome the fear of starting from a blank page. In this 10 minutes video, automotive designer Leandro Trovati shows his technique for turning a concept sketch into a final rendering.

A visual walkthrough of the digital sketching and rendering process of a Mazda Concept, created by car designer Irfendy Mohamad.

The new training course by CGMasters explains advanced SubD subdivision surfaces modeling techniques for creating car 3D models with extremely high quality surfaces. Here is our exclusive presentation and review.

How to model a detailed tire in Blender using modifiers. Project files are included. A video demo by design instructor Marouane Bembli who draws and renders a car in side view using a BIC pen and markers. In this video tutorial in 3 parts, Claas Kuhnen shows how to model 3 toothbrush in Blender using several advanced techniques, and how to properly import and rebuild the model in Autodesk Fusion Small hatchback Figure 6 — large cabin area, small engine area, small wheels.

How the car sits on the road — low and sleek; high and agile; sits level; raised at the back. Low front looks fast and aggressive. Big wheels pushed out to the extremities looks tough and muscular. High nose looks regal. Figure 7 Figure 7 shows a 40 Ford Lowboy hot rod. It has got a very laid-back angle to it, sitting nice and low in the road with the front end slightly raised.

It has this very cruisey look. Figure 8 In Figure 8, the Shelby Cobra is very muscle-bound — it has big wheel arches to take those big tires underneath.

It has bulges all around it, indicating a big engine underneath. It sits with the nose slightly lower than the back so it assumes an aggressive stance. Since it looks muscle-bound, it seems like it is ready to pounce. Cars are quite complex objects to draw, and learning how to draw them takes lots of practice. They have specific lines, shapes, and rules that apply to them. There are many different profiles and many subtle curves. There are lots of different angles and shapes to pull together to get cars looking right.

You also have the whole thing of wheels. This is probably the biggest stumbling block for most people. Getting the wheels right at their correct angles and getting the ellipses right are critical and are actually quite a challenge. Adding to their complexity are the reflections you need to bring in — different surfaces like glass; being able to see through the glass; replicating the high-gloss paint finishes, metallic paint, and chrome; dealing with reflectors and headlights — all these different influences.

There are quite a lot of different textures, shapes, and elements to be dealt with in drawing cars. This is what makes them complex. Do I have to add a lot of detail to my drawings? Adding detail depends on what you are setting out to achieve. You can add as much or as little detail as you like. A quick sketch showing overall form and flavor needs little detail, whereas a technical illustration — where every detail on the car needs to be shown — needs lots of detail.

Drawing a hot rod with an open engine and lots of chrome needs lots of detail. Drawing a car with a very smooth, clean surface like a Porsche needs less detail. If you like the challenge of adding in a lot of detail and if that is what you are into, then go for it. Other people like to go for more of an impressionist type Figure 9 of approach by doing an atmospheric-type drawing or giving a flavor of the shape, reflection, or form, which does not actually require too much detail at all.

Therefore, it is really up to the individual whether they want to add a lot of detail or to stop at something light. One is of a cutaway, which includes a lot of detail.

This uses a technique similar to a technical illustration approach, where a lot of detail is shown and defined. The other is a very simple sketch with a basic outline shape — maybe a headlight graphic, a grille graphic, the position of the wheels — and that is about it.

It is more of an atmospheric type or an impressionist type drawing. Figure 10 The cutaway in Figure 10 is a very technical illustration. It started as a cross sectional on the drawing board with lots of technical details and that print was rendered up. There was an effort to show as much detail of the suspension, engine, and gearbox as possible. The drawing of the Cuda appears like quite an elaborate drawing with the use of the markers and the use of color and highlights, but if you get in closely and look at the actual drawn detail, it is quite light on.

There is not a lot of detail in the grille. There is actually not a lot of detail like badging and fine detail in the bodywork. The shape and form is described more through the use of color, as well as some appropriately placed highlights and little splashes of wet paint, than the use of line drawing. It is a drawing that is very quick and very loose and probably took under an hour to do.

The use of color and the placement of highlights and lowlights are what bring out the form. So it is not too detailed, but it appears as though it is. Will previous drawing experience be of benefit in drawing cars? Previous experience always helps. Practice always helps too, but you know you have to start somewhere. Everyone has drawn his or her first car at some stage, so if you have never drawn a car before, you know you need to start somewhere.

Here is a good place to start. If you have been drawing for years, you will know that every time you draw a car, you learn something new. When you get that little bit of extra practice in, the next time you draw a car, you know something else about it — such as what to avoid or what else to try. As previously mentioned, anyone can learn with practice and interest.

You have to be interested in it. If not, you are not going to want to do it so there is no real point in attempting. But certainly, if you have never drawn a car and you are interested, you can learn how to draw cars. Constant practice, though, helps you become good at it eventually. I think that the first one was done when I was about 7 or 8, and the next one again about 8 or 9 through age 12, up to the 40 Ford delivery van I did when I was about At around this time, I was starting to learn about tone and color — adding tone and shading.

I think I learned this from my big brother. He was a pioneer and I was always following in his steps. So, as you can see, I have been drawing cars all my life. I also went through a phase when everything I was drawing was trucks. Back then, I tried to finish exams early so that I could draw cars during the time that was left of the exam. It is good to set yourself up in a comfortable place.

I like to draw on a good solid surface — a good table with a horizontal surface that does not rock or move around. You also need good lighting.

I find that good, all-around lighting is very useful. Not just light that comes from one direction — because I often find that my hand will cast shadows over the drawing if the light is just coming from only one direction and I cannot actually see what I am drawing. The paper that you draw on is not as important, but I have my preferences. We will cover that a little bit later. The first thing that I always tell people is to not be afraid of the paper.

You can trace back over your drawings. You need to loosen up. When you are drawing big arcs, move your arm from the elbow. You must also practice drawing circles and ellipses. In addition, do not be afraid to move the paper around. This is so your hand can move at a comfortable angle to keep you from moving your body around the paper. You should move the paper around to what is a comfortable angle for you to draw at.

Tips for Getting started Enjoy yourself, do not be afraid of it, and use each drawing as a learning experience for the next drawing. Do not be worried if you make mistakes, you can always trace over it or redraw the line to get it looking a little bit better.

Notice how everything works symmetrically off a centerline and how the shapes are meshed. The hot rod also has a lot of sketchy lines around it. Remember the Cuda? The same technique was used. Draw in that baseline. Next, draw in those first two ellipses as your wheels that are in view, then draw in the horizontal line for the height of the bumper bar. Now work across to the right- hand side of the vehicle, draw in that right-hand side front wheel, then work up the bonnet, the windscreen, the overall outline, and then again begin to just sketch in the details — the doors, the side window, the headlights — and work it up from there.

They usually do an initial rough sketch to work out the angles and proportions with lots of quick sketchy lines. They then use that as an underlay and trace over it onto a fresh piece of paper, drawing much neater lines. Draw construction lines lightly in pencil, sketching in until they look right, then firm in the lines that you are happy with in darker pencil or ink.

For my finished drawings, I always do it in 2 or 3 stages with a very loose sketch to begin with, working up to the finished rendering. The following two illustrations to demonstrate this technique. One is the sharp-looking, finished racecar rendering with all the markers and all the multimedia, including all the highlights and clean lines.

The other is the initial sketch that I did and which was used as the underlay. Paper Over the years, I have found myself using the simplest type of paper — what is known as bond paper, or the type used in photocopiers. There are types of paper whose pulp, when worked on too hard, run up and becomes furry, making drawing inconvenient. Bond paper works pretty well all around and you can also see through it a bit, which means that it can even be used for tracing.

However, this paper is more expensive and not as strong as Bond paper. They deliver the ink quickly enough when you are sketching and moving rapidly. Outline-type pens. The Artline type pens with plastic nibs on the end work well for outlines, such as tracing with circle and ellipse guides. However, they are not recommended for quick sketching because they do not deliver the ink quickly enough.

Colored pencils. A blue- or sepia-colored pencil offers nice, soft sketches and can be used to make both soft lines and dark, heavy lines. The downside to using colored pencils is that they blunt too easily.

Clutch pencils. Blue leads give a nice, soft look to your drawings, can give you nice fine lines, and can also be smudged. They break a little too often, though, so expect to find little bits of broken lead flying off across the room. You can simply push out the lead a little bit more when you need it, though. These drawings are loose and sketchy, but pens give you the freedom to press hard and light to achieve both dark lines and light lines.

You can use a variety of thicker pens like a black marker to really punch out the lines and give some heavier definition. Figure 1 Figure 2 In contrast, the sepia-colored pencil sketch Figure 3 has nice, soft lines, and again, just by pushing hard on the pencil, you can get some quite heavy lines and dark shading. You can press reasonably hard and get nice heavy shading or press lightly and get some nice, soft lines and shading as well.

You can go over your initial lines with markers and they get slightly darker each time you do so, up to a point, of course. This is when you have fully saturated the paper and it will not take any more color. You can use one marker and get a little bit of tone going, then go over it to get a bit of a shadow going — the same area a couple of times, with the same marker. Markers give good, solid color; work quickly; and allow you to perform a variety of techniques.

Marker brands: Pantone markers. They have a good range of colors, and come with three different nibs: a fat, wedge-type nib; a thinner, felt-tip nib; and a really fine pen-like nib. That gives you three line thickness options for when you are sketching. These are available only at special art stores and are certainly expensive, so you need to be careful with the colors that you choose.

Copic markers. They come with two nib thicknesses, which both lay down nicely. Stock up on a variety of cool grays of either the Pantone or the Copic. Start with buying number 3 and add to your set by buying every second one — that is, numbers 3, 5, 7, 9, and These should be sufficient to cover whatever you need to do. Invest in a few colors as well, such as a few different blues and a few different reds. For black, I just use the cheap supermarket brands like Sharpie or Artline. You can use colored pencils for adding shading and tone.

I also use what is known as pastels, which give a very nice, soft shading. They are used in conjunction with makeup removers or cotton wool balls and the technique of using them will be demonstrated later in the book. A good white pencil is indispensable for bringing out highlights along edges, cut lines, wheels, and so forth. Use white paint, also known as gouache or poster paint, to strengthen the highlights. The gouache is applied with a nice fine paintbrush.

It can be used to dot around little highlights and to paint in little white lines on your rendering. Guides and Templates As opposed to the loose, sketchy-type drawing, which you could do from start to finish using only the freehand technique, tight drawings require a variety of guides for its smooth lines. They come in a variety of angles going from about 5 degrees up to 80 degrees. My set only goes from 10 degrees up to 60 degrees, but you can buy them from 5 to 80 degrees, and that gives you ellipse angles through that range.

We will talk about ellipses later on in the book. Car sketching and rendering with markers and Photoshop. Car sketch tutorial: using chalks and pastels. Car rendering using markers and Photoshop. Top side perspective car sketch tutorial. SUV rear view sketch and rendering demo.

Sketchover 8 — Car rendering with markers and pencils. Sketching A Tough Looking Truck. Sideview sketch tutorial. Truck Concept Design Sketching Demo. What makes a good design sketch and what are they for? Car sketch and design video.

From the Archive Sketching a car in 12 steps by Michael Smith. Car Design Schools A selection of well-known design schools from around the world that offer Courses in Transportation Design. Monthly Archive. Database Google Search. How to sketch a car in side view. Car side view Sketch with BIC pen and markers. Product Design Sketching Proportions. Luciano Bove on the basics of car drawing.