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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 and shade.

2 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.
3 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.
4 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 is shared and gives a much more cohesive, strong image.
5 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 natuarally lead your eye here anyway so it doesn't need much help.
6 Now that the background is out of focus it can be outlined with a rough brush so that the basic form is still read. It was decided that the headlamps were too mean and expressionless so they are given a bit more shape. Further sharpening happens when some grille detail goes in, including the badge.
7 The forms on the wings which are supposed to correspond with the lamp reflectors are not really going anywhere so some their light and shade areas are extended into the lamps. The lamps are defined a bit more although left quite loose because they are flush and it will be easier to sketch the best outline directly onto the clay; what the lines do in this view could get unpredictable in 3D. A few spots of highlight are added on the illuminated side of the car to help feel the form of the wing and features.
8 An overlay of colour is airbrushed over everywhere apart from the windscreen. It is a lot easier to sculpt the form using just black and white up to this stage and this is a very efficient way of adding colour for the sake of separating bodywork from glass.
9 A last refinement is given to smooth out some of the more ambiguous areas. Some lower intakes are added with simple highlights and the windscreen is given a more uniform gradient. The shadow side was looking a bit flat so a bit of light is cast onto the wing features. The left lamp receives a gradient also to give it some depth then is it covered with highlights running off the bodywork to make sure it looks flush. The result is a quick development sketch that keeps the modelling going and addresses the main design issues at hand without getting bogged down in drawing tyre treads or interior details. Click on the image to the left for an enlargement.