Sincethewholeimageisdigital,theresolutioncanbebumpeduplater.Yourfiledoesn'thavetobemuchbiggerthan100MB.Thiswillallowyoutoworkatadecentspeedonyourcomputer.PutthelinedrawingontoitsownlayerandchangethelayerBlendingmodeto'Multiply'.Withthatyoucanplacethelinedrawingontopinyourlayerselectionandallyourcolorwillgobelowitonseperatelayersandnotinterferewiththelinework,whilestillallowingyoutoseetheoriginallinedrawing.因為整體圖象是數字式的,決議可能以后提高。您的文件不必須大比100MB。這將允許您工作以正派速度在您的計算機。投入線描它自己的層數和改變層數混和的方式對'倍增'。與那您能安置線描在上面在您的層數選擇并且所有您的顏色將去在它之下在seperate層數和不會干涉線工作,當仍然允許您看原始的線描Thewaylayerswork,youcanpaintwithbroadstrokesonelementsinthelowerlayersbecausethelayerabovewillhidethepaintbelow.That'showIstructuremywork.Here,Istartwiththeshadowandthetiresinblack.Theshadowisblurredandonlytheoutsideofthetiresareniceandclean.YoucanseethatIalsoaddedsomebluetotheglassandhintedatsomegreypaintfortheinteriorandtailsectionofthecar.方式層數工作,您能繪以寬廣的沖程在元素在更低的層數因為層數上面將掩藏油漆如下。那是怎么我構造我的工作。這里,我開始與陰影和輪胎在黑色。陰影被弄臟并且唯一輪胎的外部是好和干凈的。您能看,我增加了某一藍色來玻璃和并且暗示了一些灰色油漆為汽車的內部和尾部。Usingthepathtool(somethingyoujusthavetolearnbecauseyouwantthecontrol),Ibasicallycutoutthewholebodyofmydesign.Silverisalwaysagoodcolortorenderbecauseitisneutralandreduceshardreflectionsthatcouldtakeawayfromthedesign.Ipickedamediumgreywithjustabluehueinit.Thislayerisontopoftheonewiththetireandglasscolor.Itisveryimportanttoorganizeyourlayers.Itwillmakeyourlifeeasier,especiallyifyouneedtodosomechangeslateron.使用道路工具(某事您必須只學會因為您想要控制),我基本上刪去了我的設計整體。銀總是一種好顏色回報因為它是中立的和減少能拿走從設計的堅硬反射。我采摘了媒介灰色以一種藍色顏色在它。這層數是在那個頂部以輪胎和玻璃顏色。它非常重要組織您的層數。它將使您的生活,特別是如果您需要以后做一些變動。Nowyouarereadytosculptyourdesign.Studypicturesorphotographstoseehowdifferentcolorswithorwithoutmetallicpaintreflecttheenvironment.Haveaplanofhowyouwanttoportraythebodyandthechangesofsurfacesonyourdesign.Photoshopisawonderfultooltoallowyoutoaddshadowandhighlightstoyourdesign.Clickonthedodgetooltohighlightandusetheburntooltodarkenyourimage.Youareworkingwiththeexistingpixelsanddon'thavetoworryaboutmaskingetc.YoucanseehowIhavehighlightedtheshoulderofthecarandputadarkcoreatthecenterofthecarpickingupsomelightfromthegroundagain.Youwanttouselarge,softbrushesandtakethetimetogetitright.現在您準備好sculpt您的設計。學習圖片或相片看怎么不同的顏色有或沒有金屬油漆反射環境。有計劃怎樣您想要刻畫身體和表面的變動在您的設計。Photoshop是一個美妙的工具允許您增加陰影和突出對您的設計。點擊推托工具突出和使用燒傷工具使您的圖象變暗。您工作與現有的映像點,不必須擔心掩沒等。您能看怎么我突出了汽車的肩膀和再投入了一個黑暗的核心在汽車采摘的中心一些光從地面。您想要使用大,軟的刷子和需要時間得到正確。Timetobuildinsomereflectionsanddetails.Istartedwiththesideglassandpillars,andaddedalightreflection.YoucanalsoseehowIplayedwithwarmandcooltones.Acoolbluehintontopreflectsthesky,andawarmbeigepicksupsomegroundcolor.Taillightandsignallights,mirror,tirehighlightsareallfeaturesthatwillhavetobedonerightinordertoaddrealismtothedesign.時刻修造在一些反射和細節。我開始了與旁邊玻璃和柱子,并且增加輕的反射。您能也看怎么我演奏了以溫暖和涼快的口氣。一個涼快的藍色提示在上面反射天空,并且溫暖的灰棕色拾起一些地面顏色。尾燈和信號光,鏡子,輪胎聚焦是將必須完成為了增加現實主義來設計的所有特點。Ifyouhavethetimetodesignyourownwheels,renderthemseparatelyandimportthemintoyoursideview.Here,Ijustborrowedthedesignfromanexistingcarandtweakedthemabit.Naturallytheyarealittlebitbiggerthanaproductionversion,butwehaveseenhowbigtiresareemulatingwhatdesignershavebeendoingformanyyears.Youcanbuy26inchwheelsthesedays,wow.

如果您有時候設計您自己的輪子,分開地回報他們和進口他們入您的側視圖。這里,我從一輛現有的汽車借用了設計和扭捏了他們位。自然地他們比生產版本稍微大,但我們看見了怎么大輪胎看齊什么設計師做著許多年。您能買26英寸輪子那些日子,哇。

Anyway,showingverylittlerubberjustalwayslooksgood.Atlastitistimetoaddsomehighlights.Don'tgooverboardwithit,itcanlooklikepigeonshitveryquickly.That'sactuallyanofficialterm.Littlewhitebrushstrokesshouldgivethecarabitofsparkle.That'sallandyouaredone.Carefullyerasesomeofthelineworkinareaswhereitwasusedtohelpoutline.Thesedon'treallyexistonacar.Doorcutsandgroovesshouldstay.無論如何,顯示很少橡膠總看起來好。最后是時間增加一些聚焦。不要做得過分與它,它可能非常迅速看起來象鴿子shit。那實際上是一個正式期限。一點白色刷子沖程應該給汽車一點閃閃發光。那是所有并且您做。仔細地刪掉一些線工作在它被使用幫助概述的區域。這些真正地不存在在汽車。門切開并且凹線應該停留。維If結y盼ou悄w舟an陳t浩to吃p秘ut袋t矮he竹c歌ar芹i宵n皇fr奸on貢t父of胖a咱b誰ac鹽kg蠶ro族un折d悟as貞I崗h覺av帽e饅sh夸ow茅n擊he她re吸,追yo筑u擇ca托n晨pl海ay樂w免it僻h秒th陵e決si堤de啟g鋤la窯ss如a鞭nd痛m績ak倍e價it辨s逢ee期-t魂hr妥ou篩gh竹w刑hi泳ch濫g窗iv肚es秋t天he跌c略ar啞m便or苗e忙de漠pt陽h.快P榨la頭ce智y值ou另r我si漸gn膛at仍ur視e耀so游me芒wh尊er亦e歲vi姑si柿bl想e黃bu躺t外do愚n'匯t屈le割t胡it章i掌nt帽er仁fe休re傲w婚it賄h匹th視e盯wo稱rk激.殼如果指您想魯要投群入汽夕車在叢背景且前面風如同旺我顯鉤示了寧得這穩里,叼您公能演辯奏與宜旁邊惰玻璃舉和做兼它看阿見通桌過哪間些給積汽車抖更多藏深度美。瞇安置芽您的飲署名尸某處升可看哀見但密不要寸讓它番干涉示工作涌。叔In距tr林od呢uc斑ti忙on

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宵雖然抗我們演全部脈喜歡鞏看和敗敬佩續很好嶄被制仔作的核例證略,墓因為地一位拐專業右設計護師您濾發現最這些凍構成健工作圖的小岔百分外比您奸將生惹產。趁因窩為設臺計師令您的掘工作拆將創然造許擺多和笑各種表各樣焰的想量法在幟時間辭短的拉空間演,塔并且拿做如窗此用龜其他談人可猛能看樓和了良解您聲認為般的方若法。鳴一袍個好自速寫邀的技文術可康能履鄙行這巾兩。黃當盛實踐界速寫償它可姑能是凝非常炸堅硬搬起初關知道制何時拼停止叛,場并且脊每張沒圖畫爛隨后足成為豈一費瘦時的遞re握nd洪er牌in埋g沾。懼它重鏈要學乳會結嘗束不信'陰珍貴時當速微寫。個將篇將經芹過做訴如此暖您生蹦產更紀多和抽快速須地改店善。

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閃這個材講解洪打算支顯示殿制定比出想牽法的即一個饑好技華術以倆快速米和可稻讀的睡方式總。既能導捧致讀匪作為葵3D定對孩象的術剪影捆,值對透啟視的揮基本岸的理桐解必糕需。覆因鄰此講斜解開咽始由茄給一挪和二交點透訴視規腿則的零簡要鳳的概揉要,般包釀括輪宰子橢鵲圓。念它以然后殺談話劑通過目三個急例子犧,吊所有報使用宵另外費透視波觀點痛。遭每一揉個顯史示怎堅么建鍬立一叉個剪猾影從果一張振空白王頁,仁通穩過概脂略的設線工劉作,貌并站且最拒后簡倦單的擦著色指方法拒。

Perspective透視

Whendrawing,abasicunderstandingoftherulesofperspectiveisessentialifyouaretoachievearealisticeffect.Onlyonceyouhavelearnedtheserulesyoucanbegintodistortorexaggeratetheminordertoaccentuateelementsofyourdesign.Therearethreebasicformsofperspective(one,twoandthreepoint).Therearealsothreemainelementspresentineachofthese(thevanishingpoint,convergencelinesandhorizonline).Thistutorialshowsthebasicsbehindoneandtwopointperspectiveonly,three-pointperspectivebeingatechniquethatautomotivesketchingdoesnotrequire.

當畫,對透視規則的基本的理解是根本的如果您將達到一個現實作用。只一旦您學會了這些規則您能開始變形或夸大他們為了強調您的設計的元素。有透視(一個的三個基本的形式,二和三點)。有并且三個主要元素當前在每個這些(消失的點,匯合線和天際線)。這個講解顯示基本在一和二點透視之后唯一,三點透視是汽車速寫不要求的技術。

HorizonLine:Thisline,asitsnamesuggests,describesthehorizon,whichisalwaysconsideredtobeateyelevel.Forinstance,anobjectsitedabovethehorizonlineisabovetheviewer'seyelevelandwillthereforeshowitsunderside.

VanishingPoints:Sitedonthehorizonlinethesearethepointswhereallconvergencelinesmeet.Althoughalwaysonthehorizon,theirpositiononthehorizondependsontheviewer'sangletotheviewedobject.

ConvergenceLines:Allparallellinesinascenewillalwaysappeartoconvergetoasinglepoint(thevanishingpoints).Theexceptiontothisruleisthatlinesviewedinparallelorperpendiculartotheviewerwillnotconverge.Inoneandtwopointperspectiveyoucanalsoconsiderallverticallinesasnon-converginglines.

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耽Th聰e默fo邀ll蘋ow輛in蛋g射pa否ge路s輕sh染ow肯t梳hr政ee米e蛾xa蠢mp稅le遲s求of注s繼ke烏tc歡he假s裁ba替se傘d重on蒙1賓a棉nd親2輪p市oi科nt少p銷er續sp騰ec嗚ti蔽ve常..限.WhenIbeginasketchingprogramIalmostalwaysstartbydrawingonlyinsideviews.Thepointofearlysketchworkisforthedesignerto'find'manyideasinashortspaceoftime.Bysketchinginsideview(andusuallyreasonablysmall)Icangeneratemanypagesofideasveryquickly.Thisismostlydowntothefactthatyouneedtothinkaboutperspectiveverylittle,andcanthereforeconcentrateonthinkingaboutideas.Almosttheonlyelementofperspectivevisibleinthesedrawingsisthewaythatyoucanseethefarsidewheels.Thisisduetothefactthatin1-pointperspectivetheonlyconvergencelinesthatactuallyconvergearethosemovingtowardsorawayfromtheviewer.Stage1

YoucanseeherethatIhavestartedbygentlyroughinginagroundlineandtwowheelpositions.Ihavealsolinedinashoulderheightforthevehicle.Theimportantthingtorememberhereistokeepyourlineworkfastandlight.Thiswayyoucanchangeandmovethingsaroundasthesketchprogresses.Acommonmistakewhenlearningtosketchisstartinganewdrawingwhenyourealisesomethingisoutofplace.Don't!Continuewiththedrawing,usingthemistakeasaguidetoamendingtheproblem,increasingthedarknessofyourlinesasyourefinethesketch.Stage2

HereIhavelightlymarkedintheroughproportionsofthevehicle,usingacentrelineandthewindowopening.Whenputtinginthecentrelinetrytoavoidthetemptationtoshortentheoverhangstoomuchbybringingthefrontandtherearveryclosetothewheels.Lookataphotographofacarinsideviewandyouwillseethatthecornerofthevehiclefallssomewhereinthespaceyouareleaving.Ifyourvehiclehasalotofplanshapeatthefrontortherearthenyouwillhavetoleaveevenmorespace.Stage3

Ihavenowdefinedthetopedgeofthebodyworkfromtherearwindow,overtheroofanddowntothefrontbumper.Rememberwhendrawingthislinethatitdenotesthecurvatureovertheroofandthroughthetwoscreens(whenlookingdirectlyfrominfrontorbehindthevehicle).Forinstanceyoucanseethattherearscreenhasalittlecurvature,whichflattensoutintotheroof(althoughnotcompletelyflat)andthenasthecornersurfacetravelsintothewindscreenthecurvatureincreases.Youcanseethattheclosertheedgelineistothecentreline,thelesscurvatureisimpliedforthesurfacebetween.Stage4

Onceyouarehappywiththegeneralshapeandproportionyoucanbegintofirmupsomeofthedetails(rememberingofcoursethatitisonlyasketch).Ihaveaddedsomelightreflectionlinesinthesidewindowanddownthebodyside.Ihavealsodefinedthefrontcorner.Againthesameruleapplieshereaswhendrawingtheroof.Thefurtherthecornerisfromthecentrelineofthefrontend,themorecurvatureyouaregivingthefrontbumperinplanview(veiwingfromabove).Stage5

Thisisthefinalstagebeforeapplyingcolour.HereyoucanseeIhavefirmedupallthedetailsIamhappywithandaddedsomedetailtothewheels.Itisalwaysworthputtingalittlebitofeffortintogettingthespacingreasonablycorrectonthewheeldetailssinceitwillliftthelookofyoursketchalot.Alsoimportanttonoteisthatthesketchisstillverylooseandfastinitslinework.Thiswillonlycomethroughperseveranceandpractice.Stage6

Onceyouarehappywiththegeneraldesignandproportionsyoucanbegintoaddcolour.HereIhavesimplyshadedthewindowsandwheelsusingadarkgreymarkerfiveorsix.Notethatthisdoesnothavetobesuperaccurate.Ihavethenfurtherdarkenedthelowerareaofthewindowsandthefrontwheels,bylettingthemarkerdryandgoingovertheareaagain.ThereasonIhaveonlydarkenedthefrontwheelsfurther,andnottherears,istohelpgivethedrawingasenseofmovement.Ifyougiveallareasofyoursketchthesameweightandlevelofworkthenthefinalresultcanlookveryflatonthepage.Stage7

Thisisthestagewhereyouwillhavetoforceyourselftonotbecome'precious'aboutyoursketch.Hopefullyyouwillnowhaveanicedrawingonthepaper,andtoattackitinalooseandfastmannerwithamarkerpenisnoteasy.Theselinesrepresentthesceneryreflectinginthebodyside.YoucanseethatIhavecontinuedthereflectioninthewindowontothebodyworkanddarkeneddownjustbeneaththeshoulder.TheareaIhavelightlymarkeredhalfwayupthebodysideactuallyrepresentsthehorizonline,whichisreflectingfrombehindtheviewer.Theimportantthinghereistobeverylooseandtokeepyourchoiceofmarkerverylight.Stage8

Thisisprobablythesimplestpartofthedrawing,yettheonewhereyoureallyseeyoursketchcomingtolife.Justchooseacolourofpastelsimilarincolourtothepreviousmarkerworkandapplyitalongthelengthofthebodywork,centeringjustbeneaththeshoulderline.Donotworryaboutgoingovertheedgesofthedrawing.Stage9

Youarenowinthefinalstageofthesketchandreallyjustfinishingoff.Usinganeraserandgentlyrubbingoutalltheareasthepastelhasfallenonupwardsfacingsurfacesofthecar,youcanreallybringoutthe3Dformofyourvehicle.

Thisisthepointyoucouldactuallystop.Thedrawingisnowcompleteenoughthatanybodycanlookatitandgetagoodideaofthe3Dformyouaretryingtodescribe.Foralittlebitofextrasparkletothedrawinghoweveryouwillprobablywanttoaddthesmallesthintofhighlights.Stage10

Byusinganairbrush(ifyouareluckyenoughthisiseasiesttodoinPhotoshop)youcanbrushaveryquickfaintlinedownthroughthebodywork.Thenonalltheupwardfacingsurfacesitfallson,youcansprayalighthaloofwhite.Remembertobesubtleheresinceyoudon'twanttolosethedefinitionofyoursurfaces,youonlywanttoaddthatfinalbitofsparkle.～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～Whilstyouareproducingthesideviewsyouwillwanttoworkoutwhatishappeningatthefrontandrearofthevehicle.Todothiswithoutresortingtoasimplefrontorrearview,youwillnowhavetobeginsketchingintwo-pointperspective.Fortheseearlysketcheshoweveryouwillnotwanttogettoolostintryingtodrawgoodperspective.BecauseofthisIliketosketchinaviewIcallflatperspective.Essentiallythisisacarviewedatananglebutfromdownlowsothatalltheconvergencelinesfallonthehorizonlineandthroughthecentreofthevehicle.Stage1

Youstartthisdrawinginasimilarfashiontothesideview,bysketchinginagroundlineandtwowheels.Youcanseehoweverthatthistimetherearwheelisatanangle.Themoreyouwanttoseethefrontofthevehiclethethinnerthisellipsewillbe.Remembertosketchlightly,sinceyouarenowmorelikelytowanttoadjustthingsthanwhendrawingasimplesideview.Stage2

Ihavenowaddedtheprofileofthevehicle.DuringthisstageIamlightlyworkingouttheroughproportionsandthemeofthevehicle.IfatthispointIwanttoadjustsomethingsuchasthepositionofthewheels,inordertofinetunetheproportionofthevehicle,thenIcan.Bysketchinglightlyatthisstageyoucanmaketheseadjustmentswithoutfearofspoilingyoursketch.TakenoteofthewaythecentrelineismostvisibleonthemoreverticalsurfacesStage3

HereyoucanseethatIhaveaddedthewheelsfromthefarsideofthecar.Atrickusuallyemployedbydesignersistoexaggeratethepositionofthefarsidefrontwheel,puttingitoutinfrontofthecar.Thisgivesadarkbackgroundtoemphasisethebodyshapeofthebumperagainst.AtthisstageIamstillworkingthingsoutandsketchinglightly,makingchangeswherenecessary.Alsoofnoteisthewaythebaseofthewindscreenisnotsimplyhorizontal.Infactfromthisangleyoucanseetheswellofthehoodinthewaythislineclimbstowardsthecentrelineandthendisapearsdowntheotherside.Stage4

Onceyouarehappywithyourdesignanditsproportionsyoucanbegintofirmupthelinesyouwanttoemphasise.Theseareusuallythelinesthatrepresentastronggraphicelementofyourdesign.Otherlines,whichrepresentchangesinthebodysurfaceshouldbeleftlighter,sinceyoucanemphasisethesebetterwiththeuseofcolourandshading.Stage5

InthisfinalstagebeforeaddingcolouryoucanseethatIhavedrawnthefinaldetails,andaddedsomemorelightlineworkdefiningmysurfacesalittlebetter.Takenoteofthingslikehowtheshoulderhighlightrunsthroughthefrontwheelanddown,becomingthecornerofthebumper.Stage6

Nowthatyoucanbegintoaddcolourtothedesign,theprocessisverysimilartoasideviewsketch.YoucanseethatIhaveusedadarkgreymarker,inasimilarmannerasthesideviews,tocolourallofthewindows.Thereasonforusingsuchadarkcolourontheseelements,andalightcolouronthebodywork,isthatitmakesthesketcheasiertoread.Ataglanceyoucangetafeelfortheshapeandgraphicofthevehicle,becauseofthestrongcontrast.Stage7

Followingthesamerulesasinthesideviewsketch,youcannowaddalittlelightmarkerworkrepresentingreflectionsinthebodyside.Keepthesesimpleandloosewithoutaddingtomuchmarker.YoucanseethatIhavealsoshadedeverythingonthefarsideofthecentreline(withtheexceptionoftheupwardfacingsurfaceonthebumper).Thishelpstoemphasisethecurvatureofthesesurfacesandthegeneral3DfeelingofthesketchStage8

This,asinthepreviousexampleistheeasiestpartofthesketch.Justapplyaquickbrushofpastelalongthebodysideofthevehicle.Stage9

UsinganeraserIhavenowpickedoutalltheupwardfacingsurfacesonthevehicle.Thisincludesthesurfacesofthespokesonthewheels.Trytobegentlewhenerasingagainstalinethatrepresentsasoftchangeinthebodysurface,sinceasharplyerasededgewillobviouslysignifyasharpangleinthebody.Stage10

Finallyyoucanifyouwishaddsomegentlehighlighting.～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～Propertwo-pointperspectiveisthehardestofthethreeexamplesheretogetcorrect.ForthisreasonIusuallywaituntilIhavearoughideaofmydesignbeforemovingtothiskindofview.Itishoweveressentialthatyoudolearntosketchusingfulltwo-pointperspective,sincesketchingwithsimplifiedviewpointsdoesnotallowyoutofullyresolveallthesurfacesinadesign.Youcanseeinthegraphicontheleftthatusingthiskindofperspectivemeansthatallparallellinesrunningbothdownthebodysideandacrossthefrontortherearofthevehiclewillconverge.Thiscanmakeithardtofigureouthowtodrawthingssuchasslopingshoulderlines.Agoodwaytopracticetobeginwithisbysketchingasimplecubeorrectangleinperspective,andthenbyaddingwheelsateachcorner.Onceyouareconfidentatthisyoucanbegintoaddsimpleformstothisbox,buildingthedrawingintoamorecarlikeimage.Fromthereyoucanbegintodisregardtheboxandonlyusetheguidelinesyoufeelwillhelpyousketchyourdesign.Stage1

Ihavestartedthissketchbydrawingsomesimpleguidelines,allshowingtheconvergenceoftheparallellines.OntothisIhavesketchedthewheels.Youcanseethatasexplainedearlier,themajoraxisoftheellipsesareatrightanglestotheaxlelinesonthevehicle.Remembertosketchlightlyhereasitisalmostcertainyouwillwanttoadjustyourellipsesasthesketchprogresses.Stage2

InthesecondstepIhavebuiltupasimplesidesurfaceforthevehicle.Youcanseehowtheshoulderlineofthevehiclealsocreatestherearcorner,creatingasinglesurfacedownthesideofthevehicle.Itisusuallyeasiertoworkinthisway,workingoutthemajorsurfacesbeforeaddingthesmallersurfacedetailssuchaswheelarches.YoucanseeIhavealsoaddedthefrontshutlinefromthedoortohelpmedefinethissidesurface.Stage3

Thisstageisthehardestpartofdrawinginperspective.Youmustnowworkouthowthesurfacesyouhavedrawnonthenearsideofthevehiclewillappearonthefarside.Therearesomeverytechnicaltechniquesofperspectiveconstructiongridsyoucouldusetodothis,butwhensketchingIprefertoworktheseoutroughlyinmymind.Theimportantthingisthatyouunderstandthegeneralrulesandprinciplesofperspective.Fromthereyoushouldpracticesketchingusingonlysimpleguidelineswhichwillensurethatthesketchesremainfastfluidandspontanious.Itisusuallyhelpfulatthispointtohavesomepicturesofsimilarvehiclesatthesameangleofviewonyourdeskthatyoucanlookat.AsinthepreviousstepyoucanseethatIhaveworkedoutallthemajorsurfacesfirst.Alsoofnoteisthewaythetumblehome(leaninginwards)ofthesidewindowsflattensoutthefaredgeofthevehicle.Again,lookingatpicturesofactualcarswillhelpyougetafeelforthisStage4

Onceyouarehappywiththeroughproportionsandareconfidentyouhavegotthemajorelementsoftheperspectivecorrectyoucanaddtherestofthedetailsurfaces.Notehowthecentrelineofthevehiclecanbeusedtoemphasisethetreatmentofthesurfaces.YoucanalsoseethatIhaveexaggeratedtheplancurveoftherearbyputtingthefarsidelampalmostoutofsightaroundthecornerofthebody.Stage5

Thefinalpenstageistoaddsomeinteriorandalloywheeldetailstothedrawing.Whenaddingtheinteriordetailsyoudon'thavetospendalotoftime,sinceallyouwanttodoisgiveasuggestionoftheshapesinside.Stage6

ToshadetheinsideofthevehicleIhaveusedtwogradesofmarker.Withthesetwomarkersyoucanachievefourtonesofcolour.Byusingonlytwogradesofdarkgrayyoucanhelpkeepthechangeinshadesverysubtle.Ifyouhalfshutyoureyesandlookatthesketch,youshould“read”thewholewindow,andnoteachseparateshade.Thesameshouldbetrueafteryouhaveappliedthecolourtothebodywork,whichiswhyyoushouldchooseareasonablydarkcolourforyourwindowsandalightoneforthebodywork(orviceversa).Stage7

Rememberingtokeepthingssimpleyoucannowaddalightcolouredmarkertothebodywork.YoucanseethatIhavealsoaddedalittlemarkeratthefurthestedgeofthevehicle.Youcouldalsotryblockingineverysurfaceonthe