Car Design 101 - All in One Course for Sketching | Berk Kaplan | Skillshare

Car Design 101 - All in One Course for Sketching

Berk Kaplan, Car Designer - Youtuber

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22 Lessons (2h 11m)
    • 1. 01 Introduction

      1:17
    • 2. 02 Not a Boring Course

      0:41
    • 3. 03 Why Sketching is Important

      1:29
    • 4. 04 What Are Proportions

      2:51
    • 5. 05 Why Proportions Are Important

      1:34
    • 6. 06 How to Exaggerate Proportions

      2:04
    • 7. 07 What is Perspective

      5:14
    • 8. 08 Perspective Tip

      2:54
    • 9. 09 Why Perspective is Important

      2:55
    • 10. 10 How to Draw Wheels on Perspective

      4:18
    • 11. 11 Line Quality

      4:46
    • 12. 12 Line Weight

      1:16
    • 13. 13 Basic Shading

      8:15
    • 14. 14 Creativitiy

      0:45
    • 15. 15 Practice Files

      0:53
    • 16. 16 Sketching Practice File 01

      21:10
    • 17. 17 Sketching Practice File 02

      15:52
    • 18. 18 Sketching Practice File 03

      19:25
    • 19. 19 Sketching Practice File 04

      9:15
    • 20. 20 Sketching From Zero

      21:47
    • 21. 21 Bonus Tip

      1:11
    • 22. 22 Final Thoughts

      1:20

About This Class

After this class you will be able to sketch like a professional car designer.

What is the secret to professional car design sketch?

-Proportions,

-Perspective,

-Creativity,

-Line Quality

-Line Weight

-Basic Shading

-Balance

-Practice

It is difficult to learn them separately so I created this course to teach you all you need in 1 course!

I guess you found this product on my http://youtube.com/berkkaplandesigner page or http://instagram.com/berk.kaplan.designer profile. If not, you can visit there to see more details about this product.

On this Full Course you will have:

-22 Videos about theory and sketching together

-43 Practice Files printable and ready to use

Start sketching like a professional car designer. Now!

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Transcripts

1. 01 Introduction: Hi, why are you watching this video? Because you want to be a car designer or you want to sketch like your professional car designer. You want to learn all the secrets of professional car design sketches that you see on online or sometimes on the magazines, or on the official release of the new cars. And by learning those skills, you want to put your own ideas on creativity on the paper, like a professional current design sketch. And how do I know that? Because I was on that point some years ago by now I'm a professional designer. I have experienced on several companies and I'm here to teach you the secrets of car design sketching. After this course, you will get one step closer to your dreams. You will learn about proportions. You will learn about perspective. You will learn about line quality, line weight, and about creativity as well. We all these new skills or sketches will look more professional and more attracted. And all you need to start this course is just a simple pen, some papers and a burning patient for chi design. And also I will give you some practice files is seen here. And these are about teaching you the perspective and proportions. And there are different segments of the cars. They're set on luxury, set on touch backs, postcard us of sports car, super cars, SUVs, pickup trucks, and also microcytic arcs. So if you want to learn how to sketch like a professional designer can learn it from a professional car designer. Discourse is all you need and see you there. 2. 02 Not a Boring Course: Hey, look who is here. So welcome to the course. I'm really happy to see you here. But before we start, I want to tell you something. You don't, when you start a new course online or physical doesn't matter. But after some time, like even after a couple of minutes, you just want to change it. You already regret because it's boring. You're just getting distracted. Uses cannot focus on the course. So I know that feeling and it's because of these cores are generally long and boring. So the on that one and this car design course, I will try to not do it. And for that reason I separated all the topics into little parts. So there will be short videos at the beginning for the theoretical part and later for the practical part while sketching and practice. And together we will have longer videos, so we're not talking much. See you on the next video. 3. 03 Why Sketching is Important: So let's start with the question of why sketching is that important? Because as designers, we use sketching for communication to show our ideas, to show our vision, to show our emotions to the other person. They can be also designers, engineers or client, or even on Instagram, your audience should understand your thoughts in the best possible way. Of course, you can think about the 3D modelling or Photoshop renderings and this kind of other methods. But they take longer time than just a simple sketch. So imagine you have really tight schedule, or you are in a meeting or on a random time, you need to show your ideas to someone for different reasons. And in that case, imagine the scenario without sketching. Like you can say, oh, think about a compact sports car, you know, it's like this shape. It's like, you know, it's a sexy sports car. It looks like Porsche but also BMW or looks like you can just talk but it will make no sense. I mean, maybe it will make sense, but everyone in the room will have different image in their head if they can imagine it. So for example, somebody might be thinking about this kind of sports car or somebody else might be thinking about this kind of sports car or maybe this one. So rather than this, to avoid that problem, to show your ideas in the best possible way, we can make a quick sketch and the results might look like this one. So now you're going to need to use much words. You can just show your visuals and it will be enough to communicate your ideas. This was a quick sketch of mine. I recorded it with this camera here, and we will see this and many more sketches on the next phases of this course. 4. 04 What Are Proportions: I'm sure you've heard about the proportions. If you send your sketches to professional designer or if you get some feedback from someone else, you might be heard, no proportions are a bit of unit to work on them a little bit better. Or even if you watch an interview on YouTube, You might have seen like the head of design talks about the proportions of the car. And sometimes it's a big question mark. And I can understand that it's not super easy to understand what are the proportions? Basically, the basic proportions are relationships between the wheel size to the wheel base or the space between two wheels. Or we can talk about the height of the wheel to the height of the car. Or we can even talk about on the perspective view from different proportions. For example, if you think about the C segments, hedge bed cars like Audi, BMW, and Mercedes. For example, for Audi, it's A3. For BMW is one series. For Mercedes, it's a class. So if you imagine all these cars together, you see that the wheel dimensions, the height of the cars in the place of the headlights and realize are very similar. Even if you blank out all the volume of the car, you can see that they're really close to each other. And why is that? Because of the safety and the road regulations and also about the budget and everything. There are lots of tests and engineering going on behind. So when you think about that, when you approach it like this, we can analyze different segments as well. Like for SUVs, the wheel base to build size or the height of the vehicle to real proportion, that relationship is different then and hatchback, or a sports car, or a sedan or a station wagon. So generally these relationships altogether are called the proportions, but these analyses don't mean that you have to follow all the other brands or something because there are still little differences between all the brands or the segment and so on. And even little changes like even if you make the wheels a little bit bigger or depends on the situation a little bit smaller or a bit longer than each other. You can create different feelings. It can be more sporty, it can be more premium, it can have a better stance on the road, so it can be more solid, more stronger approach to the car and different emotions behind it. So if you know the basic proportions for every segment, it's better for you to emphasize this emotions. Otherwise, if you do it too much, it might look like this. The setup you see that it looks a bit like a toy. Or if you make it too long, the wheel base, then you don't even know if it's like, it's it's like cartoonish. Or on this SUB, if the wheels were a little bit smaller than this, it will look really weak and not a good stance. However, if you make them really big, too big, then it looks like a monster truck rather than an SUV. And also reality and the sketches are generally different as you see on this sketch and the photo. They look a little bit different. They feel a little bit different because there's a little bit of exaggeration. And this exaggerations and emotions are different topics. So we will talk about them on another video. But first, let's talk a bit more about why proportions are that important. 5. 05 Why Proportions Are Important: I wanted to talk a bit more about why proportions are that important. Even if we talked what happens when proportions are wrong? But I want to stress it out more because if you send your portfolio to a car design studio or if you get a peak from a car designer, the first thing they will realize is that your proportions are off. And after your proportions are wrong, it doesn't matter how good details you have or how nice ideas you have on some specific parts of the car. So let's say you have a really good idea for the headlights or the side surfacing of the car. But your proportions are wrong. So people will not spend much attention on your idea because even if they are not car designers, they will understand that something is wrong on the sketch. Something is off, like they would like, yeah, it's nice but something is missing, you know? So it's really important and you need to really start with the proportions to make it right. And then you can build your design over this. But at the same time, depending on the project, you might need to change the proportions. For example, if you are doing an electrical autonomous vehicle, which we don't have exactly yet on the production. Of course, there are lots of concepts and they all have different proportions because it's also affected by how many people will be inside. There is no more steering wheel in this kind of things. So you have total freedom. Also, you don't need to care that much about safety regulations and style because autonomous cars will not have this accident. So you have a good freedom on this project. But even if you are doing that kind of crazy conceptual car, you still need to understand the basics of proportions about the sense of the current. Because with small changes on the proportions, you can have totally different emotions for the rest of the car. So that's why proportions are really important. And it's like the first step before you build the rest of the car. 6. 06 How to Exaggerate Proportions: So when you see professional care design sketches, generally they're a little bit different than the reality. If you were talking about the technical drawings like blueprints and yes, they had to be accurate. Everything should work, everything should be perfect, the measured and on the right dimensions. But our eyes don't work like this in reality. For example, when you see on the human face, you generally focus on the eyes. So if you are not a painter or if you don't know the right proportions auto phase. And if somebody asked you to sketch a phase portrait, you will draw the eyes bigger than reality because you are generally focused on the eyes when you're talking to someone, you're not focused on the forehead. Hopefully at least. So when you sketch a human, you drove the forehead smaller, either a little bit bigger, nose depends on you and you forget about ears because your focus is on the different part. Also for the cars when we see on the road, we might focus on different areas. And it might be also driven by the design of the vehicle. But generally we like to focus on the wheels. So in our head, we are focused on the wheels more and we feed them a bit bigger than the reality that in that case it doesn't have to be something bad, we can use it as an advantage. So when you wheels are bigger, it also gives us some subconscious messages. If you like, cars more powerful are the big wheels can help the Car2Go faster, or it can help to cart a seat on the ground in a better sense. So while sketching cars, we tried to attack the emotions of the viewer. That's making it accurately, right? So making the wheel's a bit bigger than the reality helps us to improve that emotions. Also for sit-downs or SUVs or hedge bags, doesn't matter. We can make the greenhouse in a little bit smaller, a little bit tighter. And this way proportionally, we will think that there is less space for human inside, which means human are a bit smaller. But as it's not the point, we will feel like the weekly is bigger. You will feel like the shoulders of the car is bigger because actually the greenhouses small. Of course, in reality it's not like that. So it's better to not exaggerate too much. But a little bit of exaggeration helps us a lot to emphasize the right emotions we wanna create on that sketch. So I want to show you all these things on this practice piles here. I want to sketch, I know you want to start sketching soon, but first, let's talk about the perspective. 7. 07 What is Perspective: So what is perspective? Perspective is basically the representation of the 3D world that we see with our eyes into to the world like on the paper or on the screen. And there are some basic rules we need to know before we jump into the sketches. For example, in this box here, if I put it on my eye level host on your eye level as to together is you see this edge here is longer than this edge and also the other edge. Because in real world, when the things are going further, they're getting smaller. When they get closer, they get bigger. So if you look at this bugs, so this edge is closer than others, that's why it's bigger. And other thing is it's on our eye level right now. That's why we don't see the top and the bottom of the cube. But if you put it on a bit upper than our eye level, as you see now we see the bottom of this box. And of course it's the opposite. If you put it lower than our eye level, we see the top of the box. And on perspective sketches, this eye level is called the horizon line. So let's sketch a little bit to see it in paper, on paper. So let's say this is our horizon line. Horizon line. We also have something called the vanishing points. And vanishing points are basically, if you look at this bugs and if you extend this lines this way, and this one also the straight, you see somewhere around here, somewhere on the back. This lines will connect each other. And generally it's on our horizon line. So for example, let's say this is our vanishing point. This is our other vanishing point. We have two vanishing points on this one, generally on car design we use too. So think about our bucks. Think about that edge. First. Think about this one edge of the box. So I drove it just in the middle of the paper. If I just extend the top point to the vanishing points like this one and this is two. And if I do the same with the bottom point of this same edge, it goes like that. And then all we need to do is deciding the thickness of our box. Like if it's a cube, it could be something like that. So the, all the edges are look kind of similar, but of course this one is longer. So as you see, that box is exactly on our horizon line. That's why we don't see the top or the bottom of this cube. But imagine if the cube is a little bit on the air, if it's over our eye level. But let's say I want to draw it here. And again, I will first start with the first edge, the closest edge to us. Let's say it's this one. And this time, during the same, I'm just extending the lines to the vanishing points from here and here. And also from the bottom, this one and this one. So now again, we will decide the thickness of this box. Let's say it's something like that. But as you see now we need to see also the bottom of the bugs and the decide to angle of this other edges. We will again use the vanishing points. So from this point, the further point to the vanishing point, if I draw a line and do the same with this point to the other range point. As you see here, we have the bottom surface of our Bucks. So in the first box we didn't see the bottom or the top surface. And on the new bugs, we said the bottom of it. So let's draw another box to see the top of it. And let's position it's somewhere around here. Don't further than our eye level. I mean lower and further. Let's say it's here. So quickly I will just put vanishing 0.1, vanishing 0.2 from this one also vanishing 0.2, vanishing 0.1. So deciding the thickness of the cube, but this time let's not make it cubelets make a different kind of box. So even if you make like a different proportion of this bucks, something like that, is longer than this one. Automatically, when you put this points to the vanishing points, you will see it works totally fine on the perspective. So this is how we represent the 3D and the 2D environment. And other one we use on car design sometimes is putting the box, putting the car exactly on the eye level. So imagine this is our horizon line. And if I put the box sitting on here, like if I put the first edge like that, then from top I will go to vanishing 0.1 and from here to the other vanishing point. So now all we need to do is just deciding thickness of this thing, of this bucks. Let's make it. One is here, the other one is also here. So as you see, again, we don't see the bottom and the top of the box, but the bottom part is flat, unlike this first box B draw. So this is like a very basic perspective exercise and I would recommend you to do it like 510 minutes or you can take your time, but let's try to put some boxes on paper and then we can jump into the next video. 8. 08 Perspective Tip: Now I believe you did some perspective exercise with those boxes. And I wanna give you a tip for the perspective. So here these were the boxes we did. And when the vanishing points are closer to each other, the bucks looks more dramatic and looks bigger. What I mean by that is here, this box looks like a building. Also here. It looks like a building to me, it's like a very big, tall building. And the reason is those dramatic angles on the top of the box. So if you consider this like a building, the car will be like that size. It's almost not visible here. And when the current is that size vanishing point to the car gets more parallel lines. So what I mean is, let's draw another horizon line here. And let's say our vanishing points are really close to each other. Vanishing 0.1 vanishing point to, let us say we have the corner here and this edges are going through the vanishing points. And we decide the thickness of the box. So as you see, it looks really dramatic. And if I put the vanishing points further, like this one moves to say here. Say 12 goes to here to be. Now if I draw the same edges, the top edge and the other one. And let's keep the same thickness for the cube. So now you see that angle changed a lot. So when diminishing points goes further, this angles are changing and it gets almost like parallel imagined that vanishing point is really far. So we can almost get like a parallel lines on this boat edges of the cube. But the tip here, the really important thing is your cube or whatever you draw on the perspective. If this is you closer edge to you, and if you are going like almost parallel, it is acceptable. But what is not acceptable is making those lines or angled and parallel. So if you make it like this, and if you say this is your cube and sales and this one, then when you extend the lines, you cannot find a vanishing point. It can have unlimited length, but it will still not touch each other. So we don't have a vanishing point on this side. And same with this one. If we extend from further the object, you will not find the vanishing point. So if you just tried to make a cube like this, now we don't even have a vanishing point to follow. So even if you do it like randomly like this, as you see, the cube feels really wrong. I exaggerated the year to show you don't do this. So please take care of denuded though these lines are almost parallel or parallel, it's okay, but never make it over angles from this vanishing points. Let's jump into the next video. 9. 09 Why Perspective is Important: Now we learned the basic but most important rules oughta perspective for car design sketching. And I want to talk a little bit about why is it so important as in the proportions, if your perspective is wrong, the car will immediately look wrong and your idea, your message will not be received by the viewer. When, if you have a really good design, really good ideas, the perspective is wrong. Cursed thing people say is like, oh, something is wrong with this sketch, something is wrong with this car. Actually, perspective is as important as the proportions when your perspective and proportions are right, like 50%, 60 percent of the sketch is already done. Severely important bays and really important part of the codesign sketch. Let me give you a quick example here. I want to show you very quickly what happens if your perspective is wrong. Let's focus on this one here is you see what I did on this practice files is putting all the, the perspective and the proportions in the right way. So we can quickly take a look on this car, for example, here. Even without putting any design on it, the perspective and the proportions are right. So it already gives us a very good advantage. But if the perspectives were wrong, so to see its ride, we can extend those lines. As you see. They all are going like if I put also this windshield here, as you see, if you extend them enough, they will go connect on 1 later there. Also for the other side, if we extend those lines. This is the design feature mahara less so if you extend like top and the bottom, you see they're getting closer to each other, which means they will meet at some point and there will be two vanishing points of this car. But if it was wrong, let's make this one wrong by purpose. Let's say, rather than they get closer to each other. For example, here, let's put this line further than this one. And also let's put this one even further. So if we have a car, this features, I'm just putting the ceiling at lines, making the sketch darker to see better. Let's say we have our reels. Like, I mean, I'm not even making wrong on this side of the car, not even touching it much. And if I try to draw, for example, some headlights, I'm sure it's already visible that something is really going wrong. Even if you put the central line, you see that the sketch is real weird. Like what happened here is it crashed or, or what is really wrong? And even if you try to put this other rules on the other side, we can even not do this because these lines are not going to the vanishing point. They are not getting connected further somewhere on the rod. So this is why the perspective is really important. 10. 10 How to Draw Wheels on Perspective: The last thing we will see on the perspective is how to draw the wheels on the right perspective. I got asked this question a lot like got to drive the wheels and perspective, it's really hard, it's really difficult, but it is really not. Let me show you how easy they are, basically two main rules. The first one is, let's say we have a card drawing like that. Say this is our base perspective for the car and I will put wheels on this two axis. So first of all, as you see, the axis are going to the vanishing point. So they will touch each other somewhere there. So this is the right perspective. And to draw the wheels, you need to put this line has an X and you don't know if it will be like this ellipse or this kind of ellipse, or what kind of ellipse will it be to decide that we will use this part as the x is one. And the second one should be 90 degrees to this one. So I'm hoping that this is exactly 90 degrees. So now we have both axis for this front-wheel, for the rear, For the second axis, axis two, we have this axis line, but now is the angle is changed. As you see, this angle will also change without thinking about the font file, we can just draw easily in 90 degree. So this will be the second axis of our, our wheels. We will put the wheels, but now you are not sure what kind of ellipse should should it be very tight ellipse or should it be really fat ellipse to decide that there is our second rule for the wheels. Imagine a car from the side view. The wheels are perfectly circle. When you see the car from the side. And when you see a car from the front view, Let's say there's logo. The wheels are totally just straight lines. Let's make them bigger. This is the side view of the wheel and the same size of the real here. On the front, it would look just like a flat line. And if you are looking at the car, so also let's see it here. Then you see the car from the side of you as you see, it's still around and from the front or from the behind, from the back, it's totally straight line. But if the car is like 45 degrees like that, it's exactly between width, full circle and a line. So if you draw it, it will be exactly in between. So this is like the 45 degrees for the car side, 45 degrees from. If it's between 45 and decide more like this, then the wheel is an ellipse is also something between and the same for here. If it is very close to the rear, but it's not the rearview, then it will be thinner than four to five degrees. And from, let's say. So while deciding half tick should be your ellipse, you need to consider what kind of what kind of angle you are looking at the car. If you go back to our axes here, you see the car is something like that. It will be something like that, like 45 degrees more or less. So it will not be total circle is not B line, it will be something in between. And here in between. And these are the axis, this one. So in our axis, we will do the same. It's not like a full circle, something more like this. And also for the back, it's a little bit narrower on the back. And after that, you can use this, this point as the center of the wheel. So you can put like we already, it already, it looks like we have forced box. So I can quickly put like a spock design like little triangles here also in between them. So as you see, it's a very simple way to decide eight spokes. We'll sketch. And then with the vanishing points. Soon we will learn how to make a total car sketch. And after all this perspective and proportions, we can start drawing cars. But first, I wanna give you a couple more tips to make your sketches high-quality. So let's talk about line quality first. 11. 11 Line Quality: Okay, now you've got the proportions and prospective right than the really important part is done. Now we're going to talk you about steal some sketches looks better than others. And why is that? Let's say you use to totally the same perspective to the same proportions everything is right. But still professional car sketches look more attractive and more exciting. And this might be because of the line quality and line weight. The line called is basically about having that clean and smooth lines when you look at a car in real life, the surface, Goethe's Perfect, great reflections and everything is nice and well. So on the car sketches, we tried to issue the same. If you sketch like little little curves like that. Like drawing a portrait or something. It might have like a nice animal, like some hairy stuff going on. But for the cars, we try to make more clean, nice line. To do that, the best way is not using the wrist. When you sketch from the wrist or from the fingers. This is what happens. But if you use your elbow or your shoulder, if you sketch from your shoulder or from your album, at least, you will have longer curve's, more smooth curves. So I would highly recommend you to practice this kind of line works like you can feel a paper like this. And also some circles still for the circle also, if you use your fingers, you can draw a very small circle or you will need to have this discontinuity and it looks Gucci and not good. But if you use your elbow or your shoulder while drawing a circle, it's much easier still, you don't have to make it perfect. But it's very better. And by practice, you will get used to, your Muslim memory will get used to do that. So this is very important exercise for the line quality. And another thing for your muscles, your muscle memory. Let's, let's use another one. You can put two dots randomly on the paper and try to make a straight line between these two, like here and here. Like this. A good tip here, I can tell you is rotating the paper. Like generally if you are left-handed or right-handed, doesn't matter. Let's do it like this. He's your way to draw a straight line is the pen. The hand should start closer to your chest and go out from your chest. This is easier way to draw straight lines for human anatomic like this. Let's say we put two lines rather than this. As you see, it's not going it's not going away from my chest still scatter parallel to my chest. So I just rotate the paper like this to move my pen. This way. It's a straight line from point to the next point. So I recommend you also this exercise to improve your muscle memory and improve your line quality. Like if you put two dots. Don't do this even if it looks maybe nice at first sometimes that you make it thicker. No, don't do this. This is not what we want. Because on the car service, even on the toys, they tried to get like smooth, nice surfacing. But after you practice this from that to that, don't try to again make it perfect from this point to this point, okay. But don't try to like exactly stay there because this makes your muscles, your hand more stiff. You try to like perfect and slowly try to do it, but it doesn't work. Don't limit yourself on these kinds of things. Now I will connect this idea of what I'm trying to say to show you on more curvy lines as well. Let's say you draw a curve like this. Or you draw a curve like this. This one is more dynamic. This one is very regular. Dynamic curves are more attractive, they're more, they're more kinetic. They are more energized. They have a tension point. But on the regular curve, if you sketch a carpet, only regular curves will end up like a fat boring car. It's better to combine them and generally use this dynamic curves. And while using them, don't try to make it like perfectly. Don't try to do that. Rather than this. Sometimes you can start like this curve and this curve and then you can put like a combination of them. So this way you can find the best curve. Don't worry about this additional, extra, extra intersections. As soon as you use them balanced, they will add some flavor into your sketch. So this is for the line quality. Let's check what is line wait, what's the difference? 12. 12 Line Weight: So now we already know the line quality, but what is line weight? So the line quality and line weight might sound if it's similar, but they're actually different things. Line weight is about the thickness and the darkness of the lines to add more dynamism are also more depth to your sketches. For example, if you have a detail on your sketch, if you want to emphasize a part, for example, it might be the headlights. You can draw that area more detailed, Also a little bit darker and thicker than the rest. So this way when you see the sketch, your eyes will catch immediately that detail. Or if you don't want to emphasize in a detail, it's still okay, but it's better to use the Line Weight to show the depth of your recall. For example, again, let's take our little Porsche here. If the car composition is like that on your sketch, then you need to draw this area which is closer to your eye, is closer to the camera, darker and a little bit thicker than the rest of the sketch. So this way, like when you're closer, it will be more dynamic, more detailed. And when it gets further, it will be like a bit lost. There'll be a little bit more blended into the background. We also see it on the real world. Things that are closer to you, looks more detailed and looks more lively. We already have the right perspective for the depth, but we can't support it and make it more dynamic with the line weight. And on the next video, I will show you very basic shading to support line weight. 13. 13 Basic Shading: All right, now everything is ready. We sketched our cars with the right proportions, perspective, line quality, line weight. Now we can add a little bit of shading. Shading is basically the shadow and the light on the objects. And I want to show you very quickly what I mean by that. Let's say we have our cube here. And the light is coming from that side. In this case, this surface will be bright and these other two surfaces will be a little bit darker. And if the light is coming in a little bit from bottom and a little bit closer to the this surface, then this will be bright. This will be a little bit chateaux, but the top will be little bit darker. So you can draw this fair here. Let's say it's on the ground. And let's say we have a light from this side, then this will be bright. This will be little bit shallow. This will be little bit more shadow, and this will be even darker. And then because of light is coming from here, we will have our shadow here. So let's do it like that. First level of shadow. Then the second part will be even darker. And then this third one will be even darker. And the shadow on the floor will be also dark. So as you see now, we are able to add a little bit more volume, a little bit off, little bit of surface treatment on our sketch. I'm not going super detailed on this because this is not the focus of this course, but it's still important to show very basic shading or showing this basic shading on a car. I will use my pickup truck template. It is pickup truck froms three quarter template. And here we will use different shading models. Let's say this is our design oriented that I didn't sketch anything over it. And it's like the basic template, but I will just show you the basic chaining. If you consider this truck like a cube, this is basically the side of our track. This is another side and this is the top. So if the light is coming from that side, I can basically make everything here darker. So you can make little bit hatching like this, lines following the same direction. At least on this option we are using the same direction of shading. And then on the bottom of the car, the wheels will be also dark. I can use another angle, but still using the parallel lines to show that shading. Or the second light source, we have something a little bit from up as well, but it's further and lower than this slide. So this will add a different type of shadows. For example, here let's say we have a character line of the car. So on the bottom of it, we will have a little bit shadowed area. Or the bumper to bumper here, let's say bottom of this bumper. So the bumper part will be also shadow because the light is coming from top, heating the surface, but it cannot reach the same amount to the bottom surface. Light and shadow are really important and you really need to understand how it works. So at home or outside, wherever you are, you can just try to find the basic things or the big buildings, for example, our small objects are like this cube. Just take them, grab them and see how they act under the light. So always keep this in mind. Even you are not sketching or something, just keep it in mind and observe everything around you. For example, in this cube, if I hold it like this, you see that the light coming from this side is stronger. So here I see really strong light, but then it goes a bit less here. And on the other side of the cube is solid arc I rotated this way. Now the stronger Light is here, more reflective surfaces here, so the light is there. So you can experiment this kind of things with a cube. You can also check all the objects around you, as I said also on the outside when you see a real car, if you have taught car, also do it with this. But if you see a real car outside this, check it to see how the light works on the surface of this car, on the volumes of the car. So let's come back to our second type of basic shading. On this one, we will not shade the volumes like on the first one, I will put more like a surfacing. Like the reflection of this car would be here. So under this reflection it might be lark also here we had this reflection. Here isn't highlight. But I'm not going into details like this might be a character line. And under it there is a little bit shading. Or on the glass area we can have a little bit of reflection. So this is again more like just parallel lines hedging, but I am just following the surface. Actually here. I want to just go one step back. So I'm showing you one more thing. For example, the surface is like this. Let's say I'm seeing the surface from side. This is called like the sections of the surface. So these are the edges of the surface like one edge, second edge, the third one, and the four H's here. So this one is more like, more like a section line of this surface. So if light is coming from top and here I just want you to pause the video for a second. And this area is sketch the same surface or a similar surface on your paper and think about what would happen if the light is coming from the top. Yes, seriously, pause the video and do the time waiting here. Okay, if you post an sketch, that's good. If you didn't pose. It's also okay. I will now draw it and you can repeat it whenever you want. So let's say the light is coming from the top. This surface is looking to the light. So behind it, let's say something like this. The negative surface, like light, this will be Shadow. And then we are gradually going to the light again, the highest point of light and the shadow again and a bit more natural. So here I can make it like shadow here. And then here we can have the second part highlight like this. And then shut along behind and the bottom. Then a bit more reflection here. So simply I'm just trying to give you the idea of on the complex objects, how it would be. Now we can come back to our pickup truck, and this time I will show you how to combine all these basic shading ideas is we didn't lie in wait. We can again emphasize the details we want by shading that area specifically, for example, on this sketch here, I want to have some kinda detailed headlight. Don't worry, we will also do like whoa, sketching soon. Let's see, I want to emphasize this headlights logo here and other headlight, some kind of bumpers, stuff going on. Like more wheels were aims. Hey pillar. Alright. Let's say we have a very basic design here. So as you see also on my line weight, I put most of the line on this area here. I didn't have put much line here, I didn't put much lines. So automatically you focus on this area of the sketch. Then to make it even more, I will put some basic headlight area year and outputs some shallow inside. I'll put some more details. And around it I will put just a little bit of shading. Thank you a little bit around. Like here it might be shadow, so I can put a little bit shadow here, but I'm not even continuing all the way as you see, because our goal is focusing that area mostly. So I'm just putting shadows around. And that's more or less it is you see on that sketch automatically focus on that area when you see it. So that's it for the basic shading. As I said, it's basic shading. So keep it in mind and use it for supporting your sketches. Also, don't forget to observe all the objects around you to understand light and shadow better. 14. 14 Creativitiy: The last thing before jumping into all the sketches is creativity. Now you know how sketches correctly. So it's time to put your own ideas. It's time to put your own patient, your own vision to the paper to show other people. So don't forget when you're sketching, you can pick a brand, you can do it for BMW, Audi, whatever you want, Ferrari, I don't know. It's up to you. Brand or non-brand is also fine. But the most important thing is don't try to sketch the existing cars. Because now we know all the information to sketch right, with our own ideas. So always tried to find the good new idea to surprise people. So boosts your creativity is go wild. Sometimes don't even think too much. So let your ideas flow from your brain through your hands to the paper. I want, I want to see that creativity. I want to see that ideas. So I think now you are ready and we can start our sketching. 15. 15 Practice Files: I just wanted to quickly show you this practice files because we will use them at the beginning. And then when you are confident enough, after your muscles and your memory got used to all these proportions and perspectives, you'll be able to sketch also on the paper from 0 and on this practice files is you see I covered lots of different segments, lots of different cars, SUVs here, super cars here, sports cars here, and some hedge bank sentence. All kind of practice files are here ready for you. I want you to use this lines as guidelines for you. Don't think like their design features. Like for example, if here there's the straight-line, it doesn't mean you have to use that stripe is for showing you that there might be a volume. And this is the perspective line. So you can see on all of them, there are different lines and different features, but they're not for design purposes, therefore, guiding you and keeping the right track on perspective and proportions. So let's start sketching. 16. 16 Sketching Practice File 01: All right, so we're done with the theoretical part. It's done, I mean, you can always go back to practice and watch it again, but now it's time to action. First, we will start with practiced files. I will sketch on couple of them. There are 40, more than 40 practice pile. So you can try all of them. It's a good practice. And after some practices, we will start to sketch from 0 as well. Let's start, let's start sketching. I'm looking at my practice files and remember at the beginning of this course, I told you about this compact sports car, how it would look like. So let's sketch that sports car. Let's find this sports car template. I mean, the practice file is a cedar lot of station wagons now, now here is goes forth scar. Let's sketch a firm's WACC sports car. Yeah, I think it's a good idea. This practice file is called sports car fronts three-quarter B. And on the practice filed by the way, you will see that and forget to write the date and the sign because it's always nice when you look back, for example, if you just keep this paper and keep this sketch and after some time, after some months or weeks or even years, when you look back when you saw the sketch, you can compare with your current situation. So I think that's a really good way to keep your sketches in organized way. And on the left bottom you will see that motivational sentence, which says after completing this page, you are one step closer to your dreams. I really believe in it because every little practice, every little line, every little sketch will make you one step ahead from where you are right now. So let's start sketching what kind of sports carry ones. As I said before, let's try to put our own creativity, but we can also use some brands, like on this top left. By the way, we have different size of practice templates here, let's say because on a small ones you can generally focus more on the general concepts of the car, more like the rough ideation. And then you can put a bit more detail, a bit more surfacing on the middle size and on the beak size. You can put more detailed sketch. Also, you can print this on a trees and a force I prefer a four because to me it's more compact. It's faster for quick ideation sketches. So let's start with this 1. First, I wanted to be an Alfa Romeo, so I will put some Alfa Romeo wheels here. Remains like this circular elements. I love them. Also on the rear. And I will go a bit silly it off the wheel just couple of times to give it a bit of line weight on the top parts. And then I will start out, start with nodes because Alfa Romeo has this iconic characteristic triangle. And as you see, I'm not affected by the lines of the practice files because the line is like this. But I'm doing something a bit different because as I said before, this lines are only for guiding the perspective and proportions. Then we can have a couple options. I will do this to in different ways. The first one I will put like more roundish headlight here. And unlike maybe eight C or something, a bit more friendly styling here, friendly design here. And after I put this one, I can calculate it. This perspective lines like the top of this should be on top of this area, bottom of this headlight should be here. So generally this is, this should be the dimension of the further headlight. Then I want to put some more air intake on the side for the breaks or for the oil and different kinda necessary parts. I will put I will connect it with this grill area. Like if we had like a couple of lines here on the upper Romeo. If the logo, I want it to be connected to the side. And then I will just put it up like that. So as you see on the front, we already kinda had the face of our our car. And then I will put some front shoulders. And I'm putting some section lines to show how organic it is. And I will keep this windshield and the green screen more or less same like it and it fits style Bahrami language. On the side we can put another triangle here, another Alfa Romeo characteristics. Now I can put a little bit of the bottom of the bumper and the ground as it's very small sketch, doesn't really matter to be accurate. It's just for putting some depth, some documents to the bottom of the car. And here we can add also fog lights, maybe like circular. Then that's closed as windshield. And this co-pay sports car Cooper shape roof. You can play around it, any element you want. Of course, I just prefer to do it like that on the first one a little bit more. It's a bit more like a conventional cars, but it's still defined. It's another practice we are just kind of warming up. Then, as I mentioned before about this basic shading, I can put only like surfacing here. Like only a couple of reflections on the window. I'll put a little bit of darkness here. And on that part. And I can make maybe darker in inside of the rims very quickly like this. And also here I can add some depth to it is a air intake and also to this one. So as you see, I don't know how many minutes did it take, but it was in my opinion, very quick ideation. I can put the mirrors here. You can put more details or it can be ok with it because we have different guides on the same page to continue designing different variations. And let's go into Second button. And this time, I don't want to have like this friendly face. I wanted more aggressive. But still I want to keep it off around you for this time. Maybe I can use this line more similar to that. And put very sharp modes. And then I can still put the Alfa Romeo triangle here on the middle. And then I can make it maybe I don't unless I find it out. But if I put with very light pen strokes, you can just experiment what kind of design you want. I kinda like it. I can put maybe an air intake here. Right? Can you make it a huge air intake connecting to kinda front grill like this. And later we can put some headlight inside of this annual intake. Let's let's give it a try. So this is our Baum per area. You don't have to know exactly what's happening on every part of the car while sketching. Because sketching is for finding the ideas. Like now I decided to make even deeper air intake here. I will just put quickly a dark area to show various air intake exactly. And then I'll go down here. Like you front is like huge Eyvind thick. So it's older. It's more like far graphical using. But as you see now we have this font splitter in front bumper. Here I can put a little bit surfacing. And then here it's kinda open so the wheel might be a bit more visible, but your intake also follow it, should love it. Alright. So here on that Herder edge, the line is a bit rolling around on the other side, so its curve here. So I'm also showing it on the sketch. Now let's come back to wheels. I'll put Basic edge of the wheel and we can use the same wheel or a different one. Let's draw where five spoke by the different style of wheel. So to do that first, imagine this wheel is like an if is scattered from the side. We will put 12345. Basically from center, we are dividing on the different and the same angle, each of them to have equal five spoke. So we will try to do it the same on the perspective, unlike one. I'm just checking here by my eye like 2345. This one is a bit of a file, pull it up. This is five spokes also on this 112345. So now I will put something like a triangle to start with. We can do it better on this bigger sketch here. It's really tiny, but still a good practice. Why not? Then the center is here. Center is a little bit more inside of the outer circle of the ring. So this triangle's first will go up, something like that and then go in or up through the center, goes straight and then to the centre. So this way we have bit more 3D dimensional form here. I'm just filling the blank areas and trying to make it more like a 3D shape. And then I'm just putting very basic Prof. shading inside. As you see, it's definitely not a carrot. It's much more readable, all the details, but it's not important because it's really tiny little sketch on the side, on the back. I would do it even quicker, like 1234. I will not have gone to finalize all And I will just put very random basic shading here. So for the design, what else we can do this front line on the connection of the grill and the hood can continue maybe on the side, very sharp until until the rear wheel. And without door line, maybe the door should be somewhere around here. So I can create this triangle. Maybe connected, connected with the door. Sulfur Romeo triangle here. So now when I draw the dollar and the green screen and everything and not principle in the greenhouse. The greenhouse and the windshield, sorry. And I'm putting the roof line minus n curvy. So on this small sketches, even on this small sketches, as you see, I'm not doing it like this with my risks. Sometimes if necessary, Yes. But generally I'm using for my elbow. Elbow is like the pivot point or all the sketch. So we are going like this. I will add a little bit more exaggeration from this bottom of two beheld rather than separating it totally like accurate sketch how this data darkness here. And I'm just making generally and make more accurate lines over all the sketch. So after that, we can add another characteristic line here on the highlight captured this area called i can make it something like this shape. So it will be more like highlight here, shadow here, and highlight here. And on that side still actually it should continue. So it's better that reflection, reflection goes down. And I can do very, very light shading on the bottom of that area. And I can put this y 0 line, y 0, y 0 is called the central line. It means the central line of the car. And after that, I can also make exactly this health epidemic or on the shadow. And the rest is on the highlight. I can put dollar line here and a little bit wide because it's like two door car. Hey pillar. And make more reflection on the windows. And as you see, we have like two different characteristics, but the same perspective, same proportions, different dreams, different phase. This one is a bit more smiley. This one is a bit more angry. And let's now start to use the middle size of sketch. And this time let's say we decided more to go in this direction. I will put typic maybe more details or I will think about specific areas. I'll do it very quickly this time rather than shading. Let's put this straight line again. I like that idea that front separation line goes to the side until the rear wheels. I think it's a cool idea. And I will put this line as well here to see also the relationship between these two. Parallel is good until some point because if you do everything parallels that it becomes really boring design, so we will try to avoid it. So I'm putting a little bit more curve here. Maybe like this, maybe it goes up here to hold the greenhouse. And a different way. It's like more laterally or this new Maserati. I'll put a pillar here again. And this time, let's try to do something different. I'm just thinking what can we do? First of all, I will put maybe this time different amount of the limbs, arms ordering. If it was sideview, if I've been a put six of them, 123456, now I equally separated in six. So here, that's what I will do. It aligns well. First I'm putting the rim of the wheel. Then 123456123456. So let's say here upper Romeo logo. And for another way to do the rim is rather than going to the center, we can go from this one to this one like can say straight up and then angled to the next one, straight up, that angle, straight up, angles, right and angled. So this way, we can create a very basic graphic. And then I can create like a bigger triangles by connecting those arms. And then I can make my way different shape here. I can add some depth. I can just put a shadow on the behind. I don't like it a lot, to be honest. We can maybe change a little bit. I think some thickness or more graphics. And let's say that's there. M. I will do it here quickly like triangles, 123456 triangles. And again, I'm just putting very basic shading and shadows. So now let's put the thickness of the wheels and the ground lines. I'm putting a little bit of shadow under the car. So now the sketch is bigger, so we have a bit more space to play around. And now let's come back to general design. Here. This is the thickness of wheel. So we said we like it may be more or we just want to put this style more here. But I want change, maybe the size of this grail. Maybe I can make it even smaller, becomes total retro. Maybe, maybe it's a bit funny actually. I can make it maybe bigger. Just trying years, something like that. And then we can create not a splitter like this. Something else. You can have like a triangular headlights, maybe, something like this. I can connect it to the grill. Output circular element here. Then we can have this grill area. Again. I extended this one. And maybe it goes something in a different way. I'm putting this airline a air intake. So now this grill extension can become a different kind of poke right here. And I can put the dark area, their intake. Now. So here it's not that much detailed, will not be that much visible. So I just put some basic silhouette there. So here I want to emphasize that muscles, as you see they are going also very symmetric parallel to each other if the bump is here. So right there in the middle, I can also put some positive surfacing. Here. I don't want to typical greenhouse having shield. So I just put the roof a little bit that way. And putting the 0 line to not mess up with anything. And some shadow areas, some hedging to darker areas of tocar. Again, we can use use the help of the carry bit, chin hedging to show symmetric also. And we can have very basic mirrors. And maybe a side, a triangle this way. So as you see, I focused more on this area of the car on the side. I'm not focusing much because on this sketch I want people, I want the viewer to see that font face, this expression more than like Ford and other parts of the car. We still have, we still see that nice details, nice areas. Still looks right on perspective and proportions. But when you see it first you focus on that area. It will make it more darker maybe to get more attention on areas you want to show here on that corner of the air intake. Agree, Larry, I make it darker than the rest. It also adds some depth. Here. I can add a bit more detail maybe. And here I can add some more shading. Alright. 17. 17 Sketching Practice File 02: Alright, let's start to sketch on this biggest guideline here. As you see on the other one, this three of them are looking at the left end. This bigger one is looking on the right side. It's really important, especially when you're sketching on an empty paper to flip the page sometimes because your eyes get used to what you're sketching so you don't even see the mistakes anymore, especially on the perspective and a little bit of proportions, menu or sketching on paper, it's better to just take your sketch and just put it on the light to control how it looks on the perspective and stuff. But on this guidelines, of course, I thought about it for you and I just created a Philip version already on the bottom. So we can continue drawing this to, let's say we went and lived more aggressive way. And after I sketch this chilly, maybe this one was better. It was like more wild and with more minimalistic approach, let's say more aggressive. So maybe we can repeat it on this one. Of course, in some changes and a bit more details. So let's say we want to say we have this line again, goes to the rear. And here I'm just putting the ground lines. Here is our real. This time I will put five spokes directly, the triangles I'm drawing. Also for the Back. Then I will focus on this side, a triangle, because I want to put a big one, but I want it to be also connected to this line here we have this character line, but it might intersect with the door. I also don't want that. So maybe the door section can be a little bit like that on this one. So the door can be a bit weird shape. That's okay. Can I add a little bit depth? So as you see, I don't start always from the same part of the car to start sketching, start designing. Sometimes you can start from the grail, sometimes you can even start from the back, shoulder, whatever you want. However you feel yourself, this freedom, this spontaneous, free and putting just the shoulder. So this time let's make it different shoulder. So lets say It's more straight if it's not so much Alfa Romeo actually. But we are just experiments. Also on the front here. And here. Let's change also the greenhouse. By doing something like maybe we can change it directly a straight-line I'm thinking about maybe I don't like it, so no, I will make it again similar to maybe this one here. It will go up here. And we can even create like a little. Political wing here, like it's more stylistic approach, I would call sexual stylistic approaches. Not much aerodynamic, To be honest here, let's put this reader Schroeder. And here I want to create like a little bit spoiler. On the symmetric of this, there might be a little bit of the other side. Not so much. Our greenhouse API layer, if it is, you see, we are just experimenting. We're just trying to see what would happen. I also don't know. I'm also curious how will how will it end up? And you'll able depth to the wheel, every thickness to this triangles. Then here also, let's try something else. Let's make it similar to this move here. Make it, let's make it opposite. Like this. Like this can be kind of in that continue following each other. On this ideation sketches. Don't worry to just go dirty. Because it can always, after you find the right idea out, after you find this creativity while being dirty and not focusing a lot on the clean sketch. You can find the idea and then you can always put it on a clean paper again, you can always sketch it again. Don't be lazy about this because you can just put a new paper on top of this. And you can just clean your idea or more time. And just creating a ciliated with darker. And I'm just making the wheels that bit darker as well. Let's put the crown lines. And now let's talk a little bit about this front face area. Stale. And I'm saying this, but I'm still sketching this triangle on the side. So that colour how, okay? Of course we will have this triangle, but what if we have the triangle opposite way? Night wouldn't work. I think it's not so good idea. And I want to make something continuous with this line here because it's very sharp line there. Maybe we can just make another line here. And we can make our triangle smaller this time. And we can create a big essay air intake here. Like this. Or we can use this, yeah, let us use this like a splitter. So the air intake actually will be inside of that. Something like that. I know maybe polio now it's not clean yet because I'm just making it pair light to first understand myself. So I will just make it dark to understand, to get so. And here I want to put like a big round like this. Lights maybe, maybe I will change anyway. Let's first start with the triangle. Make it a little bit darker to make it more visible. And the thickness of it. And on the top we have this horizontal lines. And here I just wanted to put a splitter. Here it goes in. Here. It also goes in the thickness socket. Now we need to make the dark areas darker to make it like really visible. What I'm trying to do here for this, I will use maybe a little bit of marker. Nothing. Normally it's not necessarily on this course to have macros or something you can use, anything else like you can also use. I don't know. I don't I don't know what is this actual permanent marker? It's the one that you draw on the board. Maybe you can't even buy this or it doesn't matter for if you have copy core does kinda markers, you can also use them. What I will do is not shading or something. We are not going details here. I will just put darkness on the air intake area. And actually I will not even draw the headlights on this one. I want this wild open black font on this car. So I will basically, but the frame for each block color. And also here we have this big air intake. And inside of a triangle, that's public shadow. Alright, so I don't wanna go too much into details with markers, but we can quickly put also this triangle here. Okay? So now I will just focus on that part. I will just add more thickness on the lines that I want them thicker and make them more visible. It bit more contrasts with the white areas. And this marker is not even black. It's like warm gray, I don't know. Warm gray eight. So it's even if you sketch on top of it, you can still see some details. Maybe not on the camera, but you can see them. So here on the top. And let's put some surfacing on that area here like this and a little bit just trying to hatch. But this time on the time on the surface way, like here on this portion and you see from top the surface goes inside. You'll see there's like going inside and connecting the two sides of the body. So here also the surface can go a little bit inside so I can hedge like this way. And on the side it's trade than Porter front builds going out again. So the same thing, the surface here going up a little bit and I'm putting it with more darkness on the middle. And here the surface goes mostly to the side area. And I'm putting it with somebody. You don't again. And here it is going this way. And here we need to decide actually, what do we want. I will just draw the door like this. Let's say it goes inside here too much going out and then going down again. So I'm putting like design here. So to surfaces you see with the section line, surplus goes up here like this, down or will you say? And here it's going the opposite way. So I can put it with lighter because of it will also have some highlights. And I can put a bit of shade on the bottom area because it's really dark, not getting that much light there. And I want to make this green screen greenhouse and the windshield and a dark gray again. To emphasize the separation. Also, it will make the car look a bit more sleeker, more lower. Here I'm putting the silhouette a little bit. Right pillar the front window, windshield. So basically, now as you see, we have like four different ideational already, but I want to put a bit more detail on this on a bigger scale so it deserves, I'll say a little bit more details. First of all, I will imagine this line going here, fraud and inside it should also go like this, somewhere like that. And here we will have some kind of dashboard. We will have a steering wheel and have two seats without much details, I am just putting kinda by guessing. And then if I put a little bit of shade. So this interior, it will look like we have some volume inside. And I can put some mirrors, buying mirrors. And then the reflection to the window and make totally dark here. And then I can put some more detailed somewhat thickness on the wheels on the rims. Normally just leave it up shading there, here and there. And thickness that or we'll itself. So I'm kinda happy, I'm already kinda happy with this sketch. And I'm thinking what else I can add by putting some shadings at the same time? You're going to win, use different pens. Pencils, mix them through different or dynamic shading and stuff for example, I don't know. Like just ink bands. I don't know if you even works. Yeah. Kinda adding more darkness to this remote area. And as you see, I'm not afraid to make it longer than it is or something because it adds this flavor into your sketch. Or you can't stick to one pen and just let it go a couple more times over the lines to make the ones you want more dynamic. The minerals I have that shadow. All right, I think that's enough for this sketch. Maybe we can do one more practice File. This was amazing sports car ideation. This is how to use them. And as we said before, don't forget to write down the date and sign it. And today, I don't know actually what is today, 22nd of October 2020. And then you can put sine also on the bottom of your car wherever you want. The cap and 20. Alright. Yeah, it's difficult to survive once you start sketching is really difficult to stop it. Alright guys, that's it for this one, this sketches and on the next one we can do one more of practice file because I want you to make sure how to do it. This one was the first one. So I went a little bit details. I used all this for different size. I mean three different sizes and for different guidelines. On the next one we can use another one. It will be a bit quicker because then we will jump into sketching from 0 on the empty blank sheet of paper. 18. 18 Sketching Practice File 03: Alright, on the previous one, we watched a long Alfa Romeo sketching video. I think it was important to show you the variations and stuff, but now we will use some other practice files, some other guidelines to see some tips and tricks as well. So let's see what do we have here? Like micro cars, sedan, I'm flooding more something like maybe a pickup truck, maybe a side of you realists, let's make a side of it is also important. But this time let's make hedge fixed side view. I will have a different approach on this one. I will show you like on the Alfa Romeo we did more like one design in a continuous way to see how it goes. But now this one, I want to make like two different concepts here. Then pick one of them to put here, and then we can improve its moral. So here, I want to go a bit more futuristic way on this one. For example, I will just, on the small ones, I will use them more for the graphics. So let's say I had like five-box EBIT, faster way of work. And then the ground line, the height of the car. I don't know a brand or something for this one, I will just try to make it a little bit more, maybe a futuristic way or some kind of different way to do it. And for this, like let's use some surface treatment like its shoulder line can come here. And then this hatchback rear and the roof, I'm just sketching. And then this headline can go also on the side greenhouse area. And I will put a very tiny greenhouse. Normally the greenhouse should be like this big, but we will make a graphic graphical play here. I will also move this one here to create like a spoiler. So I am just doing it without thinking much more just for finding a concept. I am putting some shadows and the wheel thicknesses. I told you about the tips here also on the guidelines you will see, but this little elements here are for showing the other wheels on the other side. Like if this is our car, these other lines are showing this, not this one, but this one's on the back. Because in real life, you'll see that I see sometimes sketches like avoiding totally what's happening behind. But it's important to have this volume, it's important to have this perspective also on the side of you. So I'm just improving the wheels a little bit, the rims. Then I'm creating bit longer back. Different font variation and other character line here. So if it was shadow here on the bottom, we can have highlight here, and then we can have another shadow area here. So this is like concept Joe test sketch. Doesn't own shrug much because here we were trying to have like a brainstorming of this area, but to be honest, I don't like it, so we don't need to even continue this. Also it's a good exercise to get used to just stop or like not loving your sketch, not falling in love with your sketch to be able to put it on trash. Because it's really important as a leader to create, to create again and again, rather than just sticking on one idea and stopping on that point, let's continue searching more. Let's go on this small one. And I will try another language here. I'll try something like some triangles from the wheels are from bottom of this. From here, we can create like different material you're like. It reminds me like a pager language already. And here on this greenhouse we can also use some different treatments. And bit more sporty dynamic. Here I will use a different surfacing like that. Then the bonnet, that font a little bit more 3D. And I'm putting the ground line is you see like many lines are going longer than they should be or they're just intersecting each other. It's totally fine because we are trying to find an idea for a little over a year and two bumper area. And I'm putting the wheels. And this time I will make maybe just is far off this rectangular spokes. And now we can maybe Trim Our windshield area. Maybe we can add a little bit of roof like that. Adding the pump light, maybe some kind of real light here. And I had some documents to the greenhouse is you see with the same template, there are two different hold different ideas going on. And on the top one we didn't like at all does not going well. And this one I kinda see some possibilities to be honest. Some kinda surface. And if we add so very quick sketches you see, but to me it gives the main idea of this geometrical lines. More like maybe folded paper like origami and stuff. But it's really nice way to create some sculpture language here. So let's go to the next one to improve. This may be a bit more and clean it. So we had this line from bottom of the rear wheel to the top of the front wheel. So it was kinda like this angle. And thinking maybe like this and this are not working totaled together. Maybe we can make totally this line here, something like that. And we can add a green screen, a green house maybe in a different way. I'm just saving some geometrical lines to see what can have connection with each other. This can go extended like that. This can go here. We might have something like that. Just trying to find some interesting ideas. I'm starting to make them a little bit thicker and putting the ground line, putting this other rails on the side and some shadow here on that area. And this time I will make like eight spokes to create our 5678 year. Let's repeat the same process. All right. And I'm just putting their We'll also little bit darker. Okay? Now another thing we can do on this design is we can do a different color blocks like this. Bag can be totally like match black material. I can extend this, I can I'm trying to find a nice way to balance them out. You can come here and that part, we can connect it to the front. And imagine on the below this curve like a Nike logo. Below this, it's dark material and above it is a metallic red or something. We kinda like mice. Color combination may be. So I'm putting the greenhouse little darker. The spoiler via the rear window. We have the windshield here a little bit. Another tip I want to give you now is, for example here on the windshield. And you think about the side view. Don't think only about the side of the car because it has a volume, it has it has this curvature on the row from other side. So on the side you also see a little bit of top, little bit of front, little bit of windshield. So you want to get society to you. Let's see here this line. That area is more the rear are also on the top. We can see a little bit top, little bit of front. So this is like the corner. So this is front, this side, and this is the corner. So keep it in mind while sketching also side view so you don't need to see, only decide. And thinking about what kind of character line I can use here. It can be like highlight catcher here and then here we can put just a graphic like again and the Pedro. I can put some lines like that, diagonal lines. Here. We can add a light later maybe for rear light bumper area. But basically the idea is already there and reasonable. And we can add a little bit of shading to make it even more visible like surface coloring shading. I want this darker here really, so I am just putting very quickly, this parallel lines is real speech. Some people asked me on YouTube before, like if it's faster speed up version, but definitely not. When he got used to some angles again, as we talked before, like muscle memory. And if you're using your elbow as a pivot point, you can really create this very quick lines. And we are done with the bottom part of the car. So I just wanna make, darken up this split line here to emphasize more. And here we go. This is like a continuation of this concept. But when I look back, I still like the small unmarked. Still looks more dynamic. Something is something is still better. Maybe it's this greenhouse still look more futuristic to me. So I will try to put this on the big sketch. But this time I want to start with the wheels quickly and I will give you another tip on the wheels. If on this wheel, if you put this axis, you see that center is around here. But I also put it on the guidelines a little bit inside. We can put the center a little bit inside of the wheel. So this way you can add some depth to your rain design. So let's say we have like one Spock going through center. Let's say second spoke. Third one or 1, fifth 1. I'm just putting this graphics first and then adding some depth there. And we'll do the same on the rear. One, depth to the third one. So we quickly edit our wheels. Then I'm getting this grant clearance line, the bottom line of a car and the ground line and the shadow. So we put the base of our car, the wheels now extending. Now we can start putting that design here. I think on this one we made a deliberate exaggerated, because here I see that we have a little bit space before starting drink beer here. So it adds a little bit of dynamism in my opinion. So we can try to do something like coming here and then going with that half. Here we have this second one to create that triangle area. I'm adding some highlight catcher here. And I really like that green for an hour, so I'm just putting it here then starts to go up. Like more Cafe. And we can have a different kind of spoiler design on the back, extended windshield. And I want windshield and the green greenhouse connected to each other. So the API layer is hidden from, let's say a pillar. And it's hidden is you see again, I didn't follow totally the guidelines. I just changed my angle on a pillar. And here I'm adding the bonnet side character line, let's say with some design. Here we might have some grilled, some kinda air intakes depends on our design and just putting because of I just got used to what kind of three-dimensionality going on on the front. Here, as I said, this is more like the front area, not only the side. So you need to consider all these volumes and the possibilities of what can happen there. It will also add some more character to your sketch and dynamism as well. So here we put spoiler on the rear. I'm doing the similar thing what I did on the fonts and just adding a very long line here, like shoulder line. And then I'm adding in a very long rear light like all connected. It's kinda trend nowadays. And I'm adding some thickness to the greenhouse. And as you see, I'm trying to use long lines to make them clean and emphasize. Also with the line rate. Each sketch I have here has its different line weight here, sticker here is more emphasized. And also on this one I'm trying to do the same. Here. I'm just changing a little bit the front line, and I want to emphasize this side characteristics. Here we have this feature. And then here this triangle is created. And below this triangle, inside this triangle, I want to make it a bit darker material. So I'm just adding this pilot lines quickly to show it's a different color. Actually. I'm not even looking back up because of this. Lines are super closer to each other. It's actually, I'm creating little zigzags. But they look parallel and nice, smooth, dark area. You can even exaggerate it if you want to spend more time like you can put the same to the shadows here, or you can start from here, make it darker. And it kinda disappears below the current. And also here. And again inside the wheels you can put any closer version. Loser, knock them over, lose, let's say. And I'm just highlighting, emphasize more. All right. So I can add some reflection area on this windshield. I can put into your seeds one to four in total. Here I can add the steering wheel, a little bit shading there. And I can make a pillar a little bit darker. When it gets hidden. Be pillar. Here we can have C pillar, darker area here. So with this lines, I'm adding this smooth surfacing. Show what kind of service we have there. Here we wanted to have unhighlight get your which connects to the rear bumper. So from that point on, as you see, we have the right basis, right proportions of this car. So it's easy to continue or easy to stop where you want. You can still continue adding details like headlights or you can add some more shading on the front and rear. It's all up to you. What I like is general, if I'm just trying to find that idea around that level, I can just stop and I can't start on the new sketch. Rather than making this one perfect. I don't know if you already watched until that point, I wanna give you an additional bonus step. Don't be perfectionist. Don't try to make your sketch perfect. This start from a point, just go on or stuff. If you don't like, you don't have to continue. You get up and just move it on trash. Or if you're doing a sketch, if you make a mistake, it's totally fine. Sometimes even those mistakes can create a different kind of approach that can create another design language. They can't help you this way. So don't worry. So make mistakes. You can always fix them, you can always do another sketch. So that's kinda like an additional bonus tip from me. And I think we are coming to the end of this sketch and don't forget to write down the date again, 22 October 2020. And the signature, This one I'm putting here this time. So this is the Hetch Beck sketch we made. So this was another practice file. And on the next one, for the final one, I will just use another angle on the practice files. Then we can jump into blank paper. 19. 19 Sketching Practice File 04: Alright guys, on this practice file I pick like a front view, the front view of the super car that you can see here, practice file directly jump into it. I will not feel all the sketches here. I will just do the biggest one to show you some ideation like how to use it. First of all, you can put, you can start by putting this vertical line on the middle of the car. And you can do like left at different proposal, write a different proposal and you can maybe combine it on some applications on your phone or Photoshop or whatever. Or you can directly start to sketch in a symmetrical way that I also prefer. So here it already, it looks like kind of a rarity to be honest, but try to not follow all these lines again, challenge yourself to find out other ways to use it. And here I will, for example, I will try to use that straight line again. And here I want to just stop it and go down. And parts drawing this for growing the symmetric of this. I can just use this guide as a guideline. And here is I see it's needs to go down. But how to go down here? I see like a little bit of distance. So it should be like that. So now we have this metric mouth of the car. And here I want to create like teeth going on, something like that. And we will have a splitter. And as I see, it's somewhat like this. So it's fine as he it's actually too close to that area so I can make this one closer, this on longer. So these barrels at some thickness. And I'm adding that to this grill. And let's put some kind of headlights. Not I as I said, let's not try to follow a Ferrari lines and I will try to make it longer here. And I will try to What if he had like flats area here? And this can come until front lines here. Okay, maybe we need this shoulders. And here I want to put something more like lipid read from a, maybe like a Diablo or some kind of a retro ideation. Just put this big headlight area following this shoulder line. Let's put kinda lumber logo, maybe Lamborghini. And I'm editing this roof even shorter than the original one. And some mirrors here. And then what I like here is like going a little bit inside on the real car that's like that and then putting the wheels like straight. So you see a little bit of a we'll need as really like kinda bad S looking to this kind of vehicles. And I can't even like represent this spoke up the rims, like going out of the car and adding some ground line here and making it thicker to this group area because inside it will be like ghrelin blacked out normally. So I can emphasize the separation here. Here we go. And I will add this too. As you see by mistake, when I drop it a little bit longer, we created a character here, so it's configured it to make a part of my design. So the lines you see behind are the rear wheels, the real muscles, real shoulders. So Rear. I will also put them in with a wider than font like this, which is of course a bit extreme. And then I will put even a big spoiler on the back. And I didn't have like a very big spoiler may be connected to this area like like Ferrari 40. Again, it's not like designing for a brand directly or something. So I know it's kinda mixture of lambda or mix your Ferrari different brands. And just trying to show you some examples of cough to use. Let's practice files. I'm just adding a little bit shading only on the right side of the green screen greenhouse. I don't know why I'm always saying green screen to then I think only details to this headlight on the right and having some shadow. And here imagine the air intake or something like that. So we can make inside of it darker as well. Then I can add also little bit shading. So I will not put the same details on the right and the left, totally symmetric. So this way, I can make it a more dynamic sketch like this side is a bit more focused. And at some strokes, shadows, reflections. So it will help me to grab more attention on that sketch. So as I said, that's the front view. I will not try to do them all. And as this sketch is also done, we can put the date. We can just sign it correctly. And then I want to show you quickly this one, because this super car also has kinda different perspective and it might be important to just check quickly. As you see if I connect the fields. We have a little bit different perspective than others. But quickly, again, we can put like this circular frames to make it even faster. And then I want to add, I want, I wanted to show you that this line here represents kind of a air intake. So you can definitely change the angle size, everything of it. Or even if you are doing electric environment, need to use it. But I want to show you the possibilities, for example, I've put it here like that, combining it with the rear, adding some different ideation. So I'm just trying to encourage you to be totally wild. Just go crazy. Just find new ideas. Just push yourself more. Just get out of this limits. You know. I don't want you to follow my guidelines exactly like here too, tried to create a car over it. I want you to put your own design. So I just want to show you the possibilities that we can ever make it like an Alfa Romeo, something. Where we can put some exhaust pipes. As you see, it's, it's to me, it's actually really fun for you. It might feel a little bit challenging this one, especially as I said. But I'm hoping you will like it as well. You see, I'm just putting some organic lines here. Not much different than other practice files as decided to make it a little more dynamic perspective here. And if you're in a practice, the other ones you will, I think you will not have any difficulties to also use this one. As you see, we have nice sports car, super car actually here. And on this one you can also repeat some similar, some similar sketches or totally different. For example, here we used a lipid organic we'd like around lights. Here. We can make it totally different. It can be totally like a Lamborghini, maybe more sharp areas and stop. Or it can be even more conceptual, can be more electric. As I said, you can do many different variations. So guys, that's it for the practice files. And on the next video we will jump into starting sketching from 0 on the blank sheet of paper. I can guess your excited. So let's just start it. 20. 20 Sketching From Zero: Alright guys, now it's time for starting on top of blank sheet of paper. It's the exciting one. I want to sketch quickly an SUV while talking about all the things we already learned. But before doing this, I mean, you can always do sketches on the blank sheet of paper, but if you still have problems, please go back to practice files because they're there to help you to get used to these angles, these proportions and perspective and everything. So stuck with them. And then after you have some competence, we can start on empty paper. Alright, let's start. But as I said, I will do an SUV. And first of all, I want to start with the side view. I just rotated my paper to get this comfortable angle with my arm. So I just put like a ground line first. And then for the wheel, you don't need to make a perfect circle, as I said before. You can make it quickly. One here. Then I will put the proportions for you like this is one. And between front and rear wheels, I will put exactly three wheels, some like that. Then I will make the first one and the second one. I mean, the frontline and rerun every thicker than others. I will quickly put like fives box here, like just the positions of this phi spokes. I'm not even designing those rings at the moment. Then I'm putting my ground line a little bit thicker. And this is already kinda like a basic start for many of the segments. We can call it a sedan actually because we can use this UV maybe perspective. So let's start with a sudden on the sedan from the center of the wheel. If you sketch it straight line, the ground line should be here, the ground clearance off car in between these two. And then I will put a little bit volume on top of each wheels. I will just throw like guideline myself. And after this volume there can be a space for character line. And then we have like a green screen area. But a green screen on the sentence. We can put like a straight line from the back of the car, of the real, real, from the center of the rear wheel. And then we can start creating our own shape for the greenhouse. And on the front is better if it goes somewhere, runs somewhere close to the front wheel center. Then for the back, if you put one more real, it can be like a little bit more than half and on the front, it can be that less than help. Then I can start to create the silhouette of this setup. So basically what we are doing is creating our own guideline that you can find also on the template. That's kinda like practicing the right proportions. It would make it a bit longer on the back. And the bumper area. As you see, we have a strong base here now. Then we can continue designing this way like straight lines or we can also change our design anytime we want. And here, let's not forget to put the other wheels from the other side of the car. And then let's put some more organic designer. Maybe, maybe we can make it more floating lines like from the Mercedes CLS on the previous generations. Like the line is going really low on the back a little bit up on the top. We can have some kind of aggressive looking headlights and very smooth, gentle. I will make it a bit more like a cookie set on. I really like this idea type. So I'm making a debit ticker to cover my previous sketch. Well, I mean, the previous straight roof line. And here for the greenhouse also, I will just extend that a little bit more, maybe to have a bit more space to create that smooth looking lines. And then on the front again, depends on your design. You can put the details and total is same or the back of the car. And in the middle, I wanna put this highlight catcher not in the middle. He side continues to the rear bumper, and here it continues to front bumper. As you see, we already have more or less they're all side view for this vehicle. And we can put details and we can do variations of our sketch like that. The more important thing is after you have the space, you can do whatever you want. And as we started from directly empty paper, it's like a great confidence now you can create any side of you on anywhere you go or anywhere you want and just sketch a car. You don't need practice files anymore if you are able to do this strong base, the rest is easier. So we can put some surfacing here, like again, kind of similar to this CLS from previous generations. And I can put like very basic shading. Also for this greenhouse, I can put some reflection area. Like I will put the Mercedes logo on the rims and different kind of rear light upon Clyde's. So I think we're done for this sketch. Let's jump into the next one. And let me add some rooms a bit thicker. I like this ciliate song. Only silicon is on the rim. Sometimes it's, it makes it really powerful. Is you see, I don't sketch like all the, the wheel, the tide or rubber area and then the rain thickness and then the rains, all the spokes and then the depth of her. We are not going that much into details on the rims because rooms are, I mean, there there are different design topic already. If you want to spend time, Of course you do. But if the dreams are more detailed than the sketch itself and then the car itself, then the rims will be the attention point. It will be like a green design sketch more than the car design sketch. So keep this in mind. If you're sketched as more sketches, more detailed dreams can be also more detailed. Why not? And here quickly we added the reflections. We understand quite like this sketch and to test it, to check it, check out its goals. Can take this paper, put it, flip it. I don't know if it's visible on the camera, but I can see like maybe the Beck is a bit too high. Maybe I would bring the backend little bit down. So on the next one I can just put another paper on top of it. And I guess scheduler or the fixed details, it's totally fine. Alright, on the next sketch, I want to make it simple. Rearview open SUV. Let's make it front of an SUV. I will first put this vanishing point perspective lines. If you remember from before, we can put this axis. We can put this two wheels. And I'm putting the ground line of the week. Oh, then I'm getting a volume again, but don't SUE. We will have more gap because the wheels need Morehouse, more space to have a little bit different from the body. Is there more YouTube vehicles? And then I'm putting some volume area. And I'm just very roughly very lightly putting the roof I would do would be putting the voluntary and then now this is like the side of the car and we will now put the top and the front. To do that. I will get help from this vanishing point, like it goes here, it somewhere here. So all the lines I'm drawing should kind of follow the vanishing point that I might have. So it might be something like that. I want to, I want to add a little more volume to the bottom to exaggerate the engine area and make it lower on the windshield. And you see we are adding some thickness to the bonnet and now I'm adding also divides 0, this y 0 is really helpful while sketching to understand where is the symmetric, where is the volume of it goes? And I'm adding this line for for the separation of bounded and maybe some headlights area. And the bumpers can be really thick on this kind of depends on your design of course. And maybe some additional way your intake or fog light area. So you see we already have and our base perspective and proportions. So now I can put a little bit more thickness to the wheels and exaggerate them. I'll say a little bit. Then this wheel can be only visible on the other side. It's also another type of exaggeration to emphasize the stance of the car. And I'm putting a side character line from the headlight and then Greenhouse even lower. Like the evoke now, nine program pork. I can put the greenhouse like that. Can add some volume on the back, farther area, adding some mirrors. And that's super happy, which stands up political some checking. I'm putting the ground line and check and what's going on. I will also flip the page again as we talked before to see if there's any major problems. Maybe the rear wheel is a little bit off. Maybe I would make it a bit bigger because here I see too much volume may be. So I will make. Bit more space for the rear wheel and I will make a call so thicker itself. It's totally fine to do mistakes or to map make it perfect again, on the first sketch. Because we can always, after we find the right design white bright idea, you can always put a clean sheet of paper on top of it to sketch it again, it's totally fine. And that I'm just trying to decide what kind of surfacing going on this week will. Maybe second shoulder line here. So we have like a different treatment here. Let's put also the side protect their area. We can add some details. And also on the parent. Some probably impact. So again, as you see the line weight through thickness of the lines and the dynamism and the line quality is really changing the sketch every couple of seconds. And we put more lines here as you see more ticker area again, it's closer to the camera. And also it's like the place that I want to put more details on. I'm putting this surfacing a little bit like this maybe. And I think some thickness to the pillars. Anyone I had some top lighting. And then let's add some rings again. Rims I wanna exaggerate, like going really deep, output five spokes. But they are like almost out of the rim of the wheel itself and going really deep on the car. This will add more grabbing on the ground. So it will be like the vehicle is really holding the ground, holding the stones, holding everything, whatever here is, it's an SUV. I'm giving them some space. And you can add some shadows and some shading here. Similarly on the back, but again, not putting as same same amount of details. Because we want to focus on this area more adding some details and we're almost there, we're almost done. I will. Again, it's not like sketches are not for making photo-realistic drawing or something. That's more about finding another idea. And we can put quickly some seeds inside to strict angles. Editing some details of the pillars, which always helps to add some more, some more energy to sketch. Here this section lines, columns the course. And another thing that I can tell now actually is like the fraud off-road vehicle an SUV is like journal in the MOD and dirty areas. So the sketch can be also a little bit dirty, like dirtier than a sports car, at least because it's the nature of this vehicle is getting dirty, giving US on the off-road. So why not to make the sketch also dirty and lose? But this, for example, is not good because it's not a good line quality. Do you see that glitch and stuff to avoid that because the ballpoint pen, you cannot just erase it. And I'm generally against erasing because why just sketch overeating? And so I will just make it thicker here a little bit. This way. I will increase the quality of this line and I can just blend it slowly to the other lines around it. So this way you will see that you will not understand, the weaver will not understand there was a mistake and it's a cover of it. Alright. This is, let's control one more time. And I think this is not bad for the present. And for the one last thing, we can maybe draw a like cute little sidecar from the rear perspective is time and using another type of perspective. So I will use, if you remember about the cube example, you put the cube sitting on the horizon line. We will do something similar here. I'll put some wheels on the same ground line. And this is the depth of the wheel. So here we will have other surface to understand the proportions, just creating very basic outlines to see the possibilities. Like this might be as very tiny micro silica. Or if you don't, I mean, this is like a very strong design element now, but maybe I can change. It's something more like this or leaning forward. And then adding a huge supporter gets a little bit more characteristic to be honest. But on this little cute cards, we can do it a little bit because the point of them are like being very tiny, compact, but also depends on your design. Like it can be compact and cute, it can be compact, but high-performance, looks like a racing car. It all depends on you. So I will add, just adding lines one after the other. So it helps me to understand also here, rather than making totally straight, maybe I'll make it a little bit of a little bit of going up and adding the ground ground line wheels. So now I will emphasize the wheels a little bit more. And then adding this spokes again, just like straight triangles. I think this character line, adding the greenhouse. Now after I had this greenhouse, I see that we need a little bit thickness on the roof. So I'm adding the roof. Then putting this quarter again. This further we'll be on the shadow. And I'm putting the white line, the central line of this car. I wanted to actually get very close like this here. Then we can have like a massive bound pair adding more like design elements here design features. These ideas are just coming to mind just while sketching because we already have the strong proportions and stroke perspective here. So it's easier to just focus on ideas now. Setting some little shading on the surface. And I want to make something stupid here. I will add like a big opening. And I will add here like two huge XOs pipes or even maybe four. Yeah, let's make it even more crazy with more steep. We have now four exhaust pipes on the back of this little tiny car. So it means like it can be a bit aggressive. So as we didn't have as we didn't put yet the rear lights. I can also make them a bit more aggressive. Like we can add some like that. It's like getting inspired by, of course humanise, you see these eyes are like aggressive. Like even if you had eyes. So this is the representation of the emotions. In some details there. Here we can add the Rear Window where I'm adding some camera or mirror, whatever we need. Again, it's a very quick, quick sketch. So I'm adding very quick basic shading. And on the side we didn't have to put on a design yet. So it can be like this line can come here or we can have another line coming this way. Or we can even make more aggressive and crowded, or we can make it more minimalist. It all depends on us. I want to put this line here to make it Chater also on the back, and also on the side of the car. So this will add a little bit more lightness, lower, more sporty, lower look to the car. And I'm, I like to add one more character line here to create some shading around it, some highlights here. And making it ticker wherever I want to do, emphasizes separations. And we can even add some like to seeds inside. Some reflections also on the windows. So it's a very quick sketch, but I think it was an effective sketch. I like this perspective because it's really easy to sketch. You don't need to think a lot. You don't need to do. And it's not super easy to make mistakes on this one. And I really enjoyed this. I also enjoyed other perspectives, but this one is like very basic to show like a general idea of rear-end decide or you can make it like front and the side. So it's like on one sketch you see is you show to ideas. And also its very simple sketch. So guys, I hope you enjoyed these videos. We sketched on practice Files and then now we sketched on the inter papers. I want to see how you sketch out to see your works really just, I also gave a review about the course overall, I don't know if it was all boring on the sketching pirates, are you still enjoyed it? You learned. And I just want to hear from you. And on the next video, I will give you one last bonus tip. 21. 21 Bonus Tip: The bonus tip I wanna give you very quickly is I also told it through the course, but just don't be a perfectionist. Just feel free. Just sketch, just give whatever you have inside. Just put this passion on paper and do it without worrying. Do it without worrying about what other people will say. And don't sketch for other people don't sketch for. Of course, you have to show your stuff to get a job or get a feedback. It's also very important, but don't do it for like, I need to show off, you know, it's not show of purpose. The purpose should be my opinion, improving yourself. And while doing this, mistakes are the most natural things. So don't worry, just go sketch out and if you don't like your sketch also don't be afraid to just throw it away. Don't be sad if you do a mistake on the sketch, stood again and do it every day, it's really important. Practicing every day is really important. Like we have more than 40 files, 40 practice files that you can print. And even if you sketch like one of them every day, if you don't have time, you can even spend like ten minutes on each and every day and it will add up in 40 days like you will learn a lot, you will practically practiced a lot. And after that, when you compare your old sketches with the new ones, you will definitely see the difference. So that was my final tip. 22. 22 Final Thoughts: Okay, this is the last video of this course. We are at the end and I want to tell you three things very quickly. The first one is, Congratulations. Really you made it, you came until this point, you watch the things, you learn new stuff. Now you can just go out and practice and be proud of yourself because you really show that interests. You show this contribution. You spent your time to learn something new and that's really important. And congratulations. The second thing I want to tell you is, thank you. It's really, it's really nice to see you here until that moment. It's really important for me. It makes me really happy to be part of your journey. It really makes me happy to teach you something if you improve yourself even a little bit, if you get something little from this course, it really means a lot to me and I'm really happy to see that. So please also interact with me, show me your stuff. I would really like to see that the third thing is keep the patient alive. Just don't give up. Just push more, just sketch more and learn more, improve yourself more. It's, it's really good. It's really nice patient how design is really personally, I know that there are lots of car designers are, there are lots of people who wants to be car designers. The competition is really high out there, but don't give up. Always improve yourself. Look for other things and be different. Be yourself and put your own ideas on paper. That's really important. And the other really important thing is don't forget to enjoy while doing all these things. It's really important to keep it with you all the time and hopefully see you next time.