How to Sketch, Draw, Design Cars Like a Pro | All-In-One 101

1. Promo: Hi everyone and welcome. Let me guess you're here because you want to be a professional codesign or you want to get started maybe as a student and the world of codesign, and you've always wondered, how do they come up with these cool cars? How do they draw, sketch caused like that or maybe render even? And there is a reason behind it. We've all learned. In this course, I'll tell you some of the secrets of car design. Like why do cause look the way they do. Why does a Ferrari looked like that? And what does an SUV look different like that? There's all these all sorts of reasons behind it. And I promised yield exciting because then you Like, I never thought like that before. And also how do I make it beautiful? How do I approach? Kinda like and of course, sketching. And I promise you, end of this course, you will be able to make the best sketches which you've ever done until now. And you can go and brag to your friends about these sketches, some sodium, what you've learned yet. So if you're interested, picked me up, you can't join this course and also provides free feedback for all students. You can provide your sketches, you're renderings, whatever. And I'll give you free feedback, are limited as well if you're doing this course. Yeah, so if you're down Johnny's course, I'll see you later. 2. 1.1 Intro: Hi everyone and welcome to your first lesson. So this is going to be a quick introduction on this course. How are we going to do this? And of course, some examples of my work as well if you want to have a look at it. So here I have some examples of my work. This is some quick sketch rendering which I've done at the card. We will not cover renderings in this course, but I have another course for that if you want to. And you can already see some sketches, of course, which I've done LB kind of in a similar style, obviously on paper with a pen and not digital. Some of these sketches are on Penn to winners scanning. And maybe something like this, maybe like a BMW or something. It doesn't really matter what you do. What brand of car, just the matter of the idea and the technique of sketching. And also why maybe kinda cut also like, look like this or like this. Why does it have to look maybe like a regular car? It could be something completely different, right? And here's another rendering. Yeah, so we're basically talking about the fundamentals, like how do I hold the pen, for example, like, what can I, what pen can I use cannabis? Use any pen. And also how to do prospective. So how do I do a car that's sitting from the top, from the side, from the top maybe direct side of you. Real three-quarter front, three quarter tip up like these views. And how do I hack it so that I can sketch any perspective of a color I want. And it looks just right. So the perspective is right, the proportion has right? And it doesn't look like the nose is like all the way here. You're way too long on the wheels are too small to big and maybe it's a bit saggy. And also, how do people come up with these teams, for example? And how do you create a story where the car, because not all cars are the same and costs are also not the same as products. So yeah, we'll talk about that. And I hope you had a 100. There's little short introduction. Talk has always fun, right? And I'll see you in the next lecture. 3. 1.2 Whats Car Design?: Okay, hi and welcome back to your second lesson. What is co-design? Design? Every thing's designed. This pen, this pen cap is designed, right? This table is designed. Everything is designed. But what makes the difference between cars and for example, other products like maybe the speaker, right? There's all sorts of cool products like this mouse, for example. Everything has been designed by someone for a purpose. But the difference with cars, and for example, a mouse or a speaker, is that, for example, you've probably always heard people saying things about cars like, oh, well it looks so mean, oh, it's so cute. Maybe for example, or maybe this Faria, wow, it's so aggressive looking or not. I mean, it looks. And the reason for it is that cars are animalistic, humanoid objects. Cars have eyes, nose, right? Shoes, use these fluoroscopy ears. Eyes again, right nose and chin. This could this could be the chin of the car. The reason is cause a human on object two, you cannot approach cars in the same way as you can maybe a speaker or the infamous example of a toaster like this does not have any phase or ice or whatever. It's just an appliance. It doesn't evoke emotions like a car does. Of course, people can think, oh wow, it's such a cool speaker. I love the way this looks. And it might make them feel a different way. But no, I was gonna say, oh, well it's such a cute speaker or it's such a mean speaker. It looks so angry because it doesn't have the faith, it's not a character. So think of cars as character design. When you design a car, you're designing a character. Say think of it, maybe like a monster or a fantasy character from a movie, from a video game. That's what it is like. Because cars have shoes, they have eyes and nose of an, it's really important when you do that. Because when you design a car and for example, you create a crease like this, like here. These are all inspired by animals that you know that. So when you look at maybe a cat or a tiger from the side, they've got this muscle over the real leg. This is their real leg. There's their head, that's their real egg. So it all makes sense, right? And when you do card, you can ofcourse do a product approach. Then it will, might, maybe look something like this, but then it can, it'll still be a character because it's a self moving object in auto mobile, it's something that moves on its own. And people tend to like things more which have a character. What you also can't do with cauda Zionist. And this is a new approach now which people are doing, especially students. In advanced design is literally you take, for example, a speaker and you plot a bunch of wheels on it and call the cart, for example, you can see these round area. So you that could be wheels inside, maybe they poke through the bottom. That could be a car. That's a new approach. And creativity is what I want to talk about is, well, how design is also creativity. You have to come up with something new. It can't just be always the same things because people will get bored of it, right? For example, this Ferrari. It might look like a car, but all of these ideas, for example, this X brace, the way this is done, this cut out here in the back, dislike, insert, all of that is new and it creates a story. And that's also important with codesign, you create a story. For example, here, you don't just put random lines on it that go nowhere at all has to be harmonious with each other, right? So you just do random start the car will look like weird and looks like maybe a combination of a bunch of different cars. Whereas with good car design, I think for example, you can see this element. It all creates a story like, for example, this link, the front headlight or the real headlight and goes all the way around the core, like the bone of a car for example here. This could be the bone. It's like something's pushing up from the insights to create that curve. And also if you look this curve parallel to that curve, that kind of both go the same direction. And this curve also goes up here and it becomes this bone and all links up also, if you look from the top, you can see this thing goes all the way from the bottom, up here, around the back, and here again. So I'll create a story. And this too, if you look at from the top, it looks like the car has an experts here and hugs itself like the core of the car with just this black part as being hugged by this red part. So these are all parts of the story. And the art of car design is to create something that's new, right? Or maybe that's something that's completely new. This is new, completely new and I guess it looks like a car. But you can also do crazy stuff that maybe doesn't look like a car at first glance. So for example, something like that. That's when I was talking about earlier from the speaker, For example. I mean, if you ignore the wheels, that could be a speaker, that could be a table. But that's also the art to make it look fresh, Make It New. Because when you have something like this, or if something that came out of a speaker, you can always make it look like a car or take some ideas out of it to maybe put it on the Ferrari, for example, maybe it's someone saw a speaker which looked like that. Ends up, hey, why couldn't this be the top of the car? And then it became caught. Right? And that's what Kaizen is all about. It's all about creating a character, evoking emotions, making it look like a story. It's not just random stuff, it all kind of works together. And also creating something fresh. Not just doing the same stuff over and over and over again. Okay, cool. I hope you learned something. And what's also super important. Is that before you do any crazy stuff like this, what I was talking about, tight or the normal car. You have to learn how come proportions work. For example, hatchback, little SUV, big sedan, big saloon, sports car, Superchunk, all that. You have to know what they are and know how it works before it can do crazy stuff. Because before you do any of that, you have to understand where we came from. Otherwise, they'll just look super weird. Okay, cool. 4. 2.1 Proportions: Hi and welcome to section two of how to design sketch cars like a probe. And here we will talk about some current design secrets. And the way we do that, we're going to split it into two lectures. And the first one is going to be proportions and vehicle types you might have for this terminal proportions. What does that mean? And what does it have to do with vehicle types? Very easy. So for example, we have this Ferrari again, this is my prime example. This is a super car, right? And the thing is, the engine sits right here in the back, not in the front. And the way the engine is positioned dictates how this colleagues and also where the driver sits. The driver here sits in front of the engine. That means the way the car has to be structured to work in real life makes the way it looks. For example, I'm gonna show you what proportion is here. If you look at it from the side view. What we always referred to as wheelbase. So front-wheel, back wheel at the distance between the two wheels, it's called wheelbase and usually it's rather 1.5232 maybe wheels in between the cart. And also there's a term of front overhang. And how do I show it to the left and rear overhang? That means the space in front of the front wheel and the space in front of the railway. And to showcase you this the best I can, I'm going to sketch a bunch of different proportions for you. The typical ones you probably you have not already, or maybe some new ones that you don't know about what might be coming in the future. Okay. So let's start oh, sorry. Let's start with the what the smallest car we can think of what is like a city micro card. So if I just sketched side news now if this is the front wheel and this is the rear wheel, you can see they're very close together. 12 wheels in between Mamie. And if I add some rims Just very quickly, you can see this can't be a city car, right? And also it's going to be something like this, maybe like a smart car. This is a city car. And you can see the wheel base is 12 wheels. And then the front overhang is really short. And the rear overhangs also resort. And I maybe here's the 10 or something, you know, that's what the SD card. And we call this collar a segment. And there is another type of car which is called the B segment car, which has maybe something like a VW Polo, Ford Fiesta, something like a, like a hash spec. And maybe a goal if I call this BC because they're similar. So if you can take a hatchback, which is similar to this, but it has a slightly longer wheelbase. So if we do a front-wheel again, real wheel and obviously exaggerating a bit because sketch right, and also excuse my circles. So full of the car wheels. You can see the wheel basis longer this time. So 1.522 ish, three-ish wheels in between the front and rear wheels. And also if I add the rest of the congress kinda really quickly. This will just be like a quick city hatchback. And so hatchback means it's like a 2d box design. You can see we have Mrs. box number one and this is box number two. So this is one. This is box two. And I want you to pay close attention to the wheelbase. And also the front and rear old pane you can see here it's a bit longer, is also belonging. And usually these types of cars are front-wheel drive. That means the engine is mounted transverse. So if you look at the top view, why not let tell look. So it has to come from atop your knees or someone else. Let's say this is front and rear. And on the engine for cylinder, let's say will be positioned like this. Say we'll turn the frontal wheels like that. And that means there's more space here. Because if you tell the engine around, let's do a rear-wheel drive car again, four wheels right front. We are rear-wheel drive car typically has an engine like that. Silver do BMW was like N96, were used to be not anymore as to how long that engineers and needs all that space. And the Calvin has to be further back, see that distance. And that also creates a longer bond. So if we take a limousine now, so maybe call this D segment. Typically limousines or sedans on segment D, the wheel base is going to be typically much longer because it needs more space in between for the, for the people. Again, it's just a quick, we'll touch, just click off and sketch the carbonyl quick. Mw of sorts. So damn slots, three box design, right? There's just really quick. I'm not trying to do something useful browser here. And there's a term in co-design called premium gap or the prestige gap, which is the gap between saved, this is the front door. And there's different real this is the gap. Because other doors here to say there's a free.com. And you can see that the gap here is quite long Law, whereas here it's quite short. Short. This will be a real drive car and that'll be formal Dr. Carr. And typically costs with prestige like maybe BMW or Jaguar or whatever. They had really long prestige because they are real life. But also BMW, for example, are starting to make front-wheel drive cars, which looks like that now, for example, like the one series. So I think you found the terms wheel base here, which is the number of wheels. And between this time it's three wheels. He has like 2.5. And here is just to write to Wilton between a car and also the tallness of the window, for example, matters. So let's take an SUV. Suv. What makes the difference between academia and this? Someone do the wheels again. I'm just going to average we'll size. We're based sorry. And with as you raise the floor of the car, this is the floor of the car. The flow of the cut will be higher because it needs the ground clearance to go off road, right? So if we do an SUV, the thought would be higher. And depending on if it's front-wheel drive, four wheel drive, you can do practice now and just some random sketches out. You can send it to me and I'll see what we can do. Suvs typically have two variants like the smaller ones, like if you WNT1 or the bigger ones like a Range Rover or BMW X5. They have different prestige, are different gaps here. So let's do maybe a expensive ones. So maybe your range or worse off something. So range over all probably be something like this. Again, super rough. This will be something like a range over until the proportions. And this is just an outline. I'm not adding any details to the cars. This could be something like arrange or and you can see also the overhead and the frontal overhangs quite small, big around is quite big. Range Rover for like a VW TIG Huan. You would just basically take a colleague that and stuff like that for a laptop of this. And then the window will be maybe here, right? It will be short-term and also in the back will be shorter. And that's what car proportions are basically, right? And then obviously you have sports cars and what Marx would have a really low window. Still one very quick sports car, maybe the Ferrari or my clan or whatever. And then you have really long front overhang. The cabin will also be very fought far forward because the engine the engine is actually here. There's no engine here. So the passenger is sitting in front of the engine, which powers the rear wheels. And the wonderful work also b, forward. You can see we have a long front overhang and a short rear overhang. And that's what proportions and vehicle types basically is. That's all of us. And one more thing, electric cars, doesn't matter how you arrange it. If you have an electric car, basically the way it looks is you have the wheels and the battery and the floor are usually right. And the front electric motor will be here, real electric motor will be here. And you can move the Kelvin all the way to the front if you want. Like it doesn't matter where it is. It can be in the back. You can do whatever you want. It can be a minivan, dm can be whatever you want. Electric car, EV. Okay. Couple learns something. 5. 2.2 Perspective: Hi, welcome back to your next lecture and codesign secrets, which is prospectives, so involved and you have no idea. So when you sketch something, you will always be in perspective. Even the video you're looking at now is in prospective CDs to the edges of this piece of paper. They go somewhere. And depending on how I hold this piece of paper, for example, if a hole like this, like that, like this, whatever, you can see how the perspective of a changes obviously, right? And perspective just means how are you looking at the car, from which angle? And also how close are you and how big is your field of view? So with cars exactly the same, it can be side, front, rear, rear, three-quarter, front the quarter, there's a difference. And this is the thing that's most difficult for most people to get their head around. So I will split this into different sections. We will talk about sideview first, go from there and I will talk about front and rear three-quarter and go from there. And also I will try to explain in a basic way how to draw perspective. And that's going to be this video. So they can you piece of paper or just times? Well, why not? Let's not waste paper and kill trees. Say, Do you know what a horizon is? I just try to draw a random line that could be the horizon. Horizon means if you are standing and looking into the distance, this could be the ocean or something, you know, or like just another copy. Some tree here can't draw trees very well. Son. Yay, I'm five years old now. Do you see what I mean? There's the horizon, this is the sky, and this is the floor. And how do I do prospective Now, how does this help me with perspective? It's very easy. There's different types of prospective. So for example, I want to do a box and this perspective. So it's all one line because it's a corner of the box, right? And for example, I wanted to have a vanishing point here. So this is vanishing 0.2. Vanishing point at one vanishing point is, for example, if you take the box edges and your straw straight line to that point from both corners here. And I'll fix or the other one that determines on how this BAC stands. And if this vanishing point is where these two parallel lines meet in the distance, and it's always on the horizon, right? Depending on where it meets. So for example, if this vanishing point is all the way off of the paper, then obviously these two lines will be more parallel. And if it's closer than these two lines would like, very close. And if you have the two vanishing points really close to your object, that's like a fish eye lens. So if I did this, that's that's what it would be like, right? Like for example, this will be far away. So far, you can see how the perspective changes. Okay, now how do I draw the rest of the box? So if I say I want this box to be made me this long and this wide, just draw a straight line here. And also. This point, this point, this point, this point. Draw a parallel line to that point. Take this edge, draw parallel line to that point. And it will automatically intersect here. And that will be the edge on the other side, which you don't really see, but you can still draw if you want. Like that will be a box. And cars can be understood as boxes to. So why, why Congress be a car? So for ports. So very square, Colorado, that's the front window drawn a line there. That's where the window end. Same here. See how that creates a car. That's how perspective works. And this is the so-called two-point perspective because we have wrenching 0.1 magic wand to. And this could be a car. If I had some wheels. Hey, that's a colouring, therefore you, okay. That's also a type called one-point perspective. So if you look within this box, right now, one-point perspective is actually even easier. You just have one vanishing point, say we, I'm the vanishing 0.1 here. And then you want to start to draw a box. Ok, so you do one side of the box and outside of the box and just go like that. These are the edges of the box. And depending on how wide you want to be, you can make it this wide, can make it that white. And this can also be cast off that puts the same box on top of this. These are the edges of the box, right? If I go up, I think goes there, sorry, bit messy. I'm just gonna make the outline of the actual thing thicker than you can see that it looks like a car already. Can you see how perspective? Well, 1 works. These are boxes. Cars have wheels. How do I position them down? Wheels on the car. So I've already drawn some wheels on here. So this is 1 and this is 2. How does it work with wheels? Okay, so we have on ellipse Dirac triggered. I want an ellipsis. If I just draw a random ellipse, you have the major axis, major axis and the minor axis, minor axis, and they are on right angle. So this is 90 degrees. And one of these lines, your prospectively. So maybe this goes to vanishing point, right? So if I take this one here, you can see this is the major axis. This is the minor axis. Can you already tell which one it is? The minor axis goes to vanishing points. And it will create a right angle and that will determine the orientation of your ellipse. So if you just draw the front axle of MCAR, so for example, oh yeah, I've got my center of the wheel here. Center of the wheel on the other side, draw a line through it and then you can just stupidly draw in the, the ellipse and it will be in perfect respective sample, the back, you see it. And that's the way it's oriented. So sometimes people draw the wheels like Nat, much Mexican look like look like the wheel does this. Which Bronco like this? Yeah. Maybe we don't do that. Yeah. Yeah, that's how it works. That's perspective for you. 1.2 perspective is all you need a promise, it's all your needs. And I'll show you some hacks later on how to get any perspective you want to very quickly, for example, how do I do frontally chords like this without all this mess? Just do like done. And also the other perspective to in this case, the wheels will be something like that. Because it's like this, right, right angle. Right angle. Cool. I'll see you in the next lecture. 6. 2.3 Side Perspective: That's not very quickly go through the different views and how to draw the perspectives of it and the hacks for those perspective. Ok, so first one that was going to be sideview, easiest one because it's basically just a one-point perspective. And the, yeah, that's basically it. And you don't really need to consider the symmetry of the car. What does the front look like? It's like that side here. Pretty simple. I think the most important thing to remember what that is, obviously these proportion, thanks. So I usually start with any sketch as an ellipse, so I know where the car will be sitting, kind of main volume and then can start with a floor. That's what the color we sitting on. Front wheel. Oh, OK. Thanks to the wheelbase now, I'm just going to do like 123 wheels, rail wheel. And what the perspective, it's super important to add the wheels on the other side. That's how you do it. Because if you look at this model, for example, you might be able to see the wheels on the other side. You see them here. That's because of perspective and it's 1 perspective. So the perspective lines go kinda like this into the back and that's what a, what a vanishing point is. Ok. It's just something everyone doesn't wanna do side you. If you don't do this and do don't do floor than the car will look like it's floating. Okay. Same thing with wheels. The wheels are not flat unless you are into flat stuff. So the wheels, you can see that they're dish so the center of the wheel goes inside and inside view. You can't really see here, but the closer I get, Can you see how the wheel center now kind of moving that way? And here till that way. It's because of perspective, right? Because the center of the wheel is further away than the RAM. So what we usually do to exaggerate Siberia, I already put the center of the wheel to that site and this one to that side, which suggests a certain amount of depth. And if I then add spokes to it, you can see how it looks like. It's going inside. And immediately I'm not even starting to draw the rest of the car, but it looks three-dimensional Because it's like sitting on the floor is called perspective. Don't forget the flora. And the rest of it is just your imagination that some of this, and usually the next step would be to draw some kind of daylight opening. And we call it the o or just like the side glass. And you can do whatever you want, you know, have some fun now. Maybe be creative already. Always sketch along with my stuff. I think that really helps. And that's basically psyche perspective. That's cool, right? 7. 2.4 Front and Rear 3/4 Perspective: Okay, for this next step, let's do a front slash real three-quarter perspective because kind of Sam. So if you take this card, this was cipher, which we would learn here. And just telecom, that's front three quarter, one quarter of the car, three-quarter of the current. And that's really quarter contain more if you want. It doesn't matter. How do I do that. Ok. So if I assume that the costs also standing sitting on a floor and not like from, from above. Again, I'm just going to draw volume like this, just no lips so I know what a guy standing, just a hack I always do. And then if I take the same approach here and draw the front wheel and now watch because the cost of perspective now, the wheels there around here, if a tiled them, look at the ellipse. It's like it's becoming like this. So front, front we'll be like this, not a circle anymore. And a rear wheel will be even thinner. And what's the, how my real wheel is a bit shorter than a front-wheel. That's because of perspective linings because here we have vanishing points to null. And that's we have vanishing 0.1. They meet here somewhere right on the vanishing point. So this is like you lying on the floor looking at the car. But if you put the vanishing point further away, the car looks less like here, like on the fly. So if I say the other weed on the other side is here and the other one other way it doesn't have a constant. Okay? Again, due to perspective at the center of the wheel is gonna go that way because the wheels are deep. And I can draw some spokes. And again, see how that already puts the car on the on the page. It looks like it's you I mentioned only looking at you. Now this could be the rear, could also be the front. Thing is, that's the wheel on the other side is not the edge of the car because it has an overhang, right? So when you look at it like this, you can see the weight on the other side, but that's not where it ends. It ends at the, at the front of the card, a penguin hardcovers. Unity skull like this. This is the additional front and on the other side is differently Cortana, floor, floor of the car, right? And also you can see the underside of the wheel and also on the other side. So it's maybe a bit like this. We will be on their side. B, something like this. And yeah. Sort of become the belt of the car. Whether greenhouse for the glasses, for the people said it's accent on. And see how this every line follows perspective. So if I have only employ somewhere there, then this line will have to meet it. It's gonna go there. That's the front window. Can maybe make it a bit taller. And for the reactor, this would be going to vanishing point. And obviously it will curve depending on the type of car you're sketching. This has a weird proportion to it. I'm not going to live. And, and the rest of it is just for fun, right? And you can also draw a bottom line to help you. For example, if this is the edge and the same edge will be here on this side. And then would have to draw the middle or the camera center section, lines like that line that goes from bottom around the contour of the medulla card. It helps to define where the middle is. And then you can do symmetry very easily. Okay? There's purely perspective. And for example, if you have a headlight here and on the other side, it will barely visible because the current goals around the corner, if you look at the Ferrari, See how that light is very less of it because it's facing away from you and see more of this gets facing to you, right? Okay, and that's basically a front and with a quarter and you can make this a revered and you've just raised that one though Alf like this. If it's a hash bag, then there will be exactly the same. And make sure everything it draws in perspective. Remember the box thing, everything you draw some perspective. I can quickly draw a real equality and others for you, sorry to understand, and exactly the same way I did this really quick. So we'll we'll go on the other side. This is a real now, right? And your vanishing point is somewhere on that side of somewhere. I'm just gonna draw a line. So this is the lines that go two vanishing points. They didn't meet on the paper. They're meeting outside of the paper. So it doesn't look so close to you. Rear. Let's do a sedan. So again, the fireside has got to be a bit for the outside of the wheel. Just gonna do a Sedan that's through BMW. Just go do the tail light. And then Rhea DEC rather one, no. See how this line follows the prospective life. And this one has to follow it to somewhere, something like this. And that will be the rear of a maybe a BMW or something. You can see the wheels again. Write down the window. And again you can do a section line. And it also helps you to find the shape of the back. And that would be something like me in that way you can always correct it. It's really rough. This purely for perspective, for the actual good sketch or draw something bad. Ok. Hope it up. Obviously you can turn around like that. We can be going that way. 8. 2.5 Tip Up Perspective: Okay. Now far the tip up. What is tip up? So what we did was funded with a quarter sideview, Fontan quarter. And the quarter would be something like this. What we just did tip up would be instead of it being like this, it will be like this show. So you can see some of the top horizon line going that way, meeting somewhere and hormones that I wasn't going that way to meet someone off the paper. You can tell by how the wheels are standing. Because remember how I told you how the wheels work with the perspective can tell with the perspective lines on. Okay, how do I do that? A little bit more difficult. So again, I start with a volume. Do you want to do front or rear? I just random it. I don't think about it in the beginning, so I'll just draw a volume like this, which is slanted like this. And then I just do a bunch of prospective flight. So for this different axis, real axis makes sure that they're meeting there and not doing this. Because then the car would be like bent in the middle like a like a sausage. Right. And then you just say, OK, where's my front wheels, cash rear wheel here, and you start talking the ellipse around that point. Make sure the axis works right? And if you're a pro, you can skip the lines, you destroy the wheels and like that. And obviously the axis meets the other side will be here somewhere and also here. And you can see the perspective lines also apply it that way. So they also meet somewhere and they can't do this. Otherwise, it's like your car is wider in the bag. I mean, you can't do that if you want, but it's a bit weird, right? Okay. And now comes the hard part, which is lots of practice. How do you draw the rest? So if I draw the Ferrari for examples, go reef long front overhead. So this is kind of doing some helpline for myself. Now, just as an example, how would I approach it like this? And once I have kind of the center of the front end, I can start to contour set forth Apple, but that's the part that center line. And I can start showing the window. And again, this would follow the perspective line, right? So this could be the window. And then side will be something like this. And the back, ooh, it's a big shot in the back, but we sometimes there's the backend other car, it also follows horizon line, right? One doll and start designing it. But usually we don't design cars and this perspective because it's kind of weird and awkward. It limits you have to pay attention to so many things. So we just kind of grew up his Ferrari. I usually do ideas in a different perspective and you can do this however you want. So for example, if I do another one, say I'm just going to skip the lines partner, I'm going to say this is the real, We'll now, and this is the front wheel. So you can see a weather lines I'm going there. And this can also drive up with another site and say that I want us to be the back of the car and use the back of the car like this. And try to do the Ferrari again, I'm gonna fail. And what we're looking at it right now, I'm just drawn some random coin. Yeah, this works exactly the same, right? But this is for advanced people. So I wouldn't try this until I've tried the normal front writhing quarter because that's the easiest. It doesn't have to be like this, you know, that can be equipped. So it's basically a version of this but it's like an only slightly tip up. So what I usually do is just draw an ellipse that's flat, not tilted, and do a wheel which maybe hasn't horizon line that goes like ranching minor goes like this. And another we'll maybe here slightly higher. You can see they're also going somewhere. Like a less tip up version of this. Something like like this. Instead of like this. And it works exactly the same. There's a header because it's not as boring as this, as crazier than that, especially for doing ideas. So if I wanted to do something other than some kind of Ferrari, maybe font ended. And it works exactly the same. Right? And what I'm doing now these sketches are super quick. So this is not what a good final sketch which you want to show off to your mates or to your manager, looked like before the deal was super nice sketch that looks really precise and real-world done. Continue watching this course and the next section, we'll actually focus on that and how to make it look nice, something like that. There's already quite nice compared to what I did earlier, right? Okay, cool. 9. 3.1 Tools: And welcome to your next lecture. In this one, we will be talking about some sketching and drawing techniques and tools as well. And this one is going to be about tools. And basically you don't need much to get started ad we commend you to start like this too, because any other thing, you probably just gets you screw, screw you over and you waste time. Because when you, for example, immediately start drawing on an iPad, or you start drawing, unlike, unlike a Wacom or something that told, then you don't know how to run yet and you're starting to run, you don't know how to walk before you start running, so you just gotta fall on your face. So the easy way for everyone in the world, no one needs to buy anything expensive, anything crazy. All you need is paper, pen or pencil. But make sure when you buy a pencil, it's a colored pencil. Can use PRISMA color, or you can use file by Castells. You can use a random one. But for the beginning, I think let's not use pencils for now. What you absolutely are not allowed to use is a graphite pencils. You know, the stuff that people usually involve with graphite pencils. Don't use that throw-away. No eraser allowed. Robert, depending on where you are in this world, no eraser, so victorious away. Grab yourself a ballpoint pen. I'm sure you have a ballpoint pen running, lying around somewhere. Black one, blue on whatever I think black one and polio is the best. And some copy paper and make sure when you draw that you put some more paper on it. Because otherwise the table will be too hard and it won't be nice to draw on. Okay, so like I said, in summary, no tablets, no digital pen and paper. 10. 3.2 Line Quality: And what comes to your first drawings sketching thing? Right? You've seen some sketching from me already, depending on what you've seen on this course. And maybe you've seen some of my other courses and your email list, you can skip it. But basically the way you draw and some people have learned at different ways, okay? So I'm going to show you some not not to do so examples. So these are like no-go examples. So the first no-go is to draw using your wrist like this, like all your fingers, like like this. You know. The second thing, what you don't do is draw a line like this. You can see how it, what bowls and it's a wiggly and it's not good. It's just like really messy. The third way you don't draw is slowly at cramped. Like you're too to scale or to careful, you know. So for example, when you draw the same line, the line shorts looks something like that. If you draw it like this, you see how it wobbles. How horrible that is. So what I wanted to practice, it's got a piece of paper. And that's all about line quality. White piece of paper just like me, I'm just stop drawing lines. And when you draw lines, use your arm like this. And you can rub your hand on the paper. That helps with some people mix it smoother and make sure your line does a curve so you don't draw like this for the, put the pen on paper and then go quite. Can you see how that happens? That's sucks, right? But what is nice if you're sick nor this is, see how this line is perfectly smooth. And it kind of goes away. So it just goes from strong to light and then it disappears. You want the line to be like this on both ends. So what it should look like is like that. See how nice it is. That's how you should be doing it. That I want you to grab a piece of paper and his practice, joint lines like this controlled from left to right, right to left. Like that, back and forth. However you want. It doesn't have to be perfect. It's all about practice. Have some fun with it. You can even start drawing cards like this if you want to. And let me draw some wheels and just start talking a colleague because if you want the future confidence, so sure, sure. And one thing also not to worry about when especially drawing cause is the lines go over the CAF. So for example, if I draw the ground line, you can see it's in-between the wheels, but it's come into the wheel. That's actually what makes it dynamic and core support or the Baunach to be like this. It is better to draw a line like that. Then. Stop here, see how, how should that is. You don't wanna do that, right? You always want to make it nice and quick dynamic. And this is what line quality as. Line quality is. How good is your line. Okay? And also you can practice John parallel lines like this. There's one direction, quicker, slower and you can count the can be slower. But not my mug like this. I think it has to be quite quick. They can try different angles like that. You know, it doesn't matter as long as the light are nice and smooth. You don't want any wobble like this. Also what you can practice are ellipsis, which also people get wrong all time discovered page and stuck doing ellipsis. You know, lots of them and make sure they're nice. Different shapes. This one, for example, is a bit edgy here. And do it again until it's nice. And do circles to, doesn't have to be perfect, but it has to be good enough, right? Just do paid as a painter's upon ellipses to get nice circles down. Oh, well, I'm pretty bad at the moment thing to do more of that office, almost pretty good. See how the access works. Yeah. It's two different orientations of Philip ceased. Hundreds, thousands until yours look smooth. For example, this could be a, we'll write like quality, Cool. 11. 3.3 Line Weight: Okay, welcome to your next lesson on sketching and drawing. The next one is line weight. Light weight does how hard you push down. Do you have any lifeline likeness or do you very hard line, see how there's a difference. The hotline is thicker and more aloof. And it's really important to vary it. So you don't want a sketch to say if I take this area here, let's draw a car. You don't want to sketch to disappear. Everything's the same, you know, kinda everything that just looks like that. And that's it. That's no good. You want to vary the line weight of it. So for example, what this kind of we're looking at, the floor line will be very dark since it's facing the ground, grabs your lead arc will get into the shading later, but I'm just giving you an example. And you can make that quite dark. So that's the ground line up the car, make it nice and dark. And that's the wheels on the other side. And its Thank you. And you can also start joined the outline on the carpet darker so pops off the page more. But then you can have some pipelines in the car. I don't, for example, a character Line, Jacobi light doesn't have to be that strong. You get what I mean, right? What do you want to do is vary the line weight off his sketch. You don't just want to make your sketch look the same everywhere. And usually the rule of thumb is the areas you want, the the like them important area, what the viewer to look at. For example, you all you real lattice side, you know, you want them to look at this area. Then you make this 3D dug and the rest may be a lot less stock. Okay? 12. 3.4 Focal Point: Okay, welcome to your next drawing sketching lesson. It's going to be focal point. What's a focal point? So say you have to take my trusty Ferrari focal point. If you do a front three-quarter sketch, the area that's closest to you, the viewer is this corner here. And you can see what my lighting, how does this brighter than the rest of the car? And you see how this rear-wheel, it's kind of dark and under front-wheel. That's what a focal point is. When you draw with a pen on paper, you want this area here to be the darkest and here to be the lightest. Because when you do it, like it's in real life with here's the brightest than the sketch, what kinda been Misty here you won't be able to see anything rendering. Yes, dude, like this. Where here it's brighter, sketching Mercutio darker. So let's do an example. Oops, sorry about that. Everything's okay. Yep. So let's do an example. If I just draw a random, really quick simple car. From three-quarter view. There's quite a small sketch. You can sketch bigger if you want. It doesn't matter. And if I want to, I'm just gonna add a headlight. And there's some quick details. So there's my car. And if I want to give the car of focal points, what I will start to do is probably make the front-wheel quite dark. So I know it's a weird we'll forced OK. Why not? So make this dark. And also the ground line we talked about 9-way, so this would fade into the back. And that's a fade from here, so it gets brighter that way and make this headline quite dark. And for example, I want to add an event to this car. And maybe there's some kind of grill. See ya, that's dark. I want the viewer to look at this area right here, looks like I would evolve or crossing. Why not? And then you just, you can add some character lines, the card, I'll show you how to, how to shape these things later. But you can see how the focal point is in this area. And also it's not just in the lines which you draw this right now, I'm just drawing lines. It's also in the shading. Mostly the shading actually. So if I just say that now just for demonstration purposes, just ignore on what I'm doing right now. You can maybe try to figure out for yourself. But like if you just want to look at the shading for it, but then you can see what I mean by it. So for such trading in a car, I will start to fade out the back and all the lines fed out towards the rear. So if I start shading as likeness and eclipse fades away, see how that works. Same in the front. So like details like lemons and stuff like that. You can make them fade into the distance. And like I said, don't pay attention to the sharing itself, just pay attention to how to face. I hope you can see how it works and how you're basically forced to look in this area. And it also helps us if you put a shadow to the car likeness and make that really dark and also shaded away so it gets brighter and brighter and brighter. And what's the rear? Obviously, the bigger your sketch, the finer it can be. This is a bit rough right now, right? And he can do the same with this. See how you're forced to look at that area now. Does that make sense to you? 13. 3.5 Shading: Okay, now comes the interesting part. How do I make a line sketch? Pop or shading? What like, which is like what I just did on the demos get. Okay, so we just ignore this one for it, but we're actually going to use this for an example. Why not? Why not? I think it helps to have a demo. So the theory is very simple. I think we looked at the horizon before. Perspective. You remember this? So we have the sky and we have the floor. And usually the floor is what writers, because there's no sun. Like when you go outside and look outside now and you can see that this guy is what's shining on the floor. So the brighter because this sum is here, smiley face, some, right? And that's what's shading basically as Except that son or light or castes elides onto your car. So for example, if you imagine the horizon, then horizon there will be dark and the sun casts light on it. And it has to do with many things. There's two types of shading, which both have to be on a car. But for sketching, I think it's easiest to do one type. The first type is the heart reflections. So if you just look at the bottom half of my page now, and this is the horizon and there's a tree here, again somewhere. And here's the Sun. And you put a mirror in the middle of this desert, let's say, right? Well the tree, I know. So this is a mirror. And for example, in front of the mirror, there's a flower. It will reflect in the mirror, right? Like you can see that the flour and the mirror, what do you will also be able to see is the reflection of the horizon line exclamation point. So it will be somewhere in the distance like that. Reflection off the horizon line. And obviously we have this guy and this is the floor in the mirror. This is, and if the floor is dark, this is outside the matter. Then reflection of the thought also be dark. Does that make sense? That's exactly what I did on this cough. Now, what if the mirror is not just a flat mirror, but what if it's curved or what if it's a car? Then the shape of the horizon line will change. Okay. So if your mirror, I don't know, has a dent in it, so numerous Arno like this. Standing of song Arise and live. And obviously you're, if you have a flower here. Then it will also affect there, but it'll be a kind of very squished. And also this line will become like this. Right? Just the basic idea also in fits. And say if it's closed like that, then only curve like that. And I, the flower will be really wide, right? That's basically what it is. And when you have something on a car, you can see this corner. Was it basically what happens from the tablets? If you have the wheel, the wheels are but outwards so serious on this Ferrari. Can you see how this curve is not straight? It kind of does this r2. And like I said, what happens with that is the horizon line will also change. So if we do a side view of a car right now, and if we cheat the side surface. So this is a very simple code. I don't know many. If we treat the side surface as a flat mirror like this, then obviously derive I will be like that. But it's not because the wheels are a bit outward, so the metal kind of bends around the wheels and what happens is usually the horizon. I would look something like this. And obviously everything underneath it, these are the wheels on the other side. Everything underneath it will be done. Will be something like this. This is the most basic shading you can do on car, right? It kind of looks like a car, right. Even though I've done pretty much nothing. That's sorry, that's reflection. And there's another type of shading which is a gradient. So for example, if you look at, let me get a piece of paper. Okay? And don't pay attention to what's on the paper. Just pay attention to the paper. Someone lights coming from top. And if I curve my paper like this, can you see how it's brightest here? And then when it curves back, it becomes darker because my lightest coming from here. So it goes from bright, bright, bright, bright, less bright, less bright, daka, daka, daka dark all the way there. That's basically how car-sharing works to. So what happens is if, if I draw a piece of paper like this, there's introspective now. So that's the piece of paper or a piece of plastic or something. And the light is coming from the top. Then obviously this part was super bright, bright, bright, bright and start to get darker, darker, darker, daka, daka, daka, daka really dark. See how the gradient works. I mean, I didn't do this very well. Let's try and do it better. So it goes on dark, dark, dark, dark, dark, dark, dark, less darkness, dot-dot-dot, and it hits the top and it gets blood. It's basically what I just showed you, what the curve, peace upon my hand, my hand goes from or dark. It's exactly the same as that. And you can add that to the cartoon. So if I could just use this, whatever I just sketched. And if I draw section line like a door, it goes like this. In words outwards, in was this thing goes outwards, so it's gonna be bright. So what happens is because this curves down a little bit like, like here. So what happens is I can add that on top of this. So I just go in here. I'm just going to shake upwards until it gets brighter again. So daka, daka, daka, daka, dum, right? And see how that also adds some more depth. The cards I graded. So when you do this in Photoshop or in digital is much easier than to do it. But you can see what I mean, right? Because now it looks like it actually goes down like this and consciously reflection anymore. That is how you do shading on a car basically. And also don't forget your class called a parts. This is like really focused on this area right now, like really focused. But you can also like for example, vans holes in the car or we'll holds. Obviously they're going to be dug too because it kind of as a hole. And holes inside cars are typically the handle grown them or they're blacked out, was just a hole and there's no light in there and connect them dark. Like it's kind of black in here and the wheels and other black girls, right? Okay, that's basically how shading works. Cool. I hope you learned something. 14. 4.1 Side Sketch: Okay, let's now actually sketch some costs. So we've properly this type put that away. And first of all I'm gonna do is side view and I'm just gonna sketch, talk along the way I do it. I won't spend too much time on it because you don't want to over sketch, sketch if you know what I mean, right? So it'll be good enough for, for showing your idea. You can always go further and do more detailed work like more and more shading, more better line qual and all that. Okay, So we're gonna start step-by-step. I'm going to make it a bit bigger this time. Let me just reiterate myself. Okay. I usually start with the floor. You can use it if you want by just two freehand. The ground line of the car. See this could be better, but it's just the way you do it. And also started very lightly, right? Don't just go with the dark line because then when you screw up, you can't correct it anymore. Okay. And then we start with a front-wheel. You can only have the thing on the ellipsis. It doesn't have to be perfect. Nothing has to be quite perfect because it's just as quick sketch, right? We are going to be better. You can practice your ellipsis and then start with the floor of the cause. And this will not be an SUV, this will just be a regular car. And then add the wheels on the other side. You see usually what I do. And I think the shadow is kinda the floor right now, so just wraps around the shadow. And this is the way the craft sits on the page. Then you can start to do a volume just like. Okay, how's it going to look like? Or is add the wheels? Let's add some we'll showering. I can do something like this. Something simple. Five spoke wheel. You can do whatever you want. And like I said before, the wheel centers are kind of more towards the middle. And here's a hack for you when you're not quite sure if it's rights, even at this stage, you can take your sketch, flip it around, and hold it against some light. Then you can see the perspective errors. For example, can you not sure if you can hear it, but you know what I mean? Turnaround, you can see some arrows. Okay. So see how quick I did that. If I wasn't speaking, I'll only be drug arrests. And usually what I do now is start to draw the DL. All the daylight opening of the car would just the window. But first let's do the shoulder to give you an idea of how high it has to be. This the shoulder, it's kind of here above the wheels and it's always like upward slant towards the back so that the curves always go up into the back down because then they will have had a study back, but it's up to you what you want. I'm just doing what people do nowadays with chondrocyte. It's not something super creative. Okay, and then we have the shoulder, we can just add a quick front and quite short overhang. Re-ran. Let's make the overhang is slightly longer and also give it a bit of shape already, you know. Okay. And now we can start trying deal. Oh, let's make it like a saloon. Something like a BMW doll. And make sure this slide kind of shows into the front wheel. You can go through the center, it doesn't have to. But usually people due to the center. Obviously my centers in words because the wheels just by like the center will be the actual center of the wheel if it was flat. Okay. This is the bottom of the deal. And use the rest. Feel, Oh, no crazy design here. One, it goes up to the window and on your roof of the car just goes on and on all the v alone and let me see. I'm drawing with my arm. That's not very pretty kind of a weird look to it. But hopefully I'll still make sense to you. So basically now you have the basic outline of your car, right? You've got a big bottom here. And you can always correct along the way. And now you can start styling it or adding elements to it. Usually what I do is I add some kind of shoulder line, chalk. It's where you have a fold in the side of a car. Can also have a downwards fall like this, which BMW does. And then you can also have some kind of live capture that along with that goes all the way back like this. Like catchers as when I was in the metal. So that's a lot of catch up. Top Gaza down and Yeah, but I can't show it. Grabs a light and goes down again. There's basically two I destroy. It can also be upside down. That's kind of what I was showing. This is the door. It's kind of this point. Okay. It's not a very pretty caught on. And you can add some headline. It's going to be crazy. Kind of like BMW again. Some exhausting, going to have some growth in here. And now you can start shading it actually. So I was just starts trading it. The easiest thing to do, always to draw a little Horizon way, right? So they'll arrive line in this case will be something like this. Quote, Rhonda railway. And everything under the horizon that will be dog, also helps us to define the shape of the coffers using endorsed outline. So you can see how curves like this for the costs. That will be the door. Okay, this accentuating things a bit, so it's more obvious. And then you can start shading it and the way to its hatching, right? Used to quick lines like this. So and you want to be precise. Because if you screw this up, it will look really have also here really rough. And also this thing was facing down so that it can also be dark. Wow. Can be better. And make the horizon a bit clearer to kinda already looks like a car or the shading and stuff. And it's gonna keep going. I'm just gonna keep going and then comment on what I do. Some guys having a front and end here. Well, I could grow. I'm trying to make the shading and look better. And also usually your car has a gradient from ground to highlight that this guy Tom. So for example, here we don't have sky tough, but if you imagine this like that, I was talking about if that's why the sky is, then this would be the highlight area, wets the brightest. This will be sky and this will be ground, soil happiness. You'll have already bud area. Then you have a doc aired on top of it, the blue sky. And when it goes from sky to then down to ground obese, still getting darker and both the dock, it's a bit hard to get your head around this. What will happen is the sole goal of a car, which is this part usually is a bit darker because it's facing in this guide tone, right? And also here, we just did earlier what the, what the gradient will also apply. See how that works. And this is just for side. You can go forever and don't forget the window. It can be a reflection on the window, but usually there's enough depending on the angle of the window because you can see the window here on the Ferrari is flipped from font. It's not flat like that, does that. So it won't catch the horizon reflection. But there will be a gradient and it will be something like this. Because this guy, Sky Sky, Sky, Sky, Sky, Sky, Sky, Sky, Sky, Sky, Sky, Sky. And gets Budget, Budget brighter, brighter, brighter, brighter, very bright. And that was where the sun would be highlighting. And you can also add an interior to this just very rough seat at rests, whatever. That'll be dark, right? Pillars are kind of fell into this. It's like that be pillar in the car, in the front and the back. And you can always go with darker if you feel like it's not strong enough. And here's the the hell-bent on the cost also quite dog. Once facing away from the client's gets darker. It doesn't have to be. It almost always depending on the light source. But here it's just the way I drew it. Headline. And we already did the pay lines can automate what will this continue like this. Of course, you can also shape the wheels, right? And I think what's really important is to give you a deal. Oh, your dad opening a nice blacks around, especially on pens get just. That's quite an important design aspect of your car front one node can have one, no. And you have a gutter lime real window. Don't have to learn these things. But like you can if you want to write. And now the wheels look like they're kind of not their butts. You can fix that really rough. And you can also start making certain areas even darker to accentuate them. You'd do the dark things is what you accentuate. Doesn't really strong character thing on the side. Cow goes into rehab life like you. It's going to be quite dog and the flycatcher thing. But rough always looks good to life. And also you can just start shading the floor of the code. This is the wheels on the other side is kind of one element. Yeah, CountSketch properly in this position because my camera thing is in a way, but I'll try to do my best at these little cones on the other readings on the other side, Peace Corps. And now I've already looks a bit better. I can see a cost kind of standing on the floor. And what you can also do, say the wheels. But do some more, we'll details. You can usually makes this sketch look a bit better. Not so start adding the wheel. Well, when artist and do it in the beginning, you could do it and now it doesn't matter a slave. Now, usually when I do a quick sketch them out or just use Photoshop. But it helps to make your sketch look better, definitely, right? Kinda tell how it looks better. It's like the wheel's actually there. You don't have to draw the tire and the so basically the rim to celebrate the tire. The whole whether we'll citizen and then the fender. You don't have to haul these, but you can if you want to, if you're really into the needy, greedy. And for just a rough idea, this is actually already quite good. To get an idea for a card kept them. I'll have like tail like details. But usually at this event out because you know, it's pen sketch, what are you going to do? Console or pass light up and walking which parts don't? At least not as easily. You can always go with some lines to make them CRISPR. And reflection on the fender likeness of maybe a light. And you can start sharing on the wheel. And so each year the same thing applies. What areas facing down, what areas facing up. So if I say that is all facing down because the world was going inwards, it's going to be dark, something like that. And, and these things will be facing down and we are going to be dark. See how quick sketch like that just happened like that. You obviously don't have to go into that much detail with it. But I think this will give you a good idea. Also tenor and how to get some light, which I don't have you can kinda see and check for mistakes. Let me just quickly check for myself and yeah, it looks all right. Side view a quite quick I mean, how much time do we spend on that? Not that much, I think. And obviously there's a million different ways of how you can shape things like see guys who shave. Let me just quickly demo. And I do it too sometimes, but on paper it's a bit awkward and takes more time. So if we do another site for you, really quick wheels, like this small car at this time. So there's no one, no. And if they sketch, doing a reflection there, Carlos, basically matte finish. So what will happen is they will have reflection that's kinda like this. Or I guess shading that's kinda like that, that goes around the car. And whenever there is a curvature, that's going to be a Doug area like this. So it's like many, many, many lines. And when you have a live capture, it's also like that. So and it will be something like this. You see what I mean? It's like like a like a matte finish. You can also do that. But it's kind of hard to do and more advanced. And also you can use the pencils for that. It's easier. Maybe it looks a little wheels. It will clear yet, but you see what I mean, right. And you can also shared a car like that. Okay, let's move on to the next perspective. I hope you like this. You can sketch your own car like this now. 15. 4.2 Front 3/4 Sketch: Welcome back. Now comes the fun part of sketching front, rear three quarter. We're going to start at the front of the quarter. And if you watched my previous lessons, you know how to start. I usually start with a volume like that. And it's pulling the wheel. It's like a perspective hack, right? I'm just doing a sketch demo here to see to show you how I would do it. And then already I usually start putting in some random quick wheels. Don't know. Let's do same ones as before. As the wheel center, we'll center. And the shading for the floor shadow. The shading for this is a bit more complicated. One that still Porsche of some sort. So let's do some portion of some sort. I usually have like rhombus headlights and you'll see less of the headlight on the other side, obviously. And there's the flow of the current. What's how I am making it darker around the front wheel? Like we said, we have a focal point. So the thing that's closest to you, the viewer is going to be the dog costs in a sketch like this. So I can draw a perspective life don't have to, but I usually don't like OK, but we don't have the scientists kind of here and get away goes here. So I get a feeling for how a class standing like a rocker panel here. And then it may redo the shoulder to shoulder, the colors like this. And it still came up some sort of axles, maladapted portion, something like that. And then see how the perspective languages there can do expected life. If you do this perspective, flatten the sketch is totally fine. No one's gonna kill you for it. Just shows that you know what you're doing. So tall window and prospective line. Once you have the basic cost standing like this now, the rest is going to be quite easy, right? It's always standing on the rest of it is just adding details and shading. So I'm just going to try to do this. The rain gutter Front of the windshield. This is the windshield. Again accentuating the dealer home but and pushes you only have a very soft body sites. So I'm gonna try to do a soft body site. Maybe do something fancy like this. Guy goes like that. And you can also start adding some details like rosebush always have this thing on the bottom. Again, I love being creative. Just getting a random Porsche like car. And make sure it's symmetrical way. And again, you'll see less of this thing and on the other side. And can draw section line to help jot. Can even add a character on here. To give it a bit of a step yet. And you can always change things along the way. It's just a real quick sketch. Maybe make this thing go here. So this will be a some kinda portion. This thing has to reflection from genocide. So to stuff like this, I communist playing on paper, you don't actually go out and look at costs. This will be the soul that goes into the head life somewhat and allow start joining the horizon, which would be something like this. Because we have this thing here. This will be a light captured. And he grilled, grilled details. You kind of can not do as well on the paper in the office because you haven't invented space and whatnot. But you get what I mean. And malware tendon starts maybe Adam never kind of mirror. We can start shading the car. Document actual wheels this time. And other than good ones, how about that? Because now shading this point and obviously the horizon, I'm gonna do the phase. So it's going to be dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, shoutout, fairway. Sand with the horizon. And there's like cash or thing. And here this piece is like a metal piece that's sitting above the plastic piece sold cast a bit of shadow. Hope that makes sense. All right, here we have some kind of sticks out. And he'll be d2. And obviously we have to shape the wheels. If you do regular wheels that kind of hard to shade was hard to get it up. Get it to the perfect. But I'll try my best. Of course, you're allowed to turn your paper when you sketch, right? It's your sketch can do whatever you want with it. So long as it looks good. So I think that's just some basic wheels. And we should definitely add a we launch to this. Otherwise it look it looks like the front wheels turned on it. And you can hack it by just having the windows. So it looks like the wheel's gone into a lot. And you see how that makes a big difference. So the wheel is not just a sticker anymore, that's just kind of sitting on top of the car, is actually going into the car body. If you make immediate data that suggests it's an actual hole, what goes into the comp K. Now we have created this focal points. And yes, there are a lot of time scatter around and if you want if you need a more comfortable position for shaping or something which is not what ID, what I do need, sorry. Would id can speak today? I'm adding some gradient. Whereas what we talked about earlier where they think i curves down. So if I draw a line like this, curves downwards, which means there will be a gradient here. It's like doing Photoshop but with a pen and fades away. Shall not paying attention that much about which I'm hitting everything perfect. Because it doesn't matter that much for discussion like this, I think. And if you really wanted to make the wheel of more realistic, this should be also dark, dark, dark, dark, dark, dark, dark. And love human shading it back and it looks good still. If you stayed the whole car like this, it will look super, super, super, super cramped and static. It's no good. I don't think you want to do that. Now for the sky tone on the fender. So like, I don't know, it's just kind of lightly go over and run this. Now that works. And I'll maybe accentuates farsighted width so that has shape, comes across better light. And that's invent here. Detail like bonobos, like incisal. Shading applies same everywhere. Whatever is facing downwards, started when there's something covering it that will cast a shadow on the right. And that looks already. And we're also really helps us if you had an interior. And also you can add a shadow off the mirror. If you had an interior is very roughly like just a dashboard, steering wheel, mirror, pillar, seat. Seat when on the other side. And you can also start shading it like a map. Gives us some depth, you know, because we're also doing a fade. So it can just do the fate on a window to why not? And there'll be some kind of thing here because it will be recessive that that when there was not always flat with a boys always like this. And this part of the one that I can also show that a bit to suggest that there isn't actual well-known. You'll want to do something with it because if you don't, then it looks like there is no separation between the body and the glass, which is no good for us. Right. Now. It's a new thing here or something like that. And also here there will be a village. And you can also start adding the shadow to the ground. And also what helps us if you add a contour line over the bonnet that shows what is the shape of the monetise. That wheels also helps. Sum, I can just do this. And I'm again, goes up away from the cost or you want the viewer to Libya had specific area. Same here. And it's basically a function right there. How do you think it's cool? Do you like it? And when it's not the craziest design. And also make the readme not. So fade away, can add a bit more detail if you want. But generally you can even fade into the wheel the grounds, because if it's the same color, I mean, it's an artist choice, right? Sometimes you look at like press renderings by for example, BMW, Mr. radius, whatever. And you'll see some crazy things we like. What the heck did they do? And that's sometimes what they do is buy just cheating. Looks cooler. So if the ground shadow goes into the wheel, for example, y naught, it can actually happen in real life when Intel especial Campbell on special lights, what's so dark that it will make no difference anymore life, it's the actual real on the ground. It would be the same color. And column scroll into crosshatch it. So it looks like grill. That works. This could be a grill. And always change things alone. Can always called darker, but you can't go brighter. And that's the thing. You can't go writer. And just it helps to outline now. Okay, font three-quarter. How do you like that? I think it's pretty cool. You can skip whatever car you want, right? Like that demo. 13 minutes. 16. 4.3 Tip Up Sketch: So here we have a bunch of sketches now side view, front three quarter. Let's do another one just for fun to show you just a quick one. I'll do it on the same page as this so you can see that I'm doing a similar thing. So I'm gonna do an extreme perspective now, but small. So say here this is a wheel. My ellipses are getting better. How cool is that? It's a top view. And this will be the vanishing point. Sorry, the perspective lines will be going that way and see its colleague Daniel. Just to showcase for you. And you can also, I'll maybe do some different wheels this time. Again, let's do do all we can do something like these. Actually flat wheels don't actually matter that much. And already asked some we ought to it. And also by the way, that we launched doesn't have to be around, you know, when you're a creative co-designer. We've asked, can't be different size, different shape. We can make a wheel that's like that in the frontal went up. And the actual things like this. And work. Why not? This one? This will be interesting. Okay, we'll, we'll kind of, we can start having the shoulder because it's still quite a conventional can con MF going to crazy here is not to confuse you, but just kind of doing the basic outline of the vehicle. So what doing front? The front curves Rama horizon lightness. And here you can do a reflection on Windows to later, like it doesn't matter. I kinda reflection on the car and it all comes with practice, but it's easier to do in Photoshop. Bethmann, there's a bit like the Ferrari farsighted with Docker. My cool. We've less than that. And then you can add the cowl is called weather wind shields, dots. It's called the Coulomb. Not to be confused with Simon column I have. And What's the back? Let's make it an interesting looking cough. So called step. She has like a pickup truck. Not very normal and also not very crazy. Like I'm just trying to show you that you can't do something created. And it will work exactly the same Western. But actually this time I'm going to fly this type of shading just to give you some difference. So it will be less than this. And I can add something like this. That's where nothing basically at a fold in it. So the surface will be something like here, is going to be something like this will fade away pony tail that also works. Let's maybe not ABA stuff because it's kinda ugly. So let's make him normal caught. Not perfect. This sketch hasn't have to see how this works. Like this whole satisficing lbf? Yes, not very pretty. This kind of fancy roof to it like a glass roof that creates a V-shape on top. Some kind of grill wouldn't the same type of shading which we didn't see how that works is just a very rough quick sketch and a reading we're looking at. So we can have a contour line on the front line like this. That's the headlight maybe adding some details that up front for example. And depending on whether light is coming from the shadow, house will be different obviously, right? So for lights coming from the other side of the card and the shadow will get like this because the Vitis Chen from that and the car is casting a shadow. And that's what this area will be bright and kind of go dark so we can try that. So it's like this. The one node till usually because also like what a Windows recessive kinda goes in like this. So this part and psi, it will be dark and see how my hands casting shadow. That's what it will look like. And that's how I can sketch a car. Isn't that cool? I hope you enjoyed it. You can always go further. Like for example here, whether we can start shading the wheels. Can I add a shadow to the car which we did earlier? And always continue is know what, you should definitely stop at some point. Because then if you don't stop, it will just be super dark and super confusing in the advocacy you've read on so many things, like focussed on so many things, it just doesn't work very well. But you get the idea right. And actually show all the wheel wells like a dark area between the tire and the actual body, whether we're holes inside a car. It also helps Puppet look more realistic. This is a bit messy here, sorry about that. But not quite like a psychographic actually. It's quite interesting. And maybe you can define the shape and the back. Yes, something like that. 17. 5.1 How To Study Car Design: And this final lecture, we want to talk a bit about this one, information and this one I'll talk to you about how to study how design properly. So say you're early enrolled at a university or you want to go to university and you don't know quite how to do it yet. Join in this course was a really good decision. Goods you've already makes one step ahead of everyone else. The next step would be to practice, practice, practice, practice, practice. Because like the sketches we did in this course, even the sketches that could be better, always improve on yourself. Because when how to render, I've got a few quarters on how to render with markers or with Photoshop, Sketch Book. Improve upon, upon what tried to learn that. I recommend Photoshop and sketch book. If you have an iPad Photoshop you have computed. And also yeah, if you want to contain just don't stop sketch sketching every day together. Take out some paper and what I usually do is I do small little pen sketches. For example. For example, is like a car like this. And we'll start sketching. I've just for fun, you know, it's fun. It's what you'd like to do, right? Why stop? And it's sometimes you come up with some cool ideas. And it might turn into an actual project or into reoccurring member. Nor, thank that's what the industry is about, new ideas. And that's where you come into play at a designer. So he always wanted to be super creative and create something that's fresh and hasn't been done before yet, right? Always. Because what's the point of doing something that someone else has already done? As a car designer, you want to be different. You want to show that you can do different. You can come up with new ideas, right? Can be crazy. This isn't even that crazy by the way. So I've stood pen sketch like that and say, okay, I like that idea and then keep it like this because if I start shading, it's, I mean, you can always shade it a pitiful itself, but if you go crazy with the shading, you might ruin it. And leave a bit of ambiguity helps. So always sketch, don't stuff. Look at, look at the best guys on Instagram or on the internet on Behance and just look at what they do and how, how they sketch. For example, either really quick sketches like this to do ideation, where it's just a frontal crosses. And then it's like a top-down view. Then I can just start doing random stuff like, I don't know, something like this. Maybe something square and the front on the side and you can just add stuff to it. So maybe it's got like skin that wraps around the car. So it kind of does this. And does this. I don't know. You can do so many cool things just by doodling around, noodling around. Always, always, always look at the next guys out there. Right? These courses definitely help. I'm trying to get the best out of you as a designer. So I'm not going to lie and say, oh, you're just my courses the best known, just like look at the, look at the best guys out there on Instagram or on the web. But professionals, that, that's the Bible, you want to get to the level you want to surpass. You want to be better than those guys, right? It doesn't matter if you don't end up being as good as them or better at. And that's not the point. The point is that you're always trying to improve upon yourself. See, shading this a bit. It's always the point is to improve upon yourself, upon your skills. And the only way to do that is to be self-critical. Look into Skype like, oh yeah, I'm good, no, good, I'm gonna stop. Not just keep, keep going and make the best you can in terms of sketching quality ideas, concepts. You can always think ahead. You can do crazy things. It doesn't have to be conventional. You can do conventional cars, but you don't have to see how I build a perspective like that. You can do something like this. You don't have to. And one has to understand what works for me. So so for example, if I'm doing normalised car, that'll be the front. That's how I get an idea for a car. Usually, you can also do this, but this thing you copy it teaches like everyone has their own style and you develop it later. Arms like whatever works best for you. Some kind of hatchback. You know, whatever works best for you. And I didn't even draw perspective lines anymore on wheels because I just want to get the idea down of the car. And this helps when you do like this because he had stopped concentrating on details and stuff. But before you do any of that, and I do want you to do the sketches as far as you can, push them as far as you can because then you will learn how to properly. When you, for example, have a sketch like this. And I think that's actually pretty cool. I need to develop this. I want to make it better and more resolved. So for example, what happens to you? No idea. But what you can sketch properly like I showed you earlier, are you better than that? Then you can actually develop on that idea and make a car out of it. A really good one, right? And again here I can add some shading just a little bit to help me understand what I just what I was just drawing. And you can data and Photoshop. Go ahead and improve the shading or redo the whole thing. Or maybe you interchange design, totally fine. Right? So I'm just experimenting here. It's all about having thought. If you have fun and you are self-critical, don't lie to yourself. If not as good as the other stand. You know, let's go to the other states effect. And that's, that's the thing. So that's what I can tell you that above co-design, keep going. Don't stop sketching. Have fun. And your own style would come and you'll be confident and you'll be able to pull something like this off. And again, it will actually make sense even in the beginning. It's just a bunch of squiggles. Thank you so much for joining this course. And a few other courses which you can join there. Not the latest I'd say in terms of what I can do and it kinda what I can understand and terms of quality. But you can still join them. Once about 2D side, who sketching kinda like that if you've already done this. I mean, you can go look at that. It's more in-depth about what every detail does. There's another one about how to do fun three-quarter perspective and stuff. And that's one above marker rendering and Photoshop rendering those you can definitely go check out if you want to improve on that. And you can always message me about questions you have If you need feedback on your sketches. Or if you know, if you want to talk to me about price or whatever, you can always do that to me. And always also posts and discussion area to get feedback and everyone else can see it to maybe help you out of it. That's the point of this course. Alright, thank you so much for joining this course. And I'll see you in the next tutorial. Ferrari clinical. Alright.