How to Sketch, Draw, Design Cars Like a Pro | Digital Renders

1. Promotion: hello and welcome to how to sketch draw design cast like a pro digital renders. Um, this course I want is you How you can draw cars just like these eso You might have seen these already. If you scroll through instagram or see them posted on social media these amazing looking digital sketches of cars that almost looks real and you might think how it's done. Well, it's not magic. I think anyone can do this. Um, of course, you need to have some previous knowledge about sketching car so you can just go go ahead and sketch cost just like that. Ah, so I have two other courses on sketching with a pen and have another one with sketching with Marcus. Marcus is a kind of similar to digital in terms of rendering, but it's a different technique. Obviously, um, I recommend you to at least be able to sketch colors with a pen confidently with no issues . And you, I think, being able to draw in perspective correctly and knowing the basics off having, for example, ah, good quality basic sketch. Using good quality lines is a basis to have in order to do this. Of course, you can join and just know immediately how this works. But I can't guarantee you that you will have a much better time if you know how to draw cars. Disc using a pen. And if you understand the basics because I will not cover the extreme basics and this lecture like Howie reflections, work and stuff like that I will not cover this s I have in my other basic courses. So make sure you see those, um so what will come out? So I have got some skin tissue just for some examples. I did awesome cascades I have made recently. Ah, here's one I have made with my just my finger. So you don't need a tablets, special tablet or some kind of stylists. For example, you don't you don't necessarily need Ah, the apple pencil. If you use an iPad or if you have an android tablets, you don't necessarily need to buy ah stylus either. But I think it's recommended to get one, but it's possible that it's just too so case that it's possible to draw what's just your finger. And you can also use ah variety of other hardware. You can use Wacom tablets, and I'm like that. So off. That's fine. As long as you have something to draw on digitally s a android tablet. I was tablets or a windows or Mac with a graphics tablet eyes away that you need apart from the basic car sketching skills in order to get into this course. And I think you'll have lots of fun doing. So if you want to get into designs, go anything like that. I think that is just the right thing for you. Right? So if before you seeing you there 2. Update Announcement (IMPORTANT): Hi, everyone. And welcome back to the course off. How to sketch door design cars like a pro Digital remembers. You can see here. I've got one of my recent renders here, and obviously one improved all the time. So maybe you've seen the tutorial on the other car. The main carved on the red one, I think. Well, that does not look too great, because that's how I think right now. Um, so this has been done about a year later. This one? Yeah, around here, maybe, but less than a year later. So you can see if you put your mind to you can accomplish something great. And I wasn't really taught anything. I just learned it by myself. Um, so we're gonna do is we're gonna go back to our red car, which have to be honest, Is not that great. I'm going to go over it. I've already prepared a little schedule, but I hear that's what it looked like after the total debt last year, which was in May 60 year. That's literally around. Ah, a year ago. And I'm gonna redo it. The same design with maybe some slight changes with the new technique techniques I've learned which you can apply. And this also will be a tutorial where, uh we will cover how to go over your old work, which you might not want to always do. But for the sake of this tutorial, I think it would be cool to go over the old old design here and improve all opponent and make it up to date as that. Right, because this, to be honest, doesn't look that great. Eso We're going to try to make something better and cooler in terms of rendering and design and fixing this like design mistakes. And we'll go over some of the mistakes to still, uh, if you see this video first, it might be a bit weird, but just be warned that if you look at the main tutorial, you wanna see some older stuff that's maybe not quite up to date. Yet, since I'm actually studying car design now, all the stuff I say now will be probably more professional or some for teaching me more professional than what I did here a year ago. There's been a long time ago, so this is a showcase off what you can do in a year and feel free to look at first of oil off this first. If you don't, you can skip it right you can. You can still watch it. I mean, it's not. It's not completely stupid. It's just Ah, it's Ah, it's different. Skill set is different, but if you want, you can skip it on immediately which the new part, which will follow this video. Okay, thank you very much and we'll get right into it and the next video. 3. 1.1 Introduction: hello and welcome to your first lecture in this lecture will talk about some of the steps will take in this course and I'll introduce myself and talk a bit about how we're going to do this and where I come from and stuff like that. So my name is Kaitlyn, and you might have seen my other courses in car design. And I'm an engineering graduate now. And I am pursuing to study automotive and transport design at university very soon, and I've been sketching cast basically for all my life, and I love course, and I think so do you. Otherwise you wouldn't be here but caused a great passion of mine. I just love to find out how they work. I love how they are emotional experience, and I've always loved car aesthetics. And, uh, yeah, as I said, I want to become a car designer, know that I've graduated from engineering school after said, That's not for me. So about this course, Ah, as you may have noticed from the title, it's about did a little bit little horrendous. Um, that means we are going to draw on a digital device. We're not going to draw on paper. But as I said before, it's a good idea to be able to draw on paper before you sign up for this course. Ah, and how we're going to do this. We're going to explain the basic tools you need. So you might have touched on this already Briefly in the in the promo video off this course . But we'll talk about those. Like, what type of tablets are recommended for types of stylists software? Ah, like photo shop stuff like that. What do you want to use in this case? Um, and some of the basic stuff where tools within the software, I mean, they're all pretty much similar. Um, but they have their differences. I, for example, only ah have sketched using this one. It's very good, and it's free. So if you want to get into this without spending any money, you might want to try this one, um, and stuff like that. And then we'll get into the rendering steps So we'll talk about this in terms off layers. So you to restart, like with their one layer to layer three inches on top, off each layer we add to our sketch and in the end. Um, a car sketch will come out. That looks very good. I hope. Um and I recommend you to leave this open. So when you're looking at the story alone, make sure you have your own tablet or your own. Ah, yeah, your own software and rig set up so you can draw along with me. Otherwise, it's gonna be a little bit difficult natural to do this as well as I cannot explain every step and why I do everything and ah, I think this way you're going to learn it the best way because other I mentioned in my description, it's gonna be a learned by doing course. So I encourage you my students to draw along with me instead of just watching this and not doing anything. Because that's not how you gonna learn anything. Right? Okay. Ah, so that's it for the introduction. I hope you got a good idea off who? Where I'm coming from and where this court is going. And I'll see you in the next lecture. 4. 1.2 Hardware & Software: 5. 1.3 How to Progress Like a Pro: 6. 2.1 Typical Brushes & Pens: Okay, now we're in the material. Let's talk about sketching tools on specifically what types of Russia's and pent we've gone . We're going to be using, most commonly in this tutorial on what typically is used by designers as well. So I have my blank white paper here, and the first thing we're going to use a pencil. Ah, here on the left, certain on the top here, the blue pencil, it's called. It's just called pencil and in sketchbook. Specifically, you can change various options with it off course. You can change hair. You can change the size like you can see on the top left corner as a size the size of the pencil. So if it's big, it's gonna be really fat. And if it's gonna be center is gonna be thinner. I typically have around two or something like that just for the beginning, and the pencil is there to just sketch around. So, for example, you want you want to just just sketch a car like there's try and you don't want to spend too much time. We're gonna be You will be really rough with it, and you just wanna sketch something, then you're just gonna use this pack. Okay, that's where the rubber Scott and the next one you're going to be using a lot of us, the so called marker here and also there again, options for it. Um, and just like with the pencil of, there's a thing called Where is it? Go back to the pencil. Here. There's a thing called Understand, I think. Nope. On nip. Yes, I don't know if there's a wrinkle texture, and if you turn on texture, you can see that it's texture here activates on. Uh, I'm president just That's hard down as hard as I was before, and it's very light, but you can see that there's a texture now to the the pencil. So it's not just black anymore. You can see that it's kind, of course, and it varies, so it's kind of more like a real pencil. You can't leave this on if you want to, but I generally prefer not to, because it's not as clean. So I referred to just turn texture off, so I don't have impressed. That was hard. It's the rocket guards, pressure and tilt. It's just more precise. Okay, next one, as I said, it was the Marco. And you can also justice size there, right? So if I want to draw something back with black and dark, I can't adjust the size there like this. And I recommend you just too, if you've done all of the up now and if you don't piece Donald the up on it also exists for Mac and PC, so you can try around with that on your computer as well. You can play around with settings like a roundness if you don't. If you mess around with Loughner's, it's gonna be like this, which might be useful for lettering for calligraphy. But for in our case, we just want to keep making completely around. Oops, I didn't want to turn it on, and you can also change various things like hardness. Hard as you can see, a rush changes. This is just very soft. You can see the address are very soft, but I prefer hard because most cases where us hard. Okay, the next one is also the 3rd 1 from the top. This one here is called the so called It's called the so called Hambros and and Rushes. It's kind of, um, it's a very staffed, very, very soft, very rough brush with your brush, but it's kind of Ah thing, right? So it's like you're blowing powder onto paper or it's like a using charge and smearing it on paper. It's like that. So, for example, half is a rush here. I've got the size set to 240 or something, and I just draw on it and you can see how soften us. It's very soft. And the cool thing is, with this that you can you can blend. So, for example, if I make it orange and I draw over this black one here, you can see that it blends into it. So it kind of does a There's a, uh, whoops. I didn't want to use this orange one. So if actually is a color here again to Black, you can see that there's kind of a Grady int here watching this area. So it goes from orange two black here, okay, and it's very important to change the sizes, depending on what you want to do. So maybe some area want to make it small adjustments and maybe some other anyone to make big adjustments and um in terms of Penn Techniques, I assume I presume that you already know how to do this. But if you using airbrush especially when using our brush, it's very important to just go from one side to the other side continuously. So it's good from left to right, and then after, right again after right again. And don't do back and forth. So I didn't want to that. So if you go back and forth just like this, So back forth, back forth, back forth, back forth, you can see that it's very flaky, and areas like this area here is gonna be brighter than others. Also, when you go like this and you then decide to start in the middle off the line here, you can see that in this area here, it's gonna be a bit. That's gonna be some kind of weird area. That's Ah, that's not very good. You don't want them, so be smooth. Always draw from one side to another. Always start where you started before, at the ends at the beginning, off your stroke. So if you start here, then you can start at the same place again. If you wanna make a doctor. So I think you make a doctor or you can go to the other side here and start from here and make it Dr. But don't do what I just did here and, uh, rob around here to make a huge black spot. You know what? That Okay, Unless you, uh you sketch allows you to to do this stuff like that. If you like a particularly dark area or something about the generally you can use airbrush to blend stuff, right? So I am maker adjustment here, Make it more great issue can see if you go under here, you can see that there's a blending effect going on. All right, that's pretty much it in terms of pence. Another thing he might want to use is the erasure, of course. So ab Russia as it sounds very rough, but your car, it's kind of half shot address. And this Ah, this thing here is called V Cashmere Racer, and you can also change get, like, the hardness and stuff like that shape. And there's lots of texture. I don't want textually razor in this case, because if I was texture on my eraser, it's gonna I have to raise everything. So it's tonight off. You can also change the size, obviously here with a slider and you just go ahead and you race. So, for example, you have a hard edge on the bottom. Here you go over the hard edge, just like this. And then, boom, you have a hard edge. But the grating is still there. It's just that you, by erasing the edge of a little hard edge another way of doing this issue can every racing you can just to choose the market here on the left side and just draw on it with white color, that else that works. So I thought, What could I want? So if I wanted to draw on it with color, I can just draw on it. I don't know why I'm showing up, but you get the idea. Okay, that's it. 7. 2.2 Layers: 8. 2.3 The Undo Button: Okay, let's not talk about your best friend in digital sketching and the one that makes it all possible and the one that on paper is not possible. It's the undo button here, and there's also it's good friend, the forward button. So if you I'm do something and decide. Hey, that's that wasn't too bad. You can hit the other button and then it's back again. So what can you do with these types of buttons? Ah, well, you just can reverse anything you've done. So, for example, you have added a layer and that's maybe drawn it with black. And ah, you've been using this all the time and again. You you didn't remember this layer and think, Oh, crap. I don't want that. So I delete all the stuff on the layer. And if you hit the back again, some hitting the back button again now. So look here than this layer. It's gonna disappear, right? So it the APA back traces everything. It doesn't back trick pence itics. So if you if you change the pen, if you change the pen settings, what do you make the hardness to? Zero. You can see that at the stroke of snow but softer and hits back button. You can see the hardened still zero. So it doesn't change the pen settings. It only changes stuff you do here on the canvas. And it only changes stuff to do here with the layers here. That's the stuff it changes. It also doesn't change colors. So if you assign a color here, you think I have this card? It's great color, and then you go back. I want to draw with this color again. So it had the back button up. It is the stroke and hit the back button again. The color is still there is I'm gonna change the color. Okay. Ah, also what? It remembers anything. It's basically anything you do on the canvas, right? So if you have if you draw a line with the line to there's also another two here for you. But I don't usually use the title. But if you if you choose to do to do so and you can modify, you can move it around so you can move stuff around it have done and you and you think Oh, I messed up and you can go back and it goes back again. So anything you do here on the paper can be backtrack. If you add a layer, you can backtrack it. That's like throwing away a piece of paper. So it's like you're wrong in real life. You think, Oh yeah, this job we're doing It's rubbish. You crumpled up the paper phone behind your bag. Any for lucky. It's in the bit. That's just how it except it's always in the bend and it's always gone and you're not kidding trees. That's a cool thing about the backup, okay? 9. 2.4 Cheating Tools: 10. 3.1 Background: 11. 3.2 Rough Base Sketch: Okay, let's not talk about the second layer layer to, um, rough sketch. Ah, water off sketch. This is health sketch, so you might have some sketches you've done on paper. You can take a photo of it and scan it or imported, and then use this as your basic sketch. But beware because then your background will be on top off your sketch because you cannot put a background behind your sketch, since it's a photo so you won't be able to see it. In that case, you can also change the opacity and see it. So this is an example of a rough sketch I've done just now in like, two minutes. And here's another one that's quickly See, that's Here's another one. So basically, this is just a rough outline of a car you've had. You can, of course, vary the detail this, but I you generally just make it very rough and fun and quick, just so I get an idea of where the cast standing, what type of car it is, what the proportions are, and maybe some design elements, and you can also, of course, modified design elements while you are rendering, um, for the purpose of this design course, we're gonna not focus on this particular ah, sketch. We're gonna keep it, but we're gonna make it invisible. We can actually do it. This one, since it's resembles more, resembles a side sketch. The car was tilted slightly to one the rear A so you can see so you can see there re a wheel here on the other side because the car is tilted slightly towards like this, right? So it's not completely side. We're going to focus on this one, since I think it's easier to understand the process this way. So there's kind of your basic sketch, and this is what you work with. You kind of need to know where you're the borders off your car. So kind off the walls here, the floor and the wheels and the front off account where they all are. That's very important. And once you have something like this, you can go ahead and start rendering. And of course, don't be. Don't worry if your sketches very, very rough, you can off course modify your render while you're rendering and competitive sketch. This is I think it's much cleaner than this one, because I wasn't quite sure what I wanted to do in this case. Okay, 12. 3.3 Airbrush Body Colour: 13. 3.4 Airbrush Bright Body Areas: 14. 3.5 Airbrush Dark Body Areas: 15. 3.6 Shadow & Wheel Well: okay. And I will be a good time to do the wheel wells and the shadow off the car. But before we do that, I think it would be good to do some erasing. Um, now you'll be you might be asking where should I race? In this case, since the shadow off the car is below the car, we are not going to race, but all the car because we're gonna cover it with black stuff anyways. Right, So we're gonna erase. Ah, this layer here, this one And this one, Possibly. But it's on the bottom, so maybe don't. But this one, we're definitely gonna erase. We're gonna erase the red part. I go over the car. Okay, Let's do this. Let's get outta the race there. Here. Science. Right. And let's start you racing just like this. I really go. Okay, That's a bit too big. I usually go over the border off the cars like this, converge towards the border off the car, and then you get rid of the stuff above us. Well, next to us. Otherwise, you might cut into the border and ruin everything you've just done before. Okay? Same in the front the thing with erasing us here, you have to really be precise, as opposed to with the AB wrote itself. Because if it were not precise, you are going to see every single mistake you made erasing like this. What I just did there, that was bad. And this is also bad. So usually you want to make quick strokes in order to erase, uh, as smoothly as you can. And you see, I'm having a hard time with this area. Okay, Let's try to make it as good as possible. And here in the front two race race race, try to capture the original line off the car, get rid of this stuff. And since when on the front of the car Weds light, I think it would be nice to erase. This is well, because, as I said, you don't want you don't need to your race areas. We're gonna put black shadow. But in this case, it's kind, front cast front. You might want race. And I'm not gonna put the shadow of completely below the current time when a race part off the bottom as well, just like this and the rear also and basically drawing with my right hand and erasing with my left hand. My left hand's always pointed towards the back bottom. The undo button. Okay to race this and there's some stuff. Stay here on the bottom. Okay. I think we've got it covered pretty well. Of course you can. You can if you want to erase their bottoms like this. But you don't have to do this. I just did that year on the stuff in the wheels Does Matthiessen's We're gonna add it just right? No. So we opened on you layer in this case, and now we want to use the, um, Circle two. We want to circle in the wheels. Okay? And you want to select the yearly Select this This pain here the market and I turned it down a little bit and short test it. See how, actually no tested. See how wide it is. That is definitely too wide to think this is still too thick. Still, to think this is about right. So you want a corner in the black areas? Okay, so I'm gonna make a circle Whoops. Make a circle lies and not reacting the way I wanted to. Okay, Mary gets in a cool. That kind of resembles the wheel and it doesn't do it again. Okay, Something's happening. Make a circle just like that. It doesn't have to be perfect. You can move it around, remember? So that's what we're gonna do now we're gonna move it around using the function up top here . So its movements, actually one of the wrong layer here. You don't want that. So let's do this again. For some reason, I make lightly. I forgot to add a new one. The problem is, when you draw a white on white, you can't actually see what if drawn. So on the left aside on the layer side, you cannot see the white stuff just have to play around. But But the good thing is, you have undo button. So it's always good like that. So let's do it again. Make a circle, click the button here and moved around until it pretty much fits the cost wheel Well, here and I'm gonna roots want to resize it off. Bits explain just like that. So it fits it. I think that's about okay, right? Don't you think? Hit Done. And now that comes the fun part is enough, you know, to go through the hassle off doing Ah, circle again. I'm just gonna click this layer here and take on duplicates. So now you can see above it. There's a duplicate layer. So if we select to protect layer now, we can move the duplicate layer. So there's another second here, just like the one in the front, and we can just move into the rear wheel. And the cool thing is, since it's a re a wheel, we're gonna have some perspective difference. So it's gonna be just a little bit wider, just like that. Okay, Done. There we go. So we have a wheel set, and now we can even merge the two layers, and that's actually merged them. So you can see how it works that way emerged him. You can see the layer becomes one, and you can see both black circles on them. Okay, Now we have to add the floor or the shadow. So we're gonna do that manually by using the same tool and what is going to stroke a straight line between the wheels? It doesn't have to be perfect. Just a straight line. That kind of resembles the shadow or follows the light stores. So since the source coming from the front, we're gonna want the shadow to kind of cast into the rear of the car just like this, just like this. I think that's good enough. And since ah, you can't fill it up at the moment because when you get rid of all the stuff, you can see that there's nothing here that's enclosed, so we have to fully unclothed. So let's do this right now. We'll have to go around the car body, basically, and since we have erased everything, I think that's not a problem at all. So we have erased a spot off the bottom and you can see exactly where the car body starts and stops. So we're gonna do this and want go. Actually, I messed up here, okay? You could always correct in the end. Of course. Uh, I think that's it. All right. So this is all one layer now you can see and we can just use the filler to and hope for the best that we didn't miss like a border or corner or something like that. So let's do this. Hey, it worked. What about this also worked this fantastic Whoops. And now I just fit up the entire think I didn't want to do that. Undo and fill a phone. Wheelis will. Perfect. As you can see, the car is coming alive slowly. 16. 3.7 Wheel Well Side: Okay, let's not do the interior outline before we do that, though, I have to add something to this layer before we move on. Uh, what is auto part? Off the wheel wells and stuff like that. And I want to do that. We're going to, um, select ah, color here using the color selector. This this thing on the top right here. Let's go there again. You. And with this, we can select a certain color that's already here on almost get us. They're gonna selected Donica version. That's like this one. And what this does is an hours to draw with this color. What is pretty cool? I think this one has actually debate too dark. So let's move it up a bit, okay? And what we want to do is after the wheel. Well, just kind of a border that goes around the wheel. Well, just like this. But we're not going to do this with our hands, since it's a bit too difficult. We're going to do it with our fancy tools. So we're gonna draw on the same layer as are we well, and shadow and choose toe. Just a circle tool here using the British marker, and we're going to just draw another circle. That kind of fills out. The cars were World is like this, and you can see it's already there. Um, but it's not in the correct position, Actually, no. We're gonna draw this on the next layer and then merge it. Okay, I still us against. So if we move it Ah, here within the same there, then we're gonna move everything. We don't want that so that I could do this again. It's like this Boom. There we go. And now we can move it and recite it and make sure it's just around the black border. It's not. It's not the easiest thing in the world, but it's also not the hardest thing in the world. Okay, so now it's kind of that we're gonna use the fine tuning tool and slowly put it around it. Okay, That's the front we have done. And now we're gonna do the same thing with it before we're going to select this layer. We're gonna duplicate it because we want to do this for the same thing. We're under the same thing to the RIA. Well, well, So it's kept public it. Then we go nowhere in the duplicate land. We're gonna move a visit around for the RIA wheel, same thing and just put it around the rear wheels hit that detailed the start and merge it around our really wheel it done. And now we can merge the two so we don't have two layers just for that. And now we can use our eraser here on the bottom to erase the posit overflowing. So just like, ooh, that's too big. The eraser objective science and was just erase it because we don't want it. We don't want red boarded wheels, right? Just like this Same thing in the front. Oh, okay. And now we can move on to the window. 17. 3.8 DLO & Interior: 18. 3.9 Airbrush Window Reflection: Okay. Now, we we have to do the reflection in the window itself. Um, because right now you can see the interior. Clearly, it's like looking right through it. So you don't want that. We're gonna open up our new layer here, and we're going to use airbrush again. In this case, we're gonna use black, very dark black, okay. And the horizon is reflected in the window. Usually I've covered this in my other tutorials, but we're just gonna seem like, you know, this was going to the horizon, so everything but old arise. It's gonna be dark just like this. Actually, that's not good enough. That's turned down the opacity a little bit. So we Seymour that's going to this. The opacity was having pressure that actually turned us up on the floor. Whatever pressure as well, Cain Still the horizon. It's like this. For some reason, it's not dark enough. Let's go back in here again. Maybe flow with every pressure. 100% capacity. 100%. Okay. Oh, yeah. No, it's much better. Oh, after I'm drawing on the wrong layer again, huh? Sometimes it does that sometimes I miss it. Make sure you're driving on the right later. Okay? No. Now we're talking. No wonder what? Okay, here we go. That's much better. I think that even But to dock, I think it's gonna be fine. And I'll turn the top. You want Teoh? Just a little bit. Little duck, just like this. So looks more like glass. Go out on the top of the window. Just like that. We can adjust capacity, of course, but I think I know this at a time, but catchy because I didn't go through smoothly. So I'm gonna do it again. It's like this, Okay? Actually, it's still a bit patchy. Much like to make it in one Go. So laugh too. Right Left to right. Okay. Much better. And now we can erase some off it because we don't. We don't want her. The window reflection to believe into a podcast body myself. Very. Here. The area here below the window goes quite a nice erase. All right. Didn't take help. Too much time there. And of course, the area above Try your race is precisely as you can, I think here. I didn't do very well. Let's try this again. Okay. Top off the window. okay. And now we can maybe adjust capacity a little bit. So it's like this and we can adjust capacity off the underlying underlying stuff from before. So maybe like this, And if you see stuff that looks that's looking a bit were you can also go ahead and modified, of course, but what I'm gonna do this year, okay? 19. 3.10 Wheel Details: okay. Lets numb from too were details is also very fun. So now we can get can add some rims or wheels to our car. I've actually modified the interior, but because it looked a bit off for the for the perspective. That's the cool thing you can do. You can modify stuff as you've done already on paper, you're screwed. So that's at our new layer. And in this case that we also want to set our marker here and make the size of, but smaller. That's what you want. That's very skin. And you want to make it white just for this? Of course, you can of course, do it differently. But we're gonna make it white. I'm gonna put other wheels on the car. We're also gonna use the circle tool here on top again. So gonna do a hell apps in the front that kind of resembles the wheel. And we have to move it into our real well like this a bit to the bit to the left side. So the kind of looks like the wheel is sticking out give the color but a stance. Right. Um, I think we have to move it up a bit, so it's cost. It's better on the ground. It's like that. Great. Done. Here we go. Here's the front. Well, now we have to. We can duplicate this layer again, just like before. And we can move the duplicate around to get our re a wheel on the same procedure. Ah, in this case, the real It's a little bit of wide and in the front wheel because of perspective, so wouldn't change that. Okay. And we're gonna have to move with a little bit again. Just so it's right kind of like here, I'd say Fantastic. Maybe up a bit, because the right height is not the same from front to back. Maybe here. Okay, so now we know where the wheels off in Kandahar. So we're gonna merge these two layers, so we get two wheels and one layer, and on top of this later, we can off course at some wheel details, if you want to. Now, just for reference. But you don't have to just Ah, I would do this just so I know kind of where the The wheels center. Just two. So I know. I mean, it's nothing final. It's just there. It's like, that kind of looks cool already, doesn't it? Okay, 20. 3.11 Background Bleed: 21. 3.12 Details 1: 22. 3.13 Details 2: 23. 3.14 Highlights & Final Touches: 24. 4.1 Summary: Congratulations. You've made it to the end of this course. It's been a long run, but here we are. If you want me to see your sketch and I give you some advice, your food oppose it in the discussion area. But for now will go over the steps just in a quick recap by ah taking this sketch and going through each layer. I think that's ah good way to do it. So let's go in and just turn off every layer and start from the beginning to see when we started from where we're at in the end, you can see I'm taking away from the sketch. I think that's also interesting to see. All right, Okay, so we start from a blank canvas, then we add on background to it can be anything. You can see the wheels that I think I missed them. But let's just ignore them. But you can add anything to it to the background. You can add fancy stuff, buildings, anything. Then we have our base sketch off the car, which we use for reference eso you place the car somewhere. We set some design elements and then we used over, uh what they called. We use our airbrush to do the to sign the car, the body color, and we erase everything around the car to only make the car in this color. Then we add some dark areas to the car using ad blockers. Well, then we add some bright I rest of the current using our about as well. And we erased away the stuff. We don't want to create sharp edges. Then we add the we wells and the shadow off the car. You can see at this stage already the car looks pretty good, But remember that we went back to some of the layers during the tutorial. Then we have the borders around the wheel wells. Then we add the window surrounds off the side window. We do this by were filling it out wide first, and then we add the inside off the car using gray color. And then we add the reflection on the windows. Uh, next step we are the wheels, the ship off the wheels within wheels, a place where the rooms are praised. Placed. Oh, no, this one. That's the one where I was showing at the beginning. And then the next step. We add the rims funding back like this and you can see cars taking shape slowly but it still looking at but mousy. So missing some details stuff. Then we can add some highlighting in some areas. It also belongs to that were, well part, actually. Ah, I think that's what the light bleeding we did. So if we have a light source somewhere, we're gonna add some bright or dark areas in the color off the life source to signify words coming from. And here we added some details off design elements. Now the car takes shape here was a bit bland and now it takes shape. So some dark areas, some bright areas. And here we added the war. Ah, the door shut lines too. Make the car look more realistic. And we do this by using a black pen, a black marker and a white marker. Here we have had some highlights to the car in certain areas to make some areas brighter. On some areas, darker, you can see groups. Someone, somewhere is lighter, some darker. And then the next step, we added the proper highlights that the sharp our lights, you know where where the sun is coming through. And in the end we added the tires using using the Alberta's well. And then we cut through the brush using our marker with the black stripes to suggest some tire marks Thai threats. And in the end, we add our signature and that is it. I hope you enjoy this total. As I said before, in the last, um, elector off the previous section. If you enjoy the place, the writing, I would be happy, Teoh improve upon what I have here or to add even further details or more perspective and stuff like that. Um, if enjoyed this course Stephen Goto rating and honest rating on I look forward to seeing you in the next lecture, right? It was great having you here. Uh, and I wish you all the best was sketching contests in the future. Thank you. Bye bye. 25. 5.1 Pro Details, Wheels, Lights etc.: 26. 5.2 Previous Mistakes: Okay, so we'll start off by this with the soil by looking at some of the mistakes I've made me done here, stuff that could be better. So the first thing is, I'm gonna flip it around and see if there's any perspective, Paris and right away. I can tell that something is wrong in this particular area that if you change a little bit because, uh, the front wheel seems to be about the same size and height as the back wheel, which is rarely the case. So usually what you want to do is make the front wheel a little bit smaller than the back wheel. So when when the perspective, When you draw the perspective lines they're going toe converge at some point after behind the page. Right? Uh, which gives it a more or better look to be fair. And you can see already here, judging by this corner, already adjusted the picture slightly by using this tool up here, this one. If a cricket can then drag it around and using this one, you can move it around. That's how it's been done. Okay, so you can always correct your perspective afterwards. If you want to, um let's see some other mystics of these. Some other mistakes is I think if you look at the angle off the windscreen, it should be off compared to the angle of the actual body. So this could be better. It's a bit too round. So I think it should be more like this. That's just something. Ah, kindling is here. Right? Uh, see some mawr mistakes. If I turn this up a bit, you can see that it's quite soft. So it goes from kind of pinkish toe white and then two pinkish again and into dog red. But there's no hard reflection here. Right? This there should be like a heart horizon reflection that's actually draw on. So it should be something like this and go over that we loss. Something like this should be a hard reflection. Right? So all of the area underneath the blue line What? I'm joined now should be ah should be dug on about this area. Not yet. So the area behind underneath that should be dug and there should be some kind of hard edge right about around this some height off the blue, the blue line, the horizon reflection similar to what we might see in the window and the same for the window. It's a bit too soft, so it could be. Could be a bit harder. The reflection. Another thing we have is thes really cheesy highlights. You can see here they work if you do like some illustration kind of work. But I think for design it's not that great. Should be something else. Another thing that's get rid of these is should probably see this a little bit off the rear window on that. Since it's a coupe right on due to perspective, you should be able to sea level of the window. You should not be able to see the badge because I don't get the side of the car. You should just about be able to see it like like that. Not like the way I did it. And the perspective of this is a bit off, too, and this is well, Oh, let's see, what else? Oh, yeah, that wheels not just the size. But since if you imagine the vanishing point to be maybe just just above here that were you know what? The wheel for a moment Weather center of the wheels. If we just put the finishing point at the center of the wheel here, that means that the center off the back wheel here should be exactly on top of the line. Since it's basically a line that goes into the page like like you shoot an arrow into the page, right? But then the center of the wheel, the front should also go towards this vanishing point. And since the wheel is dished so the well is kind of imagine, well like that that we will be dished and going in like this, right? That means the center off the wheel here, I will be moved towards the left. If it wasn't just it was flat. It would look something like this, but it's not. So, uh, the center should be somewhere in the middle like this, so we should probably move. The center on the front way of this center should move more to the left. Uh, all righty. I'm also the background is a bit boring and flat. Same with shadow. It's not quite right. There's a better way of doing this and I'll show you some mawr Interesting tools, which you can use to accomplish this. So all of these mistakes, So to say, I try to fix in this overlay sketch, and if I turn down the opacity off the base catch against its rough, it doesn't have to be perfect. You can see that there are some slight changes. Right? So the front wheels. But let's toll I move. Move the center off the wheel. More to the left from where it was earlier. Uh, yes. All all these little things have been changed. Same with the angle off the windscreen. Right? It's been changed. So we're gonna use this as an underlay for our end up. All right, so let's move on to the next one them. 27. 5.3 Pathing Important Areas: all right. And so let's start. Ah, same procedure as earlier. There's two ways of doing this. We're gonna do the maybe slightly safer way of doing it. If you want to do the quicker way, that takes a bit more practice. So, basically, or the Safeways, you basically take your heart brush this one the hard Marco. You might have to just the hardness. Um, too. So it's actually solid, and it doesn't react to pressure anymore. Just solid color, right? Eso you basically go around? The whole car like this may be turned on capacity of the sketch. Yeah. So you go around the whole area, which you want what you know is gonna be fixed. Let's say the outside of the car. I'm gonna do it roughly here. I'm gonna do better next time. Enclosed the area and used to fill two groups this tool to fill up. And then you can lock the layer with maybe not filled up. Lock the layer with this small button. Do you see the little lock? If you lock it and then start drawing on it, it's gonna be inside it, and you're not going to draw outside it right? that makes it really precise and accurate. You don't have to re erase the same edge all the time. Another way of doing this just just to show you, um is let's clear. This is if you just start rendering immediately. So some people do this. So let's say you want to do these self reflection, but for this you have to know exactly what you want, what you don't want to do, right? I want to decide reflections. He's just set off by a brushing it right like this. And then you take the hard eraser, which is this one again. We won't have to change some things around and you start ah, erasing the horizon into it. That's maybe something we've done under previous tutorial, right? That's also one way of doing it. But what we're gonna do here is actually combined into techniques because obviously, you're gonna have to do the airbrush and racing. But in order to keep it nice and simple, we're gonna actually we're gonna do the traditional way off. Yeah, And before we start, let's maybe change the background to something gray or something. So doesn't, uh isn't that boring? Because white kind of makes you go blank in your mind. Okay? We're gonna use the same red car, but we're gonna make the red look much cooler, and I'm gonna show you some more tools. So in this first video, we're gonna go around the whole car. Like we said, maybe some other areas, too. It's on when I turn off predictive stroke. So its movements out the line, you can see it's Morton's out the line if you whittle it, its boldness it out. You want this move line, Right. So let's go around the whole car, shall we? And if you feel like you're not secure enough, you can always go inside the area to save the line. Doesn't have to be perfect. Outside is the important part. Inside is not so important, cause you're gonna be filling it up anyways. Right? Turn around. Maybe if you go through wheels Dozen, that's a because you're gonna be adding some stuff to anyway, So that was not correct. Afford the wrong line there. So that's the dollar door sill cannot fronts to see. That's quite quick if you're using photo shop on, but you can use the path tool to do this, But for the sake of this tutorial, I think this is easier, easy to show and easy to record. And I think the interface off this app sketchbook on iPad is much easier to understand. So you gonna use to fill up till now? See, that's a little strip here. You can probably still manually, so that's just manually filled up. Here we go. So that's the base of the car. The whole body, right? Always flip it around to see for looks. Any weird off something off looks about right to me. Maybe the lowered door. Still, Hughes and little of it. It does this thing like a fat Betty. It wants it to be maybe straight or something like that. So I'm gonna use my high racer here. Teoh, Erase some bit off it. I'm just gonna do it by hand, Okay? It wasn't too much. If you do but hand, it's fine. Things like these sometimes if if it's loose, I looks better. It doesn't have to be perfect. Uh, yes, O C. Maybe it's doing one going, I think not that bad, actually. Yeah, Let's just leave it like this for a moment, OK? So we'll see how the the top layer sketch here. This one is on top. You wanted to be on top, so you can always see it. All right. Okay. So gonna move on to the next bit. That's maybe do the wheel arches now to make them black. So what you gonna do is we're gonna take the same ha brush. I change it to black. Or maybe gray can change degree. Not maybe quite black. I use this tool circle and just draw a circle. That's gonna be your wheel, wells, right? The soul, it doesn't have to be perfect yet. And then you take the tool next to the fill tool. This one, uh, this one and you can stop moving it around and, uh, transforming it according to what you want to see. So it kind of fits the wheel. You have done the placement off the wheel. So there's the well, or so it's gonna kick up huge, right that we are just gonna be bigger than the wheel. So gonna duplicate this one by hitting this button and just copy to the front, save some time, make it but smaller, like we have already here. and change the perspective a little bit. Switch round, See if it looks okay. Yup. Looks about okay to me, architects. And now let's move on to the next bit. Which is gonna be the window deal. Oh, so let's make that a different color. Maybe some kinda gray could always change the color later. Turn on predictive struck and go around the window. Diello, maybe the lines of a tip thick Diello means daylight opening. Some designers design cost which don't have it. So you might not This necessarily. Okay, this was all right. You can see I'm leaving some tails. It's not that big of a deal. You can always adjust it later. Okay? That's actually just a bell. Used the eraser erased it off. Same here. Okay, Now go. And I stopped. He's the filter. Here we go. Here's the window. So now it looks a bit weird, right? It's quite quite like Microsoft pain join. But don't worry about that. We're gonna We're gonna come to the good bits later, so that's basically the standard stuff when you can have you seen for the tea light? You might don't have to do it everything at once. You don't have to, but people tend to do it everything at once. So basically any transitional area where you have a hard edge and in close surface, you're gonna be filling it up like this and using it as basically a selection, like in photo shop. And you can always screw around. What? That Sorry about the language. You can always screw around with the well, the perspective and the way it looks. Right. So that's the basis we're gonna be working with. Okay, that's actually move on to the next part. 28. 5.4 Placing Wheels and Background: okay, we'll come to the next part. But when we left off, we would put some solid colors on. It looks like a pain joy. And now some people stopped at this data. Okay, so let's have some interesting background. You're gonna put the background layer underneath your car, obviously, and the easiest way to do this is to at some kind of square. So let's make a square using a white brush you. This tool square or rectangle ad has put a massive square, depending on behind the car, depending on where you want the light to be coming from. Usually it's a source of light, and then you can fill up solid and then you have a square. It's like a contrast thing in the back, which makes the car look more interesting. Kind of pops it off the background. You can also always modify it like so maybe it's put it like that doesn't have to be perfect and still looks like a pain joint. I know que as actually back around a slightly darker, Uh, and now comes the interesting part. So we're going to start using brushes and be very loose now. So if you go over here. Click this button. You're gonna go into library, right? Going to library. You're going basic? No. I tend to use the designer Marca brought to market because if you take your size, if I could run very lightly, that's very likely. You can see how it kind of fades out and it through you pressure sensitive, and you can really go rough with it like you can in real life. And if you go hard, it's really dark, and it kind of leaves these core streaks. So that's what we want, uh, for the shadow of the car. So it's actually put it on something, agree? And what is gonna rough it so like, we did on the initial initial sketchbook different in a better way? Hopefully. So that's kind of the shadow in the background layer on the car. Uh, you can just rough it out. It's not that important that it's perfect doesn't have to be perfect, and I shouldn't be perfect. It's gonna really rough like that at the weed on the other side. You should be able to see you do the perspective. I know I said earlier that the perspective vanishing points behind the wheel. But that's not the case here. Is older still, uh, a lot of tire suggestive That's a bit too far. Okay. And then you can also use this paint brush tool as an eraser. Hitting this and now becomes an eraser might weaken. Use any brush as eraser. You can even use a mock a self market as an eraser if you want. Split the around, see how it looks. Yeah, it could be better. So what we can do is also just go back to color mold at some. Or and I think this tale here shouldn't be because the light source coming from behind the car so we could get rid of it. So let's just get rid of it. And if you if you be, if you're really loose with it like I am now, it tends to look better weirdly because earlier I tried to Well, when I was learning about a study, I tried to make it super size, and it just didn't look right. Okay, let's make it with thick can. Since the lights come on, the bag can be something like that could go off the page. And if you don't like it. You can always just screw around with it until you think it looks about right. Yeah. It doesn't have to be perfect like really rough. It's fine. It's fine. OK, uh, let's see. You can always transformative but can kind of tell the cars kind of put on put on the ground by the shadow. And by putting it in the correct place, it helps. Uh, can I get rid of some of the wheel here? But before we do that, let's duplicate it. Don't duplicate that ria wheel layer and go into a Giselle adjustment, making it brighter so you can actually see it. And that's gonna be all, actually, rim I'm gonna be actual room. And to make sure it's the same as the same conference off the tire, we're gonna after just duplicate it and resize it like so that's the actual wheel of a car . We're gonna move it slightly towards the right. In this case, because of perspective, you want to come to have an awesome status, don't you? Okay. I'm going to the same with the front wheel. Duplicated it, sell it, make it brighter. Just you can see, uh, move it for this case. Actually, we might have to readjust it. Or maybe not. We'll see. See how this looks. Let's talk about right. I think it's gonna be a camera going on. Well, it seems to be not too bad. I might make it just a little bit flatter. Like so. And the funny thing is gonna be more to the right eso more towards this direction because due to perspective again, right, you're going to see more off the off the edge off attire Because because the wheels kind of sitting poking out of the wheel. Well, because that looks cool. Car designers tend to like that for Paranzino looks. Yeah, looks about nice. It's a low on the front, and it is in the back, so we can just slam the back a bit more moving upwards yet Just a little bit. Not it. Perfect. Okay, I know we can get rid of the, uh, still vacated. So that's the wheel. Well, in the back, we're gonna get rid of some of this put good. It's kind of poking through. Okay, The same for this one. Duplicated. You want to keep the original right? So you do It's duplicated on busy original, which is invisible right now. And here. This one, you can erase it out. Doesn't matter anymore. Because if you erase the original, you can't go back. And you want to be able to go back sometimes in order to do things such as these. Okay, Okey dokey. So we kind off have everything in place now and now we should start rendering. I'm just noticing a little bit. Something often. Front wheel. Well, so it's actually change that a little bit. I think it looks better like that and see? Yeah. Okay. And there's an arrow here. Someone would have forgot to your race here. So get rid of the arrow here, okay? No, you can tell. It always looks better than previously, and I can see that the shadow slightly office. So let's move it about. See how and, ah, ground plane and the front was poking through a bit, so it's get rid of that scared of this. Okay, Very tiny. Make a bit bigger. Okay. And I think it's nice to leave like a small gap underneath. So something like that, if I make it blew so they see the small gap here. It's kind of the wheel sitting in the ground. I think it looks bad like that, CASS, move on. 29. 5.5 Core Shading: Okay. Welcome back. Um, so we're gonna continue this render, and we're actually gonna do is that's Ah, we call this in the design industry, we call this tuck under and what this is Sure you know something? Just grab the color of the thing here and Adam Tuck on. You see, what is tucked under means the body doesn't just go around that we like this, like, right now. Like you. It actually does this tax under, if you know what I mean, because it take some weight off off the lower part of the car. Looks better. So we're gonna have some tuck under. It's just very simple brushing like this. Okay. Same of the back. If you look at cars outside right now, if you have access to any car, car picture, car model, whatever you can see that they have this tuck under, right makes it look a bit more natural. Take some weight off Mexico s Slaby. Some cars have no tug under or very little, and it looks really Slaby and just not very good. Uh oh, that looks OK. That's maybe even too much in the back. Let's keep it clean. And it back. So this is called Tuck Under, but and I can only tell it's ah looks and works and has noticed after doing tucked under that the front of the red doesn't line up. So I'm gonna grab the red and at some more red in the front. So what I mean is this line doesn't match with this line. So this line seems to be a bit low higher up then the light in the back. So you wanted to line up. And car design is always about lines that talk to each other like a stories. Like an animal you don't just put around them lines on That just looks weird and disconnected. And it's like telling a story when you design a car. And I think good product design in general should be always a story, not just random bits and bobs. Okay, now that lines up looks better, right? Yeah, that's better. Okay. Can I start brushing now? Should be fun. Okay, so we want to be read. Right? So we're gonna do now. It's on the very top, underst underneath our on our top play. We're gonna put some blobs of color. So this is all cool colors. So we're gonna make a blob with maybe a bigger tip. Okay, so there's are cool. Red. You're gonna have some dark red like that. Maybe So this is gonna be for the dark past, and then for the brighter stuff, we're gonna actually some orange, so you can always go cooler a woman. And it tends to make the car look a bit more interesting. In my opinion, I'm going to use some kind of orange for some of the highlights on also varietal around different homes. More that you don't have to use all of them. You can just decide later. And then we're going to use some sky tone to, And it also helps to have a picture off of an actual render. And the car the color you want to color in the corner somewhere. Here. You can do that. I don't have to. You can. I'm going to just wing it now and see how it goes. I might change what might later, but that's how we do it usually. All right, so now we have this we have that can continue. So remember, we have the body here. We duplicate it lock. It can stop screwing around with it. So it's at Ah course channels first. What a question I'll score. Shadows are if you imagine the car to be a sausage. It's like since it tucks under the lower part is gonna be darker. I think we cover this already, and the upper parts can be brighter. So you taken airbrush, which is this baby right here and was comfortable at the moment. Let's see. Wait, Uh, so it's this this baby, right? You know, that's good. Like one underneath the ABBA show. It's a self brush, right? You want to use that one? Okay, let's do that like we did earlier. So I just go rough it, I guess sausage that's lying on the floor. Kind of. So that's the lower part. Just kind of around the whole rising, Uh, and then we can make it even a bit darker. To be fair, it's and another blob. It is our doctor. One. Uh okay. Yeah. And then we're gonna have some bright spots. You can tell it's already kind of brought in the air, so I'm going on duplicate layers so we can always go back. Cal Brighter Red which we actually don't have. That is Albright dress. We're gonna create one source. Take this red slightly brighter, create a blob. Some people just don't create a blob. I I'm just doing this to showcase. I usually don't do this, but it helps to. So why I'm choosing which color and around this area I'm gonna have a little of that in the middle. Kind of where the cup bends, bends away on again. We take some dunk for the top because it kind of curves away. And it kind of gets dark again. Really rough, right? You can tell the cause already kind of shining just because of the color switch holes and the orange we're going to actually use later for some glow action. Not now, but you'll see that once you have the glow, it's gonna look amazing. So this is our core reflection, and that's you can probably had some or he just underneath the window. Yeah, the kind of curves upwards. So it's all due to experience. Really. It's quite hard to put your finger on. And you can always change the opacity. So if you want, if it's too dark with something, always change it right, All kid. Okay, let's move on. 30. 5.6 Adding Design Elements With Brush & Erase Technique: a what? Come back. So we're gonna ask some more stuff to all cargo. You can tell. It's always looking cool. So already I haven't done much. It looks bad on the previous rendered just because I used to write colors. Okay, so you can actually use this layer and duplicate it again, like usual, And we can always add on top of it I'm thinking about maybe we should not duplicated for this instance. That's yeah, we can ignore the duplicate for now. So what I'm gonna do now is still brushing again. And the technique is, if you have like, ah, I was gonna show you very quickly. If you have, like, a graphic on the side, like here, you can see that's kind of a triangle going on. It's quite sharp. What you tend to do is you don't just do this and fill it up, right? What we tend to do is, uh, we grab a brush self one big one, and take the color you wanted to be. In this case, it's facing downs that we're gonna make it dark. We take a huge a brush on, go over like that very roughly, and then we take our trusty designer, Marc, if you remember the like the nice soft marker to give it a kind of a brushy feel. This one and we turn into eraser mold up here in the corner. Here we click the little button here, that tens of erasing more and we start you racing away. That's we don't need. Gives it a more natural look right? Okay. Can we use the AB? Rose hasn't raised her. Militants wanted to fade out in the bottom so you can see create a nice, greedy int. It's not just start Raiders everywhere. Intel's are miles better than the previous version I've done. You can see it's not maybe quite my position, so you just move it up. Pretty sure you know how to do that already. We went up a bit here down a bit, so it's sketch tweeted. It doesn't have to be exactly the same as a sketch, right? Certain looseness is always good to check the perspective. Okay, maybe make this and a bit softer. What kind of fades we like fading lines fading lights on a car are like bones on on the human. You can see if you look at your arm. Some lines on your arm are fading away. It's not just hard lines because cars 10 public animal like objects like human humanoid objects. And they're not toast this. Those says, You can do whatever you want, but cars are not toast us. See, You want to keep that human element with eyes, the facial expression blah, blah, blah. You don't know that. I'm sure you do. Congested passed this year. Looks OK, so that's the 1st 1 So you just keep adding more and more and more so that's that's amore. So here we have, ah, upwards facing element. He gonna grab this slightly brighter red, maybe, but brighter than that. It's at another blob. I know it's getting a bit much, but that's what we do, so you can always use the same color. At some point, you are able to just it's like seat with your eye and it doesn't matter anymore. So here we have the surface. So this is all this red single red right? You can always modify the color. Later, I'll show you how that's done, too, and it's usually done with the glow function. So again we go back to the co pick that's new. Didn't know that that's news and opted or something. And then we go back to our designer marker, a tent T racer mold on. You might be wondering why I'm flipping the sketch around so much, but that's just because I tend to draw like this, an adjustable comfortable for me. So whenever there's a hard ass, you got to have a hard at obviously, and use a hard brush to Hardy Racer or brush to get race it out. And whenever the other self dad, you use a soft eraser such as the AB brush. I'll trust field a brush to race that out, not quite sure about this one. So it's kind of Kingston and go straight. It's quite hard to transition here, Mary. It's smoother and just play around with it until you you're satisfied with what you've done , and there's no level you can always keep going. Keep going, keep going. Keep going on. I can adjust the angle, and there's always a slight upwards angle. A car right? So all the lines kind of increase in height, like in slope into the rear of the car, because that's how we tend to see things If you do the other way around, People going to say it's got a saggy ass literally right. It says here that are self erasure here. We don't have to, but I just wanna control a little bit more. It's a bit too high now, Okay? And this should not You can see how. That's sort of either. I this You can see how this kind of goes into the body in this area. We don't want that so kind of wants to fade out. So we just used and brush Eraser. Anderson faded out like that. See how this looks already Miles better than the previous one. We did so much better. Okay, let's move on to the next part. Uh, I'm gonna use the same currency. I lost the color something. Just grab it again. These panels here facing up someone who's the same technique again. Uh, go back here. I wish there was a function to create your own brush set, which there isn't. So you just don't have to change around between the different libraries cause gets a bit knowing you want. Yeah. You can see all these two lines lineup so that the bride part with your earlier lines up kind of with this line that back I'm doing right now. You want that to be happening in the car industry. Which is why sometimes you see designers maybe say a car looks inconsistent or something. That's the reason because the lines don't line up. That's the art to create something creative. Whether lines lineup, that's the art of car designer right there for you. I'm trying to make this not boring for you. Hope to learn something that's flipping around. See outlooks. Yeah, I think maybe not right to the corner. Maybe a bit more like that. Yeah, and I think the bottom part could be a bit rounder. It's about carving down. So ask making it around like that? Yeah, that looks about right to me. Intel looks miles right. Let's continue with the next part. Gets to the front. Same color. So again, that's the carry over line. That kind of runs studio, entire body of the car body side. Ah, so it's the same for the doc bits and the bright bits. Same for those. And you want to line up, of course, and doesn't like about the moments we're gonna move it down a bit. It doesn't have to be perfect, but you can tell if someone intentionally wanted it to line up or not. You can tell if you're gonna design, because if it looks harmonious on first Lance, you know the designer wanted it to line up immediately, like by by will. And sometimes you can tell the designer didn't give a crap and it's randomly put stuff on and some some stuff around them when he lines up, you know what I mean? And some stuff just doesn't again telling a story. This design is quite conservative, so don't mind the design for now, but that's just the way to show it. Usually these conservative designs tend to use these techniques. So these are the body past. Maybe let's do dark. But again, Doc bit, they re spoilers facing down. So we're gonna just put a blob here and then use that I'm gonna use the hard way that this time comfortable to change looks kind of the same. Ah, and does it race this away? You can see it's quite dark. What might make it brighter. Okay, so let's just change your capacity that we go, spoiler. Get with it. The racing. Yeah, I think, to be honest, since the toughest coming down like that, it should be curving Dunmore Some more like that. Yeah, that looks about that. Looks about right. Well, you didn't quite look great. Yeah, looks bad. Okay, flip it. See if it looks all right. Much better. Right? And since we're some bright work on the on the lower door cell stuff like that, we're going to use the same on the middle. Part of the cars were duplicate that grab our bright red grab e a brush, and we don't have to go back eight. Let's just go over like that. Just around the crest off the curve of that makes sense. So what What curves? The most. Just a little bright work you can see that makes a ton of difference. This add some. It's like highlights. Like all a cure in my castle curves, right? That's what is these are what make the curves look better. We did this on the earlier version to, but not quite as well. I have to say sorry about that. Yeah, kinda like that. And it can always change the opacity. It's in a problem. It's kind of symmetrical is to give it some big conscious like that. Yeah. Looks better off real 100 are bigger than a front wants. If you change. If you do, some dramatic angle can go over the sandy again. You want to have some differentiation and color? That's it. So already this looks miles better, right? So let's erase the 30. But out here. Uh oh. Looks OK. I would like to you. Let's move on to the next lecture. 31. 5.7 Hard Reflections: Okay, Now that we have done some body work, we'll just continue with the body, work a little bit, and I move on to something interesting. Wheels? Why not? Because wheels out a big part of the car. So we have some bright work last time, and we are going to add some more interesting stuff. Light source. Ah, dependant stuff. So I'm gonna go to the top of the stuff we've done because we've been working on top and Craig a new layer. So basically, what I'm talking about here. So this is the life. So it's the big wife thing in the back and the light sources kind of gonna cast onto the car in a way. So if we imagine that the light is kind of behind the car and on the right side is gonna cast onto this side. So all the surfaces facing this side I'm gonna be brighter then that part facing away. So you can imagine that this part of the re offender it's gonna be bright. This part will be bright, right? Her at least. And then since it's coming from above to all the above panels will be bright. So this part, right? So what we're gonna do is that the so called heart reflections see how that looks? So we're gonna change the opacity down a little bit and create, like, a really bright red white Almost. Let's grab that color. It's And what is going to create a massive blob? So I'm gonna create a massive block here, here, just basically around the whole car, right? I want to create a massive blow. Whatever you my find how reflection. Okay, looks really stupid, but you'll see what I mean later. So let's get to the U race in. Makes you unsure right now. Okay, so underneath the horizon is gonna be dark. So God is going to get this dog all of this on, uh, just there we got like, catchers. That was gonna be bright. So we're gonna just do it like catcher right now. If you look on the area, I'm working on right now and ignore the other parts and this can be rough. It doesn't have to be perfect. You can see I'm just roughing it completely. You can do bit by bit if you want, but I tend to just do it all at once. So so again. Here, we got the horizon. So you want that kind of to go into that rising this possible? Tricky. Oh, the cool thing is, if you change your passage and use a big, solid color you can always ADM or take away doesn't matter. Because if you changed the if you use a little past the brush then you're screwed, right? Can't you can never get rid of a hard edge Like the way you can with us completely solid brush, if you know what I mean. See how it kind of shines already? So let's get to the same in the bag. Shiny star, you shine prostrating down. It's not quite perfect. Doesn't matter at all. Make it look nice little later. Okay, so here again can go this area. I tend to do it in one Go. You don't have to do bit by bit, but mom goes you You're right because you can see everything at once. And if there's anything that looks off you just change it. I forgot a bit here. Shit. No Sorry for my language. Okay. See how it looks already? Quite like it then. Here we got some Big one, though, maybe to turn operative struck for those wants to kind of turn off Predictive jog. Make a nice this move. Okay, that's at some more color to it, so you can see how areas like this are a bit rough. So what is gonna make it nice and sharp? Yeah. The problem is, if you use a round brush, some areas will obviously not be around in real life. So what will happen is you wanted to be kind of sharper in real life. And the way you do it is to be brushing over it, right? It can change the opacity, Teoh, to modify it. Remember us. So this is quite high opacity now, and maybe just a bit too shiny. Like, for me? It's a bit too shiny. Well, just it later. Just now you can see what you're actually doing. Okay? See which areas can use some more. I think this area Yeah, so whatever. You see a bright hue, Hugh, off bright stuff you can at this. Maybe here on the one will continue this this heart reflections what we call hot reflections over a light source of some sort grab doll was terrible Castor big brush. I want to go get the eraser out. There's all completely hard. So there's no softness going on anywhere in this area. This part of the render and we're focusing on the body now. And don't worry about the front or the areas which are facing away because we're gonna use a cheat to, uh, kind of get rid or faded out. So people don't do look there. So you don't have to pay too much attention to that particular area. Not sure about that average. How the how professional work, What kind of continue or what not? I think it would look something that's what's just an attempt of me to see how it would look. I think it would go a bit higher. You can see there's a bright here just about this area, so I think it should go around a bit higher. So we got this haunches in the front, right? He's kind offenders, something like that. Reassigning Okay, angle of this line could keep it up. Yeah, let's get the eraser out. Just kind of try it, get it as close as, ah, perfection, but the way you want it to be right. I'm using an app. Apple iPad pro. So if you see me switching around between your racers and stuff, I'm doing it by double tapping on my pencil. Or my stylist, um, that's the way we do it. Right? Okay. So Okay, that looks great. Let's, um maybe a bit more here. This would be bright too. Maybe the whole area underneath a light like that? Yeah. So it kind of creates an edge underneath the tail light. Right? And you can add some more here, just on top of this border. Just little bits. Okay, That's tunnel. The opacity cell looks Looks great. Really signing right. I think this could be better. Yeah. You don't want the car to have a hunchback. Hunchback is what you see. Maybe in the nothing against the Porsche Panamera. But that's maybe something you'd see in a Porta Panamera. First generation trust is really awkwardly shaped rear deck, which some people might call ugly. Can I duplicate it? And then we can soft erase it. Ha ha ha. Okay, now erasing mode put on the eraser and we can start self erasing it. So again, like remember when I said that arrest facing the light will be by her than the areas facing away from the light. So that's exactly what we're gonna do. We are going to erase the areas facing away from the light. They're gonna be put DACA that someone maybe not racing. We should baby draw it on. Okay, let's join on instead. Um, using our marca so might look a bit weird. Now, don't worry about it. Okay, Get the eraser out. Since we do have a surface like this year, you can see the line underneath the sketch. You're gonna have some kind of affection going on like that. And I think it should be more saturated. That isn't now get into racing mode and brush. So these are exactly the areas facing away from the from the light. And they are basically the opposite of highlights, if you know what I mean. Because highlights are bright areas and these are dark areas. Right? Okay, let's get rid of this. Okay. You know why the saturation is so low on these duplicates? Alex, merge. I think the color is not right. Something's gonna actually pick color hear from my car, which I want this part of the body to be Lock the layer here and just draw over it with a heart brushed up. Changes the color. You see how it looks? Better. Okay, The front. Maybe too much. We're gonna have to erase that. So it's all just a game of Ceylan era. I was not like, Okay. Maybe not actually used the gun to use a different till now. We're gonna use the I'm gonna show you Which tool is this selection tool. This one. We can modify certain areas. So I'm gonna select the area this one transform it can be around. I think it should be more like that. Yeah. Should be more like this. And the same in the front Can always to resize it to because I want to show the haunches. Right? That's what gonna do now. Gonna make a huge second. What a race it away later. Okay, that's erase it. I'm gonna use the markka. He acted like a bit looser. So the reason why this is dark as opposed to bright is because it's curving away. Um, so if you imagine if you go from the wheeling up, it's gonna be coming away into the background. If that makes any sense to the background of a car and you want the lines to talk to each other soul, I can't line them up. So the really off the tail light stuff, they talk to each other like that. And I just moved the front part. Well, that's not good, Seth. Okay, let's try the pack again. I made the mistake of moving the whole thing. It happens. Okay, that's bad. Uh, maybe not. Yeah. Okay. So you can always change it past me. Like I said, make a bit more subtle. And I think the hot infections you some work to again. So it's always like a back and forth. Hope was not confusing, since I'm always also Justin amateur, I'm not quite professional yet. Yeah, this looks much better because of the c pillar. Okay, lets grab the color of that. We have just this one, so we don't mess it up, and we drove over it actually used this brush here to make it a bit more brushy rumbles. Okay. Like this fadeout looks kind of fade out was better. Yeah. How does that look to you? I think it looks much better right. All right. So we've done a lot with her reflections. Now, um, on Let's see what falls. Yeah. Um, before we move on to the next lecture, I'm gonna add somewhere. So I'm gonna grab this color on the car and add a little bit of in the middle here because it's kind of facing up, and therefore it might be reflecting some bits above, which is why the center off the bright but is gonna be slightly dark. So that's what you see on cars. If you look at pictures, which is what I'm adding right now, Comptel, it makes him look more realistic. Right? Just something we do. And we're going to do the same thing for the rear end. And this is not everywhere. Depends. But usually these, like, catch us. We call them. They tensor do this. Something like that. All right. How's that look to you? Much better, right? Better than the 1st 1 at least. Okay, let's move on. 32. 5.8 DLO & Wheel Spoke: all right. So you can see I made some modifications already. I basically did some masking off like the front lights and realize the site window. I did. I can show you how to the side window. That's very easy. See if it's still recording. I think it's created according Okay, so basically, state when do you start for the black bit, right? And then you start to draw the interior on topples just just random, like very, very loose interior with slightly darker brush. And then I started under. This doesn't do anything. And then I just took a white AB rush and went underneath. So this is kind of like the horizon reflection, you see. But the actual horizon reflection is underneath the window, so you will only see the bright bed. That's basically I'll show you. The bright bit is basically see this line, this line here and this bright, better poverty. That's exactly what this bright betters, except you don't see the line in this angle. Sometimes you do see the line that would run to the window, but in this case, you don't. So that's gonna be somewhere here, right? And I think there's more natural than just putting the line on everywhere like we did in the previous one. Looks better. And for the rial window, I, uh, made a black and used what airbrush and you race the edge on you can see there's like an edge here. Some people do like wiggly wiggly weekly, which makes it look like trees and buildings. But there's no trees or buildings in this picture, so we're not gonna do that. Um, so we just kind of did a line. Looks better cleaner. Sometimes people, I see people who do this like wiggly wiggly and the background of super clean. It just looks weird to me. Which easy don't have to do that. Okay, for next part, let's do the wheels. Why not? Since we've pretty much done the body now, Uh, okay, toe. So Well, so this is the back wheel. Well, duplicate that and do the room. So again, we can duplicate this and change the brightness. So you know what we're doing or will be made dark. Actually, you ask, make it dog, and then to make it but smaller. So the grave. It is gonna be all attire. All the outside of the room. Whatever you wanted to be and the but in the middle is gonna be all, actually, and then do the same with front soul. Uh huh. Give it smaller. See, I know you shouldn't be driving around on stretch tires, but there's understand to draw stretch tires a lot. Sorry, guys. Okay. How is that like to you? Okay, now we can start designing our room. I was going to start using a great and our trusty little designer marker. Here we go. OK, Still recording Good. It wasn't according to you. Okay, so we're gonna mock the center of the wheel is gonna be around here, and the front's going further back. So not here like I did in the kind of annotated it in the schedule. Ready? So it looks so it's easy to do so when you do the reading. Don't have to redo this. How's that look to you guys? I think the fronts find a backup bet different. I think that sea of bank of people further to the inside, too. But not quite yet. The funds going more towards the inside of the bag. Yeah, looks pretty awesome. All right, So we got that done Quitting your there starts getting the wheel. I'm just gonna create a read. A simple one. Some kind of five spoke. And the thing is, you can multiply the spokes to which is really cool. So let's say you do know let's let's do a spoke like that Just like a T spoke. He spoke room could make a bit fat. I think it's been too thin. Looks more fragile. So call like that and I would give it a t here. Uh, or maybe something like that. I'm just screwing around, shines and find a shape and OK, I think that's a good enough. Just just fill it up. I was going to manually. It's a more satisfying Hey, so this is one spoke right? And since I'm using the soft marker, it's not quite, it's not quite sharp, and the opacity isn't 100% so we might have to do some adjustments, so why not make it like that? I really don't like the way it looks sorry about that. Something's gonna get rid of this part and make this part part of it. Sharper. Yeah, that looks much better, because that's gonna be all spoke. So I got one Spoke now duplicate and just moving it around, Uh, see where it should be. Five spilled. Right, So we're gonna have to do this. Then we take the original again. Always take the original, because once you start once you start want to find the copy which you created, It's gonna The quality is gonna be bad. Don't want that. The quality's gonna decrease if you start doing copies of copies. You don't want to do that. So look about right again. Doesn't after you. Perfect. That's just a cheat. To do wheels in photos of you can revolve the whole thing on. Basically, make let follows up. Do it for you here. You're sadly cannot do that. So if I spoke right, I think it could be before that, Uh, maybe here always look and look at the distance in between. The spokes kind of helps. Yeah, it looks about right. Haven't we duplicate the 1st 1 again? My point towards the we'll send toe pull it in. Doesn't have to be perfect. Just make sure the inside lines up to sort of okay. Looks about right to me. I think the second one's golf. Yeah, this one's a bill that's modified that Yeah, could be fatter. It doesn't matter if it's not quite right, since this is just a sketch, right? Just right. That's not a three D model or anything. And you Sometimes you have to go afterwards and do some erase work. Okay, So if you get rid of the real Centeno ce looks Yeah, how cool is not very simple wheel. And since you are, since we duplicated the spokes, it's looks better than if you draw everything one by one simply because since it is a copy , technically it's gonna carry less mistakes if that makes any sense. So it's like more accurate, right? Yeah, I think there's another spoke, Which can be Yeah, this one should be a bit further rotated. And a good thing is you can always move it around and don't have to redraw everything, which is just annoying. That's one thing we don't like, really drill. But you're gonna have to do that later in industry, I guess I think the middle part is still not quite right. Let's see. So you get you can do spend lots of time on Well, I'm just going to spend just about the right amount. Time to give you an idea of what what we do and what kind of level you need to achieve. Teoh make it look decent because, well, perfectionist, Straight. So we're gonna merge All of them together here is Ah, well, and the cool thing is gonna move to center around a bit. So that's the front wheel. Done. Copy Put to the back. And then you can just, uh, transform it using the transform tool to make it fit the rear and always changes slightly, So it doesn't look exactly the same in this case. I think I'm gonna move a center, but further outwards, Yeah, might have to do some racing. You don't want them to be exactly the same. That's the point. OK, so that's recently racing now, since we screwed this up by moving the centre around too much. But again, not a problem. Really easy. Much easier than having to redo the whole damn wheel. Okay, so that's the basic. You can always add affections on stuff to the wheel, but well, uh, try and keep it simple in this tutorial is making it. Yeah, I always keep it simple. Doesn't have to be crazy. Complicated. Right? And remember, you don't have to be a perfect and perfection sometimes looks bad. Okay, Basic Well. 33. 5.9 Bounce & Glow: okay, we'll come back. So here we're pretty much done now. Like what? The hard part's pretty much done. What else can we do? So let's do the really fun part. Which is We call this light, bounds and, um, glow. So we're gonna make the background just a little bit. Uh, why not on this shadow meats a bit more contrast. So it just to put it a multiply, multiply. What it does is it adds on top. So if it's dark, it makes it darker on Same for the this one. See, How does multiply year? Just the more conflicts to give it, the more the car's gonna pop off the background. That makes any sense. You can't tell. Hopefully that now we did this, the cost popping off the background, and I can see that the perspectives not quite right with this one. So let's move the perspective bit. Yeah, does just to give it a more interesting background, right? I hope that makes sense. All right, so bounce. What's bounce balances? If let's say we can make a blue or maybe give it a warmer colors like brown, I sound like this balance is if the ground. So I'm just gonna draw the ground. If the ground has a color like this, for example, right? And maybe there's a spotlight shining on it or something like that. And this will also reflect on the car, if that makes any sense, right, So this color off light is gonna shine or reflect onto the side of the car. I still have decided which color wanted to be here to be fair. So let's try the blue on. Why not? I mean, it's this guy, right? Sky tone slip. Got some blues blue stuff going on here. Not sure if the Hawks let's give a different tonal blue, maybe a bit more towards turquoise and it doesn't rule. Okay, Something like that, and the brightest spot is gonna be the focal point. That's where you want the viewer to look. So if you wanted to the viewer to look in the middle of the car, you make the middle of the curry bright. So let's do this. Uh, it's a bit too imprecise, so let's make it a bit more precise. There's a light bounce. Get rid of the settle part because that's not gonna catch on the set apart. And you can also get your hard trust to design a brush to give it some cool like streaky, streaky Look makes him look more interesting than this. Flat radiant. I hope you agree. Because I've been doing this for a long time. Yeah, we can change the separation just a little bit. And maybe move is out front. Something like Pat. Yeah, make it slightly opaque. And then we can also add the glow that comes from the background. So it's gonna believe in a little bit like that. It's a lot. Uh, maybe not that much. Well, why is it so strong? Okay, so recording. Good. So change your passenger, but yeah, better. So it's gonna cast onto the back up. But maybe underneath the cost that was put underneath the shadow. Yeah, that's better. And at some Ambro stood on end the race. What bit? And sometimes the rougher it looks the better. Looks right. Like I said before, I can always transformative for not happy change the opacity. And for this we can actually duplicate this move to the front of the carcass. We've got something somewhere you're going on so you don't have to do it twice can make it . It's like the lesser pick. Same of the back depends on where you want the viewers to look. If you want the real, just look at the certain how you make it brighter than the rest. Hope that makes sense so you can tell the car looks miles better than the one we did previously. Okay, so now we've got this done. We can add the So I usually do is on the very top of the layers, so on very top off, everything's you go to the very top and you add the balance rights we have that it was a kind of a blue. So what you do is you grabbing a brush and on the air is facing downwards, just at a slight blue tender like that. And in this case, we might want to change the blending mode to color because if you start going over, it's gonna ruined some of the lines, which you might want to keep it just hit color. You can see to give it a hue. See, Allah does that. You can also find different blending. Moore's Let's Try, actually so make it brighter So this is color right now, everywhere kind of a little bit. See what other blending multi look alike. So we've got luminosity over. That's a bit too much hard like that Could work softly. Overlay hard light, self glow glow will come back to that later. Like 10 scream the number multiply, multiply, darkened, Normal. This normal looked like Yeah, basically same is normal. So you screen is gonna keep ah, some of the stuff. I think so. If we turned on the opacity just a little bit And if you make a really strong color or three strong like, it's gonna really show that makes any sense. Uh, now it's quite subtle. Okay, I think that's good enough. And then we can came up a bit here, too. You still want to show the outline off like design features and things that just that just this kind of hue was just too given a little bit of extra? Because in real life, the car will always be reflecting the ground sort of right. That makes any sense. We don't have to do this. It's just a suggestion. And this is a very light color. So if you want it to be crazy. Like, if you want to make be blue or something, We can't do that. Then it's got on like this. It just makes it look a bit more interesting. I don't think Blue Kyle works with the matter right now, so I'm just gonna keep it like that. Very so mice don't leave it out. I don't know could leave it out. It doesn't make to pick up a difference. But if you have a really interesting collarbones, you can do that. Yeah, Let's just leave it very several right now. We're gonna leave it anyways. Just just a tiny, tiny suggestion that it's there. That makes any sense. Get rid of some of it. I don't want everywhere. Okay. Very subtle now. Very so. Sometimes very little things. If you do many, many small things, they will add up and create a great render. A great drawing, okay? And export, Um, since our background is white, you can actually no do the glow, which is the most fun, I think so. You create in your layer, sell it to glow, and we're gonna use the airbrush here. And remember this orange we're going to use that now. So what glow does? I'm gonna take the brush now and go with bright bits. It's gonna create a orange kind of glow. How awesome is that? I think could be a bit more orange, etc. So turn up capacity. Boom. Yeah. See how it kind of gives it a glow. Looks really good. And if you do this with everything you want to do it just be very rough. Kind of here. Yeah. And, ah, especially red. If you have a red car, if you use orange glow, it looks really good because it gives it likes warm, kind of glowy Blew me. Uh, it's almost like it's burning, you know, looks really, really, really nice and doesn't have to be perfect. And again, if you want the viewer to look into space in a specific area, that area, you're gonna make especially bright on a glowing in this case. And you can always clean up later. Even small details you can can have some glow to it. Such as, like maybe there's protect less border. Yeah, And you came up a bit and it is gonna look fantastic. And usually the big strokes you make the bigger your strokes off the bed. It looks usually I hope you can see what I mean. I think it's a bit too orangey. Let's make it brighter because it's kind of colliding with the, uh, with the red. So let's try this. Oh, that's for you right now. Too bright. The other one was better, so I can always doubt it down. Give us, like, lost young looks. Yeah, I think I'm not Redo this. It's not great. That's we do this. I'll try to do it really clean this time and I want to go. So I got the big thing, He other side. So it's gonna gets knocked. Let's go here. That wasn't wanna go. Maybe that was too big. Castro again here. Uh, okay. Here. I'm going to use a smaller brush here in this case because I don't want to hit the middle part. I try to create avoid these heist besides spotlight areas, at least for the moment. Okay, can over the roof. Okay, that was too much. You see what I mean? It's like a lot of trial error, right? As with everything in design, it's made a child era. Do it until it looks good. Okay, I think that's decent. How cool is that? Like can screen your layer again, Glow this time for the window. So well, the window. We're gonna actually use the blue Now I think that might work. CE looks. Yeah. Other work can use the orange to issue the already, because why not? It could be a sunset. Sounds intolerant, right? Yeah, that works. Okay. So very subtle. Maybe given some hard racing because it's a little bit, uh, soft right now. You see, people do release Really? Salt renders They look like they've been done in pain. I'm not the biggest fan, so I'm just gonna erased it off a bit. Okay, that's go for you. 34. 5.10 Wheelwell & Details: OK, moving on. You can see I've already done some stuff here, basically of taking the Wheelers. Duplicated it, make it brighter and bigger Move the other bit because he usually have a flat. But around the real side. Ah, there's reasons for this manufacturing usually and also aesthetic reasons, because it makes the wheels look bigger than they are. So we're gonna do is for the front of only doing this for the front stoops for the rear to . So here we got really lost duplicate. Take the lower one because you want to be underneath. Make it lighter. I hope it's not too fast for you guys, but you can see what I'm doing here. And that creates the flat around the we launch, and we're gonna have to modify because it's great right now. Okay, get rid of the little parts. Okay, so gonna brush it. You can either make a darker or brighter. I'm just gonna see what works best. So let's make it bright. First lock it up. That's bright for the front stripping berate further. So I brought for the back and I strike bright for the front. Yeah, I think it needs to be duck in certain areas. So unused, Doc. Instead, it's get a grab it read. Just grab it. See how it looks. So parts of it have to be bright. Obviously, I think settling this works because the one we just did now is really bright. If we make it more subtle, it's gonna be better. Keeps changing it to eraser. Okay, maybe color matter with this area. Yeah, And grab another kind of are read it. Read on, go around, create the flap it around the we loss just lightly. Right. So Okay. And can you race away the bottom bit because usually fades out? So we're gonna use self erasure to fade out the bottom I can barely see. So if you do front, you can see So fight faded out. Now see on fades. That's how it is on a real cock. And again, I forgot to call a match. This one. So that's calling magic. I just got the call right next to it. Brush it. There you go. You have a flat. But around a lot. I think the back can still be brighter. It looks a bit weird. Let's grab a bright one. Yeah, Okay, Great. Just those little things. Okay? We can do some more to the wheels now. They're obviously not just flat. It's flat. Five spokes. That's not everything. So it's critically underneath. I'm going to use my designer Monica on use. Ah, very dark. Great. Just a little bit brighter than this area in the middle. So the kind of this color, right? And just started doing that inside of the wheel. So since it's dished light coming from above, it's gonna catch on the lower part of the room like something like that. So that's the inside of the room. You're gonna see a little bit of it. Same of the front. I usually do this separately because we few copy. Those people will see artists Cai are copy paste. It obviously not that big of a deal, but it's usually bad to do them separately. Looks better and doesn't have to be perfect. Right? So that's the inside room. We can add the inside off the actual spoke. So you're gonna see the bits off this book on the side here. Maybe here. Here, it's gonna be dark anyway. Stomach. Don't bother about that here just to make it bit more three dimensional, if that makes any sense. Uh, okay. And then also at the middle bit. So how What do you call this? The start off the wheel or something? Again, Upwards facing elements will be bright. Donald facing elements will be dark so it can create these things very roughly. And it's gonna look OK. And if you do really high contrast and he usually looks quite good. Ah, low contrast story because the I just bad he catches it, you know what I mean? And it doesn't distract from the rest of the car because the rest of the cars your focus, it's not the wheels. Unless you're a wheel designer again. I have some bits in the middle like, not suggest as a middle part off the rim. It is very simple, you know? Okay. Okay. We'll continue this in the next video. 35. 5.11 Background Blend & Final Touches: Hi. Okay, I think the recording was doing a thing again. So I did some stuff in this one. I can show you very quickly what I've done. Basically what the most important thing is. I added a white hue around the car because here I don't want everything just using a self tab rush because the white background is going to be casting light onto the car from the back. And what's gonna happen in real life? It's due to, I think it's called ambient occlusion or something. It's going to create this kind of brushy look, if you know what I mean, so kind of fade into the background and it makes a huge difference. So what I did is I put a white I'd rush on the whole car like that and then unemployed. Some glow and shading for the wheels. Same principle as the body surfaces facing down a pure dark. So for just facing up will be bright using some glow, blah, blah, blah and hard. Like I just a soft blue brush. And if you change the blending motor hard light, you can see what it does because the sky is blue and I wanted the car to have a little bit of sky tone on. It s so basically. That's it. Right. Uh, I think we covered the bounce. Taylor agreed. A simple just, you know, drawn. It had some glow. Really simple exhaust, I think color than the other one together to tolerate. Cannot go have a look if you want. So for the final bit, uh, we can actually some people prefer with a sketch on really strong Let's give her, like, a sketch. Look, I think for already do this. Some people prefer it completely off, which makes a super King, but also have a little bit steroidal so I tend to just leave it on a little, but to to make it look to make it look a little bit sketchy. Sketchy Hasn't looked sketchy as bad. What sketchy sketch. You know what I mean? Okay, So we're gonna do now is ah, create a radical reflection. I think it was. If you're gonna like this before we do that, though, we are going to make the background slightly more dramatic by adding some more contrast to the back, if that makes sense. So just some streaks to make it more look, look more artistic and less boring. And for the white background, which we have here, we can also ah, added some white strictness to it. If you want, it doesn't have to be like that, but you can do it. So it's going look something like that, just to some little bits of random stuff. If that makes any sense, so it looks more interesting. More like an artist work and less off like a computer's work. Computers can draw or render perfectly. But on artist, that's what puts the human element into right. How cool does this look? Um, I think we cover Glow already the glow right, And we're gonna do now this save it and then I'll see how to do the reflection. Okay, so we got duplicated so we don't mess up the old one. I think the easiest way to do this is just to go back. You can share and take safe that will create an exact copy of this image, and then you go to the very bottom off the image. Uh, it's just above the shadow right here, and you get this button on top to add an image I'm gonna show you. Where is it's this year? Great. A constant. So this button here and just flip it around, okay, That was not now is not smart. Okay, So what you do is you have it here you had mirror, and then it mirrors it for you, and it's really lagging. Oh, sorry about that. That's because because it's recording at the same time, and it's quite a lot of layers. So you do this and now you can see the reflection of the car. Obviously, it's gonna be slightly off because you should be able to see the floor of the car if that makes any sense. So by floor, I mean the because there's a perspective you should be. You should be able to see the underside of the car. But in this case, you don't someone going to adjust your race some of the bits out, and you can cheat by simply fading the bits out you don't want. That was too much. Let's go back. I guess you raced out the front wheel. What? I didn't want to. You're a cell. Okay, so now you just take a selfie racer and which in this case is the ab rush and just erase the bits out which you don't want them to see. So in that case is, for example, you don't want them to see that here the real bit is a bit screwed because it doesn't match your concerts covered of it and then very slightly. You basically just want to show the wheels to hint at a reflection. They contended down very slightly, so it's just very barely visible, but it makes a great effect. Okay, save it. This is it. I hope you enjoy this tutorial. If you have any questions, feel free to ask. First major. Refresh over course. And I hope you like this design. Thank you very much. And if you haven't seen the other one, you can. But I think this tutorial is much more in depth and better. Ah, yeah, Hopefully see your next video. And if you left a rating already for the old one, make sure to update your rating. If you think it was better. All right. See you an extra Torrey 36. 5.12 Filters: okay, Before we forget, there's a little plus thing which you can do So we're gonna do is save this image And we're gonna create a new from image from fold Oh, which is the same exact thing except image together. And then we can use a solid color too. Make it look more interesting. So if we use the sky blue we had earlier and just filled up one layer and then you can change the blending mode and see what happens. So if you just click through it'll that makes it super dramatic Light and screen called AJ Whoa! Global self glow over a soft like you can just screw around with it and see what looks best can change the color of a car like this if you want. So I think hard light was quite interesting And just give the whole thing like a blue tint . If you want to give this whole thing of Lieutenant and one thing which was super dramatic, which was that one that was this one, right? Yeah, This basically accentuates the contrast and mixed it. Reflections pop just a little bit more. Okay, that's it. Thank you. 37. 6.1 Ford Capri Pro Render Tutorial: Hi, everyone in this internal, I'll be showing you some or pro tips using this sketch with a deal a while back. It's one of my newest sketches, and you can see that it looks much better than the one I used in a tutorial. And there's some things I learned over the time. And there's some things I didn't show you in tutorial because they took too long, which I'm going to show you here now, swiftly. So we'll go into each step in detail, but not too much into detail. It's gonna was gonna be a one hour thing, and we're gonna talk about how, uh, and why we do everything here. And ah, the thing is with the with the previous one is I try to keep it swift, so give you all the basics, but here will go into some more details. If you really much it want to make a sketch look amazing like, almost like a real car. Um, because previously, it just the basics. If you want to quick thing like you can do it in, like, an hour or maybe two hours, max and then you're done. You have your your first render, and it looks pretty good. But this is if you really want to take it far. If you really want to be approaches some pro tips. Okay, so this is the car will be Ah, I'd be using today. It's a Ford Capri, which I did in a prepared It'll sketch here demo with all the layers hidden. Ellen, go through each layer first high within weeks. My So I recommend you to just get along. If you haven't done this already. You can always passed the video. Ah, and try to understand everything. Right? So if you don't understand it, you can ask me a question. But the key again, as I said, is to understand it. It's not, um it's not. It's not just doing what other people do. A copying. You have to try to understand why people do certain things, things and why certain things look the way they do. And why do they look realistic and so on? Right. Okay, so we start off with a sketch like this, just like always. Ah, this case, I just make it very, very rough, right? You can see it's very rough. I just use my talent here. I didn't take a photo. Anything off problems could. I did. And then I said, the opacity down to, like, 15% just so I can barely see it. Okay. And you can see that someplace below here, which I will actually not do right now, this is just a simple background. So we'll do this later. And for reference, I have the front of the car in top corner, just Teoh to match the colors and everything. So the first thing I did that's how I look is Ah, I think I You said the background to white. Yes, to a brighter color. So I can see it's better. That's actually you can always adjust your background according to liking when you can see the background was very dark at first because that's just Ah, In the end, I wanted it to look dark. That's the reason, but just for starting out, it's not the smartest thing to do. Okay, so I have a rough sketch here. I hope you can see it and just do it in pencil. And the next step was to trace the lines when you can see, I traced all the lines using a black Ah, black pencil. Actually, I'm gonna Before we do anything, add a layer on top of everything. Second drawer. Okay. Just to show you everything. Okay, Right. So this Ah, actually, no, that's not smart. Not over there. Ok, sorry about that. Okay, So, um, you trace everything, all the lines, right? So you to make it sharp under Greek rips. Just Just so you know exactly what you're casting a look like you can all of course, change things a little bit a lot of time. You can see it here. This line does not quite match with the line I ended up with. And this is just for reference, okay? It's just for reference. So instead, off like this. And then you can also use the fill up with the trust to fill up to here. You can see I filled the reeled in black because those are is gonna be black. And for the rims, I just drawn top, Right? So for the moment, I just want them to be black. And the way you do this is you have, like, an enclosed area like this. And then you use the filling tool to fill up just like this. Okay. Okay. What's the next step? Uh, this one's empty. Estimated. The next step is to fill up the body. You can see I decided to make the car blew. Its might might be smart to decide on a color right now, so I just fill up the entire body off the car. Um, in a specific color on you can change the opacity, so the sketch payloads still pops through front, so you can still see it. Um, yeah, but same method. While you trace every trace a line you see there, you draw in a closed area and you fill it up using the Philip, too. Okay, Just a very simple color. And the next step, let's see this. 4%. I have no idea what that is. It's nothing. Okay, so next step is to at the sharp horizon line, and you can see that's what I did here, um, for help. Actually, I'm gonna duplicate this. Put this on top just so way. See? What would you what we're doing? Okay. Just to keep it there, just to see what we're doing, Okay. The next step is I had at the horizon reflection. Um, with this late here and the horizon reflection is basically, uh, just if you look at our car here, it's this line, right? So it's a sharp reflection off the horizon. That's the next step. Okay, so you know, you can kind of tell the side of the car is coming alive slowly, but it still missing a lot of things, obviously. And what were added, Let's change the background back to dark, because that's the way it was before. Okay? And then I have a design element here on the side of the car, which also just simply filled up. So I used an AB brush off some stored and erased it around the corners, or just used my my marker tool and change the opacity or something and just fill it up. I think this is actually our brush so airbrushed. And I'm just filled up it raised around sharp address, and then you have your side think and then, um, tried to add some shading to the side of the car. You can see also just using ab rush. Right? So, I mean, I couldn't demonstrate using am brush. Just use the average on site and then just go like this, right? Maybe not like that, but like this. And then you have it. That's all it takes no time at all. And this is just areas facing downwards on the car because the body off the car is kind of facing. So the body of the car, not the ablest the body of the cars kind of following this path. Right? So the area here is kind of facing this facing the floor. Okay, next part. Some ever in the back, which is also facing downwards. You can see that I used ah, tracing line. You can see the tracing, and this helps me understand where areas are facing the floor and where areas are facing the sky. Okay, here's our friends again. I spoke up. Um, next thing. Yeah, I made a stalker, right. I make more to find the cool thing that is going duplicates. It should duplicate and hit the hit the lock and draw. If you draw on this, it's only going to stay within what you've been doing. All right, So I could drop pass it. It's going to stay with. That's a really cool trick. Okay, what's this This is nothing. So here's all references. Move it up a bit. Next thing I did is again some areas just make them dark. Right? There is what I think are dark. It doesn't have to be perfect against the pretty messy right now. It's all the rear spoiler. Now, what is facing down? Ah, keep going. What we have here, we have, yeah, again. Part of the responder. More on the medical side, some on the vehicle, shoulder side. And the thing is just to have fun with it, it's just play around. And if it something looks wrong, just get rid of it and try something else until it looks right. Or if you can't find anything that looks right just screwed or use a photo of a car Teoh to help you. Ah, you know, make you look better right here. I under some stuff in the back. Ah, here again, some stuff in the back. Very rough. Right again. If we keep going, let's have a look here again, stuff that's facing the floor so you can see I do one thing and do the other thing is all very structured. So I start off with a basic. I feel everything up. Then I use a brush to make areas dark, which I think are dark here again, the top off the horizon line slightly darker than usual. Uh, okay, keep going. This is all the dog areas, right? So I started off with filling the vehicle up, and then I went into the dark areas. It's still dark areas. This is I have explained some of this. So this is, um whether it's a ah, whether curve on the car. Right. So here you can see that it has a curve at this point. So the car, if we want to make it Ah, a little bit darker or brighter, depending on the light. Same thing here. This is just the well autos to make them look more interesting. Okay, this again sold the line. Just everything that's dark. You can see the only two colors here, apart from the black artist, the blue I fill it up with on dark blue. I used to average right now come to light areas. It's gonna be interesting. Same principle areas the light that are facing the light stores gonna be right. So I'm here and we have a small light source in the back. Ah, some nice source on the rear bumper here area here. Same thing you can play around with color. You can just ah, player on see what works, right? You really just do whatever that looks good. Whatever looks good works. It doesn't have to be perfect. Even if you don't quite understand it, you can still do it. But if it looks good only for looks good. Okay. But do try to understand it, because otherwise you're gonna learn anything. So at some light, what you call them, it's a reflection off them stored and the bodywork. What does this? It's nothing. Um, yeah, do that element. So I can't do everything separately. You can move the stuff around because this, for example, you can just go into this menu and moving around if you don't think it's quite perfect. Okay, let's move on. I have a doctor in here. No 10 yeah. So this belongs to this belongs to this the same thing. It's one design element. And the thing is, if you have ah lighting in the middle death usually slightly dark hand. This stuck out Onda. If you look at photos, of course you'll see that, that's what Oh, yeah, this have a lot of to the car, as you can see. So I have my light source year on the left side. Let's actually turn it on now, was it? I thought it. Let's turn it on. And if you take the light source into consideration and start adding areas to the car which are facing the slide source, then you can tell the way it's affecting the car. So here in this example, this re offender is facing this way, right? So it's curving likeness, and that's every it's gonna catch on the light. Um, so is this because, you know, the light from here casts on the double of the car and stuff like that, which is why these areas I'd like to just play around. If it works, it works. Yeah, this is just having fun, right? I don't need that. But I did this. I looked at a photo of a car and it was there and look pretty cool. Of course it has to follow the full A pickup. Okay, that's move on. Still alive. Stuff? Yeah. Same thing in the back. Oh, yeah, This is important. So on top of the whole rise in line, you want to make it a little bit lighter. So this is the horizon line, right? This line and on top off the horizon line. So kind of this area, you want to make it a little bit brighter just to make it more interesting. It's kind off the reflection off the sky or the sun in the background of the car. Okay. And make sure it matches. You can always use white by this. Get us a slightly violet or turquoise tone to make the blue going through a bit of green looks more interesting. Okay, Next thing, What's that same thing in the rewrite? Let's keep moving. We have a little life thing on the back as well out of this and at a later point, But you can see it's here. Same thing here, just kind of affection to sell the stable the car. Um, here some more defined again sharp ads, just like the otherwise known as a pretty much a sharp edge. Everything about the stop edge slightly bright you could see and ah, the rial wheel answers Here. You can see that I added a bit of curvature to it, so it's more realistic. Right? So this line here, this one So it looks more realistic because the car has some shoulders and it's not just flat. Okay, Next thing that's nothing, I think. Get out of this. All right, So here's a sketch organised, movements up. What's that? Yeah, well, interest some darker areas around the real interest. I don't know what this is right here. Just some every That's right again. Ah, and then no, we come to the wheels. You want to wheel separately, right? Actually, we cannot move this anymore. We have to do leave this because everything things are gonna come through, okay? You can see I have well done here. I used the same method as before. Just a combination, right? So if I zoom in on the wheels, I used to really wheel for this example because looks better. It's bigger if we zoom in on to the whole thing. You can see that I used airbrush in this area here in these areas. Just airbrush, you know, dark and lighten areas and some Ah, I used the markka for these. What and this is all just, um, playing around. I fooled around so long with these wheels for so long, and then they were like six or seven layers the wheels and I emerged everything because it does. It was just too complicated because the wheels I started with a blank space Ah, and at layer on layer and on layers so I can correct and in the end emerged everything together. And you see, I did the rear in front with separately that smart thing to do because then you can move them around so you can just get out of this. If something is wrong with that, you can move it around. You can copy paste it stuff like that and the thing with wheels ists. You can, ah go and Google pictures of wheels and copy paste them into your car. You can do that, or you can take a picture of a car and just draw over the wheel off the car. So, for example, of a well, here, you just use this as underlay and go over it like this, where you learn how the wheel works and try to copy basically that we will change it up a little bit. Okay? So just using that as a reference point. Okay, So what we have here so well on us, the important I want this is I think this is the later one. Yet somewhere you can see in the front there's some well, aren't here, which add it kind of west office. You just use the circle drawing tool like, ah for this. The circle drawing tools appear not here. And you just use a circle in control circle. It's gonna look like this for Dawson symmetries on. Yeah, Okay. Moving on. Oh, yeah, that's this reference point win over your wheel. Okay, we have a wheel out of really losses. Don't. Which one's the proper one? Let's just keep both You have to. We lodges for some reason, and then we got to the window, OK? The window. We just make white would make a white area in this case that the rial window and on top off the layer, we just keep drawing. We just keep duplicating this. We can hit duplicate, and on top of each layer, we just keep on drawing stuff. In this case, I added some indication of an interior. You know, the bar on the other side and stuff like that. Um, and the same thing for the side window. Right? So I just keep drawing on her to keep drawing on it and just keep going. We have a site window off course. I do need some layers because it was too much for my caboto handle. But, you know, some stuff. There's reflections there. Shopper reflection, small reflections. Boom. There we are. That's it. You can see that some wide line on the back. But I fixed that in the end, but basically, you make everything white, and then you draw on the duplicate layers. So you take this white thing duplicated, drawn up a duplicate that drop on towards you can always go back and will destroy anything you did earlier. Because if you screw up, you can always go back. That's just in correction off the roof line. Yep. Some more stuff. And I'll edit some headlights, real lights, the way this was just using, you know, black marker or red marker Doc. Red marker and filling it up like usual. Right? So not a circle. It's a draw. Here's the feeling. Till boom realize. Okay. And then for the rial light glowing. I used a slightly brighter red and has made it look like any of these. For it looked like it looks like an energy strip. You just added on top. And to add some glow, you'd add some add rush around it and they just make it glow. But adding some ambush around here. Oh, yeah, that's some highlight on the on the lackluster. It's like the brighter or bright areas reflecting Endara like plaster. Here. It's just a brush. It's just white Abalos. Okay as well. What's this? Don't seem to be anything. Um yeah, I'm asked some areas, so Doc Kerrison just made them black. Uh, this is supposed to be really future again. You just You just marked the area out the area which you want to work on and his work on duplicates. You can see the next thing is the same shape. Exactly the same shape. It looks different. Just a duplicate. Where at it without brush. Some dark and light areas again. Everything is separate here again. I'm using copies off stuff, right? You can see this thing on the side. Here. It's the same shape as this but one house stuff on it. One doesn't. It's because I use a duplicate. Okay. Exhaust tip. Yeah, I think we covered that earlier. This is, um yeah, just some highlights on the redesign element. Well, these are some shut lines. We I think we covered those as well. So door shut lines you can see. And the boot lid shut line. I also did this time and moving on what we have here some slight corrections here and there . You can see everywhere where there's, like, kind of design element or everywhere the way that's Ah ah, a bend in the metal. I I don't Some stuff just looks better, you know? Okay, moving on what we have here. Oh, yeah. So this is the light bleeding and what I mentioned before. So you have a white background, this white background groups, this keeps happening white background, which is gonna cost on the car, All these areas. It's gonna bleed. Uh, just right through, and it's gonna look like this. Okay. Okay. Next. I used to Google to get myself a Ford logo, and you can also resize this so once you get it, it's huge It's like massive, and you just move it around until it fits and eso doesn't look like a sticker. I added some stuff around it, which is this airbrush right underneath, light on top, back on the bottom. So it looks like the logo was sitting on top off like a bolt. Then I did a mirror off the car, because why not make a realistic right for this? I use the reference of a photo just so I don't school this mirror up and you can see it's just added on top. You know, it's just a thing on again. It was many, many layers which emerged. So I recommend you to do that, to emerge everything in the end once you're satisfied. If you don't tell us find yet, then keep it. Because keep the layers because then you can circle back and fix it. Perfection off the mirror. I don't want this this. Oh, yeah. Like bleeding around the mirror. Of course. Some corrections for the wheels. You know, There was some white lines there. I can see some white lines and stuff. Fix it. Ah, here we have the highlights. So you just use wise pencil to make sharp edges, right? You can see where I did that. So here we have a stop edge double do it. What about the shoulder line? Whether where the doors shut lines are. And you just just work around, work a way around it, and so on the wheels as well. Some sharp address. This makes the car look really realistic. Because those are we going to call highlights on the re backlit. Okay, moving on. No, we've added some tires. I told a talk to these already in the tutorial. You just go white. Um well, what ab brush and just draw some black stuff in it. Right? So you take it ab blush just like this, And then you take a pen and just go like this, right? That's the way it works. Okay. Ah, at a logo off the count on the back. Capri. That's it. That's it. And once I'm satisfied with my car, you can always go back and correct stuff up. Right? Once I'm satisfied, I go. Just copy pasting off the wheels and flip them around and add a shadow. So no, I What I decided to do is ah at a shadow to the car. You can see that the back on cars look quite matching with my patch here. Um, what is it? Here. You can see this area here where the colors matches because I just change it up. That's actually try to fix that. It's not about Dr King. That's too dark. Come like this. You know, it's almost that. That's OK. So the next thing I did is that go all the way back to the beginning at a shadow to the car , using airbrush? No, just black address. Very simple. Um, And then some reflections. You can see. I just copied the wheels, Flip them around. You can flip them around, can using this tool here on top. If you topped by using this and then you can transform it, You can just flip vertically, just like that. Okay? And that's it. That's all there is to it. I think something is still there. That's not supposed to be there. Oh, yeah. The base sketch is still there. Get rid of that. Get with the white lines. Yeah, that's pretty much everything I think. And in the end, your cost gonna look like this doesn't look amazing. Um, and if we go back and not save it in the end, your car, it's gonna look like this, Okay? And you can see it's complicated, of course, but it's just have fun. Look around pictures, Of course. Photos, of course, renders off cars that people actually did and have fun and try to be a nondestructive so always used. There's always use duplicates this sketch. In the end, I had, like, 100 layers and then emerged some. But that's just for a little thump. If you want to do this devil off, render you need about 100 layers on 90. If you're efficient for you to be safe, right, for example, for the wheels, each wheel had, like, 15 layers. Um, the windows. They were like many layers right themselves. The mirrors would also like 15 layers. Um, and he just at everything on top. And in the end, you just everything, and it's gonna look fantastic. And one very important it was to look at actual pictures, of course. Um, and to try flight like try to find a car in the same perspective with similar design elements. You scheduled car out. Do you think I at school. I'm gonna render this try to find a car which has similar similar design elements. So, for example, on the side here maybe had something like this. They want to find a car that has a similar thing and just copy the reflections off a real thing. Right? So that's the way you learn it. Because if you copy off the real thing, it's gonna look real. Okay, I hope you enjoy this. And I hope it wasn't too confusing anything, but yeah, if you like this total, give it a liberating. I'll appreciate it. And I'll see in the next doctor. If you need anything new, let me know and add it as soon as I can, okay?