PERSPECTIVE ‘SHapphing what we know about perspective to this Choysler show car, ist we need to deterine our horizon line, vanishing points, and view ofthe car we wish to depict. The ‘minor elipse axes determine where the wheels 30, and how they are drawn, More on thisin CChapcer 5, Te heaw box drawn around eur car shows the perspective setup in simple box form, Some arists start with lightly drawn box before drawing the car, asa guide for their a's perspective. Them they erase the box afer they ae walinto the sketch, Our setup is a ‘ypical front view ofa car 1 Our subject Chrysler show car shown in yet another eye level. This time, our vantage point is almost at the ground, for a worm's-eye view Indicating the box around the subject inthis view would be confusing, soit has been lefc out. But the arows show where our perspective line are convergingwhich 's waaay out beyond this book, The view makes fora very powerful, dramatic setup for your drawing 21 ‘Showing ou carin simplified fat plans, our horizon line hasbeen moved up fora higher ee leve-in ather words, ooking down on cur subject Again, the box shows our perspective setup {ah the planed suis smoothed out to represent real car, you can sce the shape take place, and how the view froma diferent vantage pons, ‘or ee lee, rom the peevious view Organic cars lik ths one area bitharderto daw. you are having some problems, you might choose after, more angular car to practice this wthLX. Ths truck side view gives us a starting point for determining details before we spin it into perspective. Again, a this point we wil need to choose where to place the horizon line, to give us our eye level, as well as which view of the truck we want 0 show. _ZA The simple box drawing shows the view and the basic perspective setup. The cartoon gives the eye level, which places the horizon linea litle above the middle of the space we have created. ONE LEVEL ABOVE 74 VIEWPERSPECTIVE ANE UNEL Atve 7/4 ewUl€ DOA dS YOUR SUICE, UU YOU Set COMMORADIC WITH VOUT VISUGNZatIOl OF LITE Cal you wish to draw, you may want to use this method as a means to get those pro- portions right. Z1Here’s a good trick to help you. Wheelbase is very important when determining the proportions of any vehicle. Using an element of the car you are drawing for scale, like a tire, can be a terrific aid in figuring out the wheelbase and can help you with its proportions. A general rule of thumb would be 3 tires for regular cars and trucks, 2for smaller cars like a Honda hatchback, and 3% or more for larger cars and limousines.PROPORTIONHOW TO DRAW CARS LIKE A PRO can jump ahead just abt with sme sherching methods nd proportioning, theres an easier know about perspecti wayto sketch outa car Tiss a especialy good wick when your eye cars that your perspective nes wheels, and aso gives you a guide for determining the: proportions. Loosely rough silhouette or outline of the car you wish o sketch Sketch inthe be back. I draw these lines in very lightly at frst, then darken or tighten them up as! “fee” the cartaking shape, We now have an outtine of the car, which we will coon fill in with more details Window lines, tailights, door cuts, and miscellaneous details star to give our sedan some lif Reflection and wheel design guideline shadow, s details as well as ground final sup forHOW TO DRAW CARS LIKE A PRO Let's trya sketch that doesn't require drawing boxes for perspective help, This ketch wil put our ee level right in the riddle ofthe car, 3 we don have to be as concerned with vanishing porns, Remember f= \ why? Our line represents the - point from which we wil build this sketch I becomes the horizon line, approximate middle of the bod), location ofthe | | minor ais, and abo the pine | rfehvetle hea | [} ve picked a poine back from ‘the headlights for our front whee, and approximately 2 tires back! have placed the: tire in atightr ellipse. This gives ‘me a point to determine the approximate bottom of the car nd a ground line {We'll rough in the outline or silhouette ofthe car, plus indicate the windshield A-pillar location, Ifyou do these stages lightly a first, you can change them laterifyou don’ ike where they fiHOW TO DRAW CARS LIKE A PRO Now, let's put that same car re and see what off, | did a quick perspective thumbrna th the previous sketch, | ter as a build-off silhouette, buildoff point for and bottom of the car, At this pint you can play with proportion and silhous ar this stage ofthe sketch. 422 a i REFLecTionS , fURFACE HraniaTs gene DELINEATION/ Cones ZX Totake the finder examples one step further, this ilsration shows that a rendered car's merely the combination ofthese three effects on its surface. Just as with che ist finder, the surface delineation in area No.1 ives us abasic surface foundation. Beeause a shiny surface ats asa mito, it registersits surroundings a eflections. With the addition of highights and some random election, the illusration i complete, More on reflections in Chap 8 [The placement ofthe light source i upto you. However, placing i inthe general area ‘of your head, either to the right o left depending on which parts ofthe car you wish to highligh, puts the source in the best location for defining a car. Here, the ight source is in the area of your left shoulder or lef ear 52LIGHT SOURCE Jere, we have reversed the location ofthe ight source and placed it ver your right shoulder or ea. Ths location ves you an opportunity to place bunch of highlights in the gle detail and headlights Dain this wil make fora flashy setch with al ofthe brighework ofthis Buick > emphasized [Asa genera ue, backlighting your car gives you litle opportunity to separate and define the surfaces. Ir also gves you a rasty shadow lying infront while drawing attertion away from your car-not good! Since there ino ight soure hing the surfaces you se, you have no opportunity to highlight those areas, However, once you have mastered the ues of ight and shadow, you ean break them. Check out, agai, our lead ilsration by Darel Mayabbt 53ZX Assurfaces move away from you, they th the highlight in the hood ire reflection in the hood side, this car is rendered as a dull or soft surface.HOW TO DRAW CARS LIKE A PRO Think ofa carasa nt, slightly convoluted UGHTEST sky METIUW SKY VALLES the point Hoerzon sal 196 cehanges tha pick up GemtieD conditions within its qu CRE SIDE SECTION only ist picking up reflections itis picking te Ki “DUNS LINE up cast colors ke cool changes,SHADOWS AND REFLECTIONS OPTIONAL: SUGHT DETAIL UKE: ZS So, what is reflected onto your car? All ——FLOWEIS , SIDEWALK CEALKS, cf what is shown here and more. Anyehing you COBBLESTONE, ETC. wish co elec is fair game-just make sure you don't confuse the viewer, or your car draving wil nd up looking ike the dierin Flay cat bow, Mos of the examples inthis book SZ Whatis happening on the side ofyou car's tend to simplify this scene. A car's body wll bodys also happening on its wheels, burpers, usually compress and stretch out reflections, windows... everthing Thisilustaion shows sa thatthe horizon becomes merely a thin, you the envionment that is being reflected back dark area eflected onto the sie ofthe car. imo the whee. And since chrome is aloes, the reflections much more lida ror.‘\illusratig this further, we have Djs irene vei sie ews al eflstng the same ‘emironment. The numbers across she bodies indicate vals, with No 1 being white and No. 10 being black. Not that due tothe harsh crease in the Camaros sid, the horizon line becomes perfectly la atthe bottom and does not cary down into the aea blow the «crease Blow that crease the surface picks up ground indication ‘only. There areall kinds of variations on these examples, but they area foundation fr every car -deawing that includes reflections. FLURT OEMS oe cece EOFECT