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Digital Rendering for Designers

Lesson 13 of 17

Rendering A Car Start to Finish in Sketchbook Pro

 

Digital Rendering for Designers

Lesson 13 of 17

Rendering A Car Start to Finish in Sketchbook Pro

 

Lesson Info

Rendering A Car Start to Finish in Sketchbook Pro

All right. So in this next phase, I have this sketch of a car that I started from beginning to. And since we know already the layout of the program, let's make this various. Most of that we can see everything, and it's turned off my layers. This is one thing I have not covered. Very simple to follow, How to turn off a layer you just turned. You can click on the I over here. So this is just the layer zero. This is your layer zero, which at the beginning, off this course, I had mentioned that you can work digitally from zero where you can actually stand your pages that you have worked on. And we already have learned how to do that. How to retouch your scans Thesis on my originals for Brinkley tracing paper. They were here. All right. You can do these by hand again or starting from zero. Visually, you have those two options. So this is my sketch. The first thing that I did would be to you see over here, this is quite interesting. High was able to clean up my lines, For example, You see th...

e wheels over here, right? you see how Crispin nyse thes lines are? I guess I was able to do that. We covered that already, right? Remember that it was over here. So what I would have to do is just find the right size for my lips. Just about this one rotated exactly how you wanted. Keep just the right point of view. Go to the right tool and then just work. I'm gonna dio gonna work in purple so that just see when I'm working on top. All right. You see, that's my line there. If you want to do the other one on the outside, you would just have to scale it bigger moving into position. In this case, I would have to angle it slightly. Not so much married, but making it a little bit bigger, more or belong. Work over there rotated a little bit. Stretch it. You say I'm modifying it as if he was actually silly putty. I'm kind of stretching it in different ways, but this is great. It allows me to really have a good grasp off where I am going. All right? And so I don't need to do this anymore. You get the sense off what I was doing over there. All right, it's through the next part. How did they get these lines? Remember these guy here? The steady stroke? A little bit hard to master, but you can get very good results. You kind of have to work with line, almost like like hair lives. But you can get very precise lines, or you can you can draw, Remember control sie to undo. If you don't like one line, you can work very small and then drop. All right, you see allows me to really concentrate my efforts and work more steadily vital. If I click that off, it's more free hand, and you see it's a lot harder, depending if you're right or left handed. It might just be a little tough. You see him twisting. It's not exaggerate. Its it would be harder for me to work on this side. This curvature. It's not as nice to Dio just because of the physical aspect off. Just drawing you're drawing with your hand. Um, do you involve your body? So at that point, we're working with physics right. This side for me would be easier than this side if this side is hard. That's when I use my status stroke to clean up my lines and how I did the strokes over here using my airbrush, um, air brush like this. Remember, we have the strokes over here to make it bigger or smaller using my brackets. So when you reach this point, you might just want to keep, um, two fingers already pressed on or write hovering above these two, Um, these two keys so that I can work effectively on them. All right, let's see what else we have over here. We know how to do these wheels already. The same us those we already know how to do these tiny circles. Those ellipses, because it's the same thing. We're working with this guy, but just very small. All right. Just the word of conscience. If you need to do like a very smaller lips, this is impossible. The software will know. Really Pick that up. That's when you would have to You mean a lot. And then if you go back over here, you might be able to just get it done faster or better. All right. Whips that's very large was using the wrong brush. But you see, you have to zoom in a lot just to get where you need to be. Don't forget that. Whoops. Over here. You see, if you make it very small and the Miami a point where it would be very difficult for you to work, then user made even further, and then you should be able to do a better job. All right, Don't be lazy. If you need to zoom in through me and all the way just to get that detail and then zoom out, You see, we can get very small, um, and lips that way, Control. Zero does amount. That's the same short cut as we would have in photo shop. So now we know then how we work with this layer. Let's work with this layer One happened here. All right, So when we work drawing cars, um, you have to understand how metallic reflections really work. That's so like a quick, um, sketch over here. See, we have a cylinder over here, and then we have a cylinder over here. Just very. Louis Freehand. Sketch. This is your horizon line. Whatever. False below the horizon line would be earth tones, which are the stones over here. Whatever goes above the horizon line would be ski sky tones. Which are these guys here. So what this means is that I have used it's through a bunch of hundreds under under control Z. There we go. This is how I was able to do this. Actually, let's it's add a new layer so that I can add my comments on top without ruining this. So I was able to use with my brush with my marker picking a color that would be somewhere here. Um, let's go. Lighter. Lighter. This way. I used a bunch of strokes to create this triangular shape over here. So this guy here I am redoing it there on the top. All right, how to do that? We already covered that. We know the brushes, right? This one here is a hard brush. I mean, hard eraser. We don't want to use that once a control Z for delete or under. I should say this is my soft brush, which is what you want. And again, my two fingers on the brackets to make it bigger or smaller. I can gain this highlight. And that's how I was able to gain this highlight here and this highlights here. This layer, you have it also on your packet. So be sure to download it. Um, one thing that I have to say, um, you would have to give you double click on your images that are layered. Depends how your computer is set up. They might open by default in for a shop or by default. They might open up always in sketchbook. To avoid that, what you would have to do is open first, the computer program, whether it would be for a shop or a sketchbook. So you are in the program, and then you would go to file open on both cases, this program or the other one. Right? That way you would open the files in the program that you want, and you would not let the computer choose the program by default. Okay, Another thing that I have to say is for a shop files with all the layers can be opened in sketchbook, the original native software. If need the Native Files in for a shop half the extension PSD. That extension opens up a swell in sketchbook as well as J picks as well a stiff files. All right, so that's a great advantage. Another thing that I have to say You're layered for a shop. Files will open up in sketchbook with all the layers. It would not flatten the images, which is great. In other words, you can work between the two programs. You can jump. Let's say you can get masks on photo shop and bring them here. You can mask out certain areas so that when you bring your work in sketchbook, everything would be masked out already so you can actually change two heads back and forth. Use that technique. If you happen to have the resources to have both software pieces, used them back and forth, you will have a little fun. Um, and then let's see continuing with this metallic grill over here, darker tones for the bottom. You're ready? Can guess how I did that, right? The brush. I would go into the red a very dark red. It's actually brown, right, So you would have your browns and then you would add your strokes over here in this program, if, for example, you do a stroke like this and you think that it is not good enough. You can change the slant if you want. You see, to make it a little bit different. Back to the original Coptic markers. The analog, Marcus, the rial markers. Right. This is your slant. Just twisting your marker. Drawing like this or drawing like this would get you a different result, right? As you turn the marker. That's your slant over here. You work with it, and this is your size. You can make it bigger or smaller. You can also edit it and save it. Let's say I want my own brand of markers with a fat tip. You're save it with a different name and he would be placed there. All right, well, you can reset them. All right. All right. So we know how already I was able to do that. Grill over here. The body. How did the bodywork? Um, you see, you need to make a new layer every time you want to do or something. Right? So you will end up having a stack off layers. As many as you need over here. I was actually interested in creating the green car. It's adul these for the layers. Here, miners. This guy, this is my practice layers. I am going to delete it. Click here and go to the X to just get rid of that. E didn't 12 years that one thesis, my outlines thes for my better outlines. So this is minus the purple right over here. This is how I drew on top. So, um, how I got to that I just went to these body color and started working on it. So let's just replicate that slightly. That's making a layer over here. This would be my and you can rename your layer. You can click over here. Sometimes they might have a little bit off lag. Rename Lear. Let's call it color test and all I would have to do. Let's say, if I want to have an airbrushed quality to it, I can just work with a and airbrush color brown. I don't know if I want Brown. Let's go read. All right, we can create a color for my car this way. All right. When we worked with cars the from the middle of the car to the top, we should have a lighter color because he reacts with the sky tones, so we should have a lighter tone to it. So more like this. You see, I am erasing with a very fat eraser, the top and the collieries richer on the bottom. Okay. You see how I was? I left the white stroke over here. You want to do that right when the car has a slight curvature, whether you're working on the front around the site, the car has a curvature to it, right? A detention point where it goes from that tension point represents the separation from reflecting from the sky or reflecting from the earth or the asphalt. Right. That's why I have that highlight there. Once I have that, I can go ahead and use my heart. Eraser. I don't have masks over here, so I would just have to erase selectively my edges here. Let's say if I want this part over here to be reflective, I don't want that red fitting it on that space. I would just have to who raised that area? All right. And you see how nice it looks. You can get good results very fast. Now, over here. If I do these groups, when I erase over you see, I have that tone. There is better to catch it in the moment. So this is a Remember how, at the end of my previous section in for a shop destructive or nondestructive way of working. This is destructive, so you would have to go control Z to delete that to remove that step So you are always in control. Remember, this is not in multiply mode, a multiply mode. You see this line over here? It doesn't look as Crispin Black us. We should. I expect that's because we have it a normal we would have to go to multiply and you see now we have a crisp black color. And then now let's continue working. It's at a darker tone over here. Remember, the bottom part of the car should be darker. They top part of the car should be lighter, and then we can go ahead and the race one more time, selectively the areas that we do not like. It's Adam or a chrome reflection there, more saturated tones somewhere there. Then I can go to the eraser and again selectively were raised. The edges remember to work in layers, so let's say that we, instead of just working on this front that would have worked on the entire thing, Then the entire thing is in a layer. If I want to work on the windshield, I would just have to make sure and toe working on layer. And that's what I have over here. I was able to over here to work the same way. Let's make a new layer and replicate that. First we already know how to rename a layer will call it Layer test over here, or we can call it window to just to have different options. All right, so I'd like to go to my airbrush and let's pick a blue tone. All right, so that's a glass for us. What I would like to do now would be to, um, go to my still, keep the airbrush, but go darker whenever would work with car windshields, just walk outside and then take a look. Industry how car windshields are. You will notice that they have. It's not just blue. Sometimes she would see a reflection cutting diagonally on the windshield, and that's why I have this line drawn here in black. If you want to keep this nice blue tone intact, you might want to work on a new layer. And you see, I can do my blacker, my darker blue tone for the reflection like this. That's dark reflection and you see that all the time in cars, and then I can go to my hard a razor. Usually reflections finished abruptly so you would have your reflection right here. It's spilling over the hood, so we don't want that. So we just We would just have to erase selectively like that. And then I would go back to my base window layer, and I forgot to erase my blue. This would be a good time now to a race around it and get it fixed. So you see, started to look good and this would be once I'm squinting on purpose. You squint and look, if you have enough contrast, who I'm liking it or like, I'm not too sure. If you're not too sure about your work, then just making a layer and hide this one from view. All right, so this guy's limit no pun intended. This is your sky reflected on the windshield. Try as many layers as you want. If you don't like this second option you can always go save as saving us. Let's say test one and then you do a new one starting from zero. Just your line work. Okay, so have fun with this program.

Class Description

Life-like renderings are an essential part of the planning process for many design projects. In Digital Rendering for Designers, Jorge Paricio teaches you how to use Photoshop and Sketchbook Pro to create life-like representations of environments and objects.

Jorge’s academic and professional life has centered around artistic rendering and perspective sketching. In this class, he’ll show you the basics of architectural visualization and how software can help. 


You’ll learn:

  • The process – from the first sketch to the final rendering
  • The role of Sketchbook Pro in designing 
  • How working with Photoshop layers, filters, and masks can help
  • Techniques for adding people and lighting sources to scenes
You’ll learn about perspective drawing and depicting a variety of surfaces. Jorge will cover the basics of rendering interiors, exteriors, products and exhibit booths.

Lifelike renderings are used in corporate and public design processes – find out how to add this in-demand skill to your portfolio in Digital Rendering for Designers with Jorge Paricio.


Software Used: Adobe Photoshop CC 2015 , Autodesk Sketchbook Pro 2015

Reviews

Gigi
 

This is actually the course I was looking for. This is DIGITAL rendering, which in an odd way makes you appreciate hand drawn rendering. Great! Thanks!

Heather
 

awesome!