【正文】 . Don39。t want to lose the definition of your surfaces, you only want to add that final bit of sparkle.～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～Whilst you are producing the side views you will want to work out what is happening at the front and rear of the vehicle. To do this without resorting to a simple front or rear view, you will now have to begin sketching in twopoint perspective. For these early sketches however you will not want to get too lost in trying to draw good perspective. Because of this I like to sketch in a view I call flat perspective. Essentially this is a car viewed at an angle but from down low so that all the convergence lines fall on the horizon line and through the centre of the vehicle.Stage 1You start this drawing in a similar fashion to the side view, by sketching in a ground line and two wheels. You can see however that this time the rear wheel is at an angle. The more you want to see the front of the vehicle the thinner this ellipse will be. Remember to sketch lightly, since you are now more likely to want to adjust things than when drawing a simple side view.Stage 2I have now added the profile of the vehicle. During this stage I am lightly working out the rough proportions and theme of the vehicle. If at this point I want to adjust something such as the position of the wheels, in order to fine tune the proportion of the vehicle, then I can. By sketching lightly at this stage you can make these adjustments without fear of spoiling your sketch. Take note of the way the centre line is most visible on the more vertical surfacesStage 3Here you can see that I have added the wheels from the far side of the car. A trick usually employed by designers is to exaggerate the position of the far side front wheel, putting it out in front of the car. This gives a dark background to emphasise the body shape of the bumper against. At this stage I am still working things out and sketching lightly, making changes where necessary. Also of note is the way the base of the windscreen is not simply horizontal. In fact from this angle you can see the swell of the hood in the way this line climbs towards the centre line and then disapears down the other side.Stage 4Once you are happy with your design and its proportions you can begin to firm up the lines you want to emphasise. These are usually the lines that represent a strong graphic element of your design. Other lines, which represent changes in the body surface should be left lighter, since you can emphasise these better with the use of colour and shading.Stage 5In this final stage before adding colour you can see that I have drawn the final details, and added some more light line work defining my surfaces a little better. Take note of things like how the shoulder highlight runs through the front wheel and down, being the corner of the bumper.Stage 6Now that you can begin to add colour to the design, the process is very similar to a side view sketch. You can see that I have used a dark grey marker, in a similar manner as the side views, to colour all of the windows. The reason for using such a dark colour on these elements, and a light colour on the bodywork, is that it makes the sketch easier to read. At a glance you can get a feel for the shape and graphic of the vehicle, because of the strong contrast.Stage 7Following the same rules as in the side view sketch, you can now add a little light marker work representing reflections in the body side. Keep these simple and loose without adding to much marker. You can see that I have also shaded everything on the far side of the centre line (with the exception of the upward facing surface on the bumper). This helps to emphasise the curvature of these surfaces and the general 3D feeling of the sketchStage 8This, as in the previous example is the easiest part of the sketch. Just apply a quick brush of pastel along the body side of the vehicle.Stage 9Using an eraser I have now picked out all the upward facing surfaces on the vehicle. This includes the surfaces of the spokes on the wheels. Try to be gentle when erasing against a line that represents a soft change in the body surface, since a sharply erased edge will obviously signify a sharp angle in the body.Stage 10Finally you can if you wish add some gentle highlighting.～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～Proper twopoint perspective is the hardest of the three examples here to get correct. For this reason I usually wait until I have a rough idea of my design before moving to this kind of view. It is however essential that you do learn to sketch using full twopoint perspective, since sketching with simplified viewpoints does not allow you to fully resolve all the surfaces in a design. You can see in the graphic on the left that using this kind of perspective means that all parallel lines running both down the body side and across the front or the rear of the vehicle will converge. This can make it hard to figure out how to draw things such as sloping shoulder lines. A good way to practice to begin with is by sketching a simple cube or rectangle in perspective, and then by adding wheels at each corner. Once you are confident at this you can begin to add simple forms to this box, building the drawing into a more car like image. From there you can begin to disregard the box and only use the guidelines you feel will help you sketch your design.Stage 1I have started this sketch by drawing some simple guide lines, all showing the convergence of the parallel lines. Onto this I have sketched the wheels. You can see that as explained earlier, the major axis of the ellipses are at right angles to the axle lines on the vehicle. Remember to sketch lightly here as it is almost certain you will want to adjust your ellipses as the sketch progresses.Stage 2In the second step I have built up a simple side surface for the vehicle. You can see how the shoulder