【正文】 作的小百分比您將生產(chǎn)。 它重要學(xué)會(huì)結(jié)束不39。 能導(dǎo)致讀作為3D 對象的剪影, 對透視的基本的理解必需。Perspective透視When drawing, a basic understanding of the rules of perspective is essential if you are to achieve a realistic effect. Only once you have learned these rules you can begin to distort or exaggerate them in order to accentuate elements of your design. There are three basic forms of perspective (one, two and three point). There are also three main elements present in each of these (the vanishing point, convergence lines and horizon line). This tutorial shows the basics behind one and two point perspective only, threepoint perspective being a technique that automotive sketching does not require.當(dāng)畫, 對透視規(guī)則的基本的理解是根本的如果您將達(dá)到一個(gè)現(xiàn)實(shí)作用。 這個(gè)講解顯示基本在一和二點(diǎn)透視之后唯一, 三點(diǎn)透視是汽車速寫不要求的技術(shù)。find39。 about your sketch. Hopefully you will now have a nice drawing on the paper, and to attack it in a loose and fast manner with a marker pen is not easy. These lines represent the scenery reflecting in the body side. You can see that I have continued the reflection in the window onto the bodywork and darkened down just beneath the shoulder. The area I have lightly markered half way up the body side actually represents the horizon line, which is reflecting from behind the viewer. The important thing here is to be very loose and to keep your choice of marker very light.Stage 8This is probably the simplest part of the drawing, yet the one where you really see your sketch ing to life. Just choose a colour of pastel similar in colour to the previous marker work and apply it along the length of the bodywork, centering just beneath the shoulder line. Do not worry about going over the edges of the drawing.Stage 9You are now in the final stage of the sketch and really just finishing off. Using an eraser and gently rubbing out all the areas the pastel has fallen on upwards facing surfaces of the car, you can really bring out the 3D form of your vehicle.This is the point you could actually stop. The drawing is now plete enough that anybody can look at it and get a good idea of the 3D form you are trying to describe. For a little bit of extra sparkle to the drawing however you will probably want to add the smallest hint of highlights.Stage 10By using an airbrush (if you are lucky enough this is easiest to do in Photoshop) you can brush a very quick faint line down through the bodywork. Then on all the upward facing surfaces it falls on, you can spray a light halo of white. Remember to be subtle here since you don39。 shade every surface. I always try to resist this temptation, and try to use only two dominant areas of colour. The first one passes down the body side of your vehicle just as in the side view sketch, whilst the second goes on the far surfaces. This leaves a core of brightness running through the surfaces closest to the veiwer, which helps give the sketch a strong 3D feel.Stage 9The last two stages are quick and simple. Add a quick bit of red marker or pencil to the rear lights and erase the pastel from the up facing surfaces just as in both previous examples…Stage 10…and finally add the little bit of airbrush shine.1: The UnderlayThe line work can be either pencil or pen but should be dark enough to show through a piece of marker paper or vellum when placed underneath. The view chosen should clearly show the main design theme, in this instance the chrome strip running along the shoulder of the car.Lighting and coloursBefore starting the rendering try to visualise the finished sketch and decide upon the position of the light source. This will determine which surfaces are in shadow and where the highlights will fall.2: MarkerSecure the underlay in position and lightly trace the line work for the wheels and glass areas (DLO: daylight opening). Use either biro or pencil, but choose wisely, some brands of marker will pull the colour of the pencil and make biro lines bleed. So practice on a scrap of paper to ensure your mediums are patible. Always apply the lightest colour first adding darker shades to create more depth (note: 2 or 3 shades of one colour can be achieved simply by going over the area with the same marker). For reflective surfaces such as glass allow the marker to dry before applying additional layers of colour. This will create more contrast, a characteristic of highly reflective materials. For nonreflective areas such as tyres it is better to keep the colour edge wet while applying darker shades creating a much softer tonal transition.3: Graduated tones Airmarker/pastel Air marker is a cheap, quick alternative to an airbrush. Colour is applied by spraying air across the tip of the marker, creating a targeted mist of ink. Shaved pastels give a similar effect. However, air marker is quicker, creates more intense colour and eliminates the hassle of trying to colour match pastel to the marker as the same marker can be used to apply both flat colour, as well as the graduated tones of the air marker. Place lowtack masking film over the entire drawing and with a scalpel carefully cut around the DLO and wheels. Although different colours will be applied to the two areas the distance between them is sufficient for them to be rendered simultaneously without any overspray from one area affecting the other.4:Here all of the masking film has been removed and the drawing can be assessed more clearly. If the graduated tone is not dark enough, reposition the mask and add more colour. Alternatively progress to the next step.5: Body colour marker The technique is identical to that used in stage 2. Remember, always lay down the lightest colour first and because the bodywork is glossy let the marker dry before adding darker tones to create more contrast. This will give the impression of reflections in the paintwork. To achieve a crisp edge it is better to apply the marker in quick strokes – too slow and you will get a wobbly line. Practice first holding the marker just above the pape