【正文】 of the rear by putting the far side lamp almost out of sight around the corner of the body.Stage 5The final pen stage is to add some interior and alloy wheel details to the drawing. When adding the interior details you don39。t have to spend a lot of time, since all you want to do is give a suggestion of the shapes inside.Stage 6To shade the inside of the vehicle I have used two grades of marker. With these two markers you can achieve four tones of colour. By using only two grades of dark gray you can help keep the change in shades very subtle. If you half shut your eyes and look at the sketch, you should “read” the whole window, and not each separate shade. The same should be true after you have applied the colour to the bodywork, which is why you should choose a reasonably dark colour for your windows and a light one for the bodywork (or vice versa).Stage 7Remembering to keep things simple you can now add a light coloured marker to the bodywork. You can see that I have also added a little marker at the furthest edge of the vehicle. You could also try blocking in every surface on the far side of the centre line except the upwards facing ones, as shown in the flat 2 point perspective sketchStage 8It can be easy to overplicate the pastel work when shading a 2 point perspective sketch, since you try to 39。correctly39。 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 paper。 only applying the colour when you feel confident your hand is following the line on the underlay. Your confidence will grow with practice. Don39。t worry if the marker bleeds or the line is wobbly – use a similar colour pencil and a flexicurve to tidy it up.6: Body colour airmarker (stage 1)Similar to stage 3, place lowtack masking film over the entire sketch. This time using the scalpel to cut and remove the film covering the bodywork. The same markers from the previous stage are used with the air marker to apply smooth graduated tones.7: Body colour airmarker (stage 2)Because the bodywork has more plex surfaces than the DLO it may be necessary to cut additional masks to define features such as the wheel arches, powerbulge on the bonnet and depression around the tailgate. With the masking film still in place, cut loose masks from paper and hold in position with your free hand. Working in this manner allows you to quickly lift and replace the paper masks to check your progress.8: Details and shutlinesMost of the hard work is done at this stage, but care is still needed, as you don39。t want to make mi