This is a very simple eye-level perspective view on which I have not really drawn any projection lines going back to any vanishing points; but at the end of the day, the results are quite believable. The starting point I have chosen here is to actually draw out a box in perspective. You can see all the lines across the rear of the vehicle going back to the vanishing point on the left hand side, and the lines on the right hand side of the vehicle all going back to the right-hand side vanishing point.
I have sketched out the mudguards for the wheels, referenced to that side of the box. I have also begun to draw in the roof and the side window, which help me determine the roofline and the back edge of the roofline. All of those lines across the bonnet, the roof, and the boot project out to the vanishing point on the left hand side.
Plot the top line across the boot, then up over the roof, and a little bit of the bonnet at the front. The Charger has that recessed rear window, so to get that in, I have dropped a line down from its top edge and added a different angle to get the side fin. I have developed the bottom edge of the rear window by again projecting a line out to that left hand side vanishing point. I have put in the minor axes first; the axle of the vehicle going between the wheels and again the minor axis projects out to the vanishing point on the left hand side of the vehicle on the horizon line.
I should emphasize that it is always on the horizon line. Again, the same goes for the front wheel; put in the minor axis, which projects out to the vanishing point on the horizon line, and then draw in the ellipses the low profile tires. The lines to indicate the width of the tires all go out to the vanishing point on the left-hand side. All the lines indicating the width, or going across the vehicle, always go out to that vanishing point on the left hand side, whereas the lines down the side of the vehicle indicating the length of the vehicle always go out to the vanishing point on the right hand side.
This way, everything is kept in perspective. The tail lights are in themselves little ellipses, so you can draw in quick minor axes and then draw in your ellipses on those axes to get the taillights.
Other details you can put in are the mirror on the side, some of the door detail, and the ground line, which will later be colored in to indicate the shadow line that helps to indicate how low the vehicle is sitting.
Here, I have also done the offset of the rims to indicate their depths. As you can see, the front rim is not quite as deep as the rear rim. The rear rim has greater offset to indicate greater depth. Color in the black around the tail lights to define them, put a reflection of a horizon line through the side window, and silhouette some of the interior details through the rear window. I have also added some of the chrome detail, and we will be covering how to do chrome later in the book.
I ended up with a little sketch down the bottom corner of the page which made it difficult to draw in any detail because it was so small. The ability to do this comes with experience and practice. However until you get to this stage it is important to follow the procedure that we have just discussed about perspective.
It may mean taping the page to the table and marking the vanishing points somewhere off the page so you can get a decent sized drawing on the page. Also you could draw up a series of standard underlays with the correct perspective already in place that you can sketch over the top of. You cant ignore perspective when drawing cars. The other aspect of constructing the perspective boxes is getting the proportions rights.
For the Charger, I was aiming for a long, wide and sleek vehicle. So accordingly, the first stage construction box reflected this.
To help get this right you can use the height of the rear leading edge as a reference dimension and then count that dimension along the side of the box until you get the right length. For example in the original sketch the leading edge of the box was 45mm high. The box was mm long which is just under 5 times the height reference dimension we used.
When you are drawing your wheels on a car; the good thing is that if the front wheel is not quite in the correct perspective, you can get away with it because it will look turned. However, the rear wheel always has to be in the correct line of perspective. That one is fixed and always has to look right. One thing you can do is to deliberately make the wheels turned; to do this, simply draw in a fatter ellipse or a thinner ellipse instead of the ellipse that you think is the correct one.
It is very easy to make the front wheel look turned, particularly when doing the eye line level perspective, where all of the perspective lines are pretty much horizontal — you can just draw in a fatter ellipse. In the tutorial for the high point perspective, that minor axis will change direction a little bit to get your wheels looking as though they are turned. You need to draw that minor axis to another vanishing point. And then again, it is just a case of drawing in a thinner or a fatter ellipse to make the wheel look turned.
Basically, it is another box at a different angle to the rest of the car, so it will have its own vanishing points. The same principle applies to the door. What you are doing is taking a part of the car and moving it out at a different angle to the rest of the car such that the door will start off with its own box going out to its own vanishing point. Going back to the high two point perspective tutorial: If you were to swing or draw a line from the leading edge of the door out at a different angle to the rest of the car, that line would project out to the same horizon line, but it would project to a different vanishing point.
And then when you are sketching the rest of the door, its bottom half would project out from the leading edge of the door line in the front mudguard, and the bottom edge of the door would project out to that same vanishing point of the top edge of the door. You need to start sketching in a box going out to those new vanishing points, so it is basically two objects joined together effectively.
Proportion is a factor of how high and how long the car is; how long the bonnet is compared to the cabin space of the car; how low and sleek it is, or how high off the ground it is. There are a few influences on proportion and probably the main one is the cabin space. Cars are all designed to fit people in them, and fit them reasonably comfortably. Some cars might have more leg room in the back for passengers; some could be a little tighter; some do not have any back seat at all; but cabin space is common across the whole scope of car types, and there should always be a space for the driver and the passenger to fit into.
A large car might have that bigger cabin space but may also have a longer hood to accommodate a bigger engine. It may also have a longer trunk for more luggage space. This is the typical proportion for a family car. Small city cars such as little front-wheel drive, four-cylinder hatchbacks — they still have that cabin space, but the overhangs the hood and the trunk are very short. Sports cars are designed to have a very low center of gravity, so they have the driver sitting very close to the ground.
The roof height is much lower than your family sedan, the wheels are bigger, and they come a lot closer to the roof height. Sports cars have what we call low and sleek proportions.
Proportion also helps put a car into a particular era or region of the world. That is a typical wheelbase, when it comes to its length compared to the height of the wheels. If it is a bigger limousine, that five-wheel length may get a little bit longer.
On the other hand, if it is a shorter, smaller car, it may get a little bit shorter. If it is a sports car or a two-door car, that wheelbase might be a little bit closer together. As a very loose guide, you could use five wheels long as a basis for getting the wheelbase. They had bigger side windows and slightly lower door lines. Currently, higher door lines with lower rooflines are the rage. One-Box This is like taking a single block of wood, to give you just one box.
It covers vehicles like people movers or little transit vans. Convertibles might also come into the one box category because it is just one flat box with a windscreen coming out of it.
Cars that fit into this category are things like SUVs and hatchbacks — cars without a trunk, essentially. This category essentially covers the sedan-type cars with a trunk.
Step 1 The starting point I have taken here is to use that first sketch as an underlay and then to trace over that using ellipse guides and curves. As mentioned earlier in the material section, curves are really like rulers, but they are for drawing curved lines instead of straight lines. So what I do is move my French curve around the drawing, finding curves that match the line that I want to draw, and then tracing that line using the curve as a guide.
On my circle template, I find the appropriate-sized circles and trace them onto the drawing. After a little while of doing this — finding the right curves, using my ruler for straight lines, using the circle guide — I come up with a fairly simple drawing, but with much neater lines. That is because I will be using the color to determine some of the lines, and I do not want a black line outlining all of my color. So I have just drawn in the major outline, cut lines, and shapes of the wheels, but have not drawn in any reflection lines just yet.
However, I also often get a lead pencil or a blue pencil and lightly sketch in where I want my reflections to go, just to give some kind of a guide and to test out and develop where I want the reflections to go.
Step 3 For the next stage, I draw in what is known as the core of the reflection. So I get my marker and color in below that character line through the side of the body. The character line is really what catches the reflection of the horizon.
So, I put down a solid core of color first. You can put a few little streaks there just to add a little bit of life to the drawing. Step 5 I then take my black marker and begin to draw in some of the interior details. With it, just below that horizon line that we drew in with the gray marker, I draw in the seats, the B-pillar on the other side of the car, and the C-pillar on the other side of the car.
Above that area, use a cool gray 4 or 5 marker, and continue those details: the top of the seat and the top half of the B-pillar in the cool gray 5 inside the window.
In have blocked in a little bit of detail in the headlight and there is also an air scoop in the air dam that you can just see. I treat the headlights as though they are chromed convex shapes. So the top half of the concave shape in the light reflects the ground tone, and then the bottom half reflects a little bit of a sky tone.
Step 7 Next, I will add in the reflections of the sky tones in a body color, and I use pastels to do this. The technique I use is to grab my pastel stick and, using a scalpel, scrape off a little pile of powder from it onto a separate piece of paper. So I get my blue pastel stick and scrape a little bit of blue into the pile of red and mix them together.
From that, I grab one of the make-up remover pads that I have, and dip that in the pastel and get a good amount on the pad, which I wipe across the drawing. You can see in the picture above, I have gone right across the drawing in a big sweeping movement to get a nice smooth finish. If you do it in little dabs, you get a blotchy finish, whereas for this one, we want a nice, smooth finish — just one big arm movement right across the drawing.
I actually want blue for the sky reflection on the window. So I take my eraser and erase out from the window space the pastel that I have just put down. Get a fresh make-up remover, or just use the back side of the used one, turning it inside out, and then you can wipe blue across the top of the window to indicate the sky reflections. Also put in a little blue on the bottom side of the rims to indicate a little bit of sky tone, and to produce something like a metal finish.
This gives the effect of a highlight on those top edges. With the sharp edge of your eraser, you can scrape through little arbitrary reflections going through the glass or the body. Also, you can use your French curves and drag the edge of your eraser along to get a slightly smoother and sharper line. I have now rubbed out all the excess pastel from around the front of the vehicle just to clean that up and to bring out the shape of the car.
Put in the reflections of the ground tones in the top half of the rim just using gray markers. I have used two here — a cool gray 7 for the main body of that reflection, and just a little bit of cool gray 9 around the lip of the rim, just to give it a little bit of depth. Step 12 Next, I have begun to put in the detail of the rims — the design where I have used the negative space to create a 5-spoke look — and put in straight black for the openings in the rim and a few little detail lines to indicate the blades lifted off the rim.
So that is the main rendering massed out, with the main color blocks put in. The final stages are really just tidying up and helping to finish off the rendering. This helps to cover up all that smudged pastel, as well as really define the outside line of the vehicle and lift it off the page. You can also cut out the entire car and paste it down on a fresh piece of paper; but if you are pressed for time, I find the quickest way is to just put a big, heavy, black background in.
It really punches it out off the page. Here, I am getting my white pencil and starting to pick out some highlights around the door, on the door trim, across the top of the window, and around some of the edges on the rims. With the white pencil, I am also picking out little details around the taillight and the leading edges of the blades in the side air vent.
To me, this stage is where the drawing really comes alive. Put in a little bit of tone around the ground to give it some movement and energy. Add a few little squiggles here and there to get your signature on it. Cutaway View For this cutaway I did 4 rounds of underlays.
First, was the initial sketch of the car. Second, was a refined sketch of the car correcting some of the perspective. Third, was another sketch of the car with the internal details sketched in. Forth, was the final rendering. The small view in the top corner was done separately and pasted on the page when it was all finished.
The graphics were drawn in first with markers and white highlights laid in over the top. Racecar Transporter This sketch was used to develop a concept for graphics on a racecar transporter. The actual drawing of the truck was done very quickly and without much attention to detail.
The graphics were drawn in first and a white highlight laid over the top with white pencil. On this one I used colored pencil for the soft tones in the body. Here is another concept for the Laser — perhaps a little harder to recognize. The line drawing was scanned into Adobe Photoshop and rendered in Photoshop. Note the centre line down the hood and that the other side of the car is much shorter, indicating the sharp angle across the front.
This drawing was created using the technique described in the Quick Start Guide. Note the big sweeps of pastel over the body with black background covering over the excess pastel.
I used the same underlay for both views to make sure all the proportions turned out the same — I reduced in on the photocopier for the smaller view. Each view and the backgrounds were created separately and then all the elements pasted down on pasteboard.
Tim started drawing cars when he was 8 years old and perfected his craft while working at Ford and General Motors. These projects include automotive, trains, boats and all sorts of other transportation vehicles.
He is one of the key designers at his firm which is recognised internationally as one of the leading design consultancies with Forutne companies as clients. Many of the hundreds of students Tim has taught over the years have gone on to very successful design careers in their own right. Truck Concept Design Sketching Demo. What makes a good design sketch and what are they for? Car sketch and design video.
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