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Traditional Sketch Rendering

هذا الموضوع : Traditional Sketch Rendering داخل الرسم اليدوي والخط العربي والزخرفةالتابع الي قسم 2D Programs-Video Edit : Hi all designers! I will begin by introducing myself. My name is Mikael Lugnegård and I'm a Swedish designer, currently ...

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    الصورة الرمزية k o g d
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    Traditional Sketch Rendering

    Hi all designers!

    I will begin by introducing myself. My name is Mikael Lugnegård and I'm a Swedish designer, currently working towards the automotive industry. I'm 27 years old and I love my work. Design is my passion, no doubt. If you feel like reading more about me, my journey and my take on design, please read this article. After that you can also take a look at my new web site, www.daylightproduction.se

    When Allan approached me about writing a tutorial for his website, we both agreed that it would be nice with something that wasn't completely focused around a digital technique. There's a lot of great tutorials on how to use Photoshop in a successful way, so that won't be my focus. I will however do some digital touch-up on the final sketch in CS, but 95% of the work will be old school.

    In my opinion, to communicate ideas, you need to master a few different skills. One of these is to draw, with pen and paper. This is a fundamental skill you need to master. REALLY. Consider one of the following scenarios. You're in a client meeting, and you need to sketch down an idea to show your client what you're thinking. The sketch you looks like something a 5-year old has done. This doesn't evoke trust, the most important thing in a business relationship.

    You're on a internship at a studio on the other side of the planet. You didn't bring your Wacom tablet. They have none to spare for you…..your computer breaks down in the middle of a project, and you're colleagues are to busy too help you out. You get my point. Imagine how satisfying is would be to nail that fast and dynamic sketch in front of your client with only a ballpoint pen!!!

    At most design schools they teach you how to use a single wooden pencil to create an entire rendering, sometimes referred to as a “Prisma-rendering” due to the type of pencil usually used (Prismacolor wood pencils).
    These are fast and very pretty looking techniques, and they are fairly easy to master.
    This will be more of a walkthrough then a tutorial in the sense that I won't describe every pen stroke, more the basic steps and thoughts behind.

    Ok, let's go!

    Since this will be kind of a semi-rendering I prefer to have most of the design nailed before I start. I begin by making a very fast, 10 minutes at the most, ink sketch with a Copic Multi Liner Brush-M. With this first sketch I try to get the lines and proportions that I want. I also make fast lines to indicate where the reflections will be falling, just as a guide for the coming rendering.

    Before we begin tracing the initial sketch let's look at the materials we will be using. I will sketch on normal Xerox Colortech+, a very nice copy-paper.
    I will be using three types of pencils. A black Verithin (king of sketch pens), a black Prismacolor, for adding lineweight and shading, and my favourite ball-point, a black Pilot Super Grip, Fine (awesome on vellum)


    The next step is to trace and refine the original quickie. This is just matter either turn on the lightbox or….like most, just try to get Superman's x-ray vision and see through the paper. For those of you that use Vellum, this won't be a problem.
    The tracing part can be a bit cumbersome, and some you just might skip it and sketch out the design straight away. When doing car design, it's all about the right curves, the right proportions. Therefore I usually sketch very rough sketches in the beginning, just to find the right tension between curves, folds, feature-lines etc. These roughs can then be made “readable” by overlaying and refinement. That's the process I will take your through now.

    By the way, this sketch comes from a real project. For this project, I choose not to sketch in a very dramatic car-like way, with a lot of perspective distortion, and extreme angles, not a traditional car sketch in other words. This will be a very honest sketch. It's not made to be eye-candy or to persuade the design-boss. It's made to tell the client about a design proposal.

    When I trace I'm very light on the hand, just indicating the linework. I try not to work the lines to much, instead I do the lines with as few strokes as possible.
    When the main curves are set, I use shipcurves to give them some really beautiful lineweight.
    It not necessary to do all the curves at once, I usually do this bit by bit.


    Next step is to start indicating reflections and thereby describing the material and form. At first, this is done very light, so I can take a step backward in case it doesn't look right.
    When I'm happy with the reflection pattern I begin to work the lines and do some tight 45 degree lines. This is pure practise. Doing parallel lines I mean. The lines are instead of marker work, and have the same purpose, to add value and readability.
    How do I know where to draw the reflections, and how to arrange them next to each other?
    The answer is simple but still not. Observe reality - recreate – mimic - understand - observe more - interpretate – render more.
    This takes time to learn, and shouldn't be rushed. Don't just copy other sketches. They might not have done it right, and you won't really know why to put lines and value in certain places. It's much better to work from photos and memory.


    To create depth in the image, the darkest value should be closest to the “camera” and the further away the less contrast. To achieve this, I fill the air-intake with black, give the headlamp a lot of contrast, scribble some value into the tire area, just beginning to work the front and putting less effort into the rear.
    One area in particular that is very important is the greenhouse, the glassed area (windscreen, side windows). The glass acts like sort of a mirror. In the reflective areas you usually see right into the car interior. Remember, that on transparent surfaces, the shade above the horizon usually is close to opaque and what's beneath more transparent.


    How about door panel/car body reflections? Let's begin by shading the whole area lightly. Then we can draw some “templates” for how we want the different reflections to play on the surface. This can be a bit difficult to do. You need to “feel” the reflections, and there is no template for how to do this.

    I continue to work the sketch with more reflections until I fell OK with it. Sketching cars in kind of different. You need to understand the car to sketch it, cause there is so many details that makes it a car.
    MIKAEL LUGNEGÅRD
    TRADITIONAL SKETCH RENDERING




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    الصورة الرمزية k o g d
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    Michael continues his rendering here, by scanning it in, and making the finishing touches in Photoshop.



    One thing that is really difficult to do good is wheels. I don't put much effort into mine, since I know we will go digital later on.

    Now it's time to bring the sketch into Photoshop ( I use CS 2). I use a very budget CanonScan Lide 30, and it works very good (slow though). Since the scanner is in A4 format, I need to scan the image in two parts and assemble them in CS.

    The first thing I do when that's done is to adjust the Levels (Ctrl+L) to get a nice, bright and white background. Then I tune up the darker levels to get some contrast.

    Car designers usually sketch the wheels way to big, just to give the car the right presence. Big rims and wheels just look good, it may be a harsh and bumpy road, but that's the price to pay for beauty ) My wheels are too small, so I copy the wheel area, and enlarge them using the Free transform tool.


    Next up is some retouches. There's some lines and dirt on the drawing that I don't like and thanks to CS that is easily removed with some white paint and a hard brush!

    The grille, that gorgeous dubble kidney grille, looks really poor on my sketch, I know. So I did a new one, no big deal. Had to make it look better and cleaner. I also improved the headlight with some more contrast and details.

    The sketch could be done now, but I will play a little bit with it since we got the opportunity.

    First I put some colour into the digital airbrush and give the car a light wash in certain regions ( I will use a medium grey). I use a 12x18 inch Wacom Intous 2 tablet when sketching/painting in CS. I would really recommend anyone who's serious about learning this profession to invest in a Wacom tablet. If you have any plans to do some digital sketching, you can't live without this tool.
    Anyway, be careful to preserve the contrast and forms. First create a new layer and set it's blend mode to multiply. I focus on the front corner of the bimmer, letting the shades fade away from the viewer. Try to use a large brush, it makes it easier to “hide” the strokes and create big shades. I've set the opacity jitter to “pen pressure” so I can control the opacity by adding or reducing pen pressure. When I'm satisfied with shading I erase the leftovers to make it match the sketch. You may also want to reduce the layer opacity, depending on which grey value you used.

    But now this looks so digital, and I don't want this piece to be yet another “photoshop-sketch”. To get away from this digital look I add a new layer which I fill with a mid-grey tone, 50-75% grey. On this I run a noise filter, like 10-17 %, uniform and monochromatic. Finally I put this layer in Overlay mode, and set it's opacity to 20-30%. Now you'll have a slightly noise texture everywhere except on the white areas. Personally I think this removes the very digital feel to a sketch.


    We could stop here, but we won't. I really like to play with my work and see if I can polish it a bit more. As long as you do this on separate layers, it's so easy to go back.
    Let's create an adjustment layer, more specifically a Curve adjustment layer. I set the curve to a slight S curve, increasing the black and whites.


    I'm pretty happy with the result now….no, wait a minute, we have forgotten some very important details, the parting lines or shutlines if you will. Sorry girls & guys! Bare with me as we add this final touch to our little sketch!
    There's so many ways to do this. You can build different paths for each shutline and stroke em or you can handstroke them with tiny brush. Usually I would jump into painter and do this by hand, but since we've almost finished we'll stay in CS. So, using the pen tool, I create curves for the lines I wish to stroke. Try the get the curvature as good as possible, otherwise the lines will look like bad handstrokes that doesn't match the design. I strokes all path with a 3 big pixel hard brush, and create some nice fades by using a big soft eraser on the lines.


    !

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    الصورة الرمزية ammarkhatib
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    تسلم على المرور اخي عمار ويمكن ترجمة الدرس من هنا , بحيث يتم اختيار اللغة من الى , ويتم وضع النص او رابط الموضوع اسفل الصفحة .
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    اتمنى ان تكون قد استفدت منها اخي العزيز .
    بالتوفيق ان شاء الله .
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    الصورة الرمزية esraa_88
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    طبعاااااااا هايل
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    الصورة الرمزية k o g d
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    شكرا اختي الكريمة على المرور الطيب .
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    الصورة الرمزية hany_201083
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