- Lesson Details
In this lesson with instructor Charles Hu, you will explore drawing cars. Charles will analyze the proportions and the main components of a car, including the wheels. From there, he will demonstrate sketching classic and modern classic cars using an artist pen and markers.
This lesson belongs to the course Visual Development: Dynamic Sketching. In this 12-week course, Charles Hu will teach you the core fundamentals of dynamic sketching. You will learn to focus on gesture, shape, and structure while drawing various subjects. Charles will first introduce you to the materials needed for the course and give you basic drawing exercises that will help strengthen your hands’ muscle memory. From there, you will learn to manipulate organic, geometric shapes and add surface details. Charles will demonstrate drawing animal skeletons, marine animals, insects, landscapes, cars, and many more. In addition, you will explore sketching in colors using gouache. After this course, you will develop an ability to break down any 3D subject into a 2D structure, and from there, draw with confidence.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Transcription not available.
And so I'm gonna start with automobile.
And we got, I think two more topics after that,
the military and the planes.
All these subjects are
heavily focusing on perspective.
And that's one of the things that I noticed,
it's gonna be a,
for some people, gonna be a difficult transition,
especially one that you,
you know, you draw a lot of organic subjects,
usually as an artist would tend to, you know
love to draw gear to a more organic topic
animal stuff that we have been drawing.
It's, you know
And in a way, we're still involved with all the-
there's still perspective involved.
Like there's still creative perspective involved
but it's not gonna be that.
For organic stuff, it doesn't have to so,
doesn't have to be too precise.
It turns out you screw up a little bit,
corner of boxes,
if you misaligned to a vanishing point,
it can still get by it
cause it that are still rhythm or gesture
or can kind of disguise them or the texture, the fur
whatever it can disguise it, you know, if you're drawing
like leaves with the branches doesn't really matter,
But, now we're dealing a lot of corners
a lot of box ideas, a lot of geometric shapes.
So you really have to kind of, kind of know
sit down, be patient, you know, trying to figure
out what the first week that what we did is drawing
you know drawing free hand boxes.
You had to kind of get that pretty know able to
draw a free hand box pretty well to, you know
to able to, you know
be comfortable when working with the mechanical subject.
And once you get comfortable with it's really fun
you get a different satisfaction from it.
Alright, so I'm gonna show you guys how my approach
and luckily again, I'm still gonna be based
on the 1, 2, 3 step gesture in shape and structural.
And that's our pretty much, that's, that's our, like I said
the core step and it's good
that I can use that for every, for all the topic.
And so when you encounter something never drawn before
and this don't, you know, don't freak out
just sit back, ask yourself, you know, what's that
what's what the gestures and what shapes and structural.
And then, so you, you have a tool that, you know,
is gonna be there for you all the time that you can
can depend on, right?
Alright, so here's some like the
the previous examples that I've done.
I usually like to start with a classical car
because there's a lot more corners when we get
to the more modern cars, everything right now
gets more aerodynamic, more fuel efficient.
So things gets a little more slicks.
Different type of sculpture,
They have a, you know, the more like a modern car,
like lot of the know exotic sports car
it's beautiful, beautiful sculpture.
They, like I said, they are smoother, but, but they also
at the same time, they are, they're trying to keep
they're trying to almost in a way
trying to hide their sizes.
And so the way they sculpt everything, just almost
like drawing a second week, the manipulation form
there's still, there's more smoother transition, you know?
So you don't see so clear much as the edges
as a classical car.
So that could be some something tricky cus you
it looks smooth, but they're actually a different plane.
So this is a, this is a,
like a previous demo I have that have done.
They can see there's a lot
of perspective talk and, but don't worry.
It's not, it's not a hardcore perspective.
It's something very basic.
You know, we already guys already guys already
experience drawing ellipse and knowing ellipse, correct.
That part might be the most difficult part is the wheel
get that correctly ellipse.
And, and then the body, the cars
and the body pretty much is the, is the box long
as you always knowing where your center line is.
And then some, you know, some basic proportion of the
of the car, you should, you should be able to do it.
And here's another one different, different type, which is
has a longer wheel base
so here you can see
here basically is the box box idea
with a, you know, with a, like,
you know with a
like hub, like greenhouse
they call this a greenhouse, you know, goes on top of it.
And here's the wheel arch.
You just have to know where the position, where
the wheel arch and the proportion, the size of it.
I think I would do both with a
with artist pen and a ballpoint pen.
I think I, I mentioned before, you know,
if you haven't done this type of drawing mechanic drawings
then I'll prefer you to start with the ballpoint
pen someone, my student,
they never draw mechanic stuff before.
And I told them
you probably should start with ballpoint,
cus you just, you just like
just a little bit less intimidating.
If you screw up your ellipse,
you see how it
it doesn't it doesn't really that to be that destructive.
But if you do it with a, with an artist pan, oh it's
it's just right back in your face is so intense.
The line is so, so dark.
And if you screw it up and trying to adjust it
the next thing you know, it's, it's gonna become a mess.
So the, the ball point is to
it's little bit calmer,
soothing like the green color is what I
usually use to, to start with.
Again, you can still allow you to know adjust.
If you wanna do a disc
See how it can't still,
it's still kind of readable, right?
So pretty, still pretty clean.
But that section a little bit right there.
If you use use the artist pen,
it can look pretty bad, alright?
So let's do this, I'll
start with a ball point just to, to show you
guys how this, how this medium is very effective.
And then I'll probably do some sketches also with the
with the artist pen, and then
for mechanical stuff,
I usually just use markers, you can see like my
material ready right here.
I use you just use marker to shade just cus it's quicker.
I've never done, to be honest,
I've never done a gush on a mechanic stuff.
So it just, cus everything's a little more slick.
So it's just quicker.
So I'll show you guys how that, how that, how
that work show you somehow the reflection
on this shiny surface.
So let me put this aside and we grab a new sheet.
Alright, actually before get to the actual
drawing of the drawing
of this full reference.
I want to talk a little bit.
so I wanna just kind of talk about some
of the basic proportion of the car
and then we're gonna try to turn the thing looks like
imagine this is a little, maybe a toy car and I want to
we are gonna turn the space through our imaginations.
But before we do that
there's certain thing you have to know is that
so here's the, this is the body of the car, right?
So the distance between the wheel
we call the wheel base, and normally
this is about
three or three and a half distance apart.
about three and a half,
this seems probably a bit closer.
I can move this probably behind it a little bit.
Let's bring this out a little bit.
Let's put it right here.
Three and a half.
I know you could, you can, you could be shorter.
It can be longer.
Like Porsche has usually have more
more shorter wheel based because there's sports car.
When you have shorter wheel based the car maneuver
a little more quicker, right?
You have a longer car, which is obviously got more space
more luxurious, but the car is, is, you know
in turning it's it's obviously it's not, it's gonna be
it's not gonna be so responsive as you know
as a sports car and that bring out another point.
It's just, I, I mentioned it before
also, is that everything is built
for the purpose, same as you know
same as organic subjects, you know, are you what's, you know
you know, the, you are here for, for reasons, you know
you're designed to be a, a gladiator or, or design here.
You or you be bought here to be a run long distance runner
right? So they have, you see, same thing.
as, as, as drawing this mechanical stuff,
we're gonna go over some very, you know,
obvious perspective and some fundamental
fundamental information on these mechanical stuff.
But at the end, your job
it's not to draw really kind of draw cars.
I'm not a car designer, so that's not, well
that's not what I'm, and that's not what my profession is.
But so my, my job is,
it's about storytelling
about illustrate, about illustrate things.
The with, you know, put, put something in environments
tell stories or, or, or have something concept
or turn into some type of concept and, or
or some type of interest, more interesting characters.
That's, that's what my job is.
So that's what, that's what I want to show
show you actually for the next lesson,
for the the military,
actually, I can even show that even more,
Cus military vehicle usually are
have serve a very, very purpose for combat.
So they looks like when I draw military vehicles
it's almost like drawing a sting pong character.
It's just so fun, adding
all the stuff on the, on, on the side.
Alright, so here, here we go.
Let me, let me show
alright, so this right here.
Well, almost the side frame of the windshield
we call A-pillar,
this right here
right center of that door frame.
That's a B-pillar.
The one right over your trunk.
They don't even have a B-pillar.
I, I used to have a Honda elements, which would have
suicide door, you guys know
suicide, the door open, like open this way.
So there's no B-pillar.
So if you have easier entrance, you can just kind of hop
in versus you have a B there blocking you.
So, one thing you need to know is
that A-pillar will always be behind your phone wheel.
Alright, so you have to keep it in mind.
The A-pillar will never go over the wheel, right?
cus that's where all the, the engines gonna be set.
Well, it doesn't matter.
The front engine or, or rear engine is always gonna be the
a pillar is always gonna be behind then the front wheel.
However, the, the, the C-pillar can go over the wheel.
Sometimes you probably see the door actually has cut
through over the, the back wheel
to able to allow, you know, the door to fit.
I'm pretty sure you have seen that before.
And again, this is not, not all the time.
Most of, most of the,
the car the trunk backside, little bit slightly higher.
Of course you have a front engine car
because you can put
just have a little be that trunk room space.
And so if they not really, so they don't really sit flat.
And then usually right at the door handle right here
you will see in the edge, usually there's
an the edge that cast a strong core shadow
or highlights coming down like this.
And it's called, you know, well,
I, I went to a repair shop,
the guy say they called a spine.
So I just, I just call it spine.
Maybe there's a different term for it.
And the reason why, why I was in the car shop
because my car once got dent.
And was dented right at this spot right here.
So I, I took it to the car, the car repair place.
I thought they can just, you know
I seen it on for commercial.
They can take this kind of suction cop thing.
I just kind pop, like, suck it back out.
Now they say, no, no, no
you can't because I, I didn't right.
I just, this word, that spine it is, which is
is a harm middle behind it for, for site impact protections.
So, which makes sense if you knock
on your car and knock on the side door and notice
if you just knock on the, the, the, about the
about the center on the door
you're gonna feel there's probably a little vibration.
It can feel hollow inside.
Cause that probably the way the window rolls down.
But if you, if you knock on where your handle bar is
you gonna feel it they're solid
the different there's gonna be a different
different sound, different tone.
So there's usually there's an edge
and which I hope your car has it because again
it's for side collisions impact.
So now, couple things
I want to keep it in mind between the, the wheel base,
like I said, roughly three and a half,
three half, could be four
depends how long the car is. Those classical car,
they, you know, they are, you can see that, you know
sometimes they can go over to like four and a half.
I, they, well, sometimes the wheel is bigger too.
This is crucial, the A-pillar is behind the front wheel.
That's all, that's, that's one key kind
of key placement that I, I go
for when I do more of a, more of a other view.
So now, like, say if I
So this body, this part, this part right here, where, where
where you're sitting this called the greenhouse,
right? So now
let's turn this car slightly this way.
So we all know the car generally is a box.
And then when we study like proportions,
we always go with a profile view
cus you get to know the, the, the, the shapes
and the proportion of, of the, of it, of the subject, right?
Doesn't matter the mechanic subject any, any subject.
But if you look at lot of like these car,
you know, you know, photos,
you notice they usually shot on a three quarter view.
The three quarter view usually get the, you know
you get the most dynamic view.
And then often when you have three quarter view
then you have to basically knowing what your perspective,
cus now you have to know how your wheel, right?
How your wheel, first thing, that's what you do,
first thing I look at, I look at how the wheel sits, right?
How the wheel sits on the ground.
You don't wanna end out drawing a car if you're
So a lot of times in that, in that case
I get a sense of where,
know how the, the, the, how the wheel perspective
in relationship to the ground.
Once I get that, I know what, what's the overall perspective
for a, for this, you know, for this vehicle, right?
So usually what I'll do next is I'll go up
to see how high the body of the car
I can look, I look up how high that is.
I'll always chase after my center line.
You also want to know center line, right?
And then now I can, I can also
a couple ways I can look for the back end to see where,
you know, where the wheel arch from the back.
It can also project that to the
to the front too, like this.
And then when I had the wheel arch, like I was saying
I know the, A-pillar is what's always gonna be somewhat
behind that, that front wheel.
So I probably know
or the windshield, is gonna sits about right there.
Sometime I, I look at the distance of the hood.
I maybe, maybe I haven't get to the wheel arch
you know, you know, depends on again, depends on the car.
Just says how trying to capture characters.
What's what's, what's kind of strike me first.
I trying to, you know, trying to put that down first,
this car has a big long hood, I usually
probably, you know, emphasis that at first
you know, get that long hood before I get the wheel arch.
So in that case, I know,
like the wind-the wheel arch,
sorry, not wheel- the windows right here
A-pillars right here,
so here's the, right,
So here's the, the window
or the front windshield right here.
Right. And then I just
I can just go back, find the rooftop,
not the rooftop, well,
the top, and then here, coming back,
right here there's the back of trunk and right here
here's the B, the B-pillar right here like that.
So it's always chase.
See, here's all my center line.
And then the car design the car is gonna varies.
It, this is like a car or box type of car, right?
Like I said, then you have to add bumpers
and all that other, you know, fenders whatever.
Then it's gonna change the shape.
But this, all the cars is gonna base on some type of this
this, this kind of boxy car,
like this, just a
variation of this, again,
it's a four wheel on chassis.
What? No, there's nothing else.
You know, nothing else you can, you can do, you have to
have still have to has that four wheel and then some
and have a body and, and a place for, for, for people to sit
Okay. So let's come over here.
So now here's the corner.
The corner also keeps pretty close to the, the front wheel.
Right. But the front wheel, it doesn't go right up
to that corner.
How the need to have a little bit of space.
So that's where the bumper is.
Let's do that.
Let's give a little,
give a little
kind of grill like this, right.
So I just turned, I caught a little bit.
Well, you can, you might ask my, ask me
why are drawing wheels so weird?
Well this for now.
And I'll, I'll get to the, the actual, the
the correct way to correct the ellipse.
And, and, but normally when I, when I saw with the wheel
I start with just a box, just kind of what I did here.
You know, you know, some automobile designer, they just
they actually just leave their design like that.
You know, they, they focus the, they try to sell the
the shape of the body and they just leave the wheel as a
as just a square and a flat square shape.
So let's turn a little bit more.
So what I'm doing is basically I'm pulling this corner
out and reducing some of the, the side of the car
Right? The, the body
the front fascia,
the wheel arch,
Now I turn the car a little bit more.
Let's continue, turn it.
So what happened?
This gonna open that gonna get shorter,
You see, actually
start seeing more on the front of the tire.
See how, how squash the side panel of the car
don't forget center line here, right?
Here's the hood.
You look, our, in this case, our eye levels is flat.
Well, our eye levels right here, I'm not doing any three
quarter view like that.
So just keep it that straight on our level
Keep it consistent.
So we turn a little bit more,
all this it's just based on this.
All the way I can turn into the front view.
I can turn and I can turn into the backs, put it backside.
So let's, well, let's just turn to the backside, then.
Earlier I said, the back trunk are somewhat
slightly higher up
the front end, slightly lower.
The, the C-pillar can go over the, the back wheel, so
that doesn't really matter.
But the front A-pillar cannot
go over the front wheel,
Maybe that's your license plate
So looks fun.
So now looking for the back.
Alright, so this is
something like you can, you can, you can, you know
you can sketch yourself, you know, just do
small like this, or
or you can literally just, you know, get a little toy car
and put it in front of you and turn in and
and kind of draw them again to, you know, to, you know
to the point that you can basically
kind of draw this
you know, draw this kit car
all out of your head.
That would be very, that very helpful, alright?
Transcription not available.
Well, let's look at the profile first.
Not all the reference I have has profile,
but this one I know it has.
So I'm gonna just look at it.
Now, just like most of these,
kind of these earlier classical cars,
they all has this sense of bucket feel.
They all looks like a bucket sits on that chassis.
You've probably seen this before.
It look like a bucket and sits on this chassis,
and the wheel hub, they all arch.
They all looks like this wave.
And then they have this gigantic wheel.
And lights sits in the front like that.
So this one, it's obvious, just modernize it a little bit,
but you still can get a sense of where the arch
of that wheel.
So right now I'm trying to see is,
what I'm trying to figure out what's the shapes,
what's the character, how far this extends out,
or what's different between this arch versus this?
I can notice the front end feels a little bit more,
this feels a bit longer,
and this just a bucket.
This is just nothing but like a bucket,
and you just kind of drop in the front end, goes over.
The front hood is not that long, at least not this car.
Some of it, they can go pretty long,
so I know this one is not.
And so I keep that in my mind, all right?
So this just has a shorter front end.
here's the seat right here.
See the back seat is further out, has more space here.
Very direct, very like chiseled, right?
Not much a curve.
The wheel not extremely large.
And just like that.
So I got some idea what this car looks like proportionally,
and also its character.
So now I'm gonna look at a 3/4 view.
All right, so as I said, if I showed with a 3/4 view,
if this gonna be like a step-by-step,
like how to like draw
a process of a car,
like I said, I would start from the wheel,
and I then work my way up.
But when you actually really sketch, you just start.
You don't really necessarily follow that step.
You can start from the front end,
start from the top or the hood.
But long as you have that, again, long as you have
this in your head, that box, and the idea in your head.
Always know where the center line is.
And then, like I said, you can able to draw
from all different parts of the car.
All right, so I'm gonna mark it,
some of the important
referencing points for myself
to build these drawings.
First of all, the front wheel
is gonna be somewhere right here, right?
And it looks like, so obviously, here's the center line.
Goes up, here's the center line, somewhere right here.
That's where the grill, the front hood,
someone is gonna be right there.
So now look at the back.
Somewhere here is, let's say here's the back wheel.
I can get a sense of how high the back wheel is
or where it take me to that wheel arch.
And project that forward.
So the front wheel arch probably gonna sit
somewhere right there.
And then the one on the further side,
probably gonna be somewhere right there.
So that gave me actually the heights of where the wheel,
the top of wheel all the way down,
the wheel arch all the way down to the wheel.
And then I can see a little bit of the side,
the side where the bucket,
actually I'm gonna go quite high up, about right there.
And it comes over,
and I'm just gonna bring it all the way out.
And I'll just double check.
See where I checked the angle relationship.
I think that's also a pretty good place to end
that convertible, the canvas.
And I also want to come over right here.
To check this distance,
and that can also help me, allow to know
where the front frame of that canvas.
Like that, slowly but surely,
everything is, it's all point, all right,
connecting the point.
Looks like the side panel of the door angles in, huh.
Looks like angles in like that.
And I'll look at this space right here now.
Oh, actually, I need sit back.
I need sit back, check what the big,
the major relationships.
And some of these reference, for this recording,
some reference I never would have drawn before,
which is kinda exciting.
So might actually my first time drawing it.
And I'm actually just kind of observe,
same thing as to what you guys will be doing.
You guys be drawing it for the first time, same as here.
So it's not something I have done.
Maybe there's some reference
I have done it before from a demo,
but some have not have a lot of full reference.
So it's kind of,
just you can find my way
Be always kind of thinking, be smart, and sit back.
Smart means hope making the right choices,
and not trying to try to rush it.
See how they all line up, right?
Sometime I try,
if I can try and push it a little bit.
Although this is very more of a,
like almost a creative perspective way
to kind of mostly heavily focusing
on the perspective.
But I was still thinking, oh, what,
like how can I maybe give a little bit
of deeper perspective?
Like this door, this foot step.
What happen if I make the front end a little bit wider
than the back end?
Or I make the front end of that wheel arch
a little bit wider?
Maybe that can give a little more character,
so maybe I'll do that.
Maybe I'll make this front end even a little bit,
even more wider.
Or what happen if I curve a little bit more?
Looks like the panel comes up right here.
That's where I guess the odometer, steering wheel,
I don't even know at that time, (chuckles)
odometer meter in there.
But that's definitely, there's a panel right here.
And then it goes over that way.
See, I always make my long axis a little too long.
I can always come back and trim it.
And a lot of time what happen when you make it longer,
things just happen and align.
See how that align?
See how that align with the back
of the foot steps?
And some of accessory stuff, like that lamp on the side,
I just start with an oval shape,
and I'll develop later.
Right now, 'cause I want to get the front end.
I want to get the big, the major stuff down first.
That looks I go back a little bit more.
Okay, so now at least I find the width.
I know this is roughly this width of a car.
So here roughly is the center.
All right, so now here's that board right here.
Here is my center line, right?
So when that center line meets that board,
that point right there,
that's where the top of that hood.
Little hard to see on back.
It looks like there's a lamp right here,
so I'm gonna just draw that lamp.
Again, anything where it's like tricky perspective,
like that lamp is just a cylinder,
and you have to, I mean, different cylinder,
I just start with an egg,
trying to just get the mass first.
See how it's shorter here, wider here?
I'm getting that gold trim
out that front grill.
See how that comes down right to where the lamp is?
And it looks like really quickly
just kind of tucked to the bottom.
That's where the front end of the grill.
Maybe that's where the oil tank is.
Looks like that's where
the cap, the oil tank cap.
Well, anyway, I'm just gonna draw a shape.
Looks like something like that.
Okay, the Ford logo.
So actually I shot this photo reference myself.
Actually, my brother-in-law,
he actually is a car designer.
So lucky to have a brother-in-law (chuckles)
that's in the car design field.
So I actually went to Detroit,
'cause that's where they live.
Dig his brain and ask him a lot of questions.
Like I said, I drew cars before.
But just like probably some of you
probably also have done some drawing of
kind of transportation.
But it was just like your own sketch, right,
you just draw it.
But never have a next assistant to teach it.
So like when I took over this class,
the next teaching class, I said,
"Oh, I can draw,"
"but I'm not sure how I'm gonna communicate."
So I fly to Detroit, (chuckles)
and asked him a lot of questions,
had him to show me.
He also went to art center.
He was transportation design graduate.
I went there myself.
I've seen a lot of those transportation design drawings
on the board, they're amazing.
And they are very slick, very,
very stylized, but in a good way.
And I was just trying to see
how they did it.
So this was at the Ford Museum Detroit.
So I went there, he took me down there,
and I took a bunch of pictures.
Again, always knowing where the center line is.
See how there's a suspension that looks like an arch?
As you can see, we're coming along.
Everything kind of fits, kind of, right?
So don't rush it.
If you rush it, maybe you missing out
some of the connecting point.
It's this kind of slowly being patient,
trying to figure out where all those center line,
where the points are, how to connect.
And those help you to do sketches more freehand,
help you to freehand places,
because all these practices you have done,
just like anything else, allow you to be quicker,
be more efficient,
allow you to chase after other ideas.
But if you can't do this, and you're trying to be fancy
and do something wild
or interesting, then you're probably,
that's probably not gonna work.
In a sense,
it's probably gonna feel like just a surface,
just a superficial.
The detailing or the connections
or the perspective or whatever
that might still be off.
So you can probably, your work can only be so far.
You can't go any more further.
You just stay at that point.
So like the panel stops there,
and then here is the lamp right here.
Probably there's another one right here.
Here's the end of the chair.
The front end of that,
that chair, and that board coming down,
meet the floor, goes back.
And maybe I'll just give a little bit of a shade
so there's not so many lines.
I can see that goes down, that goes to the front.
Maybe I'll give a little shade on this chair too.
And I can see, looks like the steering wheel,
'cause it's up crazy high.
Looks like it right here.
See here is I sneak in some of the organic curve right here.
Actually, it should go back more.
I get confused with the vehicle behind.
Probably this should come back a little more like this.
All right, you probably kind of, (chuckles)
at this point, you can start screaming.
You're saying, "Get to that wheel!"
Yeah, we'll get to that wheel. (chuckles)
I'm gonna get to that wheel about right now.
All right, I'm actually gonna do in a different color.
Why that's one of the great things about this pen.
So I can kind of show you guys
a different color note. (pen clicks)
Well, first I said, you all do
is I box it out first.
Get the positions and proportions.
Can make your line way too long.
The front end of the wheel probably always better to,
at least for these type of car, which is kind of open arch,
you only got a top,
and then it can expose the front end.
Not like modern cars, you have a bumper
to kind of cover over it.
So you're better off to make this, if you're gonna screw up,
probably better to stretch it a bit further out.
That's why I was comparing the headlight.
But I'll stretch it a little bit more.
And so overall, you can still get a nice
exaggerated proportion of that ellipse.
Because again, go back to our ellipse.
So if we have a, and that's why I drew this box,
because if you're not quite sure how to draw
the correct eclipse, you start with a box first.
Just do the box, or a box, in a way, is a part easier
'cause you can really get a sense
of what easier to pick out,
get a sense of the perspective of a box,
then the ellipse, right?
So once you figure, all right,
see that's where the box
of the ellipse should sit.
Then that ellipse probably will look like this.
Right, and I will get to more of a correct way
to figure out how to draw
the proper cylinder, proper ellipse.
Right now, I'm just, again, just still freehand.
So if you have a box
in that shape, that means we're looking from above it.
And also, if you draw a lot of these vehicles,
you notice the eye level off. (chuckles)
Usually I'll see probably 96% of time will be higher up.
So you almost end up just drawing
the same kind of somewhat similar ellipse.
So you then, just later just becomes like autopilot.
Just you know how the ellipse should look.
So I know the ellipse gonna be squashed more of a,
it's gonna be more elongated this way.
So if I screwing up today,
probably better off to stretch this a little bit too long.
In that case, like I said, better also bring this
further out a little bit.
So this axle,
we would call a minor axis.
So here's your minor axis.
Your minor axis and the major axis
should be somewhere about 90 degrees, right?
So you guys probably all have learned that before.
That help you determines the ellipse,
like the ratio of the ellipse.
So again, if you have...
Minor axis, major axis, somewhere above 90 degree.
And the back end, the further out,
the ellipse gonna gets what, gets fuller, right?
So here, it's a little bit shallower.
Here's the before.
So what that tell me, this wheel, that's gonna fill,
if I'm gonna screw up that wheel,
I'm gonna make it a little bit rounder.
So if I'm gonna screw up this wheel,
see how I'm gonna make a little bit rounder?
But then this guy is gonna look more,
or you saw, it gonna looks a little more like this.
And that guy, it goes a little bit squashed.
Unfortunately, I wish the wheel can just be done
with just one single ellipse, then we're good to go,
but usually there's multiple.
So it can be a second rim.
The second rim probably gonna be sits about right here.
And this one is gonna be, probably be right,
somewhere right there.
And this probably gonna be somewhere right here.
And, of course, I'll explain to you why.
The answer is depends on where your eye level,
where you're standing.
All right, so,
actually we're pretty much done with this drawing.
I think, I don't know.
But right now, everything else, just keep going in,
and detail some of the detail.
But I think the overall blocking is there.
You guys can see how I develop the drawings
from ground zero.
Everything it's based off from the floor,
so the first initial of the box is on the floor,
and slowly builds it up.
You kind of saw how they did it.
So back to this.
Think about it.
You're standing right here.
This is where you're standing.
And you're probably, your head probably about right,
probably about right here.
It could be either way.
It's gonna be higher than this tire.
So if you are standing off to the right
and slightly above it.
So what happen, when you look at a tire
you're probably gonna have a little more space at the top.
Also what, in the front, right?
Simple as that.
And by the way, rarely, even this view right there,
that still is a one-point view.
That actually is, as a mention points out,
it's in the middle, actually still not looking
at a perfect symmetrical wheel.
So when I draw a wheel,
I never, I don't recall.
I will put that wheel right in the center of the tire.
Usually gonna be offset a little bit,
and looks more interesting that way.
So, depends on, again, it depends on what you're looking at.
See that wheel is always gonna favor to one side.
And that looks more, again,
that looks more interesting already.
All right, that's when you're looking more on the side,
when you look in the top.
A lot more this side, less on that side.
Just ask yourself, where's your eye level.
And then we're gonna get to the tire a little bit deep.
Probably deeper later, but right now,
I just want you guys to make sure
you can get that right ellipse, that's most important.
And then my suggestion is start with the box.
if you still don't know how to draw a ellipse
within the box, the way I do it...
Divide a box, looks like a English flag,
and also like a clock.
You got 12 o'clock, you got one o'clock,
you got three o'clock, six o'clock,
right, nine o'clock.
Right, so this maybe five o'clock,
seven o'clock, 11 o'clock.
And then, all right, I'm gonna...
So what you do is you take 1/3 of the corner.
About like, let me bring in a little bit,
1/3, about 1/3.
So what happened is you're gonna hit those point,
all these 12 o'clock, three o'clock, all these point.
That's how you draw a circle in a box.
So now if I turn that box in perspective,
still has our point, right?
So here's the 12 o'clock, three o'clock,
nine o'clock, six o'clock.
I'll bring all these corner about 1/3.
And you see how the ellipse looks more like this?
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So, I noticed it's, it's, it's a, it's a big switch now we don't,
we're doing purely - not purely focusing a lot on organic perspective.
And so you have to, if you see having problems just understanding how to
draw freehand boxes again, you might want to you know, spend some time.
Also maybe revisit the first lesson or second lesson redraw those boxes.
And eight pages as the same as always right now eight single pages.
I will suggest you, as I was saying before start with a little toy car.
It doesn't have to be fancy can just be a block.
I mean, you know, I, you know, my kids had those have just wooden block car
it was just, you know, very, just full wheel on, over a woodblock,
just start with that and just draw it in different perspective and able
to do that, you know, comfortably.
And then go look up the reference and, and just start sketching what
I could say more and figure out what would attract that center line.
Keep in mind make sure you know where the center line.
Do couple just do just a wheel, you know, studies.
Do couple wheel.
I'm going to talk more in depth the wheel in the next section in ilitarym
vehicles, but just yeah, just you know, do a profile and do a profiles over - do
a profile studies and then do a - and then you can do a three quarter view and yeah.
Good luck guys.
Transcription not available.
Reference Images (56)
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7. Assignment Instructions1m 41s