Do you draw all of the car’s body?
I don’t go around looking for inspiration, but when I see a particular car, I don’t think in terms of, “How do I draw that?” If there’s a silhouette, if I have a certain size and color scheme, I start with the silhouette, and work from there. For a lot of sketches with cars, the most important thing is not to have the car come into focus, if the silhouette is not well drawn. I like to have a certain color and a certain style, with the way the edges of the car intersect. A lot of times I will say “I want a certain look and I want that silhouette.”
I draw all the way back to the center. That’s easy to remember, I think. I always start in the center, but if I’m drawing like a car, I start with a particular detail that seems kind of obvious to me, and I just start drawing.
I try to get all my colors in. For me, it’s almost one of those problems that you can’t really be consistent for all types of colors in all types of shapes and things. But when you’re trying to do a piece of a design, and the first thing you’ve got are those little things and lines, it’s all about consistency of the color, and then you use that to kind of build on those details that will help convey that feeling.
We really look at the car as three-dimensional. You have to be able to pull it back from the camera, let the light come off of the car and take it all the way out, then make it stand out from the street.
I just draw all the way around my car. I like to go straight and line the corners of all the surfaces of the car before drawing the detail, in my pencil. I make sure that my lines aren’t too long that they’ll come across the car, so whenever I need to draw in that last little bit of detail, it’s not too many lines but close enough so I don’t end up blocking the car. I’m not going to be drawing with too much paint in my line, because you’ll always be blocking things anyway.
The key is to come up with a plan of where it’s going to go. You’ve got these three elements
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