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Again, on a new layer, I have now started applying the highlights. For the sharp highlights I have again used the "path" tool to ensure that I get a crisp line. At this stage the drawing really starts to come alive, and you begin to get a real feeling of three dimensions to your image.

I would suggest at this point taking some time to really look at your reference image and try to understand why the light is falling and reflecting on the surfaces the way it is.
On another new layer I have started to apply some slightly more detailed shadows and reflections. Whilst it is obvious that surfaces pointing away from the light source will be darker, reflections bring their own subtleties and complications. Using a photograph (or real life) as a reference for such an image is therefore a useful exercise. Studying these reflections should help you understand how to apply them to your own designs.

I tend to apply the shadows first, as to me it feels more natural, of course this is not a fixed rule.
Here I have added some very subtle shading to the whole of the object. Simply put, the areas pointing towards the light source collect more light. At this stage however I have not worked into any details, and I have also resisted the temptation to make the image too dark at such an early point in the drawing.
Placing highlights around the wheel house helps show that these surfaces are a little more upward facing and are collecting a little more light from the sky. At this stage I have also added some of the sharp lines, again using the "pen" tool. For the windows I have made paths around the shapes and then erased away the colour from the body layer. Something to note... it is important to save each of your paths as it can be a little annoying having to do them again later if you have missed something.
Next was to create the primary paint coat and the second colour on the side of the car. It can be a good idea to always have a standard palette of colours available to choose from. You can see in the top left of the drawing space I have a small colour colour swatch, allowing me to pick colours quickly yet consistently.

At this stage I have simply used paths to make selections which I have then filled using the "paint bucket" tool. It is your choice whether you want to keep each colour on a separate layer or not, although keeping some things separate of course allows a greater degree of adjustability later on.
First of all, when you are doing an illustration it is important to find an image of a car that you really like. This will ensure you are inspired to produce a successful image. Producing an illustration can be useful in understanding more clearly how reflections from the environment hit glossy surfaces and how the interplay of highlights and shadows happens in real life. In this case I used a real photo that was taken with my phone, hence the picture was poor in details. My advice to you is to have something in high resolution as it can help you analyse every line and reflection in great detail.

As you can see in the picture I start using the “pen tool” (you can find a good tutorial on how to use it here so I won’t explain it again on how it works) to trace the general shape of the car and to make a selection in order to fill the primary colour. The pen tool can provide the greatest degree of accuracy for this task.

Please note...the red stripes in the image were created only to demonstrate where the paths from the pen tool were placed, so it is not a thing for you to recreate because they have no meaning for the render.
 
Let me start by presenting myself. My name is Iulian Vornicu and I am a 25 years old Romanian Industrial Designer with a strong addiction to this magnificent profession. My passion for drawing and designing started in high school during the time I studied architecture. During this time I felt more attracted to designing new products rather than planning new buildings, so at that point my choice was easy to make. I finished my design courses from the University of Fine Arts “George Enescu” Romania, after I received my Bachelor’s degree in Industrial Design. Although I still work in the architecture field, collaborating in the interior/exterior design of constructions, I will soon attend a Master program from Instituto Europeo Di Design in Advanced Transportation Design and hopefully start my automotive career. For those who wish to see more of my work, you can view my portfolio on Carbonmade.
IULIAN VORNICU
Adobe Photoshop Illustration, Old Bentley
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page last updated; 2014-06-15
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