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In the final step add some
freehand highlights using a 60% opacity brush on a new layer. Now its complete!
Using the ‘body’ path, create a
new layer and ‘stroke’ with a thick black line. For the lights create 2 dark red
ellipses to sit in the recessed pockets. Then ‘dodge and burn’ them and ‘bevel
and emboss’. The same applies for the yellow indicator lights. Create the
exhaust pipes by ‘dodge and burning’ a light grey path.
For the window colour use the path created in step 2, then in the ‘gradient’
function select two colours for the window and drag a gradient over the window
selection on a new layer. Transform this selection slightly smaller than the
window area, this should reveal part of the dark grey shadow behind [created in
step 1] giving the window some depth
Using the ‘burn’ tool on the
colour layer you can burn more contrast into areas that will be in shadow.
Separate paths can be created to give the area you are burning a crisp line for
parts such as the rear arch bulge. On a new layer create a path for the wheel
arch highlight, select a brush with 100% opacity and the required diameter and
‘stroke’ these path lines. Then by using the ‘Gaussian blur’ filter spread the
white lines to give the impression of curvature of the surface, this is a good
technique to use on belt lines and wheel arches as it can help control exactly
how much roll on the body you desire. By using the existing layers created when
burning the surface you can invert the selection and delete to give a crisp
At this point you might feel
the difference between the darker lower area of the body and the upper surface
that is reflecting most of the light is not severe enough. To correct this I
picked the orange I had used on the body and selected a colour several shades
higher and on a new layer brushed the new orange, I then deleted that colour
from the lower area with a new path. This path can also be used later on when
applying the split line through the whole car. For the wheels I imported
existing rims, created a path around them and then motion blurred to disguise
the rim design.
On a new layer using the ‘body’ path,
add some orange colour [approximately 60% opacity] to the focal point of the car
making sure to fade out into the outer edges. It is also a good idea to add some
sky colour. For this I would make a few sweeping brush strokes on a new layer,
making sure some of the spread of the brush stroke hits the outer edge of the
bodywork. Invert the body path selection afterwards to delete anything that
isn’t on the body. Then ‘merged link’ the two layers with the orange and sky
colour, feather the inverted body layer selection. To add more depth, make a
separate path for all darker areas and shadows, with this path selected go to
‘brightness and contrast’ and adjust to a darker level.
Using the ‘body’ path selection, apply
a darker grey in the main focus point (closest corner). This will help add depth
to that area later on.
Using the paths tool, select the outer
line of the image and fill with a very dark grey. ‘Path’ the outer line of the
cars bodywork and fill with a lighter grey on a new layer. Adjust the brightness
of the lower part of the body to give a shadow break. It is a good idea to
feather the body layer to blend into the background colour. To ensure you do not
encroach on the window area when building the path for the outer body, you can
also build the window paths at the same time. Then hold down shift and drag a
selection over the window path you have just created. Copy this onto a new path
layer. When you make the path a selection it will choose the area between the
outer and inner paths created.
Create a line sketch using as accurate
perspective as possible since every perspective mistake made at this stage will
be more evident once the shading has been applied, although there are
opportunities to correct this later on.
Once the sketch has been scanned in, open the ‘levels’ box and use the picker
tool to select and remove any dirt from the scanned image.
Switch this layer to multiply and make sure you keep it at the top of your
layers throughout the whole process.
For the rear light cluster insets create a series of white ellipses on new
layers, ‘merge link’ these ellipses and switch this layer to multiply. In
‘blending options’ select the ‘bevel and emboss’ function and play with the
angle / depth and type of emboss needed. This embossed layer will give a clear
and consistent effect to all the recessed areas. You can also use this feature
for the central split and door split lines by stroking a path with a think white
line, multiply then bevel and emboss.
Jonathan Tatum is a BA graduate from Coventry School of Art and Design (UK) and
MA graduate from Umeå Institute of Design (Sweden). Currently working for Menard
Engineering UK, he has had previous experience in the studios of Land
Rover, MG Rover and Jaguar cars. He is also the 2005 winner of the Interior
Motives award for Best Conceptual Interior. In this tutorial he will take you
through the process he uses to create polished Photoshop renderings. A lot of
the techniques used here are an extension of the techniques he has learnt from Harald Belker’s video tutorial. Further examples of his work can be found on his
website at www.jonathantatum.com
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