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Emre Husmen, Photoshop
Hot Wheels illustrators in
Mattel Inc. Emre Husmen shows us one of his techniques for rendering using
Hector Realubit, Hand
Hand sketching is an important skill for a designer. In this tutorial Hector
shows us his techniques, with special consideration to varying line weights.
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Allan Macdonald, Sketching
One of the things many students of design ask is how to achieve the fast and
speedy but still neat line work of the pros. This quick tip should help!
The final stage
is to tidy every thing up and add highlights. For this I use a black and a white
prisma colour pencil and for extra crispness or detail a black biro. Highlights
are then added with white gouache and a fine paintbrush.
To increase the
intensity of the pastels it is necessary to build them up in layers, fixing each
layer as you go. I prefer to use letraset 103 (green tin) as it fixes well and
gives a good surface for further pastel layers. Gently blow or shake of the
excess pastel and baby powder and away from your workspace lightly spray an
even coat over the sketch.
Now for the
messy bit! For this sketch I used I used 4 pastel colours, a red was a close
match for the red marker, a sky blue, a deep blue and a little black. Each
scrapped with a scalpel onto a spare sheet of paper. Depending on the
quality of your pastels, you may need to add a small amount of baby powder
to each pile to smooth out the pastel in to a fine powder.
Next, I add the
shadows and the wheels with a combination of cool grey markers nos. 1, 3, 5 and
8 I have also filled in the screen area and the headrests. I used cool grey 8
for the dark areas of the front tyres and cool grey 5 for the same areas of the
rear tyre to0 further enhance the depth. Again, tonal variations can be achieved
by going over areas again; I also added some cool grey 3 to the darkest red
areas to boost contrast.
Once you are
happy with the line work, its time to put down some colour. I use Chartpak AD
markers because I like the fluidity of the ink and the blending capabilities
to achieve tonal variation.
The starting point is as
always a good line drawing. This render started as a simple biro drawing. At this
stage, I put the ellipses in for the wheels and sketch out the wheel design and
other details. Do not be afraid to do several versions at this stage if you are
not happy with the perspective or layout. I tend to work in quite a clear style
so I try to keep the sketch tight at this stage, but these techniques can apply
to more freeform styles as well.
With a little practice, it is possible to get pastel so intense it rivals
markers; I also find that the lack of “control + Z” tends to focus the mind on
the job in hand! I hope that this has been of some help to you and can inspire
you work further.
At this stage, it
is very important to consider what you are rendering, remember you are
trying to describe form as well as make a cool sketch! I start by
establishing a horizon reflection and filling in below this; I then add
colour in areas of shadow, this stage should be very quick otherwise you
will end up bogged down in to much detail work and the sketch will look
overworked and lifeless. Note that I do not fill in the colour completely
but leave the rear of the car empty. This is to give the sketch some depth
and to draw focus to the front. I also left some blank areas in the side to
give a hint of some reflection. Let the ink dry and then go over some areas
again to give some tonal variation, this is most notable in the shadow under
the air duct scoop on the body side.
Allow it to dry
and then repeat step 4. At this stage, I added some blue to the headlamps
and the deep blue to the screen area. The only black I used was under the
air duct scoop on the body side. Repeat steps 4 and 5 until you get the
desired intensity, it should be possible in 3-4 layers any more than this
and the paper starts to become over loaded.
The aim here is to
get the pastel to go on the paper as smoothly as possible, this is where the
baby powder comes in, shake a small amount over the entire page and using a
cotton pad or tissue pad spread it all over the sketch, unless you now cant
see your sketch don’t dust off the powder. Using a clean tissue pad (tear
off approx a 50mm square and fold it 3-4 times to get a good folded edge)
dap the folded edge in the red pastel and apply to your sketch. At this
stage, I am not to worried about the intensity more trying to get colour in
the right place, I have also added some blue to the screen and a touch of
black to the shadows and to give some depth to the wheels. Try not to use
too much black as it can make a sketch look muddy. When you are done use a
putty rubber to carefully erase any unwanted pastel, for example in the
headlights or wheels.
In this tutorial, Mark will show us a sketch rendering using traditional markers
and pastels. In many of today’s studios, the computer and software such as
Photoshop have replaced these techniques. They have undoubtedly moved things on
leaps and bounds and there are many talented designers out there pushing new
digital techniques further every day, but sometimes its good to take a step back
and have a more “hands on approach” to a sketch.
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