Download - Ferrari Tutorial
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About the author
Miles graduated from Coventry Universitys Transport Design
course in 1999 and has since worked as an automove and
product designer for companies such as Pininfarina, Volvo and
SAIC, as well as Movado watches, product design consultancies
and as a freelance product designer.
Knowledge is Power- How to use Insight
Tutorials
The purpose of these tutorials is to explain not only what is be-
ing done but why during the process of a sketch. The aim is that
you can either apply these ideas to your own work or modify
them to your liking. Everybody works in a dierent way and it
is not my intenon here to produce a soware user guide with
a series of commands that can be followed to produce exactly
the same illustraon. This would not only be impossible but
would not in my opinion achieve the best long-term results.
Every part of the process is not explained in every tutorial so
that repeon is kept to a minimum and each tutorial can be
used to analyse slightly dierent aspects more deeply, giving
maximum value and eciency.
These tutorials focus on explaining honestly the thought and
acon process I go through using my normal working methods,
with high resoluon visuals and highlighted areas to eliminate
confusion as to what part of the sketch is being described;simply hover the mouse over the highlighted words and a halo
will appear over the relevant area on the sketch.
This will hopefully give you the power and understanding to
improve your own work in your own way by introducing meth-
ods, ps and a few tricks that you can apply to digital sketches
in whichever way you feel most comfortable. Almost all of
the principles also apply to analogue sketching but the tech-
niques are somemes dierent. It is the most commonly used
soware therefore the commands and tools highlighted refer
specically to Photoshop but are not exclusive to that program.
The power of insight means that you will hopefully start your
next sketch with new ideas and fresh inspiraon that will
inject a big advancement into your work. If you are a studentor hoping to become a student of automove design then, in
my opinion, the faster you can gain this knowledge the beer
in order to gain a compeve advantage. Remember the last
me you made a big improvement in one drawing and realised
you could suddenly work at a higher level than before? Those
eureka moments are what its all about.
One of the reasons I have produced these as e-books is so that
the images are on your screen without the need for scanning.
All the images used in this pdf are included as jpegs that you
can open in your favourite soware and work over if you wish.
In fact I highly recommend working over the top of these im-
ages if you are trying to duplicate them. You can even make a
slideshow out of them to use as a screensaver to remind you ofthe process.
By all means try and re-create the illustraon if it inspires you
(and I sincerely hope it does). I have received many sketches
that people have produced aer following my tutorials and
they are somemes very similar, somemes more of an inter-
pretaon in their own work. Either way they express inspiraon
and usually demonstrate an understanding and advance which
has enocuraged me to connue producing more tutorials.
Above all read and familiarise yourself with the narrave and
how it relates to the sketch at each stage, then try to use it in
parallelwith your own work and have it alongside you as a ref-
erence. You need to work hard to improve your sketching and
there is no substute for pracce but it is what you learn and
apply to your pracce that will make the dierence.
Remember - sketching and rendering is a tool and is only part
of the design process. It is however the rst creave visual step
and sets the tone for the quality of the nished product. It is
also the skill which best illustrates your ability to visualise ideas.
It shows whether or not you understand and can evaluate form,
which follows funcon and completes a successful design. At
the early stages of your automove design career especially
you will be judged most strongly by your abilies in this area
when being selected to study design or work professionally in
this highly compeve eld.
Good luck and happy sketching,
Miles Waterhouse BA (hons) - Transport Design
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When you look at the rst page of this tutorial you will see a
series of brush strokes which have a direconal, almost cal-
ligraphic character. This is down to the use of certain brush
sengs within Photoshop or whichever soware you are using.
These sengs allow you to mimic the behaviour in real life of alarge marker or at pped brush which will give varying stroke
thickness when applied with the p held at the same angle
throughout. The pressure sensivity of the tablet will give you
control over colour opacity. The size of the brush stroke should
be changed before use to get the desired weight by increasing
or decreasing the p size. The video below shows the brush in
use.
This brushstroke characterisc is crucial to the technique used
in this tutorial. It is the source of many of the forms that are
created because single brushstokes are not only capable of por-
traying colour but also surfaces. The ribbon-like quality of the
strokes create a 3 dimensional illusion that can be interpreted
as a surface. A perfect example of this is on page where a
light coloured brushstoke is made under the main air intake
and forms a upward facing surface.
One of the main things I want to achieve with this tutorial is
the value of a dynamic brush seng such as this in sculpng
form uidly and easily. The brush used is included with this and
other tutorials so try it out if you have Photoshop and try and
replicate it if you use other soware.
For those who prefer to work manually you can get close to
this eect using at headed brushes or markers and for larger
strokes in marker ink using a square of lint folded around a
piece of cardboard then soaked in ink from marker rells.
The basis for this sketch could be a photograph of an exist-
ing car or a pre-developed underlaid design. The important
thing to understand is that the main bulk of the sketching and
rendering is done using blocks of colour working as reecons,
shadows and material changes without complete control. They
are dependant on the accuracy of your hands movement and if
they are not to you liking they can be modied later on. Work-
ing digitally allows an innite amount of correcon if necessary
so there is no need to be
cauous in the beginning
stages. This sketch should
show you that you can
capitalise on that free-
dom to take the loose and
energec brushstrokes and
rene them into a convinc-ing design sketch.
As with the Case Tractor
tutorial the colour is known from the beginning because red is
the signature colour of Ferrari. It would be possible to sketch
this in black and white then colour it later but in that case there
is always a slight chance that the design wont look as good
when post-coloured. Also, post-coloured black and white may
not quite communicate the design as well as if the colour was
used from the start. Strong and bright colours such as red are
less easy to achieve if theyre not used at the beginning.
The nished sketch in this case is a cleanly outlined vehicle with
no background or environment shadow. The composion is adramac and dynamic one which doesnt necessarily benet
from a background to help it jump o the page. I wanted to
show that somemes it is sucient to purely feature the ve-
hicle in renderings because it is basically a communicaon tool
for designing a product and can be presented simply.
example brush settings to achieve the effect in Photoshop
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Using a photograph of an exisng car as an underlay, fast
and bold brushstrokes are made using the base colour
of the bodywork. There is enough informaon just from
these few marks to show the character of the car and
some people would be able to guess already that it is a
Ferrari. When you doing this type of brushwork dont
worry about making a mistake. There are lines in the
sketch above that I know are not exactly what I want at
this stage and most of it will need modicaon or correc -
on. The key is that it doesnt maer because it can be
worked over to adjust or x any bad strokes.
Make sure you are compleng the form with the
strokes. This means make sure you are dening enough
of the outline to make the form of the car easy to see.
It doesnt take a great deal and as you can see on the
rooine and far wing it is sucient just to show where
sillhouee of the vehicle is. Use a big wide brush when
necessary and rely on it to form the solid colour rather
than forming an outline then lling it in.
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Using a large airbrush a light sweep of the same body
colour is made down the length of the vehicle. You may
need to have a few aempts at this to get it in the best
posion. The inial brushstrokes of solid colour now be-
come reecons of the environment and the open areas
with no reecons must be smooth surfaces.
Noce how the airbrushing disappears to white before it
reaches the edge of the car. This will be the tonal range
and dictates that highlights will be white. Making white
the limit of the l ight tone means you create the most
contrasng image.
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Using the same brush some dark shadowed areas are
blocked in for the tyres and grille, again bo ldly and
roughly. Geng the wheels wrong inialy should not be
feared because although having odd looking wheels will
ruin a nished sketch they are not dicult to dene and
get right once their basic posion is decided on. Using a
photo for the basis of this sketch meant the wheels could
be traced and simply cleaned up later on using ellipcal
masks. The main thing is to get some form of wheel in
there at this stage so that all the main elements of the
design are present early on.
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A quick mask is used to experiment with window/DLO
graphics. The outline of the glass is sharp but slightly
uneven because of the use of the lasso quick mask tool.
This doesnt maer however because it can be sharp-
ened up later using a small brush and a few lines and
highlights. The design opted for is a pillarless wrap-
around visor which is the cleanest soluon possible.
The intenon is to be adventurous with the bodywork
surfacing so where the grpahics can remain simple I want
to keep them that way.
A bit of wheel detail is added including some tyre tread
marks. Ferraris always have spoke wheels so this fea-
ture is added relively early so that the identy of the
design is reinforced. An ellipcal mask is used to achieve
a crisp shape to the wheel.
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The rst illustraon of headlamps emerges. The same
brush is used to make a couple of direconal sweeps
which meet at the very front edge of the car. This is an
aggressive graphic and immediately felt to be suitable
for the car so a quick mask is created to complete the
headlamp which is shaded with white to grey airbrush. A
suggeson of the same design is added on the far side of
the car with a couple more strokes in a less contrasng
grey, rather than black, for the sake of depth.
One of the lines coming from the grille aperture is seen
to have potenal for creang some form to the sill area.
A quick stroke of lighter colour makes the beginnings of
an upward facing surface formed around the line. This is
an example of making small touches when ideas occur to
you which can be picked up and developed later on.
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The next thing I like to do is create an overlay layer or
transparency layer that allows a dark brush to be used
to increase colour intensity and contrast in areas where I
can see forms emerging. Using the same at direconal
brush simple outlines are drawn around contours and
surface edges. By concentrang this work in the nearest
corner of the car two of the important things of a sketch
with high impact are achieved; . contrast is increased
due to the tonal range changing from red to white up to
dark red to white; . the form is enhanced and communi-
cated in this focal area.
It is a characterisc of an ecient technique when you
dont worry about geng every detail in the sketch. A
lot of me and eort could be put into making sure all
the wheels are beaufully and equally detailed and that
the headlamps are both represented accurately. As long
as you can tell the design is not asymmetrical and the
wheels are supposed to be all the same, there is nothing
more to communicate from duplicang detail manually
at the expense of me and eort.
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It might seem like more of a nishing touch but some-
mes I add badges and small details at an early stage
if they are going to make a big dierence to the feel of
the illustraon. These nishing touches seem like they
should be added to an almost completed sketch. This
might be true when working analogue on real paper but
working digitally, applying a badge that takes seconds
and which can be put on a separate layer that can be
hidden, you can do it whever you feel like it. At this stage
a very ne brush is used for a door shutline in high and
low body tones (red and pink) apart from over the DLO
where black and white are used. White is painted over
the roof line to conrm the backward sloping rooine
and the lower headlamp line is carried through to the
wheelarch producing an interesng bumper splitline. It
was realised then that a feature could be made out of
this splitline running through the lamp and the promi-
nent corner could be separated visually. The front sill sur-
face discussed previously is dened more with a masked
o ground shadow and also shows a protruding grille
area to give a three-volume character to the DRG.
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In order to connue sculpng the front and most impor -
tant corner of the car, the contrast needed to be reduced
slightly in this area. Another applicaon of light airbrush
is made over the front wing and it immediately becomes
more understandable and easy to work with. The three-
volume front has been accepted as a good direcon and
the broad single grille no longer makes sense. Conse-
quently the grille is spl it into three and two smaller,
angled apertures are blocked-in between the end of the
headlamp and the main grille aperture.
The realism level of rendering has just moved up a notch
because the care now being taken is greater than before,
especially around the new grille apertures and the
reducon in contrast is more realisc than the red/white
poster art reecons that existed before.
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Another overlay layer is made and black airbrush is
swept again over the near corner to increase the intes-
ity through the centre of the inial red airbrush sweep.
Some moulded grooves are made on the headlamp
lens by creang a black area which is painted over
with white stripes. A highlight is added to the bumper
splitline which makes it clear that it is a split and not just
a graphic line. More highlights are added to the crease
running through the headlamp as this is the most promi-
nent feature line on this view. Grille slats are added in
the form of pale grey lines (in Photoshop hold down shi
and click in two places for a straight line) that fade out
into the shadows of this sunken aperture.
The sill below the grille needs a denite shape so a bold
brushstroke in light tone is made to create a dynamic
V form corresponding to the centreline on the car. The
form of this sill now matches the forms to either side of
it. It protrudes slightly further to preserve the thrusng
theme of the hood volume pushing through between the
headlamps.
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The at surface on the near corner is an ideal place for
a plasc panel which works as a complimentary graphic
to the air-intake apertures and as a protecve bumper.
This is created by using the quick mask lasso tool again
and then enhanced with a ne brush. A thin black line
is drawn around it to show the split, and a slightly larger
brush is then used to paint a light grey chamfer to the
top edge, which becomes dark as it moves round the
form into shadow. Small touches like this and the gradi-
ent used to shade it show that light is hing it in dier-
ent ways and give it a feeling of volume and form.
The rear haunch blister is mirrored across, then cleaned
up by bringing the white background into the surface.
This is an example of how messy brushstrokes can be
xed easily later on. An environment reecon is made
down the far edge of the main volume to bring out the
line of the hood as it runs along the far headlamp. The
rear wheel posion is felt to be too inboard so is tweaked
slightly, and the front tyre gains an airbrushed highlight
on top.
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The shoulder line is felt to be a bit low so the environ-
ment reecon that is being used to dene it is raised
up and leads forward into the headlamp form rather
than the bumper. This increases the weight and presence
of the car and simplies the surface that the wheelar-
ches need to cut into. This simpler and aer bodyside
means the sill could do with some interest and a ared
out surface leading into the front wheelarch is added.
The main tension is running through the waistline so it is
felt the car could tolerate a more shapely sill with maybe
a plasc panel detail to echo the front bumper treatment
and maybe contain a logo or form an integraon with the
bodywork and underbody panels.
Its decided to complete the link between headlamp and
grille with a prominent, wide split housing the indica-
tor lamp. The sill splitline is enhanced and thickened to
match the character of the bumper split and provide
connuity round the car. The wheels are detailed further
with a hub and badge and the wheelarch shadow is
made more denite.
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The far front wing is not felt to be showing enough form
and is painted over in a light (distant) colour with a
much more prominent crown and muscular line over the
wheelarch.
More rough brushwork is made to the roof and rear to
play with the possibility of some roof blisters over the
occupants heads which echo the muscularity of the
wings.
The addion of more colour i s made on an overlay layer.
Yellow is airbrushed in the foreground and blue toward
the background. This warms up the near corner and
increases depth. It also compliments the yellow badges
and orange indicator.
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More denion is given to the far headlamp now that it
can be placed on a more denite volume.
It is decided that extra roof features are unnecessary and
that the reason for the simple glasshouse graphic is to
keep averything above the main bodywork clean looking.
Therefore another quick masked glass engine cover/rear
window is created. You can see that the top line of this is
incorrect which is a result of it being drawn quickly and
freehand. The main thing is that the lines within the roof
are correct and showing a tapered rail sweeping around
it; the outline can be cleaned up later.
A lile extra rear tyre shadow is brushed in to carry on
the re-posioning of the rear wheel which is now felt to
have denitely been an improvement.
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One of the ways in which I like to rene the outline is
to paint the negave space behind it. The blue overlaid
airbrush is sampled and a textured brush is used to paint
in a quick background colour that encroaches on the
bodywork in certain areas to dene the shape. The blue
that then remains on the edge as the outl ine is cleaned
up will match the overlaid blue appl ied earlier (page ).
The same thing is done on the ground shadow area with
a dark textured brush.
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The windscreen and bonnet are not on the same surface
and this is now made clear with an environment reec-
on made over them which changes direcon at the join
of the two surfaces. The windscreen is now clearly more
upright than the bonnet/hood.
The front wheel is cut and pasted onto the rear wheel
posion with the appropriate transformaons made. This
process is made easy with the use of an ellipcal mask
which is easily manipulated to t the area needed to be
copied.
A dark gradient is applied vercally with the gradient tool
in an aempt to place the car in a more brightly lit area
although this is just a quick experiment to see how eec-
ve this is. As menoned on page 10 there is no reason
not to play around with quick eects and addions on a
new layer as they can be deleted later.
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The rear haunch bulge/blister that was made on page
10 is painted on again and the rooine in cleaned up
further by applying more background colour.
The most pressing issue now is that the far front corner
of the car isnt suciently fomed to match the near
corner and explain more how much sculpture there is.
Care is taken to understand the forms and portray what
they would look like on the sillhouee. This aenon to
the outline is very important for a credible looking design
and forms much of the character of the car.
More crown is given to the hood by painng a curved
line on the far wing.
A ne line is brushed on the rear so that it is understood
that the secon there is quite curved and to complete
the outline.
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The outline of the car is dramac and very descripve so
the decision is made to show it most strongly by enrely
trimming out any background. This also means the car
really jumps o the page and has greater impact in itself.
Cleaning up and renement is done on the rear blister
and pillar area together with the front wing. This is car-
ried out with masked o areas being airbrushed with a
similar gradient to that found on the hood surface. Small
reecons and highlights are then brushed on to indicate
surface changes.
The front sill surface is reduced from a V shape to have
a at boom which is felt to be more rened and to work
beer with the surface at the front of the hood.
Finally the shoulder reecon is cleaned up slightly in
order to strengthen the connuous plan curve between
the front and rear wheelarches.