3D Draw Your Classic . . . . Think You Can’t Do It
As lovers of classic cars we all have a vision of how our ride will look when we have "personalised" it to our concept of what a great car should like. But sometimes that concept can be hard to transmit to others and what we describe is not what they visualise. Effective communication requires the receiver understanding what we send – completely.
To aid us in describing our ideal ride we may use hand gestures combined with words. But our gesticulating arm and hand movements indicating the new line of a panel, or just where and what shape the shaker on the bonnet will be can get clouded by the receiver filtering it out in their mind to something they are familiar with or a concept they have for your ideal ride. When this happens, what is delivered is the receiver's concept of your ideal ride and not what you 'had' in mind when you started the journey of restoring or customising your classic car; if you could only show them a drawing of what you expect or have envisioned.
Let's consider that statement about 'a drawing'; so how can the top class customisers/designers ensure that what they imagine will be the finished product, is what is delivered?
Did classic designs like the Bat Mobile by George Barris, the Monkeemobile and Black Beauty by Dean Jefferies or some of the wonderful designs by Chip Foose just happen?
No, they are thought out - planned - then sketched out the concept, perhaps reworked it until the concept and vision are transmitted to the page as the designer images them.
Then the people assisting these people to produce their designs or realise their concepts know if they are fabricating, reworking or beating that panel so that it will fit the design? The answer is simple – these talented designers and many many others who have produced amazing classic cars or custom cars use a drawing of the finished design. The usual response when they unveil a vehicle to a customer is satisfaction, the wow effect – it looks like the drawing!
In comparison, the Bangladeshi designer who on his T.V. shows gets a more WTF response from those who trusted him to produce a custom vehicle for them. He does not commit any concepts to paper, uses lots of gesticulating while explaining his concept and uses a more hack and slash until it's what HE thinks is what the customer wants.
That said the man is extremely talented, however without the concept on paper I doubt his colleagues would be able to produce the vehicles as he pictures them in his head without a rendering - this was obvious in the T.V. show as very little or no fabricating work ever got done when he was not there to do the cutting, designing and supervising of the fabricators. I do like quite a few of his vehicles/designs, but would be reluctant to employ him to produce or customise a vehicle for me as I would not be sure of the design I will be getting when it's unveiled - not that the design would not have a wow factor.
So it is safe to say that if we want to get what we want in our finished classic car, then we should have a blue print in the form of a drawing to ensure that the design is understood by all who will have an involvement in its creation. Even if we are undertaking all the work ourselves such a drawing will help us to maintain focus during the build process. The drawing does not have to be for a whole vehicle, it could be used to show how we wish a new air box design to look, or how the aftermarket console we want to make and fit will go together. What if I wanted to redesign the instrument panel, how and where will the instruments be placed and what finish will be used for the facia? I worked for many years in the motor industry and have always roughed out a design so that I have a concept to follow and so that those I engaged to complete or help me with the project understand what is trying to be achieved.
The elephant in the room here, is that most people are not trained in design or do not have an artistic leaning to be able to rough out a sketch of what we see in our minds, and it can be expensive to employ the services of those so inclined or trained. But with a little practice it is not so hard to become proficient in producing quality drawings.
So if you've ever wanted to draw cars quickly and easily . . . using the exact same insider tips and techniques of the pros . . . produce amazing drawings of your favourite cars effortlessly . . . and fast track your drawing skills to the levels of the pros without spending thousands of dollars and years attending college . . . then read on or CLICK HERE to get started!
Introducing Tim Rugendyke who for the past 15 years has worked as an automotive designer for companies such as Ford and General Motors as well working on countless international transportation design projects spanning America, Europe, Asia and Australia and also lectures at Australia's leading design school teaching aspiring designers how to draw cars like a pro.
Through a long and painstaking process of trial and error and working with the best in the industry, he has learned the insider secrets that are 100% guaranteed to get you drawing amazing cars fast and easy . . . even if you've never drawn a thing in your life before!
How To Draw Cars Fast and Easy is a 134 page car drawing guide in downloadable e-book format, jam-packed from cover to cover with all the tips and techniques previously known by only a small handful of professional designers. This program contains all the information you'll ever need to draw perfect looking cars quickly and easily that will amaze your friends.
His e-book has over 144 high-quality illustrations and photos which give you step-by-step instructions on how to become an expert at car drawing in no time at all. It is choc-full of tutorials on every aspect of drawing cars as well as providing all the necessary theory to get you up to speed on the key principles fast. You can either pick and choose what you want to know and have the practical instructions to get you started straight away. Or learn the foundations to help you draw any car you want . . . FAST. This is a complete step-by-step guide to drawing cars fast and easy that you'll be referring to for years to come.
5 Things Tim Says You Must Avoid Before Putting Pen To Paper
1. Thinking That You Can't Do It
The thing that you have to avoid is thinking that you cannot do it and thinking that if the drawing does not turn out how you like it to, you have completely failed. Each drawing is a learning experience and each drawing is practice. You just have to do it to be able to get better at it. So, do not go with a negative attitude.
2. Being Too Rigid
You should avoid being too rigid; just loosen up. Try and get those big arm movements going. Practice drawing your ellipses so you can draw ellipses freely.
3. Focusing Too Much On The Details
Visit Tim's Website to read more about How To Draw Cars Fast and Easy. It is a downloadable e-book with over 135 high quality illustrations and photos which give you step-by-step instructions on how to become an expert at car drawing in no time at all. How To Draw Cars Fast and Easy is jam-packed from cover to cover with all the tips and techniques previously known by only a small handful of professional designers. For full details on the "Insider Secrets To Drawing Cars Like A Pro", visit www.how-to-draw-cars.com.
Don't get too caught up on details. Just go for it. Draw in a line for the ground, two ellipses for the wheels, sketch in the overall body shape, add in the windows, and add in more detail as you go. Don’t worry if it is not perfect. Trace over it again on a new piece of paper – keep the bits you like, fix the bits you don't.
4. Being Scared of Making Mistakes
Do not be scared of making mistakes. Every car drawer out there, no matter how good or accomplished they are, has made mistakes and they do it on every single drawing. It does not matter, you can go back and redo it or you can fix it up or you can just learn from that mistake and do it better next time.
5. Being Afraid Of The Paper
Do not be afraid of the paper. Just get into it. Do not be afraid of pushing too hard with a pencil. Be bold. Make bold lines and bold statements. With your white highlights, get it and push hard with the pencil to get the most out of it.