How to draw cars - Let's get started!

In this tutorial we'll take a slightly different approach and we won't go the way of building rigid construction lines. We'll try to break down the drawing in main masses of the car and using the wheels as an important reference point to draw a correct perspective to the other elements of the car. View will be three-quarter-front.

Draw a line for the ground and a big oval hovering slightly over it. This will be the main body of the car.

Now we want to add to this big body the snout of the car, the front part. Try to follow our example and locate immediately the midline of the car as we have done here. All cars have medial symmetry. Also notice how the bottom part of the car body is parallel to the ground. This is an obvious general rule when you draw cars.

How to draw cars - Overall shapes

Now let's break the next step into three parts. Drawing the cylinder-wheels, connecting the main body to the snout and drawing the position of the front lights.

Now I have drawn only three wheels because the fourth one is hidden behind the car itself in this view. Also in this view the wheels have all the same thickness. This may not be the case in a two or three points perspective view.

What we have just done in this step is to work slightly on the shape of the body. Straighten too smooth curves.

OK. Time to remove the construction lines. Done? great! How does it look? It should look something similar to our drawing down here. When you delete lines keep track of what is in the foreground and what in the background. For example the front part is in the foreground and coves almost completely the front-left tire.

We have pretty much defined the overall shape of the car and the general masses and what is visible and what not.

Now it's time to add a few details. However you see that the hardest part is done! Adding details is just fun and does not require the same deal of careful planning as before. They will be naturally enclosed in the profile of the car as you have drawn it so far.

Start refining the tiers and windscreens.

How to draw cars - Complete the drawing

At this point defining more details it's a matter of choosing which car you want to draw! You can create your own car or use a car that already exist and use that as a source material for the details of your drawing.

Important details are the front appearance, frontal lights that characterize a model or make of a certain car. Also do not forget that the car has windscreens on both sides and at the rear so draw those ones too!

No matter what light the inner part of the car will be dark so swiftly put a shadow in there. This will also serve emphasizing the presence of the aperture of the windscreens. Do not forget to add the steering wheel!

The drawing is just a fun slope down from now. Keep adding detail as you like before adding some cool reflection and complete the drawing.

How to draw cars - The finished result!

Add a few reflections and your drawing will be perfect!

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Let's get to know perspective drawing!

"Perspective (from Latin perspicere, to see through) in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is perceived by the eye.

The two most characteristic features of perspective drawing are that objects are drawn:

I believe this is a very good definition of perspective but a bit cryptic.
Let's break it down and try to make deep sense of it. Knowing what perspective is represents the first step to apply it effectively in your drawings!

Let's use the help of Bob, the sticky figure to do this!

Here is Bob the stick figure looking at a big block of... material. However, he is slightly taller than the block itself and from his standing point he can see clearly the top part of the block. This is diligently shown in the second half of the above picture. That drawing is representing how Bob is perceiving the block.

As you can see, Bob has a fair perception of the frontal size of the block and he might be able to judge the relative length of the sides of the block in front of him. However he has a terrible perception of the depth of the block! If he had to judge the depth from his perspective he would probably get it completely wrong!

It is not poor Bob fault, in fact, this is due to the perspective perception Bob has of the Block. What Bob notices by looking at the block is that the lines that are parallel to the line of sight have been foreshortened compared to the lines transversal to the line of sight.

They have been shortened by the perspective!

Let's go to the second images. Here Bob is trying to understand why that happens, why he has this perception of reality! He approaches an easier object to study, a lamp-post. A lamp post has no relevant depth; it is similar to a stick, so there are fewer things to consider.

Bob looks at the two identical lamp-posts, 1 and 2 which are positioned at different distances from where he stands and notices that the lamp-post number 2 appears to him smaller than number 1.

Clearly is the distance of the two lamp-posts from his position that makes the difference, but why?

Bob notices that everything he sees has to pass through his eyes or better through the pinhole of his pupils to get to his retina where the images of the lamp post are projected. It’s inevitable that the further away an object is from his eyes, the smaller the angles that object forms with his pupil. So A > B for the two distances.

If you think about it for a second, if we pushed the lamp post 2 further away from Bob it would became smaller and smaller to him until it'd disappear. Vanish. But let’s talk about this later.

Let's continue with our exploration of perspective drawing..

Ok now Bob has understood that things close to him appear bigger to things away from him. Why is that so? Why can these things help us with perspective drawing?

The reason lies in the fact that things looked under small angles are projected onto Bob's (and ours) retinas with small angles and things observed under bigger angles are projected with bigger angles. If A > B outside of Bob's eye it stays so inside too. This is why Bob keeps perceiving identical object different if they are at different distances from his eyes.

Bob realizes that our brain has only one way to estimate the size of an object and that is by evaluating how big its projection on the retina is. So two identical objects seen under different angles will be considered by Bob's and indeed our brains having different sizes.

This is the illusion of perspective! That's exactly the same illusion you will have to set up when you are creating your perspective drawing!

The last aspects we want to explore before calling it done is the vanishing point. The vanishing point is crucial in perspective drawing and it is very important to understand in order to comprehend perspective.

Let's get back to Bob for a sec. So he is looking at the lam posts. Now we take one of the lamp posts and drag it away from him. Bob will see the lamp post getting smaller and smaller obviously because he is looking at it under a smaller and smaller angle.

The lamp post is really small now and Bob hardly sees it at all. Suddenly Bob cannot see it anymore. That's it! That is the vanishing point. The angle under which bob is looking the lamp post is so small that the image on his retina is smaller than the smaller thing his retina can detect. That's the limit of Bob's optical resolution!

Has this vanishing point a physical location?

Well yes and no. It is conveniently located on the horizon but the horizon itself is defined by your position above the water level. Normally the higher you are the further you can see but I do not want to complicate things now.

Let's think of this vanishing point as a distance at which your power to resolve two different objects with your sight is equal to 0.

Consequently all the lines which are parallel to the line of sight will appear to converge to a vanishing point. It is obvious isn't it? The two edges of a street... converging; two rails... converging... and so forth.

Wow it has been easy, hasn't it? Now you have gained a very basic but solid knowledge about perspective and can move forward toward the understanding of how to apply perspective to your perspective drawings.

You know why we see things in perspective and why perspective exists in the first place!

Moreover you know what a vanishing point is and why it exists. This is great!I will see you soon in the next tutorials, have fun with perspective and spread the word!

Portrait drawing: a simple approach

It is so appealing and rewarding being able to draw a portrait of a friend, a lover, a kid in a way that makes them happy and you proud of it.

But drawing a portrait that captures the resemblance and the "soul" of a subject it is not an easy task and a skill that for many takes year to master and hone.

For this reason I am not going to focus this tutorial on the "capturing the soul" part (at least not for now) and I will instead focus on "getting the proportions right" to at least capture the appearance of your subject (this alone will bring you a long way toward becoming a proficient portrait drawer). In this tutorial I'll examine a method to draw portraits that is suitable for drawing from a picture and from a real person posing for you.

I do not want to overwhelm you with details and I'd rather prefer moving rapidly to the drawing, making comments and observations along the way.

I have chosen the beautiful Michael Pfeiffer as a subject for this portrait drawing and I will be using almost all the way a 2H pencil, just to keep things simple.

Lets' get started!

Ok she is quite beautiful, isn't she? Ok try not to get overwhelmed by the challenge and do everything one step at a time. There are many details on this face, let's try to break those detail and forms down to the essential things.

The first and I repeat the first thing I want you to do is to visualize the face as a big oval and establish three fundamental lines: The eye line first, the mouth line second and the nose line as the third one.

This is very important and it is also important that you trace (mentally) these lines in the order I have suggested. The reason is because your eyes might deceive you and drive you to get wrong proportions if you do not follow this rule.

Establishing the mouth before the nose helps imposing a downward limit to the extension of the facial features. But do not get distracted and keep going.

So you have established these lines? Good! Now draw.

Quickly and roughly sketch the shape of the head and the neck and shoulders. That's it, do not do anything else. Now wait a few seconds and look, seriously examine intensely how these few and simple elements look together

Is everything in scale properly? Move on only if you are absolutely happy with what you have achieved so far! Ok let's move on with portrait drawing.

Now is the time to add those very lines I ask you to visualize upon the oval of the face. It's imperative you position these lines as good as you can now...

Take your time. Do it with calm and patience... I will be here waiting :)

Done? Are you happy with those lines and their positioning? Great, these three lines are really all that you need to efficiently build your drawing upon.

Trace roughly the mouth, the eyes and the wideness of the nose. Now look back at your subject. You should already see an hint of resemblance if you did it right so far. Ok next step!

As you can see I have added very very roughly the hairs, eyebrows and shaped the nose a little bit. I drew a ear also. All these things to start balancing out the drawing. This means that it will make it easier from now on to look at the subject and work to achieve resemblance if the main face features are in place.

I know it doesn't look like her yet but bare with me. You have got the foundations right and that's the main thing. You have got distance from mouth to chin tip, distance between the eyes and so forth, al those things that will make your portrait drawing resemble the subject you re drawing.

From now on what you need to do, really is look at the subject constantly to get the shape of the single facial features and start working adding detail but never focusing too much on a single feature.

Add a few lines around the eyes then move to the shape of the face, then to the nose and the mouth then back to the eyes. Do not spend more than few seconds on each part.

Remember you want to get the resemblance right. Too much detail now and you are on a "no through road".

See, all the drawing is proceeding as a whole. There are not parts which are developed more than others. And this is good. The drawing is still very fluid and you can make changes if you want. Like I am going to do.

Draw flames

The basic principles are the same that we used to draw basic flames but this rendition requires a little bit of more skill and attention to detail. Let's see how the process unfolds.

Draw Flames - defining the shape

I hope you can see it, but when you have to draw complicated flames you want to establish the general shape of the flame body before you start working on the single tongues. That's precisely what I have done here.

I have established a baseline from the flame originates and the general shape of the flame. In this case the flames will overall bend slightly on the right.

Draw flames - defining the number of tongues

I have decided this flame is going to have three major tongues, as you can see. I will add detail later.

From this point on you can start adding smaller, lateral tongues to the main ones. I will explain you later how to create nice side-tongues for the flame but for now bare with me and the overall process.

Draw flames - finilizing your drawing

You can keep going adding detail to the flame tongues until you get a shape that convinces you. Like the one that I have drawn in the panel above.

Well the good news is that the difficult part is finished here! From now on you just apply the principles explained in the basic tutorial How to draw flames and you should be able to get to the final result easily.

Let's see the intermediate steps though.

Draw the internal layers representing the different temperatures within the flame and remember to follow loosely the profile of the main flame.

Once you have the internal layer drawn you just color them and you re almost done!

If you liked the tutorial we ask you to spread the world about our BLOG. Tell your friends about it, leave a comment underneath and tell us if you want more!

How to draw a cat - Let's get started!

The basic shapes for this drawing are two: A circle for the head and a rough and elongated oval for the body. When you draw the oval try to keep the left side (that will be the belly) flat while instead adding a bit of curvature to the right side.

Removed the basic shapes let's work on the posture of our cat. Sketch in the front legs (really a simple line) and the hind legs. Well, only one hind dleg is visible with this pose. All lines in this drawing should be very smooth. Remember that the cat has a smooth body shape and we should try to keep this feeling in our drawing.

Draw a croos also over the "will be" face. The cross will help you place eyes, nose and mouth.

How to draw a cat - Overall shapes

A couple of more basic elements will definitely shape our drawing. I am talking of the ears (very important for a cat) and the evermoving tail.

Cats have excellent hearing and can detect an extremely broad range of frequencies. They can hear higher-pitched sounds than either dogs or humans, detecting frequencies from 55Â Hz up to 79Â kHz, a range of 10.5Â octaves; while humans can only hear from 31Â Hz up to 18Â kHz, and dogs hear from 67Â Hz to 44Â kHz.

Cats do not use this ability to hear ultrasound for communication but it is probably important in hunting since many species of rodents make ultrasonic calls. Cats' hearing is also extremely sensitive and is among the best of any mammal.

This sensitivity is further enhanced by the cat's large movable outer ears (their pinnae), which both amplify sounds and help a cat sense the direction from which a noise is coming

Time has come to sketch in the basic elements of the face. Please use a lot of reference material for this. Google cat and find out what's special about the face of these animals. Also start adding a hint of fur here and there to get a feeling for the final result already.

In the next two steps we'll define shapes a little bit better and we'll start removing the biggest construction lines. Also put a bit of effort in drawing proper front legs and add even more fur. Remember it is important not to draw every single hair, just give the impression the body is covered by hairs.

Keep removing construction lines. Time to start adding a few details.

How to draw a cat - Complete the drawing

At this stage is very important you removed all the construction lines and achieve the smothness in the various body parts.

As you can see here a few details have been added and fur has been added all around the body line. A little bit of fur also on top of the hind leg and around the neck.

The trick to draw convincing fur is to shadow with the pencil following the direction of the fur. So start adding shadows here and there, try to imagine how the fur would run on the particular patch of the body. Do not be afraid of experimenting, the eraser is your companion here!

Once you are happy with the shadows you have sketched in try to consolidate them. Mark harder with your pencil, do not be afraid. Increase the contrast of the image.

How to draw a cat - The finished result!

Final touches are obvously the whiskers, some more brushing undesidered marks away with the eraser and consolidating the siluette of the cat. This is amazing drawing!!

We really hope you enjoyed this tutorial! If you liked It, there are many ways you can make US a big favour. Spread the word about our site to your friends and family, Link to this site or tutorial if you have a blog or website or bookmark it and share your favourite tutorial using the networksocial tool you prefer. That would be really cool!

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