Hi, ive been trying this morning at creating profile art.
Its only small ie:no huge amount of detail, but if I can pull it off i might try on Illustrator to do a larger base to work from.
Its only WiP but any tips or anything would be great
Well it looks like a fine start to me. I've got books with less detailed profiles than yours, so you're ahead already.
Possible tips... try to imaging the fuselage as though it were a skin in IL2, and use texturing methods like those on your profile. Draw in some fain rivets, reduce the panel lines a bit, add some mild stain and wear effects.
Actually, I liked the outline effect. It reminded me of the illustrations produced by John Batchelor back in the 1960's and 70's. They were very crisp, a combination of mechanical drawing and cartooning. The pics aren't very big but you can get an idea of his style at The World of John Batchelor.
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Last edited by Vigilante; 2nd December 2006 at 14:16.
Reason: added link
Use black lines only to define panel lines. There aren't any black lines around the outline of objects in real life so why draw them?
Ah those were the days hey Supah , but he is right.
Once you get rid of the confines of drawing everything in lines and using tone instead, you will start to throw away the "painting by numbers" technique and enjoy the "painting with light" technique.
This is the way the eye sees things and so fools the eye with ease.
Once you start, the rest becomes that much easier.
Ah those were the days hey Supah , but he is right.
Once you get rid of the confines of drawing everything in lines and using tone instead, you will start to throw away the "painting by numbers" technique and enjoy the "painting with light" technique.
This is the way the eye sees things and so fools the eye with ease.
Once you start, the rest becomes that much easier.
You talking to me handsome stranger? Another hint Phas3e, look at shadows on real planes, highlights too. They are never a one piece affair. They're often built up out of a weak diffuse highlight/shadow that reaches further onto the subject and a stronger highlight near the edge of an object
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