How do you draw the back of a car? – How To Draw Cars Like A Pro Drawing Instructional Sheets


You draw it by putting two lines all the way around the vehicle. That’s how I draw it.”

He says it wasn’t just about the colors – when it was all done, he had to do all the lines with the exact same color he was going to use for the other two parts.

“We’re doing this big movie,” he says, “so it’s the last thing you’d do with your own hand. You’d get a really bad mark and you’d go back in the tool box, put in pencil, stick your finger in and then use that to draw the first line.”

He started on the hood with a paint roller but that didn’t stick. Then he used red chalk to make a line and did the first three lines with blue pencils.
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“When you are working at high speed like that, if there’s a mistake, it’s on the screen and the camera’s rolling and it’s going to be missed. It’s hard to deal with mistakes now. There’s the time difference and you know how long you are going to have to wait for the movie to see the camera movement. That makes you take the mistakes more seriously.”

“My first job in Hollywood was as a model animator in the ’80s,” He says. “I worked at Lucasfilm for 13 years, and was on all their titles and the first draft of the Star Wars movies. And I was the first person (to have designs and graphics on a Star Wars film) but I didn’t know anything about computer animation – I was just a model animator.”

This was not He’s first time in the world of computer animation, either. Before he started working for Lucasfilm, he was a graphic designer at a design firm called SAC and worked on a series of commercials for Disney.

“Disney would use our graphics to create their ads,” he says. “They’d say, ‘What do you think this means? Oh, I know! You think this one means that kind of thing, maybe something for a young boy,'” He adds. “I was like, ‘Let’s get in the chair and work on that.’ And then after a couple of weeks, they sent the director to my office and he asked me to show a demo of the commercials I’d done for them.

“It was really weird. That’s like saying, ‘OK, well this is what you have here.’ Then the director would say, ‘That was

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