This brief tutorial describes how to create realist looking illustration in Adobe Illustrator. Screen shots have been added for reference. I have also included the source jpg and final eps files at the end of the example. So let’s get started shall we.
Import the photo you are going to render, (Menu item File > Place) the higher the resolution the better. For this example we will be using a beautiful 67′ Shelby Cobra. Once you have the file imported, lock and reduce the layers opacity to 50%. This helps subtle details in the shading to stand out. Double-click on the intended layer within the layers palette will access the dialogue box for this.
I prefer to start my illustrations by drawing the large core elements of the piece. In this case the chasis, which should be drawn on it’s own layer and locked once complete.
Next, I like to draw the elements that are going to ground what I am working on, in this case the wheels. Start by drawing the tires using the pathfinder’s ‘exclude’ feature to punch out the rims. Then using the pen tool zoom way in and pick out the highlights in the chrome and draw the shapes that they make. Do the same for the shadows and what other reflections you would like to portray. Also group each set of highlights, shadows and mid-tones that you draw, as this will help keep things organized. Now I’ll proceed on to the other three tires, each on it’s own layer. I would recommend naming the layers if you haven’t already; we are going to end up with a quite few of them.
* Note; Use gradients subtly; note that nothing around you that is lit naturally has any flat colors
After the wheels I shift my focus to the cab. Make a new layer for the windshield, side mirror(s) and whatever interior details you would like to include. To create the illusion of glass for the windshield, I use masked line blends with transparency, and here’s how you do that.
Make two lines that are angled to match the natural gradient in the glass, the right line with a near white colored stroke, and the left with a light cyan stroke. This will be one half of the windshield. Select both of the lines, then with the blend tool select one endpoint of one line then the corresponding endpoint on the other line. A blend should have appeared. Double click on the blend tool in the tool bar to access a dialogue box to modify the amount of steps the blend takes until you have a smooth blend of colors. Use the direct selection arrow (the white one), to select one line at a time and reduce the opacity to 20-40% for each line. Don’t make each line the same opacity, as this will lend a more realistic look later on. Now do the same for the other half but mirror the blend so you have the effect of curved glass. Draw the overall shape of the glass and apply the shape as a mask over the two sets of blends that you just made. Do this by arranging your shapes so that the glass silhouette sits above the two line blend sets. Select all three, then in the top menu, choose Object > Mask > Make or Command (Ctrl) + 7. Add some transparent white shapes for glares if any, and you now have a windshield. Finish off the surrounding features, save and lock that layer.
*Note; For my sanity I like to keep the complicated objects on their own layers. This keeps your work organized and allows you to turn things off that might visually overlap what you are trying to draw.
Now let’s move on to making this car shiny. Just like we did with the chrome parts, identify the reflections in the paint and start drawing them out as basic shapes. Using a combination of solid shapes with transparency, shape blends and masked lines blends, pick which technique will best mimic each of the reflections of the car surface. Draw these on a new layer directly above the body shape layer we started off with.
After the highlights are finished, group them and do the same for the shadows. Group and send the shadows to the bottom of the layer so the overlaps lay behind the shine. Add other paint details that exist, i.e. stripes in this case. Lock that layer and make a new one below the body for the undercarriage elements.
*Note; Tip for shadows. I found that using a full black 100c 100m 100y 100k at very low transparency (5-20%) will give you a natural looking depth no matter what color your blacks overlay. Using the default 100k black with transparency will give a gray tinge over certain colors and doesn’t end up producing realistic shading.
On this layer draw out the parts you deem worthwhile (any part of the frame that hangs down, the grill, hoses). Here I chose to leave out the engine fan as I felt it lent nothing to the finished drawing. Keep in mind the key to realism in having as much detail as possible. Lock that layer when done and make a new layer on top for the last pieces.
The last parts should be the headlights and bumper. Again zoom way in and draw your highlights, reflections and shadow shapes. Mask where necessary and utilize some transparency. To save some time draw the right headlights first then copy it, reflect and slightly skew to make the left set.
Now the final touches; turn on all your layers, make sure they are in the correct visual order and look to see if you missed anything (I tend to forget draw the wipers). Make one last layer on the bottom to draw the shadow. I use a Gaussian blur of 4-10 to soften the edges.
…and Presto! We are done, and you’ll notice that since the body shape is on it own layer with the shading on another, you can change the car color at whim with relative ease.
Download EPS file
Download the original JPG
