vehicle sketches and renderings by

SsScocEE robertson
daniel gordnercr
eannis maeenm
 in

ry,

ee
cama
Sadia
iadSe
| f

c=
vehicle sketches and renderings by
scott robertson
daniel goardner
annis na2aeem

\
designstudio|rrcss a
dedication

This book is dedicated to all of you who have given me your continued support and in return the “drive” to complete this book.

contact info
Scott Robertson can be reached by e-mail at: [email protected].
To see more of Scott's work visit: www.drawthrough.com and www.drawthrough.blogspot.com

Copyright © 2010 by Design Studio Press.

All rights reserved.

All illustrations in this book are copyright Published by Design Studio Press Hardcover ISBN 13: 978-1-933492-86-5
© 2010 by Scott Robertson. 8577 Higuera Street
No part of this book may be reproduced or trans- Culver City, CA 90232 Paperback ISBN 13: 978-1-933492-87-2
mitted in any form or by any means, electronic or Website: www.designstudiopress.com
mechanical, including photocopying, xerography, E-mail: [email protected] library of Congress Control Number:
and videography recording without written per- 2010932199
mission from the publisher, Design Studio Press. 10987654321

Graphic Design: Scott Robertson Printed in China

Text Editor: Melissa Kent First edition, November 2010
 CONTENTS

mtroduction coos

CHAaPTERO!: . HEROSPACE ooSs

CHAPTEROSe : MILITARY ous

CHAPTER O3 : PRO SPORT oss

CHAPTER OU :. SALUAGE HS

bios ms

afterword mics
mtrcoduction

Welcome to my newest book, DRIVE.

After completing my first two books, Start Your Engines and Lift Off, | de- The work | share with you in this book features the concept designs of four
cided to switch gears and spend my personal design time creating oth- basic vehicle types: fast cars, offroaders, a few motorcycles and huge sci-
erworldly creatures, characters and environments, culminating in the fi vehicular monsters. In putting the book together, four basic stylistic gen-
book, Alien Race. Once that was finished in the spring of 2009, | res emerged: aerospace, military, mainstream contemporary/futurism
yearned to get back on track designing vehicles for my next personal and salvaged. As | could steer the work in any direction, | chose to think
book project for Design Studio Press. of these vehicles as mostly for the video-game space. This allows for much
more character and fun in the designs, which wouldn’t be the case if | had
A few things led me to explore the particular types of vehicles in this made each of these concepts for the real world. So with a newly renewed
book. | have a strong desire to always force myself to expand the many “artistic license” in hand, the designs presented over the four chapters of
ways in which | can create interesting and endless variations of concep- this book are intended as pure styling exercises to further advance my
tual vehicle designs. In this pursuit, | taught myself how to use several 3D own fascination with imagination, and the refinement of my own concept
modeling and rendering software programs, then challenged myself to in- design processes. From auick thumbnail sketches and digital paintings
tegrate them into my design process, to augment the traditional drawing done by hand, to 3D images created with a digital “kitbashing” of var-
and rendering skills that | have relied upon for years. A few subtle break- ious digital model parts, | hope you enjoy this latest collection of design
throughs occurred along the way. sketches and renderings.

One of the first was the application of specifically designed Photoshop The work featured in DRIVE was created not only by myself, but with
custom brushes stamped over a base rendering of a chassis, generated able assists from two very talented entertainment design students from
using Luxology’s software, modo. This system took me away from tradi- Art Center College of Design: Annis Naeem and Daniel Gardner. | have
tional drawing and focused graphic design at the forefront of the cre- always shared my ideas and techniques with the concept design world
ative process. Through this technique | generated many new vehicle forms at large, and the work Annis and Daniel contributed to DRIVE makes me
which | sincerely doubt | would have been likely to draw with just a pen very proud to have been their teacher. | think the book is a fabulous ex-
and paper. Since the new graphic shapes were being collaged and ample of what strong teamwork—combined with good foundation de-
warped over a base rendering of a 3D vehicle package, | could work as sign, drawing and rendering skills—can accomplish. The sum of these
abstractly as | liked, while always knowing where the hard points were collective artistic and design efforts are much greater than | could have
(meaning the wheels, engine and occupants of the vehicle). | still -have hoped to achieve on my own. Thank you, Danny and Annis. As for the
some research and experimentation to do on this workflow, but once it is credits of the work shown throughout, just look at the bottom of any
refined | intend to document the results in my next book, which will be all page and you will find the names of those who worked on the content
about my design process. To jump ahead to see a few examples of this of that page. Enjoy.
process, check out pages 40, 105 and 106.

Cestt R-bets—.
Scott Robertson
July 2010
Los Angeles

Coos : DAR Ve— robertson

 Poe
oe 3)Re
i ir,
si ag
P |
Beg ee: ‘ ; H ne

(sia tS —
ets coe: tree CHAPTER

ear? ie | Spacecraft have long been one of my favorite type of ve- museums, served to inform the visual research that Danny,
Teas ts Oe ae hicles, and in this first chapter |thought it would be. fun to Annis and | Used for the design of our vehicles. Some of
i ge ~ 9... simagine our video-game-style road vehicles inspired by the’ vehicles are meant to explore a variety of environ-
ote hoe ~ the shapes, colors and detailing found-on old and modern- ments, while others are all about power and speed. Draw-
Se ane day: spacecraft. |have visited the Smithsonian Air and ing’on our research, | found that the black/white color
ea ~ > Space Museum several times and-have found it more and combination with a few red, blue or gold material accent
~s mere inspiring, with each trip. The thousands of photo- colors went along way toward making a convincing con-
Pe eeerayn “Sed aha ~ graphs I'vetaken there, ds well as at several other space nection back to the spacecraft that so inspired us.
Aerospace: FR.0.G. RTI-201io0

This little offroad racing buggy is the first vehicle we did for this
chapter. The design grew out of the sketches to the right, which
are actually very quick digital mash-ups, and then paintovers,
of three spaceship sketches found at the back of my previous
book, Lift Off. | just added wheels to the ship sketches, made a
few other proportional tweaks and thereby generated three de-
sign directions to choose from. We went with the top sketch,
and then | jumped into modo to realize the design into the three-
dimensional digital model pictured above and on the opposite
page. As the design took shape in modo | liked the whimsical
round forms, so | kept them and decided to let the suspension
arms and other details stay very simple and clean, giving the de-
sign a more sci-fi looking aesthetic. As it is supposed to be an
off-road type of buggy, an aggressive tread pattern is best to
communicate that to the viewer. The rear view of this design
(shown above) says that the aesthetic is, first and foremost, all
about the tires...and then you see the little single-seat driving
pod floating at the middle of the design.

robertson
AecRospace: FR.0.G. RTI-20IiI0

The front view of the buggy shows even more of the whimsical ing mouth gap where the front suspension arms attach. You can
character of the design, as the “face” of this vehicle reminds tell by the nice dusty weathering Danny added that this
me of some type of frog. This is very evident through the frown- F.R.O.G. does just as well on land as it might in swamps.
Aerospace: FR.0.G. RTI-20IiI0

We have added a lot of dust to our renderings in this book.

Here’s how. We run two rendering passes in modo. Then, inside
Photoshop, we drop the dust rendering on top of the color ren-
dering on a separate layer, and then erase the dust to reveal the
color below. It is very fast and fun to do, as it’s easy to imagine
touching the vehicle, cleaning areas your hands might touch like
around the door latch.

DAV = robert gardner

Aerospace: buggy sHhetches

These ballpoint sketches are taken from my sketchbook

which |
almost entirely filled during the making of this
book. The
sketches here explore the design of another offroa
d, open-
wheel vehicle. This direction retains a bit of the fun
from the the
previous design with a strong “face,” and
adds to the aero-
space aesthetic with more sci-fi wheels/tires, some
rugged ex-
ploration-style lights, a more “tech” suspension system
and an
exposed engine at the back.

Ori : DARIive -:- robertson

robertson : DOFIVvoe : OoI>S
senoseace EszroPod 2So0o0

eee Se MoOCesing Mm moo oly Ses ss KS ar SSeS Ss Some c ict, as S weary TIME COS OC Oo Dae

fo o fiomer level wos in excasting the wheeis. The ech chowe renderings of wheels anc fires by Fond. Oftentimes. exdennc
sows this well The bocw of He FenFod 2500 wos come wer fe wees oy honc com ke eves loge For te etre eT
quickly os o loose painiing im Phofostop. By bowng the prot the pomiing Doing wheels im o 3D program jie modo tcs =
Sal mage of fe wees anc fires as o bose mace & Gy Glare GNC G00 Vale© MSs ME TS Che

oginfover, the cesigm cufomeficaly tes more Sai. We usec

robertson - maeeem ors VS a

« Ex#0Pod 2500

the a ore
~ imag
RD
 AEROSPACE: SCI-FI Explorers

Marker and pen sketches show the wide range

of designs | like
to consider early on for any new vehicle design
. The basic idea
was to expand on the design of the Explorer
XRT-20 on page
31. This vehicle could be even bigger than the
XRT-20. The tech-
nique used was first to sketch the rough basic
form with a very
light grey marker and then to add the detail
s with a pen on top
of the rough sketch. After scanning the sketch
es | colorized them
in Photoshop and set the layers to “multiply,”
and finally they
were composited onto the toned background
of the page.

ofl] : pARive - robertson

neRosPAce: SCI-FI Explorers

More big explorers. The three framed Photoshop sketches to the

right feature an idea of having a “matter disruptor” at the front
of the vehicle. The most low-tech of these designs being the one
immediately to the right. Huge vertically oriented grinding cylin-
ders would have the ability to clear a path through a variety of
obstacles which are often encountered while playing games.
The explorer on the far page, top, has a more high-tech ap-
proach with some sort of super high-tech matter disruptor inte-
grated low at the front of the bumper. The third design would
just use brute force to move any barrier or competitor encoun-
tered along the way. Again, these sketches all started like the _
marker and pen ones above, and were then quickly painted
over in Photoshop.

oeSetSst : DpAIiVeE -: robertson

robertson :
nerRospace: SCI-Fi Explorers

These ballpointpen sketches investigate more styling options for

a heavy duty, exploration-style vehicle. We were having fun with
the proportions of the vehicles by playing with the idea of an el-
evated/floating cabin area for the crew. These sketches lead
into the 3D mode! | blocked out on the next page.

oSeS : Drive -: robertson

 é Norsk PA

2073
NS,
i Ail WL
Anes 8

se

SSS SSS
 Pie
a

nerospace: SCI-Fi Explorers

The idea of the floating crew cabin was taken a bit further in the
four digital paintovers above. A hint of the vehicles’ massive
scale can be derived from the size of the windows. | imagine
that the front wheels on these big boys would be about 6’ to 8’
in diameter. The sketch to the right is the final ballpoint pen
drawing that leads into the renderings on the facing page.

oes : DARIV fl) robertson - naeem

 fAenospPace: Exe pPpilorer HART-20

The idea behind the wheels and tires is that they are molded
around an aerospace-tech inner frame connected to a drive
hub. Being aerospace tech we could freely use as much gold as
we liked! After staging the wheels in the correct perspective in
modo to match the pen sketch on the facing page, the 2D Pho-
toshop rendering phase commenced. We hit on the circle as
our dominant shape with gold-coated glass and white body sur-
faces to help establish a strong visual aerospace look. This idea
of a circular hatch/door is seen on a lot of spacecraft and it
carries over nicely here for the design of the Explorer XRT-20.

robertson - naeem : DRmiVvVeE= : 8Ge>

 Aerospace: Exe plocer HRT-20

After a hard run through the extreme conditions of an advanced

game level, the XRT-20 lets off some heat. This is the final front
three-quarter rendering for this oversized explorer. The articu-
lating front rigging and suspension arms could make for some
entertaining animation as this vehicle maneuvers over rugged
terrain, plowing its way through whatever stands in its way!
 oo

fAenospace: Explorer HRT-20

Here is the rear view of the big aerospace-inspi

red explorer.
This page shows it clean—just after its construction
and ready
for exploration. The Opposite shows it after
some trial runs
through a dusty off-world environment. Both of Deal
these images
were first created within modo, and then the graph
ics were nl
added in Photoshop, as was the dust layer (as descri is
bed previ-
ously on page 12). | think | like the wheels of [|
this design the
best, as the concept was that they were some
form of over- i
molded sci-fi material on top of a skeletal inner ©
structure, with
the golden bits added primarily as a stylistic nod
to the gold foil f "am
used on real space vehicles. . acne
S52 : oAive : robertson - naeem
 Ta ASP 2+ sea
Sue ee M4 Z

oPARENER
gate vererees .—-

AEROSPACE: F-ocers

These ballpoint sketches show some early ideas for aerospace

inspired, open-wheel racers. Directly above, Annis indicated on
a quick thumbnail sketch what | imagined to be an interesting
high-tech bit of engine sticking out in front of the rear wheels. |
also connected with the angular nature of the forms at the front
of the car. This sketch was the basis for the sketches on the op-
posite page where his ideas were explored further. When doing
sketches where the focus is on the design of the body of the ve-
hicle, |recommend not spending much time on the design of the
wheels and tires, other than making sure they are in perspective
and the correct size for the vehicle, knowing that they will be re- y SN
placed later by much more high-tech wheels done in 3D within
as
Wy /} VI
{ fal
=

os - Drive : naeem
Wy
\ of
LE
p
 an

Ow
Fa
PA

Ei
ce
yr
N

AEROSPACE: -rocerxvs

ubless wheels have always been one of the designer's

clichés to say, “Hey, this car is way friggin’ high-tech. So high-
tech in fact, that it has no axles!” So it goes. We gave the idea
ample attention in this book as well. It really does say ad-
vanced technology, and since these designs were intended to
ive only in the virtual world, we decided to have some fun
with the idea. The sketches were done in ballpoint pen and
then colorized after scanning.

ose : ORIVE : robertson

REROSPACcCEeE Frocers
AEROSPACE: r-ocers

Things are getting a bit more like the F1-style racecars of today
with these sketches. The only one that | think has some potential,
and | may develop further into 3D, is the car on the top of the
opposite page. Maybe it will show up in the second print run of
this book in the same way | added a lot of new work to the
reprinting of Start Your Engines and Lift Off.

ose -: Drive -: robertson

robertson
AcRospace: @CHECeme racers

The color sketch above started life as a 3D rendering in modo.

Then by layering a series of custom brush stamps in Photoshop,
| was able to find the design direction. For me, this is a new
way of working on a vehicle design and it has helped me to
create forms | would not have easily drawn by hand. The other
color sketches were contributed to this book by my very talented
friend, Steven Olds, and are his interpretations of the above line
sketch with an aerospace color palette.

robertson olds
 rae

AeRosPAce: SPOrt racers

These sketches relate back to the forms and details established

with the designs of the XRT-20 and the ExoPod 2500. Also the
silver hex patterning on the white body and wheels of the Exo-
Pod was brought over as another styling cue to tie this sports-car
concept back to the look of the earlier vehicles in this chapter.

oH] : DAIVeE : robertson

-

al
robertson
AeRosPpAce: SPoOoOrts racers

Realizing the sketches in color really helped to connect them to glass, blue accents and round shapes this design was now
the other vehicles in this aerospace family. With the matte black ready to be further explored in 3D.
tech areas, white body color with silver hex pattern, gold-coated

robertson :
 AREROSPAce: GEro racer gt

The sketches from the previous page were my guide when build-
ing the 3D model of this design in modo. The version here ex-
plores an overly tech front end and a circular hatch on the roof,
flanked by air brakes slightly to the rear for a fun, animated fea-
ture when the car brakes. A few nice color details were added
by Annis to help complete the renderings. My own modeling
skills still have a ways to go before | have the ability to quickly
model any design | can image. What we gained most from the
introduction of a 3D program to the production pipeline was
the speed and accuracy to assign very real looking materials to
my so-so models and set them into very nicely lit environments,
giving us great base renderings to paint over, adding the cut
lines, design details, graphics, and weathering in Photoshop.
The other two areas that | enjoyed the most by working in modo
were the ability to quickly explore a variety of proportional stud-
ies for each design and the ability to play with different camera
lenses in staging the renderings. Oh yeah, and never having to
render photo-real-looking wheels again is fantastic!

robertson
 cnrceatwo SPRILITARY
As game-vehicle styling goes it’s hard to beat the visual but to see if we could achieve the desired attitude
impact of a faceted, tough-looking military vehicle. An through the manipulation of proportion, silhouette,
angular form language always says to people, “I’m an stance, graphic shapes, cut lines, material combinations,
aggressive thing, be warned!” During this chapter we color, value and graphic detailing. Basically we ap-
took this idea of faceted surfacing, unconventional pro- proached the styling exercises with these design topics in
portions and packaging to create a series of military in- mind, as we do for the concept design of almost any-
spired vehicles that convey a strong personality and thing, and set off to create new and interesting vehicles
attitude of power and aggression across our three very that hint back to their military cousins, some more suc-
different vehicle types. Our efforts were not to put big cessfully than others, but all with strong attitude and char-
weapons on the vehicles to convey this idea of power acter first and foremost.
mutraAry: OFF-croaders

These quick marker and pen concept sketches exploring the po-
tential design directions of a military looking offroader started
out with the same drawing technique | have used for years. As
| did these sketches, the main goal of using faceted forms and
trying to hit on the design topics mentioned on the previous
page were at the front of my mind. When first jumping into the
development of a new vehicle, most of my sketches start out in
side view or whatever view | can most easily and quickly un-
derstand and explore its form. When moving from one sketch to
the next, an emphasis is put on moving the big elements of the
vehicle around in different combinations of size and shape. For
instance, if one offroader has the driver at the front, | might
move them to the rear in the next sketch. If one has a mid or rear
engine placement, on the next sketch | might try the placement
of the engine at the front. When you have full control of the con-
cept of the vehicle early on, this mental process makes it easy
to quickly generate a very wide range of ideas. As long as | ~
make sure to use straight lines, faceted forms, and feature ample FT oj
—— (oP lijedaie a
2Se

ground clearance, the design should start to work as a tough

looking off-roader.

oso : DAIVE : robertson

 mutarny: OFF-crosoders

The sketches on this page do a decent job of showing the

thought process just mentioned. Take for instance the two big
sketches on this page, one has a sloped windshield and the
other has a more vertical windshield. Other than that they are
very similar to each other. This is the sort of procedural explo-
ration of the arrangement of all the elements that make up the
intended vehicle concept that happens from sketch to sketch.

robertson : Drive :-: Oi

‘ere Uae:
 mutaArnv: BR-H30

This design came from a quick marker sketch like those on the
previous pages. The sketch directly above was painted over in
Photoshop. The one at the top has had even more refinement
done to the surfaces, and 3D wheels were added in modo. The
rendering to the left represents one of my first attempts to model
a vehicle in modo. Needless to say, it had quite a bit of clean-
up done in Photoshop after the modo base rendering was com-
plete. Through not only the basic military-green color of the
vehicle, but the angular faceted forms, the BR-X30 conveys the
attitude we wanted for this chapter. Whether for a sports car or
an offroader, open-wheeled vehicles just visually work!

robertson : Driwo :-: &

mutrarnv: BR-H30

Above is the “clean version” of the rendering on the previous

page. I’m hoping that for those of you creating your own con-
cept designs through a similar process, you'll find it helpful to
see how much of the dirt and weathering was added in Photo-
shop by comparing this image to the dirty one.

osSsH : DAVE : robertson

mutrary: OFF-roadecs

The sketches here started out as quick marker and pen sketches
which were then scanned and refined a little bit in Photoshop.
The design direction on the right really pushed beyond our
goals and is a bit too sci-fi, albeit fun.

robertson
 mutrary: OFF-crooders

Annis was on to something with the thumbnail line sketch di-

rectly above. Then | added some real-looking wheels and tires
in modo and did a quick paintover in Photoshop, to create the
rendering at the top.

robertson - naeem : mri

mutrARY: Recon 23530

We liked the stylistic direction of an exposed chassis frame, with

small, separate panels attached to form the body. After decid-
ing on this direction, | worked up the vehicle in modo as seen
in the rendering to the right. Danny did a nice job of weather-
ing it up in Photoshop, as seen on the opposite page. | imag-
ined this off-roader to be some sort of fast recon vehicle, driven
by only one, with the engine set just behind the driver and
ahead of the rear-wheel centers

robertson
iy
LO
it

d,
Hi

Weg

i ft}
rip
»
u] -

Ve “ANS
SPEC j Al.

0-36 pass!
 mutrARY: Recon 230

In addition to the exposed frame, a “notched” silhouette, hub-

less wheels and helicopter pick-up points, located either side of
the driver’s door, round out the design elements of this vehicle.
Carrying spare front and rear wheels and tires helps to give the
illusion of preparedness for the Recon 250. Of course, you can’t
go wrong by adding a few perforations here and there and a
bit of stenciled type for some obligatory tech style!

robertson - gardner : DRIVE =: OSi

 miuntnAry: Recon 2350

fe mm nei ct BS ee se Se ee eee ee =
Atter making a quick recon pass o © cesirec area ec =
ee
wouia
eg
Co nunicare DACK
eefo a~ AEF EREe SEof
use
ee ee
some tec
z

comm. Gear mounted on me roor O SfOCKy antennae mai

Keep wiin the raceted aesinefic of ihe whoite Gad a lime more

suai interest and detail fo the siinouefie. As tT the previous

page this vehicie was moceieéd and renGerec frst in Moco, anc

then weathered up in Photoshop

=
ar toes 2
—— Saree
- ~ <= 3- =
S- >

: é " : . . robertson - gerdner -: oMmivoe= - oSo=

mutrarny: bruiser sHetches

truck sketches on this page were done by first cre-

rendering of six wheels in modo. We used this to
rspective. Then we digitally painted over the base
1is sped up the process and lent realism to the
t of my angular custom brushes in Photo-
ging many layers on top of each other, and
opacity of the layers to see new styling di-
erge. As a visual direction emerged from the clut
. invested to paint over the top of the layers
and refine the forms. Annis’ rendering on the opposite page
(top) shows what this kind of sketch this looks like early on in
the Photoshop painting process

robertson
maeem =:
MILITARY: bruiser skHKHetches

was intended to be some sort of sci-fi semi-truck.

t we are al
| then investigating the faceted form lan-
it should be easier to relate to the
I'm still not sure where the doors
This happens a lot in early sketches where most of
on the invention of a fresh visual aesthetic and not
ional features of the vehicle beyond the
_and a crew cab in the case of the semi.
ano10 ther example of this exercise in try-
c. This is some sort of utility vehicle that
dified for racing. | was trying to develop a very
for the front of vehicle.

robertson
 mutan: bcouiser sHketches

We continued the idea of creating a sci-fi semi-truck with a cou-

ple more sketches. The faceted form language we had decided
on for this military-inspired group of vehicles was applied to this
slightly lower and seemingly faster truck concept. The cabin of
this bruiser is intended to seat only one driver, no passengers.
The sketch to the left explores the idea of tweaking the cabin
profile to relate back to the more vertical windshields that run
throughout this chapter. I’ve always liked the attitude of semi-
trucks that have big, flat front surfaces and seem to say to the
air they speed through that they are so powerful there is no need
to worry about aerodynamics, as their brute force is more than
enough to take them to any speed they desire. On the next page
is a monster of a truck Annis and | realized as some sort of
huge, military utility vehicle.

robertson : Fri
robertson neeem
mutrarny: BR-I Heauy Escort

The sketches to the right started as an homage to Syd Mead’s

APC vehicle design for the movie Aliens. Annis did the color
sketch above on top of the sketch to the lower right, and based
on this | jumped into modo to build a loose digital model that
| painted over in Photoshop to create the vehicle design on the
opposite page, also known as “The Brick!” Again you see the
vertical windshield and the exposed frame elements as the
most relied upon stylistic cues used to tie this vehicle to the oth-
ers in the chapter. On this page you can see that | did think
about the doors—in this case from the beginning as they are
a big part of the fun of the design. | imagined that the scale of
the vehicle and the presence of such large wheels would be ac-
centuated by having to walk between the front and rear wheels
to get into it

Co : oRIiVe : robertson naeem

mutany: BR-I Heaumy Escort

This beast was designed to be a heavy duty barrier-buster

that would clear the way for other vehicles to follow through
the holes it could create by blasting parked cars and other
debris out of the way with its hydraulically-powered “punch-
ing” front bumper. The wheels are of the new “B-class hub-
less” style recently declassified by the military and which are
now finding their way to many of the privateer racing teams
around the world. They are more durable than the previous
designs and house additional drive motors within their mas-
sively ringed hubs. When something blocking your route, just
call in “THE BRICK.”

robertson : Drive :-: oS

robertson - gardner
 Bris modsicn While it
heels of the BR-1, it
in makes up for it with
design of its own.
mutrary: Speed

The idea behind this design was to take the styling we had es-
tablished earlier with the military vehicles and apply it to speed
vehicles. It was a really fun exercise to force myself to work with
the exposed-frame look and a vertical windshield in the form of
a speed vehicle. The idea was much like the semi-truck analogy
in that this car has so much extra power on tap that it need not
worry much about the aerodynamics of the windshield. The_
sketch at the top of the opposite page is the basic design | built
into a quick 3D model on the following pages.

Ss -: pPRIVeE : robertson
Fs
uae
4 Lipide,
Ps
apy d

ype Uy)
 so SVD S FE?

mutrarnv: Weehend Warrior

The renderings on these pages and the next two are of the base-
sketch model out of modo, before any Photoshop work. | always
imagined this car as the creation of some wacky, talented Army
mechanics with too much time on their hands!
— =< - = g
Co : oRriVvVe : robertson
Td
7
robertson
 fue

a) a ,
3
a '
e
a -— A
it «i,
oO a .v hd
ai a. wi’,
-
wipes

Ld
‘
MAJ.

‘
~~
=

ESS.
Pa sss
SS Se y

ii
ee
maa
emer
ener
ee

robertson - maeeem =:
 ~All

** a
a. 32 ee dea .
} m > a . ’
ee ;
a a of a Gt ag
Se #@# eae AFA

Of course, once they built one, they had tobuild two. Then the
race was on!
MIiLitARY: SSR Ss-Ii2

one earlier on, before hitting on the exposed frame and verti-
cal windshield style, this design takes a more traditional ap-
proach and explores the simple idea of adding some angularity
and soft faceting to a mid-engine sports car. The concept started
th the value sketch above, done in Photoshop on top of a
modo rendering of four wheels and a ground plane.

$$: DAVE -: robertson

MILITARY: SSR Ss-i2

The sketch above is a version of the concept from the previous

pages put into a front three-quarter perspective view. This sketch
started as a traditional ballpoint pen drawing | did over a print
out of the base chassis rendering which was nothing more than
a ground plane and four wheels. The value and rendering of the
forms were done next in Photoshop. The design to the right and
the facing page was a revision of the one above to explore an
even more faceted surfacing of the car body.

oso : DrIVe : robertson

robertson
 mutany: BlacH Magic

This is the last, and most futuristic, imaginary racing vehicle in

our military chapter. So of course this car has the obligatory
sci-fi glowing, blue-light energy source along with classic mil-
itary-style stenciled graphics to help place it in the future yet
keep it familiar within the styling theme of this chapter. Annis
did a really nice detailing pass on this hyper-faceted, open-
wheel race-car concept. There were no sketches for this car
and it was one that | mocked up directly in modo as a loose
assembly of simple, faceted forms to make the car. The raw
rendering out of modo looked like the image below, before alll
the detailing in Photoshop.

robertson - naeem : Drive - ODS

; f tt Vi [2] ¢
i]
Pro sPporat: Speed sHetches

Ballpoint pen with a little marker work is how | got started on the
sketches for Pro Sport. You can still see some of the influence of
the earlier military sports-car proportions hanging around on
this page. I’m not crazy about any of these design directions,
but | always need to do some warm-up sketches along the way
to finding a new visual style and I'm happy to share a few ex-
amples of this process here.

osSsG : DAIVE : robertson

 PRo sport: Speed sHetches
ys MAMMA
Again, more ballpoint pen sketches of early design directions,
this time by Annis as he warmed up to the new proportions of
sports cars and searched for a direction to pursue with more
detailed drawings and renderings.
pro sport: Speed sHetches

As | mentioned earlier, | find it faster to start searching for av-

tomotive styling directions primarily in side view. If the design
doesn’t work for this angle, then it is very unlikely to look good
in the perspective views either.
pro sport: Speed sHetches

After finding a concept | like, | scan the sketch and open it in

Photoshop, where | add some wheels I’ve modeled and ren-
dered in modo, and then add value to the sketch to define some
of the transitional forms and graphics. | really enjoy the ren-
dering of the form in Photoshop, as it gets me close to the feel-
ing of sculpting a real clay model once | get into the rhythm of
it, At this early stage of development | work mostly with a hard-
edged elliptically shaped brush, set to “pressure sensitive,” with
a low opacity. | also tend to do these types of sketches in gray
scale and sometimes colorize them later as I’ve done here.

I©OOo : oRVoOe : robertson

pro sport: Speed sHetches

More of the same style sketches here, this time done even
quicker with more of the underlying base marker sketch
showing through.

robertson
 Pro sport: Speed sHetches

These styles range all over the place, which makes doing a book
like this really enjoyable for us. The center car on this page
makes it through to a more finished level in the upcoming pages.

robertson :
pro sport: Aichemy

Alchemy is a very interesting, free, drawing program | have

used for a couple of years to generate a lot of styling “happy
accidents” through the use of their innovative, abstract sketching
tools. The loose sketches on these pages were done in this pro-
gram. It is a little hard to control the results when doing a sports
car but if | can look through the innate complexity of the
sketches, occasionally I'll find some fresh visual directions |
would have been unable to create otherwise.

joH - oSARiVvoe -: robertson

 Pro sport: Aichemy

The sketch directly to the left is just as it came out of Alchemy.

Then, after a first pass of refinement and the addition of wheels
out of modo, | had the sketch above. Sure, the study above still
has far too much going on, but it’s not a bad way to work to
help break me out of styling ruts that develop over time. During
a 20-year career as a designer, it is easy to develop muscle
memory when drawing the same curves over and over again,
and this makes it difficult to invent fresh and innovative shapes
that no one has ever seen before. This seems to be especially
true when designing cars, as the differences in today’s mar-
ketplace can be quite subtle to the casual viewer. This strong
desire of mine to invent new forms has led me deeper into the
investigation of new tools and techniques to add to my visual-
ization process, which seems more and more to involve a large
dose of abstraction in the mix. Whether it is by using Alchemy,
photography, custom brushes or collage in Photoshop or the
use of new 3D programs like modo, | find the constant rein-
vention of my own visualization process to be as enjoyable, if
not more so, than the final object that is created with the use of
these tools and techniques.

robertson : Dor
 RTT wT, w

PRO sPpoRT: ProcesSsS corsS

the r ight repre s Cc + z Oo

= oY

robertson
a c Vi f : E ::C E fW.: "

robertson
PRO SPORT: SR-862

from the middle

This a cleaned-up version of the design sketch
| had some modeli ng help on this one, as the fol-
of page 103.
forms for a
lowing pages will show. When communicating the
like the one
modeler to build a design in 3D, | will do a sketch
that is then ren-
to the right. It starts with a traditional pen sketch
ate the transit ional
dered by hand in Photoshop to help deline
on to
forms through value changes across the surface. In additi
| will go back and add sec-
rendering the forms in gray scale,
to make the image as clear as pos-
tion lines over the surfaces
ng side, front
sible. A good modeler can work from matchi
pretty close to
three-quarter and rear three-quarter views to get
the finished model.

robertson
 Pro sport: SR-8B2

| colorized the paint to show where the material changes would

happen. The addition of a quick reflection of an overhead light
box helps bring the illusion of the reflective surfaces to life.

robertson : DRmIVOeE : w>

 an advanced carbon fiber, theSR-62 is put
during testing on the dangerous subterranean

ae a. ae

merat aead
robertson
 Power Slide
pro sport:

e car and | chose to de-

| wanted to do a kind of modern muscl
into the car above. The first
velop the sketch at the bottom right
t a big front engine with a
marker and pen sketch is all abou
angular forms reminiscent
monster hood scoop and aggressive
muscle cars. After moving the
of the late ‘60s and early ‘70s-era
wheel arches over the tops
sketch into Photoshop, | dropped the
old muscle-car feel. So then
of the tires, which | felt gave it an
ed the forms and graphics. The 3D
to modernize it, |quickly refin
the top of the page was the
model and Photoshop rendering at
.”
first version of the “Power Slide

a slightly softer version of the

The rendering on page 116 shows
it still accomplishes my goal
car than the one above, but |feel lib-
rn twist, with some artistic
of a muscle-car feel with a mode
of functional doors, ground
erties taken, of course, in the areas
leaving enough room for
clearance, headlight heights and
have fun designing a cool make-be-
wheel travel! Hey, if | can’t
is going to be pretty dull.
lieve car for a book, life

robertson
 Pro sport: Power Slide

The rear view takes on a more modern feel than the side view,
in my opinion. A hint of some underbody aero-sculpting, big
exhaust ports and visually floating red body panels all help to
get this car moving toward the future.

robertson
 ag

Wy,
E. Vietina
 ‘6

PRO SPORT

Having made a usable 3D model of the “Power Slide

why not duplicate it and go racing!
 |

Pro sport: Speed sHetches

On this page are some of the sketches that led to the develop-
ment of the open-wheel racers of the following few pages. Push-
ing the limits of acceptable engineering technology for our own
world, but just touching on what can be possible for a virtual
game world, | think the sketches here strike a nice balance of
futurism coupled with the visually familiar.

The car on the following pages pushes a bit further stylistically

into a sci-fi racing realm with a 3D study | did in modo. The re-
sulting modo renderings have been heavily stylized inside Pho-
toshop through the application of quite a few artistic filters.

eo : DRIVE =: robertson
[oa robertson -:
awriiwe- = tice
:
(6 Dihaz
. Te ma Va
\" DS
>

\
)
[\"~4 le

»:
it from:the previous: pages tur ed into this
bao a
cer. Annis did a really«detailed paintover of the modo ren-
sring and added a lot to the design, nudging it visually even
rther beyond our own time and space.
Pro sport: Ecuck sHetches

Along the bottom are a few more quick marker and pen warm-
up sketches for more traditional utility trucks that could offer
some brute force to any racing team. The top sketches were
paintovers done in Photoshop of the marker sketches below.

robertson
= 0 4 a a oolVj 0 c
Pro sport: Ecuchk sHetches

More, brute force trucks with big bumpers and even bigger at-
titudes. All of our tools and techniques are represented on these
pages: pen and marker sketching, 3D wheels from modo, dig-
ital photo collage and paintingin Photoshop.

robertson
u 0 a u uw a Vj 0 c
Pro sport: Ecuck sHetches

The “Thunderbolt” (above) borrows a bit of the form language

from the “Power Slide.” The idea was to design a lower style
of brute force vehicle to compete against the taller trucks, but
to do it on a similar-sized chassis. The other concepts on these
pages take a more sci-fi direction and have a few more free-
flowing lines. During the production of this book | made a vi-
sual research visit to the Oakland Air Museum and took a few
hundred photographs, mostly of old military aircraft. A lot of
the bits and pieces of those planes were used as part of the
base photo collage we painted over in the creation of some of
our vehicle concepts. On the bottom of the far page, the mod-
ified canopy elements and air intake on the side give this road
machine a strong visual connection to military aircraft of the
past. It’s really fun to go out and do visual research at muse-
ums and junkyards and later to recombine the elements of your
photographs into new and strange vehicles that still retain a
hint of visual familiarity.

robertson
 Pro spon, Rapici

This concept was intended as some form of fast rescue or emer-

gency vehicle. Flowing lines and organic forms take this utility
vehicle into a different world than our own. Judging by the wind-
shield shape it appears to have been manufactured by the same
_ company asthe SR-62 on page 108.

ee ee
 Sodtating:
ty

—: —————
Pro sport: Sport USO

This is the first motorcycle in the book and there are a couple
more in the next chapter. We actually did a lot of bike sketches
but never really got around to finishing enough of them to make
a chapter, and we only had space for as few as a rising page
count kept me from including a lot of the rough sketches. They
might be a good thing to post on my blog, now that | think
about it. Above, Annis did a marker sketch | liked, so | mod-
eled it up in modo and rendered up these images. The render-
ing directly above is of the raw model and the two to the right
have both had a little work done in Photoshop.

robertson - naeem
 cn ed

~ i, :
x
pom
e
. :
\ rN

Pro sport: Sport Uso

This concept is intended to be some sort of offroad bike with de-

cent ground clearance and bit more style at the expense of func-
tion than you see in the dirt bikes of our reality.

robertson -
Pro sport: OF F-roadercrs

These pages feature some quick pen and marker sketches for
various off-road racing concepts. As mentioned before, | really
enjoy doing wide open concept sketching like this when | can
move the big elements of a vehicle around from sketch to sketch,
in search of a design direction to develop further. Some have
the cabin forward, some back, some have the engine at the
front, some at the rear.

The combinations are many and the ideas flow.

AS:

we : DAVE : robertson
robertson :
PRo sport: Superlight 700

The observant reader will recognize that this vehicle concept is

a new proportional study of the first off-road vehicle in chapter
one, with some surfacing modifications as well. The proportion,
silhouette and stance of a vehicle design so strongly contribute
to its initial appeal, that having the ability with 3D programs to
fairly easily deform one model into another new concept is re-
ally great. Of course sharing wheels from one vehicle to an-
other is also fun. In the last chapter of this book we get much
more into this concept of digital “kit-bashing.”
robertsenm:- gerdner :
i9 0 t J?i
 CHAPTER FOUR

The ease of use of today’s modeling and rendering pro- ter specifically. As | have been observing the trends of
grams, along with the proliferation of digital 3D models people sharing more and more digital content online, |
available on the Internet for purchase for professionals feel we are at a point where using modern tools and tech-
like myself and for free for hobby modelers, is starting to niques, coupled with strong foundation drawing, render, ~
transform the way in which concept designs for any sub- ing and design knowledge, is ushering in a new way of
ject can be generated. My foundation drawing and ren- stimulating the invention of concept designs and art. We
dering skills have always been what most would call the chose the Salvage aesthetic as a way to test these new
“old school” way of doing visual development or concept tools and techniques, and | must say the idea of creating
art. This is not to say that my methodologies stay rooted vehicles from basically found objects or scrap was the
in the past. On the contrary, I’ve always sought to rein- perfect topic to explore the possibilities of a reworked
vent the methods | use to create fresh concept designs. pipeline for myself and my interns. 1 ~

This brings me to the presentation of the work in this chap-

sauuace: OF F-roaders

We learned through our integration of the 3D tools that a lot of

time can be wasted in the creation of a new vehicle if you do
not enter the 3D program with a clear intent. So this is where the
traditional drawing skills are still necessary and allow for us to
know where we are trying to go before jumping into the use of
the digital tools.

Wee -: DPAIVE : robertson

y\
AY

robertson : Drive ui
 >
-GC)
savunce: OF F-roaders

More marker and pen sketches to establish some quick

propor-
tional directions for a few salvaged together off-roa
ders.

a4 wri ys — robertson
 sAacunce: OF F-roaders

The sketch to the left shows a nice example of mixing a ‘50s

sports car with big V-8 engine, monster-truck-sized wheels/tires
and a ridiculously large side exhaust pipe. After doing a sketch
like this to audition our new digital pipeline, | might jump onto
an online 3D model resource website and buy a V-8 engine
model and some wheels and tires. The reason this really works
for a salvage style is that the vehicle is supposed to be made
from “real stuff,” familiar scrap and salvaged parts. Being a big
believer in honoring the copyrights of other creators like myself,
| chose to invest in purchasing the 3D content for some of our
vehicle details and components.

robertson : DRMmIVOe : Fi Vl
 i sat 117) eee Pea
. a

sauunce: OF F-roaderkrs

However, should you want the parts to be

truly orignal, you
need to do the modeling work yourself, no way
around it. So
quite a bit of our time was spent on model
ing as we created
the 3D concepts in this book. These sketches
Annis did are to-
tally original designs, but they still retain
some familiar bits and
pieces so they do not become so new we can
no longer visually
relate to them. This is where the balancing act
of using “real
stuff” in a concept design comes into the proces
s.

neseeem
 sauuace: Desert Runner

To show something fresh and new, the last thing you’d want to
do is use unmodified 3D content you bought online, because if
you can do it, so can anyone else and where is the originality
in that? So this is where | think that despite the proliferation of all
the 3D models online, it is how creatively you use the content
within your own work that sets the work apart from all the oth-
ers. In our designs, the main goal was to add realism and be-
lievability to the concept of a vehicle that was salvaged and
assembled from various bits and pieces found at one super bad-
ass junkyard! The rendering above started as the sketch Annis
did to the left, and by making my own wheels in modo, painting
over the sketch and then using my photos of old aircraft that |
,warped across the surface, we created the Desert Runner. Danny
~ then weathered it up to add even more realism.

robertson - naeem - gaerdner : or

 SALUAGE: bikes;

Whether we worked in modo kitbashing digital

models to-
gether, or in Photoshop doing digital painting,
or using pen and
markers on a white piece of paper, the focus
remained the
same: create something exciting and in keepin
g with the stylis-
tic parameters we had created for ourselves.
As is often said, “It
is not the tools that create the designs and art
but the way in
which the person skillfully and creatively uses
them.” The bike
on the next page is one that | imagined might
have been built
from old military aircraft parts. At the top of that
page shows
how the conc ept started as a series of
simple pen sketches, and
then | went into modo to make the wheels, tires
and suspension
arms before painting the body in Photoshop.

hot —| : oOAVeE : robertson neaeem

robertson
 =

La.) \ hy

a LESS— —————>

| ior |a. TLLCie

¥ wets

Oy LA
Fah) Le
>

‘
VF fa
\ rs) ee.
alt ey . Sf
} f
‘4 ™~
La

Se hil x
\ \ af at
. yf po 4!

“NS i A
sth ae eer) La waeaerres ater Tt
- ———
. aX CAR

sauunace: tcuchk sHetches AM

; | “ "

.
On these pages Annis searches for a direction of what might : 4 NN uptetaiee
SUES 3
become the next Salvage brute to blast through the landscapes 4] j/ SOs ri
of our imaginary worlds. Kg Lf
as?
var 77%
Lf

mo Of a P= : Sa :

—_
= a a ehh
Se
das)
| re!
WBKA 7, Sa
AZ

“AG Pietees., WWiptesss-

AGP? —
Mntret/Tiemrrs ARS : e
en tii Ss >“
= _ —_ Tee
: Cs

iso : DRIVE : neeem

rf
14 Ag :
 in Mest Pe eae Eee. ae
Here is a nice example of the new tools being put fo good use;
lots of 3D model parts—both purchased and built
fro
scratch—kit-bashed into this beast, which was then slatheredi
photo-collaged details that were then painted back on topof —
adding even more detail, originality and realism to the concept.
Another one of my summer interns, Ahmed Aldoori, looks to be
enjoying his day at the beach in his not so eco-friendly ride.
robertson — gerdner
‘nl | 2 i
robertson - gardner
sA.uace: Speed sHetches

These sketches are the early development of a racer with some

exposed frame and engine elements. Again, | was looking for
a design direction before jumping into 3D.

SS :-: DoAmiVoe -: robertson

robertson oriiv — SS"
 — yea
Le 3 ———
=e’

~All en

Art
Sma
vit

SALUACE: Speed sHetches

More of the same. The top sketches investigate a more designe

d
approach to the exposed engine whereas the sketch
directly
above goes with a more traditional-looking engine and straight
pipe exhaust design.

ISS : DpmRive : robertson

 ——%
— \

[3H :

sAa.uace: Speed sHetches

The top sketches here further explore a hybrid of exposed en-

gine parts with more purposefully designed and formed frame
elements. Ultimately the look of this racer would be more de-
fined in 3D than through these sketches, proving to me that for
certain projects, a lot of early concept work can be achieved
quickly in today’s 3D programs such as modo and SketchUp.

robertson : DRIVE : i>5>

 This is the final version of the vehicle concept that came out o
the sketches on the previous pages. | had modeled something
more similar to the sketches at first, but it didn’t resonate with
me. So this somewhat ridiculous beast was born through the in
troduction of a huge turbine engine running almost the length o
the car, meaning the driver was forced off to one side to make
room for the overly large engine. Now this works for me!

On this page we find the driver and crew pushing car 3 back
to the pits due to a rain delay. On the opposite page, car 7 is
having some data downloaded after initial test runs on a dry
lake bed. Turns out, on this day the engineers learn it does bet
ter in wet conditions than in the dusty desert!

aE
re Drive = robertson - naeem
HHA
in
ua IT?)
sALUAcCE: OPeN wheeler

Classic hot-rod proportions of a long nose, small aft-placed g

cabin and a raked stance were running through my head while if ANN
doing these sketches. Combine this with a little scii tech hubless
wheel design and you have retro-futurism styling all day long!

iS] : DAIiVEeE -: robertson

 sauunce: OPeCN usheeler

On the sketch to the left | tried a more cabin-forward approach

with a mid-engine layout, but it was back to the drawing board
after that one.

robertson : DRiVOe : ios

saiunce: Bone Breoaher

Pushing the limits of the Salvage team’s technical expertise and

building skills, this open-wheel racer was named the “Bone
Breaker” not only for the extremely harsh ride qualities of the
machine but for the way that this team cut corners safety-wise to
try to keep up with the more well-funded racing teams. It
worked. Even for all of its faults, on the right track, in the right
hands, the Bone Breaker can compete with the best of them!

=i : DRE : robertson
sA.unce: Bonne Breoaher
— ae
ies : DRIVE -: .
 sauunce: BIa9cH Widows

These images show the raw 3D model renderings out of modo

that were part of the early development of the Bone Breaker
but were used almost “as is” for the basis of the cousin to the
Bone Breaker, the Black Widow. After purchasing a few 3D
models of rocket parts, springs, bits and pieces, and making a
bunch of our own, this concept model for the Black Wi
came together much faster than | could have done it with only
my 2D skills. This model more than any other has made modo
a permanent fool of choice in my concept design process. It’s
not that | don’t enjoy sketching and 2D rendering, or that | don’t
have strong skills in these areas. It’s just that when tight dead-
ray,
lines loom, new tools will come along that greatly influence the
way in which projects can best be completed in the shortest
amount of time with the highest qualify results. One strong word
of advice for concept design students around the world reading
this book: The digital tools do nothing to create aesthetically
pleasing designs for you. Only a rigorous training in the fun-
damental principles of design, and how we humans perceive
the world around us, will help you to reach this goal.

robertson
wy
ylf Ni
{ » Md i )
XS
| Ql) | aa
 Annis Naeem Daniel Gardner

Annis Naeem was born in 1987 in Pakistan. He moved to New From the beginning, Daniel Gardner had a passion for art.
Jersey when he was 10 and thought he was destined to be a Born in 1989, he grew up in a family of creative people and
doctor or a lawyer, based on his family’s expectations. At 18, designers. He took figure drawing, painting and animation
he realized that his love for drawing and painting was greater classes in high school along with product and transportation
than just the sketches in his chemistry class notebook, and he design classes through Art Center College of Design's Satur-
prepared for a move to California in hopes of receiving an ed- day High program. Gardner had always dreamed of attending
ucation in concept design at Art Center College of Design. After Art Center to major in transportation. Although, after a year at
over a year at Art Center at Night and Pasadena City College, Pasadena City College, ready to apply to Art Center, he be-
spent preparing the portfolio needed for the transportation de- came aware of entertainment design and how it was going to
sign degree program at Art Center, he applied and was ac- become a new major at the school. Having immediately fallen
cepted. In his first term he met Scott Robertson who convinced in love with concept design, he changed his focus, but still has
him that the new entertainment design program had the bal- an immense love for automobiles. Gardner is now halfway
ance of design and illustration Naeem was looking for. He soon through his time at Art Center and is excited to join the enter-
switched majors and landed an internship with Robertson the tainment industry.
next summer through which Drive resulted. He is currently a stu-
dent at Art Center with two more years to go before gradua-
www.dannydraws.com
tion.
[email protected]

www.annisnaeem.com
[email protected]
Scott Robertson

President: Design Studio Press Dedicated to art and design education, he founded the publishing company De-
sign Studio Press in 2002. The company’s first book, Concept Design, printed
Scott Robertson was born in Oregon and grew up in the country. As a child his in 2003 and featured in Car Styling magazine edition #155, is a collection of
artist father, Richard, taught him how to draw and design the toys in his imag- original artwork by seven of the top concept artists working in Hollywood. Its
ination. Fascinated by speed, he and his father designed and built soapbox follow-up book, Concept Design 2, is currently in its second printing.
derby cars. At the age of 14, Robertson finished sixth in the world at the an-
nual race in Akron, Ohio. As a way to further design, drawing and rendering education, Design Studio
Press teamed with The Gnomon Workshop to create a library of “how to”
After two and a half years at Oregon State, Robertson transferred to Art Cen- DVDs. Robertson himself instructed on nine DVDs, focusing on drawing and
ter College of Design, where his father had attended as an illustration student rendering techniques for industrial and entertainment designers. He co-pro-
before him. Robertson graduated with honors with a B.S. degree in Trans- duced an additional 41 DVDs with various top artists, designers, and instruc-
portation Design in April 1990. He immediately opened a consulting firm in tors, including Syd Mead. To view all of the titles currently available, visit:
San Francisco, where he designed a variety of consumer products, the major- www.thegnomonworkshop.com
ity being durable medical goods and sporting goods. He began teaching at Art
Center College of Design in 1995, first with a year-and-a-half stint at Art Cen- To date, Robertson’s company, Design Studio Press, has published 31 titles on
ter Europe in Vevey, Switzerland (now closed), and then in Pasadena, Califor- art and design, with 9 of these having been translated into Japanese by the
nia. Robertson created the entertainment design major at Art Center, and publisher Born Digital. Over the coming year Design Studio Press will release
served as chair of the department for 3 years. several new books, some of which feature new intellectual properties, which
Robertson is working to option to various entertainment partners to be devel-
He has worked on a very wide variety of projects ranging from vehicle and oped into games, movies and toys.
alien designs for the Hot Wheels animated series, Battle Force 5, to theme park
attractions such as the Men in Black ride in Orlando, Florida for Universal Stu- He currently works as a design consultant to the entertainment industry, and is
dios. He art directed 240 illustrations for Mattel’s Hot Wheels AcceleRacers col- married to film editor Melissa Kent.
lectible card game, and authored the book How to Draw Cars the Hot Wheels
Way. Some of his clients have included the BMW subsidiary Design- To see more of Scott Robertson’s personal and professional work, please visit:
works/USA, Bell Sports, Raleigh Bicycles, Mattel Toys, Spin Master Toys, Nike, www.drawthrough.com
Patagonia, Minority Report feature film, Rock Shox, OVO, Black Diamond,
Angel Studios, Rockstar Games, Sony Online Entertainment, Buena Vista Other books published by his company can be found on their website:
Games and Fiat, to name just a few. www.designstudiopress.com
 efrtrerword...

| hope you have enjoyed our design and styling explorations wave of concept designers to build upon our ideas and tech-
into the realm of hypothetical video-game vehicles. It is with niques, reaching far beyond what we have shared with you
great pride that | have been able to include the artistic efforts of here. For our part we will keep striving to reinvent and reinvig-
both Danny Gardner and Annis Naeem, and | hope that our orate our own design processes and techniques and continue to -_
collection of sketches and renderings help to inspire a future share them with the world through Design Studio Press.

more cool stuff...

Be sure to pick up copies of my earlier books Start Your Engines

and Lift Off, featuring many more sketches and renderings from
earlier in my professional and educational career.
LIFT OFF » START YOUR ENGINES »
air vehicle sketches & renderings from the drawthrough collection surface vehicle sketches & renderings from the drawthrough collection

www.designstudiopress.com

Don’t forget to visit my website and join the mailing list to be

kept in the loop on new books and events. My blog is also a
great place to see work-in-progress for future books.
Zr ~~
—

scott robertson

www.drawthrough.com
www.drawthrough. blogspot.com Lift OFF: ‘ Start Your Engines:
air vehicle sketches & renderings from surface vehicle sketches & renderings from
the drawthrough collection the drawthrough collection
ISBN-10: 1-9334-9215-5 paperback ISBN-10: 1-9334-9213-9 paperback
ISBN-13: 978-1-933492-15-5 ISBN-13: 978-1-933492-1 3-1
If you would like to learn more about the foundation drawing
and rendering skills used by Annis, Danny and myself, please
check out my educational DVDs at:

www.thegnomonworkshop.com

For volume purchases and resale Or you can contact:

inquiries please e-mail:
Design Studio Press
info @ designstudiopress.com 8577 Higuera Street
Culver City, CA 90232
tel 310.836.3116
fax 310.836.1136
rae
- |
-.a

a3
DRIVE features Scott Robertson’s conceptual vehicle designs intended for video Spanning four chapters, each representing a different aesthetic theme—Aero-
games, communicated through skillfully executed sketches and renderings. space, Military, Pro Sports and Salvage—conceptual sports cars, big-rigs,
DRIVE builds upon the success of his prior two vehicle books, Start Your En- motorcycles and off-road vehicles are beautifully represented in full-color
gines and Lift Off. Just as he did with another recent book, Alien Race, Robert- through traditional and digital sketches and renderings. If you like concept
son collaborates with his Art Center College of Design entertainment-design vehicles, you will love DRIVE!
students, this time featuring works by Annis Naeem and Daniel Gardner.

da

» ren Bere et

designstudi0Olrress