When working on a drawing, little can create impact like line weight. From the most basic uses in describing weight, position in space or even highlighting a featured subject in your work to defining motion, the width of a simple stroke can do many things. I implement this thinking into each piece I create, right from the start, and today I’m throwing down a masterclass on the essentials and value of using line weight to carve out your own signature style.

“So while you guys are opening gifts, tolerating family and literally slapping the 8th highball out of drunk uncle Larry’s hand, just realize that I got my gifts early.”

A peek at the process involved in the creation of the Big Red Camaro SEMA poster, from loose sketch to final detailed illustration, Round Six’s Brian takes you inside of his head, and shares a ton of tricks, tips and deep into some personal history.

In my line of work, time is the enemy. There’s never enough of it. You can only create so many pictures in so much time, and time keeps slipping away from you. Oh, sure… you go at the day with the greatest intentions, but by noon, the day’s half gone (or even less on some more marathon days), and you’re three hours deep in rendering headlamps or hair.

One of three things is probably happening about now: One, you’re curled up in the corner, rocking back and forth and mumbling something akin to, “Mommy, stop the bad man from hitting me with his words!” Two, the sudden gasp and spike in blood pressure has produced a pink froth in the corner of your mouth while you b*tchslap the keyboard like it owes you money as you wish death and pestilence on my manhood.

The best advice when starting a big project would be to bring on an experienced designer to help guide you along. As a professional hot rod and custom car designer with over twenty years experience in the auto industry (from parts and service to body repair/customization and after-market accessories), as well as training in design and fine art, I’m here to offer some advice on taking those first steps.

No presets, meshes or brushes, just paths and pen tool. There’s a lot to be said for using the basic tools, and I find it to be a very Zen experience; it becomes the art of massaging your brain while working. It can get tedious, but the key is in finding a rhythm, wherein you can alternate between left and right brain, solving little design and engineering issues as you make everything look “right” or “cool.”