We continue our tutorial with the wheels of our Porsche 911 car, but before we proceed with the next steps, I’d like to shine the spotlight on the famous Fuchs wheels that were designed in the shape of a cloverleaf (or a wing). First, a bit of history:

“The Fuchs wheel is a specialty wheel made for the first Porsche 911/911S model in the early 1960's. Designed in conjunction with Otto Fuchs KG, Porsche modeler Heinrich Klie, and Ferdinand Porsche Jr., the Fuchs wheel was the first lightweight forged wheel to be fitted to a production automotive vehicle. They provided the rear-engined Porsche 911 sports car with a reduction in unsprung mass, through a strong and lightweight alloy wheel.”

— Source: Wikipedia

We’ll start with the design of the tires first.

Tires

Un-hide the wheel base in the Layers panel. Turn off Borders and set Fills to #2A2A2A. Then, duplicate this shape, change Fills to #000000, move it behind the base wheel (right-click on it and choose Move Backward) and push it 20px to the right.

Tip: Holding Shift + → will move the selection in 10-pixel increments.

Select the base wheel and add some guidelines to make alignment of all elements easier. To do this, show the Sketch rulers (press Ctrl + R). Then, add a vertical guideline at the center of the base wheel with a click on the upper ruler, and do the same for the horizontal guide on the left ruler.

Temporarily turn off the guidelines by pressing Ctrl + R on the keyboard. Create a tiny rectangle with a width of 2px and a height of 8px, with the Fills set to #000000 and the Borders turned off. This rectangle will serve as the base unit for creating the treads (a.k.a. the tread pattern). Center the rectangle to the base wheel horizontally.

Zoom in close enough (here, I zoomed in to 3200%), choose Transform from the top toolbar, select the top middle point and push it 2px to the right, then select the middle bottom point and push it 2px to the left to make it look slanted.

Note: If you don’t see the Transform tool in the top toolbar, you can add it there via View → Customize Toolbar… or you can use the keyboard shortcut Cmd + Shift + T.

Turn back on the guidelines (Ctrl + R) and make sure this rectangle is selected. Put the rectangle into a group by pressing Cmd + G on the keyboard. Give this group the name treads.

We will use the Rotate Copies tool to create the treads around the wheel base. Like Create Symbol, Rotate Copies can be one of those features that will save you a lot of time and effort!

Note: If you are using Sketch version 67.0 or 67.1, you may experience a bug with Rotate Copies operation. If this happens, you will need to create the treads around the wheel base manually; or (better), you should update to v. 67.2 (or later) where this issue has been resolved.

Make sure the rectangle inside the group treads is selected, then go to Layer → Path → select Rotate Copies. A dialog box that will open will let you define how many additional copies of the selected element to make. Enter 71 so that in total we will have 72 rectangles around the wheel base that will be the treads. Press Rotate in the dialog box. After you have entered this value in the dialog, you will be presented with all of the rectangles and a circular indicator in the middle.

Tip: Performing this step in Sketch is very CPU and memory intensive! If you are working on a modern machine, probably you will not experience any issues; but if your Mac is a bit older, then your mileage may vary. In general, when working with a large number of copies, try to first turn off Borders to avoid getting stuck and to achieve the result of the operation faster.

Now, move this circular indicator down until it is located precisely at the intersection of the guides — and voilà! we have 72 rectangles evenly placed around the wheel base. When you’re done, press Esc or Enter. Note that if you miss putting the circular indicator (the center of rotation) right at the intersection of the guides, the rectangles won’t be distributed perfectly around the wheel base so be careful.

Note: The Rotate Copies tool doesn’t create a compound shape in the newer versions of Sketch (version 52 or later) and instead creates (and rotates) separate copies of the shape. By putting the first shape into a group we’ve secured that all created and rotated shapes are inside this group named treads.

Select the base wheel again, duplicate, position it above treads in the Layers panel list, and scale it down by 14px. Change Color to #3F3F3F and turn on Borders — set Color to #000000, Position to Inside and Width to 1px.

Duplicate this circle, turn off Fills and set the Border Width to 20px. We only want to show ²⁄₄ of the Borders — ¹⁄₄ on the top left side and ¹⁄₄ on the bottom right side. To do that, type in the Dash field r*π*0.25 where r is diameter of the circle (254px in my case), 0.25 is 25% (or ¹⁄₄) of the border, and π is 3.14.

So in this case enter the following formula in the Dash field: 254*3.14*0.25, and press Enter (or Tab) on the keyboard.

Note: If you enter a number in the Dash field and press Tab on the keyboard, Sketch will automatically fill the Gap field with the same number. Same thing will happen if you press Enter.

Duplicate the circle, scale it down a bit, set the Borders Width to 12px and apply an Angular Gradient with the following properties:

1. #9D9D9D
2. #000000
3. #000000
4. #595959
5. #000000
6. #000000

Then, apply a Gaussian Blur effect with an Amount of 4.

Once again, duplicate the circle, turn off Gaussian Blur and scale it down. Turn on Fills, make sure it is still #3F3F3F, set the Borders to Outside position and Width to 1px. Change Color to Linear Gradient and use #000000 for the first color stop and #444444 for the last color stop.

Add Inner Shadows — for the Color use #FFFFFF at 20% Alpha and set Blur to 2; then apply Shadows — for the Color use #000000 at 90% Alpha and set Blur to 2.

Now it’s the perfect time to add a bit of a texture! Select and copy the wheel base shape, paste it on top, then Move Backward once so it sits just beneath the circle we’ve just created. Set Fills to Pattern Fill, Type to Fill Image and choose the bottom right pattern. Set Opacity for this shape to 10%.

Select the circle on top, duplicate, turn off Borders, Inner Shadows and Shadows. Set Fills to #000000 and Opacity to 100% and scale down this circle by 32px. Apply a Gaussian Blur with the Amount of 4.

Push it down 3px, then duplicate and move the duplicate 6px up.

Duplicate the last circle, turn off the Gaussian Blur, push it down by 3px and scale it down by 4px. Add a Shadows effect with the Color set to #FFFFFF at 90% Alpha and Blur set to 2.

Now, duplicate this circle, turn off Shadows and scale it down a bit (by 2px). Turn on Borders, set position to Inside, Width to 1px and apply a Linear Gradient:

1. #CCCCCC
2. #A6A6A6
3. #A4A4A4
4. #CFCFCF

Change Fills to Angular Gradient with the following properties (attention! it’s a long list of color stops):

1. #D3D3D3
2. #ACACAC
3. #D8D8D8
4. #B4B4B4
5. #8F8F8F
6. #B2B2B2
7. #C4C4C4
8. #A4A4A4
9. #C3C3C3
10. #ADADAD
11. #ADADAD
12. #949494
13. #BBBBBB
14. #929292
15. #C2C2C2
16. #B4B4B4
17. #8F8F8F
18. #B4B4B4
19. #D8D8D8
20. #A9A9A9

Then, add an Inner Shadows effect — set Color to #000000 at 50% Alpha and set Blur and Spread to 2.

Duplicate, scale it down by 14px, change Fills to #434343 Solid Color, Borders position to Outside, and Inner Shadows properties to: Color #000000 at 90% Alpha, Blur and Spread set to 24.

Then add two Shadows effects:

• first — Color: #000000 at 50% Alpha; Y: 2; Blur: 5
• second — Color: #000000 at 50% Alpha; Blur: 2

Again, duplicate the shape, scale it down by 8px, turn off Fills, Shadows and Inner Shadow, and set Borders Color to #414141.

Switch to the Oval tool (O), and draw a circle from the intersection of the guides. Turn off Fills, set Borders Color to #575757, position to Inside and Width to 1px.

Duplicate, scale it down a bit and make sure the border Width is 1px. Repeat this seven more times, so at the end you have nine concentric circles. Make sure that all Borders Width are 1px. Use the image below as reference.

Select all the concentric circles and put them into a group.

Rims

We will start working on the rim design next.

Draw a circle from the intersection of the guides, then draw a rectangle on top and center it horizontally to the circle.

Select this rectangle, double-click on it to switch to vector editing mode and move the points until you have something like on the image below. Select the top two points and set the Radius to 20.

We will use Rotate Copies again to distribute this shape around the circle. Select both — circle and the modified rectangle — turn off Borders and place them into a group. Now select the modified rectangle, go to Layer → Path, select Rotate Copies, enter 4 in the dialog box (so we’ll have a total of five shapes), click Rotate, and align the circular indicator to the intersection of the guides. When done, press Esc or Enter.

Select all shapes inside the group and apply a Subtract operation from the top toolbar. Add Inner Shadows effect — for the Color use #FFFFF at 50% Alpha and set Blur to 2. Then apply Shadows with Color set to #000000 at 70% Alpha and both Blur and Spread set to 2. Finally, change Fills to #000000.

Draw a circle from the intersection of the guides but make it a bit bigger than the shape below, then draw a shape and center it horizontally to the circle. Select both, turn off Borders and put them into a group. Select the shape and perform a Rotate Copies operation. Enter 4 in the dialog box (so again, we’ll have a total of five shapes), click Rotate, and align the circular indicator to the intersection of the guides. When ready, press Esc or Enter.

Select all shapes inside the group and apply a Subtract operation from the top toolbar. Add an Inner Shadows effect — for the Color use #FFFFF at 50% Alpha and set Blur to 2. Change Fills to #131313.

Now, we will create one rim bolt head.

Zoom in close enough (I zoomed in to 400%) and draw a circle. Set Fills to #4F4F4F, change Borders position to Outside, Width to 1px and use #8F8F8F for the Color. Add one more border but this time use #000000 for the Color, set position to Center and make sure the Width is 1px.

Draw a rectangle in the middle of the circle, turn off Borders, enter vector editing mode, hold Shift and click on the right segment to add a point in the middle, then do the same for the left segment. Push those points 2px to the left and to the right to create a hexagonal shape. Apply a Linear Gradient for the Fills — use #AEAEAE for the top and #727272 for the bottom color stop. Add Inner Shadows using #000000 at 50% Alpha for the Color and set Blur to 2, and apply Shadows using #000000 at 90% Alpha for the Color and set Blur to 2.

Duplicate the hexagonal shape, enter vector editing mode, select all the point on the left side and push them 1px to the right, then select all top points and push them 1px down, push the bottom points 1px up and the right points 1px left. Clear the Shadows and modify the Linear Gradient:

1. #8F8F8F
2. #979797
3. #A4A4A4
4. #636363
5. #4A4A4A

Now apply an Inner Shadows effect. For the Color use #000000 with 50% Alpha and set Blur to 2.

Select all the shapes that we used to create the bolt head and group them into a bolt head group. We can Create Symbol out of the bolt head group and we can use it as many time as we need it.

To create the new Symbol, select the bolt head group, right-click on it, and choose Create Symbol from the menu. The dialog box Create New Symbol will appear, give a name to the symbol (bolt head) and click OK.

Now we need to distribute the bolt head symbols around the circle. Duplicate the symbol, choose Rotate from the top toolbar, drag the crosshair marker to the the intersection of the guides, and rotate it 72 degrees. Continue duplicating and rotating the symbol in 72-degree increments, without letting the selection go.

Now select each symbol instance and adjust the angle of rotation to 0 degrees.

Tip: I’m suggesting to initially adjust the angle to 0 degrees so that you can better see the process and how the bolts will look like when placed on the rim. Once the rim bolts are in place, though, my recommendation is to experiment some more and try setting a different angle of rotation for each bolt symbol. This will make the wheels look more realistic — after all, in real life it’s much more likely to see rim bolts at random angles than aligned perfectly to 0 degrees!

Finally, select all the instances of the bolt head symbol, place them into a group bolts and perform a Move Backward once.

Draw a shape, set Border Color to #CFCFCF, set Width to 1px and position to Inside, and use a Linear Gradient for the Fills:

1. #5F5F5F
2. #B5B5B5
3. #CBCBCB

Then add Inner Shadows effect using #000000 at 30% Alpha, and Blur set to 2.

Grab the Vector tool (V) and draw two shapes that we will use for the highlights. Use a Linear Gradient for the Fills — use for the top color stop #F3F3F3 at 100% Alpha and the same color for the bottom but at 0% Alpha. Use the same gradient settings for both shapes and also apply a Gaussian Blur with the Amount of 1 to both shapes.

Select all shapes that we’ve just created, group them and distribute them evenly around the rim. Use the same method that we used for the bolt heads.

Select the Oval tool (O) and draw a circle from the intersection of the guides. Turn off Borders and use Linear Gradient with colors set to #D8D8D8 for the top stop and #848484 for the bottom stop. Use Inner Shadows and Shadows to make it look slightly raised.

Let’s add a light Inner Shadows effect with the following properties:

• Color: #FFFFFF at 80% Alpha
• Blur: 2

Then, add a dark Inner Shadows effect:

• Color: #000000 at 50% Alpha
• Blur: 2

Finally, apply a Shadows effect:

• Color: #000000 at 50% Alpha
• Blur: 2
• Spread: 1

Duplicate this circle, scale it down a bit, turn off Inner Shadows and Shadows, turn on Borders and add the first border:

• Color: #B5B5B5;
• Position: Outside
• Width: 1px

Then add a second one on the top:

• Color: #656565
• Position: Center
• Width: 1px

Let’s finish the wheel design by adding to the rim the Porsche emblem.

Note: Recreating the original Porsche logo for the rims, all in vectors, is outside of the scope of this tutorial. There are a few options — you can create it yourself by following the same basic principles outlined on these pages; you can download the logo from Wikipedia in SVG format and then try to modify it; or you can download a copy of the logo in vector lines from my website (porsche-line-logo-f.svg). This copy of the Porsche logo was created by me from scratch, all in vectors, and this is the variant that I recommend you to use.

After downloading the logo file (porsche-line-logo-f.svg) bring it into our design.

Switch to the Scale tool in the top toolbar, and in the dialog box enter 20px in the height field, to adjust the size of the logo. Align the logo horizontally with the circle below.

Completing the wheels — two possible workflows

Since a copy of the front wheel (once it’s complete) will be used more than once in our illustration, we have two options now:

• A. We can complete the front wheel design, duplicate the wheel, make a couple of tweaks, and use the duplicate as the rear wheel. This is the easiest variant.
• B. Or, for learning purposes, we can use a workflow involving the use of nested symbols. This is the more interesting option which I’ll explore in more detail in a bit. Buckle up!

A. Workflow #1: duplicate the wheel and adjust the copy

Pick up the Vector tool (V) and draw a shape on top of the wheel. Turn off Borders and Fill the shape with black #000000 color. Apply Gaussian Blur with an Amount of 10. This way we will recreate the shadow from the car body over the wheel — just an extra bit of realism added.

Select the wheel group, wheel base copy layer and the shadow shape layer and group these into a front wheel group.

Now that the wheel is ready, duplicate the front wheel group, rename the group in the Layers panel list to rear wheel and drag it to the right to its place.

Select the wheel group inside and push it 20px to the right, then select the wheel base copy layer and push it 20px to the left. The rear wheel is ready.

B. Workflow #2: use nested symbols

Pick up the Vector tool (V) and draw a shape on top of the wheel. Turn off Borders and Fill the shape with black #000000 color. Apply Gaussian Blur with an Amount of 10. This way we will recreate the shadow from the car body over the wheel — just an extra bit of realism added.

The wheel is finished. Now we’ll use a symbol and a nested symbol to create the front and rear wheels.

Select the wheel group, wheel base copy layer and the shadow shape layer and group these into a front wheel group.

Here we’re coming to the more interesting bits! Select the wheel group and create a wheel symbol, then select the front wheel and create a front wheel symbol. The front wheel symbol is now a nested symbol!

Tip: You can learn more about nested symbols in the Sketch help pages dedicated to this topic, and in the following article written by Noam Zomerfeld.

Nested symbols are regular symbols that are made from other symbols that already exist in your Sketch file. In this case, the front wheel symbol is made from the wheel symbol, so the wheel symbol is nested inside the front wheel symbol.

What could be better than one symbol? Perhaps a symbol with another one inside it — enter Nested Symbols! This feature gives you a lot of possibilities when combining symbols together. Nesting symbols can be especially useful when you need to create variations of one symbol.
— Javier-Simon Cuello, “Unleashing The Full Potential Of Symbols In Sketch”

Now, go to the Symbols page in Sketch, duplicate the front wheel symbol, select the wheel group and push it 20px to the right, then select the wheel base copy and push it 20px to the left. At the end, rename this symbol to rear wheel.

Go back to our design, select and duplicate the front wheel symbol, then using the Inspector panel change the symbol to rear wheel, rename the symbol in the Layers panel list to rear wheel and drag it to the right. Done!

So far it may seem that we’ve spent more time playing with nested symbols, compared to the other workflow. That’s true. But also we have learned how to use this feature — and now if you would like to change the design of the wheels, instead of doing so in two separate groups, you’ll need to do it only once inside the wheel symbol and the changes will be automatically applied to both wheels of the car. This is why we used a nested symbol to create the front and rear wheels. (Also, imagine if you’re working on a design of a vehicle that has many more wheels visible from the side, not only two! The time saved will multiply.)

Back to the bigger picture — with the wheels complete, we are very close to the final design. Let’s take a look.

The Shadow Under the Wheels and the Car Body

Pick the Oval tool and draw an ellipse under the wheels. Set Fills to #000000 with 80% Opacity, turn off Borders and apply a Gaussian Blur with an Amount of 5.

Duplicate the oval shape, adjust the width using Resize handles (make it smaller), and set Fills Opacity to 50%.

Duplicate this shape once again, adjust the width, and set Fills Opacity for this layer to 80%.

Select the shadow ellipses and group them all into a shadows group. Move this group to the very bottom in the Layers panel list.

17. Final Touches — The Racing Decals

We are almost there! It’s time to add some racing decals to the car body and to the windshields.

The Porsche sticker

Jump over to the Wikimedia Commons website and download the Porsche Wortmarke in SVG format. Bring it to our design, scale it up and position it like on the image below.

Create some rectangles using the Rectangle tool (R), set Fills to #0F0F13 and turn off Borders. Select all elements and group them into a porsche sticker group, then drag this group inside bodywork just below the door layer.

Shell sticker

Next, download the vintage Shell logo in SVG format and open it in Sketch. Delete the white rectangle at the bottom inside the logo group, then copy and paste it into our design. Place it just above the porsche sticker in the Layers panel list and position it like on the image below.

Dunlop sticker

Download the Dunlop logo in SVG format, open it in Sketch and delete the yellow rectangle. Bring it to our design, scale it down a bit and place in close to the tail light. Make sure that the logo is inside the bodywork group, right above the Shell logo in the list of layers.

Marlboro sticker

Get the SVG version of the Marlboro logo from Wikimedia Commons, paste into our design and scale it down. Use the resize handles to squeeze the red shape, then move the letters up, close to the red shape, and finally change Fills for the red shape to Linear Gradient with the following parameters:

1. #E60202
2. #BB0101
3. #860000

Please make sure that this logo is inside bodywork group and above “Dunlop” logo.

Heuer Chronograph sticker

Download and open in Sketch the Tag Heuer SVG logo. Delete everything except: the rectangle with the black border, the red rectangle, and the word “Heuer”.

Select the rectangle with the black border, turn off Borders and change Fills to #CC2132. Next, select the inner red rectangle, turn on Borders, set Color to #FFFFFF, position to Outside and Width to 12px. Then use the Type tool (T) and type the word Chronograph — for the font use Helvetica Bold, with the size set to 72px.

Note: If you don’t have Helvetica Bold installed, use a font similar in appearance (for example, Arial Bold), as this scale it would be difficult to spot the differences.

Convert the text block into vector shapes, by right-clicking on it and selecting Convert to Outlines. Finally, select the bigger red rectangle, enter vector editing mode, select the top two points and push them down a bit. Select everything and place all the elements into a heuer chronograph logo group.

Bring this modified logo to our design, scale it down and place it onto the car body. Like before, make sure it’s inside bodywork, and it’s above the Marloboro logo.

Porsche Crest Badge

Jump over to Wikimedia and download the Porsche logo in SVG format. We will need to modify and simplify it a bit because it’s too complex and we don’t need all of these details for the scale at which we’ll be using it in our illustration.

Open the SVG logo file in Sketch, and first delete all the groups (amw-link and d-link) inside it. Then, select the shape on top, press Enter to switch to vector editing mode, select the word “Porsche” and the registered trademark symbol and delete them as well.

Next, click on the arrow in the front second crest compound shape to reveal its components, select the four paths and drag them outside the compound path, then change their color to #B12B28. Reveal the contents of the first compound crest shape, select all the paths that form the word “Porsche” and delete them.

Bring the modified Porsche crest logo to our design, scale it down, select the path that is the last one inside the Porsche logo group and add a Shadows effect — for the Color use #000000 at 50% Alpha and set Blur to 2.

The Porsche crest badge should be placed inside the bodywork group just like the previous stickers that we added, above the heuer chronograph logo group.

Rallye Monte-Carlo sticker

Draw a rounded rectangle using the Rounded Rectangle tool (U), enter vector editing mode and add and move the vector points to make the shape like on the image below.

Set Color to #9C010E and turn off Borders. Duplicate this shape, change Color to, i.e., #000000 so you can see better what you are doing, enter vector editing mode, select the top points and push them down a bit. Push by the same distance the right points to the left, and the left points to the right. Then push up the bottom points a bit more.

Turn off Fills, turn on Borders with position set to Inside, Width set to 6px, and Color to #D7CB82. Convert Borders into a shape by going to Layer → Convert to Outlines.

Draw a rectangle without Borders, set Color to #D7CB82, enter vector editing mode, add points in the middle of the top and bottom segment, and push them up and down a bit. Type the words: “SIEGER, WINNER, VAINQUEUR, 1968”. For the font use Helvetica Bold (or alternatively Arial Bold) with the #9C010E Color. Add the Porsche Wortmarke (we’ve used it earlier, remember?) to the bottom, and set Color to #D7CB82.

Convert text to outlines, select the “1968” shape on the left side of the rectangle, zoom in and use Transform from the top toolbar to modify the shape:

1. select the middle point on the right side and push it up a bit;
2. select the bottom point on the right side and push it down the same amount of pixels.

Perform a similar action for the “1968” on the right side of the rectangle, but this time use the middle and bottom points on the left side.

Type “RALLYE” “MONTE” “-CARLO” as a three separate words, use the same font and change the Color to #D7CB82.

Again, do a Convert to Outlines action and use Transform from the top toolbar to modify the shapes. I won’t go much into details here, but first modify the words “RALLYE” and “-CARLO” by using the method outlined above. Then, select all three shapes (the words), invoke the Transform tool, select the middle top point and push it up a bit to make the shapes elongated, and finally scale it up a bit by holding Alt + Shift on the keyboard while dragging the top right Resize handle. Use the image below as a reference.

Select and group all the elements we used to create this sticker into a rallye monte-carlo group, bring it into our design, and put it on the side windshield. In the Layers panel list this sticker should be inside the windshields group on top.

Smashing Magazine Sticker

This is the last sticker we are going to put on the car. Download the Smashing Magazine logo in SVG format, open it in Sketch and draw a red (#D33A2C) rectangle below the logo. Select both, create a group Smashing Magazine sticker, copy and paste into our design. Place it next to Rallye Monte Carlo sticker and scale it if needed.

In the Layers panel list this should be inside the windshields group on top.

I encourage you to add even more decals to the car body and the side windshield. Use the image below as a source for your inspiration.

Note: These are just examples and recreating all the decals in vectors is outside of the scope of this tutorial. You can apply the principles learned from this tutorial and tweak the decals in vector format in a similar way.

Racing Number and Drivers Names

One more important detail — since this car is a racing car we need to add a racing number to it.

Download the Montserrat font family (if you don’t have it already), install only the “Montserrat Bold” font variant, and type the racing number. Set the Size to 180px and the Color to #000000. Then, Convert to Outlines to be able to apply a gradient to the racing number, and change Fills to a Linear Gradient:

1. #22222B
2. #3E3E42
3. #656566
4. #1B1B1E
5. #0F0F13

Now add the drivers’ last names. I will add shamelessly my last name and the last name of one of my best friends, Ivan Minic. Use the Text tool to add the names, for the font use again “Montserrat Bold”, set Size and Line to 20px and Color to #2F2F2F.

Select the names and the racing number, and move them inside the bodywork group, just above the door layer.

Select and put all elements created so far into one group — Porsche 911. Our Porsche 911 is now officially finished!

Finally, let’s add a background. Create a rectangle of the same size as the artboard, set the Fills to #F4F3F2, and push it below the Porsche 911 group.

Conclusion

We’ve put a lot of time and effort to reach the final destination and now you know too how to create all in vectors one of my favorite cars, the original Porsche 911 from 1968, in Sketch app. :)

The tutorial probably wasn’t too easy, but the end results were well worth it, in my opinion.

The next step, of course, is to design your own favorite car. Select a car (or another object you like) and be sure to find as many photos of it from different angles, so that you can carefully replicate all of the important details.

As you can see, there are certain tools and features in Sketch that you can master to create similar objects — use them to speed up and simplify the whole process.

I hope you will also remember how important is the proper naming of the layers/shapes (and groups), and stacking them in the right order so that even the most complex of illustrations are easy to organize and to work with.

Finally, if you have any questions, please leave a comment below or ping me on Twitter (@colaja) and I will gladly help you.

Further Reading

1. “Mastering the Bézier Curve in Sketch” (a tutorial by Peter Nowell)
2. “Designing A Realistic Chronograph Watch In Sketch” (a tutorial by Nikola Lazarević)
3. “Styling — Fills” (Sketch help page)
4. “Harnessing Vector Awesomeness in Sketch” (a tutorial by Peter Nowell)
5. “Vector Editing (and Vector Editing Mode)” (Sketch help page)
6. “Shapes” (Sketch help page)
7. “Copy styles in Sketch” (a tutorial by Drahomír Posteby-Mach)
8. “Getting the pixels right in Sketch” (a tutorial by Nav Pawera)
9. “Sketch Symbols, Everything you need to know, and more!” (a tutorial by Brian Laiche)
10. “Unleashing The Full Potential Of Symbols In Sketch” (an article by Javier Simon Cuello)
11. “How to Edit Shapes with Rotate Copies tool” (Sketch help page)
12. “Creating Nested Symbols” (Sketch help page)
13. “Nested Symbols in Sketch — I 😍 you” (a tutorial by Noam Zomerfeld)
14. “Unleashing The Full Potential Of Symbols In Sketch: Nested Symbols” (a tutorial by Javier Cuello)

(mb, ra, yk, il)

Are you ready to push Sketch to its limits once again? As noted in the previous part, this tutorial is geared more towards experienced illustrators, but if you’re new to Sketch then you should also be able to profit from it since all of the steps are explained in great detail.

After finished off the tail lights, let’s continue with the design of the car windows.

7. Rubber Seals Around The Windows

In this step, we will add rubber seals around the windows. Start first with the side window. Switch to the Vector tool (V) and draw a shape around the the side window, like on the image below.

Note: Before you continue, remember that we’re still drawing inside the bodywork group!

Turn off Borders and set Fills to #000000, and add a Shadows effect:

• Color: #FFFFFF
• Alpha: 90%
• X: 0; Y: 0; Blur: 3; Spread: 1

Next, let’s add a rubber seal around the front windshield. Draw a shape around the front window, turn off Borders, set Color to #000000 and apply Shadows:

• Color: #FFFFFF
• Alpha: 90%
• X: 0; Y: 0; Blur: 3; Spread: 1

Now, let’s add a trim on top of the rubber seal. To do that, duplicate the seal shape, turn off Fills and Shadows, turn on Borders, set Color to #E0E0E0, border position to Inside and Width to 1.5px. Double-click on the shape to enter vector editing mode and then select and move the points until you have something like on the image below. Be patient, it may require some time!

Note: While usually I’d suggest avoiding half-pixels in your vector illustrations as much as possible, in some cases these might actually work well. After quite some trial and error while working on the trim on top of the windshield’s rubber seal, I’ve discovered that 1.5px gives the best visual results.

Tip: Change point types as needed while working on this shape.

At the end of this step, we need also to add a seal around the rear windshield. Draw a shape around it, turn off Border, set Fills to #000000 and apply Shadows with the same parameters like we did for the previous seals.

8. Door Handle

Pick up the Oval tool (O) and draw an ellipse. Set Border color to #949494, position to Center with a Width of 1px. For the Fills use a Linear Gradient:

1. #787878
2. #C9C9C9
3. #A5A5A5

And add Inner Shadows:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 2; Blur: 2; Spread: 0

Create a rectangle on the left and on the right side of the ellipse by using the Rectangle tool (R). Make the outer corners rounded by using the Radius property in the Inspector panel. Turn off Borders and set Fills to #333333.

We will now use Inner Shadows and Shadows to make it look slightly raised.

Select left side rectangle and add a light Inner Shadows effect with the following properties:

• Color: #FFFFFF
• Alpha: 20%
• X: 2; Y: -2; Blur: 1; Spread: 0

Then, apply a Shadows effect:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 0; Blur: 2; Spread: 0

Next, select right side rectangle and apply Inner Shadows effect:

• Color: #FFFFFF
• Alpha: 20%
• X: -2; Y: -2; Blur: 1; Spread: 0

Apply a Shadows effect:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 0; Blur: 2; Spread: 0

Let’s move on to handle. We will build our handle out of three shapes.

First, create two rectangles by using the Rectangle tool (R) and make the sides rounded with a help of the Radius property set from the Inspector panel.

Then, use the Vector tool (V) to draw a shape between the rectangles.

Now select the rectangles and the shape we have just created and perform a Union operation (from the top Sketch toolbar) to create one object. Name this object handleshape. Change the Color to #E3E3E3 and add an Inner Shadows effect:

• Color: #000000
• Alpha: 50%
• X: 0; Y: -2; Blur: 5; Spread: 0

Let’s add a subtle shadow to the handle. Zoom in and draw a shape like on the image below. Don’t worry if the bottom part goes out of handle area, we will fix this later with a masking operation. Turn off Borders and set Fills to #3D3D3D.

Let’s fit the shadow inside the handle. Select the handle and the shadow shape, and click on Mask in the top toolbar. The result of this masking operation will automatically be placed in a new group in the Layers panel list. Change the name of this group to handle.

Tip: *Don’t forget to check if Sketch turned off Inner Shadows for the masking layer. If that’s the case, just turn them back on.*

Now, let’s add a key lock to the door handle.

Draw a small circle. Add a Center Border with a Width of 1px and the Color set to #000000. Change Fills to Linear Gradient, and adjust the gradient with the following parameters:

1. #888888
2. #DFDFDF
3. #CACACA

Apply a Shadow effect with the Color set to #000000 at 90% alpha, Blur to 3, the X and Y positions and Spread set to 0.

Create a keyhole by drawing a tiny black rectangle without Borders in the middle of the circle. Group both shapes (circle and rectangle) into a key-lock group.

The only thing left to do is to create the handle’s shadow which should be placed inside the ellipse (see the next screenshot). Find the handleshape object in the Layers panel list, click on the caret in front of the layer name to reveal its content (the shapes), select the bridge between the rectangles and press Cmd + C to copy this shape.

Select the ellipse that is below the handle, paste (Cmd + V) over the shape that we’ve just copied, set the Color to #505050, push it down 2px and apply a Gaussian Blur with an Amount of 2. Then select this shape along with the ellipse and group them together (Cmd + G).

Inside this group, select the ellipse, right-click on it and choose Mask from the menu, to make sure that the shadow will stay inside the ellipse.

Select all the elements that we created in this step and place them into a group named door handle.

9. Bumpers

Let’s create the front bumper first. Switch to the Vector tool (V) and draw the shape. Change the Fills Opacity to 0%, make sure that Borders are turned off and apply light and dark Inner Shadows effect.

First add a light Inner Shadows effect with the following properties:

• Color: #FFFFFF
• Alpha: 50%
• X: 0; Y: 5; Blur: 6; Spread: 0

Then, add a dark Inner Shadows effect:

• Color: #000000
• Alpha: 50%
• X: -2; Y: -5; Blur: 6; Spread: 0

Do the same for the rear bumper, but instead use these parameters for the dark Inner Shadow effect:

• Color: #000000
• Alpha: 50%
• X: 3; Y: -5; Blur: 6; Spread: 0

Name these shapes front bumper and rear bumper.

Let’s move on to the next element on the case. Now we will create the decoration on the front bumper. Grab the Rounded Rectangle tool (U) and draw a rounded rectangle (174px by 14px). Make sure it is outside of the bodywork group and give it the name bumper deco base.

Turn off Borders and then click on Fills, choose Linear Gradient, and add a gradient. Use #E4E4E4 with 100% alpha for the first color stop and #858585 with alpha 100% for the last color stop. Now, add another point with a click on the gradient axis in the color dialog, and move it to the exact middle by pressing 5 on the keyboard. Give it 100% alpha, and make sure its color is #E4E4E4. Add another one to the right, and also move it to the center. Change the color of this stop to #858585 with 100% alpha.

Duplicate the shape (Cmd + D), change the name to front bumper deco shadow and using the Layers panel list, drag it inside the bodywork group just above the front bumper shape, and add two Shadows effects.

Add the first Shadows effect with the following properties:

• Color: #000000
• Alpha: 80%
• X: 0; Y: 2; Blur: 2; Spread: 2

Then, add the second Shadows effect:

• Color: #000000
• Alpha: 80%
• X: 0; Y: -2; Blur: 2; Spread: 1

Let’s add a rubber element in the middle of the bumper deco. Select the bumper deco base, duplicate it and give this shape the name of rubber. Change the Fills to #303030 Solid Color, and change the Height to the half size, then align it to the middle with bumper deco base, using the Inspector panel.

Add the following effects to the rubber shape.

First, a light Inner Shadow:

• Color: #FFFFFF
• Alpha: 30%
• X: 0; Y: 2; Blur: 2; Spread: 0

Then, a dark Inner Shadow:

• Color: #000000
• Alpha: 100%
• X: 0; Y: -4; Blur: 1; Spread: 0

After that, a dark Shadow:

• Color: #000000
• Alpha: 100%
• X: 0; Y: -1; Blur: 2; Spread: 0

And lastly, a light Shadow:

• Color: #FFFFFF
• Alpha: 50%
• X: 0; Y: 2; Blur: 2; Spread: 0

Finally, select the bumper deco base and the rubber shapes and perform a Mask operation so that none of the rubber shadows go outside of the bumper deco base. Name the resulting group front bumper deco.

Now, using the same method as explained above, create the rear bumper deco element.

Switch to the Vector tool (V) and draw a basic shape for the rear bumper guard. Add a Linear Gradient with the following properties:

1. #EEEEEE
2. #C9C9C9
3. #939393
4. #6C6C6C

Duplicate this shape, place it behind (right-click on the shape and choose Move Backward from the context menu), apply #2D2D2D Solid Color, push it a couple of pixels to the right and resize the height down a bit using the resize handles. Name this shape rubber buffer. Add an Inner Shadows effect with the Color set to #FFFFFF at 30% alpha. Set Y and Blur to 2, and X and Spread to 0.

Select again the shape on top, duplicate it one more time, and use the ← key to move it a few pixels to the left. Modify the Linear Gradient (delete the two middle points, change the colors of the top and bottom points to #8E8E8E and #DEDEDE then move the top point down a bit). Finally, apply a Gaussian Blur effect with the Amount of 0.6.

Select this shape and the shape below this one and perform a Mask operation. Name the resulting group bumper guard base, then select the resulting group and the rubber buffer shape and group them into a group rear bumper guard. Place this group just below the bodywork group in the Layers panel list.

Using the Rectangle tool, create two rectangles like on the image below (use Radius in the Inspector panel to control the roundness of the points). Select both shapes and to create one object, from the top toolbar in Sketch perform a Union operation. Move this new object inside the rear bumper guard group, directly into the bumper guard base group on top. Change Color to #000000, turn off Borders and add Gaussian Blur with the Amount of 1.

Here’s a preview of what we’ve done so far.

10. Windshields

Side Windows

Remember those side window 1 and side window 2 copies that we have created at the beginning of the tutorial, in Part 1?

Well it’s time to use them! Locate these copies in the Layers panel list and un-hide them. Make sure that Fills is turned off and add 5px Width Borders with a #72BD20 color, positioned Inside.

At the beginning, we will create the window frames using these shapes.

So first, we will need to convert a shape border to a shape itself. We need to apply Inner Shadows to the window frames because there’s no option to apply Inner Shadows to Borders.

To outline the borders, select both shapes and go to Layer → Convert to Outlines (or press Alt + Cmd + O on the keyboard).

Note: Converting the shapes to outlines has turned each shape into two separate combined shape layers. That’s because an outline stroke is a combined path that exists of two shapes:

• one that determines the outer boundaries, and
• the other determines the inner boundaries, creating the appearance of a stroke.

Select and copy (Cmd + C) the inner shapes, then deselect the shapes by pressing Esc on the keyboard and finally paste (Cmd + V) them (please note that Sketch will place the copies on top), because we will use these shapes as windshields. Give them the names of side windshield 1 and side windshield 2 and hide them for now.

Let’s continue with the window frames. Draw two shapes using the Vector tool (V), select those newly created shapes and the side window 1 shape and perform a Union operation to create one shape. Change Fills to #DCDCDC and add Inner Shadows with the Color set to #000000 with 50% Alpha and Blur set to 2.

Apply the same styles — Fills and Inner Shadows — to the side window 2.

Un-hide the side windshields and place them below the bodywork group in the Layers panel list.

Tip: Since the windshields are basically transparent I suggest you to temporary add some background color to the artboard, so you can actually see what we are going to do. To do that, select the artboard and then turn on ‘Background color’ in the Inspector panel then set ‘Color’ to something like #434343.

Now back to the side windshields: select the first one (the one on the left), turn off Borders and set Fills to Linear Gradient:

1. Color: #FFFFFF, Alpha: 0%
2. Color: #FFFFFF, Alpha: 22%
3. Color: #FFFFFF, Alpha: 50%
4. Color: #FFFFFF, Alpha: 27%
5. Color: #FFFFFF, Alpha: 30%

Do the same for the other windshield.

Tip: You can use the Sketch’s feature Copy Style from the first windshield (right-click and choose ‘Copy Style’) then paste the style to the second windshield (right-click then choose ‘Paste Style’). After that, you may only need to slightly move the points to adjust the gradient to match with previous one, since the shapes are not the same height.

Front Windshield

Switch to the Vector tool and draw a shape for the front windshield. Apply a Linear Gradient with the following parameters:

1. Color: #F3F2F0, Alpha: 40%
2. Color: #FFFFFF, Alpha: 50%
3. Color: #F3F2F0, Alpha: 20%
4. Color: #F3F2F0, Alpha: 10%

Then add Inner Shadows with the Color set to #000000 with 10% Alpha. Set Y position to 2 and Blur to 8. Name it front windshield.

Rear Windshield

Draw a rear windshield with the Vector tool, and apply the same style (Linear Gradient and Inner Shadows) like for the front windshield.

Name this shape rear windshield, then select all the windshield shapes, group them into a windshields group and make sure that this group is below the bodywork group in the Layers panel list.

Note: You can now turn off the Artboard’s background color in the Inspector panel.

11. Headlight

For the headlight, switch to the Vector tool and draw the shape that will be headlight glass. Use Solid Color #E4E4E4, turn off Borders and add Inner Shadows effect:

• Color: #000000
• Alpha: 10%
• X: 5; Y: -2; Blur: 2; Spread: 0

Next, draw a black (#000000) shape over the headlight glass. Duplicate this shape (Cmd + D), push it 1px the the left and apply a Linear Gradient with the following parameters, from top to bottom:

1. #EEEEEE
2. #F5F5F5
3. #828282
4. #484848

Select all the shapes and group them (Cmd + G) into s headlight group. Then we need to rotate it a bit (by 25 degrees) and place it above the bodywork group.

12. Rear Engine Grille

In this step we will create a grille over the rear engine lid. Once again, pick up the Vector tool (V) and draw a shape. Change Fills to #000000 and add Inner Shadows — for the Color use #FFFFFF with 80% Alpha, and set X position to -2.

Duplicate this shape, move it to the left and down a bit, zoom in close enough, switch to vector editing mode and move the points so they touch the edge of the rear engine lid. Use the image below as a reference.

Repeat this eight more times to form a grille over the engine lid. Then draw a line using the Line tool (L). For the Color use #CCCCCC, set Width to 1px and choose Round cap for the Border ends. Apply black (#000000) Shadows effect with 100% Alpha and Blur of 2.

Select all of the grille layers, and place them inside the group rear engine grille.

13. Side Mirror

Let’s move on to the other details on the car. The side mirrors!

Using the Vector tool, create a shape which will be the base for the side mirror, turn off Borders and use Linear Gradient for the Fills:

1. #E5E5E5
2. #D5D5D5
3. #878787
4. #6A6463

Then add Inner Shadows:

• Color: #000000
• Alpha: 50%
• X: 2; Y: -2; Blur: 6; Spread: 0

Name this shape side mirror base.

Draw another shape, which will be mirror cover, once again turn off Borders and change Fills to Linear Gradient:

1. #CCCACB
2. #FEFEFE
3. #A1A5A4
4. #4A413F

Give this shape the name of mirror cover base. Duplicate the shape and push it 4px to the left using the ← key on the keyboard. Change Color to #C4C4C4 and add two Inner Shadows.

For the first Inner Shadow use:

• Color: #000000
• Alpha: 60%
• X: 5; Y: 0; Blur: 1; Spread: 0

For the second Inner Shadow use following properties:

• Color: #000000
• Alpha: 50%
• X: -4; Y: 5; Blur: 6; Spread: 0

Then select both shapes and perform a Mask operation, so the top shape does not extend past the mirror cover (the bottom shape). Name the resulting group mirror cover.

Select side mirror base and add one more Inner Shadows effect, to add shadow from the mirror cover. For the Color use #000000 with 50% Alpha, set X position to -1 and Blur to 1.

We will finish this step by creating a shadow from the side mirror.

Grab the Vector tool and draw a shape like on the image below. Place it below the side mirror base, push it a bit up so it is really behind it, and add a Linear Gradient for the Fills. For the top stop use #000000 with 40% Alpha and for the bottom stop also use #000000 but with 0% Alpha. Don’t forget to turn off Borders.

Name this shape side mirror shadow, then select all shapes created in this step and group them into a side mirror group.

14. Exhaust Pipe

It’s time to create the exhaust pipe. First, find in the Layers panel list the floor layer, remember — the one that we’ve created at the beginning of the tutorial in Step 2 — and un-hide it. Switch to the Rectangle tool (R) and draw a rectangle with the Radius set to 2. This rectangle shape will represent the exhaust pipe.

Turn off Borders and set Fills to a Linear Gradient:

1. #E2E2E2
2. #E3E3E3
3. #A0A0A0
4. #2C2C2C

Duplicate the rectangle, make it smaller in width, switch to the vector editing mode, select the points on the right side and set their Radius to 0, then modify the existing Linear Gradient to:

1. #1E1E1E
2. #3A3A3A
3. #2A2A2A
4. #111111

Select both rectangles, group them into an exhaust pipe group and place the group just above the rear bumper guard in the Layers panel list.

15. Car Interior

Select side window 1 and side window 2, duplicate them (Cmd + D), change Color to #000000 and turn off the Inner Shadows.

Place these duplicates below the rear bumper guard in the Layers panel list, and then, using the arrow keys on the keyboard, shift them 5px down and 2px to the right.

Draw a shape, which will represent the visible part of the car’s dashboard, turn off Borders and set the Fills to #2A2A2A.

Next, let’s create the steering wheel.

Create a rectangle using the Rounded Rectangle tool (U), turn off Borders and change Fills to horizontal Linear Gradient with the following parameters:

1. #000000
2. #676767
3. #292929
4. #090909

Then we need to rotate the rectangle -24 degrees and move it to the left a bit.

Now let’s continue with other details of the car interior. Select the Vector tool and create a shape like on the image below. Turn off Borders, set Color to #000000, and apply Inner Shadows effect:

• Color: #FFFFFF
• Alpha: 30%
• X: -12; Y: -6; Blur: 8; Spread: 0

Use the Oval tool (O) to draw a small ellipse. For the Color use #717171 and turn the Borders off.

Now let’s create the visible part of the driver’s seat. Create a shape with the Vector tool. Turn off Borders and use a Linear Gradient; for the top color stop use color #6D6D6D and for the bottom #171717. And add an Inner Shadows effect — Color is #000000 with 50% Alpha, X position is 2 and Blur is 7.

Duplicate this shape, push it 5px to the right and 1px up by using the arrow keys. Then modify the existing Linear Gradient — change the bottom color stop to #000000. And modify the Inner Shadows effect — change the Color to #FFFFFF with 10% Alpha; set X and Y positions to 5, and Blur also to 5.

Now let’s add stitches to the seat.

Duplicate this shape, push it 5px to the right and 3px down. Then, turn off Fills and Inner Shadows, bring back Borders and for the Color choose Linear Gradient — for the top color stop use #696969 and for the bottom #000000. Add Shadow effect — for the Color use #000000 with 50% Alpha and set Blur to 2. Then select this shape and the layer below it and perform a Mask operation, so the stitches do not go outside the seat’s boundaries.

Almost ready with the car interior!

Next, select all layers and groups that we’ve created in this step and that are above the car body and position them just above side window 1 copy and side window 2 copy in the Layers panel list. Add to the selection those two shapes as well (side window 1 copy and side window 2 copy) and create a group (Cmd + G) named interior.

Let’s take a look at the big picture again.

It’s not bad, right?

But, before we conclude this part of the tutorial, let’s add one more small detail to the car body, so pick up the Line tool (L) and draw a line. For the Color use #E5E5E5, set Width to 2px and choose Round cap for the Border ends. Then apply Shadows — set Color to #000000 at 80% Alpha, Y position to 2 and Blur to 3. Finally, place this line inside the bodywork group.

Conclusion

The body of the car is now ready, as well as the windows, bumpers, headlights and taillights, and the interior — dashboard, the steering wheel, and the seat. In the next (and final) part of the tutorial, we’ll create the wheels (rims and tires), and we’ll add all the final touches, including the racing decals on the car’s body.

(mb, ra, yk, il)

If you’re both a petrolhead (a.k.a. a big car enthusiast) with a special place in your heart for the legendary Porsche 911, and also a fan of the powerful Sketch app, then this tutorial is for you. Today, we’ll be pushing Sketch to its limits — step by step. You will learn how to create a very realistic and detailed vector illustration of a vintage Porsche 911 using basic shapes, layer styles and Sketch features (such as “Rotate Copies” and “Symbols”). You’ll learn how to master the Vector tool, apply multiple shadow effects and use gradients. I’ll also explain how you can rotate and duplicate objects with just a few special clicks. No bitmap images will be used, which means the final illustration could be scaled up to any size with no loss of detail.

This tutorial is geared more towards experienced illustrators but if you’re new to Sketch you should be able to profit from it too as all of the steps are explained in great detail.

Note: This is the first part of this tutorial in which we’ll focus on laying out the main “groundwork”, i.e. we’ll create and tweak the body of the car. In addition, we’ll also make the front signal lights and the tail lights.

The Porsche 911

But first, a bit of background about the car that we’ll be making.

Model 911 is a 2-doors sports car produced by Porsche from 1963 through 1989 when it was succeeded by a new model with the same name. The original 911 series is often cited as the most successful competition car ever, especially its variations optimized for racing. In September 1999, the original Porsche 911 won 5-th place in the prestigious “Car of the Century” award.

The first 911 also had an almost unique concept for its time — rear-engine, rear-wheel-drive. (At a much later time, another company created a car with the same concept. It’s quite likely that you may have heard of this other car, too — this was the famous DeLorean DMC-12! The DeLorean became very popular in 1985 when Back to the Future was released in cinemas.)

Now buckle up and let’s go — as we have a long, narrow, windy (but fun) road ahead of us. Start the engine (Sketch app), shift into first gear (create a new file), and release the clutch (start drawing on the blank canvas)!

Note: I’ve written on the topic of using Sketch for vector illustration before. If you’re curious, do check my previous tutorial which is about designing a chronograph with Sketch: “Designing A Realistic Chronograph Watch In Sketch.”

Let’s Draw A Car!

To be able to better follow the steps in this tutorial, I will provide you with the original Sketch source file. This file will help you follow the process more easily but I encourage you to replicate the steps in a new file, starting with a blank canvas.

• Download the Porsche 911 Sketch file (1.4 MB)

1. Artboard Settings

The first step is to create a new Sketch document. Name the document “Porsche911” and set up a new artboard with the same name, size: 1920px wide and 1080px high.

2. Tracing The Car With the Vector tool

For this step, we need an image of a Porsche 911 that will serve as a reference to outline the car in Sketch.

Download, copy and paste the image into the artboard. Right-click on the reference image in the list of layers in the Layers panel and choose Lock Layer to lock the layer with the reference image so that it doesn’t move accidentally.

Tip: The other way to lock a layer in Sketch is to hover the layer name while pressing Alt and clicking on the lock icon.

We will use the Vector tool to outline the car body. The result of this operation will be a vector shape. Each shape is made up of points and Bézier handles. Bézier handles are used to add curvature to a shape.

Know Your Points And Bézier Handles

For every point you add with the Vector tool, there are four point types to choose from: straight, mirrored, disconnected, and asymmetric. The point type describes how Bézier handles should behave. You can cycle through these types by selecting a point and hitting 1, 2, 3, or 4 on your keyboard. You can find point type for the selected point in the Inspector panel.

Point Types

1. Straight

The “straight” option will give you a straight corner. This type also allows you to add a corner Radius via the Inspector panel on the right.

2. Mirrored

“Mirrored” will add two Bézier handles that mirror each other so they are always parallel and the same length on both sides.

3. Disconnected

This option will give you two Bézier handles that you can change individually. Perfect for sharp corners!

4. Asymmetric

“Asymmetric” is almost the same as “mirrored”, but it only keeps the Bézier handles parallel. You can change the length of the handles individually.

Now that you know more about points and handles, let’s continue.

Note: To learn more about the Bézier Curves in Sketch app, check the following tutorial by Peter Nowell: “Mastering the Bézier Curve in Sketch”.

Select the Vector tool by pressing V on the keyboard, zoom in (press Z and click to zoom in) and start outlining the car body. Click once to create a point, move some distance away, click to add a second point and without releasing the mouse button, drag that point to create a curve and use Bézier to control the curve.

Tip: I’d suggest you give temporarily the border some bright color and a thicker width (use the Inspector panel to change these) so you can trace the car shape more comfortably.

Carry on doing this around the main shape of the car, but exclude the front and back windshields. Practice is needed to reach perfection and with time you’ll get better with using the Vector tool. Once you are ready with tracing of the body of the car, the results should look like on the screenshot below.

Next we need to “cut out” the side windows from the car main body. Use the Vector tool to create two shapes over the side windows. Name the shapes side window 1 and side window 2.

Duplicate these two shapes (Cmd + D) and hide the copies for now. (We will use the copies later for the side windows.) Select the car body shape and the two visible side windows shapes, and apply a Subtract operation from the top Sketch toolbar. Name the resulting shape car body.

Next, create the bottom part of the car with the Vector tool. You can trace it, but it’s not really important to be 100% accurate as the details of the shape which will not be visible do not particularly matter. Name this shape floor, then move it in the Layers panel below the car body.

There is only one more thing to do before we complete this step — to draw a wheel. Pick the Oval tool by pressing O on the keyboard and create a circle the same size as the wheel in the reference image.

Hold Shift and Alt as you drag to make a perfect circle from the center out. Give this shape the name of wheel base and make sure that its position is above the floor and below the car body layers in the Layers panel list.

3. Add Color, Shadows, And Reflections To The Car Body

Next, we will focus on the car body, so for now we can hide the reference image, as well as the wheel base and floor layers. What I usually like to do at this point is to unlock the reference image, move it outside the artboard and place it above it (or whatever other place works for you — below or on the left or right side of the artboard), so I can still use it for reference.

Or, alternatively, you can unlock the reference image, make a copy (Cmd + D), move the copy outside the artboard so it could be used for reference, and hide the original reference image inside the artboard.

Tip: Click on the eye icon next to the layer’s name in the Layers panel list to hide it. To unlock the layer, click with the right mouse button in the Layers panel and choose Unlock Layer, or just click on the lock icon next to the layer’s name.

First let’s set the basic color for our car. Select car body, uncheck Borders and for the Fills Color use #E9E9E7.

Tip: Use F on the keyboard to quickly toggle Fills on and off, and use B to quickly toggle Borders on or off.

Note: New to Sketch? Check first this very detailed Sketch help page about working with Fills: “Styling — Fills”.

Next we will continue with the shadows (the darker parts of the car body). Use the Vector tool to draw a shape like on the image below.

As you can see, the shape is longer than the car body, so we will fix that right now. Select both shapes (car body and the shape we’ve just created) and perform a Mask operation from the top toolbar. Sketch will place the result automatically into a group. Give this resulting group the name bodywork.

Now select again the shape that we’ve created, turn off Borders, set the Fills Color to #E1E1E1 and apply a Gaussian Blur with an Amount of 4.

Draw another shape with the Vector tool. Use the image below as a reference.

Use the Layers panel to move this shape into the group bodywork. Turn off Borders, and apply a Linear Gradient with the following parameters:

1. #E4E4E4
2. #C5C5C5

Apply a Gaussian Blur with an Amount of 6 to soften its edges a bit, and add a Shadow:

• Color: #FFFFFF
• Alpha: 90%
• X: 0; Y: -8; Blur: 10

Next, to add a shadow at the bottom of the carrosserie, draw a shape using the Vector tool, set Fills to #4E4E4E, place it inside the bodywork group and apply a Gaussian Blur with an Amount of 12. Use the image below as a reference.

To finish with the shadows, draw a small shape using the Vector tool, like on the image below, fill it with #D8D8D8 and give it a Gaussian Blur effect with an Amount of 5. Don’t forget to place it inside the bodywork group.

To add light reflections we will create three shapes using the Vector tool and fill them with the following colors:

1. #F9F9F9
2. #F1F1F1
3. #F1F1F1

Move those layers inside the bodywork group, turn off Borders and apply a Gaussian Blur with an Amount of 6.

Finish this step by drawing two shapes using the Vector tool. Name these shapes front fender and rear fender. Set the color to #393939, remove the Borders, again move these inside the group and give them a Gaussian Blur effect with Amount of 2, and set Opacity to 50%. Use the image below as a reference.

Note: From now on, everything we create needs to be placed inside the bodywork group.

4. Creating The Door (And All Sorts Of Lids)

This step is pretty straightforward and will take only a couple of minutes to complete. We will add a bunch of lids and a door in this step.

Select the Vector tool (V) and start drawing the lids. You don’t have to close the shapes, just leave them open, because we don’t actually need closed shapes — just the lines. To do that, press Esc key when you are satisfied with each line. Set the border Color to black (#000000) and Width to 1px. Use the image below as a reference.

Select the Fuel Tank, Front Trunk and Rear Engine lids layers and add to them Shadows effects with the following parameters:

• Color: #FFFFFF
• Alpha: 90%
• X: 0; Y: 2; Blur: 2; Spread: 0;

Next, select the Fog Light Place Lid layer and apply slightly different Shadows:

• Color: #FFFFFF
• Alpha: 20%
• X: 2; Y: 0; Blur: 2; Spread: 2;

Pick up the Oval tool (O) and create a small circle that will represent the Jack Point cover. Turn off Fills and add an Outside border, with a Width of 1px and the Color set to #000000. Apply Shadows, with the Color set to #FFFFFF at 30% alpha and the Blur and Spread set to 2.

Next, we will draw a door with the Vector tool (V), the same way as we drew all the lids.

Make the reference image in the background visible, set the bodywork layer to 50% Opacity and trace the door lines from the photo.

When you are done, hide the reference image again, set bodywork layer Opacity to 100% and style the door shape.

Set the door’s shape border Color to black (#000000), Width to 2px and apply Shadows:

• Color: #FFFFFF
• Alpha: 40%
• X: 2; Y: 2; Blur: 2; Spread: 2;

Tip: Don’t forget to give appropriate names to the shapes/layers. Proper naming of each shape/layer may help you later on, as your Sketch file becomes more and more complex!

Draw two tiny rectangles using the Vector tool (V). Press and hold Shift while drawing to make the lines straight. It’s important to align the bottom of the rectangles like on the image below. Fill both rectangles with black color and turn off Borders.

Tip: Alternatively, you can draw these two tiny rectangles using the Rectangle tool (R), enter Vector Editing mode by pressing Enter on the keyboard, select the bottom two points of each rectangle and align them properly.

Finally, draw a new shape using the Vector tool again. Set Fills to black, turn off Borders and apply Shadows with the Color set to #FFFFFF at 60% alpha and the Y and Blur set to 2. Give this shape a name of engine lid. Use the image below for reference.

5. Front Signal Lights And Horn

To start with the making of the signal lights, switch to the Rectangle tool (R) and draw a rectangle. Fill it with black Color, turn off Borders and apply Shadows:

• Color: #FFFFFF
• Alpha: 30%
• X: 2; Y: -3; Blur: 2; Spread: 2;

Enter Vector Editing mode by double-clicking on the rectangle shape (or by pressing Enter), select the top right point, move it to the left 15px using the ← arrow on the keyboard and set the Radius to 9px. Press Enter again to exit Vector Editing mode.

Duplicate (Cmd + D) this shape, turn off Shadows, and add a Linear Gradient fill; use #ECECEC for the first color stop and #7F7F7F for the last color stop.

Move this shape 2px to the left using the left arrow key on the keyboard, then enter Vector Editing mode (double-click on the shape), select the top two points and push them down by 2px.

Duplicate this shape (Cmd + D), change Color from Linear Gradient to Solid Color and pick any color you want. I will use yellow, but this is just temporary. Next, double-click on the shape to enter Vector Editing mode, select the top two points and move them down 3px, select the bottom two points and move them up 3px, select the right two points and move them to the left 3px, and finally select the bottom right point and move it to the left 3px so the right edge becomes parallel with the right edge of the shape below.

We need to split this shape into two parts. One shape will be used for the space for the horn and the other for the turn signal light. Let’s make it simple, without some fancy Boolean operations: duplicate the shape, name the original horn space and the copy turn-signal, and then hide the turn-signal shape because we will use it later.

First we need to modify the horn space shape. Select the shape, enter Vector Editing mode, select the top right point, set Radius back to 0 (using the Inspector panel on the right), move this point to the right until it’s aligned with the bottom right point (a vertical red line will appear), and then select both points on the right and move them to the left to create a small shape that we will use for the horn. Use the image below as a reference.

Tip: Hold Shift while dragging the points to maintain a straight path.

Next, un-hide turn-signal, double-click it to enter Vector Editing mode, select the two points on the left and drag them to the right until there’s a small gap between shapes.

Back to the horn space shape. Double-click to enter Vector Editing mode, hold Shift and click on the right segment to add a point in the exact middle. Now, double-click on that newly added point to turn it into a Mirrored point type, and using the ← arrow on the keyboard move it 4px to the left. Then, select the bottom right point and move it 2px to the left.

We will modify the turn-signal in a similar fashion. Select the turn-signal shape, press Enter to access Vector Editing mode, add a point in the exact middle of the left segment, turn it into Mirrored type using the Inspector panel, and push it 3px to the left using the left arrow key on the keyboard.

Horn

Let’s complete the horn first. Select the horn space shape and apply a Linear Gradient — use #1D1D1D for the top color stop and #D0D0D0 for the bottom color stop, then drag the top stop to the right and the bottom stop to the left to adjust the gradient angle.

Now, duplicate this shape (Cmd + D), switch Color to Solid Color and set to #131313, switch to Vector Editing mode, select the two left points and drag them a bit to the right.

Select the top left point, push it a bit to the right, add a point in the middle of the left segment, turn it into a Mirrored point, and move it 2px to the left.

Let’s add a grille over the horn space.

Pick up the Rectangle tool (R) and create a tiny rectangle shape over the horn space, with a height of 2px, with the Fills set to #9A9A9A and the Borders turned off. Duplicate it, change the height to 1px, change the color to #000000, move it down so it’s below the grey rectangle, switch to Vector Editing mode, select the bottom left point and move it 2px to the right. Select both shapes and place them inside a group (Cmd + G). We will use this element to build the grille. Give it a name of grille element.

Duplicate this group and move it 7px up and 2px right, then duplicate it again and push it 7px up and 3px right.

Our grille now extends past the horn space, so we need to fix it. Select all the elements that are part of the horn and perform a Mask operation so that none of the created elements go outside of the horn space.

Sketch will place the result automatically into a group. Give this resulting group the name of horn.

Turn Signal Light

Select the turn-signal shape and add a Linear Gradient fill. Set the gradient to a horizontal position with the right-pointing arrow in the color dialog and use the following colors:

1. #FFA137
2. #B23821
3. #B23821

Add an Inner Shadows effect with the following properties:

• Color: #000000
• Alpha: 40%
• X: 0; Y: 0; Blur: 5; Spread: 0

And apply a Shadows effect:

• Color: #FFFFFF
• Alpha: 50%
• X: 0; Y: 0; Blur: 2; Spread: 0

It’s time to add the light bulbs. First, use the Oval tool (O) to draw a circle like on the image below. Turn off Borders, set Fills Opacity to 0% and apply Inner Shadows:

• Color: #000000
• Alpha: 12%
• X: -9; Y: 0; Blur: 9; Spread: 0

Then, draw a small rectangle with the Rectangle tool (R) and use Radius (Round Corners) in the Inspector panel to create a rounded rectangle that will serve as a light bulb in our car illustration. Turn off Borders, and set Fills to Linear Gradient:

1. #C06D25
2. #DE8D55
3. #BC4E08
4. #A64A15

Finally select both — the circle and the rounded rectangle — and perform a Mask operation to place the rectangle inside the circle. Name the resulting group light1.

Tip: Sketch may turn off Inner Shadows on the masking shape (in this case, light1) while performing a Mask operation, so select the masking shape and check. If Inner Shadows are turned off, turn them back on using the Inspector panel. It’s a good idea to check for this every time when performing a Mask operation.

We will add a second light bulb in a similar way. Draw a circle, turn off Borders, set Fills Opacity to 0% and add Inner Shadows:

• Color: #000000
• Alpha: 18%
• X: 0; Y: 12; Blur: 5; Spread: 0

Duplicate this circle and scale it down. Modify the existing Inner Shadow:

• Color: #000000
• Alpha: 28%
• X: 0; Y: -5; Blur: 5; Spread: 0

And add another one on top of it:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 0; Blur: 2; Spread: 0

Then select both and group them into a light2 group.

In the Layers panel list select turn-signal, light1 and light2 and apply a Mask operation. This way light1 and light2 will be inside turn-signal. Name the resulting group turn signal light.

To complete the turn signal light, we need to add a tiny screw on the right side of it. We will construct our screw using a circle, so grab the Oval tool (O), and draw a small circle on the right, close to the edge of the signal light. Set the Fill Opacity to 0%, set Borders Width to 1px, position Inside, and color to #B3B3B3 with alpha 30%; and add an Inner Shadows effect:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 2; Blur: 2; Spread: 0

Duplicate this circle, scale it down, turn off Borders, set Fills to #B2CBDF with Opacity back to 100% and add the following Shadows and Inner Shadows.

First Inner Shadow:

• Color: #FFFFFF
• Alpha: 80%
• X: 0; Y: 0; Blur: 1; Spread: 0

Second Inner Shadow:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 0; Blur: 1; Spread: 0

And at the end, a Shadows effect:

• Color: #000000
• Alpha: 100%
• X: 0; Y: 0; Blur: 2; Spread: 0

We need one more circle for the screw, so again, duplicate the previous circle, scale it down, set Fills to #303030, and turn off Shadows and Inner Shadows.

Tip: At this point, you may end up with a 1px circle which still looks a little bigger than what you can see in the screenshot above, and you may also have some trouble aligning it properly. If this happens, check whether Pixel Fitting is checked in Sketch Preferences, and if it is, it might be a good idea (at least temporarily) to disable it: go to Preferences → Layers → un-check the Pixel Fitting checkbox.

Select all circles that we used to create the screw and group them into a screw group, then move this resulting group inside the turn signal light group on top.

Now it’s time to use the Create Symbol feature in Sketch and create a new Symbol out of the screw group. Later, we could use this symbol in our illustration as many times as we need it.

Tip: Symbols are created for those elements that you expect to reuse. When you use them right, Symbols can become a very powerful feature; they can speed up your workflow by giving you a way to save and reuse common elements across your illustrations and designs. When you make changes to a Symbol, those changes will be automatically applied to all the instances of this Symbol in your designs.

To create a Symbol, select the screw group in the Layers panel list, right-click on it, and choose Create Symbol from the menu. The dialog box Create New Symbol will appear; give a name to the symbol (screw in this case) and click OK.

There is one more small detail to add. Zoom in close enough (i.e., 3200%) and draw a tiny rectangle. Turn off Borders and set Fills to #131313.

6. Tail Light

We are going to build the tail lights the same way as we did in the previous step. Let’s quickly go through this step.

Draw the rectangle. Fill it with black color, turn off Borders and apply Shadows:

• Color: #FFFFFF
• Alpha: 30%
• X: -2; Y: -3; Blur: 2; Spread: 2;

Enter Vector Editing mode, move the top left corner 15px to the right and set Radius to 9px.

Duplicate the rectangle, turn off Shadows and add a Linear Gradient fill; use #ECECEC for the first color stop and #7F7F7F for the last color stop. Then, move it 2px to the right, enter Vector Editing mode, select the top two points and push them down 2px.

Duplicate this shape (Cmd + D), change Color from Linear Gradient to Solid Color and pick any color you want. Next, switch to Vector Editing mode, select the top two points and move them down 3px, select the bottom two points and move them up 3px, select the left two points and move them to the right 3px, and finally select the bottom left point and move it to the left 3px so the right edge becomes parallel with the right edge of the shape below.

Now, change Fills to Linear Gradient. Set the gradient to a horizontal position with the right-pointing arrow in the color dialog and use the following colors:

1. #5D1720
2. #621822
3. #662423
4. #B04643
5. #C25F56

Add an Inner Shadows effect with the following properties:

• Color: #000000
• Alpha: 50%
• X: 0; Y: 0; Blur: 5; Spread: 0

And apply a Shadows effect:

• Color: #FFFFFF
• Alpha: 50%
• X: 0; Y: 0; Blur: 2; Spread: 0

Let’s now move to the design of the tail light’s light bulbs.

Use the Rectangle tool (R) to draw a rectangle like on the image below. Turn off Borders, set Fills Opacity to 0% and apply Inner Shadows:

• Color: #000000
• Alpha: 40%
• X: -2; Y: 0; Blur: 5; Spread: 0

Then, draw a small rectangle with the Rectangle tool (R) and use Radius (Round Corners) in the Inspector panel to create a rounded rectangle that will serve the purpose of a light bulb. Turn off Borders, and set Fills to Linear Gradient:

1. #B75D61
2. #6B2224

Finally, select both rectangles and perform a Mask operation to place the rounded rectangle inside the other rectangle. Name the resulting group tail-light1.

Tip: Again, remember that Sketch may turn off Inner Shadows on the masking shape while performing a Mask operation, so select the masking shape and check. If Inner Shadows are turned off, turn them back on using the Inspector panel.

Draw a rectangle, turn off Borders, set Fills Opacity to 0% and add Shadows:

• Color: #000000
• Alpha: 30%
• X: -2; Y: 0; Blur: 2; Spread: 0

Draw a small circle, turn off Borders, set Fills Opacity to 0% and apply the following Inner Shadows.

First Inner Shadow:

• Color: #000000
• Alpha: 40%
• X: 0; Y: -2; Blur: 5; Spread: 0

Second Inner Shadow:

• Color: #000000
• Alpha: 30%
• X: 0; Y: 0; Blur: 5; Spread: 0

Select the rectangle and circle that we’ve just created and place them inside the group (Cmd + G) tail-light2.

Finish this step by adding the screw symbol instance. Go to Insert → Document, choose screw, click over the tail-light2 to insert the symbol and then position it to the correct spot. Use the image below as a reference.

Let’s take a look at the bigger picture and check what we did so far!

Conclusion

Good job! The main body of the car is now ready; we have the door shape, the lids, the front turn light and the tale lights.

In the next part of the tutorial, we’ll continue with the windows, bumpers, headlights, the interior, and a few other elements of the car. Stay tuned!

(mb, ra, yk, il)