#1: The first image is the source, a line drawing gleamed from the Internet. This is typically public-domain stuff, but if it held a copywright this would still fall under "fair use". To this is applied the Photoshop filter "Remove White", which when applied to a layer removes all white from whatever is contained within. This allows for use of line drawings as base material.
#2: Next up is basic colorization. Using the line drawing, I can make a basic shape for the object to be made in profile, adding color as needed to create whatever scheme is desired, in this case a P-51B from the 357th Fighter Group circa late 1943. Remember that with line drawings, you're defining the edge of the overall shape of the profile. The beauty of this step is that the coloring can be whatever you want; in addition, this layer (or duplicates thereof) allow one to swiftly plug a new paint scheme into the template or alter an existing one.
#3: Following this I apply basic shading to the object, as well as a shadow layer to reppresent that cast by the wings, elevators, etc.. This typically involves a process of adding layers of airbrushed white and black, blurring and sculpting them to contour with the three-dimensional shape of the object. The shadow layer is an easier extension of this process.
#4: Once the basic work is done it's time to re-scribe the panel lines, this time using an anti-aliased 1x pixel brush. As can be seen when comparing this image with the ones previous, it is simply a matter of drawing over (or under, however you wish to orient the layers) the source material, making corrections as needed depending on quality of source material. In addition, specific areas can be "filled-in" to represent shade variations in different panels. This is also the time to smooth out the shape of the base layer for the profile as well as the shading; this produces a crisp, well-defined outline.
#5: Now comes the really fun part, advanced shading and sculpting. This process, depending on how detailed one wishes to get in regards to the project, can be the longest stage of creating the template for a profile. The process for this step is ambiguous, as it largely depends on how familiar one is with the material involved or whether or not one possesses other forms of source material. To provide shader details, for example those that would show a panel as being elevated slightly from its neighbor, I simply use a 1x pixel brush to draw another line over the panel, either white or black depending on circomstances, and then apply the blur tool. Once that is finished, select the eraser tool and erase the excess blur from one side of the line; repeat as needed. 3D objects not already sculpted in primary shading are attended to here, such as the rudder ribbing and exhaust stacks.
#6: The final step is to finish the profile and to add "weathering" or "exposure" to it. For this example, this can be anything from "factory-fresh" or a simple light exhaust stain and minor mud spatter to elaborate depictions of a war-weary aircraft that has a greater proportion of chipping and staining then it does its original pigmentation. It is in these last two stages that the profile artist truly applies his craft; it can also be the difference between an average piece to a work of art.
I hope you enjoyed this lesson as much as I enjoyed putting it together.
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