Designing Droids Ebook PDF
Designing Droids Ebook PDF
Designing Droids Ebook PDF
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50 years.
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Chapter 01
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Designing Droids
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Chapter 01
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Chapter 01
Designing Droids
Alexander Iglesias
Web: http://flyingdebris.deviantart.com/
Email: [email protected]
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Chapter 01
Designing Droids
idea.
(Fig.02).
form.
background (Fig.01).
process (Fig.03).
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Chapter 02
Designing Droids
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Chapter 02
Designing Droids
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Chapter 02
Designing Droids
Alexander Iglesias
Web: http://flyingdebris.deviantart.com/
Email: [email protected]
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Chapter 02
Introduction
In my opinion, the most important things to learn
when working for a game developer are how
to follow a brief, and how to develop a style or
closely follow an existing one. A concept artists
job is not only to come up with something
visually appealing, but, more importantly, its to
create an asset that is functional, scientifically
viable or at least believable and which is based
on the parameters of the games plot. A process
needs to be followed that enables the art
director (AD) to give ample feedback throughout
the development and that also makes the 3D
modelers jobs as easy as possible. The more
information supplied to the modelers, the faster
the model moves through production. The
pipeline.
should be used.
even do-overs.
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Chapter 03
Designing Droids
(possibly stretcher)
Arms to perform tasks such as lifting body,
on my thumbnails.
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Chapter 03
yellow as well.
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Chapter 03
Designing Droids
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Chapter 03
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Chapter 03
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Designing Droids
Chapter 03
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Chapter 03
Designing Droids
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Chapter 03
Jeremy Love
Web: http://jeremylove.com/
Email: [email protected]
Introduction
This image was a great challenge to think about.
When I got asked by the editor of 2DArtist
magazine to do it, my first thought was to draw
something simple, perhaps, with my focus being
the design. But finally, as I nearly always do, I
ended up making things much more complicated
so that my work has an added value. I believe
that in order to produce a more desirable idea, it
is necessary to be a perfectionist.
The Idea
I really like to wander here and there at night
with my friends, along the streets of Buenos
Aires, stopping for a while at any one of the
numerous bars or pubs that open throughout
the night. I like to enjoy a beer or a drink whilst
watching a football match on the TV, or just talk
to have fun.
The Design
The nightlife made me think that the best way
to show a robot bartender was in its work
environment. I chose a retro 80s style, with a lot
of influence from Star Wars, which is one of my
favorite movies for its designs.
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Chapter 04
Designing Droids
(Fig.06).
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Chapter 04
The Illustration
Previously I said that the first stage was
the concept, the second stage was the final
approved design and the last stage was
marketing materials or the finished artwork.
Almost all video game studios work this way.
The final illustration will show the method
of creating this style and how the design is
applicable for all other project designs.
completely (Fig.09).
(Fig.10).
(Fig.11).
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Chapter 04
Designing Droids
(Fig.13a b).
scene (Fig.15).
Color
(Fig.16).
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Chapter 04
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Chapter 04
process.
as a mech or battle-suit.
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Chapter 05
Designing Droids
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Chapter 05
(Fig.05).
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Chapter 05
Designing Droids
appearance (Fig.08).
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Chapter 05
Justin Albers
Web: http://www.justinalbers.com/
Email: [email protected]
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Chapter 05
Intro
Weve reached a point where neon lights
and metallic/technological matter can quickly
becoming boring and predictable, which is why
I tried to do something totally different for this
droid.
Its very hard to create something very classic
that is based on contemporary times, so I
went back in time to a very sensitive, but very
interesting event: World War II. I was specifically
interested in the German technology of this time
period.
Design References
360 rotation
follows:
I liked the top features on the Panzer PzKpfw
Full autonomy
combat
Self-sufficiency
L/24 de 75 mm
No logistical troubles
Anti-aircraft gun
(Fig.02 03).
power
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Chapter 06
Designing Droids
Brushes
Brushes are a very frequent issue for an artist.
Which one do I use for this? Which one do I use
for that? Some people make it more complicated
than it should be. I personally opt to create my
own brushes and settings for each material
texture. I use the Calligraphy brushes, and
based on these brushes I create new ones, then
add texture and special dynamics for each one.
Here you can see an example of my brushes,
plus a graphic explanation of my realistic
illumination theory with natural colors (Fig.07).
Blitz Painting
This was a very simple stage. I used a big brush
to paint very quickly all over the canvas without
worrying about the details. I also did a quick
approximation of what would be in the painting
later.
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Chapter 06
Adding Photos
Sometimes its important to look to other
resources to help you with difficult details. In
this case, to expand my range of possibilities,
I had to turn to my girlfriends camera. I took
lots of pictures to help me with the background,
or weird details like the windows, buildings,
textures, etc.
To get a reference of houses destroyed by
war, I took lots of photos of huts in ruins. I also
photographed the structure of a dismantled car
and cloudy field landscapes.
To add a photo to an image is not hard; you just
have to consider a few things:
Lightning: The photos will naturally have their
own lighting and your painting another, therefore
you must make sure that they match. On this
matter, also make sure that the photo elements
are illuminated by a diffuse light source to avoid
creating harsh shadows.
Geometry: Try to take pictures in which the
textures or elements that are going to be
used are in a front view toward you, without
vanishing points, or perspectives that are hard
12).
Photoshop.
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Chapter 06
Designing Droids
Mask
Silhouettes
The two soldiers are based on real WWII
the painting.
Legs
Soldiers
separately (Fig.14).
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Chapter 06
Adjustments
To finish I edited the illustration, correcting
colors, editing element proportions and
retouching areas, etc. To do this I used a
number of filters including Levels, Color Balance
and adjustment layers.
Conclusion
To sum up, here are some final thoughts and
suggestions:
Christopher Peters
Web: http://trejoeeee.deviantart.com/
Email: [email protected]
(Fig.19).
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Chapter 06
Ideas
We start with a simple subject, in this case a
pleasure robot. First of all we have to sketch
some ideas on our canvas. As you can see in
Fig.01, I sketch some simple thoughts for the
robot. I choose a massage robot, so I decide
to add a vibrating massage device as the hands;
it is better than a couple of hands and keeps
the mood futuristic. In the back you can see a
big C battery type, to add humor to the design.
In the same line I decide that my robot needs a
face (as you can see it already has a camera),
so I choose a Japanese style for it and why not,
a weird, crazy painted face! In the sides of the
legs, I add a medic-kit and in the middle of the
chest, a kind of panel similar to the common
soda machines, so the person can insert a
coin and select the part of the body that needs
treatment.
Profiles
This step is very important in any production
illustration because the design can be used,
for example, by a 3D artist, or used to maintain
one style in a complex project. Usually I dont
use this for a simple illustration, but in this case
I will show you the kind of style I use when a
client asks for it. If you can do a simple 3D base
in your favorite 3D program (for example, in
Google SketchUp remember to catch my past
2DArtist tutorial with this great program!) it will
be a lot easier to work on the profiles.
I do a rough 3D model, as you can see in
Fig.02 and export the different views to Adobe
Photoshop. The common style for this kind
of work is line art. In the past I painted all the
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Chapter 07
Designing Droids
Fig.03 04.
Color Illustration
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Chapter 07
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Chapter 07
Designing Droids
painting.
for a massage!
the final palette and you just have to add all the
the ceiling.
Carlos Cabrera
Web: http://www.artbycarloscabrera.com/
Email: [email protected]
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Chapter 07
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