โ– Unusual Texturing for Mechanical Design โ–

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๐™ถ๐š›๐šŽ๐šŽ๐š๐š’๐š—๐š๐šœ, ๐š•๐šŠ๐š๐š’๐šŽ๐šœ ๐šŠ๐š—๐š ๐š๐šŽ๐š—๐š๐š•๐šŽ๐š–๐šŽ๐š—.

๐™ต๐š˜๐š› ๐š๐š‘๐š’๐šœ ๐š–๐š˜๐š—๐š๐š‘, ๐™ธ ๐š๐š‘๐š˜๐šž๐š๐š‘๐š ๐š๐š‘๐šŠ๐š ๐™ธ'๐š ๐š๐š˜ ๐šŠ ๐š™๐š›๐šŽ๐šœ๐šŽ๐š—๐š๐šŠ๐š๐š’๐š˜๐š— ๐š˜๐š› ๐šŠ ๐š™๐š’๐šŽ๐šŒ๐šŽ ๐š˜๐š ๐šœ๐š™๐šŽ๐šŒ๐šž๐š•๐šŠ๐š๐š’๐šŸ๐šŽ ๐š’๐š—๐š๐šž๐šœ๐š๐š›๐š’๐šŠ๐š• ๐š๐šŽ๐šœ๐š’๐š๐š— - ๐šŒ๐š˜๐š–๐š‹๐š’๐š—๐š’๐š—๐š ๐šŠ ๐š๐šž๐š๐šž๐š›๐š’๐šœ๐š๐š’๐šŒ ๐šŠ๐šž๐š๐š˜๐š–๐šŠ๐š๐š˜๐š— ๐š–๐šŠ๐šŒ๐š‘๐š’๐š—๐šŽ ๐š ๐š’๐š๐š‘ ๐šœ๐šŽ๐š•๐šŽ๐šŒ๐š๐š’๐š˜๐š— ๐š˜๐š ๐šœ๐š˜๐š–๐šŽ๐š๐š‘๐š’๐š—๐š ๐šŽ๐šก๐š๐š›๐šŠ๐š˜๐š›๐š๐š’๐š—๐šŠ๐š›๐šข ๐š๐š›๐š˜๐š– ๐š๐š‘๐šŽ ๐š—๐šŠ๐š๐šž๐š›๐šŽ. ๐™ธ ๐š‘๐š˜๐š™๐šŽ ๐š๐š‘๐šŠ๐š ๐šœ๐š˜๐šž๐š—๐š๐šœ ๐š’๐š—๐š๐š›๐š’๐š๐šž๐š’๐š—๐š. ๐š‚๐š˜, ๐šœ๐š‘๐šŠ๐š•๐š• ๐š ๐šŽ๐šŽ ๐šœ๐š๐šŠ๐š›๐š ๐š ๐š’๐š๐š‘ ๐š๐š‘๐šŽ ๐š‹๐š›๐š’๐šŽ๐š?

๐š‚๐š’๐š—๐šŒ๐šŽ ๐™ธ'๐š– ๐š๐šŠ๐šœ๐šŒ๐š’๐š—๐šŠ๐š๐šŽ๐š ๐š‹๐šข ๐š›๐šŽ๐š™๐š๐š’๐š•๐šŽ ๐š‹๐š˜๐š๐šข ๐šŒ๐š˜๐š–๐š™๐š˜๐šœ๐š’๐š๐š’๐š˜๐š—; ๐š‘๐š˜๐š—๐šŽ๐šœ๐š๐š•๐šข ๐šŠ๐š ๐š๐š’๐š›๐šœ๐š ๐™ธ'๐š– ๐š๐š˜๐š’๐š—๐š ๐š๐š˜ ๐š๐šŽ๐šœ๐š’๐š๐š— ๐šŠ ๐šœ๐š™๐šŠ๐šŒ๐šŽ๐šŒ๐š›๐šŠ๐š๐š - ๐šŠ ๐š–๐š˜๐š๐š‘๐šŽ๐š›๐šœ๐š‘๐š’๐š™; ๐š‹๐šž๐š ๐šŒ๐š˜๐š—๐šœ๐š’๐š๐šŽ๐š›๐š’๐š—๐š ๐š๐š‘๐šŠ๐š ๐šœ๐š˜๐š–๐šŽ๐š˜๐š—๐šŽ ๐šŠ๐š•๐š›๐šŽ๐šŠ๐š๐šข ๐š๐šŽ๐š–๐š˜๐š—๐šœ๐š๐š›๐šŠ๐š๐šŽ ๐š‘๐š’๐šœ/๐š‘๐šŽ๐š› ๐šœ๐š‘๐š’๐š™ ๐š๐šŽ๐šœ๐š’๐š๐š— ๐šŠ๐š‘๐šŽ๐šŠ๐š ๐š˜๐š ๐š–๐š’๐š—๐šŽ; ๐™ธ ๐š๐š›๐šข ๐š๐š˜ ๐šœ๐š ๐š’๐š๐šŒ๐š‘ ๐š–๐šข ๐š’๐š—๐š’๐š๐š’๐šŠ๐š• ๐š’๐š๐šŽ๐šŠ ๐š๐š˜ ๐šŠ ๐š๐š›๐š˜๐šž๐š—๐š ๐š–๐šŠ๐šŒ๐š‘๐š’๐š—๐šŽ ๐š‹๐šŠ๐šœ๐šŽ๐š ๐š˜๐š— ๐šŠ ๐š›๐šŽ๐š™๐š๐š’๐š•๐šŽ ๐š๐š˜๐š›๐š– ๐šŠ๐š—๐š ๐šŠ๐š‹๐š’๐š•๐š’๐š๐š’๐šŽ๐šœ.

๐™ฐ ๐™ฒ๐š‘๐šŠ๐š–๐šŽ๐š•๐šŽ๐š˜๐š— ๐š’๐š—๐šœ๐š™๐š’๐š›๐šŽ๐š ๐™ผ๐šŽ๐šŒ๐š‘๐šŠ ๐š‘๐šŠ๐šœ ๐š‹๐šŽ๐šŽ๐š— ๐šŒ๐š˜๐š—๐šœ๐š๐š›๐šž๐šŒ๐š๐šŽ๐š. ๐™ฐ๐š—๐š ๐™ธ ๐šŒ๐šŠ๐š•๐š•๐šŽ๐š ๐š’๐š:

๐Œ๐ž๐œ๐ก๐š๐ฆ๐ž๐ฅ๐ž๐จ๐ง ๐‚๐’-๐๐ŸŽ๐Ÿ•
๐™ฒ๐šŠ๐š–๐š˜๐šž๐š๐š•๐šŠ๐š๐šŽ ๐š‚๐š๐šŽ๐šŠ๐š•๐š๐š‘ - ๐™ฟ๐š›๐šŽ๐š๐šŠ๐š๐š˜๐š› ๐Ÿ„‹โž†

ใ€˜ 1 ใ€™Inspiration and Concept

To help me draw reptile and machinery, I need to find some reference imagery. A quick hunt for my personal library of books; I've collected some useful images. Whether it's about reptiles (chameleon), robotics, drones, everything that I need to absorb and assemble into an artwork.

/// ๐š‹๐šŽ๐šŒ๐šŠ๐šž๐šœ๐šŽ ๐š˜๐š ๐šŒ๐š˜๐š—๐š๐š’๐š๐šŽ๐š—๐š๐š’๐šŠ๐š• ๐š–๐šŠ๐š๐šŽ๐š›๐š’๐šŠ๐š•๐šœ ๐šŠ๐š—๐š ๐š–๐š’๐š๐š‘๐š ๐šŠ๐š๐šŠ๐š’๐š—๐šœ๐š ๐™ฒ๐š•๐š’๐š™ ๐š‚๐š๐šž๐š๐š’๐š˜ ๐™ฟ๐šŠ๐š’๐š—๐š ๐š™๐š˜๐š•๐š’๐šŒ๐šข, ๐š ๐š’๐š๐š‘ ๐šœ๐š’๐š—๐šŒ๐šŽ๐š›๐šŽ ๐šŠ๐š™๐š˜๐š•๐š˜๐š๐šข, ๐™ธ ๐šŠ๐š– ๐š—๐š˜๐š ๐šŠ๐š•๐š•๐š˜๐š ๐šŽ๐š ๐š๐š˜ ๐šœ๐š‘๐š˜๐š  ๐šข๐š˜๐šž ๐š๐š‘๐š˜๐šœ๐šŽ ๐š›๐šŽ๐š๐šŽ๐š›๐šŽ๐š—๐šŒ๐šŽ๐šœ ๐š˜๐š ๐š–๐š’๐š—๐šŽ_

But you could always have your reference starting points from search engines. Google and find it on Pinterest; search it on Instagram, Pixiv, CGSociety; anything else if necessary.

Then...

I create my canvas with:
Width: 3000
Height: 1500
Resolution: 300

I try to make it simple because the result obviously will be a horizontal concept art, focused on rendering cybernatic, machine-like kind-of imagery.

ใ€˜ 2 ใ€™Rough Sketch Phase

Using collage of images as my inspiration, I called it 'brainstorm-troopering'; I presented my unit plan, explained that in my school as ๐š…๐š’๐šœ๐šž๐šŠ๐š• ๐™ฐ๐š›๐š ๐šƒ๐šŽ๐šŠ๐šŒ๐š‘๐šŽ๐š› collaboration with my International students; asking their opinions while sharing mine to create the flow of design thinking process.

/// ๐šŸ๐š’๐šœ๐šž๐šŠ๐š• ๐šŠ๐š›๐š ๐šŒ๐š•๐šŠ๐šœ๐šœ - ๐šŒ๐š›๐šŽ๐šŠ๐š๐š’๐š—๐š ๐šŒ๐š˜๐š—๐šŒ๐šŽ๐š™๐š ๐šŠ๐š›๐š ๐š๐š˜๐š› ๐š–๐šŽ๐šŒ๐š‘๐šŠ๐š—๐š’๐šŒ๐šŠ๐š• ๐š๐šŽ๐šœ๐š’๐š๐š—_

We work out some simple thumbnail drawings on paper, based on our chameleon reference on projector. I want the war machine to be small and agile, like a real chameleon.

https://tips.clip-studio.com/en-us/articles/1773#6b948c54

Based on my tutorial section above and what I taught in my class, I always mention about:

๐šˆ๐š˜๐šž๐š›ใ€š ๐™ธ๐š–๐šŠ๐š๐š’๐š—๐šŠ๐š๐š’๐š˜๐š— ใ€› + ๐šข๐š˜๐šž๐š›ใ€š ๐™ฒ๐š˜๐š—๐šŒ๐šŽ๐š™๐š๐šž๐šŠ๐š•๐š’๐šฃ๐šŠ๐š๐š’๐š˜๐š— ใ€›=ใ€š ๐š…๐š’๐šœ๐šž๐šŠ๐š•๐š’๐šฃ๐šŠ๐š๐š’๐š˜๐š— ๐š˜๐š ๐š‚๐š‘๐šŠ๐š™๐šŽ๐šœ ใ€›

So we start our visual approach using simple and basic shapes from our daily-life surroundings before going to the fantasy realm and beyond.

/// ๐šŠ๐š•๐š ๐šŠ๐šข๐šœ ๐š‹๐šŠ๐šŒ๐š” ๐š๐š˜ ๐š‹๐šŠ๐šœ๐š’๐šŒ ๐šœ๐š‘๐šŠ๐š™๐šŽ๐šœ: ๐šŒ๐šข๐š•๐š’๐š—๐š๐šŽ๐š›, ๐š๐š˜๐š›๐šž๐šœ, ๐š˜๐šŸ๐šŠ๐š•

Using ใ€˜ ๐š๐šŽ๐šŠ๐š• ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™with Clip Studio Paint, I begin to put shapes of ovals, cylinders, to create the rough sketch phase.

ใ€˜ 3 ใ€™Refining Sketch

Once I'm happy with the overall layout in rough form, I go ahead and carefully draw up some sections and work out some shadows withใ€˜ ๐š๐šŽ๐šŠ๐š• ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™to visualize the body of a Mechanical things. Beautiful rendered images always come from blue-printed version of sketchy ideas.

On this stage, you only need two things to keep in mind:

/ ๐šœ๐šŽ๐š™๐šŠ๐š›๐šŠ๐š๐š’๐š—๐š ๐šœ๐šŽ๐šŒ๐š๐š’๐š˜๐š—๐šœ ๐š˜๐š ๐š‹๐š˜๐š๐šข
/ ๐šŠ๐š™๐š™๐š•๐šข๐š’๐š—๐š ๐šœ๐š‘๐šŠ๐š๐š˜๐š ๐šœ

โฎค Withใ€˜ ๐š‚๐š๐šŠ๐š—๐š๐šŠ๐š›๐š ๐™ฒ๐š˜๐š•๐š˜๐š› ๐š‚๐šŽ๐š ใ€™that I use most of the time while adding values, simply I start with dark grey to light grey, separating values as I go paint and render some detailed areas.

With only standard brushใ€˜ ๐™ณ๐šŽ๐šœ๐š’๐š๐š— ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™to fill up the values of dark grey and light grey, there is no secret technique there because my painting process generally starts with dark to light then apply color later through brushes and another type of layer modeใ€˜ ๐™พ๐šŸ๐šŽ๐š›๐š•๐šŠ๐šข ใ€™or blending modes.

๐Ÿกฃ Below is the refined sketch with values applied all over the Mechameleon, it's really useful to go back and forth from the references prior to attempting a concept art; they enable you to resolve the design simply, without worrying about wander too far with your imagination.

It has believable forms although it emerges from your imagination & fantasy.

โฎฆ ๐šŸ๐šŠ๐š•๐šž๐šŽ ๐šœ๐š”๐šŽ๐š๐šŒ๐š‘ ๐š๐š˜ ๐š๐šŽ๐š๐šŽ๐š›๐š–๐š’๐š—๐šŽ ๐š๐š‘๐šŽ ๐š˜๐šŸ๐šŽ๐š›๐šŠ๐š•๐š• ๐šœ๐š‘๐šŠ๐š๐š˜๐š ๐šœ ๐šŠ๐š—๐š ๐š‘๐š’๐š๐š‘๐š•๐š’๐š๐š‘๐š๐šœ

ใ€˜ 4 ใ€™Blocking with Silhouettes

For this kind of painting, I like to work dark to light on the subject and retain plain, pale background.

But before doing that, usually I make a new layer and then useใ€˜ ๐™ฟ๐š˜๐š•๐šข๐š•๐š’๐š—๐šŽ ๐š‚๐šŽ๐š•๐šŽ๐šŒ๐š๐š’๐š˜๐š— ใ€™to block and separate between Mechameleon and the cybernetic tree branch.

โฎฆ Next I fill it with dark grey and de-saturated green. As you can see from GIF below, it looks like a silhouette before I change it from normal toใ€˜ ๐™พ๐šŸ๐šŽ๐š›๐š•๐šŠ๐šข ใ€™blending mode.

ใ€˜ 5 ใ€™Material Thinking

Now for the rendering of machine itself, what materials should we choose? Well it's an android type of machinery. It should reflects with some shiny parts like a metal or others with matte.

So I'm going to make it predominantly out of metal - and more specifically polished aluminum. This is mainly because I like that feel of old WWII bombers, Blackhawk or even most of the tanks material has interesting lighting properties that I can explore.

As ever, it's useful to have good reference, and as I'll reproducing the complex lighting relationships inherent to the subject it's essential here. I choose a few relevant pieces of photo reference from Google, then using these photos as an impromptu palette; I can select appropriate colors from them as I work my own artwork.

A brief word on photo reference; I don't restrict my search on the subject at hand; but think beyond it to subjects that may be unrelated in the wider world, but whose material properties are similar. For instance, a can of Coke and an F-16 fighter are largely made of the same material; aluminum or aluminium.

Many movie spaceship interiors and exteriors have that scratchy look and sometimes corroded metals. In this case, why not take a photo or look up to motor or car exhaust and imagine it into your creation? The results may surprise or horrify you; there's no guarantees when you put your wild imaginations on regular artwork into play.

ใ€˜ 6 ใ€™Texturing with Unconventional Way

Since this image is a design representation, I don't need to worry about the complexities of mood, character elements, action or background detailing. I'm just concerned with material, color, and light.

I have steps in 4 separated GIF images below, to show you (most of the time) I only depend on traditional way of texturing with brushes provided by Clip Studio Paint rather than having tons of textures to be applied like most of the artists either using multiply or overlay blending mode.

It is NOT about "right or wrong" method to achieve rust or corroded metals for our painting, but having too much choice of textures will limit myself to work efficient even faster.

๐Ÿ›ธ Bottom line:

YOU DON'T NEED IMAGES FOR OVERLAYING TEXTURE (if you have no internet connection to find it online); you only need Clip Studio Paint default brushes & some tricks.
So... (เฒ โ€ฟเฒ ) check this out ๐Ÿกฃ

โฌฃใ€˜ ๐š๐šŽ๐šŠ๐š• ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™to block some of the shadows, the reason: it has details of texture that I need. So I don't bother to find another brushes or modify ones. Just using pressure while drawing and changing brush size to achieve different results.

โฌฃใ€˜ ๐™ฟ๐š˜๐š’๐š—๐š๐š’๐š•๐š•๐š’๐šœ๐š– ใ€™fromใ€˜ ๐™พ๐š’๐š• ๐š™๐šŠ๐š’๐š—๐š ใ€™to emphasize and blending textures. The metal looks like rusted ones if you apply precise colors, playing with brush size will make the dynamic of rough metal details.

โฌฃ Detailing some blurred areas withใ€˜ ๐š๐šŽ๐šŠ๐š• ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™while mixing withใ€˜ ๐š๐šž๐š—๐š—๐š’๐š—๐š ๐šŒ๐š˜๐š•๐š˜๐š› ๐š˜๐š— ๐š๐š’๐š‹๐šŽ๐š› ใ€™will also add some matte version of the metal.

โฌฃ Usingใ€˜ ๐™ต๐š’๐š—๐š๐šŽ๐š› ๐š๐š’๐š™ ใ€™and blend it altogether will also had a feel of polished metal.


To achieve a good result, I just need to follow some simple rules. This shot is low lit, so a fairly uniform top-down lighting model works best. Surfaces facing up receive the most light from whatever lighting the machine. So these will appear brightest of their given local color (the color of the material under neutral light).

โฌฃ Vertical surfaces will give a medium tone, so it follows that downward facing surfaces should obviously be the darkest. But those areas are receiving bounce light from the cybernetic light source (blue pale) branch.

So the actual darkest area on a given convex surface is at the point which receives the least light from the main light source and the reflected light of cybernetic light combined, it's pretty simple method actually to paint convincing convex bodies.

ใ€˜ 7 ใ€™Brushed Metal + Highlights

In this step, I also need to show you how to render brushed metals for the Mechameleon body.

With unconventional method, I found that having an ability to know which unusual Sub Tool such asใ€˜ ๐™ณ๐šŽ๐šŒ๐š˜๐š›๐šŠ๐š๐š’๐š˜๐š— ใ€™can also help me to discover the exact brushed metal effects. But be sure to change or modify itsใ€˜ ๐™ฑ๐š•๐šŽ๐š—๐š๐š’๐š—๐š ๐š–๐š˜๐š๐šŽ ใ€™from Normal to Overlay or Soft Light, depending on your need.
๐Ÿกฃ

โฌฃ I'll never know before I tried it by myself that, by usingใ€˜ ๐™ฒ๐š›๐š˜๐šœ๐šœ๐š‘๐šŠ๐š๐šŒ๐š‘๐š’๐š—๐š ๐š๐š˜๐š› ๐š๐š˜๐š—๐šŽ ๐šœ๐šŒ๐š›๐šŠ๐š™๐š™๐š’๐š—๐š ใ€™and its Blending mode; will allow me to achieve multitude of unique scratchy effects of metal. Especially with Multiply mode and darker tones, I use dark green to apply greenish look for Mechameleon body. Adding Soft light to get softer and richer color.

At this point I'm looking at the painting and thinking that the material specularity is off; it lacks the signature hard-edged shine of polished alumunium and that's easy to fix. I just harden up the lower edge of the highlighted area of the surface and we're there.

The basic rule is this - the more reflective the object, the harder the highlight. The less reflective the object, the softer the highlight.

ใ€˜ 8 ใ€™Cracks & Broken Parts

Playing with different ofใ€˜ ๐™ณ๐šŽ๐šŒ๐š˜๐š›๐šŠ๐š๐š’๐š˜๐š— ใ€™brushes will be useful to point out the crevices and holes or some dirty parts.

I used to paint over the whole area first withใ€˜ ๐™ถ๐šŠ๐šž๐šฃ๐šŽ ๐šŒ๐š•๐š˜๐šž๐š ใ€™andใ€˜ Multiply ใ€™blending mode to define the darkest parts of the object and also more saturated for their given local color. We also need to consider shadows cast across the object and some cracks with broken parts.

โฎฆ Below is how I achieve cracks as I paint on some areas of Mechameleon body. You could do it with any other way, such as using Pen brush; but in my opinion; it's too sharp. I always try to add some darker area for the holes withใ€˜ ๐š๐šŽ๐šŠ๐š• ๐™ฟ๐šŽ๐š—๐šŒ๐š’๐š• ใ€™brush and add lighter parts as well with color picking near colors within the layer..

ใ€˜ 9 ใ€™Splashes of Colors

Okay, that's the base coat done; but it's looking a bit too uniform. All that unbroken, polished aluminium is starting to look bland; so I decide to give it a lick of paint - purplish and turquoise paint.

To do this without losing existing detail I use the brush blending mode to Overlay, then choose a purple and paint in the color scheme. I try a few options, erasing those that don't work, adjusting and refining the ones that do.

Painting in splash strokes and using the Opacity of current brush to tidy up later, give more brighter and saturated highlights on another layer in Normal mode.

ใ€˜ 10 ใ€™Decals & Details

Nearly there. Now I add final details such as bluish cybernetic L.E.D light, the separating colors for body, and overall background noise. Then I work around the whole piece with a Pencil brush and some nice bright turquoise. Adding highlights and rum lighting to soften the whole thing and make it feel less clinical. Play with this technique if you like; I do.

Here and there the bodywork of the machine is getting lost in the background. I make a copy of collapsed image and make it darker using Curves, then erase back to the original to leave a subtle vignette look to the image.

Finally I give the whole thing a blast red eyes and some strokes with the Pen to sharpen the edges of its mechanical eyes and cybernetic veins ๐Ÿกฃ

โฎค You can see the better and clearer image if you download my last image (Left click then save image as). It's 3000 x 1500 with 300 dpi of image. Hi-resolution enough for your pleasure to see detailed rendering of Mechameleon CS-P07.

I apologize because I have got no time to explain in further details, because it's based on simple things like developing ideas, value sketches, and applying unusual tricks for texturing in just two days. Working as Visual Art Teacher for 12 classes and other department meetings and such exhausted me. But I'm quiet happy with I did for this tutorial so far.

Approximately done the Mechanical Design Tutorial for 18 hours of work (3 hours of image rendering till finish with more or less than 15 hours of explaining with video & typing).

That said, computer + technology + imagination by far the best artistic tools I've ever gotten my hands on of course with Clip Studio Paint; life of digital artists will always be much more easier!

Thank you very much for your attention! And hope it'll inspire you to do faster and efficient work as an artist, students or fellow aesthetic users.

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