bd tutorials concept illustration1

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A Bentley Design Tutorial: SketchBook Designer 2012

Part 2: Illustration

Objectives o this tutorial: We are going to go through my process in creating the illustration of the KnievelConcept, with a focus on the tools in SketchBook Designer. We will also take a look at techniques that can be

use when illustrating vehicles an proucts.

Design !rinci!les an" strategies or !ainting# Before illustrating the concept, we will look at the following!

value change an form" surface language such as position, tangent, an curvature" escribing materials visually"

the use of color, te#tures an braning" an the use of $D unerlays.

SketchBook Designer ocus tools

Simplicity in work flow

%ock &ransparency%ayer 'asks

(raient )ills, &e#ture )ills

Curve Snap%ayer Blening%ayer Warping



Surace $anguage Theory# %Position& Tangent& 'urvature(#

&here are $ types of basic surface transitions! position, tangent, an curvature. &angent surfaces o not occur in

nature.

Position: *ar eges give the sense of precision. +#amples! stealth fighters, crystals.

Tangent: 'anmae an thus comes across as purposeful an inustrial. +#amples! -eeps, tools. 'urvature: Smooth surfaces an transitions flow organically. +#amples! animals, orsche /00.

)or* Describes )unction# Suracing Styles are a Descri!tion o the Design# *ow shoul the prouct be

seen an unerstoo1 Below are some e#amples of how mi#ing ifferent combinations of surface languagescan communicate ifferent meanings an emotions.

Positional + Tangent , Precise -ngineering# Conveys precision an purpose builing. +#amples! Craftsman

tools, ('C &rucks. Positional + 'urvature , Scul!tural& S!ort $u.ury# Design looks precise, but is also highly organic an free

flowing. +#amples" Sculpture, %amborghini.

Postitional + Tangent + 'urvature , S*art Design 'onscious# 2 precise esign which is also organic, but

the tangents 3roune eges4 give it a more manmae, purposebuilt look. +#ample! 2pple5s esign.

Other e.a*!les:

/ilitary "esign uses tangential surfacing or positional surfacing for facete stealth technology.

Basic Bu"getvalue !ro"ucts usually are tangent if a plastic prouct, or positional if woo or fole metal.

Paint ork )lo an" /etho"ology

2bove are some painte e#amples, ranging from a iffuse surface to a polishe, reflective surface with color.



5D 6n"erlays

<ccasionally, 6 will create basic surfaces in a $D moeling package like Auto"esk7s /aya or Alias to use as an

unerlay for multiple tricky perspective shots. &his gives me an opportunity to play with ifferent cameralenses an light. )or this esign, 6 ecie to use my original =D perspective sketch.

Illustrating the sketch

'urvesStrokes# )or this illustration, 6 outline the silhouette of the ob7ect with curves. With these curves 6was able to use the )ill Tools& Sna! to 'urve Brush O!tion an the various $ayer /asking O!tions#

'reating 'urves# )or me, the Straight $ine Tool takes the least amount of time to outline the rawing. 6 thenuse the )illet 'urve Tool to create the shape neee. <ccasionally, 6 will select the curve an" a"" han"les

to manipulate the shape of the curve.

)ill Tools# With the curves create, 6 use the (ra"ient )ill Tool. While there are a number of preset options, 6simply use a efault an a""e" *ore color bars within the tool itself. <nce 6 was happy with the fill, 6

selecte" the e"ges o the tool7s boun"ing bo. to eform an istort the shape of the fill until it followe the

surface flow of the esign.



'asking. 6 then use the %ock 3reserve4 &ransparency %ayer <ption. &his tool ensures that color an valuechanges are only mae to painte pi#els. &o use the %ock &ransparency %ayer, 6 neee to convert my :ector

%ayer to a aint %ayer. 6 i this by uplicating the layer an merging own onto an empty paint layer to make

it paintable. &hen 6 selecte %ock 3reserve4 &ransparency, after which 6 repainte the surfaces with a harege airbrush 3a preset option in the airbrush menu4 until 6 was happy with the shaing.

)or this illustration, 6 chose a light source that is high in the sky to help me rea the surfaces well. 6n orer for

the material to look polishe, 6 tightene the highlights an mae them bright. Anyti*e that suraces ol" or

!inch& the highlights shoul" tighten#

Sna! to 'urve an" Sna! to -"ge o 'urve Brush O!tions# 2n impossibly cool feature for cutlines an, in

this case, an easy way to mask out areas. To use the Sna! to 'urve Brush O!tions& convert all the e.isting

curves to 8ui"e 'urves# Select all the curves an uner the Brush /enu change them from en or encilStrokes to (uie Curves.

/asking $ayers# 6 then create a new Paint /ask $ayer an use the 'urve Sna! to -"ge Tool to paint outthe masks 6 neee. 6 generally create 'ask %ayers for any material changes an ma7or breaks in the surface.

&he 'ask %ayers are aitive an can be either aint 'asks or :ector 'asks.



6 continue to tighten the rawing up by rawing curves for cut9lines an" *aterial changes. 6 then use Sna!

to -"ge with white an black pencils, respectively.

>e#t, 6 han painte areas of the illustration in the aint %ayers, then use the Preserve %$ock( Trans!arency

Brush O!tions# 3+ach color represente is on its own layer, making it easy to paint out later4. <nce one, 6han painte each of the layers using the /ulti!ly Blen"ing $ayer )ilter.



Details

2fter the aitional layers are painte an shae, it5s time to "etail the "raing by tightening up the

illustration, making color changes, an aing graphics an te#t.

Tighten highlights an" accent e"ges# 6 punche up the etails by going over the illustration with pencils. 6

ae some ark airbrushing across the tops of surfaces to represent the reflection of the environment as the skyarkens towars the center of the the heavens.

'olor# Color changes are quite simple using either the 'olor $ayer Blen"ing )ilter or, in this case, the

Overlay Blen"ing $ayer )ilter for more contrast. 6 use my previously create *asks an" curves or

sna!!ing to spee up the process.

8ra!hics# 9sing sharp lines an circles 3precise ; organic4 6 quickly create a logo an converte it from

vector to paint by merging it onto an empty paint layer.

ar! Tool# 6 use this to pull the logo like taffy aroun the aircraft to simulate how it woul wrap aroun thesurfaces. &hen 6 use the Overlay $ayer Blen"ing )ilter to lay the logo onto the surface.



Te.t# 6 create some te#t in hotoshop an copie it to the clipboar. 6 paste it as a layer into SketchBookDesigner 3from clipboar4, pressing Ctrl ; Shift ; :. &hen 6 warpe the layer over the surface an use the

/ulti!ly $ayer Blen"ing )ilter to lay it onto the vehicle, an a7uste the transparency of the layer.

A""itions an" thoughts to consi"er# 2fter 6 ha reviewe my moel sheet, 6 ecie to a wires to give it a

more bikelike feel. 6 painte some simple environmental reflections to give it some interest. 6 in5t want theimage to get too busy so 6 went with more of an anoi?e metal look an avoie reflecting the rier onto the

boy of the aircraft. 6 also coul have broken up the boy into metal panels but 6 like the clean, streamline

look. 6 woul have to place some more cut lines aroun the rier an sies of the vehicle to make this vehicle

manufacturable. 9nerstaning an implementing elements of the manufacturing process can a realism an believability into a esign.

bd tutorials concept illustration1

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