o ROBOTS

to Draw and

aint

o

to Draw and Paint

·A QUARTO BOOK

SO ROBOTS TO IDIRAW' AINO PAINT

Copyri,ght e 2006 QUARTO IPUBLlS1tr-UNG nc

Publlished i III 2'00.6, by.:

Po.ge One Publ'ishing Private !limited

.201IKQ.km Bulkillt View, ~aki Bukit Jechpark Il, Sling.apo.r,e 415'956 T;el: (65) 674.2 ... 2l)88" Fax; (6,5) 674·4·20,88

enqu i ri:es@paQ,eonegroup.com, wVIf\I\I'.pageo l1'eglf,olU'p.com

Distributed by:

IPog,e .one' piulbn:sh~ng frrr\l\o,te timilted

2:0 K~lki BUlkit View, "aki IBukJitTeoh:pflFlk U. S~liiIgapolfe .41'11.591.$16, Tel: (155) 6,742-2088; 'Fax: (,ISS) 6744-208.8

IFirs[ pubUshe,d .21(HJlI6 b.y Quarto Plubli:slhingl pk

fe'xt cOIPYl"ight @ 20106· Quorto P'ublishling pk

ImQlg'(i!s ioopyr.i'ght @ .2006 Quart,o Pub~li,shijlng plllc~ unless otherw'se stoted {see pog ~1 28)

Oe's'igll and IICI,Y'OI!JJlt (Jo,pyri"glht @' .2006 QU!1lJlto PilJllbUshinglplc

ISBN 981·245·346·,6

Alii rwglhts If,eSeflJedi. N,o' port of thils p'Ubli,eatlion may be r,epmdlucecID" stored ,in Q n~!tri,~\!'al system Of transmi:ttedin amy form (If by any means, e!~e(troniC Ow me'ChOJnh')all, photoco'p~dn'g. recordlnq, or 'Q'thEH1N'isE', 'W'ithQlut the perlmissi:oliil of the coprYiI"i'glht holder,

Goneeived" design,~dI end procl!!.Wced by Quarto PlUblishlfi'Qlpllc, The Old Brewery . 6, B,lundelll ·Stree1t., London N7 9BH

proJect ed~tors: Trlshc le~e,p. lindsay Kaubi art 'editor and desi'9In: Olaire' 'Vtm Rlhyn ItOP'Y ,edlUor:: Chris. Midd~etofll

QSS istant art director: Penny Cobb pi f,tiI.lIlfe' rese(ur(he~Ii:' QI(l!IJdila Tote, plm'G~('e~d!e·t~ Ohri:stine \!'iaughan indexer: Pam·ela Ell'lis

(1ft diilrectolr: Molnl. CUfldh publ'isher: Poulll CJ(]JS~aKe

MOlnlJkt·ctur,ed by Univ·ers·al Gr(l,phircs PTE Ltd. Singidpore Printed by Star'Standard Industries PTE Ltd, Singapore

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Sitep·by,-step dteSEfilption .' the dllbwlng arnd paiJniiing prof;es5.

I N T R 0 ,D U C T ION

NSPIRATION

. '.,

Reading/ provides on excellent opportunity to begin visuollzinq

ond creating lllustrotlons to go with the ornuzlnq stories you've just read ..

..:

Robots hove always captured peoples' lmoqincttons, Th,e clchernlsts of old were obsessed with the Idee of the homunculus: an artlficlnl being erected by humans; a robot, The populority of robots has grown as 'we opprocch the age where they are octuolly coming into belnq.

In any subject, there' is a wealth of artwork and creativity avaHab'le to those wUUng to took for it, and collectinq a body of lrrspirotlonol rnotertcl is an absolute necessity for the practising ernst, Simply ~ookinlg through 'much .. odrnired art can 'open up the. erective process" aUowilng your idees t.o develop in aU sorts of fontostlcol directions .

Novels land short storles olso offer creative inspiration .

,

WW' w·e,";tp'·.'n, la-'m I I

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'91'1 art site )Iri'ith an laC~lve pnd, sld'lled1fofum of '}rtists

1?ww.cg~alk.cqm I I

cn-llne fory'ro for th,e computer grophig; Indus:try

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Www:,cgG'hannel.com·' J

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www.sI·.un .. com

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cmlnspirin.g fO'r~mlof artists d"lso,lssirg their Wqflk

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www;,conceptQrb:~rg ,

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somr 0: t " n ernet S mos maglli1otrlVE' artists

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a great ~o"'ection of ,(lrt~sli-mal1(tged bn.'in~ galleries l

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Htlgh-quaJ it)!' sit.e of fon!:Qsy and .sci ence fi ct~() n art

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Bouks

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1

I NTRO 0 U CTIO N

IIDRAIAIING AND RESEARCH

.

Closstccl nrt schools once' stressed to pu pUs that one of the·

RE.SEAR.CH

The most outlondlsh designsailiways require a believable ·groundinQl in reollty. This boslc belli·evability adds support to the weird and wonderfui, and research is ,0 necessity in science ftctton 'Proper research methods help 0111 urtlst to form a more well-developed vlsunl vocabulary and to creote an lrnoqe Ubro1iY from whkln he or she (an draw in the future ..

-

best ways to leorn to, make crt is to study pre-existi n 9 art. It t s

0[15,0 true that simple, repetitive proctlce can reap great results.

. .

Life drawing is one of the prime staples of art education.

Althouglh the drowinq 'Of nude figures may seem to be somewhot disconnected from the production of robotic. crt, it is. a necessity, You 'wHI need to understand the three-dimenslonol form and its Ii nternction w'ith the envlronment in order to. gloi n a mastery of rendennq structure in ell kinds of art. .

IMaintai;n -0 consistent portfolio of current ortwork at nlll

The Internet

E,asUy the most strearnllned and efficient resource, often one can ftnd oimost i,mmediiately more than one needs .. An erqomzad collectton of bookmorks thot grows over tlme con become o personnlized Ubrary that the artist revisits with forrullcrlty,

Appl tcatlons available for download or purchase can oUow the artist to save whole gl(]lIer~es end webpa.ges and then to customize them as a unlq ue data bank for reference,

'!!! ~ M

times .. A.i'm to repI1oc.e' your ~ectst fovourlte pieces .ond 'cleun

..

house' occoslonoily to: continually Improve your portfolio.

. .

Research and explore new areas; constantly bombard yourself

with lnsplrotton from unllkely pkrces, You never know when inspiration wiU stnke,

·.One of the best tools for vis.ua~ research is thelrnaqe .seorch enqine, Always moke sure to 'go through the

C'REA'T'IIN& CHA1RACT'IER SHeeTS

The 3 .. 10 model will a.lw,ays Ilos,e some of the UveUness

". rul the olr~9inal drO!wlingl.

, ~oo!~ TIl')' to ens~r~ a .~.....:

- deglre@ of mterecst

despite this 'IOiSS.

If the robot you 'te designing is intended

(or repeated US~ then it's probably a. (~ ,

good idea to lay down some basic

rotations to better understand its struaute. These rotations will give you Q reference to look back to when working on the robot, ·ensuring that visual consistency is mainta.ined. ThejllJ olso ge:t' you accustomed fe the robot from several angJes and leave you with a .solid mental impression and understanding of

. ,

the' robot for future work .. Rotation~ are,

he·Jpfu! for ani motion and group project

work: they effectively explain to the . a~ways corrtoln as much .

ommotor, or to otiiets work.ing on the .' explanation and detail as

project, bow the (obo,t moves ond which· posstble, This will help the _ ..... '"

parts of the ~o.botca.n s.hift Or( tro.nsfotm', mode Iller while sculptmq,

" .

r : .'

DetaUs

Th e co ncept sketch shou Id

.A smmp,le 3.~D mockUlp mig,nt even be helpfull to 5~t up as reference for shading and posing, or to r the - perspectlve i Iml the fim:d artwork.

3·-0 miodeilling CD.n aid .)I·OU in the habit of thilnkiing 0·' the whoh1! form ,of your desig ns ..

r

advanced ilm{ll.ge search option. Set the' ilmagl,e size to 'rnedlurn' or ! large'. This will ensure that the results are usoble as visual reference,

.,It''s usuollyo glood-idea to be overly specific in the search field at first and then to gl,e'lIIeralize if more results are needed Try many different voriorrts jf results are poor.

.,Using< +, - and m~ modifiers can help narrow down the search (see the search eng.ne FAQ or tips section). Scan through the thurnbnolls presented until! somethlnq catches your eye.

-Chances are that: when you find a 91reat ~mage, tine page lt's from, win contain more of what you're looklnq for, so don't for_get to ~oolk around if there's more to se,e. It's great. to find lrneqes uslnq the search enqlne, but flndlnqo whole website that addresses your research goals is what you ,r,e'oUy wont, The, site might also have o section of Unksto other, s~mUor sites,

p.

Librarii,es/booksto,res

A good, trncqe-heovy book con give. an artist lmmedlate access

too number of highmresolution mmag,es. A few good books, os applicable reference, ore truly lnvoluoble to :0111- orttst's work. Although the tosk of flndlnqexnctly what one needs can

be both tedious end expensive, the poyoffls ulwoys worth the hunt.

When a good reference book is

found, the artist has acquired a resource that can be consistently returned to.

Life obselrv,otion

Techntcolly, this method of research wHiI olwoys br~ng the best results,

The problemls the artist's obility to ccqulre first-hand cccess to the place or situation needed. Tlrne is olso a constrolnt when using real .. llfe as reference, People and still lifes tend to be the best su bjects ·follf personal observation as a method of reference a nd research.

- Plract,ise drawing

Simply producing frequent representatlve drawings is operfect way to proctlse .. Keep a notebook and draw your 'robot frorrt >0 voriety of different angles and

ever-chunqlnq perspectives, • _.

1 --_.- .-~~ -.GfT6~tNAT6R:

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TIt IS fiQ',Wr I> ~~JtP

~ -twr.:t( ~ .A,~' ¢l<:fc.AA,~ 6~ 'p'p~j\!'I ICo;!

A. 3-10 r,epreStelotation

of your robot can else . present pm'porUon or . desiign ftaws not foreseen d u rhrllg th e' " I 2-10 development.

"

Te'xt notes

Scribbling wntten detctls end notes can be the quickest way to lay down idees or expand

011 a visual element in the art. . ,,;

I

Keep diose notes on

scale. because ,Q 3 .. D modelqli.dcklly beeomes d~vo reed from 'any frame of re·fe'rEmloe.,

.

, -

I I

I N1RO 0 U CTIO N

r-IAIORI<lNG TRADITIONAlL V

Truditlondl medlums possess on Inherent advantage over thelr dlqltol counterparts: vlsuol complexity. 'The clqorlthms involved , in imltntlnq O! pencil's line on a computer cermet yet come

.

close to representinq the complexity that a pencf on paper can

produce (eventually this wiU be overcome). By simply scanning. the lmaqe, a slilght choke point Is introduced and some of its complexity rnoy be lost, Certcln tasks (masking, for example)

<

present no material, .udvcntcqes in trcdltlonal procedures and

should be releqoted solely to dlqltol process. Tmdlttonol and d1iglita.ll mediums should be recoqntzed as noncompetitive elements servlnq differing roles, opproprlotely motchinq the desires and needs of thecrtlst. The dlqitol line .moy be for

'.

more valuable, to some artists as it concerns .srnooth workflow

ondspontonelty, more' so than the lmmedlote aesthetic cdvontoqe derived from truditloncl Ulnework.

o

... AU shapes and slzes Find your personal preference among the many types of erasers available.

8' IElectric eroser

e Bevelled eraser in holder e Standard eraser

e Gum eroser

o Putty eraser

IB~I ue Co 1- E rose '

can be used tn a trcdltionol or a mechank:o'l verslon,

TOOLS

[Blue Col·Erase pe1n,cills Commonly used by ontmotors, blue Col-Erose pencils are available from several different pend I monufccturers, They're dlstlnct from graphite lin that they are for less disposed to smudging and smeorinq. When scanned, their colou r can be descturoted and

resotu rated iin whatever hues the artist desires. A wkJe range of colou rs are available in Col-Erase, but differing binders and plqrnents can result ~n a ' noticeably vorytnq softness and feel to the pencll Iexperiment, keep~n9 in

mi nd that the cctuol colour of the pencil is unlrnportcnt).

Penlcill,e,xtende'rs,

S~mple pragmatism: with extenders you can run you;r pencils down much further. Avoid u5!ingl them for sweep'lng" g,estural drawing as their bclonce and ergonomics leave sornethlnq to be desired.

,A . ..,.

Do n 't use em extender 'on Q, lonq pencil. It will add too much weight.

Erasers

Relatively standard white eroser ref Us are made both for normal holders, and for' electric erasers. Ensu re the qucllty of theemser before' buywng because it Gem vnry wi deily" Good quality eroser sticks tend to be whiter end softer than their extremely POOf, harder and yellower counterparts. The regular holder can be useful for lmmedlcte and precise eroslnq, but be sure that the tip is dean to. avoid srnudqlnq, The ellectric eraser spins the tip of the eraser and is on-extremely fast ond effliicilent way of erasiing heavy pendlwork, whiile still

-belnq quite gentle on quollty paper.

e 0

A. Tilnt and texture o Textured, handmade paper • Smooth white paper

'. Watercolour poper

e Tinted paper

Pa,per

PktlJr,ed here is a variety of 2S0gsm pcper, aU 'Of it good quality, with Q

sl ig ht texture. Agai n, experiment wnh different papers to see if you prefer 0 smoother or rougher textu re, Paper ' , should be heovy and tough enouqh to handle repeated erasure and drawingl.

Hnrdboard

Experiment with different types 'of board to find the drawing! surface that suits you best, one that's; resilient enough not to. bend.

IEI'ectric sharpener

Ensure that. it's the hellcol vorlety and not simply o rotating blade. Whi~,e' .. certoln pencil tips (soft-edqed.etc.) are better achieved wltf a craft knilfe~ a good qUQl1ity electrlc sharpener is extremely useful fOlr general sharpen ing (especlolly in botches).

.& Extra sharp

If you find the electric sharpener insufficient, use some emery board to touch up the end of your pencn.

.. Bo'se of' operations

Choose a base that sults the weight of pressure you use with your pencil. Wood or plostk may be too herd

WORKING TR.ADITIONAlLY

, ,

"

HELPFUL TIPS'

Litt,/e tips like this can, cumulative,ly, S'Q.ve hu.ge amounts of time, tim'e 'that

r=" - I ' ,

,6CU'1 be spent on actual ,artwork and

n'ot the frustrating' minutiae of ' the' c/aft:.

.' It's 0 good idea (before'hemd) to have a series of pencils already s.harpened and sharpened for differing roles

(while it only t,akes a mo.ment to sharpen a pencil" it stiil can bre,ak ostistic momentum).

._. Mount artwork on a series ot h.ardb'o(lroS. This keeps the artwork bac.ked with ',Q surface ',to draw on. In ca.se you want to sn1ft/oca:t'ions'1 and can Q''rAo.id dam'age' being done to the paper.

I' Some artists tend ro hate ca.tegorizingth-ingsand cleaning'up areas of .hIgh activity., However, a si.mple weN-designed system ca,n heJp manage Q balance' between structure and spon:taneity.

. Without one you're ,eventually going to lose so,me,thing or need to hunt for something while working' on your ert. This etfOrf; can either be expended beforehand~ Of you can leave it un.til you're on a ro/}' and have ro break it to find 0: replaceme'nt eraser.

,

Ught source positioning' is important' .

when YOU" re working trilditio~a.lly. ¥ou '.11 want· a bright light source ,coming

. .

through your windows from obou: a

10' o'clock position (jfyou are left hQnded~ from 2 o'clock), This will minimize cast shadows falling over your work.

The larger and deoner the working surface; the better orf you ~are, Have everything prepared and within

. ,

immedirlte'reach wJtho,ut dutteri,rig'

the work space . .If using paints~ or ,anything that gives ()fffumes~ ensure you' re working in an extmme.ly well-ven.Wa ted area.

l

J

rN T R 0 O'U C T ION

1: IAIORIONG DIGIT ALL V

Wh,en worklnq dillgiltaHy~ it is a good ideo to prrooeed In batches .. If you are working on several projects at once, lenve tasks to be done cohectively. Scanning Q series of drowlnqs ell at once saves time compared to setting up mdlviduolly for each piece of crt, Even for more mcnuc' tusks, such as di'gitaUy deonlnq up the scons.It can seve time lf the work is done sericlly (one tends to .. gain momentum in krborlous tnsks, and tt's Q good idea. to use this built-up momentum efftdently).

M.'onitors '

Your computer will depreciate rapidly over time but a good monitor will be just as valuable as the first day . you bought it. A multi-monitor setup is an excellent way to expand your workingJ space, .and is suprislngly easy to set up.

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Keep computer flJes,aiphabet.icalJy ordered. Remember, with numoers; to keep a zero as ,Q: placeholder for numbering syst'ems In series that ~each ,at least double digits (11 Jp9 wilt be listed higher than 1'Jp9', but not 01 Jpg).

. -

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'When working 'di9j:taUy~ you~1I want no light source but that coming from your monitor. Glare 'and r:eflections dramatically seduce your (JbWty to seesutnteues on the screen, If working for an extended period, take' breaks and geoutside ro view objects at varying distances, otherwise' your eyes may become extremely ~tm/ned~ resulting in problems fo~co51.ng <CH1d headQ~hes.

Choosing- the' right chair can be' e'xtreme'./y important. If ensures that" your postute isn'; too bowed when working: bock prob.fems or even compaction of the lower organs can develop. R~'petitive strain injuries can be avoided by regularly switching from the tablet to the mouse while working .. In'termittentfy switch pro}ects ,if rote processes

,a~e required .

Scanlner

Avoid soan ners that are til in" or tout speed 0:5 a prime feature. Apporsntly, the heovler the scanner the thicker its glass plate, whkh can improve the qual ity of the scan. Be sure

the li'ght ~s off when not in use; this can save wear on the bulb and preserve, scan ,quaUty. (There are usually bulb-saving features that nutomcticoliy turn off the scanner" but they con be unrel table. It's a good idea just to' unpllug the power from the scanner when not lin use; this means the scanner has to worm up when it's turned on, but the, increase in lonqevlty J.s woo rt 11 lt.)

Although you may want to scan :strangle metenals for use in. art (wood, roughly pointedtextures, etc), be careful you don't scratch or mork the 9 loss surface in the scanner..

Tablet

A~though there's still c lot to be improved upon in terms of technoloqy, th'e tablet is a necessary tool for work~ng drngitailly. Experiment with toblet sizes, but oecouse 001 deqree of vlsuol disconnection will always be present, o lorqer toblet m iglht not be worth its ungainly size or the ~mp'ediment-of having to use the keyboard and m ouse in con jun ctlo n with the tablll,et. On mulltii-monitor setups, ensure that the toblet is deslqnoted to work o~lly on the

prl rnory monitor. Use a mouse to. access secondary dtsploys,

Tablet PC

These rnoy be, seen os an olternottve to desktop pes, Oil" as an occcmpcntrnent to your mom workstation. AI:thoug h ' th is model has no. pressure sensttivity, beingl able to draw directly on the screen has its odvontoqes (especialliy for ted lous lobour, such as maski ng an ~mag'e), W~th a, w~reless network, all crt fUes can be kept illil [~ shared fi Ie on a main computer and cccessed from the laptop with ease. This avoids constant fi le transfers end the ottention pold to which computer holds the most recently rnodlfled file.

Diigital,camera

NothrnnQi fancy ~s necessary here: a cheap diqltol camera ms excellent for settl n'g up reference shots. Exam pies could be how I igiht falls, j n from a Window, references for foresbortenmq, end perspective references,

--

W 0 R K'I N G 0 I G I TAL LY

... ! 'O,o.teway

The scanner is your gatewoy from trodttlonol to digital. Ensure that the quality of your trcdrtonol sketches ,is not being lost in translation.

.... IDi,gitall sk,etchpad

A tablet PC rnlqht be exceptionally helpful to theorttst who works in o completely digital rnedtem,

... Picture quality

for taking photos to use in your art, it's best to invest in a top-of-the-nne ccrnero. but for reference snaps, a handy digital wiH be your best friend.

-iiIITablet

Although there's a lot of room for technological improvement. a bas Ie to bl et is stl II a necessary tool for most dlqltnl ortlsts,

INTRODUCTION

l=1ARTISTIC RENDERING

You WiU develop your. own way of executing speciflc techniques, and th,e culrnlnotlon of your differingl approaches wiU gJve your crt a dlstinctive thumbprint and style. However" before you con use them to your beneflt, first you must gJOSp

'the fundomentol functions of these basic techniques,

'Co'ntour Unes

At first seernmq formtess. notice how dose'ly these Iloose lines conform te the ~ines in the next step.

Remember that atthouglh flat and two-dlmenslonol, the .curves of line'S can convey a greot dea~ about the form, wh~ch win become even more apparent later In the process. AU other steps rely upon the qu·oUty of the contour line.

.",

~ .

»:

(

\

'Loose ~ine

'1 Don't be ofrold to draw forms

I overlopplnq each other: os long as the line is light it can be worked out later.

IH,otchin,g

Line hQ,tching should allways seem to Ue on top; of the plene it's texturmq or shading. "If the p~,ane has a bump. or shifts, the hatching should follow this sh~ft identicaUy.

Cross hatching is Q secondary cpplkatlon of hatching that coincides w'ith the' 'iniUalappHcaiion. WhUe traveUi,ngata dffifferent onglleJ the second set of hatchi,ng must conform ' to the surface of the plene just as

much as the first.

IHat·c'h'ingl

'1.· The trick is to allow your motor skills to , keep the line'S consistently spaced and relatively smooth.

11ght Un,e

2,GO in with a ~re.Cj.se er~ser and r.emove any overlappmq lines that remain

too apparent

era,s!, h,otching

2Jf.YOU stlffen ,u.p an~ tr~ to be. too precise With the hatching. the lines will become wavy and stilted.

Shadin,g

IMainly functlonlnq to br~ing texture, this I-ght hntchmq is also prevalent in areas of high shadow.

If a plene shares the some angle, it should probably also share the some shcdlnq. An exception to this may Indude reflected llqht, ,or a dlfferlnq rnotertol composltton.

HighUghtilngl

AI'though suitably shaded. this section can be given even more form by applying' a layer of highlighting ..

AdidiUve tints of white run al10ng rolsed sections o'f this robotic limb section. This high~lightin'9 adds more contrast and even seems to make the shodlnq darker.

Glazing .

Remember that the colour of the entire piece before glazing wil~ show through and affect how the glazes appear. A worm base tends to gliv,e the coloursan attroctlve richness.

Note how [much colour variance results from a qlaze; because, it's a.ddi~tivet no colour in the process is lost only compounded.

, -,.~

Line shading

'1·· I Loos-en up, but don't become coreless with this application of llnework,

Basic lhighllig'lhts

1 Basic plane shcdescre achieved at this point, but you can punch them up ,0 liUle bit more.

Col 0 ure1dl glll':Oltlind

1- Stort off with a basic textural surface, . _ including a slight degree of mconslstency and rouqhness.

ARTISTIC RENDERING

Digita~ shadiinlg

2AVOid attempting an overly dyna~nrc contrast that may end up obscuring important detolls.

.'.

Sha'rlP hiighl'~ght$

2 Your tight hiighlighting can end up developing even more complex forms in tile robot's surfaces.

Glaze (oat

2,Be moderate with the shading and highlighting here. The metal is covered in a layer of paint. so there will be' no 91 inting or strong metallic contrasts . .The paint covers the entire material, and the mdlcotton of tits orlginall composition is prtrnorlly textural.

INTRODUCTION

I=RENDERING MATERIALS

'S,e'ing a mcnufoctured entity, robots wru usuaUy be composed

, .

of several different rnoteriols thot can often have widely vqrying nppeorcnces. Irnmediotely one would .defuult to sjmp~y cssurninq they're made of metol, but first toke a look at a car

, ,"

and 'its rnoterlcls; note the different types of rnetol, glass, rubber end ptosttc, An inclusive mctenol cornplexlty ~s key to creating 0. bellevcble and interesting robot.

PoUshe·dJlubri,coted meta.ls

·Sh,up.e:$_ond structure .

1 Not In.tended for heavy exposure, this moterlol con be· used for exposed internals and jOinting.

Shade

21Extremely heavy cO.ntrost is.' applied here _ with bright, crisp highlIghts,

Hue

3 Highly refleCtiVe.,the mater~.'al w. ill incl.ud. e the colours of the surrounding materials.

Highlights are extremely bright white .

. .

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Oxidized tIlll>,per

Warm m.et~1

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the snade.

Brass,

Un,e

". I B,eing a bare metcl, stout off with some

heavy darks. Leave dear areas for the toter cpphconon of hj'ghllights.

Gun metal

Une

11 ~ery strong I ines ore iin~ tlclly lrnportcn t here to ensure a machined a.ppearance and dark contrast for the later steps",

Painted metol

Lin'e

'1 Stort off with a, basic texturol surface. induding a slight degree of inconsistency a rid rouqhn ess,

I •

Shade

2Wh~n shading and hi.ghllighting, lay in

I boslc pllanes ord edqlnq,

:Shade

25hGding sh?ul~ be ovemll dark, with stiff and stark highllQ!hts only.

Shade.

2 Be sparrng .With sha~i.ng and highllig'~tS. The metal IS covered In a layer of point, so there will be no glinting or strong controst.

RENDERING M,ATERIAL'S

. : ~

. ~ ,

, '

IHue

3When coloured. the distinct ncture of the metal comes through. Highlights tend to be white, and the majority of colour is grey. The transition from shade to highl'~ght dictates the colour for the whole rnotencl

IHllille

3 Reni em ber that gun ·metal, th ough drob, will still reflect the hue of locol colours,

3 T. he point .co .. .y,e.rs th.e.e., n.tire.· . mao Iteriot. ~ndl I the indication of its orig'inol composition

is primarily texturnl.

I N,T ROO U C T ION

Lin,!

11 The Ii,~,e~or~ is. servi~g the for~ pnmonly, Little lndicctton needs. to be given of the materlol at this point.

Pla,st,ic

Une

1 Whereas initiajl!y textured much like

_ painted rnetnl, this is more for definition

, .

of form and wiH loter-be toned down heavi!!y. r

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fA d~ea}, @II fb1fJe'l, Ti5 ,irnl,lP~iY m V'W':@(€limi:ro~'fil~t i~~se lis'dd @@,tfe m thrre:eiflt'm!{flfJ;5j,dnQ15,'l!JJt~:a: tt 5imple \l\I,tW \tl 't.flfltfJer:$1.nl1di ~bis '1; r@ rmn(jtne fh~ f!1erurd ~ant,~;m.:e;~ 111!.S'i1ilfq,: a (£~Q([lis,.omdlitJ;g_ 'b1!Jr:< (f)r gjrriil: ~iemJ ~5 &~lIG i~ lsi; Wla't (!)~:e.r- t~e ~:tQf~ f/f t'frlfi €Jh.j:e.~. ft!R~ df!!!GGlJ w.i'll C:UiriR" QtJf({tLilfejlIt#Sm [i,G ~ iMsts~elJ'

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Shade

2 Notice that no dlstin~t surface .tex~ure is used. The blurry quality and shine ~s simply the environment ploylnq off the reflectilve surface.

Shade

2The shading and highlighting is gentle even for-o slightly shiny plastic.

€'D!nMIX

T Ilte+ IiJ E'Gl!.d b utm.es

o IJJI .,©<\E bhe ni}ilJ'QJf~ m~fQire. it'S

~mt~e gtre~hllr)L@,

lEa,mL€OVte

~ he &112 Go]l, (mJfves int~ ~he cae'IP~e!!l~ilOn o liTI'e sur fn!1, (!l<JiI W~jem i ~~ iml~ilgt~i!I.

Hue

, .

3 The hue is mostly reflecting the lighting

'of the environment. Stark higihlights next to slightly darkened strips 9Ilint and show off the reflective, material.

Hue

3 Here we con see how toned dawn the texture has become and how the glazed colour 'is much more subtile than on the metolllc surfaces.

P@Jsper:fwe .. lI;el1m!rtilJrll9 wli~111

a iJiin.ilFUs fI itn s.~e if

t' e FIG i:1@ .~ JtIJ n:i m', fr.m:m tllrl,tf !f!:iawlf1r.

P'B'la; "e;ciij YlC!' 2 ffiiettdlll$: W i!n GtitMlt@Tffl b'il< tihlfi!' m erl§"~GEi~€ nr-roJin w'f.'Ili~b I:/w draw yaHtJl1' WO\i)f.

You can use pretty much any material t.hat comes to mi'nd to construct your weirder robots. You may bo veagre'Q t visual picture in your mind of a robot made of sponge. Just make' sure that your backstory serves: this initial vision. Don't be afraid to try thingstha,t may initially seem tkiicutou«. Use your imagination and do some research to make' your implausible idea usable.

Stone

A qoiem or magically erected robot may be made of stone or some other earthy rnotertol that's animated by a sorcerer,

Iridescent fi bre

MaterIals such as iridescent synthetic fibre weaves g~ve the impression of extremely sophistrcoted tedmoloqy,

SheHs

- . -

Orqonlc shells or carapaces may be vat grown and used in o parUarly organic robot, giVing it the cppeoronce of o crustoceon ..

Plostle

Plastics ~ook deceptively easy to render, hut their particular speculonty and hues are often quite unnatural and difficult.

Organic

Line·

11 L~osen ~p and keeP.' the Shapes. nowing. Line welqht should very greatly. .

R END E R I N G MAT E RIAL S

Overlaid pattern

The actual moteri(ll' may be unimportant i'f the robot is decorated with (I pattern for ceremcntol reasons.

Ceralmic

If your robot is heavily armoured it may be piloted in cemmics such as boron carbide, which offers incredible ballistic protection.

Foam

Soft foorn materials can be used on robots that deal with people in a dehcote foshton-c child's robotlc nonny, for instance.

Shade

2The shading handles mote of the soft, . smoothly textural surface, rather than Llsing the line to achieve this.

A.morlphoU5 rnoterkrl

Your robot might be made of a clear material, nke water" that can form sbopes, and even function as oquctk cornorlouqe ..

Wood

Some primitive robots may be constructed with wood, of whlch there are many variants. Choose an exact texture, colour ·andtype.

Tronsporent fUml

Lay a. textured, plosnc film over

. ,

. your robot's surface. light and

shadow Wil.1 be the only things to indicate thrs near-rnV:isible film.

Hiu-'e-

- -'

3 A lot of warm colour variation is used for

_ 'the organic rnotertol, and n st,ight shIne is

giveri, to indicate rnotstura . .

.. . .

, .itoose I'htewblk

. . .

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. t~he~'inewor~: light.in this step .. Detutls-thot . baV7 not yetbee~:~-Onteive·d :dekd:,:tO·'b~·.

-d~y?rOped. 9l thispoint· so tdk~· y~u(tlm:e.

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,tHo~(hed~ fini~l:fe:d llne : "

5Th~~· ~t~p use~' hatching. o·nO··'~ol~er.l:im~

, deflrntionto' add ~ degr~e.:of'form'.to~·rhe·

fkifd'rdwin~f Tr6dlrtiono;lI)(this. 1,5 (he ~:ast.#ep· : before-scCl~~'in9,'th~ ~rrlbg~; into'the .'" :,:. I q~!rlpyt;er _5.0 rnoke sure you; i~~ s:qtrsfl~~.. .

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9· 'l~y, trahs.poi"ent .. Wqsrnes of~o'.qu(.over:th~

. . robo~·'setW)g', hi lorge..·OEebs·o-r""bcisiC hues.

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LOiyi~g,ir. :Q'€~nvas groUIJ'~: .

8Thl.~.,iSJh~st~P t~"Ot.le~l~~ ~~g:i~~,';~?,1?lu.r _,';'~I:~ "th~: h,ne between drawmg,ond POIotlilg:

. ·Fjri·d.a,gr0~~n~· ~h'Qt ~.Uits·~your.per$d;i;dl· d,eS\~,etits-:.ot. coula -, slmpi·y",be o,:textur~:~. '~', .. t

:p'9per or co~v.ds)' .. an!d:J¢Y·iti'rnultiplied:·ove·f· ': 'the drawi'r\g. ThiS teXtl.)l"~'~Aiill set the colour . . ..

an.q te~:tunll'h,irm'ony' fCfr: th~: whc)!e pi"ece; :,

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. C'H,QOSING AGIRIDUND·

Your canvas.qtound will arf~ct the Whol~ Impression and s.ty/e

o{yvU( err, ~ntl choosing' the rig.ht;ohe Is'a,n'extremely , .

importaht .step'. Anyt"hiog.Cqri.' be used, ctnq. ~t5·.attracUveness. to' you ond the suitability to .the art are your primary concerns. Sns~r~ that .ther€' ar.e no Jarge.contrasts betwee'o

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figlit and dark as this will conflict w{th -the painting later on;

Jf you can sc.afl ft, it can 'beused as Q. ground. .

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~ ", '; . '. ,~. ·glaii~~'wfi':·d.ecti·with·T~f1e.ci~!d I.~~ht ,',

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THE - WHO L E .p.R 0- t ~E'S S

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Fhiis,hing ~,teps

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111 This-s~ep will Wrqp up the flntshed "

:' ' piece C!n~ Ln,v.olves addi ng I ilU~: , ,det9i'i'?': D.'teCdl ,dppHcfition ~hould probobly .. occur ot this step, as well ossltoht soturation tw~a~i!1~rqnd vlsual effectssuch os LEDs and rusttnq -or ,stainlng;,

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, De'cctlls: "tt'n pEt_ffo,rm , : :, , ':j'mp,oirta'nfflfndjons of' insto.nt;~ :non-

Y,e rhol Jd e ritifi,cGtkm ~,

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'YO,ur'IBmin6Qt ls now co'~ple~~ 'nod :r,eady , toiprotect some irT1P-Qftant dilg'n'Ftati:es, •

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INT'RODUCTION

~=:DeVelOPING YOUR IDEAS

Work as smaU or os large os you prefer; but the function of this step is to Ilay down 'glener'QUzed deslqns as fast rQS possible whne focusinq on mojor elements and shapes. Often a thurnbnojl rnoy be so mlnlmcllst that only the artist can rncke any sense of it; be'ingr ablre to construe the finished product from this step is an important skUL 'Of course; by no means should you ltmit yourself to the desiqn produced at this stcqe, rend if oddltlve improvements ore conceived, they should deflnltely be worked into thedeslqn as the art, proqresses,

·Olrbi.tal Del,ego,t'e:

Ev,olution of functio,n

I '

. ~

, .. The second step shows a. rotated view of a similar soldier with extraneous gear for fun eti on i'ng

j,n space.

.. ... The Orbltnl Delegate {p.104) was initially more of an Orbital Pmotrooper, seen here as a grounded soldier incapable of 'flight.

8,lr'05,5 Lion:

Dramatic pro'gre:ssion

.. Here we can see the dmrnctlc progression occurring in the development of Her Majesty's Honourable Brass Lion (p.S8). Initiallly starting as a more nrnchnld or bestlclforrn It was then modified to a humanoid shape.

Encyc'lical Pu,rg,eli:. 'S,imUar ra .. work,ings

" .... Here we see rnnny versions of the Encyclical Purger {p.1 02}. all of which bear a close resemblance to each other. No reo I thumbnail was used as a flnal, and the completed piece takes elements from differing thumbnails: lit also utilizes aspects not yet oppeormq at this stnqe .

l1!EVELOPIMlG ¥OlUR IDEAS

.. The hunched or curled posture seemed incongruous with the technology and the military flavour of the t,ime!ine, so a more erect version was developed that bears a closer resemblance to the fLnished piece.

fJ,'1ay: 'Wit':» m'IIfJ(fJJwell:,B'S efjjl@l!M rJi,e'5ifjpJl'ls €UJ ilJiti€il sfe'I?' \l:Wrwftis tJ2(!ti'rop.em, ~jJ Ql(@_i~ geli1Si'r!lrgp6a~g,ed d@'WR 'n de:t,sils :t'@41 etilIl_M.

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'Ev,en: in 1t~Ji& iI~Ji~ treatJrnf'm'lt hn~es.~enLe ; 'f the mho is -~~JIl:)IIie.

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,& Small arrows can be seen as a reminder to further strolqhten the posture.

" In this destqn the robot has been altered to nppeor to function exclusively in orbit Iloslng any need for stability oro conventional soldierlike structure.

lhere is nr@ ~tafuJl~m nnukifR.g~ ~h:e leOlPJ ftOIililJ! t:1m'€ €\!.il ~1J!ts ketc::lflls'!S;r€Jm:cl dID€) dles t@ t hilS fl!.JJ1~y rem] ~e\\'l nDllD et, JJWt'e eoly Gop.cUes ere en robive fh.@e5 Of tb1e

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:its' pa rts/ The 'ch~ta11syO udecide to i,h:t'~de!', i,,~ ',yOur_·'c·a,nptru,rithl n

a;n:~:',:~impb.·rtarlfina:h~, .bt-· '

:; ·t.h:.:e'r),·.·s· .. eJ·ve:s;·. ~T:tii··s-~-s:·e·.c::_t-i.lo·n'-·· w"i'11:'

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::'.::g'I~,i';d.~e.·,;,Vo,"u.~ 'thi~o;'u·g;Ij·. -:t~,h e' ,'l

:~_~n's*r:~;¢ti'o'n .ofj:oi,n:ti:n,Q',-:a:n·f;J. articylati-(J,n_s~ ,t~tClug_t1 :t6' the

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devices ";an,d'~ ,t'Dal.s' ~,at,.t'~a.-c·t1:,s~d

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WhereQs an Interne] str~ictur'e-c~'r be, left unspeclfled, one

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. Re·a.1 istk j cl .nts

.. Combine mechanical elernen~s with. . orQ,on:iccurV€S iny~'ur robot design, : , Nottce that thernechanicclelernents

r.erru;l{r1:b.on~~·i:ke, ~~iritainil;g the:

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j9i:n~ 's ·'fu!~cti9nOJ nppeoronce. .

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absolute requirement must be adhered to: 'the limbs must'·

~ove'n'~d perform: thelrfunction without other ports.of

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the ro bot i nte rfe r't n g.. n,

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, : .A robot with a bladed weopon ~AtiU·se·e·'m Impotent If lt's

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evensllqhtly d:~\I'OUs thot lt connot s~i"i~g the" weopcn w~ih~)ut

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I '~uttin.,g Into itself. Arobot w'ith ({ qunwill S'eem, ilneffecbuo'lj( it

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uppeors thct its. ronqe 'of fi r:e is II:ih1ite,9.·'-·Ta~e tlme' to' i1l1:lcigJne : .

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. ' . indulqent. and extremely "be,neficiol to. the process) .

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l(V'ith, ·;th~?e :'fPQSi~.J.0irJ~~,. t~e rq~.ot· sh9uJ;? be a.ble to:

it,ltlC.tioh (nuch liRe .a.h'umqrJ being. Of:c'ou(se, to -dehiJ"manil,e the.·rDbbt; the h~ad.c(:iu'ld be·.remQvttcJ.(j( se·t . into' the body, or thefleg§'rep~(1cecrwith titanium t(Qtks~

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. Nonhumanoid:'

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, Be#evq',f;Jf.e-'movehjent- ;(TIu!St .p.e .tbnve,fed in ~yen tiie' .

sticing~stshapes and structures. 5uth-a.·d~$.ign might tio;

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. tesen; b/e, any pre-'exis;tingJorm; bu,t"with. the iJjclusion· of .

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. t"~.ese .. basic joints, it should conceilj:ably be able. top-indian.

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'A,'l1onlonoid robots' hondwlll pWb~biy fdll:o~ hurnon phySi·91.p9Y' ;qpite cI~seiy,:especidly W desl9lned .

't,Q p:etform cornmen'hurnon .

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functlons "(air:1 bcsle tool-use would .

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require lt). N'ote:lh"ejNniing ond . ,_ ..

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thot, whHe it could G_M'qnge o"O'Q

. bb?t,~how .. the len'9th ?(the' '. fi'n'gerS'in relution'to each

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other is:v.~rY:impor.to.n~.·."

The rn~ddle ftnqer ·[5 IO.f19~~t.

. with 'the rir.;g:fin.gE!~bftet~ :

beln'g next; 'followed by the" lndex'finqer, and finally

the little ·f~nger.

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. :Reall anqtomy ;" :

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X~r~y of.q 'h.·q·i!·cl:thq{ '.\ fb~ bones, ereell ' . .~. . shoped.to perform; .

f sp ed fIt fu rlct ~,Oi~ s ·ci.hd:-·· ..

~q.l1 be ·(tarr~~dr8ve(rnto .: · : ~

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robot desiqrrs. Mix,'c'nd .:.. .

.m·at~h.lio~~v€r Y~Uwlst.i: ,", .forlnstonce.repert these ".:

. flnqer joints eight urnes , "'.::!

arid use them ose refererice' .

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for ·a·s'p~derlikeirobot!"s. Je9.~:.: ~ !. The thumb"cbtild be.usedas. , '.

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reference for·;o :sing lie.:

ertlculated ,gun~bu~tl that .ccn move fre~ly on its' ottochrnent to the robot,

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Humanlike movement" . .

The.red-d6ts·d~note oH the.

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rnol n polnts of·artlc·ulotion

neededfor a robotto function' . ,., in a believcble manner.

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JDINT S:TRUCTURE .

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fSelievople joinUng lsextremelylmportontln ,0 , . crectton whose qrt~p,~doti0n lis often open and

'. uncovered for the vmewerto s:ee .. Below. thre.e

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moln types of jO:I~ntinl.g .cre tllustroted tho·t .

,covltfbe·us.ed iff robotic ortlculctlon.

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Hi:nge:' .

'Here 'fS.·ci ... s'i"mp~ist!C morUse· hing€j cornprisir/g: ot t'W.o;sec:tions, . with;(J lubriCat'ed pin runnih_g through "them (check out YO'UP

dO'orj" This ·is·a: good. ba'sis for m'Ore<;!u'n-ky or p~im'it.ive ~obots .. ·Qnci:wouid.hav~ td.be·corJ1bin:ed in sets ~ta't lea.sttwo to . 'Q_lJow foi afUli range·,of monon. .

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·.Univer::sal·hiri,g.e

This variety pf hinge allows for a wide tanqe of '. , mbve.ment. co'ntdihed)i? 'Q. single' poi rt :Df_articuJatfon-,:'.~· .

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. ·A. hing.e 'like:' this Is mode ... up 'o_f thre.e :mechqnkal!y .

· simple parts ..

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FaiiflOre complex an(.(.potehtially,org·flnic;:this'joint

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.. :r~'Sem.b"e s ho w· .. arl' arWna"f! s ·skeleto n ts jo'n te:d~

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S~9me.1J t{n~r Q110;~s~fqr~q; ·hug~,:r:qmJ}e· of.m,Qvemen"t {t9(a: ;' : ....

.joint [ash.ibned out orll ~har.dehe·d· cdfopai:e;· " " . ,;- ~ ~, ~ .. r.':

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. '.:. Assembled: segme·nted . .

~'''' . " .~: ':Bxpetiimentviith different. .-. ,,:

:/ version's 'of· this [clnt: 'mere '~. ~

/. ~Qr~00f m~.~ns .. Q. stiff~r joint. . . r r

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. Assemibleo. bolland socket .: .. ' -..:

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Thee ball·and.socRet ~is more

jor'nt ·thCl.ri;' hlnge·.~ih~· f,i~QI .. :

limb wH~ heed 'extra elements. '.

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for stabWty.· '.

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N.UT S & ,8.0 IT S'

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r-UITS AND WIDGETS

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ChO.osi.hg the. proper. type" of screw head w,rH be

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prilm,a.rH){; up -to your .oesthetk testes as the, ortist,

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Some screws may be covered with caps that have their own shapes, others melY lte flush with the" surface. H,owever" these oesthetlc choices should also

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. match th:~ stOty~el.ung ossociated with the ro,bot.-.

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.~ hi9~.:ly;s_ophil·$tic~ted f.~~)hot-·set tar "iP: the future

"probobly ~houldn't hav~ big lug nuts on it:]

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~.,crew - . e'a·! s · -' - '-

. A,r:ob~t; .. es'p'~c~aUy- j_f':mq:ss ·a.ssemb'ledt.'may dispi.ay

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,,?!xtensiv:ej.o~nting :.~$ingi.ndustn,td cO.u·p.lings"J·o "yO'.lU

. ~tS'~:~ns,:.;ditfe'~¢nt~cre~ heQ~5'c:an :'odd ',yoriety end a - I ,~t"o~ch .of pelfso.noHty·~ for. ~nstance, 'Q crossheod may

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give '~l. more q)mple·x qnd omote cppeorance thon 'o

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C<;Us'.qf¢J:na.s.~ PJodluce~'(by r.Qb9t~!rto~b~ unlform Br1 n,g ';voriety- to:yoJ~ de's·jgns_.by vriry'ii:';:9 In:e~ .detb.Hs »:

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Nlulhea.d

Building your robots. With-chunky screw heads and visible' bolts, con resultio.o grotesque.ly interesting chorocter.

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C,oncealed pa~~ls "arid se~tions

A robot may have ·Ii'mbs·'or ports. thof retract into its· .: 'bod)UNhen not in :us;e~:R~rn_~m~er'.thotthe.:c9vering .... ~_ plcte must motchthe.·.hO,le.!t leoves in the :Imafn body' .of the P.art Also, the device- CO.lltQi,ne.,dl~-with~~T must' - ,appe,o:r' to_qorrespond·'wil~h the-spcce insideJhe area

, of, conceal rnent, .

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(tH~V,eq and rctcheted A:work6day bruce.such as; this,

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WQuld-.n,ot.lb:ok 'but of pilqC€,,08_

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priylype··.df r6b9~, .

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Whim·dosed~this; pod ~s·.a '. , .self·'cor"t:di,':led snaJ?e·,· ..

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. ..... ~o~m)ij:omie'~ots ... "

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. Open .sesame ;'. -' AVisible rotati·ng hihge glv.e.s·'the v{ewer. an: in-dic.oti_on. of how.the nozzles'ldescut ,. '.

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of the casin<i

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'lnstead.of-sh~.wih'g:.· _

. c(,lrilpl,'~Qted i nternal's". ;ct?,ns*der_ a- c()incertihci,~s~il.~· dust cover .that:hj.de·:~rthem..;;

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" Th.i,spifiping: has 'be,en stre~gth'ehed 'w.it~ ". , ~"'~ harae'ri'ed:~ ri n9s.~:,cr'~atir)Qt a :molU'e .r~ifi!d·.alnd sturdy ~ype .of p ip>fng. .:

Anatomy~,as,:Q ,structura,l ,ba:s,e

, - ,

qrgani"C reference can: be tnvcluable

,~v.en for robots.' Thlsskeletol android

I -..' •

, le'g"struqture follows human onctomy _ 91 most eXQ.ctlYi oreoUI)g '0. bel ievalble basis 'for bipedal locomotlon. Slmply

I .. •

by :r.e,p,~adhg'the':Q[rga'nic ttssus with

,an,q_rtlfi,~ial counterport, c' perf~ct:~y -human onotomlcolstnicturecun ~Q,ppear strar!ge",d~d_~r:o'b~ti~., ' ",'

Meehan: ic'o I' skeleton "The dlfferences depicted in the rototlc bones,

, - are, V,i$;lJolly' speaking, o'niy cosrnetlc The '

m oteriol sore implicitly different, and' the

, ,

joints oreposed cs

" be,i,ng rnechontccl,

,Otg~;dc refer,en~'e, '

, - Study, hllman'-ariato'm-y, leek In ~ text-books.end rnedkol

-. (H'ctroilades;'to'g~tQ',s,ense of how'h~man'l'rmb'~'functio~, '

,The, di$tin~t:ive ' curves ,pf hurnon bones, have"been ' , malntclned here.

"!\lire mesh

: Segm,en,t,ed

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Bundled- .,'

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Riibbed'

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In prtnclpal, the muscles work.' id~htkciUy to 'thris,e , : of a human, and wrap around t he bone ~n the same'

co nfigu ratfo n,

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Artifidal mater..i'als

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Jhe bundle9.'fibres of

the rnusdesbove 'been ' .. replaced with tensile, ': bundles of steel mesh ecole (which \wQuld (unctlO'n quite,s'imll'cldytornusdes);

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Pipir.'g' end wilring

Th,e p,ptng 'or wiring in a robot ~O;r:' vdry,widel,Y, '

for' aesthetic 'or storyteUll1g reasons. "

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'Wire,mf!s'h ,,'

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This coblels protectedby Q stronq steel-fibre -,:,'

mesh that still allows udeqree 'of movement. .,

, Se'9lmented . ':

Jointed .plotes surround th is wl re to protect-It

from harsh conditlons orsltuotlons, ,H~ ~

iBund_l:ed" :

This set o~~:bun'oled,cdbies lscomposedof" severol' stlialler .. wjres':b6und with ,plo.stk:rwflQS. ~',;

Curled'

lhfs:,W'ire has been curled up :i,!, 'Q. sptrol'to : m[nilrnize·leri,~th,\Nhile stlll al'lowlng foro large'

degree of extenslon, '

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1.: IATT'ACHIVIEIUT5; . AND . 'E'MBELLISHIVIENTS

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A has·":j:c humrmoid robot conbe mterestlnq, but it "may lack the .st.otyteUing element that a more functlonolly ... eb\housd·~,$ign conprovlde .. ,An artist should OJWOlyS

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think obout what his or her ·'treot~:on would 'do in the

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world tn whlchlt exists. Added attachments and

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:'ertt~eJ.lli5:~:rn.ent~ present -n-arrative' elements -th9t

- .d'tqmQtfca~ly' enhonce the oppec ofther'-r~boft,s desiqn,

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Anti!p,er$O nnell· f~h~tions·. . Tf1e left-forecrrn of this robot has been replq~ed,."wit.h d.:·hct·pblr'h·'· '. ". ..:

. th(~wer:: r'he napoJrr·supplY leads. from the expansion .chQ~b.e·r·tn the body-of t.h~'throwe,· ~p::.th$ pi;Pi~·g: .. to ,o·large. tank :qnch~r~ed .,.t_q the _. '.' ';

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tobot'sleft stiQuld!2r mtd $¢apt,rla., .

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The'· seipar6ii:6i1: 'of fuel·Q(ld. w~apon'

Q.dds a level of ·Vjs·U(!l.l':(;9._~pl~~lt~/ to .,.: a·simple modlflrntlon,

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The!'.commun.i;cations . ..:ffxt~r:e Is'sl'tl(a:tE!~ .. ;~E::!{:!liII ,g,t tbe ni_;g nest ·vantag~'p·oj,"n.t . , o'h~ the li"o~b;ot.-- .

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The basi,:frame·of.a mcduior robot

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Hu~'andid tor ,d~Sig_h. and oppllcotlon

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r:e.Q~on~,. tli,s robot is presented YVi,~h

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basic,fLnrrctijorwlJty G1ndthe 'potentIdl' fQt.

a vast number qf·,m·odifiq:rt·ions.: :,-

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~-, Tij_is.,·ims!¢ '. . humonc)"id robot ' '·'~ln -. 1 , ··hds-.nb'-'obv,iou;s···

. sped/ic fu~ctUinv qS).t ha$_n'~ t.ye~ :.i':! beel1~spl~€~~' iz;ed~.

. C,ommuflico.tio;ns:

A tor.rIITlun!.cati.9rls ami~{ protrudes :if[p,m the~skulll 'Of this robot.Two

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,: . 'pF!mmy dnt.e~noe s_lI~e'o_n a .dlsk

I " m'Quntlh9, and'Q,:co)I hou5,.ed·1r).t:he :Iower extension '6ids traAsmissioris.

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No:te·tha~· pqrts.of th~: robothove

been removed (pa~t-of th_€ skull '

. dome) Whicb bri.ngrS:Clfurther level of design' unity to the··'odditiCihs·,·:· .~

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.:!' lhE!.napalm . ,:' . 'tbrOwetls:obtmt,. : ~h.·;:SQ,m'e,.I.e~tlg~W

r: ~'ci~l"U)e repHlt:E!d.:. ': : arm:l:~ns-urin~i .; , eas~': of de~rance~· . wh.e.n: 'ini~ use. ,:

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ATTACH M E NTS·,.AN'D EMS-ELLrS'~I·M.ENl'S

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SurvivQ"

Ful~y ploted in hect resistent, mcqnetlzed bollistit plottnq, thlsrobot has:. been outfitted to survive extremely hazardous situottons. The armour lcyson, end curls oround .. the proflleof the. robot. and ~til'l.maintains the necessary ~QPs·.i~:Jof,ntr[)g for movement.

Rec(m n qi ssan(:ei

A l.orge, extended visor gives this version of the robot

.' extremely edvonced visual fund~ori~lIty .. A primary cluster' .. of lenses ·011 the vlsor's teft.slde 'telescopes nnd rotntes, e'nQbli~.g therobot to see)n.{l. Voriety·of::

ways. In some coses, ·th~~t .

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(apqbjfttY" i.s·liinfte.d O·lJly.bY· .';'_

, the curvature: of the .. eti~t.~:.

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'Gaps I,ii'! 'th_tHU'mour plritjng~.nQw. the. J~i:nts. to nex ·and mOyl~ f;ree~y.·

. Thi:s fixture· : '. . oo,Jllld p.ot~nt[ioll'Y. . . be ·lI'-e.'rn~oy~dI by

.: th~-rQb~o~ i~self-_. "lnthe field.

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·S~IPply

T h'i$ version hcsettechoble carrying oases. Severd~ compcrtmentohzeo

portions are d~tamed~ and a relative front and rear balance

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,·-Sc·orut . This robot hos ,b' een fitte'd·· ·with <

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three .back-n16wnted.J urnp jets.

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)~- broce' crosses the chest plate.

for ektrai'a.nchor~g~ ... and the·'

- jet. 6penii1gs.6~~·-?o~·keted .Q~~. ' ...

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sp~.e!icol; pivoting.'in: 011 ~ .' .

. dlrectlors, .Ihe jet 6p~nin~l5 '. . should extend ·,Qutwdrds:from·

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'. '. the. bODY· of th.¢:f6boi"to alloW. . .': for prop:er"dethci.i1Ee; ..... .'. :. '~ ..

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has been molntolned fn the whole structure .. This robot·· .

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tQUIO simply be a pock

: .. rnuleror theccses may. _.

contam c.huqe .'

m·~nfmrne that ~d-?~

vastly ennonces ..

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.the robot's cogni_tiv~ .

and .. colcula~jon·cQp'abifIUes~ ,

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. . Tfilejets· ~oeed ~fl1Ie ': : .. .. . . ·dPpeo.rQ~t:f¥l: "(~f .ihQvin~i ·cthlgh range 'of ".: ':

'. :- .. dif~C.tionali~YJ~or the Viewer wlU, ·envismon·:the. . , .fO·b:ot ·s.lmply·¢ar:eering.... .

'. into Q. wcil(fronflack"of ,'- .:

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·contrQl d.~dlig mgl1t..

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The·c,ases· ate : otteehed a-ro.und the. - .' :pelvic. :reg:ip,n.'t6 ~o~W·er·· .

.. ' ;the.l::enb'e ·()f grav,ity .·o'lctmqlke the robot ml(lh~ s·t!llble!

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10 corry out its Intended "function, a robot wlU need-tools that m.oy or

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r'nq~npt: be int~graL The weapons that an offensive robot will carry

con speck volumes about th,e robot's.tntent, function and even

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,. : ':GENfSRAL·- ,P.UR.p'Q1Se, :.

H;e-re i~ (1 bosic .. ossault rjfle: its.·.fnim,e· ond receiver , ,wU'11 remctrtconslstent. in all the··following .

.' .. d~f;ivQtilon$, .sta.ndard-issu-~~ an~-·~ith e.unlversol. - . dplplkatioh Jln m,in-d, this frame.presents a basic ~~ap~o.ri, for Infcntryuse.

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B,Q.lan~ilng Ct'ct

When designing. a weapon, think obout how ~t will affect the robot's

centre of ·gravity .

. personality On.: o.spectftc .sense of 'tne word). F9r the sake of

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; :f~ncti~rHll ~t_y·, ci r?~ot mQY be, fJtted' to. use. lnterchcnqeoble, rryo~,u'ar ... -~

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.' :~eaPQD:'~, .aUOY"Hng,.for ·'0 wi'~er rarrg.e·'O~ opplkctlon. These two PQ9e.s· (\ '.,' , t~;_5l'.:

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. ~, crtlstwcntsfor the offensiverobot. The followIng weapons ·are .1JJ(~ -~:(~~

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1 ;l~' " ..'ihte8de~ for use ~by .o·.humQnoid·; mess-produced.robot. " ~~~ _,,_;I

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This 9!J.!jn would' be. used bY' b:osk, humanoid robots ..

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. H&A\lV"',5U1PPORT'

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,::-. :rA: 1.2tCg~ .b,Qx-fe.ed.)~f"Qe'lte(t t.un)IDUng n!)i:~:n~:s ~

. :' ~ _r:epla·€e.s~the -aid 'rnagozhi.e" cndo downward- :.

, ~, L ~ , ':1 -\" -_, ,=_. .' .~~i~~.Qt~~-:tI~,~'h.~·s~pp·r~$~or -and btpod Qre fUt~d to

:- , ~"., , .: t,_~, • ~ -0 :t,ti~·,~'n,~~.~f.tn~ .. ~·~[.r,eL',A CdrrYil~-g_. ha.ndle··~s fixed to·

I ' . '.' .: '. ~ 1_ ,: : . ,~h€·itdJl·9f:th~::frami~~:fdr aid n} ... IQ~itlig'·d9wn-,large:

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1 .~ • _. ;1 > ,r ·,·~~a·~hes,)~lfsU.RPf:e$siv,~-fi,re.,,·. .', . - .. , '.

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. " :OE!~p'e'ndit)g .pn ~th,e.'si~,e ',of;

-. the~ 'robot, it· may· c, n o"t 'neei'f -

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.: .to ·cdw(lY;s:· h(1v~d,~,is ,gun

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dep·loved·prone:f'or use.

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- ·Cll'OSII. 'S,UPPO!RT,

- .AnIndependent, under-barrel ~Omml grenade

liauncher has been, attached to this rlflefcr grenadier robotic infantry. An extended irGI1 gn~nade si·,ght points IUp from the gun frame. An opened ·tri9.ge_r frorne 'extends down to the, base of the grip, allowingi the wecpon to be used by a robot with digits thicker than. the average human's.

.A robot with ,Q s.trang,e, or s~mply.

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1e~lr,g,e, hand configlUfoUon w.ou~d

need (1 tr'i'ggE!F' gUQli1d Uke this.

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'·SNIPeR

An extended .. bQr~el offers more dfling··for enhanced accurocy, end the scope jacks straight: into the: prOCeSSQr ofthe robot: The m,ogazine nos ·be·en ·shbrt:enedto betterfodlltnte ·prone .. shb~,tin9; endthe $ttuil~,Qrd.grip nosbeen .. Irep;:ac;:e.d with ·an cctuol robotic .. hond fixt~re for the sake of immedi"tlte··Oo·d enhanced trigger· . 'pulls. The ho·o·d fixture would attach ,str:aj.,ght to. ~the wrist of the· user robot. .

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. This scope ,wo·'Uld re,qulre' (l_ ,

. mtltc'hing_:temale port on the . robot to be. plu.qged ·in~ .

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CQB/SI!CUI:R:ITY

Th is version has been rechorn bered for pistol rounds, end the barrel has been drcsticolly shortened, A slontedforeqrip IhQ~ been lnstolled to control d jiITY!~, and a ,s:~i~:~n.g stock hos been . fltted (seen unextended 'here). Thls version of the weapon :woul~~ be. used with concenlrnent ,~n mind ,for dose-quarters security roles-or for use ·by robotic tank. and ortlllery crews.

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The smellest of .all the var~ants~ the shortbarrelrnecns

, . it . is: O!1ly,· usefu I for d ~$e, :nri·n g:.

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P'·ARATROIOPIR

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Aceromlc bayonet is affixed to the front of the shortened barre-L:.and a

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foldlnq stock Gall drornotkolly shorten

the overoll lenqth of the

rifle when needed.

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This wot~d be used by a·l~the·ID'obot~hat, needs to .move swwftly on th~ field,

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Bl·,A,C:I(·· DiPS·

This rifle ls for .clalldestine.·a.nd,.~interna!Uooolly iUegai roles .. i;~. ossosslnctlon and hostile- - territory reconnotsscnce. A II'arge!.l?offled

I· .:.-

sound suppressor surrounds the': shortened I

. - barr.',el.·The magcizine:i·s"an under-barrel hellcol ~ .. ·system houslnq ·5;0, rounds, A· padded-brass ··cotclhe(:t6:ve:rs tfie;:eje~tion'~ port, sllenclnq.the

: nctlon ofthe chornber and coHecUng bullet casing's to lessen forenstc evidence.

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l'fs flnetemoke a stnlnge-I_qo ki ng,·9 u n ~ .' but try" to': keep ·its .

" function in mlnd.

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.. ··-Swo·rdsman .. ~. _ ... - . .. ',.. .. , ~ -, ._,

, ,. NQt .ollweopons need to:~·~ guns~ In ihiS sketch .. :U11s gOr;nbat

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. robotleons forward, .feft fj·s,t ·qg,grers.,~v,~ljy (Ie~(~eq<r:ignt. fist

gmspi'ng oo -19~~l mil~t6rY·sobr.¢; readS,", to·:swing. The-best wby:to.·drtJw':outhentiC·16okj:n~r"militarY weopons, dtlcLt0'find: - interestinq in,$.pfrat:iOrl; 1S.tO do rese~rch by: looking at hfstori"coJ rni·litqry styles in rnu5e4ms,o-nd-~~'6()ks:;: ~ '< J

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VlSJ~·;a· ,~, g.·U~·;· ;e'" ,YOl~1 . ,~~(rt'~~':U.'gl~'f 'e,~:O'l:1 ~

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;'["013' o·t;J,S:',: la' rt; SJtl·m~, .C'O ri',Slt':~JJ.cti,tln::.,

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,ex91~1;~.j n9~, ll'-tf',r:e.:ni:, p-pi\~ts~$~'~;rij~ll_,~

"_"fhe _wa¥~_'l'blci llfJ3:e, ;:told"y\rl1,ilt:,~'he; ,

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, ,~;O:.b~IQ~:t, 1:$', "w~~~~'r':~,., !q:'r~l~:: . W:1~"~:',l1I~: " t'-~;~~Xl,:S:t's~.,' ~

'-'and'- :\Rf'hat· jt ; '€hu~s.~1ih,er,e',a;re: ':$te:p'i;:-'-;~:

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'1':'~:Y'i-J:S'" ,1~':e'~·;p;:·1 ,5;_- e"'g', '11.I·ile·.n~' ~J:'e:'S', ::1 ~'~r""'~":,,1' ~le/I.~ 'y' ',~~~II:'I ,s-'fe'~e--" '..rl":,

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~"t.h",e.: "c;-re:at';:v',sf :-:,fr;o'C,',r!S.:_., "::a,r1i:·~:.·"~e.;¢~h:: ..

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,r"oti':D.ti ts 'i:J:;r'o'k_·n' '1;I;tltQ "p'·ri:miti~ver

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s:hs-Fies:~',:$'O 'Yoii' cliir:l':see 1-1:s r 'l,: '

_~b:rl~t:r,-uctiDn'<a~cf ._ii\-~i:lY: r,~(::~~a\t._,· " ,"

if:~o:urS$lf.;Soirn:e, b~:$io rOt9.;~tS·'iu~e'

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sl1-qwn'a't'the:J:j;e,gi;irl ~!~ng 'o't thi~:.

-,.-s:s-ctl"c'n . 'St·a'~t~:',wj:th thes,~.

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MB.5s-pradlicsJd and

struct ,al~¥ simpWje~ sorue rDbot~ are ereated only to

be easy to JUJ.se I(US{ eftectn~.e and 're]af~»i~J~ d·sp:D~atdle. These r-olb~Qts, Offfs'" a great [JPlp(~r un]~\f or' YOLl to bec'o~me fami~iB wltn the funCj,amentals

M r fJ40t ar". ISpar-slle de.failliRlg;J , J:1 d a fJas]c :p1h ~)tsl[jl(JIg YL aJ 1 C1 W rOu (IJI de~ ~(JiJO q voceb '~ar:f of

. C f8 tec'hn·QUf8s that will aijslo

(. rr,lle ihJ handy tor cr1eatj~

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rnOfJe com~]e~ 'lFCRhtlots ..

~ ~()Id Ei:Qsigrn sfl1o,ullld IhQvetO. IfOt. of etrartl£ler e\!'QIJI when vi . wan ;fromn the r·eDr'

Vadaticms

Simple robots allow for a Wide liangle of opprooches !. ','

that G?n be, atte~ptedl l @

and discarded quickly, ~

This Imrnedlccy con result in some pleosontly unexpected designs,

... A jaunty pose and a sli.ght smirk gi,ve this robot too. much of a cortoonishly human chorocter,

.... Thls robot appears a bit too much like 0 creature thot has dressed itself up to ijmltate 00 robot.

.... This design has cortoo nls h bell ds in its posture.

robot's leg configuration suggests movement might be diffIcult.

5ITOCI<V ROBOT'

F,o'm ,all angles

Play up' your visual declslons when creattnq your robot: if you want a stocky, fat robot, then details such as short, lumpy 'legs ·wi I~ add to the effect you H re 'Iooki n9~or.

•

D,espite only hav~ng 'tlhre1e fh'1lgers, this robot ':5 hands dosely resembl'8 Q humon's,

Tih i sported extens i on creates Q vClIc,uum within the visor to aUow for deUaate funcuons occllJIniing in tile heed •

1.:11

The segment@d atms tu,e 'composed of m ony rlvetted, interlocking plates,

... tHlis ,-el:eh 1«'. IPlJodu,ee.d' \ylifit'la mmlQlilall, lOw: v"iewpoblt: Ihat 1'00_1:5 up a'l the rnlbrM fl om the ~o.und.

S,imp'le gratilil9 vi$,u'ailly giv,@s thls p'Qnel an appar,elllt purpose,

A dosed openiing at the terminlQtiionof till is, U mb sug'gests a different functlon when compo,red to the-other ,arm.

"

The feet naiad widely spread toes to cld in ~ulPplor1tjngl the stockY' b:6dy.

ROBOT FOUNDRY: 8ASIC

- ftft; - - - - - - - -- -

- 1"1 _ _ _ _ _

MAll-DELIVERV' BOlT

8'05 le shapes

1 The Emule was Introduced ln .2023 as em efficient means of copin9 with the colossal ornount of physical moil that was created once everyone shopped solely online. Prepncked at the sorting office, the copsule is secured and seated, givi,ng complete protection to its contents,

,.- -.- ~ -

'ny~-__:_ - ~ -1

\_~J \'-f

I

'The angl~e and bend of 'the arm add tothe tmpressien of the robo,t being depleted lin mldstrlde.

The head countsrbelonces the m.ain cyllind@lf'.

Streaming DGP'S, coerdhmtes 'ens u res e·ffl,ci ent and ,aocurate navigation.

is PtJSjceJ'lI y 0. cy'l~nl~ er Qlir legs" To @et;Q realist ire n snd posrure ~e member thfDit thjs mID<@t

S 0$ a humanoid bipeddl wnh Yfl~:que'

Th e feet or@ nett and sturdy to provwde support,

o uti jlnli 11119

z: arms are almost superfluous. only occcslonolly used for self-righting and 'for opening awkward gates. It is common to see models without the arms fitted at all.

The ~lbealk' is aduQUy a porehensille' (,grippingl) dwgirt for openingl I,etterb~.

Shadinlg

3Tr~tra e~ph~Size the,s.hape of the '" object with crosshotchlnq to make It

appear more soHd and to give an indkctton of the 'light source.

;rihe Emu~@"oon wollk 'comfortobliyon tiptoe mtd on ClIlny uneven slurface.

EMULE . ADIUVO

. - --. - -

I

• ~ - -:- .... ~. I

Cylindrli<:o~ head. '

PERSIONAL ASSIST'AINT BOT

Basi,e shiop'es

1 Adiuvo is a human-fr.iendly domestic personol-osslstnnt robot. an advanced evolution of eorly twenty-first-century robot

toys that began the rise of the robots, This robot has o very simpllflec hurnon

forrn .. The joints are 0111 boll or cylinder joints,' depending on how the relevant body

parts are required to move.

Outl'iininlg

2QUiCklY sketch the basic forms with (] light grey morker. Once you're happy with the pose and proportions, you con go back over the marker with a pen or pencil to 'tighten up the details.

Con(entrat~ detOliUng on areas of mrltell"est. such 1(1$ t he face·~

" hands iorid jclnts,

Use· colour and ts xtu I te iindica.te d~fferent constructlon mateli'iab:; dep'endent 011"1 th e IP'CI,rt's functlon ..

IU setext-worp in 91 'tools inyour"paintingJ pro'gramme 'to create' logos or labefs that Oi:p'p'eoJ to '~onow the pWa.ne of 'the surfuce on whkh ft;s

lrnpr nted (see, Decals and L,ogos'IP·.20).

Sbading

3 Use the Airbrush or Paintbrush tool in 'your digital pnint~rig proqrornrne (~ .. g:

Photos'~op or Painter) to estobllsh volumes ~ quickly, keeping In mind a constant li,gnt source and light direction. This can be done on 0. separate loyer in black and white for now - YOLI can colourlze the layer in the next step.

1=1

Rendering ,I.oe .. QJ1 up ti11e sJn, IfJlle,,' . ... You can .Qdd co our (It I

colour is pre:rerabl' I 50 that i 1~0i5, st0.ndb out mqr~). Go rende deto'Us and Ifsttllbll[ij,S11'l

wreViOi,.I'$ ste,

, , desonnnted , as eyes and brush to

, ,.

ROBOT FOUNDRY: BASIC

I o. (YBDT_ __- _ _ _

the bO:S;ilC COI0UfS; red and grreen ore yse-(l hn,r-'''''-uooert0ne omlOllIfS on this; r:obot because """"'."''''''''''', GUild wJlltCJieahe M QitrGlItil~e

~asi( shapes

,- One of the more popular designs used-in robotic gladiatorial fights, the Monkeybot uses tts basic hurnonold structure to' adapt efficiently in differing combat s,ituations. Its design o'so allows human pilots to toke control of the robot directly tf needed.

Shading .,

S Polnt id the robot's basic shadows ..

. To enhunce the dynamism! two ligh"t"

. sources were used for thts robot

" . ., "

18asi,( shapes. Qlr·e cy'linders., spheres ondiolval s ..

Two indented circtJIilar pillates are aligned on Q curvethat follows that of the torso ..

Arms drepkted stock stlltlight, belnq used as ext.m s u ppo rt.

OuUiningl

2primafily SPherical., the Mn~lkeYb. Ot."5 .. curved surfaces are kept as a consistent theme

throughout the design. A contrast is created with cnquinr segmentation ln some parts,

Add higlhliglhts and scratch mcrks to the edg·es ·o,f the r,obot's plane~s to en hence the melthonmca~ look and for a f-eeUng (I,'f weor cmd tear.

Add yell~ow ·and bl ue ave r~(lJy:S.

MONKEYBOT

P,A H 5 .5 8

I - B --- - - -- - - - •

I _P _ _ _ _ _ _ _ _ _ _ __ _ _ _ __

SUPPORT FI,GHTER

B,a;sic :shape,5

1 This robot has 0 pro.f'ile tlhat Ieons forward due to the extended cockpit. The gun arms. and missile bays are situated further to the rear, which aids balance. The trlple-jolnted legs help it move smoothly over rough terrain. allowing for both rural and urban applications.

This Cilxiis, OI,longl with the, secoll':ldam'Y axis: further down the Oi,rm" allow,s For a full~ range of movement.

\

Thils top port of the arm ls larger th Oiln th e res:t ,of the lliimb because, it houses the missile ba,ys.

OutUnling

2K~ep your sketch uou~h,and r~g'ht. Th!s I Win help you work qUickly and make It easier to erose the pencil once you have inked the design.

E,fongated toes help the robot sta,y bafanced when fir~ngl its wealPons.

IBe cQrefl,l~ hpw you use hii,ghHglhts. Too many hjghrnights win makEl the PAH:S 58 cppeor w.et or fake,.

This decal fc,I'I'ows the same siiont that can

be seen ~n the, contour lines; defhl~ng thls part's surfuce p,I,Qne.

Shodill1'g

3 Cre~te ~ c. onsjstent hlerorchy of hlghhghts ono shadows. The black shadows seen inside gun barrels and joints can be IOI,d

in first os a reference point for other shodes, '

_-'1IIr--- . pkk G, ~ighit source .and stick witt! ;it. Consistent shadows add a ~eeUng of weight ,and depth ..

1R:elndering

I. Avoldl. !JISiR. ,~O mu,l~ltllJde 0r COI:ou:s, ili1 }lour desi'gJA. "'A rneum $cheme of tWiQ (OI01UiIf.$ wlth~ne er

tWtl acc.e~t (£olouts wor~st>est.

ROBDT FOUNDRY: 'BASIC

I t

Pointy shepss imply a very «9 glr,essive nttttud e ...

Basile shu,pes

1 One of the newest entrants to the

, robottcqkidlotor arena, this robot has performed admirably even ln the prototype phase. Its relatively simple structure ullows ~t to absorb huge amounts of dama'ge,ond sWI maintain prime functions.

ih e ~arge sp h e rh:OI~ head funetloas ,QS g, foccl poi nt to aU the other ports of 'tltil@ robot.

ihe base i s cylli nd ers are' Waidi parellel to each other to. imp~y the mamln d~re'ction of locerrrotlon,

Outlining

21he robot's pose an.d overof composition tell its story. Use expressive shape-sand body postures. This robot tokes on aggressive pose and appears to be preporinc for urmlnent ,engagement with an enemy.

It's. 'ea,sy t.o iimitot,e e:d$ tl ng i deos, but thefun of dr:awrnng, robots ~s that they can be in any shape end CiO lour:

3 Lay in some dramatic full blacks to ad as a tou ch

point for all the

other shading.

Re~de,rrl19

I .. Iml~ly a VQf te)1lturres. in yo~r dleS,jlgn bJ.l show

"off 01111 the ~II'"01'I,,~I~ used. Shiny areos win read I~ii~e

chr®:me, glas5 ' p~o.5~il(, [}~n or rr1Qt:'t sseos wiU

c01:lvey Q fe-e1il ~ of 'CIotn and ~oiFl1:ed 9wrmur:es.

PROTOTYPE HOVER ROBOT· FATTYBOT

I ~ FA_ TYBD . . - . . _ _ __ - --

)

(y~,i n drliC(l~ thnJllster:s, are ~oooted just above the stubby ~egs.,

The Fattybot

is IPrimar~.y a. sphere wiith two long a,nms extending out.

Basiie shapes

1 The Fattybot is the carhop at a chain of fly~in diners run by an entrepreneur who acquired his fortune in the doq

food industry. Its basketball-shaped construction sugg'ests fest food rather than sporting health.

The h,ead ,is not (lrtku~ated and is

basi,cally ,(I bump' Shadin'gP'rotrud,ing from the body.

3- Once desaturated, the blue pencil

, texturing mixes wit.h the shorper

contour lines. Dark-cast shadows and highlights show the drrectlon of

the ,I'lght.

Foundatlion

2some of the' penCll.work here has

, been used to create an ambient

texture on the surfnce of the robot.

Use this 0.11 over to unify the appearance .

. '

The Ftluybot is g',iving chang'€! to acustomer respOl!1lsiibl1e, for a very small' ttp,

The gl'luff oppearnnce and spi,kes ,appeal te the 'type of customer whO' wOiI.JIlld v'ol'unt.ar.ily· drink a Uver and kidney milk~shake.

bend at any point,

• '9 wvi ng the lFattybot's limbs '0: wide IHUlig,e

rof move'ment.

I I

ReJ1l1e:ringl

1.lJ.. unified GGlt:';)u~-$€heme t~e5 thf whojede;s,i,t~lr.l f&ge~he;r. "',furdJilll"lt!! @ff c~ftatn po.rts @if it giV€S en a~mosp)hetic persoectlve thllt olds in the 'readabili'ty' or tRe f4n€lj desrgn.

ROBOT FOUNDRY: BASIC

IVIATA_. -.----- - - - --.. -~ - - - .-.

HIOVERING' DR DID

"fhewmngs comlP1,ete <1, fUI~11 shepethat's been broken in two p~(]ce;s by the I,and i FniQ gear.

Basilcshapes

1 This hO,ve~ingmar~ti~,e surveililanc~ bot _ has a simple, flotftshhke structure. En the next step you would Just need to refine end v(]ry the shapes in order to get more complex surfaces and curves,

'fhe core Ip·nrts of th e robotferrn ClI, centre seetlon d~fferent lated from thew~ngis.

When angledll flat, these parts wUl c'QmlP~ete the full~ wwngl shape.

Shad~'ng

3ShaOillg was done digita.lly in Photoshop, After choosmq the direction of light take a normal round brush, make sure to con troll the opacity w~th your qroph ie pcd.ond qukkly poiint in the main shadow and light areas. Clean up the pencil outhnlnq, too.

Olutlining

2,Outl:jn~ng was dane in 2 B pencil _ to give energy ond a textured

, '

grain to the lines. Tblnk obout

I

mechanical JO~l1tS and how the ,

different parts ore connected. Get the perspectfve right before moving on.

Protrus i ons are kept herizoetal <lnd pointing ill11 dil€! some d Ilrect:ioll om; the ~ntended peth offl~i9ht..

'~

A rei nfu rcedstructurel ~ine runs strQI'i'gnt throuq ~ tl~e robot, [pa:ssing throl!Jlgh thle ,~an'dj ngl, gear joi nts,

The cernmunlcetions arm.)' retntes land retracts ii neo the h u ~~of

.the robot duuilnQ fiiiglil'lt.

1Fh.iIS~ dlile to '(:lerodynamk (onsici1emtilons"

Re'ndiedng

I. Use rnetollic colours and add texture I" layers to, ochieve more detolls, Don't use too many colours, though. Push the values in order to qotn controst and create heavily !'it areas that will bring out the Manta~s shiny surfore. Add decals to finish.

MANTA· MILITARY INCURSION ROBOT

.~]

Basi;c shapes

'1··· I Fundcmentofly humanoid in shape, ths

intelligent foot soldier shows many signs of Its dose, physlcol-cornbot role. Joints and limb s€gments are human-based; and these should be familiar to on artist when working! on this design.

[For ~'ase, of ,alf",m movement; the robot's chest is monger than it ws wide.

Th,e pelvls is

, 'II U ~te smcdili. r t really on~y functlcnsns Oi

JO ii1it and houses hardly >CUly other ~1D11te,rnal s,

Outlining

2There are many techniques you can use to make an initIal sketch. Try olternonnq between pencil and light grey rnnrkers, The Hnes wiM be' easy to remove when you scan your inked drawing.

. Every cmglle shows, , how the bulky (urns _ , dominate the design and p,ostur,e.

Tne head cano py clo.selly protects: 'the robot' 50 optj,ca~s'ensors during comba.t.

:Shading

3 B,e sure to use

_ a vortety of line weights when inking your fina,l drawing. This helps add interest and gives more volume to your shapes. Use a. set of different-sized pens to. sequentially build up your line weight

Two support c·on nons ·ogre , fitted in the chest end, be~ng intended for p,oint·blonk use, hove a Iii miitedl re n 91e of"fi reo

Smo.n detoJls Illike smoke ,Gem ,add vlisua~

Rendedng

L. Sev~Ued edges t~nd to Pil0~ up rn©'~e 1i§llhll61n~ 9i'~e .YQLJ .. (J IBfO{Jd QI[D'P0ftlUllIty to odd some tJlghlli'91!1jtS. J;he JlCInts are p:effed J[ll€l;ces [~Qe.t€J rust Gndl grime. lint lllte~n.al tnes to JilfiH.1l,ke t~elnil seem elilclosed,

ROBOT FOUNDRY: BASIC

· - ReD TDR _ - ~-_ - _

B'Qsi,c slhlap,es

'1.·.· The simple underlying shapes of the Predator belie its hidden complexities os on infiltrator behind enemy lines.

. The' Ollrm is: the only e,lelmell"lt of th e ro bot that hes a wide range of movement.

The pelvic base pivob very I ilUle,) I,ea.vi ng the robot"'s ip'ostUlI!I'E!

stock straight,.

Outlin~lng

2' Use a 20 % grey-shade marker to sketch the robot and all the relevant details. Outline with a 0,1 finehner, To give more emphasis to the shapes, cccentuote certain lines end make them thicker with a 0.5 fmeltner,

Shading .

3 s.o~e .. elements of th~s rOb. o.t Q.H~ illumiinated; which con create a slightly stronqe

impression otthe shadirlgr stoqe,

Text d eccls slIJch us numbers win ,glwve addmtiolnol authenticity to the robot

evlGlence of pitting; n odd an beU,evElbWty end rot;ot desirgn.

'The lI'eOJ of the 9 U 111 extends farther badk than the muzzl:E!' protlilidies (rolr o,~ming dealllOnc,e reasons).

Add details, so that ecu:"h feature of the robot looks functional and be~lievublle.,

Title exhaust parts stlow fa r more \\tOOI: than the othelli seotions, of the ,roJ)ot, and

s I iglht evidence of em i'Ssi 01'1:9 tells the view'er. more about the'ir fumzfion.

PREDATOR· WHEEL-E

- , -e - - - ~~ -~,

t '1. - \

- - - - -

'The smoH antenna is important. so it is included in bask construction,

Thls robet's sh,ape is indicativ,e off its

slm pi'e' 11"01,13.

[GARBAGE, DII'SPOS,AL

B,(l's,i c shapes

'1" The Wheel-E !~ot fe$en~bles.o ~rash can

I on wheels. It IS used prlrnorily ~n a janitorial' role on factory forms, Trundl,lng along on as sturdy tractor whee,is, It shovels faod unit by-products into tts hinged waste disposal container whicih also doubles os agarborator..

These brge mnflated tyres wtill I'ater be treaded.

Outlining

2Sim, . pie cylind~f shapes G.re. used '" .. ltioIlY, as the core of the robot 1'5 intended to

resemble a baste waste receptacle,

Th e Whee~~.E bot (ian beco me :S(1r coked m,n detritus

diu ri ng wo,rk that thQse WClfnii n QI I'ig hits 'spin end flash to warn farm 'Wolrk'ers when the cl'um:sy robot draws necr,

This onitennn swivels forward and is attunUy OJ highly sophisticClted oW11actory sensory devke.

Shading

3AII the extra detolls are developed at this point and laid on.the basic stru ctu rail form of the loose-nne stage.

Render.,ing

,I.. Wi~m the ex:~pti()f) .G).f w\J~n~nglights tmi' r@'bo~ has "€I srump]le, urulll,tGlrfan ~a~nt Job. The WIMlee~1E bot s deSigners weten't tOG) c~)liiIcemed w[lth decorouveo!?SJthetil(s 05]t WDn't W~l1 any beaut" Qwm~s after (jJ ,coupJ;e of clays working on the huml

ROBOT FOUNDRY: BASIC

- ~-T ~-~ - - ~r-I~

r 10. •

I ~ : . .

- G e BD__ . _ .~ .. ; .~~.~ • .(,f

B'asic s'hap,es '1' The company (hanlon Industries

introduced this onb-shuped prototype in 2012. Its rnisston covers a full range of notlonnl park survelllonce from the poles to I the equator, helping to predict the behaviours of migrating creatures as. the ice caps melt.

Tlheg'i'om,etryof this ro bot ls fa ir'ly s i m pile. 'Wlth simple Ibh:n;ks you can undeli':sbllid how th e elements

Tlmejointing of the I,egs irs based on (l s phere-jolnt system. Wheels m,e used for :Iong states 0 n nntllands.

The ge,ome'trric c1on$tnlic:tion shows the genelf\oJ shcpe end the balance between leqs and me in body ..

are eonnected.

Renderilnlg

I. Becouse dig~~al imog:es can look too '''I neat, think about using textures and customized brushes In Photoshop. Add some textures over your cctuol pnlntinq using Overlay. 500ft light or Color Dodge" To finalize your image, casta shadow on the ground surface.

Block.inglin

2- ,Now that you understand the skeleton, it's easy to block in the shapes and start. to 'Outline. If you don't feel secure, go for the values with grey

tones. YmJI can paint over the shaded image liater using new layers.

S'hading

3 Block out qenerol shapes with monochromctk tones, then erose this shape and start to defme the design of yo ur ro bot.

'- Gre.enbot lis m.~,~€!,.of compo,~jlte

~ Jl!lcyded: plastlcs on ,01111 .cdumllfilUm frame. Alii the comp,onents fo'r observo.tio n, navi gatiio n,

eo m m ILIiin i,catiio n andcuu:dy'sis m,e placed insidethe body.,

Thils robot Qc.tu'cdly wall ks en ilts kIIM.U:k~E's" using wts extendled dmgits fur cUmbimig end env_lronmento.1 . intem,ction.

GREENBOT '. S,ENTINEl

e . ._ _ - __- -__

Thls head portion willi appeorto be spUt- ln the more' dev,ernoped pih(ts1e but \IV ill' st.in conform tothis

basic shape,

S,asic shapes

'1"" The robot is designed to perform

high-risk operotlons in harsh termtn.

It uses contemporary technology, but the look of the robot [s relatIvely simple, prim itive nnd clumsy.

The' body end

" "I,egs of this ro bot are' bHa tere Ill' :symmetrk,a~ to the oxis of b (da nee.

,

\

The ilegs connect to thiis central :sed~o"; the head and fowet (ontawner branch off fremthls p,art as well'.

Oll tU n i n 9

2E.nlo.'rge.the picture to tnedesired final resolutton, All the lines will be a "ittle, blurry and plxelated, so it's necessary to make the drawrng dearer. Enlarge the

picture em the rncnitor to play With the details.

Add dilrt or rust: to make the Se'ntlinel I,c,olk used.

Your various co~our ten es ,and shad ows wimll,cf,eate i(1 real feeUngl of the depth ~ln the pidure.

,Shading

3 U9ht. _source_affects the~hole look of the pkture, The best way to add shadows and colour in Photosnop is" to make a duplicate layer,of the line drow~ng and work on the ~ayer beneath.

Renderjing

I. This robot has a,military

.. function, so drab ohve greens me oppropncte, However, it's easy to changle the colour anytime - unlike the dlrectlon of l'i"9'ht.

Stick~ng wit.h your choice of light source is crudol at the finis.hing stage'.

Ke,~ i!n nUnthoJ! boih shadows end co;lours 1)ehave

d Ilf~eren1illy o.n

flo:!!: er ro u n: '

'S u1'fat:es.

ROBOT FOUNDRY: BASIC

I I I

- - - - - - - - - - - - --:- ~ -_- .

,

- - - - - - - ), - -

Squashed squares. deflne squat sta.turE.

'8 • 'h

a!nc s_ "ap,es

1 The initial baste shapes of boxes.

" triangles and circles are stIlI apparent

in the finished design .. A third wheel Is Included on ,0 flexible limb, adding bclnnce, and the slmpllfled pincer hands further enhance the nonhuman shape,

Tdangrles add strength to (I1iili image.

Simpl,€: cy~inder shap,es ore easy 'to drraw.

Each section or the body coni turn independently of the others.

freeha.nd applrooch

2A" the underlying shapes of this

,_ domestic friend are drawn freehand.

"Thls makes the robot seem well-used and friendly ..

Cont,Qlins rr'ec<QI:'di,ngs of the dog owner's voice.

Cfiosshatchi1ng

3 Use' crosshotdnnq and shading to 'identify which direction the I1ght Is coming from. By giving the nuts and bolts a dark outline, the robot gets a very functlonot, ijndustriaL worn 'look

"

Mulltipurpose ham!ds, cope with mu'ltilple do·g ~QOJsh,es :simtdtanQ;~uslly.

Olod'j was discont~nued be,cause of dog ~e·ash tarllglJing concerns.

~ii_ -

Eb"our puile,tte

I~'A (SkiJ-ill-srlaeli'lrH~~ wi~n tJ'figJ91l11 "rroo~na·st1~ G:0IQUfS reveals tfl· DQ~U as

~he domesti€ se'Il'fJ€lVlf 'he is. Any s mblance

0.£ liIi& i[mtIU.6t~ji(§jJ past is wipectl QWruy b~ these

c'h:ee ':$ tones,

DODI . BRA[NBOT

The' ormou red eu rve of tlhe Wl1IPP,er body 'is

tlisti,ndi".,. .:

The ~u live does not continue to the borek.

Bas,ic sholpes

,'", S," ',o,m,, Ie,', ,Ih, 19, hIY,',", deC"'"O"r,Clte"-d"",,,,S,O, Idiers, O,f the Interspoce Army who've suffered

debtlltottnq mutilation can awaken to find themselves 'interred in robotic shells. The robot's

stance ~s wide, stoble and sttff, and its arms are elonqntedto compensate for limited agility. The p ref Ie is brutish and hu nched

Anns ,alre held out somlewli1lat

OutlUningi

2A~' of theorrnour is bulbous end curved I so keep the Ilines 5i nuousond flowing. Don't worry about shading. Your focus at this. stage should be forrncnc texture.

IOIE!velopm@l1IIt(l1 reeetlve nrmOiMm' s~(:I.ueli',s outwclIfds on brcdUstic jim pacts"

The ~(lGe phlte opens to revEHII more precise 0piU<o(d equipment. for lon9~ nlin,ge detect~!on anid ell1gugem e nt.

ShacUnlg

3 Some of the internals are in danger of

. getting visually muddied at this stcqe, Drffer·entiate the organic from the metal by using separote hues. Keep the brain's shodmq delicate.

IRendering

1., Used in a more public and ceremoniol "rolle., this robot can hove an eye~(atching and purposefully decorottve colour scheme, The distinctive red stercnd numberlnq decals have been applied to complete the theme (see Decolsond Logos, p. 20),

D'ev,elop,ing ideas

Doe of the prlrnory things to consi der on this. type of robot is its weapons. Military robots will often have lnteqrol weaponry:

I changling them moy offect entire limbs, or even the whole robot itself.

",' The gun liS prtrned.orrn steady; ready to fire",

... This military robot's pose ls ceterrruned

'" The bladed bock extension is useful for felling enemies who ottack from behind.

II (

ON TIH& WARPATIH

Fr,oma.ll ,anglles

Draw the ngure from several anglles while you f~ne--tune its design.

This smaU, mt!icllI,lated turret reises the, robot's vms'ib~n[y and has its ,Q'wn l.ow·,callibre ormcment.

lhe m uzzle of this mouth gun cen lfIetJ.act f'OlI" .immedliiate ~iqul.dcooU ng .

... Till s t1 envilr ar~m'QlUJled Ye,fs,ioln was tile desligrtil the ,a"id cbtos.. tD t~e fmlth8r.

The arm connen is (

the mamn we,apon •

. .--.o_f_the ."~ ."

.0'

..

Heel extenslo n s aid stabiliity.

ASIPlI1DU'S FlR'S'1i LA"

A robot rt1'a,Y not injufe a· human being fni~ "mlJ1)ugh in,aE~rO'nt 'allow a Jl1lumaln beulg to GOime, Ito harm.

R.OBOT FOUNOR.Y: MILITARY

o - ---_ -_ .

Designl,ed b,y' anqineer Isambard Klillgdom Brune himse'f the Bra.ss Lion was a marvel even at the height of the Britlsh Industr-ial Revolution. The robot achieved international fame when a single Brass Lion saved the charqe of the Light [Brigade in

$'e[l"iies of adjus,table 'Qll"ild intercnanglenlb.le telescope IleliilsQs.

D'rawi.n9 and Research r p, ~ 0 Rendering Materials p,,118

Developing Your Ideas, p,.26,

, "

Tlfnliis r1IOir[i<CI'W cannon is. wnt:ended 0:5 a one-shot, dlsposcble weapon tha.t splits open end [I[S discarded afterfl ri n gr.

the Crimean W,ar by smashing into the Czarist artiilerv pcsition. It was 'eventually felled, but not before' bur stinq open and

,

.spraying its attackers

with boiling water.

f,orwa,rd wheel"Olims used as base, wtlenthe robot sleUlles iintofiilrm'n'91 postu reo

IEnllarg.,ed sixsll10t r'evoj~ver (!I,Hi x.edl to

sa bre arm.

Steam-ag,e robot _.

Being"steOim powered, this robot needs some rscoqruzoble sijgns of its power source - such as ths wooden-handled lever, and gauges for assessing mternol pressures ..

'Ornate arid fUlncUonal

There are two dtstinct design styles ~n this robot: the ornate and decorative armour and qlldlnq, ond the more functional-looking steamers ond boners, Theirdustno parts function more as a structural core, with the more ornate elements acting as an armoured, decorative shell,

Adaptation of a o]vallry sabre for slidng at foot so,ldiiers from on e,I,@vated pesitlen,

.J

BRASS LION

Both the 0

pef,Vi< cylinder· ..

and the chest , cyU nder ate anglled almost paraUel to €:l'ach ,other.

Y D,istlilnct shadiing

_r Dlsttnct and strong shadin91 Is necessary 011 the dommont cylinders in the design. Complement areas of high detail' with stork areas of shadinQi.

Victorian iln'spi rntions Surprl's~n9Iy~ a lot of the design is os much influenced by Victorian BriUsh furniture as lt is by steam engines .. When deaHng with such elcborote ornamentation, even greater care has to be taken to oUow the llrnbs

and rnovinq parts to function freely of each other.

SUm but sb~ong'

1 !he key connection point in thls _des~gn IS where the chest meets the belly, and it must be slim for manoeuvrability but stiU remain strong ~ookingl.

N,one, of theperts is squered off iln relat.ion to ·ea,ch other, so the shope flows smoothly.

Niote haw the s'abll'e arm bends e u tw,o.rds to offer

clea,func:e from the thick thighs.

All the ,cogst whee~s an d 'Q ears m ust be thought through ,and de'fined . oQmpllete,ly ,at. this stag,e o:f the artwork.

.. PI'ume deta.l'l,ing'

lRemember to use some loose pencil lines. 'to add the fibres of the plume and to create' some denting and roughness to the thigh's brass pfioting.

DaIken the intenla~ woriki ngl$ seen in the c;hiirlks of the thi,gh ormour.

Frontal v,ieW'

2,The main shape of the torso and head

I almost converge rnto one ~arge shape in the front view.

.Axis of balance

3- The whole body profile curves to allow the oxls of balance to run through the middle. (Assume the central. steam engine is hea.vy enough to prevent the cannon from overoclonclnq the robot.)

3

- The sp~CJsh of lncense r'ed in the pllumage is: ,an ostentatious • pe.lliod' touch to the de!5i9Jn .

.... Metal~nc ,blues

Many differing metallic hues are used here, varying through gr,eys, bhres, greel1s. yeUows and reds. Their shine and texture are what indicate their metallic construction. and not their colour.

:fl

ROBOT FOUNDRY: MILITARY

The Thir-d Rei'lchl'S answer to the' Brilish 1M BW (Main Battle,'field Weapon) is fully committed to an antilarmour role Loud and lurnber-inq, this monster crashes throulgh the

SEE AjlSO,_---"

uncerqrnwth, its, presence instillinq dread in enemy tank crews, iEvlentuallly it's Iack of speed and manoeuvrabilitv howeve'rJ made it much too vulnerable to antitank infantry.

Hatch leads, tID

sm all com portrn ent for OIs·j ng I e SUlrv,eUloll"lce and ccmmunknttons crewmen,

Rendering Materials,. p,.1.8, Decals and LOg'oSt IP·20

Joints and Movement., p.30

Exhaust pipes frorn el1lgine.

S ta ndord -ton k- lss UE! e ntrench i ngtoo Is and tnrpau lin.

Clamp u sed as self-righter and

to rony extra loads of' eql;Jliip,ment.

COililnon termlnates ln a t.iglli11t:e n ed 1m u.zz~e~bli'ea k th-at emp~oys. CIl ·'Ge-r~lch·' a ntl recol I deswg n •

.......

Deta~lls anda.ccessIQri,es', "

Hatch detol Is and conventlono I to 11k occessories add to the richness of the design". However, ensure that these detojls are carefully sele·c~ed and add to the overoll impression of\lle robot without dutterlnq or muddling its profile,

Plt,ese·nce ond :s'trength

Far lorqer than the other MBWs, the Ponzerfluch design needs to convey its great size and presence. Many elements have been connlbollzed from genuine Gerrncn tanks. of the period, such as the distinctive exhausts and paint job.

,r

PANZERFLUCH AUSF G

-I _ _

. ~.. -

~1

Armou'red 'guncarrier Pr~marUy rectangular, thjs robot has a llmlted rangl€, of U'mb movement. It's st~~1 fundornentnlly a tank" no matter how cnthropcrnorphlc the design becomes" which meons the entire design should service the most tmportont component the gun. Elements such as the dtstlnctlve g'rlid

a rrnour -pl at~ nq ore repeated in sections ocross the front part of the robot

The gun ~s positioned para lI,elll to the bOfSO dur~nQ movement

The (lods ,of bcdance must. s:tlill Ue e,venWy between the Ilegs diu ringstlroJght movements. ~--~J, .. - ..... ,

The head j:s set 'far f.olrwa,rd on the torso, crelating OJ hu nchedeffelct.

2

Intent plose

11 Another good excrnple of a robot moving with a tipped axis of balance (in the direction of

its movement) .

LOW-'Sllung' p'owe,r

2Note how low the knees ore, shorten~n9 the Shll15 dramatically.

Leo,n (1lt1'd meali1

3The lower torso and

I pelvis are quite thln and contain minimal internal parts.

. ~ IDetaUs GI,nd Ilighting

Arecs of hlg'h detail' wnl often begin to appear darker than the rest of the robot (when you actually may want them

to be Lighter or shinier). Don't

WOHY about this, as it wrll be

addressed in toter stoqes,

.... Shining joiilil1ts

Note how certain cylindrknl joints me receiving. a'slightly different shading treatment due to being polished metal (as opposed to roughened armour-plating).

No~h:;e ho"\\!" the or,mo1uw's gllLi dJ pa1tte<fn 'eGOimles {Iar ~leSis dCJminant ~n tha shaded v;e,rsion.

,..Green, and 19rey Much of the grey metal in this robot is octuolly quae green; it only appears desctureted because of its proximity to the strong yellows

of the, point job.

The decals ore slimply I'oosely palin-ted addl:itive colour (d.iredly appUed, no,t glaz:ed)I,

R D 8 0 T F'O UNO R Y : MIL I TAR Y

Chur-ned nut 'of Soviet factories with the i'nitial intent of recapturing StalingradJ the Medve'ds tore a path thrcuqh the German Panzer 'divisions in the great ermourcd conflicts at Kursk)li1n July 1943" A war-time expedient, the 'Medved was just as ternpererncnta as previous generations of batt.efield robot but still shone when pitted against German mechanized troops

S'eE ,A\SD,_.......___j!

R'€'ndering

rna teria}s i p.18 Bns ,and Widgets, Ip.32 Attachments and Embellish ments~ p.l'

194mmfielid 'QIUtn fed wlnth .a.Okgl hiigho;exp,loswve s~e~~s.

P~a.ted shl eliding to protect food ~ng: crews from shrcpnel.

EI,aborate muzzlle· break li1el,ps miiliiim~z:e recoil (whi,ch would otherwise shake 'the robot apart).

IReal~life insplirat'ion

As well as the·Soviet tank decols, detotls like the wires that connect the hendliqhts to a ' hidden' battery are adapted from real 19ljOs references. g~eQned from 'World War I I history books.

IRussiQ,n bear The Medved could be described OS'(]) robotic beor carrying an ortlllery piece op itsbeck Anlrnulistic touches have been worked into the design(giving the head something of a snout, and usinq fixtures such as the claws. which make itsJeet resemble pews,

Snowcliaws o(~~.mp down, d u ri.ng fi rl ng to prevent the robo,t fmm sh ifting with r'eco.II,.

Feet fltted with skli

'U ndemani age fo ruse in snowy condltiens,

ME 0 V E 0 PROD U C T I O'N TY P E

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1 __ - _

.. - .....

~~ .

~ ,,~ , .~

oil 'diI .

Powerfull,oiUy

The design is. of a quadrupedal robot whose function is to trudge around and fire the huge ,gun mounted on its back. Keep the front heavUly armoured and bare of overly exposed joints and detojls (this is the most like,ly torqet in battle). The' back legs have been given a Sl'j'ght increase in size, complexity and strength because they have to absorb the gun's recof as well as carry a heovler ~ood than the front of the robot.

Wei'ght diistdbut iOlnl

1 ~ h~'ge amoun.t of weight Is distributed In t he rear of the robot, and th e ax is of balance is pieced quite close to the rear.

Boxlik,e, body

2The body of this robot is quite squared _ off and could even have been adapted from Q conventional tank.

The bear's muzzle

3The cyHnder of the ~u~ ba~rel tapers towards the end until It ornves at the muzzle- break.

INot,e thoe distinct

she p,e end post.u re dilfferenc.e appcrsnt in th e fore en d aft legs.

Extended m-eo.ch

is ImO re important in

th~s design. Uke mnny' .;:=::j:=> World War n robots,

the elrnti Ire stru cture is

almost completel'y iJiieCibangula.r.

The forward ~tiltiing heed makes it look like It's gkuing under its brow.

... Angl&es and curves

The hnework is composed from many hard nnqles and tlqht curves, 50 keep everything tight and be careful' os you draw it. That said, s.light flaws, such as dents and scuffrnorks, ore good things to include.

.... Stfolnlg shadin'9i

Use very bold planar shad~ng. With so much gOing on in the design, shading is key to visually separating the legs from the body.

r·

Withim1l the p~anO!II' shadin,g, ,apply scm e metailli c tex.tWlllrlng on the a.rmour (separate it ilrlIto' two, st.CI.ges).

The rivets and sMloll d@taills

- - -

allmost chulter "the piece at

fhis"Stage, so they'lIll1,eed to be Ikne ok'ad back jin Ilater wo rk,

[)c@oals slU~h as \the ~nJieniSlE!jy red"star Gain 'reaDy Gt!bnrtif the exe, so be c:arefOl where .yau pl,a'tf! it

1JiIo'.A IRu:ssi'an winter An 'arctic' paint job has been upphed here (except of course to the octucl gun barrel1, ond the entire robot has been lightened, but as the paint job has been nddttlvely qlozed, the ,under,lying shading Js fundamentally unchonqed.

ROBOT FOUNDRY: MILIliARY

The Nleed'le is a,nl evolution of the, guided cruise' missile, Once it has been deployed behind enemy lines by sea, or by HALO

airdrop, the Needle advances

on all fours to an optimal vantage point, whose coordinates are contiru.ousiv fed to the robot by satellite tracking. As soon as

it has arrived at its destination the Need.e becomes dormant) concealing itself until the

SEe ALSO

~~~

In~tial ta.rgleting sensor rp,amnts the ta.rget wl,th a rnorker, and then feeds th~s ilnfo'rmation to the cruise misslle's internal 91uidicmce syste:m before' firing"

Drawing and Researchr p,.1IQ Artistic Rendering} p.116

Rende'firl'9 M'aterials, p.1,8

Sn1aU gaSCQrn lsters on the sid'e emit Q smo kesereen that gives the Needle enough time to fir·E! and siellf·destmct i I1i the event of its .d wsoovery ..

dasiqnated 'tarlg'8rt comes within ranqe, at whicf point the crutse r-nssiie l,a'unches and the 'exoskeleton detonates to keep th~ technoloqv out of enemy hands ...

forefeet c::cm fun ctlen as opposabh:l digits for e.Qsy access to, hi,g'h vantogr@ p(lili1ts~ even aUowingthe Needlle to. climb trees and b U ~~(H ngs.

HwghWy accommodotiing bes end fro me ,aUow n,ew cr u i se missHes to be reuo'flltted fo use in the Nleed I e .e ,

..

.. Plat.ing Glnd Ihllewor:k

The slightly curved plotl.ng of the ortkukited, robotic sections offers an attractive contrast to the more simplistic and purposeful nnework of the missile,

I '

FUIIn,ctiion d ktutesfot'm

, .

A~ ti1i.~,.pDint the roboticform is little more

~ .

than a support frame for the cruise misslle,

Simplifying the robotic parts in this oreo 'helps the "i,ewer understand that the mtssue and robot ore two sepomte entines

100 111011: worlry' t('HJ' much about 'textured espeets at thi's iP,oint; the differ,ence between the robot and the mlsslle can be mcdemore epporent 'at tlhe later stag'es.

,_.

r

TAS-21 NEEDLE

Use co I'lIltr(lst, he're

Your design should make obvious the fact that the robot is nothingl more than Q sophisticated delivery system for its pnylond. The missile is the core and the robot is built around It - not obscuring 'it. but rather drowlnqqrecter attention to tile missile through contrast.

K.eep theshod mng

smooth ~ the, mlissile :s!lhou'ld appear 'Q'erodYrlI,omiic.

The w'eaplonl is lk,e,y'

The robot's core is the cyllnd ricall mtssile. which mokes on excellent base to work with at tin is stage. Bei n'g a quadruped, the robot gives the artist far greater scope for where to place its axis of bclonce,

The missUe is tllted .:;;:::;:::;=::.. sligJht~y upwards (for a degree of deo,lfanGe wh e n fi ri MIIg).

1

W,eight diispelisal

1 No~e, that ~he robot is p.la.·C~l1g more weight on Iits rem legs than on

. its forefeet.

c::::;=:::;:. The limbs ,are not p(].mille~ 'to 'the body" but hav@ CI. more IIlQturO!I~; v-shoped spr,ad.

Leg structures

2 The structure and j ointing of the legs are virtually ldentlcol at the rear and to the fore, but the proportions ore different.

Fidnlg function

3 In r.eolity, the .. re~r en.d would b~e an open channell with no obstructions (for recoilless firing of the rntssfe),

Note how much Ilorn9,er the bock mags are than the forelegs (to' enoble hog-lIke I,eo,p~ng).

3

9tEmphasis through pili,

@, emphcsee the seporatl I

EJui se mli sslle, oppl y I I

~i'ljltwor k 's refl,ectiven ess i @ft g different rnoterlcl from

. .

... """Ii"", .. :tii [ f.r€1f1lll€ I!.lnd

.A diiffelrsnGe ioo the the missile i~ i':c;;jt,ot·s ~Iaring.

Even though the robotic ports are' a si Ivery wh ite"

. include Q. touch of am bient col our ..

A.A dlstlnct form

Again, tighten up on the shading of the missile. A distrnct, cyllndrkol form is key to m,akfng thedeslqn work.

--- - 4-;:'

~

__ - '"1,1

Br,ought late tnto the w,ar' by the Arr.errcans and, first ceploved from the landing' craft on the Normandy beeches. this robot benefited from a

City deploYlment A mobile' M (ontictrcmft) vehicle is the' basis of this robot and the rest of the design has been' developed from that starting point.Since it's used in urban situotlons.enlorqed forearms have been added for interaction with its environment.

ROBOT FOUNDRY: MILITARY

desiqn already tested by years of application in war. Origin~.al1y intended to

fulfill an antiair-cr-af't rlole,) the Hauser w,as found tOI be an invaluable aid in the urban cornbat taking place on the lcnq road to Berlin.

Its. four quns proved to be a bonn tOI Alfied tr-oops. with thel·ability to lay. down a withcr-inq

,

curtain of lead to bear

thrnuql- snipe-: .rcosts.

". ~

~'

I l

t

Enemy inl 's;ight . ,.

The;.h~.6d isflued with two maih,~ight~ng systems: forward cnd'upword.

The forward si.ght is more ,complex and telescopic to better locate well-concealed snl per pos ltlons,

S'et of four 3Smm flak ccnnons,

Secondary sightingl sys'tem ,Qiim,ed at the sky for 00

antiiai remit role.

Drawing and R'es,e,ardl'~ p.l;O Rendering MateriaJs~ 1".18 Joints and Movement Ip.30

P~a:lbed sk~rt. protects shoulder jo,i"15 and anaws 'for q,uiick

Extrem e·ly IOJge fbn~:alrms used 'for added stability and for b reach hrngwaUs, an dI bani:(ad es iin urba.n envir1onmQnt:!t

,

f_ _ .

M24 HAU5EN

fA1 - - ~-.

I'" I I

~I ~., _-.

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=YI

'Ianks for the memory Angular and boxy, this robot has to look like an extension of an ex.ilsti ng World War II tank. Srncllelernents and bask shopes have, be,en lifted from real tank designs for use ln the' robot. Again, symmetry is key, and a vehlculcr feeUng should be, rnolntclned in this large robot.

The (lirms and I eg:s spread outwQlrdisin 10 snght v-shope ,and are not ,pam.llel to the torso ..

The shins hav€! baen k,elPt short for e;;:'onsist,em.:y ..

Axis power

1 The axis of balance is shifted forwards as. the robot is resting some of tits weight on its arms.

Torso balance

2The upper torso

extends widely outwards but is still' balanced on its lower torso.

('entre of gravity

3- Th, e"I,e,'~s ar,e. constcntly

, bowed. to bnng the

centre of gravity II ower for improved stabmtY.

lay down more line than you ne,ed - you con o.l'WilYS IQIrQ:s,e .t on :the ,computer lif you've .Q.verd,Q,ne it,

.... Plane changes

Every time a change of plane occurs, the shade should differ to indicate it Use . lighter highlights around the edges of separate pkites,

... Camoufl'a,ge st,yile

A sandy paint job has been cpplted here to camou1flage the robot lncreos of dusty" brick ruins"

Lay the t·exture wn strong for these, types of hellYil~y weathered robcts,

II

.. Tight I~nlework

Keep the linework tight and geometric, but within that constromt remember that a de.gree of weathering and ruggedness. should olso playa part.

The, dec'a Is, are' kept uniifOll'm~y white to eontrost with the dnrke~ paint job.

RDBOT FOUNDRY: MILITARY

The 'OGUS has become an tndispensable aaset to the military tor-cos of all Category Dine nations. A hybrid of mechanical parts and specially tailored) stlicuna-based, lor'ganic cnmponarrte, the robots of the OGUIS 'ser-ies have' attained a, battlefield strength superior to

Long,. thin, hmgh~y nexibl,e neck alllow:s for excellent visibility. 1fiiji~1iiil tIIl:=~;;J

Life Is Your ,PaleUej,

p . .2'1

Attachments and

. Embellishments"

p . .341

Military Attachmentsl p.l6

, '

Mortuli' for bu nker penetrctlen.

Hll.!lman~ike limbs fOlCilitOltre the use of enemy wE'aponry

, wiheln deployed be'hi'lI'ld enemy Unes ..

, -

anything a conventional human

sodier: could muster'. Althou'gh expensive to ouilo maintenance is simple: the OGUS seriesis pr-imar-ily self'-healinq. All mcriels are meat-eaters pcwered, ovmethane, the nv-prcduct of processing 'organic matter.

Com pad. proifi~e presents the

I smallest pessl bl,e,

t'Clrgetf.or

enemy fire.

WOlr1mingl into Its consci,olllsn,ess

The staring face is serpentine, anrielidiC - seqrnented.ond wormUke: - end slightly disturbing tn uppeoronce .. The robot's sensor orrcy can detect numerous substances, trace elements 'Of signs of life. Such as the frlghtelled breath of a human soldier, vehicile exhaust, and even the warmth generated by bacteria, the possible evidence of a human presence.

Modul,QII', load-beadng pecks fo r eq u ilp rnent,

Insect meets Man

S~newy and bowed, the OGUS is prlrnortly o predator." The robot is intended for stealthy operations and is cased accordingly ill dull, matte. ba'llistlc plastics that deflect sensors, Its mix. of msectllke carapace and humanoid muscle-forms is offset by hard-edged additions, such as its equipment compartments. Think of the OGUS as essentially an lnsectile hurnonotd that functions in a similar way to a human soldier.

CI~assic:al pose

Note that the OGUS depicted is in a 'contmpposto', or counterpoise position, rneonlnq he ts stcndlnq ~n a telexed, dassicall stance w~ttl his weigiht on one' leg. Statues in museums are great references for your robots, Of <course, these, closstcol oppllccttons ore adapted and modified for the OGUSts unique anatomical structure,

ORGANIC GEN~RAL-USE SOLDIER

The 1Q1I1I91,e of the beck-me U nted mortar ils sUghtly offset from

the tcrso,

The mciis runs down th e splne and thli'Ough t~e I,eg.

1

8al~CJ.nc'e

1 Note how different parts bolo nee th ernse Ives around the axis. The mortar serves to compensate for the long triflle.

Y'IMixing iit up

This robotis a mixture of design cesthetlcs, so He-member to Intermingle the of9anic curves. among the cnqulor elements. The weaponry stands out boldly ;in the Hnework.

Entell"c.onne'cting carap,Qce sect! ems weave Into end over th e musd es,

The shading is unmlirm~y heavy but appecrs dc;u!kest on the rnetels of

the gum.

A D'efiln,ilnlg with Ulnles

Dark end serpentine. the shading should conform to the deslqn of the robot Remember to hoki back on the bright highlights in order to maintain the robot's characteristic motte fiinish.

, ~

Every elemenr in th is robot's

des~gn Q,ppeGlrs 0" :1

elongated.. -----_...1.1;

2

3

Suml of ~ts parts

21ThOU9h~hiS illustration represents the overoll structure. remember that the Individual parts curve siglin ifio:mtlty.

Keeping a low profile

3The robot slouches to reduce its pronle,

T ,OrgIClnic: v:ersus metolUc

Emphostze the contrast between th'e orqonk and the rnetoluc, Sharp hi~hli~hts draw nttentlon to the'glowing lenses and the ,glinting metal.

Green shel'llli n (]I mixes with pink m UlSCU I'atu re ..

ROBOT FOUNDRY: MILITARY

. _ . _- ~

51ee 4L50_' _

A walk'ing tank. the Anvil tills a serr-staticnarv armour role. Extremely vulnerable to attack

'helicopters, the Anvil is 'primarily used for 'r.cld and deferirl' cernpeiqns and military occupations. The Anvil is efficient ar d intimidating, making it perfect for k.eeping down insurgencies; however,

Artistic Rendering, p.116

Rendering

M aterjQJs~ p.1S Attachments and Embellishments. p.3~1

fr-iendlv fire incidents, are' common, 'leaving it dreaded by friend and foe' alike.

SAM bay for IProtecti on from aUa.ck helicopters,

Dedi,c(1oodlsi,ght~'ng, systems meuntad 0111 Vulcan arm.

Modlda.r. readlive armour,

Oome-mounted 11mm machine glun is mnl!:e'ndedi for close-q uarter" entlpersonnel fOmeS. ~_-..J!"

,Mac:hiine 0,' war

The Anvil is a convennonol military robot ond should. therefore; giive the lrnpresslon

, of function over form, Rectangullcu and clunky. the Anvl~ is intended to soak up srrmll-urrns fire. This robot's locomotion is ,entirely for strategic placement, mot evasive manoeuvres.

Gun One of the focal points of the de~ign is the huge Vulcan that the Anvil is armed with .

•

Here we' can see where the segmented •. fully

covered urrrnunttion belt is fed into the chamber. This ammo chain drapes back to the feeding arm and then into the huge drum carried on the robot'sbeck,

H e'QvUy armoured drum; containing coils of 32mm bellt~fed nmrnunltton,

Uquld .. cooled;

32m m Vul:c:an used in on ont.i m.at,erkdl ant'iollim ou r role,

reduce dllmo-ge dJone to dty streets.

1- _

- - ~~.):

.II' _ !J, .

"

;>. II' ~ .... _

- - -

On selld Ig~,ound

Even when joint crtlculetlon becomes obscured by bloclky urrnourlnq, it remains important, The Anvil's legis have extended feet resembling those of a horse or goat. Because the robot is very kuge,. expanded feet are essential for stoblllty ..

The abdomeli1land pelvis are less heovUy armoured to allow fOIr pivota.1 movement,

Bllo'ckliike ellemlen'ts

,'" T~e fO,r.lm is bllocky~ ~o much of the feel of the

design wrH be decided in these stogies.

The surface is ploted,

but not w~th lnsectlle seglmenrts. Keep it to more convtullt:ioIl1Q~" tcmklilke ormour,

The shad~n9 is two-dimenslencl and sharp ..

... The' right tonle Every time Q surface plene changes, the tone you use should change.aLcordjng~y. AgiOin, shinier rnetois - as. on the guns - will reflect l'i9lht differently from the painted urrnour,

.6IBa,lan,c::.in'g objec'tives Chunky end cnqulor like Q tank, this robot is composed of still recogn izdbl.e primitives. However, curved surfaces wrll reflect. projectiles well end (on absorb more punishment.. Maintain.a bukince between the two ..

HEPHAESTUSJ ANVIL

The d ors.,all s h QIP,e needs ,enough lI'oomio house two missll'es.

Th e gu n cylil!ilde.r extends quiite far back. It

lsn't Q~I berrel,

2

I nhulmCllll11 c,olnlstructi on

2Note the distinctive-

I jointing of the legs and how they differ from those of a human,

'Gun placemelnlt

3The gun offers a deqree of bclonce for the huge drum of ammo.

.. .MUit,a,ry gOlrb

Drab military colours are the prime. scheme for the,AnviL Cooler 9 unrneto II greys offset the warmer body colours, Occostonol splashes of warning reds liven up the paint job .

SpiCe it up a UtUe i!f you need to - you want iit tOI Ilook lUke '0 m illi!olry robot but Inot, too reaUstWcall!y dmb.

ROBOT FOUNDRY: MILITARY

Fir'st intr-oduced in the European The,atpe of Wa,r in 1943 J the M Kl changed the battlerield. As, un"r'e'liab'le and temper-amentel as the first tanks in W'orld War' I, the 1M Kl still tuncrioned as an incre'dibly versatile, af-purpcse weapon. This model is fitted. with

BillE ,_tSD_~_....

Rendering Materia/s1 Pl. 1 ,8 Att,achments and Embemshmentsl p.3,41

MUJtary Attachments; rp36

a l05mm Howitzer.

Ught. ma,chine'·'Qun mOII,mUn'Q for a close qlJJo,rtlers

,nntipersonnet ro~e. ~_~

Hateh plllQ,ced on rotlnting head. ~~~~~~.""

Modullar dla.mp 'hands for m'lllltiJp le WE:illpOnmoull"'ltililig opttens,

.Arm jONnts covered in 'll jeeket to prevent the elements' from

fOlIA I i iil9 QIP er,a tl on,

I I

I

6UIII1 detaU

Designing your own guns is fun. but sometimes usIng real reference (on odd a se nse of r eo~ 1 ty to yo ur crt, Resec rch i n 9 , actual exornples such as this light machine grun can also help you learn the look. and 'feel· of a time perlod and trnnskite th1S into your future work ..

Legs are p'loglued wi,t.h probiems; em escort always cccempenfes wHtlh spare parts and repalr and maintenance ,eng.inelers ..

Gonc'eptu.alizing t'he 'robo,t

Good reference IS invaluable for the' robots from th~s era, and a wealth of military equipment was used by the artist for lnsptrotlon. Organic curves had no

place in this design, as everything is hard edqed and utilltnrkm. A worn" weathered look was also required, so the i~lustrotion shouldn't be too dean.

CO'll!1st,ructing the robot MUlCh of this geometric construction can stl U be deafly seen in the f nol design. When making Inlttol sketches, always take bolonce into account, especiolly with top-heavy designs like this. Repeat design elements to ensure un ity - oreate ,0 set of nvets, handles end so on that is reused

th rouqhout the deslqn, Remember to space out these details and not clump them together. Proportton is very important when objects that hove set sizes ore introduced.

Weiight of gun pulls the fi,gure forwards, .

... Creating the liinewark

Using rulers to' draw hnes tends to creote

.

accurate, but stltf. hfeless forms. even on

very angular designs 11,~e this one, so drow freehond. toy down lightly sketched shapes using blue Col-Erose pencil, Scan the artwork at a higher resolution, erose the pencil lines, then drop it down to the desired dpl,

MKl: MAIN BATTLE WALKER

~. - - ,.

j:]

Getting the bolan!ce right

11 Balance rs tricky W. he n ,the artist is. rather unsure of how much dlfferent elements may weigh. Here, the main gun is assumed to be heavy.

Usilng ob~on,gs ,and cy~iindeli's for basiie ,constructi 0 111

2AS long as the ~ain striU~turol :5ha~es . are sound, detml can easily be added onto the initial structure.

Look" no halO ds

3 "" arms are attached to the '~I.m Qt. the 'wrists, so no constructional quldes ore needed for the bonds,

The terso is rotated to th e Ilet:t from the' pelvls e-

Ensllmretlhail: the limbs can move about without basl1ing iinto

otlrnieli' p,o,rts"

·3

11

The mug her th e moterlel, .the more cwmb~eii'1lt peliiidl t.extulrillig will aild you Ilater on when rendell"i'lng.

Colour ,cem jndl;kate ru st st,ai ns an dl pilOice:s where the ll)a~nt has, scraped off.

M~e pra,ti,ce

pemurli~ S!ll:etch filS ursjngi drawing a i drs i,f you ~re nat ~€onifid~liiIt dm,wi II1Lg fr,e:ehann,.

,09 out the .r"",,,,~,,,,+ on ol!irtttin

p'alt~~ 5..II.lIch as thlis far leg~ wiD separq e iii flllom'the p'arHS

ot the robot ~n

t h,e'''filH·egrourN~I,.,

... ,Maskin'QI and shadihg

Use the Mqgic Wand to select the areas you want to work on, and use Dodge arid Burn to modify the tone of the drawing. Shading is extremely flat here and care should be taken to keep tones on equol planes. the same. lIight reflects brlqhtly off the shinier bits of metal (like the handles and barrel).

... Collouri "'gl

Always adapt the colours to the material. Use the Colour Bolonce adjustment in Photof hop to odd red and yellow to the shadows and rnldtones of the drQw~ng. Now' ploce Q lioyer over the drawing set to Soft Light. When applied" the' colour wi II gloze Over the drawing, slightly changing the tone yo u 've olreody set down.

I

I

ROBOT 'FOUNDRY~ MILITARY

In an agewlh"en nuclear, tnoloq'cal and rhernical warheads are delivered p,rimarily by submarine} antisub robots are numerous and hi'ghly deve'oped ThesI18 robots ar-e too small

for the passive system of a subrna-ine to detect, and thev can s.lentlv approarf these nuclear leviathans to d'ril,l explosive charqes into their hulls.. M,cdifieild 'Slubhunter's are used by pira.es to assault and board tankers and merchant ships.

Dlrnl head wi'th p-roJected" hi,glh~exp'losilve charge used

, for IbreQth~n9 hllmll'ls o.lOd cmJlsingl irreparable dam'age.

Unde,rs1ea'ins,phutions;

The noutkol design and component shapes' of the robot me derived from a combination of pre-exlst'nq machines, nornely subrnonnes and torpedoes. An element of complexity ,is also added by using crustacean carapaces. as structural influences.

S,EIE AlSa~_.

l(1rgecentra~ prepell er oQl:'lld jet'S erethe primary mode of propulsion.

R'endering Material,s~ p.18 De'vel'oping Your Ideas, p.lS

Bits and Widgets" IP·3,2

Vari albl e vents fer ste,ermng andspeed adjustments.

P~'wE!:rfu • sup,erheated relcns for Qnc:hQlringl to huns ,andteClilring, open buWlkheoo s,

An ,am,phibious robot

The Subhunter is unique lin that it needs to function both in and out of the water. When folded into itseif for long-distance travel, the Subhunter is intended to resemble c small; deep-sec submarine.

SUBHUNTER

~~ - - ~--,- . -.-.

,.:.._' , '

A _ '

I

. ~ ,

til r.; .... , _~ __ '

Nautical r:oboits

A bellevcble-looking mcchlne that encompasses hydrodynormc contours is

i nteqrol tc any noutlcol robot design. Althouqh lit is seemlnqly overbokmced in the torso. much of it is :s,mmply a hollow slu ice for the propeller and Jets.

Vliewed llaterla!~y, the head all most silnk:s. ~,nto the torso.

,:;; -- ¥, ':'

I

... II _

1-1

R.ememibeli 'that the drUli

hilt protrud es, so don't make the maiilrn body of the gun too 101l1lg.,

The talon

com QS 'I;liose. 'to. but dioes,nt't actuaUy mQet~ the 9 rou n em pIa ne,

1

3

Sublike eonteues

11 EverythingJ in this robot is rounded or cylnndricall, aport from sections of the retractable limbs.

IReady to di've

2Note the permanently bowed posture and the legs that don't lock perfectly straight

'Greot npe

3 The posture, proportions and joints are almost ,gorilla-like.

•. Out of' ils sheU

A crustacean is an excellent reference for the kinds of postures and shapes present in the drawing. A hunched. croblike desilgn clso creates a predatory impression,

KeeiP the shapes rounded, ond make sure they ililltell"~ock foli' an overo I smooth pro,fUe.

Add very lijlUWe textl,llr,e to keep it smooth f~r travEl,1 th IiO u gh water .

• Pr1edator

Darkly comoutlooed this robot is desiqned to approach torqets undetected" so a dark, smooth finish is essential.

.,.. Deelp .. sea b~!ue

Apply a deep blue to most of the design. (remember the role this robot plays) .. S.m.all, complementary spots of oronqe add key points of detoll

Splashes of Olll(lng·e ·and sill i ny .s~h,.ers liven up a uniform c:o,~our-schemQ.

ROBOT FOUNDRY. ~ILITARY

-

-_ F-~".'~~

__ _ _ ~:. -'3._:~

- j

Had it net been 'folr' th,f2' Llektroqrac the Russian. stand against the German i'nvasion inl World W,ar II would- have been 'doomed in the bleak winter. A

EOIl'lly cog,·dlrmven processors ,in the head use (O"!("ur Ir,ecoigni,t.ion to wdentify enemies on the battllefii,ekf.

WorkingTraditi(Hlolly. p.112 Joints and M'ovement, p.30 Bits and Widgets, p.32

SEe

AI.!SO __

Battllefielld Imachine

The robot Is inspired by Rus.sian constructivist propcqondc posters as well (I5 by the desilgn of the top war machines of the era. It is rough around the edges but was an inspiring sight ln the trenches and the drivl,ng snow.

, .

master-piece of constr-uction

when it was originally created, this l1-foot tall robot could punch holes in a G.erman Panzer w'ith, ease. L.ong out of fashion and out of use) it is now cor.sidc-ed a nostalgic museum' piece and uSI81d only in military parades.

Pow-erfU~t 'gYlfoscopk:a.I'y balanced hands for Ire peUi ng wnvad ers,

\

Composite stee' and liron superstrueture, tempered for resiinence to fire, explo,si,ves ·and ehemh:a~ ,agents,.

Rep,elUng the invaders

ThIS robot h9d G. heroic end glorious past on the battllefield. The feet ore large and long so it can't be knocked over easily; and the legs are attached by means of bell-endsocket joints for ease ,of movement over the rough terrain.

ELEKTROGRAO

I I _

Industricl might

The Elektroqrod was cobbled toqether from i ndustriol parts and bcttlefteld wreckage in the qrirn economiic cllmcte of the war. The finishing touches of bolts, screws end vents creote the impresslon of a reel, functional war rnochlne.

Bus~( geoimetric constructl on.

Y I rreg u lair' IPI"Qfile

Alii the basic shapes that underl le thts robot are drawn freehand to keep o noturclly irregul1ar feel to the proflle, Don't be afraid to draw as many lines as you wantafterwards you can always erase any that you don' t need.

Work up the drawing. add~n,g

d etQ~11 ,and eras i ng

Oblongs. ond blocks s!Ulgg est strength

and power,

1

IB,ulance

1- ~. osrc shapes _ In balanced

arran gem en t def ne the robot's superstructure.

<Cubes iimply buUding-block co n strllllld;~() n.

Counterba,lance'

2J.j' .ip ,arenjut~ forwards, co unterbol anced by feet and head.

remniln iin line, :symmetrically,. ,cbovefee't.

AUgnment

31~se. of an axis too ensure that each extension

is counterbolonced by

an ,equjva~ent extension!

fa r stab~ ~ i ty.

'YWaterCOh)Uf effeicts

Watercolour point (real or dligital) is. applied in light, loose washes over the pencil, ollowiagthe white _ paper beneath to show through and giVing the colour a natural brightness. To create darker creos of tone, paint over the original wash. but ovoid muddying the colour wah too many coots, Use an opaque paint like qouoche for additive whites.

ShOlrp pencil

defi n[es edrg ss c.nd "dll s shQd~ngl to enfiranee 50Ud~ty ..

".IDirecth)n,a.1 Hght

To create a. feeling of t1ight coming from a particular drectton, imagine which surfaces face the Hglht source. AltematrvelY. set up an action figure toy and use '0 spotlight on it for reference+

Minlimal use of

. cO~Qur sugge'sts - funetiionnUtY't not deCofatiio n,

As tilDe idles) of the li1eW-8Jri10- ·m p,r'iOvEld I a blDPe r; an l!!l i!Jei'frI f(]PJ,ot r11@)t oe E~p:en~iC:J fiJut jsee~rlg tr.nl,at thlElY work: ~Qra ooCi WE~~, 1n CLN1\f envtrolnmelflJt)l and Ql~, Wlt~t)lJt fthe sJjghtest comro ajnltJ th e~( f.11 a \I era pin or y tt a ke tl [] Xl e 3 )ill ru([]S~ serters Ad,Glptts,d tlr·, \N.e~altfl'¥lmm p~an;e5 arid

g_lDve ~ rn~fBnts, these r[JbH[~t~1 hev~ Gf131fl'ged ~ -Ie way ,he city V!IA rks .. I IUireJv uti11·ta.r.all'l r~memb1er that kni,ers,e r'lor!H~]\s Bp·e B11 t'urt~tilotf1 a no{ nOt !as!nio,n:u ~ USia' w,ar:ni'g,l(!I lrahels) rJlLJsi .

Qlf]~(2frS~ etr10 r'USHq'nlg a~nd wo'rn meta~, to Idert:OlF6t8.

"'The origino.l head had -0 soldlerlike nppeo ro nee, wh ich was scrapped in the more developed version.

'Dev'lolpi,ng ideo;s.

Urban robots will have

very apparent utilitarian functions made evident in their appearance. Their tools of the trade will have to be fine tuned and adjusted by the nrtlst during the sketching phose.

"The mouth belched exhaust, but its appearance was decided to be too aggressive ln the subsequent version

1"11ls fmril vileJli' st\G:Ws the :f.i1o (!~ p"ofl1Ie planned fOli the' Un-al desl'9In,

'" Here. the artist has played around with different drill bits and connectors, whne developing the visual

vocobu Ilo.ry for the robot.

The reCl.r view

gi'V'es exceUell'lt detoUi n 91 en time legs, and how tilley' work.

From 0,11 anglles

Devel,oping ,Q rough cartoon of your robot is an excellent way to fumllkntze yourself with the fundamental nppeoronce and mechomsms of your creation.

~

,...... . ~~~

.... In th i,$ sketch he IC:~ ,eDmlpo,n1e,nts o£1!he ,robot, 'Q,re all liln pfaE'e.

The heerd does not h(]vea I'QIi'ge ra,ngle. of movement, since it wouldn't be necessary.

One oiftihe 'onlly rounded parts -of thts dlillnky tobot ls the h~pj(lili'ilt.

The dextemus: manip,ul'at'or ,dow aids i n the Irobot's wDlrk.

Th Ie ,oonvEl,Yo r belt cen (l,ttach to g:alr~ia,ge outlets rflnd tr'OIrilSIPort

the waste up

tnto the robot.

The tre<nds (JJ~ow the Ii'O bot to move over terrain I ittelred wiith garb age.

ROBor FOUNDRY: URBAN

~ -,

I I: I

Sihapeid fr-om pr-oteins, this robot travels through human bodies perf'o,rm'ing delicate surqerv and, alternatively, delivering

minute navloads of poison to enernies. N,anlloblot - of

, '

molecular- or' atomic scale

is sornethinq of a misnomer~; this robot is actually only 'microscopically small» but it

. .

can work on a subatomic level. Whoilly org,an'ic, the INialn,lobo't,

can .selt-destruct to be

, .

ebsorbcd by the nest's

circulatorv system) leaving nc detectable trace.

Lifelike's:y,stems, ", ' .. ' "'

. " L

The flage'lla glow wi,th heat as 0. by-product

of theenerqy fed throu9lh them. f\s they work. they ,glow with a brighter and more 'intense hue .. , Their shape con be compared to any other organic, microscopic flageU,a. as on smalil sea creotures.

pumsing fl,ageUa. Iprop'el the robot through Uquids.

A rtlst.icRenderi.ng'" p,,116

Life Is '¥our Pa!ettej p.,21 Deve/oplngYou r Ideas, p.26,

Hlum mlin 91-bird-styWe wings 'Ql~owror aerial tra,vel,

MIU Itwrple sensors detsct a~~ men ner ofbiace e~em,ents IQlimd en e fg'l!E=S.

IHands, can

be remotelly controlled by a human operator.

When not needed, ellQlstic o'rms remaiin. bundled in ~umps on the body's surface.

'Fmn'gertips ere cemplex mul't1jtcm's that',can fashman suibstone,es on Q

sou botem i,e seed e.

Take in,spiration fr·om life

This robot is obviously inspired by microscopic organisms rather than by the usual rnechonlstlc influences ..

... B,e ~mag'~native with colour

BUhlt from laminated proteins, thls robot enes out for lrnoqlnctlve colour-schemes, Iridescent colours make it look Ilke' a . 1J~"'''4''·1 ul bug or a delicate piece of jewel

- -

~- Y I

1\

'" ~'- . -_. -

[Right way up'

WhUe suspended tn liquid end functionlnq at a scale that rnokes gravitational considerottons difficult, the Nanobot stiill has llmbs that affect its centre of ,gravity. Certainly

~n destqn and iin direct human cppltcctlon, this robot definilelly

has a j right way up' .

Th aerrn s ore curled up to show how the

jo~nts folld.

2

. Thiis cyUnder ms the prlme junction for allll the other parts.

Arms (lInd hands

1 Arms have multiple joints and an expansive, dextrous reach.

Basic shuplels

2T,WO lim,b, .5 branch off these cylinders.

'Y Create Q, fUlllillctio,rll!all robot

Smooth and orqoruc, the shapes of the N'anobot ore functional. despite their delicate beauty .. Although based on; microscopic organisms, the shapes are also closely comparable with those of large crustaceans. Remember in your design that these shapes have evolved for movement in

liquids and are not merely d on.

Don't IIJIse heavy t,ex.t!JJlrfing. Ke~e P' Ui; 0.11 smooth and g,em-Ilmk~.

A When to Uglbt artifidall'y

Lighting and shading are based on the artist's personal lnterpretotlon .. Any deptctlon of something as minute os the Nanobot would have to be mtrfacia,lly Ht, in any case.

The shepes . comb inatilo,n of org'llllli,c end

monufuctured materjal.

NANOBOT

:11

IP,ointed slheUpllates extend eff the rear cyU~der.

Lobster"lilike 'fo,rm

3 The thkk body curls bockon itself like 0 lobster taill.

This de'sigtn alillows you to use as marlY pretty collours os you m~e.

ROBOT FOUNDRY: URBAN

- .-~ ..

This Pactorv- Li ne W'olrker is a project

- . -

.desiqr.cd to curb

widespread corporete USE: of "l hird Wor}dJ labo'ur and sweatshop precnccs Mour.ted in a mechanical frame; genl1etic1al1y' cultur-ed 'hinhwear-' parts are grown in vats anq regularly replaced. Not only are the meat components cheap to fashio,n and replace, they are extre·m,'e'ly efficient in operation.

Four eyes used by CPU to 'coordinate '(1ssemlb'ly and work processes,

Leave details like deco,is; labels and textural effects to the very end of'the mustration pr:o,cess. In this cas,£\ the blood vessels, bruising and chipped paint were' the final touches -added. Dan't overdo the'se effects, or you may .overwhelm ,your des,gn.

. Dock~lng bay eonnects 'Worker to Irecharge st€ll,two ns nnd rQ;S:S() rtad hemry m.ach~nery.

Nutrwent cockt.a.ils, and! preservatives pumped intoo,rg,an"c ports prevent rot: end

rig,olf mortis,

.~.

'R:ea,c~c,r (,ore enccu:i;ed '-. _-7 ln thick. sphere of titanium ,alloys 'to p re-vente-xphJ'S ions or leeks in cuse of g,ccidell1t ..

Hczard pattern to cdert human wo'rlkers.

J

Showiingw.ea:r and .tear

One of the main points of interest in tbts desigln is the juxtaposition of organic ' .. components with harsh, mdustnol ones, Details; such as the chipped paint on the metal ere matched by the rashes ono engorged capillaries' on the flesh.

Feet (I!'r@ touQlhrenedi. and m echo.n !cally Irrem nfo med but often need to be r'e'P1,Qced daily.

E,mo,tional reClcti,olnl$

Although not ag,gressive in any way, this robot is unsettling to the viewer, . Designed solely for industri,al

. purposes, the Fcctory-Llneworker is

distinct from a military or civili,an robot. Imagine it as run-down and neglected, serviced by technrcnns who, have no real concern beyond keeping it functioning.

- F ACT 0 R Y - LIN E WaR K' E R

. t I -

.. -

A humanoid drone

The mown form of the Factory~ tine Worker is humanoid. Of

course, the proportions have been twisted end skewed (espedalilly ln the rnechonlcol sections). However, the underlying layout and jointing remorn hurnon in effect, A great weight seems to crush the body down into cshimped posture that shows it operates in an environment where there' is little concern for its heolth,

T1he'defeated slouch is be·glinn.1ingl to emerge.

2

Contrast the mate,l'.ialls

1 Note the contrast

. between the geometric

metal parts and the rounder flesh parts even at this stage.

Bcdanc,e the mecha,g,ism

2The extremely heavy sphere in the abdomen COll nterweig hts the back blo d.

K·eep those hazalrd hnes sbl'ilk,ingl

by da rken ilng them to ,a.most absollute b~ack.

• POignant charQc:ter details

.An especlclly polqnont effect ls achieved in this desi:gn by emphasizing the strangeness of the human parts mounted in the cold, lifel'ess shell Hard, tndustrlcl shapes make an excellent complement to the disturbingly forruhor limbs,

.. Shadin'9 t,ips

Make o distlnction when :shading the d~ffering materials thnt.rncke up the robot Simply put the fleshshould be liqhter and softer then the rnetols,

.Artku~atii(Jn and segmerllblllti:on are; just as iimporta.n"t as, de'sign. The terse is eWongated and GOlre :is "tolken to ensure th at 1iI110 port ~nterfeJes wi t h 'Clwother d u rl mig movement.

:J:]

Renderfng Materials, p.18

Ufe Is Your Poiette, p.2.1

Developing Your . Ideas~ p .. 26

Extended m',eacih js more important .'ft::J.!:~~ in thls design than 10 co mo,th:ml. It shuffles on sho rt Ile.gs ..

Fa'ells ,on detaUs

3 The legs have more distinct Jointing because they're more mechorucol than the arms.

T UtUitarian design

, I • •

Thiss an industrial robot. '50 try to conveyo

functional 'utility' feell in the colour-scheme, The br"ight, striped hazard markings vitalize' the design, as do the warm hues of the bruised flesh,

The ,p·amnt job ms purely fundi'Dnal .. B·alance th is. with som e OIttraetiv,e o·rganic variations in the flesh.

'ROBOT FOUNDRY: URBAN

'-1: ... II

,-

,

A munictpal council comrnissioned this robot frorr a toreiur multinational to combat urban bliqht The UrbanIRen'ewal B,ot fil,ls an omnipurpose maintenance and repair- role in cities .. F'ulily modular" it can

be fitted with an ur.nrmted range of equpment and features lirrntcd A.I (artificial intel'iqcnce), which allows it to, speak to pedestrians in a soothing, female VOlC1e'.

A series of latch clasps shows wher,e IOlr'g:e, modular additions

C.Oi'n be fiUed be/fore

- - - -

dep~oyment for oarry"'ng out '0 voriety ,o,f tasks

Artistic R,endering" p.16

Joints and

MO'llem·ent" p.,3,O Bits and 'Widgets1 p.12

Artrn(I!JII~(JIted tl rm unfolds. The robe con extend 'the

- -" -

Qlfm pletform up t,o'eiight times thE current 1hI@~9ht.

I

Interna.1 ports vi/ewedi betwee n s"eg ments 'Woulld probably be o'bscUlIf"led by dustcovers dudng QctUQ~ (ilpe'l';OItJ on,

, .

l'his &e ries of. ill mbs i-s meN!ly ra rep-e:titir.on of tih"e busjc, u l,ti-1use d:aw. and ony of these can be relpkreed in· vlBunUy wUjh t05k-spec'ifi,c heads.

, .

M,lun i1ci ,'0 I. finery -'

I A shorter set of stronqer liimbs i~ located below the forward set of sensors. These ore used for heavier, more tndostrrol work, such . as rood- ond fouodotton-loymq, Thedty's

. Urban Beoutlftcotlon Association's crest

. .

adorns the hood.

Workh,ors/e, :sftylings

This robot is not used in combat but stlll has to be made of reSi~ient: materials to cope with its arduous tasks. A s~lightly worn and pitted plastic forms much of the casing .

, _ -.: -_.

~ L_

t

I N 0 UTE X U R BAN - R ENE W A L 8'0 T

- - --

. .

. . .

- - .

:3-1

Bu'gUke and ·functii·o'na,11 Stronqe and lnsectile, this robot ;ls nonetheless a helpful and constructive erection, and its posture shoul d rnoke th is opporent; Wh.ille it ls four .. wheeled like a cor, the front wheels ore extensions of two articulated arms and .ate not constrained by a shared oxle,

Ghre the exbmd~n9 'arm ,p,ltmty of Ifad~al

elecmnce.

No ,asymmetry occurs iln (]I robot design Ii~e this.,

In p roftle, th e robet's Q\PIP'ecu:ance bet,r,ays one of i·ts prime roles, as Q cherry ip,icker.

cD

.

I

, .

-

F,lra,me versus ,casin'g

11 Wl1e'reos the casing is orqonic, the basic chassis and structure' frame are quite, geometric in form, not differing great.ly from that of a present-day automobile.

Central arm iiS the focus·

2· The rnoln part of the

, robot is simply a bed for

. the large. folded arm.

Approximate with shap'e

3 Because the top orrns ore _ rested ina posltlonflush with each other" they are shown here opproximcted as Q simple shope,

1"oSrEi!IP,orote the moterlals from each other, elements such as the tynils end (,ear casing should be dnrlCiEi!ln'ed overolt

.. 'C~ty'·stQte cololUlfS:

B,eing a civilJan robot that performs public duties, the URB gives the ortlst c good excuse to opplyo purely aesthetic paint job (perhops the offlciol colours of the city-state).

Y'Tiglhtness and ~oo5e.ness

loosen up on the plostrc casings. but ensure that the more structural shapes such as the wheels and rem compartments are tightened up.

IEven though much of the dataU would be. hord to see when the robot is, op,emtingl (the 'lyre treads, Interna:~ 'onbiles and _Joi'nts" 'for exemple), they'lI',e stUI fundame.lf}tal to, U'H~l des~gn and so shouldn't be sfdpll:U~d.

.. Smo,oth tlhe shading

Keep the shading smooth cnd.flowlnq but. cs you are drawing beaten-up plastic. you can loosen up occasionally and add a little variance in the surfcces.

A sell"lial number ms ~nduded for servicing and identifmooti-orn purpose.s.

ROBOT FOUNDRY: URBAN

The, 'fifth 'Q~lr jet is on the baclk. 'The fou1r seen on the front ,act as stobUizers.,

Rendering Matetials, 'p,.,18, Developing ¥our Ideas, p,.26

Bits and WidgetsJ p.32

Incrcasir.q amounts of urban conflict and

a rising population in areas prone to natural disasters created a cemand for' a quickly deployable victims' aid robot. Tlh,r8 S 19 Syringel 'Sa,in't is fitted with five articulated air

, ,

jet~ that keep it

eflcet as it steps rrirnblv across. hazardous ruins) scanninq the area for

. -

the mjured with its

array of sensors.

Segmented body pl,atilillig 'to mliniimi:z:e dust and dirt from fo~ili",91 interned systems,

Long alrms that can unfo~dto become even longelr.

Mouth part cQrrie~ many independent sensors to' read the ,environment (for example, to detect gas ftJmes and biiolo'glka~

• . 'Ii.

,corntclIili'l111 n ants, ..

I I

I f

I

long ~egls with wi're rot,chets (intended more as :st,abllizers e-\-''r--- than SUPPOlrt),.

He·ad detai~

Robots will often show glirrnpses

Into more interned ports, wh~ch

usually look quite complex. These internal components should appear' . as though they stretch back into

the body and are integral to parts.

the viewer can't see.

Concep,t!u.alizing the robot

Before you begin, decide 011 the kind of "feel' you want your design to reflect and what you

. want your robot to be copcble of. This wi.'!! give you direction. This crtlst wanted to make Q robot that was light and ethereal, that floated

and tiptoed about with Its sterile white shell. It

needed long. dexterous arms to reach peopie

trapped inside rubble,

I -~r:' -.- - I

,. --'.' ,

I •

L l." , I

~rt!II:":"_" ~ .

S19SYRINGE SAINT

Cons,tructi ngthe robot Heavyset robots usually have problems with beflevcble articulation of Iii mbs, whereos thin robots need extra effort to ensure Umbs look stronq enough to functlon properly, Orqonlc curves are a ,great way to solve this problem because they've often developed in nature to efflderrtly absorb shock and stress. These basic curved shapes are your building blocks - start by draftingl or tmclnq these, shapes.

Hlead Iliests back. - into the body.

'" Creating ,the Unewo,rk

line is very important on sleek robots. Use a blue Col-Erase pencil to sketch li-ght constructlonol shapes. It's easy to erose pencil after scanning but harder to work on places missed at the pendl stage. Scan the ortot a. hrgh resolution. erase pencll lines. then drop it down to the desired dpl.

Details are added to the basic stmdme',.

:)J

"=:'I="., .-.-

.# '

·~'L·_'"

- -

Get the balance right

1 Pose is midrnovernent, so the axis of balance tilts in the direction of trovel, This tilt is tricky becouse the robot is olso

hotl-floottnq (torso almost lifts the legs up).

U5~[nlg eUi,Pse.s for basic c,onstructiion

2 The only true spheres ap~ea.r on t~e shoulders. You can keep the organic shapes vague, but remember the' volume (denoted by eMipses In the wir,e frame parts} ..

Com,veying movemlent

3Think out the robot's movement This lurch looks odd but not predatory;: the robot has direction and purpose.

The f rst set of el b iJiWS ore here (the arms, ate foldled back

durl ng movement).

Shoulders made up Q:f true spheres.

3

M u Itli plesource, (11m blent light makes cast 'shadows. Use D'ocilg,e ,and Blll.Ilrlrllto'ols to modify the shadmn'g.

Use red cnild ye1Jlow, in the shadows.

~ight reflects oR local pcuts

1- "

_,

.. Maskingl andshoding

Set druwmq layer in Photos hop to Multiply and fill' in masks of colouron -a loyer below (separate it into foreground. mldqround and background), Use the Magic Wand to select creos to work on" then Dodge and Burn to rnodlfy the drawing's tone .. Shade according to t he robot's mate rial.

... Co~ouring tihe IFobot

Use Photoslhop's Color Balance oojustrnent to add red and yeUow to the shadows and rnidtones. Place a kiyer over the drawing set to Soft light. end the colour wi'iII 91aze over the drowing. Add the 'qorntsh'. in this case the· play of light and added lED effects,

ROBOT FOUNDRY: URBAN:

"~I"'-, - IlL." ---

- - - - -- -

1 _ _ _ •

Working' Dig/tany, p.141

Artistic Rendering, p.16

The Grunlter was obsolete before it w.as even finished. TOOl big and cumber-some for most environr-ients the' 101 Grunters that were origilnally manufactured were soon decommissioned by the army and solid to private companies. The model shown here is the last survivor}

havinq served for' 300 years

Jolnts and

M·(!'Vement p .. 30

as a salvaqer on the colony worlds.

HQrwz,clnItal1 pIstons centrel fOlfward mO'Uon; ve.rtkall pistons Uft legs ..

sensor ·arrays Qlt1Io.lyze sa.lvage content and value.

ma~nten·ance robots.

MOlin bc)dy contclns ,COIm pcctor em d furnac-e for breaking down S'C!!llvag·e.

Aii r vtnt, cllo9 0 n d n ee_~ to be cleaned regularly •

. '

...

I·

On its. la~t ~egs i,

" "'I'

Tile concept 'is a robot in .o.stote of

odvnnced dec,ay and dlsrepalr -0 fmqtle mndune, despite its bulk. Leave the edges scratchy and sketchy to emphasize decay"

Surface det'u.i Is

There IS Q lot of surface detotl, so try using a programme such 05 Painter for the shading ruther than crosshatching in pencil, which will make the detail too hard to read.

GRUNTER

,- - - - --',-

I

_,_ .. - --

Yea,rs, ,of wear

After the solvaqe is compacted and melted down, it is coteqorlzed and stored in the cbdornen, This means that the surface of the robot wi~1 be pitted and domaged by 3.00 yeors of weer and teor.

:T-" .J--~

Sturdy de's,ign

11 The enqlnellke core of the body is

, perfectly balanced and supported by the

hinged, slig'ht,ly bowed legs. Although the robot ltself is very old the underlying construction remains strong and sound.

Timesaving 3 .. D optiiollS

2 Use 3~D software and save yourself hours of perspective drawrng. You'U find ~t easy to construct your basic robot uSing default shapes in a perspective view.

Functionality

3Any jointed hing',ing you erects will

_ effect the way the robot moves, Robots. me mainly functional. Construct your robot with care, visually conveynl1g information about the' robot's movement

N!ume rous

m e;(:h(ln~ca~ perts w'ilill be' exposed ln this sec:tffion.

Und er~ying' construction is, of s.imple ,eyliinders and boxes. ,.

Back I,egs and abdomen use some c,blo n gls 'Qnd cyliilllders as, front I'eigs

and chest or,eo,

1

.3 .. Dopti,ons

The robot is a mess of crammed together shapes and surfaces: flat curved. sharp. There' ls nothing smooth about the Grunter. Linework is reminiscent of engine ports and other lntrlcote, but convoluted. rnochmery,

Three centuries of toil create the i m pressto ni ,of (1 wcdkinl9! :s,da py-a rd ..

Qundrype:dclll ecnnstr.u€ltiQn means w,eight. distribution ifs ~esSo of an issue.

,A Layers

,Apply your colour flat on a Multiply layer, end then add highlights and details on Q new layer.

3

.. Collour and contrast Choose earthy, duH colours to ernphcsize the age of-the robot, Use red on the lenses 'In the head as a contrast to the

duller tones."

World-weafY exteri'm crootrasts w[th inner fire in eyes and lDe:lJly.

ROBOT FOUNDRY: URBAN

,

hover-s above the marble

floors of ccrpo-atinns and embassies. g'reeting people with its. computer'generated human personality. 'Fulily custornizable, th'e' Clerk fills a mvr-iad of roles,

and its lmpeccable

man r.er-s and on -the -fly

, .

,

networking cepecilities

have' led many executives and diqniter-ies to admit that they now prefer dealinq with Clerks to networ+inq with people.

-- .~.-

~ ...

I~ I! _ ... ........... .. _ _

-- -

Nalkatomm

Corporation [Io'gos, t,a.g:s, end labels.

This ,(omputerwgenelrat lI'elPresEilrnloo,1i:rnvEl' is QtI embassy diplomat

for the Tatar Meroo,ntUe Republic.

Extern aUy assisted magnetwc iindud;ion I:ev'ita.tes the robot, which is oble to float o'nly in magnetli(,(l~~y fad I itated b u il~d i ng:5,.

Sets of hands fur !physico.1 rnnteractmon .

•

"

Form equels func:UOII1I Illustrating this style of robot creotes unique considerations for the ernst because of tts lack of resemblance to other, more familiar forms (humanoid. vehicular, and so on). Being a dvillun robot designed to deal with people and put them ot their ease, it is important to create a nonthreatening, servile {cum. .:

DrawbillgC:Olm pu"te r i mag'ery

Artificial liighting ililumincites the' computergenerated fiqure, and seen-lines are overlaid as an j!'lustrative device to indicate that she is presented onscreen (end hot slttlnq lnslde the robot!).

IO'OCkillig port for in,stant connection wi'th other robots (lliild hum C1!II1S.

NAKATOMI CLERK

I 1 _ '

ed

, , .:v ...,

, .

1" I I ...

. ~~.p:- "tth ' ~ ..... __ •

D'es,ignl ,0 fieaUstii,c ,machin'e'

Althouqh this robot floats, that does not meon that lits axis" balance ond relation to

the horizontal plane (in this /l ,, I

case, the floor of the lobby}

are lrrelevont to its deslqn,

The robot pivots on the

bottom section" so ensure

that you iUustrot,e' a believable hinge mechanism and

balance. The general shape 1

of the robot should almost resemble the consu mer electronic opplionces that

we, lise everyday' without

a second thought.

These sl de·, mounted arms ,cain aliso reach taw,oros the front ,(Iof the robot.

A'r:tisrs should note that one oftbe challenges in dig-ita I art is how ts ow;m::ome the sometimee artificial-looking ~ macbmegenerrated re'sul,ts, that. is, J'nes. that J·olok too straight ,and c:a/ours that appear too consistent ond

exoct. There are m,ony occasions, however, when these effects can be desirable .. A good example ;s the' scan-lines om.the cle,r:k's screen. The overly p'erfect fines

effectively indica te' th,e technology used by the clerk.

, The ,der,k floats, lphl'oting' on

this n'uliin

hilng'e cylinder.

2

3 , The ccrnputer ~$--_-~ ports ore

leceted at the bottom .. with i'lil e,Qs,y reach of human beings ..

Extendingl (Jli'ms'

'1, These orrn cylinders me _ folded up on themselves and can double in length.

Simlple ShIQP'~5.

2N.·ot .. e how s'imP. Hfied the. I destqn can become and

yet remoln recognizable.

Visionl

3 Because the robot can see in any direction, the arms are tucked back from the screen so as. not to impair vision.

Try to :th~nk ahe,ad to the po.inti IiiIg sta.g e and what

is, in dOmlger ,of becoming obscured,

.... New Ilne s,l,y,les

The llnework requires o slight shift of style between the 'smooth, sharp forms of the robot and the more organic curves of the' woman on the screen.

'Y Shodling and light

Choose a shadfng style to ~how that the brushed rnetol p~at.ilng reflects Hght differently than the self-il'luminated screen.

Y )'ndustrtiall art

Clean. attractive colours SU991€st Q robot that an industrial orttst could have spent time designing, The colours of the oil-screen personality are closer to the colours used In a classical' parnting than rn a photoqroph.

Lat'er on, lightiirn'9 and colour will work. to dirmll'ent~ate,

the screen from

the robot .

In order to dil'io'W ,QUelmti on to the vibra.ncy of the' screen ilmogeJ keep the robot's colours subtle,

ROBOT FOUNDRY: URBAN

SII,ou. ch ing, primevo.l, sh olllliiders ere'ate a hunched and

suspk ous pmfille.

I •

The a]; len -lnokinq IOff'~ Worlld Tradar- (O'FT) droids were designed by EarthAid 'Cybernetics as a means of infiltrating the civilizations

on colony worlds to source vital food supplies for sale' back Din 'Earth. The a FTs ar-e proIIQ'ram,mlled 'with one millen colonial bartering orotocols and are multilingu,al.

Recessed ihead ccntelns Q. hilg,il-defiinRi,on, helot-S,QlnSOrj'illiild nighit§vision cameras.

WQrking Digitally. p,.114

Rendering Materials, p.18 Joints and Mo~eme.ntj p.30

...

.. ,

ArUcul'at.e hands wiith deUrote finglers enable

, the Tr,adel' to tYlpeat computer terrnlnals (mel parUdpo..t.e. in Quctmons.

".

E.msJi(e'leton am be modtfied with dilP -en pktres ~Oli ,rotectioo in hostile enrvl1l0nments.

B'r;ains ond brawn

The recessed heod is set into powerful shoulders that house on extro-larqe 'Cckulus' brain designed to process milHons of complex transactions a. second,

Unusuall desl19n

The strange form of the robot includes on allmost monkeylike upper body, biomechonical tentacles for product testmq, and ultrastrong legs ..

TalPlere~ kn1ees, buiging oollles,. an dl fset ~i ke hooves, giv@ the Trader ,Q rac,ehors,ellike 'qua.lity.

wi -- --

, ~

i _ _ __

OFF-WORLD TRADER

, -

* 1 .'

ii'

Co'nSlUmer aid

The Of'f-'World Traders were

an offshoot of the first line of Rodton checkout. robots, which were desiqned to carry bags. of food and consumer goods through wcr-devcstoted streets to. the homes of

needy dvi llons,

The shapes used create

an impr,@ssively .:::::::;~

dramatk sUhoueU.e.

Note how th e [legis ore bowed

to m ndiivo te tensl le stren9th.~ __ ..-

S ketch the shape first· before wor,king up the d,esmgn usi'ng yo ur software.

1[

3

Experim,enlal sihop,as

1 Exp,erime~t by bendmq ond warping your shapes when doing your

in ltlcl figure doodles ..

Elegant, mot.on

2look'n~ ~t the baU.'~nd .. I socket JOint of the hip. we can get an idea of the sinewy way the' OFT wul ks.

Powerful build

3 Stro F19' .UP" per body has CI yokellke structural

reinforcement for carrying heavy loods,

TW<{)I-'tone co IOtllr"5!c~eml@ ls a ,(:bol1lce toexplo re colour ,combi!natlj,ons.

Mix and rnctch as many colio'U r ,to m binllti onscs you Wiant. Try bllue and ~ig ht grey', or Ii'Qdand w'hwte - the opt~ons ore end less ..

i

Accurate llighting oids reohsm, Think

about where the light willfell on the robot's curves as the low even~ng SUIl strikes him hom behind ..

A:Shad.,ng

US1e dark. lines to define the shadows. wh ich will help depict: whkh elemen ts of

. - the deslqn are round, flot or square, just by placing the shadows correctly.

$,atli n-rn et,a~ t,edIUlr'e ls

i m perfec:t, sugg:esting weOJ and tear .

.... Extra lrende,rin,g

The white fogg;ing on the leqs and tentocles lnteqrntes the robot with the scene, whereas a shadow can plant him firmly to the ground so he does not look ltkehe is floating.

Law-a'md-arder Irfl,b,ots", used

ar p,oli!lcin~~L are lJ1nique 'in that helr jntera1ct'urf) wll~ be pr'T!maril~ with the; c]~ilan p(J)p]ace. TlAe"v are h mall-frien 1y but hia\[e

B dqst:c]ncerting pCJwenJtial for ~(~~ence beneath tthe ,surfaoE:", Though not engJiln'E'lered to be attrac[l'MBJ the apJ;)8,anance fJf [nes'c=; peace-kele[]lng rohots

~5 nom theless l m portent. Jhey,h,Bve blleen p,ainstakjnlgly de.sigrre,(Qj\ broth to [,aJm 6,

c,rowcJ lof agitated rloters and

to ~r~tjm~date and terr~f~

wayw,B,rd StCtSEJE;ctS.

Develllo,pingi idleas

Robots whose roles lie in law and order have slmllorttles to rnllltory robots, but their ogJgressive ospects may be downpkiyed, One major consideration is 'how public the robot should be ~n its appearance: it could bear official markings or function in a more 'plain clothes' role. '

.. An aggress1ive stance lrnpltes

a robot who means business.

... The artist

tries out different head d eSigins.

ihiis panel wiJI be th:e hl:€Hlr,ed ee01g ate 1111 fu~: fina des jlgn.

:.,. Shoulders

me Honked by rubber appendages.

Fro,ml aUI angl'es

This illustrative rotation of the robot shows lts exaggerated posture and its large chest. Notice that the joints are developed even at thls staQle ..

Crest and official mortlcl ~ns,ignia decorate thiis robot's shoulder.

The ,eyes, (lire aOl'l'llpo,s,eCil of Q disp,am'te army of huge sensors.

~ A more devl!'IO'ped sketCil1h :shows some of th~ aliti$~"s finall hoices.

Contalj nment, cell~ used ito tempol\(llIf'~ly iincaroomte 't:Q,p'tulred suspects,

'I

~I

Th is shodk. be to n projects an electrlcc I fje~d~

wh mch d ~sa bl es suspects when they enter it.

ROBOT FOUNDRY: LAW e, ORDER

_"-'-I· I '_.;-

Whenl the Jrnper-ial IChine'se Iand armada stole into, Tibet, the holy men of the mountains defended their: peaceful land by willing into being 15 J 000 tenk-cnlmer rcbots, known as (Steel Lotuses' >

'Far 'from b1eing a killinlg rr.achine each robot

v:vas power-ed by 1,0001 praye'r whllee'ls. 'Ioqether- the ·Steel Lotuses swept 46}OOO Imperial tanks back

ov-er the border with the neople's collective prayer for peace.

\

• J

Exha'ust sys.tem " produces lMiinimally'

- ,

h aza.rdo us byproducts. ,

Mlllrsliglh.ted desilgn

The eyepiece ~,s an ingenious piece of equipment. OIl1owrng the holy men to see through remote eyes In alii weathers. d9Y or nlqht. The robot olso has olfoctory sensors to srnef OUit invade-rs ..

SE I AL5...- ___

Worki"ng Traditionally, p .. 1,2 Artistic R'endering, p.16 Attachments and Ernbellishm'ent.sJ p,.34

P'E!(lce~ray appears as CD! 'glUtr to invOiding imo,rd,

IBlro.! mI powered by 1.,0.00 milniatulr,e p'rOlyerw~e.e'l s,

/

, Sturdy mulitijoint Ile9l-1lJ'n lts, weighted lor ~xtrastability,

Harmlo'nious elements

These beoutlful robots moved effortlessly ocross the londscope. The holy men allowed a. handful to fall into Imperlal hands. secure in the knowlledge that the invaders could only understand the prayer-powered mechanisms. by first accepting the message of peace.

es,

\

q

STEEL LOTUS TANK CALMER

Shap'e and ibalanc,e This deslqn is essentlclly a tapered cyl lnder 0111 leqs, Constructed in segments, it decreases in diameter towards the rear where it curves upwards to form the exhaust. Oblonqs and trionqles rnn the legs create n visuall contrast.

M,cliin body ES allmos.t spherlcot,

laili-Uke curved cy~incler

A mulltit~deof curved elements creates lrnpresston ,oif a robot 'cre,ature'"

,Le'Qls re.s,elmble the Iwmbs of a Iqui1ck. :s(iOlmp,elri ng' tOni m 0111.

Simple forms

1- Note how an arrangement of simple forms underlies the complexity.

R.ea~llism

2· legs must: be positioned carefully for a realistically balanced posture.

Axis

3The axis of balance will shift depending on the pose of the robot

Let your iIIRl1Q'g'wnation and hand run freely to create a fliuid dro,wirilg sty~e.

shadlng in a series of crisp, thin llnes than to use a smudgy shading style.

Use n etu ra~ tones and gletOm~ng elements that suiit the robot's spiirituo.1 PurIP,olsle •

.... Watercol,oulr meeds

Block ln the colour using actual watercolour, or use diluted colours in Photosh op wi th a measure

of translucency to create the same effect.

.A. DigitQ!1 eeleur

When adding colour digitally to a ,_ ~ j pencil drawing, (reate o loyerln

." .:...:,. photoshop with the olend mode set to !IIo.ooo!P~_t-~:(i·' ,~~killtiply" This maintains the brlqhtness

d' ,

l~ of the colour, while allowing the blbck

lines to show through.

Sketch in the solid elements once yo u 've caug'ht the mood of your robot ..

ROBOT FOUNDRY: LAW &. ORDER

By the late 25th century, most humans had given IUp their organic heritag'e' and become cvbernctic crqanisms. T'h,8 few r-emaininq Biotorrns were forced, to hide away or face

immediate extermination. [The' e'l;'te cyP'ods were not allowed to pollute themselves with filthy bioloqical matter, so a hit squad of flying robots was pressed, into service to finish the job for tnern: tue Exterminators!

Wings act os, guidone,(! foils.

AnUgmvity genelrators housed within

bod Y' casing.

Stabilizing' rods fi~'ed with g,yrosc:opk adjustors.

Working TraditionallYi p.12 Developing Your Ideas, Ip.26

Bits and Widgets, ip.12

IrIleat~sensJtilye ! seeker' org'OIo. m o!IJnted on gripper prDDosc,i s,

o

.

Deadly orm'QIUlr'y,"''t"

The primary toolsof the t):terminator's trade are its dow-tipped nrrnsOther weapons p3n be attached as well~; indudlnq flame throwers, electron-pulse connons and heot-se ek j ng ki lie r -vl rus 9 re nodes."

M,on'strou5 cIFe,ation'$

Created by their masters to, resemble insects and other creatures that terrified Bioforms, Exterminators became fond of odorntnq themselves with grwesome trophies from thelr huntinq expedltlons,

Tail ends ln sensor cluster,

1....- . .~- 7. - -r; ~.,

,," I I

, ,

~.It. - - _ - j ~~-

THE EXTERMINATOR

Di'sti nctlve sbo1pes

Each Exterminator is a. Clhallen,g~ng collection of contrasting' shapes - flattened end distorted oblonqs, spheres and cyllnders, The flnlshed design is very dlstlnctlve,

so think corefully about construction,

Aer;odynomiic nines

2ND need to~thirlk m_uch a~out balance _ when draWing the Exterminator. Instecd.qlve i~t on lrnpresslon of speed and rnonceuvrcblllty in the air by focusmq on its sleek. oerodyncmk lines,

Axi's 110r fUght

3The axis for.o robot in fHght is different from a regular, kind-bused creature.

P~a:ted armngelment t,akes inspirat·on flliom real-world lnsects,

IHaliild shape's have oddl'y humo.n aspect ..

Nothin'g noturel

'1-- -- - I The underlYing shapes may be

insecthke, but the construction is dlstlnctly mechanical. sharp and sinister. If this robot is an ins/eel, it is an aggressive. deadly one ..

Di:s~orted !obllongs suggles't mechan~a:d e~ements.,

1

2'

.. ApPlrolPriiate styl,e

The drawing sty~e ts jagged. Jittery and detciled to create. a sense- of insectlle complexity and odvanced mochlne enqineerinq ..

Ink chosen to define edgle's and enhone,e solidity •

.... M Ui~ti'ply mode

Scan into Photoshop, then create a new layer and set the mode to Mu~trp~y. Add

colour with Pencil, Brush and A.irbrush tools and adjust usmqthe Color Balance, Hue/Saturation and BrightnesslCon trost menus.

Iridescent: eololU,rs sl,Jggest 'ns-edl! ke parts.

IDIi'OIW~lng was scanned before addiing colcur ,and te'xtuli@ in PhotQsho,p',

.'

.... Exp,erimelnlt with colour When adding colour in a programme such as Photoshop, you have an amazing amount of freedom to aqjust or alter the colour in any way you like. It is ulso ecsy to create new colour variations on the ~ndeJlying drawing its1elf.

ROBOT FOUNDRY: LAW & ORDER

, e, ... .•

Als the mulfinatinnala gain ever-lncreasing plower) they also face greater hostilitv Thelr aqcressive weakeninq of tederal plower's has relegated much policing bo being handled internally. The IMa,r't:ial Quellielr' is used to put 'down protests and, riots and its merle presence acts as a deterre,nt to those who wo.fld fight thle

Rendering Ma:h~riaJs" p,.18 Attachments and Em,bellishm,ents, p.,34

MiliUJry A:ttachm,ents, p,.3IS

.

, Imply~n,g $.trength

.. .

Hexcqonoi plating lmphes great strenqth in

the shield's makeup. Pollygonal shapes are an excellent way to create ottrncnve. yet tecbntcolly believable, large surface areas in robotic desiqn.

authoritles. W'henev'elr cor-por-ate property is threatened, the Martial Quelle'r wades intlol crowds, vornitinq tear: gas and shatterir-q dissidents with lts electric baton.

I I

P~a,1ted comlmun,~oatiions army maintains, constant sat@lmte· communication 'With co rporote HQ.

S'ilk~fjbire+CiOmposite p~ating in 10 blastproof shh!~d~ whlch is also magl~'"eti,cailly sh ileldled to protect the robot from dlrectlonel EMP

NlonmiilUtory tough 'QIUi,Y ('el,edrom.agnetic pulse) blasts.

Allthough heov~iy armoured and aggres.sive, this robot is not a military device, so you can expose areas between the armour plating. The humanoid warrior design creates the impression of G "corporate Samurai", everloycl to its lord- in this c-ase the board of directors .

Chemircall ,carll lste rs fire, tenr-qos and othersupp ress ion sbeUs into c rowds ..

A weave ,of nI.II strl ps enemies exploslve chol wh jlch is dete I the robot Ii nd mobbed bY' ovefwhe'lmin~ numbers of ci

H igh"powE:lI'ed elaetrte baron wlith p~OIstk splesh -:shie~d (to prevent

Ib odi~'ly II uiids from shorting , the open electrodes),