How To Draw MECHS - The Ultimate Guide

1. Introduction: You remember watching the transformers when you were young and thinking, cool, I want to draw something like that. Or when you were my age and watching the Googlebots, you could be looking at mx and thinking, how did they make that? Well, this is the course on How I Met for Chuck and I'm going to teach you how to draw transformers, robots, and all of the mix. In this course, I start with simplified perspective, some of the basics so you can understand how to build the building blocks in the correct perspective. After that, we move on to points of articulation and types of joints so that we can get the movement down that you really want to have in your Mac. Next up is a bunch of references. We go after animals, humans, real-world vehicles, and even cool weapons. Once we've got all that down and we start to build it up, we start to put all the pieces together and build up some of the coolest mx around. During this whole course, you're expected to follow along. Not only can you draw along with my video, but I've included a PDF worksheet attached to every unit for you so that you can follow me and look at the sheet in front of you and follow along. What do you say? Are you ready to draw some of the coolest mx around? Are you ready to draw some transformational transformers? I know I am. So let's get to it. 2. Warm Up: Hey, what's up, guys? Adhere and I've got a bit of a different unit for you here. What we're gonna do in this one, and it's gonna be short and sweet is talk about warming up. It's gonna be two parts of this. One, warming up our bodies. To warming up on the paper. Starting off warming up your body, it's important because I don't know about you. But when I sit and draw, I get all hunched over and I can sit like this for 6810 hours at a time. Like I'm just like focused, I forget to eat sometimes when I get up from that snap crackle pop and my bodies, it takes awhile to start to warm up. Might be an age thing, but it's also posture. It's also just keeping in good health of our bodies. And so that's what I want you to do. Before you get into drawing. Sometimes take your hands and just make sure you move them around a little bit. Make sure you stretch them out a little bit. Make sure you take a second to just kind of massage in there. If there's some problems, maybe break up the fascia a little bit. You can do this with a hand massage or what you can do is like usually have some ball kicking around here that put on the desk and rotate in and it helps break up some of that tissue. Do that. Take good care of your hands because you're spending a lot of time using them. Take good care of your hands and then also, like I said, stand up, get up, stretch. Just kinda move around a little bit, shake it off. And honestly, when you do that, when you return to the desk, you'll be much better off. You'll be healthier, happier, and you'll, you'll be able to focus on the art that much better. So it's really important you do that audio side. I can tell you drink lots of water, all that kind of stuff. But now we're gonna get into the warm-up that helps us for the art part of it. What I want you to do is grab a piece of paper. It could be any piece back, back of a piece of paper. It doesn't really matter. What you're gonna do is draw a lot of little dots on the screen here. Just to fill the screen thoughts far apart, dots close together, all that kind of stuffs. Spread it out. Like just put it all over all of your sheets. Then what you do is draw, connect the dots, basically, draw from one to the other one. Oops, I'm going switch colors to make this easier on us here. I want you to just go like this. And you're going to see sometimes you miss. When you're starting off, you're like, Okay, I'm gonna treat my brain a little bit. See if I can just do straight line to where I'm going. You can start off at one dot and you can kind of pivot your paper and start to connect the dots. You're not really drawing anything. It might look like some abstract shape when you're all said and done. But what you're really trying to do is put your head into bringing your pencil from a to B in one stroke. Not just one stroke, but with a bit of confidence. You'll see a lot of beginner artists are very short and sketchy because they're not confident than they're lying. You know what? I get That way to especially a little bit too much coffee in the mornings and stuff. I guess it can happen. But you want to try to work on this confidence. If you want to work on the confidence in your line. Sometimes if they're really close together, it can be done with just you got yourself braced here. It can be done with just a flick of the wrist. I've got my hand based on the on the paper on the screen and I can just drop straight across that these, but for larger ones, I'm gonna back up. You're going to use the big sweeping motion from the elbow. All right. Try to connect those four points straight across using the sweeping motion. Guys, this is your warm-up. Whether you do it at the start of every drawing session, somewhere in the middle. Whether you do it every second time or whatever, really the choice is yours. The only assignment I'm giving you is keep this in mind that your body, your mind, everything can be kind of get too focused into crunched in and you lose perspective, you will lose your ability to really do well. Pause, stretch, massage a little bit, and make sure that your brain is in the right frame of mind to be able to connect the dots. That's it. That's your warm-up. Have fun with the guys. 3. Perspective Basics: Hey guys, welcome to my course on how to draw max. In this first unit we're going to cover perspective. Listen, perspective, linear perspective is a very big topic and it could take hours and hours and hours to master. I'm going to break it down real short and simple for you. And I'm going to explain why you need it. Let's take a look here. If I asked you to draw a box, your box looks like this. There's something wrong. What's wrong with it? It's not a box. It's a square, right? So that's the first problem we want to be able to draw for this course. Especially when we're talking about Max and all that kind of stuff. You've got to be able to draw boxes, boxes of varying dimensions and stuff. So this is your box. First problem. This is two-dimensional. We want to bring it to 3D. And if your attempt at 3D is this, that's why you're taking this course. That's why you need this unit because this thing here is a monstrosity. We're gonna go through a little bit of basics of linear perspective here. And it's got more courses that are in-depth board, but this one is going to be the very abridged version. So hopefully it's not too fast for you. If it is, feel free to rewind and watch it again. Okay, so the first one we're going to look at for perspective is 1. What does that mean? Well, it means that a couple of things that on this horizon line, something off in the distance there, horizon line. There is one vanishing point that things will go to. When do we use this? We use this when an object is, its flat surface is flushed to us and it's parallel surfaces are running towards this line. The easiest way to do this and for me to explain it would be, let's say I draw square. I'm going to be drawing this box that has its surface flushed to us. And to make this into a square, into a box, I'm gonna take these corners, corners that can be viewed from this vanishing point and bring them on back. And you know what, I think I might even do this with a ruler just to make it a little bit cleaner for us. We're going to bring it on back there. Bring it on back there. Bring it on back there. You don't always have to use a ruler when drawing max and stuff I got. But for us right now, we're gonna start with a little bit of a straight line and then we'll get a little bit more casual with him. Right now, what this is is it's almost like a rectangle that's been stretched out. Rectangular box that has been stretched out to infinity. It goes over to their horizon line. We're gonna cut it wherever we want to cut it. We've got, let's see, we've got a vertical line here. We've got this vertical line going up here. What we do is we track it back and we're gonna have a vertical line wherever we want it, how deep we want this dimension. We've got vertical lines. Then we're going to draw. Let's see if I can just angle this a little bit better for my hand here. A horizontal line that follows this horizontal line. I've got horizontal lines. Whenever we're drawing boxes here, we've got vertical, horizontal, vertical, horizontal. And then I'm gonna come in here and kind of sketch this in. And there's my box using one-point perspective. It's a legit box up here. This is not a legit box down here, this is a legitimate box. So what I recommend for you to do is draw a bunch of boxes all around this section of the worksheet. And even they don't have to be squares, they don't have to be perfect squares. You could draw more of a rectangular front-facing shape. What I'm talking about this, I'm talking about it grabbed my little toy box here or whatever and say that this is a front-facing shape, this box as lots of sides to it as a three-dimensional object. But for right now, I'm placing it like this. This is the box, how it's looking to you. You're looking at the front of this. Now if it starts to go off to the side, look, look how you can see the side and it's starting to go back towards a vanishing point. If it straight onto you and it's flush and everything, almost exactly. If I was to say draw it right here, this is almost how it would look right now because it's sitting right in the center of this camera. But as soon as I move it below the vanishing or the horrors of horizon line, you start to see the top of it like we've seen. Soon as I move it above the horizon line, you're gonna see the bottom of it. If I move it out of center from the camera and I move it off to one side, we're going to see one side of it. Likewise, if I move it to the other side, we're going to see the other side of it. That's what we're doing on this sheet here right now for one-point perspective, we're having one main point flush to the viewer. And then everything else is kinda tapering back to that grassland, all these parallel lines that run, because it's a nice simple box. Once you're able to draw a simple box, the world is your oyster. Especially for when we're going to be drawing max. This is one-point perspective. Get it, practice it, pause it, pause it right now, and just keep working at it. I want you to be able to draw these points all the way there and then start to make a shape out of it and stuff at three-dimensional shape. Practice, I'm including these worksheets, print them off a whole bunch of them, whatever it takes, make sure you get this done. Because after you're done, 1 were quickly moving on to 2 perspective. Two-point perspectives, similar but different. Two-point perspective is when this object is not flush with the viewer, but instead turned. So it's just not a flush facing item, it's turned instead. As you can see, we get one line that comes from it, right? So let's see if I can draw that. Actually, before I even do that, I'm going to put it into VP just to make it clear for us. Normally this would be for 1. But instead, what's going to happen is I'm gonna put a vanishing point over here. This will be my one. I'm not using this one. And I'm gonna put a vanishing point over on this other side here. And this will be my second managing. The reason why is because as we're looking here at this object, this line will go off to a vanishing point and this line will go off to a vantage point that's gonna make more sense on the screen here. Let's say, for example, the edge of my object is right here. Right there. Now, this is the top, this is the bottom of my box. I'm going to use construction lines and I'm going to pull this one to this vanishing point, the bottom and the top to this vanishing point. And I'm gonna do the same and pull this bottom and this top to this vanishing point. It's almost similar to the one-point perspective, but obviously we've got two. How does this look to you as you can imagine, this being a rectangle stretching off into the distance and this being a rectangle stretching off into the distance. It doesn't quite work yet as a three-dimensional object because we haven't made some choices. What we're gonna do is make the choices of how to make it a square or a box. Just like I've got a vertical line here. I'm going to, let us say you all choose a vertical line here, and I'll choose a vertical line here. Now we can see that this is one side toolbox. This is another side to the box. How do I make it a three-dimensional box? I'm gonna take this top one here, drag it over to the vanishing point, and I'm gonna take this top one here and drag it over to the vanishing point. Now we're seeing how it could be viewed as a box. I've got my bottom my top outlining my top here, and doing it there. And then my bottom here. Nice and sketchy, but it works right? So here's my box. You start with an initial line. Take the top and bottom and draw it off. Why do we take the top to draw it off here? Because it's below the horizon line. If I'm looking at it from this one. Whereas this object gonna be, it's gonna be below or above the horizon line. Well here's the horizon line and this one's above. All right? So let's say if I make it a bit of a narrow one here, make it a bit longer here, longer rectal type, sing, rectangle type thing. Well, this would be drawn off to here. This would be drawn out here. I don't need to do these top corners because they're already above. Then what do I do? Well, I just fill in my shape. There we go. And now I've got this floating, fairly accurate, somewhat ugly rectangle. Why are we doing this? Well, we know that when we talk about max, when we talked about robotics in general, all those kind of stuff. They're using these basic shape forms. They're not as fluid as a muscle belly or anything like that. They're not as bulbous and stuff. What I want you to do is go through this two-point sheet. Draw a fair bit of shapes, just like you did for 1. Up above. You drew a whole bunch of boxes and stuff again. For 2, you're gonna do the exact same thing. I want you to drawing a whole bunch of boxes. Get it and get it down. And again, this is the abridged version, so I get it that it's really fast. And if it's too fast, pause this pause, it won't even be fazed by that. Pause it and say, I'm confused, rewind it, and go back again. Because you need to understand how to draw these basic rectangles and I'll show you teach later on. That'll be the next unit. But for this one, I really want you to understand the fundamentals of 1.2.3 perspective. So just like we started off with a one-point, we started off with a 2. We're going to do three-point. We're going to have a 1 here, 1 here. For an example. We're gonna do 1 down here. A third. Let's say I have my, my starting corner point. This is, again, we're gonna do drawing things, but this is if it's worth, we're viewing it and it's tapering down almost like a bird's eye view in this one. We're going to treat it like a 2 right now. We're gonna go with the bottom off to the side, top off to the side. Bottom or top off to the side. Bottom off to that side. But here's where it comes in the difference, this is the biggest difference. That when we're doing these edges, instead of them being straight edges, straight vertical edges, they come from this third perspective. So let's say I come up from there and I come up from there. Well now that is going to be you can see the difference how it looks from 2.23 here. That's gonna be the angled edge. It's almost exactly, oops, I guess I need a ruler on that one. It's almost exactly like a two-point, except for all the vertical lines are gonna be tapered down to this third. You can see here how now it's got that kind of warping effect for a building. Imagine that being a transformers foot or something. You're looking down or looking up at a Mac. So here's an example. Let's say we're going to come from here. This is still the third. And we're going to draw a foot. And it's going to be from here. We're gonna have the top go into here. The bottom stays on that profile, like on the horizon line. This one comes off to here, stays on the horizon line. But now I want to have that foot coming from this point. Check this out. This is how this foot might look. We would start to draw this leg or this foot. And imagine the viewers somewhere around here. And it's starting to look up at this giant bought or Mac that's coming towards it and stuff. And that's a key point that we'll get into later units about changing the perspective to give size and height. Because if we just draw a robot, just draw a mic. That's good. And we can draw, will learn how to draw them with their shapes and everything like that. But adding perspective into it, adding vantage point of viewpoint, getting size to it. That's what makes it a realistic. Okay guys, this is 1 focusing on this one here. This is 2, focusing on these two points. And three-point perspective using these three. This is tough. In my other courses. Sometimes they'll take an hour to teach this. I don't want you to get to wound up in it, but I want you to be able to create some simple boxes and stuff. So like I said before, if you have to rewind it, I'll give you this sheet. You can print it off. Practice. It's really important. In the next unit I'm going to teach you a little bit of tricks and cheats to make this a little bit easier. But understanding that with art, knowing the rules is important. And then once you get them down, you can bend and break them a little bit. Guys, your assignment here on this first unit is to know these rules. Get him good, Get him down, and then move on. 4. Perspective Hacks: Hey guys, I'm back and I got another unit here for you. This time we're going to talk about perspective, but some easy cheats because, you know, you need to know the rules. We've already gone over that. And if you don't have it, go back and do it. Well, once you've got that down, there's gotta be a faster way to get things done sometimes that sometimes just plotting everything out to that point can be a little bit tedious for maybe even just a sketch. You want to draw a sketch that is based in correct perspective, but maybe not tightly adhering to it because it's just a concept sketch. I'm going to show you a couple of tricks here that we can get into and see if, I don't know, see if this makes it easier on you. First thing I would suggest is let's see. First one I would suggest is do a pre grid. This is one sheet. Pre grid would be like, let's say I'm doing two-point perspective and I just go like this, this, this, this, this, this, I've got this off of one. Then I can go off to the other. I'm just drawing this grid. We can already see how this makes a lot of sense, right? If I'm, if I wanted to draw within this grid, I can just loosely sketch. I'm like, okay, well my, my building would be, Let's do an easy line here. My, my building or my MSc base might be here. So this one's gonna go back here. I wanted to build this big and it's going to follow roughly that line. This would go up here. This one is going to go back to there. I know this one will come to here. Follow that and this one will come to here and I'll follow that. So there's a nice rough box and you can even make it rougher. I'm gonna guess right here, I'm gonna say, okay, well, here's this and I'm going to kind of guess and I'm kind of guess and I can even start to play with it a little bit like bend it in and I'm gonna say, okay, well this one's coming down to here. I'm going to bend this one in and I'm going to start to get looser with your forms. You can get really sketchy with it. Play with it a little bit. Just say, okay, well I'm, I'm working within this dimension, right? So let's see. Now I've got this. Now I've got this bendy base and this is a lot easier for just sketching. So that's one way to do it is to lay down a little bit of an easy grid and it doesn't have to be like so many lines. It can just be a few lines that you work off as a base. The other one would be kind of know, for example, your top and bottom, like let's say I know my bottoms here on my tops here. That at this point it's going to be wider than this point. It doesn't have to be who can explain this? Let's see. If I do it. Like I'm going to have this and this is gonna be our base. But what happens if I start to make it wider here? While I've now confused things, like I've drawn this way, when you're kind of roughing something in, just realize that the point closest to you versus how, as those lines go away, these lines has got to be getting smaller. How much smaller? Like for example, let's say I'm drawing this object here and I wanted to go away. There. One fraction of a millimeter, they're getting smaller. But they're not getting larger. Never make it larger as it goes away to the vanishing point that distorts the object, that distorts perspective and everything. If you just going to kind of sketch something, just casually just realized that okay, well, I know that it has to get smaller as it goes further away. So you can just kinda rough, rough in like that. As soon as you start to say, well, it might get larger or it might get smaller. My box gets almost like what we were talking about. It looks like somebody who doesn't know perspective at all. So guys, too quick cheats here, draw a pre grid that doesn't have to be heavily defined with lots of lines, but just kind of roughed out and everything. Or just realize that as things go further away, they get smaller. So if you've got parallel lines, they're going to get smaller and they don't get larger. That's the key point. That's where you get things looking really wonky and people know that you don't know what you're talking about or don't know what you're drawing. Realize that as it goes, it's either going to stay looking roughly the same or it's gonna start to get smaller. Those are two simple ways at once you've got the foundation of perspective. You can not have to plot it out every single time and just find rough ways to sketch things out. Make concept sketches much easier for you. And it'll help you as you move ahead in this course. 5. Articulated Structures: Hey guys, we're back and I've got another unit here for you in how to draw max. This time we're talking about articulation, structural articulation. What does that mean? Well, body language is kind of giving it away here a little bit. It means the ability to move pivot, manipulate a joint so that you can, again move pivot and manipulate it. Now, why do we have to learn this? It's important so that once we've got our structures down, kinda blocks on puppet blocks were able to stack blocks and everything. We want to be able to start to turn them, twist them, move them all those kind of things so that they come to life. That's what this is about. Having some realism that they're based in perspective in reality, but they also have movement that we usually don't see from robots in real life. We see it more in cartoons, animation, sci-fi movies, all that kind of stuff. Okay, Let's jump into this articulation bit and see if this starts to make a lot of sense to you. Because I promise you, if you get this down, your bots are gonna be cool looking. Alright, so whether we're looking at drawings or toys or anything like that, we realized that there's certain structures to them. Yes, we can see, let me see if I want to go with a red here actually, we can see how there's like a pillar thing going on here with that. Like for example, that leg, but that's not what I'm talking about here. That's not what I mean. What I mean is the overall structure is very humanoid. Wheel this back and talk about the first humanoid figure, everybody can draw it. Ms. Johnson's grade to English class. You're playing hanging man or something. Okay, so there's a little, little humanoid. The problem is all we end up doing is hanging them. They don't really do anything other than just stand there, maybe smile. The reason why they don't do anything is because these arms and legs really don't have much range to them. They don't have needs, they don't have joints. They don't even have a torso here, anything like that. When we're designing some type of structure that we can articulate here, we're going to add more articulation joints. We can look at example number one, example number two here that has that. Yes, we have box here, but then we have a second section that has a point. Let's see if we can change them of articulation between it. So once we start to look at when you buy action figures or something, there's these points of articulation to them that can bend, twist, pivot, all those types of things. You can see me going after these figures, whether it's a drawing, the drawing is often in this case, almost exactly matching up to the figure. I think there's even articulate. There we go. There's articulation points down in the feet here and stuff. That's what we want to do is design figures that have these various articulation points. Let's just do this. Let's have a quick line, and let's have a box. It's that simple. We'll have this could be like the chest box or something like that, will have the the pelvis box. We're doing it humanoid to start with, but we're gonna switch this up. It's going to switch up. We're going to have a shoulder pivot joint. We're going to have a box for a head. We can have hands, lines connecting them. We can even have like pivot joints, their elbows. This is obviously looking really humanoid here. We could have feet, knees. So where would the pivot points be? Where are the points of articulation b here? Well, all here, all right. And we can move these points. And if you ever get into buying action figures or transformers roll-outs, all that kinda stuff. You're going to see this type of thing happening. I want you to try to draw this again next to it and just see if you can maybe change something on it. Like, what if I was to add or remove a pivot point? What if what if I take some away? What if it's just actually, I'm going to do this even simpler. Whatever it's just this, this, this where my points of articulation b. Maybe here, here, maybe here, here, maybe the head. What does this remind you of? Honestly to me, I don't know what reminds you of, but this reminds me of the 1950's toys versus starting in the 1990's or even 80s or something like that. We were able to mold plastic better and we got better points of articulation. Is this a toy lesson? No. But so much of when we talk about bots, robots, max and everything there, the sci-fi concept behind them, the science behind them. And weirdly, the toy design kind of all work synergistically. They all build on themselves. So if I'm bouncing back and forth between that, don't mind me. Okay, so let's go with the 1990s or plus. We look at these examples of above. So we've got the big draw, the center line down here. We've got the big chest plate. We might have a smaller grill plate below. I'm just using optimist here as a bit of an example. We've got his shoulder points, we've got a bit of a hip hinge area. We've got two legs that come out of it. We've got an knee joint here. We've got looks like legs that come out of that right leg, the lower leg. And then we've got this profile foot part. We've also got this part extends down into here. This is the shoulder, upper arm. It seems to be one piece, comes into a joint of an elbow. Then we've got another section here. Then into the hands. We're going to talk about hands separately. Again. Where are the points of articulation? Well, I think we can go we know there's going to be at this point of like this wherever it inserts here, the elbows, the hands here, likely along here, likely on here. It might be a turning bulge joints or something in here, here, here, here, here. Somewhere in the feet. You can see how well this all matches up. If we look at this without counting the hands necessarily because we're not quite sure about the hands. We've got 123456789101112131415. Points of articulation on this particular figure, this particular mech. But what if I want to change it up and make it something really different? What if I want to have a box circle? And let's say it's a all-knowing eye in the middle and something like this. There we go. Okay, so what does this? This is just a little quick. We started off with a humanistic structure and I loved that because so many of our, as humans we designed so much from the human perspective. We approach our design, especially in fantasy. From a human viewpoint, we tried to model it after ourselves. Are things recognizable to us? Then we can devolve that door, evolve that into different shapes and functionality. This one's almost like a spider. I have a thing that I have going here and it's again just simplified. Where would I have the points of articulation? Well, the ball joints that are coming out there, maybe those hinges there on the legs and maybe a swivel underneath this all Seeing AI type of thing. I want you thinking of points of articulation in your structure for when you're designing, it's really, really important because otherwise, you're going to go back not just to the 1980's, but back to grade to Hangman. And it's gonna be a really stilted design. Get fluid with this. I think we can come down here and we can start to see a few examples. What do we have here? We've got a mass unit here. Seems to be, let's just call it a rectangle here. Right now. We've got another rectangle type form there. We've got a rectangle here, and I'm fleshing this out just in a basic shape. We've got kind of piston type of thing here. And then obviously we've got the feet down here. We've got what looks like some type of ball joint in there. We come to another ball joint which comes to another ball joint or some type of variation of a ball joint to a forearm area, a hand. And it's actually got points of articulation. We'll get into hands at a later point because that's the unit onto itself. We've also got up here. Beam that has this and then maybe launchers on the top there. So let's try to draw this auto side, see if we can just do a 2. Second thing. We're gonna go with a rectangle. We're gonna go with another rectangle shape below. We're gonna go with this beam across the back with two blocks on top of it. We'll go with bulge joints for shoulders down into two ball joints here this might have a multifunction to extension to it or something, down to a form and then out to the hands. This comes blocky, simple rectangles right now, into another rectangle with another joint there, and then out into the foot. In the middle, maybe some type of piston with some type of shaft with a turning point owner zone. Where are the pivot points? We're all those points of articulation. I think we can probably assume here. Here, if I'm designing it, this is what I want to have here here, here, here, here, here, here here. Maybe the entire hand, the fingers, definitely here, here, here, here, here, here, here. And maybe if I'm being funky, that I, this is what we're gonna do just as we continue on here. Try to find the basic that was way too thick. Try to find some of the basic shapes. As we go through the sheet. This is your little work area and see if you can imagine and you draw through a little bit. Imagine that this comes up to here. Imagine what's on the other side of things. Sometimes comes down to an elbow, forearm. And this goes to an elbow, forearm. And this is almost the exact same design it seems. Here's the, it just turned around right? Here's that center of mass. So it's not so much a ball, it's a turning math or a training shaft. Here's that first leg. Here's a second leg. There's the joint the knee joint comes back into another rectangle there and then out towards the feet. Out towards the feet. I want you to draw it again off to the side. This is good practice for you. Just keep working these mics because looking at how others have designed these points of articulation, it's important. Here's an easy one. Well, some easy, right? We've got a kind of a chevron front. We've got coming down into kind of a simple shape there. Into a rectangle for the lower leg and into the feet. Where are the points where articulation? Here? It seems here. Likely hear likely here. Not very many points of articulation, but because this one is simplified and it's lost its other half, It's half of its source. So here I want you to try to draw the same one off to the side. And you know what, if you want to draw it turned like maybe see if you can draw like for example, the lower section here is looking this way. And that triangle or that shape is looking up into the sky here or something. Actually I should have drawn a much bigger. There we go. Something like that, like it's looking up here. So the advisor would be in that zone or something, right? And there's the shaft coming down into the shape here. Then here's one leg coming off of it, and there's another leg coming off of it. Just kind of play with it a little bit and see what you can try to do some basic shapes. This is just the beginning of this course. There's so much going on. The point is, you're hunting for points of articulation. Okay. Last one. I wanted to see what you got. This sheet. As I said so many times here, is designed to help you understand that instead of just going with a simple hangman that we bring it beyond. If you want to ever go back and you'd want to design a 1980's stylistic bought Lost in Space type of type of thing. Cool. But you're doing that not because you're limited in your abilities or anything like that, but you're doing it because it's a stylistic or design choice. I want to make sure that you can add as many points of articulation as you want to, uh, bought. And just because it's your choice, it's your choice and design, it's really important to get that. So I think sometimes this lesson, this unit in particular, it helps break people out of a mindset. It helps just saying, oh, I was so restricted in, locked in and now I can do anything with my design, right? That's the point of this course and that's especially the point of this unit here, is you can do anything. But let's, let's habit based in a little bit of conceptual reality that when we've got this pivot point, bowl pivot for example, or something, I get that. That's a point of articulation and that, that is playing into design of our max. One thing I'd like you to do is to make a blank sheet. Just draw random lines. Once you've got these random lines, start to just fill in certain boxes there or something like that. This is just totally random. Like I'm just going to do this type of thing. Now I'm like, Okay, well this is where this, this one's looking. All right. So let's say I've got a head here. And now I'm just going to kind of start to add in my, my design of the bot. Looking at these points of articulation that we've talked about. A little bit of an extra thing just starts, know, I've got too many lines actually, I'm going to back that up. But I mean like just draw a few lines on a piece of paper and see if you can have your design of whatever bought it as or just a random one. Like I said, I was doing a spider there. You can have like kind of millipede type thing going on here. And just say, okay, well, what does this look like? What does this, how would this design look if I was to draw something like this? Play with it, play with it. Once you've understood these points of articulation, I think you're gonna be so much better for it. Your designs are gonna be better and you're gonna be better because you're practicing like this. Okay guys, once you've practiced, send them my way. I want to see him. And I promise I won't start designing and taking it to It's your intellectual property. You got it, guys. I hope this was alpha for you and have fun with this unit. 6. Types of Joints: Hey guys, I'm back and I've got a bit of a unit here for you. That's technical, mechanical. Let's go with mechanical. We're gonna talk about hinges. We already covered articulation about the need of hinges and hinge joints and stuff I got within when we're constructing them back, right? But we're gonna talk about the different types of hinges just a little bit to help you be a better artist. So let's get into it. Let's talk about how these different hinges work and then see if it helps you in your drawing process. The first joint we're gonna talk about here is the hinge joint in overusing that word a little bit. What this usually, Let's see if I can draw, draw it something like this. Nice and simple. And let's say for example, we've got a shaft that goes through. This comes in through there, it comes out here. The other piece of this joint comes in here. And it goes through there. What happens is we've got this one piece that can rotate on this one. Hinge. It's mono directional as in, it just kinda goes one way here. It's just got this one plane that it moves on. This is when we look at the human body, we can think of this as this normal hinge joint. It doesn't rotate well, just kinda and then it has a stopping point. So if we're designing this here, we might bring up some type of stopping point here. In its design. It might block out somewhere around here or something right? Then. So this part of the piece might just come up and hit at this point or something. So like I said, when we talked about this type of joint, simple hinge joint, fingers, knees, elbows, non rotational. Pivot. Pivot might be something. Let's see if we have it like this. Then we have, we'll just draw this as if it's going straight through. We have this cylinder that goes through and realized that this would be kind of a, we wouldn't be seeing this stuff or whatever. What does this do? Well, this pivot allows for the full rotation. The pivoting of this shaft. You can attach something else down below it. This can rotate within itself. It's just it's rotational pivoting joint. You can attach, for example, two joints. This hinge could work here and then you carry on that pivoting shaft and it could rotate somebody else, right? And these aren't always fully exclusive as you can only use one for one MSc. And that's it. It depends on the joints you want to want to do. The next one would be this orbital joint. Usually, Let's see. What you could do is think of a ball. This ball has something coming out of it this way and it has a socket that it sits in. Something like that. This ball. See if I just shaded in a little bit, gets to not only rotate within this socket that is sitting into, but it can shift left. It can shift, you can shift a lot until the shaft that's coming out of it hits against a wall of resistance. Whatever socket it's sitting in. On the human body. What is an orbital joint while the shoulder, we got a lot of rotation in it until boom, it hits the scapula or it hits something, it hits. It hits hits a bone that it's just that's the extent of the range of motion. Okay. So think of it this way. We've got the Bulge joint like this and it's rotating. It can the shaft can shift around all at once. But once it hits that wall, that's the end of the rotation, That's the end of the joint where they just can't move beyond that. This orbital joint. If it's got something coming out of it, like a forum here or bone or shaft or whatever it is. It'll be limited if it's just a rotating ball like I think what you could have, for example, is going to have cube like this. And then you could have a ball sitting in it with an I, an eyeball. This eyeball can rotate all at once. It can move all around in this all at once. And it has no limit because it has nothing sticking out of it. There's nothing to obstruct that there might be some type of, however, whatever lubricates it after all, a ball moving around. But there's no, No protrusions, so there's no limit to its rotation. Last one is Glide. Glide can be like for example. See, actually this is getting kinda ugly here. Let's say there's a groove here. A groove on this, on this piece. This this block sits within that groove. Then slides back and forth within that groove. A glide joint. It can slide in a groove or it can, sorry, I'm going to switch colors here. It can sit with it a housing. And the for example, in this case, it's a tube. And it can slide. It can slide in and out of whatever it is. It can glide and slide in and out through. However we're going to define this. Okay? So when we're designing our mix, like I said, we want to have a lot of points for articulation rate as much as is needed to convey the mechanics of the MSc. From the base structure up, we have to understand that there's certain ways that we want to have movement and everything. Even if it's a tank. Like let's say we're designing a tank with a head sitting on top of it or whatever, those wheels are gonna be moving. And what do they have? Well, they have a pivot rotation with each each wheel in that tread. Almost every type of MEK will have some types of joints. If it's, if it doesn't have articulation and joints, it's a brick wall. That's all you've got is if that's what you have is just a floating brick wall, that's your mic. Chances are you want more than that. And that's why you're in this course. So that's why we're looking at all of these different points of joints. I really hope that whether it's the hinge, the pivot, orbital or glide, or some combinations of all of those that it's helped you really understand that there's lots of different ways to approach the points of articulation. And there's a lot options you can get away with, right? So get creative with it. And let's see how you can add these into your mix. 7. Human References: Hey guys, I'm back and I've got another unit here for you in how to draw MX mic, mechanical bought robot. We know that these are machines of some sort, some nature. But so many times, because we are people, we base the designs on people, on humans. Structurally, you can see how so many of the functions of max or the design and mechanism of them follows humanoid structure. I'm going to teach you. And we're going to go through very quickly about how we can use humans as a reference. What you can do with this is you can gather references off the internet, pictures and everything like that. Some cool poses. You can use kind of like maybe a 3D app. Sometimes there's a lot of them out there for human ability and all that kind of stuff. Take your own pictures and that's what I usually like to do. Now I'm going to warn you. I didn't post anything by pictures up in this worksheet because nobody wants to see that. Usually I'm not wearing much. I can see the joints as a reference and all that kind of stuff. Let's imagine 1970. Short shorts. Didn't want to put that in this course. But I want to tell you that you can really use the human structure for having a good solid base to your max. So let's jump in and see how this might work. Right away. We've got this warrior. Do you remember how we were talking about the basic skeleton? Like I could do a box here, box here. Here's a joint, Here's a joint. Here's the joint. Here is joint. Why do I feel like that's a song? Here's a hand, the joint and the wrist, knees, a joint, ankle, joint, meso joined. I can just start connecting the dots. The heads up here that's going down. And really this is how simple can kinda look. If I take away the reference. Well, what do I do this a few times before we really get into it? Something we can do here is just as we're looking at it, recognize that these are the proportions that we're given with this particular model. This is a model that's been used on, maybe, I don't know what website this was, human anatomy or something. But if you want to change it, well, you'd have to do is bump it out a little bit. Something along those lines that could work. You can even lengthen and bottom. You could just use this as a base, but lengthening the bottom or something like that, right? Okay, So what I'm gonna do here, Let's see if this works. I'm just going to kind of grab these and copy them. And drag them down below and see if that works. That work. You can see how now I've got this basic outline, right? And so what am I going to do? Well, later on in this course, you're going to get into the details of a MAC. Like all the hoses and the vents and all those. But for right now, we're still just going to go kind of roughing things in. So we'll just start to use rectangles. And what if I wanted to make this like optimists prime with the grill in front. So I can the windows and the grill and then this can come down here and then it comes something like this. The shoulder becomes that block with the extended of the arm. This is another point, the forearm. So I can start to fill in these details using what I know about this design for the MSc writer. In this case it's a transformer or something. I can do that. And of course this works out better over on something like this, where we're able to bump the proportions because even though this is a massively muscular dude, he doesn't quite have the frame needed for optimist. Optimists is, is a bot. So it's going to be much bigger. And we want to start to add some depth into this as we've talked about, right? That type of thing. You can go in and start to fill these figures in and start to work on it. Maybe there's a joint in there. Comes out to this. There's maybe I'm just doing this all from memory. What we can do is go through and try to block out some of the key points that we can see where the joints, what's the pose like? And that's what this unit is really about is being able to, because to be honest, most of the references online for bots or somebody else's artwork, you don't want to be copying somebody else's artwork. Believe me. When you're studying, copy it. I don't care. Use it as a reference. I don't care. But as soon as you get to a certain point, you want to be moving beyond that. And online, or whether it's yourself, as we've talked about earlier. You can use humans as a bit of a starting point. Even for this, like let's say I'm doing this and I want to beef up the top of this bought or I want to lengthen these lakes, these feet. I can, I can start to make the hands bigger. Start to do things with this head and stuff. Now you can see how I'm transforming. What is a normal pose? She had a gun or something, right? Yeah. So you can start to transform this into a boat pose. Like I said, that's part of what I want you to do is to go through and I've made the sheet for you so you can practice it up. Whether you are drawing on top of it or whether you're drawing below. Whereas knees are here, his feet are here. I'm kind of going like this. This one comes out. I might even put a handout there. You could see, I've got this right. So here's the joints. Now, how would I make it into? I keep referencing Optimist Prime because he's the coolest more of a sound wave guide now that I think about it. But that's the thing you start to say. Okay, well, here's where that chest plate would be, but it's actually angled on him. So if I look at it, it would actually be coming across this way. And then there'll be some depth here. So maybe I would change this and have a going back, Something like that. Then there's a plate below and I could do that. I can have this arm coming out with a big shoulder coming out this way, that type of thing. And you start to fill in the blanks and the proportions of the average person, like I've said, they might not work for you. So instead, what you might do is you might just take the top of this pose. It might not work for your, for your bot at all, but you might take the top of this pose. Let's see if I'm going to do this right now. Take the top of this pose, then. But the bottom of this pose is something totally different. It could be a bit of, we've talked about this before, link, something like that. He's got this electronic sword coming out or something like that. Go through and sketch a little bit of the stick man beside each of these human references and then see what you can come up with. Then what you also get to do. Start to play with it, right? So here's, we're looking at a perspective here. Here would be the block. Let's see if we can draw up beside. We practiced this quick blocks. Here. It's tilted in. It's actually we're looking straight at it. So the block below is maybe more like this or something, but it's blocked out because of this. Let's see if I go over anybody sit there. Then I've got this knee hinge here, ni hinge here. This can come out and this can come up. This comes down into that, and this one comes down. Flare these as a design. And the foot goes down that away or something. It's already, you could see how this transformer is looking pretty, pretty bad ***. The shoulder is out here. The shoulder comes back here, comes out to the elbow, and l to the elbow here. This block is coming forward. Then this one is going to come up this way and into a hand that's holding the gun. See if I draw that a little bit deeper. This one's going to come back into a hand here, so it tapers back, and this one comes back. Now the gun. You can draw whatever you want. Maybe I'll even draw it in red here. This is where we start to get used to drawing tubes and cylinders in a certain pattern. This gun could be here and monstrous. That type of thing. Use this human as a bit of a reference for drawing. A cool, cool bought. See if that makes sense. Okay guys, I've kind of practice on maybe half of these. But even without this, what I'm gonna do is just include this worksheet with you. And I want you to use people as references. This one I've collected for you, I've collected this sheet for you. You can use this one. But it's the Wild, Wild West out on the Internet. Start collecting references that you think would be cool, like guys coming at you with a garden or something, you know. Or what I've done is actually gone to the toy store and collected my own weapons. Like so. Imagine this coming at you like this. Yes, these are modern-day kind of weapons, but how easy would it be to adapt these into something a Mac might use or something? If we're using a Mac that has kind of humanoid hands, which we'll get into in another unit here. Then we get on what makes sounds. Get into using weapons. Whether it's doubled, smaller, whether they're bigger weapons, this kind of thing. Use a lot of these and hit your poses and then see if you could turn it into a mech. Really, I think that that's a great resource because otherwise what's going to happen is you keep drawing your mix. The street on. I am robot. When you use dynamic poses with humans and are able to box them out and work them and manipulate them, push and pull the proportions into something that is what you're trying to achieve with a Mac. That can be pretty cool. Imagine a Kung fu poles with a robot. Can be a stringy robot, could be a fat blocky robot. That's up to you. All of this is now up to you, as you've seen, whether we were in perspective and making blocks and then understanding, hinging and stuff. Again, we've gotten now to the point where you could take Conan here, whatever we want to be gonad and make it into a bot, make it into transformers fighting in the medieval times. They didn't movie like that. Or you can take a sniper and transform that. The choice is yours. Now. 8. Hand References: Hey guys, I'm back in this unit. We're gonna talk a little bit of both drawing hands. Not magic hands, but actual hands. And there's a reason why I'm putting hands in a course about Mx and robots and stuff. I keep repeating again and again, how so many of our designs revolve around the human design. Like that's really why so much of this is familiar to us. I would say out of the hundreds, thousands of mx I've looked at, drawn. Maybe 80% have humanoid hands. Why is it, why do we have human height? Hence, not just because as humans, we recognize that design. We're familiar with a design, but because it freakin works, we get to grip things. We get to grab onto things. There's a certain great dexterity that comes with our little digits here. Normally this is done in a human, human anatomy course or whatever, but I wanted to throw it in here so that you guys could have at least a base understanding of drawing hands. I'm not going to go into every fine point of anatomy with it. That's not the purpose here. If I want to be able to have you watch this unit and feel comfortable with drawing hands and different formation. So I don't know how to say that, but you get my drift within all my hand motion and that's when I start talking about pushing through it all. Let's get to it. Okay. So we've got hands. We've got these hands right in front of us here. Seems simple enough. What I like to do is make it kind of basic. I'm just going to draw a circle and draw a circle. Good enough. Now this circle doesn't really work. I won't even draw it over the bones here. This circle doesn't work because certain things go outside of that circle and stuff. What I start to do is I start to hunt down the knuckles. Now once I've got that down, once I've got the four and the one, obviously, we're working with five digits here. I kinda start to connect the dots a little bit more. See if this works. If I was to draw this, I might come below here and you can draw it a few times. I would come in and draw 1234 and then one down here on the other side, obviously 112345. But then I would start to just it's almost like this type of shape, starting to look a little bit like a pentagon. So if I was to make it look like how it does without the circle overlay, basically, I'm chopping away this part here, right? I'm not including that little corner there. It would be 12345. That's the pattern I want you guys to be able to get down. So draw a circle, draw 12345, then just cut away at it and sweep it around. That's how simple that is. The next point, look at this in proportion. Let's see if we can get some proportions down here. One to the finger length is especially, I like to use the index finger length and use it at that as a gauge. This index finger length, the base of the palm, is the same. Going up. You try that again. So here's the base. Go to the index finger, one to draw it up there. That's where the fingers are going to go to. Obviously, these fingers follow the pattern below. They follow. Everybody's a little bit different for links. So fingers and I hear hormones and all that play into it and stuff. But we're following this pattern here. This pattern here. So it'll go something along those lines, come down in there. This is the base. Like I said, kind of like the Pentagon slightly but a little skewed. One thing though I want you to get used to is this circle has depth to it. Imagine it almost like a disk because right now we're looking at these hands flat on. But obviously as I turn them, you can see that there's some meat to it, some depth. Why don't we try to do this? Let's go over here and we'll just do a circle on top of this reference. Will put it as if it's like that. But remember, the circle comes off to the side here. So it comes off a little bit like that. Do you remember we cut into it a little bit there. Let's do that again. This is a bit of an oval, but it comes like this, comes like this, and that's our depth. Then where would we plot where we got 1234? Then our thumb out here. See if that makes any sense. Then obviously our digits, something along this way. And this is without even referencing the length or anything. We're just kind of guessing here right? Now. Once we've get, get this done, What do we do it a few more times, actually. Just don't want you to get this part down. So we draw a circle and we come up and come in, bring it back in. And then we find 1234. And some try it again. Besides, we're gonna draw a little disk. We're gonna come out for the thumb and go up. So give it some depth, come up for the thumb and go up. Then we're gonna find our thumb, 1234. How does that work for you so far? We're gonna have a little bit on the edge here and come up. And we're gonna go 1234. And the thumb is out here. Keep practicing guys. We can stretch these into oval. Sometimes. This one comes out a little bit. Download just the way this hands stretched and pose. It's stretching it a little bit. We've got 12345. You can see how this still works as it's coming up this way. We come to the peak and then taper off, come to the peak of the middle finger at taper off. Work beside if you want like this and put a little bit of depth to it. Then added in 12345, something like that. You can draw it next to the example or on top of the example, I give a whole lot of examples here. What do we do it below? So this would be here, oops, when I switch back to blue here. But it's coming this way. This one's kinda flat on, so it doesn't really do much for us. So we've got our thumb, 1234 for our top fingers. Then where are these sucker is going? Well, this one's coming up to here to a joint, here to a joint, and out here to a joint here to a joint. And out here, here and out here, here and out. And this one's here and out. Now we're gonna get into these other joints. Smaller joints, the smaller points of articulation in the finger. This one here it looks a little bit like an octopus. Why don't we go through and try to grab these joints, see if we can identify them a little bit. There's one that's here and one that's here. Thumbs are funny thing because it actually the hinges starting way down here. If we come if we come here, we can see it's here, It's here. But we also hinge just slightly on this one, olive, the whole hand has a slight bend ability to malleability, but this thumb has a bit of extra little bit of hinge to it. So keep on going. Let's do some more here. 12312312323, here and here. 12. Which one is an obvious the fist. This one might be harder. So let's say, let's say we draw a circle here and we'd give it some depth. Comes out to the thumb there. We've got a hinge here, here, here, here, here. And you can see I'm drawing through. What's happening is this is up here folding in. This one's falling over. This one is folding in, this one is folding in. This one is folding in. And so we won't see at all, we won't see all of these points, but we're gonna see a fair bit of them here. We'll see this one, this one, this one, this one, this one, this one, this one, this one, right? So we're trying to draw through just that little bit. We can understand what's happening here. Okay guys. This is a big one. Of course, even though we can't see it, we know where all the main hinge knuckle joints are. What are they doing? Well, they're wrapping around this so they're coming out in, in, out, in, in, in, you know, unwrapping in. This one's coming out, bend, bend like that. And this one's coming over over the gun like that. This is what I want you to practice on this sheet. Keep practicing. Do it at different angles, maybe. Like it's coming at you. Different hand poses like this. And once you're done this sheet, once you've figured out, okay, well, this is where all these knuckles are going, right? I'm going to place them all. Just work them and work this sheet as much as possible. Once you've done that, stop, make sure you've got it. Then I've drawn out some extra ones for you. This is an extra worksheet for you here. Okay, guys, I know that this might seem a little fast. I got to say in my human anatomy course. If we go a little bit more in depth into it are and stuff like that. But as far as drawing Mexico and bought, I think this using the disk technique, thinking of this as a disk with a slight jumped on the side. I think this will work. So use it. And let's see what you got. Let's see if you can move some hands. Have fun with the guys. 9. Animal References: Hey guys, I'm back and I've got a cool unit here for you. This time we're gonna talk about how to incorporate animal designs into your Mac. This can get really wonky and it can, it's hard to draw the line of where you actually just are inspired from an animal and where you're trying to copy it outright, right? What I want to do in this unit is kinda look at some key features of that animal and see if we can mechanize it. See if we can make a mechanical a little bit. Guys, this isn't gonna be easy. So this is one of the tougher units before we get into learning how to put all this stuff together. This is one of the last units of understanding the construction of the MSc. Take a breath. You're ready. Let's jump into it. For the first one, we're gonna look at a kitty cat. I don't know. I'm looking at this cat. I'm thinking, oh, that's a cat. Yeah, yeah, that's a cat. I chose this for a reason because it's goofy looking at, I don't know, I was searching in cats and got on a bit of a tangent, but let's go beyond this cat just, just a little bit. What I want to do is just like let's say, we're going to draw some of the things. What I want with a cat as movement. I'll draw the base body, something like this, almost thinking like a motorcycle gas tank or something. Then hinge it. There's a hinge on either side of this. So one thing that I like about cats as the balance, the tail balance, so I can pull something like that. So already I feel like it's got this little bit swooping grace to it that I want. The other thing about cats. The head. There we go. We've got this swooping grace, this head. With cats. We've got the pause. Let's see. There we go. This one can go back. And maybe this one comes kind of thrown in joints here all over the place, but have a little tall kids playing in something. Here's a rough sketch of maybe what a cat might be. I wish I had made the head a little bit more graceful, but whatever, you can start to add details into it, have the chassis, the body. Wherever it have. Some cool points to it. Have the neck coming maybe a little bit. Some hooks on different sides of this. Something like that. With the feet maybe for gripping. It could be something like this. Although I got to say the two claws kind of make it look like it's a bit of a herd or something. Maybe counterweight at the end here. Then if you want, you can coil this however you want or something. I'm hoping you're following along. I'm hoping you're rolling with me a little bit on this. It doesn't have to be exactly what I just did there. But like I said, the main thing that was wanting was this kind of fluid motion of a cat. Let's see if we can catch a little bit better. The second one, because I kept reference here is a little funny. Okay, So let's, let's do this. Anything. We're gonna go on this side, we're going to have this main motorcycle tank ripe. Maybe I'm going to add like a hip joint into it just to give it a little bit of movement will come out here. We'll have a bit of head and the tail. There we go. Okay, so we've got asleep looking thing, kind of like the reference here. We can have the shoulders and the hip joints in there. What I want to do is have this jumping or leaping forward. And maybe this one can come back like this. This one can come forward like this. There we go. Now, what do I want? Maybe on the top we'll get into this in another unit, but I can have mounted machine gun or some type of weapon system up top right? And then I can start to draw in all the details of the cat or something, right? This could be some type of hose network or a crunchy network into the eyes. A cat. If I wanted to, I can make that just a little bit sharper. So what am I doing here when I'm trying to capture the cat? Like I like this, knows how it looks. Something like that I can, I'm starting to capture the grace of the cat that I want in my animal reference. Maybe not so graceful. But I'm also starting to capture it like the tail balance and the face design. That's what you're looking for. You're looking for something that kind of captures the essence of the animal without always being an exact copy. So let's say, let's say I want to do this panther here. I like the pause of the panther, the big quantum pause. So that's one of the first things I'm going to draw. I'm going to maybe draw the pause of the panther here. That's one quality that I really like. Now the thing is the haunting face. Now I've got this kind of focused and already now just these two pieces are looking pretty bad ***. Let's say I want to have the shoulder here. This is a shoulder unit into this part of the body. It comes down into an elbow, comes forward into this, comes down into an elbow, comes forward into this. What I could do is start to design the different parts of the macro. The backend. Do I want to put it? I can put it crunched over. I can put it. Cats are often like this, like kind of a hunchback, right? So I could even depending on what I want for the back-end, we'll talk about this a little bit later, but I could throw, I remember what was it? Panthera had tread. Actually, now that I'm looking at this, this reminds me so much a band froze his car and thunder cats. You can start to add different things to this and start to beef it up if you want to have chassis system, weapon system on the back, right with whatever rocket launchers and stuff I got, you can add a lot of things, but you can see how I took the look that I wanted. Moved it over and grabbed the features that I thought were really important, especially the pause, I don't know. I don't know if I'd buy into this track in the back, but I had thunder cats on mine, so it kind of popped into it. So that's something to think about. I've kind of been focusing on cats. I think when I did this panther, when I lost the grace of what I was trying to grab for cats here. That's okay because I had focused on something different. Scorpion. Well, there are some key points, right? So if I want to, I could have big honking clause, the body and then this massive tensor up here. Then how I want to maybe I could line up some type of ribbing system or something like that that helps me do the legs. That type of thing. Depending on the design I can have. What's a way to connect? Looking at this model, I can just do the ribs, how it's got the scorpion itself, it looks very armor. That's the cool thing about when we're starting to use insects as they look very armored. But you can start to add variations. Lake, I hate to get all corny on this or anything like that, but here's a joint, here. This is a ball joint. So it's gonna come out. Come out. What could I add on here that could add to it? Can add like, I don't know, I hate to do this, but rotating chainsaw that's moving much, I'm going to do it this way. That's spinning blades this way. So it's constantly cutting in or something like that. This spinning of the blade that's comes through the cycle here is something like it could be o whirling sensation. Then on the front. I can, if I want this as a writable MSc, I could put the cockpit here. This is where the person can sit, the driver. We're gonna go with our stick man sitting here moving the controls with a guard over top of them or something like that. There's also probably more I can do here. This could be instead of that, it could be laser or something like that. Do you mean like a a laser cutter or something that has effects coming off of it. Gay guys. What I'm talking about here when it comes to drawing animals is, again, not what you're looking at. The grace, the features, the weaponry, the armor plating, whatever it is, and trying to expand on it, saying, Well, how could this fit into my machine? Whether the machine carries a human or not, whether it's autonomous or not or whatever. How can I incorporate some of this in there? We'll get into more details in another unit, but I want you looking at the overall concept of animals. So here's another sheet for you that you can practice. We've got a rhino. What's the big feature of the rhino? Should be obvious. What's the function of the rhino? Again, should be obvious. The spider got a lot of cool points of articulation there. How could you expand on that? Could you make the body even smaller and the legs bigger like a daddy long legs or something. How would you do that? We get into a millipede. What could this millipede be doing? We're going to be carrying, what could it be transporting? What, how could that change its function? The function to change it. Look, think about that for the millipede. The gorilla. How would you break down the anatomy of a gorilla, almost like a human that we were practicing already. Build it up as a machine. Guys. I hope this unit helped you a little bit to think of we're not just using humans as references. We're going to use animals as references. We're going to use nature, sci-fi, anything we can to pull in to making our mix. 10. Machine References: Hey guys, I'm back and I've got what I think is an exciting unit for you. So far we've been building and building on our skill base, designing max, we've understood hinging and joints and all that kind of stuff. We're understanding how to add references. I know you're thinking, well, when do I get to build a Mac? Mom? Truthfully, you are, you're doing it right now. I'm just adding all these blocks for you. By the time you actually sit down. And you're like, Okay, I'm going to sketch this out, which we'll get to in a couple of units here. Um, you just gonna be like, yeah, I've got that and you know what? I'm going to throw that in there too. I'm basically feeding you a massive buffet of resources right now. So that when you do start to sit down and start to sketch it out, you're gonna be like, yeah, audi got this already know what I'm doing. This unit is another continuation of that. This time for references, we're going to talk about modern machines that we use and how we can, just like we have with other references. Take a piece here, take the piece, they're going to piece it together and say, that's cool. I'm going to use that right there. Let's jump in. Okay guys, first up. Well, what is it? It's a tank. Tanks are cool for a bunch of reasons. But I think even more than you expect. One thing that I want to talk about is like we're getting it into details of machines and stuff like that. So these rivets and that type of stuff that we're gonna talk about later. But what I like is this guarding is angled guarding over this. And I know that's kind of a weird thing for me to first out on a tank. But imagine you've got these platform guards and stuff over top of a shoulder or something like that right? Over top of an arm that's coming. Don't be afraid to grab little pieces of design and make it your role. Another thing that I'm going to point out here is the tread. You know, normally when we draw a tread, we draw it like this. Then we wrap the thread around and that's how I drew it ever since grade two or whatever. I don't know what else drawing trends. But look at the actual application of this design here, right? Sure, we've got, let's draw this again as a base. But then we've got one that comes up. What is that? Why does it come up here? Well, when it's climbing ridges or anything like that, it's got that extra grip. And it's got this profile to allow for that. Not only that, but behind it. Our backup wheels that helping this. When we're designing our tread for our max. Don't be afraid to throw a little bit of funk in there. Have extra wheels in there, have things that maybe even wrap-around higher. Like what if, what if I want to climb vertical challenges? What if I wanted to bring myself up? So you can start to have this and we can combine it with something like the millipede from a previous unit or something like that. There's a lot of cool things you can do here. So like I said, when I'm looking at the tank, I'm grabbing design features and saying, okay, why is this covering over top of the exposed areas with paneling and stuff, I guess. I want to have that on my Mac. I want to have that protective covering. Tanks. Tank, they're designed to be armored and fortified and stuff. So I think that's pretty awesome. The other thing we're looking at is when we're talking about the top piece of the tank, the barrel, the muzzle, all that stuff. The typical way to draw that would be, here's a box. Here's the cannon. Maybe dude comes out of here. And that's how we drew it for a long time. But looking at this reference, there's a lot more to it. So even if I want to draw it like this, well, there's a bit of, it's not just a square, there's a bit of shape dynamics to it. There's sometimes a beveling going on here or an angling. And why is that? When opposite tanks shoot at it, it might be it's not just hitting on one side and destroying it. It might angle off depending on like it gives more chance for that shell to hit it and kind of angle off. You've got that, you've got a Gunther it up top that you can use. You can reference and everything. You've got a number of coverings that they could come out of. You got an antenna coming off the back. And then when it comes to the actual barrel that comes out, you've got a tapering effect with a bevel to it. It tapers as it comes forward. He gets smaller. Smaller until finally comes here and then what happens here? It gets wider. I believe part of this is for the shell, the amount of force that's coming off the shell, so it comes out, the explosive power comes up this way and the actual projectile ends up coming out. You can design, take that design feature and bring it into your mic that when something's shooting, it needs some room for the blow off exhaust and stuff. Tanks are freaking cool. I want you to google a dozen of them and see like grab a whole bunch of different designs. I'm just throwing one in here for you. But I really think that it's worth looking into, I think it's worth grabbing even more saying, Well, what can I do with this tank? Why, why, why does it look this way? It's not just tanks, but different types of armored vehicles in general. How the front of them slope and stuff. I drive a jeep so the front profile and how it hits, not just curves but any rise. And the angle is really important so that you don't just bought a mode on your front-end. So that's what we're dealing with here. We've got tanks. Now, we've got some were moving into construction equipment. What I think is cool in this one, I liked the exhaust. It's not just like a pipe and smoke coming out of it. It's this cool angled vent. You can have that in a housing and then look at these two side-by-side. There's they're the same they're doing the same thing, but they're just a little different. One looks cooler. Okay. The other thing we can talk about not just like we've got a hinge, we've already been talking about hinge joints and stuff. I guess. We've got this simple hinge for a lever of like drop, lowering it and raising or whatever. But look at these hydraulic supports, these hydraulic pistons, they come up and lead to another hinge here actually there's a small, slightly movable hinge. It's probably only move so much, but this allows for this slide shaft to go in and out of this hydraulic thing. So to do that, what do we draw? We can draw the base of it. We could draw the shaft that comes out and then whatever it is supporting, in this case, a bit of part of a hinge joint. They're minor moving hinge joint. How cool is that? You can just grab something off of, off this big boy here and use it. Another cool thing that I like on here is the laddering. All right, Actually it comes down and comes down. So you can grab a design like this or the handrail. Too many times when we're drawing a mech, we forget that people got to get in and out of it. So why not throw a ladder in there? And it's small things like this. Make a design so much more believable. If you've got a cockpit with a driver, figure out how the driver's gonna get in and out of it. This, even though it's not a Mac, gives us a solution. Ladders, ladders and not just ladders, but hand railing, right? So if they have to walk on a bit of a platform here, give something for them to either handles or a hand railings or something like that. It gives something for them to grab onto. Again, just like this other, the other units we've covered about references and stuff I go I don't expect you to draw a mech looking exactly like this. You can if you want, and it transforms and we've got a line of toys to do that. And that's cool. What I want you to do is say what are the key features? Is it the bucket? That is that a key feature? And it might very well be that, that might be why you're looking at this design. But I'm looking at all the little details that he's supporting things on this and thinking, Shoot, how cool is that even look at this axon instead of a straight-out axon. The middle is thicker and fortified. It's extra supported. And you can throw that in 20 year designs. Next up is this ATV personal one man carrier. It's cool. It looks funny actually. I'd love to go off roading in this thing. Here's a couple of things that I think are interesting. Some features that I would look at when I'm talking about it. Features that, like I said, when I'm designing a method, I might forget about visibility. In this case, it's a mirror system to look behind us. When somebody is in your mic. Again, if this is a driver or even if it's not, if it's just a bot itself, how does it achieve visibility? Doesn't have eyes, does it look around? Doesn't have a pivot in its head. Where does the driver is? In a cockpit? Can she looked behind her? If not, throw some years in, there's a great idea. I like this guard rail. I would love to. We could have a bought land. I'm just drawing a chest plate here with this cool. Sorry, I said *** railings. System coming out. And so that when it hits anything, it gives us sine of protection. That it just has an extra little bit of protection to it or something I got inside might be something you want protected or whatever. In this case, it's the radiator grill on everything like that. So you're going to have a grill system inside or something like that that needs some protecting. This bumper slash guard system. I would add in for sure. Look at this even just a TO ensure a hook. How cool is that? If you incorporate this into like a, you know, there's a hook with a cable system or whatever on each corner of this. Well, maybe that's how it gets taken care of in the shop. It's got this little hook system or whatever. And that's how your MEK gets lifted up. There's just so many ideas when we're looking at modern machines, you could pick it apart. You can pick apart the tread or something like that. I've actually got someone with a better tread here, the shock system with the coil wrap up. We've got our hydraulic sliding joint, but then we've got an extra coil of shock absorbent around it so you can draw something like that. I think. Cool ideas, even just this **** seat. It's not just how many times do I want to sit down and I draw my little seat like this. Dude sitting in this little chair or whatever. How simple is that right? But what if I start to change around instead of just that? It's now comes this way. And then there's a little bit of room for leg and it's a bevel in here. And then it comes into some support and it comes back into here. And then there's just so many possibilities that when we're looking at modern designs, engineers have designed this stuff for us already. Would they have the same? You don't need to reinvent the wheel. It's already been done. So market, look at it and say, somebody who spent a lot of money and effort into designing that, I'm going to grab it, grab it, grab it. This is the one I wanted to talk to you about treads like look at okay. So I could draw a normal wheel, but look at the depth. I could the treads like this, but they're angled down to right and they cut in. Like how freaking cool is that? So you'd be seeing it from the side here. And there's this bevel through it because it's slightly faded off of this side. So it comes up. But then you've got this angled part that goes down into the groove. Like honestly these are the coolest hires around. I would definitely be using something like this. If I wanted an intimidated or intimidating machine that could just roll through anything. In this case, it happens to be a machine that can roll through cornfields. Those corn her really intimidated here. But anyway, I'm messing with these tires. This is what actually entirely I pick this tractor because of these tires. I think they're cool. I have no idea what this front end does. I'm trying to imagine what it does. Let's zoom in a little bit. Legit, don't know. I can't figure it out. Maybe there's something that goes in the side here. I don't know. This is obviously the air intake here. This is maybe used for other things are attached to it or something. That could be I'm sorry guys. I'm disappointing right now. Anything else? Obviously, we've got the covers, protective covers over vital vital things. So if debris or whatever is falling, it protects the tires and stuff like that. This is only a 1.5. And why is that? Well, maybe it needs to climb until it can't have this interfering. It can't be hanging out here. This designer said, Okay, well, I'm only going, there's only a need for half in this case, I don't think this tractor is climbing actually, what is actually happening is likely there's a big chunk of equipment that usually sits on the front end of this and that's why it's gone. Maybe, I don't know. I'm guessing. I'm not a farmer and I'm revealing my ignorance here, so I'm just going to move on. Jets. The aerodynamic sweep is pretty **** cool here. Look at how it just flows over everything like this is a nice, what you could do is as you're designing, do this kind of topography line over, over your whatever your design is so that when you're laying down panels and stuff, they follow that as well. Instead of a panel just being blocky, looking at a sorts you want it so that it really goes over, flows with the direction of the the bevel or whatever it is. Air intake. That's a cool air intake that comes up this way. So yes, it can go inside or whatever. But just something that juts out of the machine. And then it kinda comes in or whatever. But all that air is flushing in. I think for me that's one of my takeaways on this jet is this air intake. I think this is pretty cool. The other thing cool is the cockpit. Interesting on this though? They don't have a way in and out of that cockpit. And you don't always, Why is that? Because this machine is sleek. What they do is they roll up a little ladder system and the dude, dude or do that jumps in and out. If your machine, your MEK gets very sleek, then you don't want to have that hanging that's sitting off. You're looking at all awkward in flight or something like that. It does not gonna work. That's not the purpose of this design. But look at that, that cockpit is cool. So I would usually you do a cockpit, something like this or whatever, and then it comes around. Again, you've got those circumference wraps. But you can mess with that front end. You can have a little divot here or something, and that can lead to something or whatever, right? It also helps you set your central lines, sometimes these circumference lines and stuff, whether they're on a perfect sphere or whether on this half egg or something like that. You want to get really comfortable in being able to do that too, just fine. Okay. Where's, where's the form of this? How can I get that form, shaping and stuff. Anything else on this plane? You know what? Every plane has flaps. If you're gonna take flight. Flops factor in. Even with Jet Propulsion. You want to have some flaps on it for steering. That's the whole point of otherwise you just a rocket blasting wherever that rockets going. Helicopters. I think sometimes having a big a big setup blades like this could be kind of cool, could also be a weapon. It could be on somebody's forearm or something and then on the side of it as like these blades that come out and stuff I got like, I don't know. Like imagine that whirling around. It could be a cool weapon of sorts. It's also too large sometimes. What I like about this though, is not only do you have the rotor blades, but you have an air intake and exhaust here and look at it, look at the shape of this thing. Looks almost like a sci-fi one. It's basically this with a weird kind of doctor Zeus exit points or something. And it obviously comes in, in a more solid form and then leads into this. There we go. You can, there's two things. You've got to square design. You've got a nice curvature and stuff. You can sometimes alternate that. If you don't want to have the blades exposed, looking at how they contain them in this backend. I think that would be pretty cool. Another thing that I really wanted to show was cockpits. So we've talked about like the jet one where it's just kinda like, you know, contained and stuff like that. And so if we're drawing a Mac, I'm just going to draw simple boxes here. Just for now. Simple boxes. One mic might have the cockpit somewhere here in the front and it's just kinda leading towards whatever it is, like this jet thing that's very low-profile. It just barely sticks up above the mechanism. We can have shoulders or whatever it is and the heads barely there. This, what does this feel like? Sleek. I probably wouldn't be in that kind of design. I'd probably be something that's a speed type of thing like when we were drawing the MCAT or something like that. There might be, that's how you can design a cockpit. And then the other one though is like how this has designed this chopper you can have coming forward and then come into a bit of a MOS and then use that and throw the, you can even just when it has, it has a bit of a guard in the front and then that and then you could throw the seats, the pilot seats in there, and then shoulders can come off of there. Somebody got looking at cockpit design for these types of mics. I don't know. I think it was pretty cool. We're moving on. Cars. Yeah. Mine isn't this cool? But minding go off road. That's one cannot. What's cool about this? Well, I'm gonna show you, I've got both cars here and there's some cool things about it. One would be the bevel and the sleek design. Like let's say I'm gonna draw this and I'm drawing my MSc. And I love how all my mixer going to start with a symbol box. And this is a reason why. What is this? What's going on here? Do you I mean, like I can have this sweeping front-end, then it can come up to a ridge. And so this sweeping front-end comes up to a ridge and then it profiles down or something right? Now. And remember my sleek cockpit that I had earlier. We were just talking about it. Well now this What's going on here is this, is this now what the MSc looks like, that it's got a body down here. It's got speed to it. I don't know. That kind of thing. Like this sleek front end is my takeaway from this car is how beautifully designed these curves are. Not just that, but now you can look at, okay, well it comes around and curves in, it comes around and curves back in, comes around and curves back in, or even comes around and curves a secondary down into here. And then we've got a little hookup that comes, a little hookup that comes on this side. Then there's actually a bevel that comes to a center point here. It comes up, you know, there's, there's so many design features you can take away from this. So many, even these small little trunk and trim lines and stuff, we had these small little bevel lines that run through the design. Then you can have these as they slowly curve through and cut through the design. That's my takeaway from this, is how sleek it is. For this one, this is sleek, but it's got a bad *** factor. I didn't look at all this air intake. So if I was to do the same thing, I've got my again my front end or my mixing. Well freak, I'm gonna carry this forward, carry it forward like this. And then look at this design like boom, boom, I could come out like that. Come in, come up. This is all great. And this is coming in. And this is my air intake for the front. And it just how cool is this? You've got to maybe use a little bit of perspective there if you're looking down on some of this. And that's like and then behind it could be like this cool mesh grid that you overlay in behind it or something like that. You can have all these lines coming through, support lines for the grades there and stuff. You can have more mesh in through here. There's just so many cool designs when it comes to this. And then have this carry over just like the car thing. And then that wraps around the shoulder unit that then comes down into the arm or something. And then the robot's head is up here somewhere. Something like that. So with all of these, you can take them for what they are. You could just say, Hey, you know what? I love tanks. I'm gonna draw a tank that basically has something extra to it. That's cool. I mean, like tank plus tank. A 100 years from now or something like that. That's cool. So you can do this and add onto it. But I think the reason why I focused on what I did was yeah, you can take that tank and just add onto it. But I want you to look at the tag and say, what's cool about this and what can I take away and put on my designs? What features as it is that the bolt system, is it the coverings, is it the rotors? Like is it the wheels, those meals? I mean, what is it? Is it the exhaust, how they exhaust is angled and just these small little things that all of these designers have made these choices over the last couple, 100 years or whatever, 100 years. Let's go with more like a 100 years for these type of mechanical designs that will ease your burden, or at least will help you bridge into the next step. You don't have to reinvent the wheel guys. It's already right here. Take it, take what's been designed, taken apart, deconstructed, reconstructed, and make it your own. I hope this was helpful for you because I freaking loved it. Like I I love this stuff. And I know it's kinda like, Yeah, I've seen these before, but now you're looking at all of these different machines in a different light. I think that's really important. Look at them in a different way. And then when you start to build your MX, you'll be like got it. I know what I want to put there. Now. You got it. 11. Function References: Hey guys, I'm back and I've got another unit for you here. This time we're gonna talk about function. One of my favorite quotes in architecture and design in general is form follows function. What does that mean? Means your design will follow whatever the function of that thing is. The sounds painfully obvious, but it's not often as designers, we put design ahead of function. And sometimes as like as a comic book artist, I'm like, I can blow it out. Throw up what any design I want. Yes, that's cool. But what's going to happen is there's a certain need for the human body are for our minds to recognize a certain grounding in our reality and believability within that reality. And so just keep that in mind that it helps you as a designer and whoever you're showing this to, whether it's a comic book reader, whether you're pitching it for a toy design or anything like that. Um, you want some grounding in reality and following the simple rule form follows, function will do that for you. This is going to be a quick unit, but I wanted to talk about this because I think it's really important in design. We've got six monstrous beasts in front of us here. Right away. We can tell they've all got different functions, right? That's why do we, why can we tell that? Because we can tell it by the design. That's why this is so important. Let's take a look. Number one. What's the function of this machine? Yes, I am pausing to hear your answers. Yeah. All the function is to scoop something up here and either push it or lifted. And so what do we have? Well, we've got this big, big shoveled type scoop, right? We've got a lot of power coming behind it, so it's going to push things or we've got a hydraulic system here that has multiple parts to it that will lift it up a little bit, lift it and maybe dump it, right? Just by looking at this machine. I've never driven one, but I can kind of guess what it does by the design. Next machine, we've got a huge, It's hard to see from this vantage point. We've got a huge container in the back here that a lot of dirt gets in and then there's a pivot point across here. So let's see if I, I'm sure most of my students know what this is. Let's put the truck here. There is a pivot point right here where this this part of the machine dumps and what it does it well, whatever the **** was back there. So it might dump dirt and whatever it is and it comes out. Dump truck. It seems pretty obvious, but we can tell just by looking at this, this is the function of this machine. We've got three more. This number two, we've got 345 that have this similar arm with maybe 1234 points of articulation. Let's see if this 1234, 1s, 12, maybe even, not even three. He's kind of the week one of the bunch. But generally, we've got some similar things here. So all of these designs have a track and the base cockpit for the driver to visually see what's going on. What's important here, What's the difference? Well, look at the difference. Different heads on the end of the arm. Here's a scoop shovel. And so what do we talked about scoop shovels before, like grabbing stuff up, spooning it up, maybe dropping it somewhere. This one's got the Cloud, obviously for grabbing something and picking it up. And this one has it's actually, it's hard to tell, but there's a a machine like a mechanism in here. So this is a bit of an impact drill. I get it breaks apart concrete and stuff again, it's hard to tell. It looks like he could just be stabbing people with this or whenever. If that's what you want to get from this design, go for it. But it's actually used for breaking up a concrete on the road and stuff. So similar housing. And this is what you can do with your mix. You have a base. Foundational housing. After that is have add-on variations that show the functionality of your mic. Let's show the functionality between the working class and the weapons class max or something like that, right? Lower ranked mx compared to higher rank max or something, whatever your world is designing. The last one, although it looks somewhat phallic, it's used for drilling. Roughly. Case. We've got a whole bunch of working mx here. While working designs of machines, keep saying Mx, but these are machines and they met comes from just by first glance, looking at all six of these. I would say even I've got students all over the world in different countries and I would say a good portion of them have never seen some of these machines before. But just looking at them, I have a feeling. You can guess most of them because we can see, okay, well, what does the form? The form is this. What does this do? Well, the function, the form is this. The function must be, yes. It's not always obvious, but most of time it is. Then we can come down into weapon systems here. And this is where it gets pretty funky. This is, you can add a lot of these onto your, your maximum. Let's just compare 12 here. What's the difference between these two? What do you see? One thing I see his wings. This one has wings. It must usually wings denote flag. This one has tread. I don't know if the trend goes all the way up here, whatever. What does this tell me? Well, it's used to going through rough terrain, uneven train, train that it doesn't normal car wouldn't go through. This one also has a bit of a not a battering ram, but some type of pronged thing that can hit through maybe walls or something like that. So we've got a bit of a ram and we've got a bit of war ship thing, right? Okay, so whatever we want to name them, it doesn't really matter. They both got weapon system on them. This one's got two pilots sitting here. This one, the pilots cannot be seen. They're hiding through this. They can see through small points, the small visibility ports. And we've got chain guns on the top. We've got oh, here's one driver up top. We've got access in and out of it. We've got a weapon systems on the side, but most of all it's a pretty heavily armored, protected thing that you can't see inside. This seems a lot lighter. There's actually three drivers, maybe a weapon system guy up top here, like this guy. And then maybe drivers. This one might be a gunner here. We've got missile launchers on the sides. This landing system is extremely weird, but whatever, we've caught, all the balls, everything's in here. It's got a massive cannon in the middle. It's got missiles all over its its arm to the t. That's ridiculous. I don't even like I'm trying to let me zoom in on this thing. Yeah, there's mini missile launchers all over. Maybe they fly up and come down everywhere. This one, I don't know if it's a strobe light thing or if there's weapons there, but this thing is armed to the teeth. And so it's actually kind of ridiculous. But that's the point of it, is that these bottom ones are very different than what we've got up top. What we've got up truck top. Our machine is used for construction. Usually a single-purpose digging, pushing, grabbing. These machines down below are used for war. I guess it's a single-purpose do that is to destroy the enemy or something. But how it approaches construction versus how it approaches war. Again, we look at how to design and follows that function just a little bit. We've got ones that are maybe used for straight-out ground attacks, ones that come from the air, and then ones that just will destroy your entire country. Guys. Like I said, this was gonna be a short unit that I'm just putting a bug in your ear here. I want you to thinking of what is your mix. Function? Is your robot, the negotiator? Is it the peace keeper? Through vocal or through weapons? Is your MSc transport carrier? Is it bringing troops to and from a battle? Or is it to protect those troops? Is it a quick emotion and just needs only has a few arguments? Or is it really like a heavy duty personnel protector? Think of the function that you have in your mind for the MSc and that's going to help you carry into the design. It won't, It's not a limiting thing. Actually, that's not what this is about. It's about grounding yourself just a little bit so that when you grow, you grow off of those good routes. Guys. I hope this helped you and I already gave you a lot of good ideas. 12. Weapons References: Hey guys, I'm back and I've got a cool unit for a year. This time we're gonna pull up the gun show. Never mind. Hey, that big. But these guns I'm gonna show you are. We're gonna talk a lot about weaponry. And I know sometimes it feels like, well, I've already done some references. I've learned about references for machines and for this and that never have enough references. Anybody who tells you to draw without references, especially max, they've lost it. Use references, use them using Museum until you don't need them as much, but you're still going to need them. It's important that we have this wealth of references that we're moving forward with. That's what this course is gonna be for you. A good chunk of it is about references and understanding how to use them. Weapons. Let's get to it. Okay? Okay. So first off, we're gonna start with a bunch of machine guns. There's a few things that when we're talking about a garden, we're pretty simple here. We've got a firing mechanism and we've got a barrel that everything comes out of. So let's set that aside, that that's what we know. There's some things that I think are important in the barrel, sometimes having some details of kind of venting holes. Those holes are important. So we could add that type of thing into the barrel. We could add a staggered or tapered barrel into it. We can add venting through another section of it to take some of the pressure away. As that round gets expelled. We can add, this is a big one, how the munitions are added into the gun itself. So we've got, like in this case, this is a mounted, mounted gun here, right? So it's coming down here into this mount, mounting apparatus. It can pivot around. Maybe back here is actually I liked this design of the handles. And then there might be something like the pistol grip, the trigger below. Depending on how I think actually on this one, the way the handles are designed, the trigger is right there. This one's got to same as you would find on a handgun or any semiautomatic or somebody got a normal pistol grip to it. But for me, how the munitions are fed into here. So they're either, in this case, there are traditional bullet rounds and they're being fed in. This is a munitions box or they can be fit in. Sometimes you can get like band of munitions being fed in out of a secondary location. I think when we talk about machine guns, I want to focus on the details of the housing. You've got some type of aiming section to it at two points at least, so you can line them up. You want some type of section to feed the munitions into. You want the barrel with maybe exhaust ports or something like that venting ports. And you want a firing mechanism. Let's see. I actually, I should have probably done this bread firing mechanism, munitions entry, aiming, venting for machine gun. That's kind of some of the basics. You can get into funkier machine guns like this chain gun instead of one barrel. This one has maybe anywhere from depending on the chain gang itself, anywhere from five to a dozen. Some of them have an open casing like this that you can see the individual barrels and they go round a turning turning housing, turning piston inside the housing. And you can see how the end of the barrel here has this ability to vent. Other ones that I've seen on actual battleships and stuff like that. The whole housing is just it's covered up, up to a certain point. You won't all you see is a stream of bullet's coming out. What looks like, kind of like a block or something like that. But in reality, it's this inside. We've got we can adjust it. Here's how to hold it. In this case, we were talking about amount a mounting system that can go on top of a mech that if somebody can use, these other ones are either hand-held. So I'm gonna add one more detail. Mount, mounting or holding. Maybe I should label this stuff for you. Trigger, aim, feeding ammunition, venting and hold, or the amount that goes to here and goes here. This one, obviously, this could be on a wall or on the ground. This one, the user holds this with one hand and grabs this one with the other. Now when I was talking about this first, this large one. I was thinking of it like being mounted on top of a Mac or something like that. How cool that would look, right? But you know how it would look even cooler. A mech holding this chain gun. That's why would that be like That's insane. So think about that. How a mech would hold the chain gun, kind of doing this. Then how would ammunition feed maybe from a pack in the back of the macro? Something. We're getting a lot of ideas here. Next one, we're moving into his rocket launchers and launchers. And in general, this is a handheld one. It's pretty simple. It looks like a gun, right? You've got the pistol grip and everything. We've got a little stance, but we've got, this is the actual launch itself. And then the rocket sits inside with a propulsion here. And it comes out. That is exactly what's happening inside of here. There's many, many rockets and you can even see this gets into a missile system that these are self-propelled. The projectiles of the machine guns are launched as a protector of these. Often, as we move up in this have their own mechanism of propulsion. What you can do with these, mount them all over your Mac and mount them in units. Like you could think of how plane has a mountain under the wings and everything like that. The only thing about this is often in a design issue is refill, like a resupply. Once you shoot off a couple of these missiles, how do you fill them back up? Does somebody gotta come in, clamp them onto your back again or something if you're doing that transformer thing, right? So think about resupplying here. But basically these are pretty cool when we're looking at missile systems and stuff. Missiles can be clamped anywhere. And then if it's an unarmed, you can launch it off the arm or something so they can either be exposed or covered. But you want a hint that there's something very bad *** about to come out of there. Okay. I've probably shouldn't throw an artillery on with the with the machine guns up above. Because again, this is propelled shell. We're looking at some theme in muzzle design here and stuff. I got this venting off, right? So just make sure that when we talk about these designs, as I said before, other designers have gone through this for a reason. Form follows function. The function of these is to send a massive projectile into an enemy. And you need to have certain things being able to come away from it. Whether it's pieces of a rocket or whether it's exhaust or whatever it is pressure to have that projectile go in the direction you want it to go. Take a look at what some of these designers have already done and see how you can incorporate that in your designs. Let's get into a little bit of high-tech stuff. These are fictional weapons, somebody else designing these and I just put them on the sheet. What does it look like? Will they look like machine guns? They looked like there could be around in here somewhere or something like that. This looks like lasers sites maybe, or this might be a secondary launcher. This looks like remember when we talked about different joints, this looks like one of the slide joints like a shotgun. Maybe this could be pumped back and forth. And you can do that. This is maybe the rounds, the rounds down here for, for this. So even though we're looking at something futuristic, we're still looking at how do we hold it, how do we shoot it? How do we aim at? How do we feed weapons and feed munitions into it and stuff, I guess, right? So as we're looking into this futuristic thing, what are the munitions? And how do we deal with the functionality of this design right here, this person, what they did was, here's one munition. And you know what, I suspect this is another firing thing, right? So maybe another second round or a second source of munitions going to go in here. This looks like it only fires one. This one's harder, but we've got some themes going on. We've got citing mechanisms like this one doesn't, that's a little strange. Again, these are designed supposedly from the future and stuff I get so you'll see some consistency in this. How do we hold it? How do we shoot it? What's going on, what's coming out of it. Those are pretty consistent. These are handheld ones that maybe your MX could be holding and shooting and stuff like that. We'll practice drawing them in just a little bit when we get into application onto the Mecca. But this is more about gathering resources. So think about this. When we are going to draw this though, what would this look like? How would we sketch this out? Well, what would we do? It would be a long rectangle or something. Then we'd start to break down the form. We'd start to say, okay, well, this is where this housing goes, this is where this part goes. And we'd start to draw it all out and say, Okay, well, this is what this looks like. So. I think this is somebody else's design. I think they're great designs, but I want you doing your own designs. What I'd rather you do is say, okay, well I'm going to use this in the same perspective that this person has done theirs, but what would I do different? Well, maybe I'd have circular end to it. Maybe I'd have two projectile shafts coming out of it. Right. So how would that look? Well, maybe there would be some bulging going along this part and maybe this would come up here or something. And maybe this whole housing within there. This is coming back like this and maybe I wanted to a second grip down here for this part of the hand. And so you start to design and say, okay, well, I'm gonna, I like how they have this handheld section here. I might take some of this shoulder mountain than that. And that's what I want you to do, is this isn't really a massive homework assignment, getting you to draw exactly what's on this page. What it is is grabbing elements of these weapons. So if you just draw a rectangle and say, okay, well how am I going to make this rectangle gun? Well, here's the main housing, for example. Here's going to be where it goes up against the shoulder. Here's where it's gonna be, where it's being held. Here's a secondary holding point, maybe a secondary firing point. Maybe these, we can use some of that stuff from the shelves. Maybe there's another munitions going in here. And maybe even like an old-style Kalashnikovs, there's a feed of bullet's coming into this top section here that come out here. Whereas my aim, my aim is here. And gentlemen, That's what I want you to doing. So when we're looking at weapon design, I want you looking at what we've covered here. Looking at how it's being triggered, how we're feeding munitions in whether they're lasers or whatever it doesn't need it, It's lasers doesn't need a power source like a battery pack. How do you protect that battery pack? It doesn't need any venting. How do you hold it? How do you aim it? I want you to kind of addressing some of these things. I feel bad not saying Well, you'd have to redraw this here. This will be officially saying it, redraw every one of these. That's your assignment. Now, that out of the way, what I'd really rather you do is just start to take some of these elements of design and jump in and make your own stuff. Because we're talking about Mex, Mexico futuristic. That's what I want from you. I want you thinking, okay, well, here's a couple of designs I really like move into the future with it. In the end, I posted a few things from the past. The reason I put the catechol distribution, battering ram, oldest kind of stuff, siege weapons and everything is because I think some of this can still carry forward in our design. Imagine a battering ram here. I've got, I've got this battering ram. Imagine that, but it's a piston shaft along the forum of, of CJ MEK. Mek is slow in lumbering, walks up a vocal, punches through whatever the **** it needs to punch to. You could take the battering ram design, maybe pivot joints or something like that. That just kind of rock back and forth and just going on and that's what it does, right? And it's a heavy Mac because it's braced for that function. I don't know if we're going to use a lot of these medieval designs and in what you're doing and stuff. But I wanted to include them here because I think no matter where you're getting designs from, whether it's a sort whether it's a gun, whether it's a laser, whether you're looking at some sci-fi movie trying to grab from there. It doesn't really matter. Look at the function of it, what you're trying to do with it. And then think of how you can create or implement these elements of realistic design, functional design, actually that's a better one. Functional design into the weapon system of your MAC. Technically, I'm giving you homework, draw all of this. But really, what I'm saying for you for homework is take important elements from each of these weapons systems and try to make something yourself. And I think it's going to look pretty bad ***. Show me when you got it. 13. Details Mechanics: Okay, well, I guess actually that's what we're going to be drawing here. We're going to be drawing a little bit of this kind of stuff. All the wires and the mechanical details, the bolts, the hoses, all the vents and everything else. That kind of adds that little finishing polish, the cherry on top of your bot. That's what this unit is about. So let's jump in here. Okay guys, we've got a whole bunch of references in front of us here. And some of them are well, we've already used them before, a couple of them. But I think what's important is how we're going to use them here. We're not looking at the weaponry and stuff. I got it right. What we're looking at is some of the smaller, more important, unimportant, smaller, more overlook details, right? So here's some things that I find fascinating about this. Right? Here is a panel, right? And we can have a series of panels. I'll even divide it like this. This panel looks like panel, I guess it just actually it looks like a kind of angled square right now, right? How do I then bump this into some type of actual recognizable panel? Well, one thing you could do is start to add some type of bevel into it. Some slight indent between the paneling, right. Where they could be a fixed together or where they might bevel down. You can even add a bevel on all four sides of the panels, right? So the panel has a low point and a high point to it. You're going to have the gutter of the panel, right? Where e.g. in-between your tiles and stuff like that at home, you might have those cocked gutters and you might have bolts. Now, how you wanna do your bolts kinda up to you. You can do them in in each corner and as if the panels were riveted into those sections or you can maybe e.g. along the bottom. Well, that's not what choice. I'm reinforcing the bolt pattern along the bottom because I want it to be stronger, right? Maybe more stuff gets kicked up into the bottom there. So when I'm looking at this tank, I've already looked at the weapon systems. I've already looked at the the the movement of it, the treads and everything like that, those kind of designs. But now I'm looking at the smaller pieces, looking at hinges that hold this flap together or something like that. So if I wanted to have a flap that comes down and maybe it has some little bit of mobility will then, what do I do? In perspective? I'll put a bit of a hinge here and have a hinge attaching, right? Then I'll bolt those down to Humboldt and everything on this thing right there. That gives me that little bit of extra realism. That now this panel is stuck on there, right? Another thing that I really like, his handles, but I'll get into handles on this next one, I think I think for right now I'm going to leave this one alone. I might be coming back to the tank for some stuff. On this one, what I like is how the operator gets into the cockpit. So we've got a ladder system with lots of railings because it's not just a ladder. I've done that before. I've just put like, here's the stairs and dude has to walk up the stairs to get in their way, but he's going to fall, you're going to slip, he's going to trip, he's getting into this and different weather conditions and stuff. So what do you do? You put her a railing system in or something like that, right. You put a railing system in. So it also adds realism to it and it wraps around. So if you've got something that has a driver to it, somebody who's popping in and out, put a real system into it, also put handles. Now, usually I'm cheap and I just draw handles like this, right? And then I might put something down here and here and more rebuts. I can do that, but look, you could do something else with your handles. It doesn't have to be a basic metal handle. There can be a lot of other things that are going on with that handle. So make sure that you can have some details in here that, that you forget about. Like look at that, even just this, right? I think it's important to have some of these minor details, especially to me, especially for me. That's really what mixer about. Mixer about all these little details, right? So another handle, right? We've talked about different types of joints. So that's what this is going to be there for those young people out there that I've never seen anything like this. This is how you can roll up your window. But it could also be like e.g. cranking a weapon system or something. You could be rolling it around that way, right? Think about it. There's lots of different ways to use different types of handles. Okay. If we go back to the tank, you can see they've got handles maybe just for getting into compartment areas, right? That's another thing that you can add. Is little hatches or anything like that, right? Hatches with hinges. I love those hinges. And of course handles. Hatches, hinges, handles. I'm going for Triple H. Okay. Moving on for details. We've got bolts, we've got hatches, hinges, all this kinda stuff. We've talked about exhaust systems. What I want to talk about is front-end air intake. When you've got a front grill. And it's a combustion engine. Or rather when you've got a combustion engine, often you're going to need an air intake, right? So what you could do is just make it a slanted front grill. You can do different patterns over it. You can put some type of protection over it. It depends how much you have to intake. Imagine if this was a massive double engine or triple engine machine, right? Basically the engines are being repeated here or something, right? Well, how cool would it be to have all these grills coming at? You, write something about that. And then you could even put, I don't like the company your your branding of space marine or space mining company or something like that in there as well. So use grills as an intimidating factor. I think grills or it can be really cool and they can be really intimidating if you kinda get into them, right? Okay. We've talked about the wheels before. Use details like that. I think it's really important. Moving on, we can see what I like in this one. This is an armored vehicle versus an unarmored. Usually not too many people are assaulting farmers. This is his window system. In this one, it's pretty big. Tons of visibility all the way around. Gets to see what he's towing, gets to see the Wildlife. He's running over whatever. This one, very small, slanted, maybe really thick paint. Glass for their windows. Horrible visibility like they've got a visibility plane here, right? And they've got a visibility plane here, but tons of blind spots that are going on, right? So if you've got tons of blind spots, you can have eyes up top or maybe a camera system, something like that. Alright. So look for visibility. Look for the details. How you would protect a window if it's an armored vehicle, What would you do to give visibility to your driver? Okay. Other things, you know, once again, I want to point out all the bolt system, but you can have heavy-duty lockers at certain points just to make sure you're locking everything in, right? That's another technique. Let's see. We're also talking about, we talked a little bit about hinges, hydraulics, piston or sliding joints. Throw these on if you've got any mechanism that needs to have support, like let's say, um, I don't know, it's something that has to be lifted. Right. So you can have your hydraulic system pushing this part up as it lifts up the rocket launcher. This could be a bunch of rockets or something like that. Okay? So adding this type of mechanic into the rocket launcher or into the rocket launcher that lets you aim right? Next up. Talking about events. We've talked about vents, a little bit about weapons systems, about allowing excess power to go off, right? But whether we're talking about the grill of a truck or a machine or whatever. We're talking about, weapons systems venting. I want you to look at and think about it that there's lots of different patterns. Usually we look at venting is like okay, it's circular. Whereas this circular, there we go. We've got circular eventing, right? And they could be symmetrical or they could be misaligned, right? It can be 1111111, that type of thing, right. Okay. Or like as you saw, just all lined. Think beyond that though. I loved this Chevron. How cool of a design feature would that be as a venting system? This is also, it's repeating here a little bit. Alright. Does your mech have a design theme to them? And can you incorporate that theme into the vents? Right. And so if we scroll up, there's vents on the front grills event in a way, right? There's Vince back in the back of this tank here. There's venting systems on the side of this truck, right? For these things, there are a lot more functional and so they go with a straight slap that. But for you, I want you to think as you're designing, this mic, doesn't have a giant chevron on their chest. If so, well, how cool would the event B if it was done in the chevron thing, right. Is the half half-moon or half circle or something? Yeah. Well, maybe you can incorporate that into the venting system like circle and then just chopping. Alright, so think about that. Venture. An opportunity to show finessing, design, their community to show functionality, but also a little bit of stylistic finesse. The other thing that I wanted to show or talk about just a little bit is about cables and hoses. I didn't put all the types of poses here. But basically what I want you thinking of is like, let's say you've got a battery pack here and weapons system here, right? This is so simple, right? Okay, good enough. Weapon system needs to be a connection. Well, the Mac might be carrying this on their back or something like that. This could be atomic energy pack or something like that. Whatever creative mind you have. And you've got to think, well, how do I bring the power back and forth, right? So think about wiring. Think about how wiring might look for something. Are there two cables coming out of each one? If there is a large gun that has some special type of energy coming out of it. Does it require a hose to bring whatever substance that is? Does it require? There's all different types of hoses to you can make it almost like an accordion hose, right? You can make it a mesh hose. There's lots of different styles you can use. So I want you to think of how you're going to connect sometimes your different systems. This is a system connect whether it's wires, whether it's hoses. Usually though with a Mac, the exterior, you're not going to see a lot of this, but maybe when the arms move or something attached to the hydraulic system, you might see some of that and these types of mechanics will help add to the realism of what you're going after here. Okay. So guys, a super quick unit about adding a few little bolts, hoses, vents, wires, all this kinda stuff. A few little bits of mechanics to make your mix more believable. Hope this helps. 14. Blobs to Bots: Hey guys, I'm back. I've got a cool unit for you here. This is one of our first steps into actually putting it all together. We've been doing so much work in, in the structural foundation of a bot and then understanding the referencing of bots and stuff I get. Now I'm gonna show you kind of the quick way of getting something down on paper really quick. I call this blobs to bots. There's other ways to go about it, and there is much more precise, but this is going to be just a quick little lesson for you in understanding how to lay it out. Trying to simply and then come up with something fast. Make more sense once I get into it. All right, so blobs and bought. Well, this is going to look, Let's see, I'm going to put this layer as a blob. And so I've got this blob of them. How am I gonna do this? Let's see. I don't know, I'm just trying to think. I'm kind of jumping around for brush sizes here, maybe something like this. Here's a blog, right? I'm putting a blob here. Maybe some axial back there. Like that. One that hooks there. One that hooks there. Maybe rockets on the back. You can see I've got a blob there. I'm actually going to back this up just a little bit. Now let's see how do I do this? Well, I can start to take a little bit bigger. I can start to take the form of this, this blob, right? Let's see if I can add some type of cockpit into it. Well, there we go. How cool is that? It's already starting to work. I've got this coming up here, maybe some type of housing here, right? And I'm just drawing in different lines to show where everything's going. This comes into the leg. Let's see if I box it out. I'm going a little fast, but not too fast that I don't think you can follow along. Here's the knee joint. All right. Here's the back part of this. Maybe some something there. It comes back into the leg and then this one's plays out, maybe splayed out something like this. These these come down into there and then maybe some type of something back there. Nice and simple footwork, something like that in the back here. While we already talked about munitions. And I can make this kind of see-through if someone put a seat with control dashing here, steering mechanism, that type of thing. That is super-fast, little sketch like crazy fast. One of that take me I don't know. I'm trying to look at the time here. A minute, two minutes from blob tool bought. Let's see if I can do that again. I'm gonna do another blog here. What I'm doing is I'm just using kind of a fat marker. I'm going over it a little bit fat and then just to see where that leads me, do I mean, Like I'm gonna do this again, I'm going to actually, I'll make it even bigger. Gonna go fat. Have this, and then kinda jump down and let's say 12341234, something like that. I already got a spider thing in mind, right? So let's see if I can do this. Well, what I was thinking was, I've got this oops, messed up on that one. Didn't see this over here. And so I've got this top housing. Bottom housing, maybe some type of pivot joint can come here. This one can come here and this one can come up here in this background, can come there. Okay. When do I want a cockpit or do I want an observational? I can put a turret up here, something like that. Talked about tapering hertz, adding in, venting. Alright, going to hatch here. Maybe there can be an observer looking at something off in the distance or something like this is, you want to keep this as rough sketch as possible. There we go. There's a nice spider. Metabolic and T are anti-aircraft. Maybe it's, it gets some pivoted, gets to move around really fast and stuff right? Spotting. I can even throw some type of radar radar device on the back room. And that's going to check the time again. I just sketched out a little broad concept in two minutes. That's how long it takes. That's why I call this the easy way or at least the easy way to start. I think, I think that's where it's important trade like then you can just get, just get rolling with it. Taking so much of what we've learned so far. And just starting to throw down like this blob on the piece of paper. Let's try one more. Like I said, if you're following along with me, it's cool. If you're not, that's cool too. It's really up to you. If I want to have something. I'm going to put those two big foot my main box up here. This is where I'm thinking the main box of the body. What do I go next to? Another box here? Put a hand here and a hand here. Sometimes I do that. I kinda throw hands around. Like I'll throw a hand here. And I'm like, Okay, well, this can kind of come down here. This can kind of come up like that. I guess I should've done it from there. You can already see I'm kind of like using my simplified skeleton a little bit. I'm making this. So here's that hip joint. I'm making this very much like what we had before. So this is going to come up to a knee and then down. This will come back to and then down like that, something like that. And then heads here. My confidence is like, well, let's see. Okay, so I'm just going to rough in what would be a foot here, that type of thing. For f into what should be a leg. I'm gonna go with my my Optimus Prime easy front grill type of thing, even though it doesn't have to be primary, anything like that. I'm going to have the shoulder. The shoulder have a coming down into an ARM. Have this coming in? Big forearm. Big forearm, and maybe huge gun back into this leg. And of course I'm going to add some depth into this and into the knee joint. This seems to flare down here. There we go. We have there we've got different types of boats that were just roughly blocked in. Sometimes using a simple blob. Other times using a bit of a fast skeleton. Are these pretty? No. Not yet. Could we make them pretty? Well? Yeah. That's what we're gonna do an upcoming units we're going to start to show, Show and flow with a little bit of polish on this thing. This, this here, this is Fast and Furious. This is nice and easy. This is how you start to just throw it down on paper and then start to rough it out. Put your blocks in, your shapes in simple forms in. Then you build some kind of beautiful using all those references and knowledges that we have coming into here, right? Hey guys, like I said, this was gonna be fast. It's going to be easy and ten minutes, that's what you got. Use it. 15. Putting it together : Okay guys, this is where we start putting it altogether, where we start gathering all that knowledge that we already have. And just this is how we do it, right? It's hard because I want to throw everything into this one unit, but I also realized that there's time and attention limitations. I always try to have my units around 20, some odd minutes or whenever I feel if we go past 30 it gets a little bit long. So I'm gonna take this unit and maybe break it up just a little bit. But I think it's important that we do this together. That we're kind of taking all the stuff that we've learned in this course and laying it down and showing how it works. All right, so let's jump into this and see how the **** it works. If you remember in the blobs to bots unit, we were kind of laying down a little bit of some sketch lines. We did a little blob and then we did a little thing over, over top of it. And then we kind of said, okay, well, cool, That's how that works. That's how simple that was. Let's see. There it is, bouncing around everywhere. If you remember this, well, I decided to take this guy and say, let's do something with, it. Seemed like a simple design that I really liked. What I would do here is, this is a very rough sketch that was based off of a very rough blob, right? So I'm gonna do some things here that maybe that, Yeah, I'm just gonna start doing things that I remember that we learned in the course. So first thing I'm going to do is put a little bit of a fender flare on over the top of this. And you remember how we had that one panel that I really liked. I remember I was talking about that one panel that had a bit of a hinge to it and had a bit of flexibility. I'm going back in my memory of the stuff that we covered in the course. I'm saying on that tank I liked how that head, that one hinge section. And I thought that was cool. I'm going to add some of the bolts in here and maybe add them more. Reinforcing along the outside here, along here as well. I'm going off this design, but I'm gonna be changing a few things. I think I'm going to change this cockpit. I think I'm gonna keep this and this is still kind of rough sketch. But I think what I'm gonna do is bring it maybe somewhere. Let's see if I can maybe if this is the front. I'm going to bring that glass up this way. There we go. What do I want it? I don't know if I want. I'm trying to think of how to design the glass just a little bit so that it has actually, you know what, I got a little bit ahead of myself. I was thinking of this thing and I didn't quite tell you as a bit of a scout thing, like we were talking about function before. So for me this is not like it's not going to be a bulldozer, anything like, uh, it's gonna be a scouting mechanism or a scouting bought. You know, what I can do is like, for example, on the top here, put some type of radar unit or something like that that has a scanning system and it's got a communications array so that it can report back to the base whatever is going on here. We've got that. But I also want visibility within this for the driver. So I don't know. That's still going to be roughly how it looks inside. I mean, I'm changing the cockpit around a little bit. We talked about grills on the front. This can be a bit of a quick grill that I've got up here. Not bad so far. I'm liking it. I think it's got to have a lighting system. Gonna go with a Ford Bronco lighting system. Just looking at the design the other day. Gotta kind of a cool look to it. It's got this lighting system that can last more light and you know what? Maybe off to the side here. Rotational lighting system that's hinged on a pivot joint or something because it might have to light up some area or whatever. It's traipsing through the darker, something like that. Like I said. I'm having all this function stuff going through my head saying, okay, well, what would this look like? How would this how would this play out? We've got this part going over here because it's protecting this joint. I can have some some paneling going on here and stuff. I got a little bit of bevels going in here. This isn't a hydraulics, but rather it's showing that there's some stuff behind here, maybe some mechanics in there. And I can have this one's coming out here. So that's where that the rest of that bowl goes, right? Not bad. Again, this is me just trying to be a little creative. Here's here's another ball joints that's maybe secured, hear something like it or rather a pivot joint. And it's secured there and then it comes back down into this leg and the back of the leg. I might add some details there. Give it a little bit depth. Make this section where that housing is part is coming in. I'm just drawing, I'm just roughing in some of the mechanics of it so far. This is one part of the leg. It's coming down. What else? It's coming down into the housing of this foot area. Instead of just simple blocking, I might make it a TO thing. So I can even come over here and just kind of drawn these toes. Rough these tools back. You can see I'm using a lot of just simple rectangles and stuff that are just guessing at. Let's see if I can. The perspective right now. Like I'm just roughing in this perspective, it's really, really not tight. This is still a sketch. You know what? The reason I'm doing this sketches, so it saves time. Like I just, I don't want to be spending time really teaching how to ink and how to. That's a bit of a different thing. I want to teach how to come up with these concepts and everything. I think that's important. I'm looking to match what's on either side here just a little bit. Looking at both legs back and forth and saying, okay, let's do that. So we've got this window windows up here. What else do I want? What I want a weapon on this front system here. I'm going to do this and bring it back. Then erase everything in here. I know if you're following along with me, you're like, wow, I just wanted I just do. Well, that's because I want to have some type of weapon. I loved the chain gun when we talked about it, when we were learning about the chain gun and stuff, right. So this is the rough end of the chain gun and maybe the AML box sits behind here or something like that, that type of thing. Okay. So already you can see how this thing is looking. Like he could do something. I've started adding in weapon systems. I want to add in an engine. I'm going to have this machine here, but then I'm going to have a bit of racing back here with maybe some hex or hatching venting system or something like that. Then I can even add Benson, that type of thing. This looks like it's functional so far. On the back of this. Then behind the engine system, I'm going to add another weapon system. They can be multiple missiles, launching system without inking. And I can even go one further. I'm kinda bring these toes forward. That's everything and then start to add details that we've we've gone through. We're gonna add we already added the weapon system, we added the engine system. Now, what are we going to add? We're going to add maybe some of the beveling details, like just some of the bolts that might help in this some of those mechanical systems, maybe there could be a whole or electrical electrical wiring or something that we see occasionally coming out from one section to the next. I don't want to add too much though, because I don't want the scale to be too vulnerable. That's basically how it's going to look as a rough, rough sketch. Not bad, right? When I take the time to clean it up, this is what it looks like. These are some nice polished lines that I didn't want to waste your time doing, but basically the concept was already there. So I wanted to make sure that you've got to see some of what this would look like with Polish lines. I think it's important guys, that you understand that you've learned a lot so far. You've learned tons. You will learn so many pieces that go into a bot or a Mac or anything like that. And now you get to apply at all. You get to throw it on an actual MSc, whether it's transforming robot or whether it's like this little sculpting that we just did up and stuff. You've got all the pieces in your arsenal. Just one more left. That's what's coming up next. 16. Coloring: Okay guys, this is it, we're putting it together even more. We're gonna take the sketch that we built up from our blob into a bot. And now we're going to throw some paint on it. Not literally, but I guess it depends how you work. For example, right now I'm working on my tablet in a program called Clip Studio Paint. Now if you're working digitally, you could be working in Procreate photoshop, or there's half a dozen others that are pretty common. If you're working traditionally, maybe you're working with markers. Whole bunch back there and this will be a different process for you. I'm not really going to talk to you about the process so much as like the mechanics of the process, meaning, however you're coloring is kind of up to you. We're just gonna talk about the concepts and why we're approaching things a certain way. So put a little disclaimer and now we're going to jump on in here. I've got this little bought and I've got a few little things below it. There's some things that I like about this bot and some things that I don't for coloring wise and everything. Right now it's just a gray, which is fine. But that's not the gray that I want overall. What I want is I'm going to go with a gray metal. So I'm just selecting off to the side here, see if I could find the middle choice that I'm looking for. Sometimes I'm using markers and stuff. Let's see if this does it. That's closer to what I wanted, maybe even more of a blue. What do you what do you think? That's more of what I want. Now that I've got that, that's gonna be my base color that I've got laid down everywhere. Beyond that. That's not going to be the color everywhere. Like I don't want that to be the color all over this thing. What I want is some, some black spots. So I'm actually going to comment, this program has this awesome fill bucket that can kinda just jump into. Let's see, I'm going to fill these feet. Feet are kind of like rough and tumble and so they're going to be black or off black or something. So we've got that. Maybe I'll throw that in there for good measure. I'll stay consistent with some of the the color schemes here, like so. I'm trying to use this one off black through a lot of what I'm doing here. If it works, maybe I'll even use it. Inside these things. You can tell my line work was a little sloppy. I didn't quite fill all the holes and stuff. I guess what I was doing here, as I'm filling up using this program, it spills over into the other sections. If I was being more careful, that wouldn't be happening as much. I've gotten this. Let's see if we back up. Like a chicken first one. I think it's the way the legs are done. Chicken desk. She can ask legs. That's SQ just saw the pronunciation is clear for you. I'm going to switch this up and go a little bit darker. And maybe come in here and do that. And maybe do this part on a lake. And you know what? This is supposed to be just a wire. So that's not really working for me. I've got that part. The window itself is gonna be this kind of lighter shade with even lighter parts as this kind of reflection. Enough. The window railing, maybe I'll make it a little bit metallic. See if I can fill this and be cheap was how quick I can do it. I don't know if that'll work. That's kind of working and it'll keep that metallic theme going throughout. There we go. Cool. Now what I'll use this on the hinges to it kind of spilled over there a little bit. That's not bad. I keep kind of backing out and taking a look as I roll back and say, Does this look at the way I want it to? Want this radar thing to be a similar color, but a little bit off. So I just colored picked up and then jumped off of it just, just a little bit there. Cool. Inside this mesh part, that's going to be ugly to fill. But let's see if I can do it. You can see how if you are coloring, whether it's markers or whatever, you're just kind of like actually coloring. I don't know what's fun for me. I've always had fun doing it, coloring as a kid and everything and so shouldn't be that tedious for you. It should be just filling in the empty spots. But it's also starts to be a bit of a choice. Once you get into that went wrong. Once you get into color theory and stuff, you're choosing certain things. Right now, I'm not using a lot of color theorem, using complimentary colors a little bit. Try to combinations, but really I'm trying to keep this really nice and just more design-oriented that I'm like, Okay, well what would look cool here? And it runs a little counter to what I was saying about foreign follows function, but not totally because this Scout is gonna be in a war zone or whatever. And so like, I'm playing that up a little bit. Let's see if I can color in these lights. He's like nobody yellowish Spotlight. These lights inside here. Like I said, I was looking at the new Ford Broncos the other day and it kinda getting slightly inspired by the way they did their headlight combinations. I thought it was in the dark. It's a cool look to it. I don't necessarily love the Bronco, but you can take design inspiration from pretty much anywhere. Just have to draw it in. What do we think on this front section? Do we want to keep that the same color or do we want to lighten it up a little bit? Or darken it up a little bit, I guess. Front grill, I feel like it should be a little darker looking at it. Right now, I feel like I'm gonna pick this color and then just go a tad darker ahead and see. That reads Yeah, that worked out. Well. Yeah, that looks pretty cool. So we've got that I want this this chain gun down here to be black and the barrels black all the way through in that. Cool, then this part can be a little like that. Here we go. Maybe the housing, wow, that's similar color pattern. Yeah, that looks all right. One more perfect. They're there. Okay. So as far as coloring goes, I'm liking how this looks. I think maybe if I want to, I can add something like a stripe. Maybe see if I can go and have a stripe coming on the outside here. If I'm going to have a stripe there, sometimes good to be consistent with it. Where else might I put a stripe? Something like there. So doing on the other side here. That's not bad. Yeah, that'll work. We're looking good on this so far. I think it's a cool looking machine. Now what I wanna do is add a few little, little extra tidbits to it. So I've got this red star. I'm going to transform it. What's cool with a free transform? Just line up where it might fit in perspective, you can see how this is so easy on a computer if you're doing it manually. Good luck. You can see I'm matching the shape of that. I'm just going to flip this into different mode. There we go. And put that star, they're going to put the CCCP go numbering. I was thinking was like transform this again. Where do I want to put it? I was thinking the numbering under the cockpit here. Somewhere in that. That looks pretty good there. I'm just going to fade it out. A little bit so it doesn't punch to too hard. Cccp. I wanted to put it on like this flap or something, but I almost think it's too obvious. Let's see. I'm just thinking on that flap. I can lay it down there. What do you think, guys? Where should this go? Maybe really small. Right above here. That right there. Okay. So now I've got a bunch of these decades on. See if this how this looks. Yeah, I think that works. So far. I think it works. I like those muted, muted look on the decal right? Now what I'm gonna do is sometimes when we have metal, we have kind of a bit of scraping to it. What you can do is you can add some texturing over top of some of the metal or something like that. Then you can do something like blend. A blur of fingertip loan that's too large. This fingertip knows too much. Want to do. That's not working the way I want it to. What I want to do is be able to stretch it. Still not doing what I wanted to see if this does it. Let me go and we're just getting a little bit of patterning down on this. It looks like there's just a little bit of stuff happening on it. Once we have that, we can just stretch it out just a little bit. So they're just faded off. You can also put something like like little scratches on here, different things like that. And then you can it can fade them off if you want or something. Just back, way, way back. There we go. All of this adds just a little bit of texture and depth to the machine itself. Once we do that. Now what I'll do really easily here is I'm just going to add a little bit of shading. See if this works for you. Right now it looks blue and this will be a really fast way of looking at it. Let's say the light is coming down from, I don't know. Where do we want it? Up top to the left, maybe. That means this largely will be lit up. This largely be lit up. Here. We're gonna have some, some light on this. There's gonna be light in here. We'll do those circles a little bit more. There's going to be light touching on here. Maybe a little clip here. Light here, light here. Light on this leg. Like coming in here, light on this foot. Light touching here as well. Like touching a little bit here. Like touching a little bit there. Maybe back here, just a little bit. Back here. Around there. If the light's coming from this left side. That's about what it'll be touching. Maybe I'm gonna have to put some gun as well. Anything else that lightweight touch or might not touch. What it would do is, let's say these are rockets in here. I could start to shade in the cylinder a little bit. Let's see, this isn't looking beautiful yet, but I have a feeling it'll be better than you expected. There we go. That'll work. What do we think? Is this going to work? There we go. That's a cool look in Mac. You can see some texturing on it. You can see all the work that we put into doing a Mac. That is how easy it is. Guys. We can add to this. We can put transformers, we can do whatever we want. But once we've got this down, some of these basics, this is how easy it gets to be drawing max, like, seriously, look at this. When it came to the end of this course, all it was doing was pulling all the stuff that we had already learned together and slapping it on our blobs, on our blocks. We already learned how to draw blocks. We learned how to articulate things. We look for pivot points and joints. Then we look for references and how to add it on. Now, we know how to finish it off. I got to say this was pretty awesome and I think it worked out really well. I want to see the maximum box that you guys come up with and make sure you send them my way. Whether it's traditional on paper or digital, it doesn't matter to me. I want to see some of these cool designs. Okay guys. Hope you had fun with this, and let's transform into some x. 17. Transformer Tank: Hey guys, I'm back and I've got another unit here for you. This time we're going to talk about transformers. What's the concept behind a transformer? I think it's in the name transforms. When we look at transformers, we use a reference that we have, maybe something that is in our lives like a car or a cat or whatever it is. And then it's able to use those pieces and move into more humanoid form. Transforms pretty self-explanatory, I think, I hope. But I promise you that this is what we're going to lead up to and stuff. And so that's why in part why we were looking at so many references. So that whether it's humans, humanoid form, whether it's animals, whether it's vehicles or even weapons, actually, we can grab any of them. Take some of the key pieces of it, work with those components and make it into that bought. So why don't we jump on in here. I've got an idea of one that I want to do and just, we'll just sketch it together and see what happens. In front of me here I've got a tank. I think it's a Russian t 61 or something. I can't remember. It doesn't really matter. You can grab any tanker, you can grab any reference you want. You can be a car. It could be a portion of my favorite. Whatever you want. What we're going to start with is just kind of I'm going to box this in just a little bit. I'm just going to just want to kind of have this perspective going on here. In this perspective, I'm going to make another box. This is all really rough. I'm just kinda putting shoulders and he hears the top of the shoulder. Here's another shoulder and I'm just kinda roughing things and this is all BlueLine, right? So it's not gonna be anything special and I'm gonna put another box below as the pelvis kind of do this. Let's see if the legs will be out to a little bit. Something along these lines, something like this. This is all super super rough. Let's see if I can have the hand somewhere else. I usually try to have the hands in a human type position. I'm going to throw in some joints in here. And maybe the head should probably put a center somewhere along here, something like that. Okay, So here's my rough sketch. I'm going to back this up just a little bit. And we go through a few versions of this roughness because we're gonna be getting into it a little bit closer and looking at some of the key components here, what I want to do is grab the front of this tank. And a rough in some of these details that I'm seeing on the front panel here of this tank. There's seems to be a classic thing. There's some bolts. There's a grid, an Arab and grid here with a handle up top here. There we go. There's also a ridge line here. Another handle here. Do you see what I'm doing? I'm kind of looking at this piece here. Then what I can do is have this flap down here. Take this pelvic piece to it. I'm just working on these different small little add-ons to it. You can see there's like clasps hanging here. This is just me kind of roughing in where I think things should be. The shoulder. This shoulder. Let's see. I'm going to bump up here just a little bit. We can have this hinge here, this hinge here, and I'm looking at, now, I'm looking at these parts. The shoulder is going to be this part. You can see the lines I'm carrying over here, these guidelines. Then this could come back and come back in or something. Okay. So far, It's starting to maybe look like the tank. One of the biggest things on this tank that was the turret. So I'm going to have this turret and I'll do this. I'm going to rough this head for now just so I've got the spacing on it. We're going to have this trick setup here, the underbelly of it, because I want it protecting his backside. If I was to turn this around, we're gonna see the top of the church. So there's, there's things that are coming off of it. Then I can have the barrel. Guess I should have left more room. But here's the fun part of that barrel. Here's that midsection I'm looking at here and also draw it all out. There's way more going up this barrel. I kinda since myself, but that's okay if I was when I redraw this and do good lines, all I'll put that in there. Let's see what else do I want here? I think I'm gonna have a box here for this arm. Maybe a box going down this arm. Then what do I want in between? What am I going to grab here? Any details? I kind of like this part here. If I come down just come down with a simple rectangle, some of its internal joints. So I'm not that worried about it, right. But I could see the flaps that are here that are all the details in here. So I might have like a line with some, something holding it together there. Then even, even this back flap can be this flap over top of here. You're going to make some type of joint here, depending on what I want. This is going to be the hip structure. Then the hand I'm going to rough in the hand here. And then we're going to draw in, I'm going to do the inner, the inner feet right now. I'm going to do the intersection here and there's a reason for that. As I start to move into the outer one, I'm going to actually make it so that this this is where the tread is. Not gonna spend too much time on it right now, I'm just roughing in where the tread is. Then you can see if I draw through just a little bit, the wheels would be inside of there. We're just going to see a little bit and that's what's going to show us. On these lakes. I want to put a hinge in here so it'll break down into there and play engineer so they can be a bit of a nice thing. And let's see, we've got these type of details that we can add into it. Then this handled go in there. And that is how you start to rough in taking pieces from your reference. And there can be more like you're gonna see. I don't want this unit to go on forever, so I'm just going to jump to the final lines. And you can see how I brought an even more references and stuff, added a lot more little mechanics and everything off of the tank. And how I made this into a finished transformer. I think it works out. Pretty cool. Guys. This is a big part of what this course is about, is we spend so much time learning about hinging. We spent so much time learning about references. And now we've got to take them and just apply them. We have our humanoid bought. Then we started to grab from the reference and throw it on all over the place. That's what I want you to do. I got a sheet for you here with the tank, but what I'd really like you to do is grab a car, grab a toaster, blender, whatever it is you want, and start to add the key features, the key components onto a bought and see how you can make it work. That's a challenge, That's a challenge of this course. Making it work. I have confidence that you can. 18. Mechs Thank You: Hey guys, that was cool right now, you can mechanize all of your creative shifts. We taught you some basic fundamentals of hinging, joints and all that kind of stuff. Being able to combine it with a real-world mechanics. And I'm really curious about what you're going to come up with. Why don't you send them my way. I'd love to see some of your creations guys. And guys. If you've got a question that you need answered, maybe you feel I went a little bit too fast, go into the unit. You've rebounded a few times and still can catch it, shoot me a comment and if I can answer it and just a little blurb, I will. If I can't. Well, that's cool because then I'm going to create a new unit to explain it. Because if you're confused by it, chances are other students are confused by two. And I want to make sure that all of my students are guided along the way. So if you enjoyed this course, if you loved hanging out as much as I did, tell me, give me that thumbs up, give me that review or whatever so that I know I'm on the right path in creating content for you. Speaking of content, I've got about 20 other courses on this site. So if you liked this course, take what you learned here and jump on into the next one. Because I'm excited to see what you got.