Designing Droids

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Designing Droids Chapter 01: Recon Droid
Chapter 01: Recon Droid
Software Used: Photoshop

Hello, my name is Alex. I draw mechs… a lot!

Some might say it’s a calling and they would
be right. When you get down to it, robots
are just plain fun to draw/design/model etc.
It’s practically a fact. Between the numerous
aesthetic approaches one could take, imagining
the functionality of a design, the design
flexibility to make stuff up as you go and the
miscellaneous cool factor that robots innately
possess, it means that, at least for me, (having
grown up on a steady diet of video games
featuring the piloting or blowing up of mechs of
every stripe) it’s always been a fun endeavor. In
the case of this particular robot image, the goal
was to create a scout droid of some sort, so let’s
go on and explore that. The tools I used were
an Intuos 3 Wacom tablet, Photoshop CS5 and
various brushes and textures.

While not always a necessity (as it very much

depends on if the piece is for fun or for a client,
as well as just how much familiarity you have
with the various mecha genres in general) it
often helps to stop and really think about what
your design ought to have. Just mull things
over for a bit. Think about what kind of role this
scout is supposed to fulfill; think about what
sort of equipment and configurations of parts it
would need to succeed in that role; think about
the relative level of technology this design is
supposed to be a product of.

Now, when I think of scout droids the first

thing that comes to mind is something lanky,
lightly armed and armored, with a considerable
amount of spotting gear and electronic
countermeasures. Something that looks like
it would have only just enough protection and
armament to affect a speedy escape. In terms
of relative tech level, as a matter of preference I
went for something that would look like it could
potentially exist somewhere within the next 25
– 50 years.
After brainstorming for a few minutes I
started messing around with various different
silhouettes straight in Photoshop. When doing
these I keep the requirements of the design in
mind as I play with various shapes, poses and
body configurations. More often than not if you
go this route it might feel like taking a Rorschach
test at the same time as you create one. As the
silhouettes develop you should start visualizing
the relative placement of parts and features, and
begin extrapolating their general placement. In
the case of this particular scout droid, I ended
up going with my second design, as it seemed
to convey the scout feel the best.
With the sketch decided upon I started to make
a few subtle experimentations in black and white
for the pose and form. These included shrinking
the left arm a small amount and seeing how the
image might look running instead of standing.
While there is always room for adjustments
later, it does help to sort of settle on a basic
form from the onset (Fig.01).
Now I started the clean-up of the sketch. I began
by reining in the shapes, defining the angles of
various parts and further interpreting the loose
sketchy amorphous shapes into having a clearer
function. I also established a particular shade
of gray, which would become the relative base
tonal value of the design that I would work off of

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 Chapter 01: Recon Droid Designing Droids
later. I also made adjustments to the pose and
proportions, as the hip area was not looking all
that great to me anymore and the left arm felt
too long (Fig.02).

As I continued I made further adjustments and

alterations as I interpreted the rough shapes
of the design into more detailed forms, moving
steadily into the detailing work. I also returned
the pose to the original sketch’s standing
position as I felt it worked better.

With the main figure more or less settled upon it

was time to begin establishing the environment
surrounding this scout. Considering its scouty
nature, I felt that the implication of an overlook
of sorts would be fitting, and considering the
machine’s splayed feet and long flexible arms, it

seemed suited towards picking through broken

and potentially unstable terrain. So I went for a
desert ruins motif. At the end of this stage, I took
a sandy yellowish color and applied it as a Color
Burn layer to the entire image to set the basic
starting hue (Fig.03).

Continuing onward I began to add additional

line work type details, refined the shapes further
and adjusted the position, size and angle of
the droid’s left arm. Feeling the need to have
some spots of more saturated color in an overall
unsaturated image, I decided to give the droid
a bright orange eye. In order to establish a
more defined set of shadows and highlights on
the droid, I roughly painted into two separate
overlay layers – one white, the other black –
where the general highlights and shadows were
to go. I then used Gaussian blur to soften both
layers and reduce their opacities (Fig.04).

Following that I copied and merged the image

into a new layer and desaturated it completely.
Then, using the Dodge and Burn tools as well as
the level adjustment tool, I tweaked the overall
contrast before setting the layer type to Overlay.
I also significantly decreased the opacity so as
not to make the design too contrasted.

At this stage it felt like the design needed to

be made a bit more crisp, with slightly sharper
looking edges. To do this I copied and merged a

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Designing Droids Chapter 01: Recon Droid
new layer and used the High Pass filter, then set
the layer type to Overlay, thus causing edges
over the entire image to come in a little sharper.

At this point I began to poke around the image

looking for small details to correct/add and
rough areas that could stand to be refined.
Later secondary and tertiary colors/tones were
added to the droid, namely as orange striping
and bare grey metal surfaces. In order to accent
the edges further and brighten up the design
a small amount the image was copied and
merged again, run through an accented edges
filter, set to the lighter color layer type and
dropped significantly in opacity so as not to be
overpowering (Fig.05).

Although I continued to add small details and

make slight tweaks, this stage of the image’s
development focused primarily on establishing
some of the atmosphere in the environment that
the droid was standing in. Using various sand
and dirt textures set at a low transparency I was
able to establish the terrain in the foreground.
Various cloud textures were repurposed as
drifting smoke by adjusting their hues and
transparencies. I set one layer to Soft Light, one
to Overlay and a third as a subtraction layer, as
this gave the impression of a bit of light bleeding
around the sides of the figure. Additionally the
entire image was copy merged and run through
a darker setting of the accented edges filter
to get more of an overall grittiness. Then the
opacity was dropped. At the end of this stage
the image was looking rather dimly lit (Fig.06).

Next I began to add weathering, scratches and

bullet holes for a little extra authenticity. This
was done via setting a layer to the Color type
and then, in the blending options, I adjusted
the Bevel and Emboss sliders as well as using
a grimy metallic texture with the bevel/emboss
effect. I then began to paint scratches and dings
where they would seem most logical to occur.
For example, near joints, on areas that would
likely bump into things and areas that I just
wanted to look battle-damaged to some extent.

In light of the overall dimness of the image I

used some Overlay layers and bright colors to

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 Chapter 01: Recon Droid Designing Droids

make certain areas pop out more brightly and

to add color and highlights to the bare metal
surfaces, as their specularity would be higher
than the painted metal, and thus would take a
hint of color from their surroundings. Also time
was taken to use dedicated circle brushes to
clean up some of the more irregular hand-drawn
rivets, joints, bolts and assorted round areas
(Fig.07).

At this point I was happy with the droid (though

I did end up slapping a unit designation decal
on it), which meant I could concentrate on
achieving a good look for the rocks and broken
ruins surrounding it. This was done by taking
various images of broken concrete and resizing
and reshaping them to match the breaks
and cracks in the original silhouettes. I then
erased the parts that where necessary. Certain
foreground rock shapes were redone completely
to make them fit the image better. The layers
were color corrected from their original tones to
match the sandy yellow hue of the rest of the
image (Fig.08 – 10).

Alexander Iglesias
Web: http://flyingdebris.deviantart.com/
Email: flyingdebrisguy@yahoo.com

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Designing Droids Chapter 02: Repair Droid

Chapter 2: Repair Droid

Software Used: Photoshop

Hello, my name is Alex Iglesias and I am a

mech art addict! In this tutorial we’re going to go
through the process of designing and illustrating
a repair droid.

Now when it comes to the basics of mech

design, the first thing you want to ask yourself
is, “What is this mech/droid supposed to do and
how is going to do it?” In the case of this design,
the “what” was part of the assignment and that
was repairs. Now, to different people the idea
of some sort of repair droid means different
things. Some people might picture some sort of
anthropomorphic robot handyman; others might
imagine spiderbots working in unison, or maybe
some kind of ambulatory multi-tool. In the case
of this design, I pictured some sort of battlefield
engineer unit that follows around combat units
and patches them up, or tries to salvage them As I looked at the initial sketch it became sketch into more specific surfaces. I also began
if they are blasted apart. With that approach in apparent that there were a few things that didn’t experimenting with certain dark areas and
mind I began making sketches exploring that quite sit right in the image – it felt too static and aspects of lighting. However, it was still fairly
idea. lacked energy. The solution I found was to flip, crude and more clean-up work and refinement
warp and distort areas of the image to make continued well into the process of this piece
At this point the idea of the “how” began to form. things appear just a little bit more dynamic. (Fig.02).
It would fix up/interact with other droids via long Tilting the horizon a little bit helped this too. Also
spider-like appendages ending in pincers, tools, I put more of a lean into the repair bot’s pose, Immediately after I was comfortable with the
cutters, etc. After a small bit of exploration of which added a little more implied weight to its basic details and layout, I added a flat brown
silhouettes, I decided to depict the repair droid form. tone over the whole image and added some
mid-work, sifting through wreckage while its rudimentary shadows, in order to provide a bit of
allies converge on an off-screen fight in the After I was happy with the sketch I started a background tone as I continued the rendering
background (Fig.01). defining the originally ambiguous shape from the process (Fig.03).

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 Chapter 02: Repair Droid Designing Droids
I began to add some color gradients to start
establishing the dusty atmosphere of the piece,
and started to clean up the design of the droid
itself. I also began to establish the forms of
the background vehicles at this point. I really
wanted to give the impression of some large
mobilization consisting of a combined arms
force. Part of the reason for this was to give the
viewer some rough idea of what the blasted
wreckage at the repair droid’s feet might have
looked like (Fig.04).

For some reason I really enjoy bright yellow

color schemes on vehicles. So in the case of
this repair droid, to help distinguish it from the
combat units and to make it associated with
industrial equipment, I applied an Overlay
layer of a bright, school bus yellow! I didn’t add
this yellow to the areas I wanted to leave as
exposed metal. I also painted in some dust to

show the movement of all of the droids in the

scene (Fig.05).

I wanted to differentiate areas further, help

diversify the color scheme and add even
more of an industrial flavor, so I made several
surfaces much darker and unpainted. The
caution strip was also added to several areas as
it’s a classic, easily identifiable motif that helps
cement the industrial aspect further. In order to
make the machine appear more used, areas of
chipping and fading in the paint were added.
Experimentation with the color scheme via the
Hue and Saturation tool also caused the overall
colors to become brighter and more vibrant
(Fig.06).

After taking another look at the image, I found

that the colors actually a bit too saturated now
and the machine was still not looking worn
enough! More weathering was added using
grunge brushes I had, in addition to some
smaller clean-ups and edits. The overall effect
made the machine appear a little darker and its
paint job a bit more mottled. At this point I also
felt that one of the surfaces was woefully empty
and decided to add a number decal for fun.
Areas that were meant to be bare metal were
also considerably more defined at this stage in
the progress (Fig.07).

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 Chapter 02: Repair Droid Designing Droids
The mech’s details were pretty much nailed
down at this point, so it was necessary to move
on to other aspects of the piece. In this case the
foreground. First and foremost I had to come up
with some convincing dirt! Using the underlying
color plus a texture I found I was able to create
exactly what I was looking for (Fig.08). After
that I had to edit the overall silhouette of the
scattered debris, cleaning up the shapes and
adding form to them. For added form and detail I
used various metal textures and grunge brushes
at low opacity to get the necessary amounts of
metal noise. The fires were essentially tweaked
and modified textures that I applied using the
Lighter Color layer style, which really gives that
sort of “flames in broad daylight appearance.”
My personal favorite part of the background The image was now looking pretty solid to me,
With the foreground and focus point where though was the creation of the artillery muzzle but it was still a bit too clean and flat. Something
I wanted them it was time to finish off the flash on the far left giant mech platform. had to be done about that. Using some gray on
background. The attack units took a bit of work, Essentially it was just a sketched blob shape a Color layer I opted to desaturate certain areas
namely in cleaning up or adjusting the individual that had some tweaked fire textures dropped in of the image to make the repair droid seem a bit
silhouettes. But as they were relatively small, it. The texture was then merged, set to Lighter more worn. Also, finding the bare metal surfaces
implied detail went a long way here. Color and dropped in opacity (Fig.09). themselves a little lacking, I decided to clean
them up and contrast them a bit more, so as to
The giant weapon platforms in the far distance The end result was something relatively minor, make those parts stand out.
also got some measure of refinement and but it goes a long way to showing how much
definition, but not too much as it would not be dust and distance there is between it and the Although the image up to now looked dusty, it
conducive to conveying their far away distance viewer. A considerable amount of hand-drawn didn’t really look that acrid, scorched earth, type
and immense size. smoke clouds were also involved. of dusty. I really wanted that “carcinogens in the

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Designing Droids Chapter 02: Repair Droid

air” type of smoke factor in my image. Using

some textures of overcast skies and various
clouds, and some tweaking of layer types and
opacities, I managed to get the amount of
smoke desired (Fig.10).

Lastly it came down to adjusting the general

color, hue, saturation and contrasts to finally
make the image pop, plus a few general
color overlays and gradients. After a fair bit of
tweaking the various image aspects I finally
reached a point were I was satisfied with it. The
air in the image looked so thick that it could
have been cut with a knife. Also the mech
looked well-used and sturdy, which fitted the
image perfectly (Fig.11).

Alexander Iglesias
Web: http://flyingdebris.deviantart.com/
Email: flyingdebrisguy@yahoo.com

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Designing Droids Chapter 3: Medi Droid
Chapter 3: Medi Droid
Software Used: Photoshop

Introduction
In my opinion, the most important things to learn
when working for a game developer are how
to follow a brief, and how to develop a style or
closely follow an existing one. A concept artist’s
job is not only to come up with something
visually appealing, but, more importantly, it’s to
create an asset that is functional, scientifically
viable or at least believable and which is based
on the parameters of the game’s plot. A process
needs to be followed that enables the art
director (AD) to give ample feedback throughout
the development and that also makes the 3D
modelers’ jobs as easy as possible. The more
information supplied to the modelers, the faster
the model moves through production. The Day One: 9:30am – Brief In terms of design, the droids should be
concept artist has a huge responsibility early on, The AD has requested a medical droid for the futuristic, but not too slick and curvy, and still
hence the importance of following a solid design front line level of our game. The setting is Earth, in-keeping with current military designs. Some
pipeline. approximately 2050, and a variety of droids organic shapes should be present for specialty
assist military efforts on the front line. The areas, but they need a mostly hard and solid
I’ve written a short brief similar to that which an medical droids are used to assist injured troops construction. Special metals and hard plastics
AD would supply. The following steps are based and they have GPS and communication abilities should be used.
on a pipeline that – in its most basic form – can to locate injured soldiers. Every soldier has an
be found in any game company. This method encrypted tracking device that links them with You can’t always hope for an in-depth brief, but
is one that has worked well for me. I’ve also the medical droid and this device is activated basically the more information you have up-front
added approximate times for a typical work day when needed. The primary function of the the better your design is going to suit the game,
as a rough guide to what is expected. Some medical droids is to locate and assist the injured therefore hugely cutting down on revisions and
artists are slower and some are faster, but this is soldiers and, if need be, operate on location and even do-over’s.
roughly the pace I work at. safely transport the injured back to base.
Day One: 10:00am – Research
Research is the part I really enjoy. I learn about
all sorts of subjects I would never usually read
about. It’s also the best place to start. To assist
you in your research, it’s a good idea to first
break down the brief into key words. That way
you will cover everything in your design.

Here is my interpretation of the key brief points:

• Year 2050
• Front-line military medical droid
• Some curves, but mostly rigid construction
• Main appendages protected with high
density composite cowling

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Should have the following:
• Visible GPS and communications systems
• Transportation device for injured soldier
(possibly stretcher)
• Arms to perform tasks such as lifting body,
moving debris and performing surgery
• Audio and optical
At this point I then start looking for references
on Google Images, using key words that
address each of the bullet points from the brief
breakdown; army medic, military surgeon,
military robot, army stretcher, medical robot and
so on. I then compile all of the reference images
into one in Photoshop (PS) and place it on my
second monitor. That way, it’s always there so
I don’t stray too far from the brief when working
on my thumbnails.
Day One: 11:00am to 12:30pm –
Thumbnails: First Stage
When starting thumbnails it can be difficult to get
past the initial blank page. It’s important to let
your ideas flow onto the page without judgement
or over-thought. Otherwise you can get caught
up in the details on a single concept and before
you know it, two hours have passed. The panic
of a deadline sets in and productivity drops.
There are many methods of starting thumbnails,
from blocking-in silhouettes to using random
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Chapter 3: Medi Droid
shape brushes. The method I prefer is simply to
use a large brush to block in rough shapes and
then define them with quick lines and shadows.
To save time when selecting brushes, I put
the ones I use the most at the top of the brush
selector menu (Fig.01).
I usually start with an A4 landscape page and
rough out about six to eight shapes in two rows
(Fig.02). I try to make each thumbnail different,
but sometimes find that once the first few
shapes are created, an idea starts to form and
this stops the flow of new ideas. It’s difficult to
move past the urge to do variations on a single
design, but it’s a good idea to try. Some ideas
will be terrible, but it’s important to work through
as many as you can. It’s just as useful to show
ideas that don’t work as ones that do. Bad
designs also make the good ideas stand out. If
a co-worker comes to look at your progress, it’s
much better to have a page of rough scribbles
than only a few detailed ones. The AD will be
able to see your thought process and let you
know if you are heading in the right direction.
It’s a starting point and if the direction changes,
you haven’t wasted much time on detail and can
quickly amend the roughs.
When working in a games studio, it’s common
for leads and ADs to be watching your progress
from their own desks over the network. It’s
handy to add little notes to reinforce what you
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Designing Droids
are thinking so your working drawings are not
misinterpreted early on. You could save your
initial work locally of course, but leads often ask
for you to work on the server for this reason. So,
it’s quicker to scribble a few notes as you go, or
even paste an image to show what textures you
are thinking of rather than painting it.
Day One: 12:30pm to 1:30pm –
Lunch
Day One: 1:30pm to 5:00pm –
Thumbnails: Second Stage
Once you feel you have some good ideas
down and the lead is happy for you to continue,
you can add some detail and better define the
shapes and surfaces.
A method I use a lot when I’m painting digitally is
to first break the object into readable chunks of
light and dark values; light being the main chunk
or section of an object, and dark being the
recessed area in between (Fig.03). I do this by
using the Polygonal Lasso tool (L) to mask an
area. Using a large flat brush I then lay in some
basic values, similar to that of a base 3D model
with global lighting. I then invert the selection
using Shift + Control + I and block in the darker
areas. At this stage I’m working at 33% zoom.
Fig.04 shows a comparison between 100% and
33%. I find it easier this way to keep an eye on
how the design is reading as an object from a
distance, and to determine how the light and
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Designing Droids Chapter 3: Medi Droid
dark areas contrast with each other. Any closer
than this and the detail is largely pointless as
thumbnails are often only viewed all at once on
a screen or printed onto an A4 page. No one is
going to be zooming in to look at detail at this
point. Thumbnails are about the basic design.
Once the basic shapes are defined, I can then
suggest detail with quick lines and break up
the panels with joins and creases. It’s good to
use a few simple colors to hint at decals, glass
and artificial light sources. I then lay in shadows
with a large flat brush using complete black at
100% opacity. If you don’t press too hard, you
will achieve a nice shadow effect with single
strokes. The standard Round Flat brush does a
good job for this, but I find that textured brushes
such as Chalk do just as well.
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To add highlights I like to start with a flattened
layer. Select all (Ctrl +A), then Copy Merge
(Shift + Ctrl + C), then Paste (Ctrl + V). I do this
because I use the Dodge Tool for highlights and
I like it to affect all of the layers.
Using an airbrush with the range set to Mid-
tones, I drop in some quick down light. I then
change the range to Highlights and use a
smaller brush to pick out high contrast areas.
I like to add extreme light right next to shadow
areas, which emulates a trick that light plays on
the eye. If the objects are looking too washed
out here, I create an adjustment layer set to
Selective Color. I then set the colors to whites
in the menu and slide up the black until the
balance is right, maybe introducing a little bit of
yellow as well.
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To finish off it’s always good to add some notes
if you haven’t done so already and label the
thumbnails with letters or numbers. This makes
it easier for the AD to let you know which ones
are preferable (Fig.05).
End of Day One – Meeting with AD
Day Two: 9:00am to 10:30am -
Finalize Design Choice
By this point the AD will have looked over
your roughs and hopefully made a selection;
either one particular design with possible
amendments, or a combination of thumbnails.
For example, he might like the top of A, with the
bottom of D and the arms of E. For the purpose
of this exercise, D was chosen as a suitable
rough to work up.
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 Chapter 3: Medi Droid Designing Droids
Day Two: 10:30am onwards – Front
and Back ¾ Renders
The first thing I do when working up a thumbnail
into a final front and back ¾ view is roughly
plan out both views beside each other. I find
it’s important to do this early on as it helps to
determine if the back works well with the front in
its present state. It also allows me to see if I’ve
missed anything in the front view that should be
visible. I try to make the front/back perspective
as straight on as possible to make it easier to do
the orthographic views later.

The fastest way to do this is to simply copy

the thumbnail and flip it horizontally. Then, by
dropping the brightness and contrast to black,
it’s easier to imagine that you are looking at the
object from the back (much like a silhouette), as
there are no details to fool you otherwise.

By running lines across from key points on the

thumbnail drawing, you can determine where
things are placed on the back view. I also do
a quick render of the medical droid with the
stretcher down and the soldier inside being
operated on. This gives me a good idea of what
parts I need to add in order for this design to
function (Fig.06).

The next task is to paint in the front view using

the same method as described earlier in the
thumbnail section, but taking more care to
render surfaces a bit more smoothly. It’s at this
stage that I basically clean up all of the shapes
and start to make sense of how the parts fit
together. I often use the Elliptical Marquee
tool (M) as a mask tool for arcs and circles.
The thinner lines are created using the stroke
function, as shown in Fig.07. I use Transform
Selection to make the mask bigger or smaller
and also the Modify/Expand and Contract
function for irregular shapes that don’t transform
that well.

Using the shortcuts I’ve mentioned so far

(selecting with the Lasso, blocking in value,

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Designing Droids Chapter 3: Medi Droid

inverting selection, blocking in value), rinse and

repeat! I work my way down the image, cleaning
everything up and solving any issues I find
(Fig.08).

I do the same with the back view, constantly

running guide lines across to see if everything
matches up (Fig.09).

Shadows are created using a large flat brush as

stated earlier, but this time I use the Lasso tool
to more accurately select the areas (Fig.10).

It’s good practice to keep sections of detail on

separate layers. That way it’s easy to select
specific parts, and add lighting or make changes
later on (Fig.11).

It is then time for another clean-up pass and to

add more detail lines and joins, making sure all
of the surfaces are the right color and all of the
points match up from front to back (Fig.12). I
find that a good way to achieve crease lines is
to take a flat brush and turn off Other Dynamics
in the brush pre-sets. You can then hold down
Shift while you are drawing a line and just keep
clicking from point to point. I use this a lot.

I finish the front and back renders by adding

some metal and grunge textures using a Multiply
layer, and paint in scratches, dents and decals.
Finally I flatten the layers and use the Dodge
tool to add highlights, like I stated earlier. A drop

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shadow is created by making a Load Selection
of the robot and using Transform Selection >
Distort to change the perspective to ground
level. A simple gray fade and it’s done (Fig.13).

Sometimes it’s a good idea to add samples of

the texture references you’ve used in boxes to
the side of your renders. This is to make sure
that the modelers know exactly what type of
materials you would like to use for each surface.
Even if you render the object beautifully, it can
still be misconstrued as another texture.

Day Three: 9:00am onwards –

Orthographic Views
Orthographic sheets are where all your hard
work will pay off. If you have designed your
object well, then this stage should hopefully be a
walk in the park.

I start off by placing the front ¾ render onto the

page and dropping the opacity right down. I then
drop in some guidelines at key points, similar
to when I was doing the back ¾ view. Rough
lines are used initially to get an idea of where
sections sit and how the model translates into
a front view. I try to imagine the model turning
slowly in order to get an idea of how the shapes
appear when facing straight-on to the viewer.
Basically the side planes will become thinner
and the front planes wider. You can even select
some of the larger shapes from the ¾ view,
drag them across and widen them slightly as
something to start from (Fig.14).

When I’m rendering the ¾ views, I keep in

mind that it would be handy to have some of
the arms and legs close to the correct plane for
orthographic use. This way I can simply paste
them in and draw over them. The arms are bent
in places so I straighten them out by moving the
pivot point in Transform mode so I can rotate the
arm from the right spot (Fig.15).

It’s important to show the arms straight and

have the legs side-on so that the modeler can
use them to model from properly. Movable

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sections that cover the object, such as the
stretcher and the arms, should be removed and
drawn separately so that detail can be added
behind them (Fig.16).
To get an idea about whether the front half
is correct, mirror the image and make sure
everything looks good before continuing. I’ve
found that when doing orthos in the past,
everything looks good until I mirror it, and it
always seems to have a chunk missing out of
the middle, especially with faces (Fig.17).
www.3dtotal.com
Chapter 3: Medi Droid
Once I have everything laid out, it’s time to drop
in the final linework. This is simply a matter
of being more precise with lines and making
certain that all points match up in all of the views
as best as I can (Fig.18). It’s not crucial to get
everything spot on, as the 3D artists are usually
very good and can fill in the gaps. Although it’s
nice to get it close!
When doing the side view, it’s a good idea to
have it as close to the front view as possible
so you can easily eyeball back and forth to see
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Designing Droids
where things should be going. It would take too
long to make this an exact match, but as long
as it’s close, the modelers will love you for it
(Fig.19).
If the arms and legs are the same on both sides,
it’s not always necessary to draw them twice. So
I’ve left them off the back view to save space on
the page for other sections. In Fig.20 you can
see that I’ve simply drawn over a shape from the
back ¾ render and will just drag it across and
manipulate it if necessary. The more views you
do, the more problems you will start to find, so
it’s a continual process of moving lines around
to make everything work.
Once I’ve finished the linework, I make sure
that there are no gaps in the outer perimeter
by drawing a single thick line around the whole
drawing (Fig.21). The reason for doing this is so
that I can then use the Magic Wand tool (W) to
select the empty white space around the droid.
Once this is selected, I then invert the selection
using Shift + Ctrl +I, create a new Multiply layer
and fill it with a light gray. I then lock the gray
layer and paint in some darker areas using the
Lasso tool. Finally, I use the Dodge tool to add
a small amount of light for curved surfaces,
label the views “Front”, “Back”, “Side” etc., and
it’s done. It’s also a good idea to add a human
figure for scale reference (Fig.22).
If you have time, sometimes it’s nice to do a
quick painting of the object in its proposed
environment. This will help sell the idea and also
be a good addition to your portfolio (Fig.23)!
Chapter 03
Jeremy Love
Web: http://jeremylove.com/
Email: jez.love@hotmail.com
Designing Droids Chapter 4: Bartender Droid
Chapter 4: Bartender Droid
Software Used: Photoshop

Introduction
This image was a great challenge to think about.
When I got asked by the editor of 2DArtist
magazine to do it, my first thought was to draw
something simple, perhaps, with my focus being
the design. But finally, as I nearly always do, I
ended up making things much more complicated
so that my work has an added value. I believe
that in order to produce a more desirable idea, it
is necessary to be a perfectionist.

The Idea
I really like to wander here and there at night
with my friends, along the streets of Buenos
Aires, stopping for a while at any one of the
numerous bars or pubs that open throughout
the night. I like to enjoy a beer or a drink whilst
watching a football match on the TV, or just talk
a mixture of nonsense and seriousness while
getting acquainted with people who enjoy the
never-ending journey like I do. From Mondays
to Saturdays this cosmopolitan city offers a wide
variety of places where Argentine people or
visitors from abroad can choose how and where
to have fun.
So while looking for inspiration and references,
I visited several places that were decorated in a
modern or classical style, and also some British
or Irish pubs where foreigners usually meet,
together with artists and lovers of beer and good
football.
The first thing I did was to draw several
thumbnails and sketches so that I had options
available by the time I needed to start the final
design. I always say that the best thing to do
is draw anything that comes into your mind,
without any limitations. This is the way you have
to work in the film and video game industries;
thumbnails and sketches are what you have to
get done first (Fig.01).

When choosing a single design among several

concepts, the best thing to do is meet with the
art director, lead artist and lead designer to
select the parts you all like from each design.
You can then put these parts together and link
them in a final concept (Fig.02).

The Design
The nightlife made me think that the best way
to show a robot bartender was in its work
environment. I chose a retro 80’s style, with a lot
of influence from Star Wars, which is one of my
favorite movies for its designs.

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 Chapter 4: Bartender Droid Designing Droids

In the production of professional work, we

have to show a schematic of our designs. This
technical guide is useful for 3D artists when
modeling the character (Fig.03).

The easiest way to make a schematic is based

on the ¾ view, which means we can project the
guidelines in order to step to the next view. It’s
like moving the plan of a house to be able to see
all the sides of it (Fig.04).

The most important views are the ¾ view of

the front and back. If we want, we can add the
profile view and detailed plans of the areas
that perform some specific functions. The more
information we give to 3D artists, the more
accurate the final model will be (Fig.05).
To understand how to make a schematic better, I To obtain a perfectly presented idea, we can
made an example with simple geometric shapes add the color design along with the schematic;
(Fig.06). this is a more professional and aesthetic way to
introduce our designs (Fig.07).

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Designing Droids Chapter 4: Bartender Droid

The Illustration
Previously I said that the first stage was
the concept, the second stage was the final
approved design and the last stage was
marketing materials or the finished artwork.
Almost all video game studios work this way.
The final illustration will show the method
of creating this style and how the design is
applicable for all other project designs.
To begin the illustration I made a couple of
sketches. This was to see which the best option
was to see how a bartender works. In Fig.08 are
some examples of this.
I found the first sketch very symmetrical and
front on, without much action. The second
option seemed perhaps a bit more dynamic,
but I still did not like it. What I needed was a
scene where I could feel part of the situation,
as if I were stuck in the scene. So I went with
the last option. I really like pictures that have
photographic effects like films do, or make me
feel as if I were interacting within the scene. I
think they are a lot funnier and impressive.
Once I knew which scene I was using, I began
to add detail to the sketch on a new layer;
I enlarged the image and began to polish it
completely (Fig.09).
The next step was to set the background color;
this is the base to add colors to each element
of the drawing. Red will lead all the other colors
(Fig.10).
When the drawing is very complex I usually
define volumes in black and white or in this
case, using the base color. I found that drawing
the robot was very difficult. That is why I detailed
volumes in a single color first, so that afterwards
it would be easier for me to add the final details
(Fig.11).

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To accurately define geometric objects, in this
case the bar and walls, I used the Polygonal
Lasso tool towards the vanishing point. I painted
with a mask to create a well-defined and neat
edge. Using the vanishing point as a guide
helped give a perfect finish to all surfaces and
flat edges (Fig.12).
Color
Once I had defined the basic plans of the
drawing I started with color, creating a new
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Chapter 4: Bartender Droid
layer in Normal mode. From there I started
painting, using a brush at 70 to 100% opacity
(Fig.13a – b).
For painting I am guided by the lights in my
picture. In this case, there was an orange light
on the top right and a blue light coming from the
bar at the bottom left. The blue light effected the
robot’s base, since it came from below and, at
the same time, touched the top of the face and
hands of people leaning on the bar (Fig.14).
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Designing Droids
As I always say in my tutorials: paint the light to
show the shape of the individual elements in the
scene (Fig.15).
To help achieve a photographic effect while
giving depth to the picture, we can place objects
that are further back and out of focus. This
creates an illusion of being inside the action; as
if we, the viewer, are the ones taking the photo
(Fig.16).
Chapter 04
Designing Droids Chapter 4: Bartender Droid
Conclusion
To work professionally, you don’t need to be
an expert in digital art. As you can see, almost
everything I have explained can be done with
the Brush tool, masks and a few layers. The
important thing is to have a good foundation
of traditional drawing and a lot of patience. To
create this picture it took me two weeks to think
about the idea before I was prepared to draw it.
Always keep in mind the way in which you will
present the image. Making sure it’s different
from others will give you the opportunity to do
great things.

www.3dtotal.com page 31 Chapter 04

 Ignacio Bazan Lazcano
Web: http://www.neisbeis.deviantart.com/
Email: i.bazanlazcano@gmail.com
Designing Droids Chapter 5: Demolition Droid
Chapter 5: Demolition Droid
Software Used: Photoshop
I thoroughly enjoyed working on this tutorial
and was pleased with how it turned out! I’d
like to show my overall working method for
completing these pieces in Photoshop, as well
as communicate a little of my thought/design
process.
Since the main purpose of a demolition droid
is to destroy things – hopefully in a planned
and organized way – I started out creating a
few thumbnails that demonstrate this objective
(Fig.01). I wanted it to read as a droid and not
as a mech or battle-suit.
First off, it would need to be durable, small and
somewhat stealthy – maybe able to fly/hover (A,
www.3dtotal.com
B), or maybe built to roll over all types of terrain
(E). Perhaps the droid is equipped with tank
treads or multiple sets of wheels (C, D, and F)?
In the end, a design that hovered was chosen,
as the droid could go anywhere and wasn’t
limited by height, terrain or blockades. The
design needed to be durable enough to take
a few hits and still function, so thumbnail B
seemed the most suitable. The main body would
be a sturdy case, which held small explosives
operated by a small arm. This arm could
place the explosives strategically, to maximize
the bomb’s potential to destroy a structure
or vehicle. To aid in the placement of these
explosives, a cutting torch was added, to slice
through metal bulkheads and doors. Lastly,
missile launchers were added, so the droid
could defend itself or remove obstacles.
page 35
Next, I started planning my illustration. I wanted
to show the droid at its most exciting – a
squad of these units, powering forward, arms
carrying explosives ready to be planted, missile
launchers firing (indicating there are enemy
units ahead of them). I felt this model of droid
would be particularly effective as a squad, hitting
multiple targets at once and striking quickly
before the enemy can regain ground.
I started drawing out some quick compositions
based on this squad mentality, until I arrived
at the one I was happiest with. From there
I created a rough drawing of the scene and
blocked in my basic shapes. I created an
extremely rough proxy model of the piece
in Google SketchUp, just to get some rough
perspective lines in there, as well as a 3D
feel. I tilted the droid to give it some force and
Chapter 05
 Chapter 5: Demolition Droid Designing Droids

some dramatic appeal. Then I added in a few

more rough perspective lines to help me do an
accurate under-drawing (Fig.02).

I will frequently flip an image and keep an eye

on my Navigator window, to be sure the piece
reads when it’s small. I started to indicate my
lighting and values now that I was somewhat
satisfied with the overall design. I want the front
droid to be dark against a background of fog and
explosions (Fig.03).

Next, I concentrated on picking out a color

palette. I wanted the piece to be mostly warm,
indicating explosions and fire around the squad
of droids, but with the smoke from the burning
targets bringing in some cooler hues. To add

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Designing Droids Chapter 5: Demolition Droid
more action and depth, I would eventually want
some enemy fire crossing over and behind the
main droid (Fig.04).
Here, I refined the design/color/lighting. I will
usually do both drawing and blocking in shape
silhouettes at this point. I looked at many military
references for color, and decided this would take
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place out in some oil fields of a desert or plain.
The main body would be a brown/tan color, so
that it blends in with this particular environment
(Fig.05).
I toned down the saturation of the entire painting
a bit, because I felt that the color was getting too
bright and vivid for a war scene (Fig.06).
page 37
Here I continued to tighten up the piece, defining
my edges on the main droid and indicating the
other robots and structures in the background.
I wanted the ground to be on fire for a very
warzone-like feel, which would allow me to add
some light from beneath, to make the droids
stand out from the background. I also fixed a
few perspective issues as I saw them (Fig.07).
Chapter 05
 Chapter 5: Demolition Droid Designing Droids

A friend suggested that the droid needed some military, as well as caution symbols and danger overlays, dirt around the edges and some blast
small details that made it really stand out and signs around the engines. For some scale marks were also added to push the battle-worn
gave it character – warning signs, ID numbers, reference, I added in some handlebars on a few appearance (Fig.08).
logos, etc. I came up with a logo for a fictional of the panels. Extra scratches, grime, texture

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Designing Droids Chapter 5: Demolition Droid
A few lighting tweaks and it was done! I cleaned
up some of the edges on the main droid, added
detail and texture, and brought the enemy fire
beams back into the piece (Fig.09).

Usually I do the turnaround sheet while I am

still working on the illustration, to be sure the
design is right and is exciting from all angles,
not just the one I’ve chosen to illustrate (Fig.10).
I felt like the piece was done and accurately
illustrated the basic idea of what a demolition
droid does – blows stuff up! Thanks for reading!

Justin Albers
Web: http://www.justinalbers.com/
Email: albers.justin@gmail.com

www.3dtotal.com page 39 Chapter 05

Designing Droids Chapter 6: Fighter Droid
Chapter 6: Fighter Droid
Software Used: Photoshop

Intro
We’ve reached a point where neon lights
and metallic/technological matter can quickly
becoming boring and predictable, which is why
I tried to do something totally different for this
droid.

It’s very hard to create something very classic

that is based on contemporary times, so I
went back in time to a very sensitive, but very
interesting event: World War II. I was specifically
interested in the German technology of this time
period.

History, Legends and Design

There are a lot of myths and legends about the
weapons and unfinished projects of the “Bad
Guys” that could have changed the course of
the war, so I set out to investigate. What I found
included things like special jets, aired canons
and alleged flying saucers!

I took these legends and generated a collection

of data in order to be able to design a
revolutionary droid for the time that was elegant
in design, but also highly functional in a war
situation.

Next I studied the basic needs of a good

combat weapon. The scope for urban combat
was a necessity – the German troops were not
prepared for these urban struggles. I concluded
that the required features for an extremely
effective and reliable war prototype were as
follows:
• Cheap production method
• Full autonomy
• Lightweight design, suitable for urban
combat
• Self-sufficiency
• No logistical troubles
• Good relationship between weight and
power
Design References
I referenced many armored vehicles, guns and
soldiers. All of these things helped me to find
the perfect balance.
I liked the top features on the Panzer PzKpfw
model, a WWII tank, and decided to add them
to my own invention to give the model more
functionality (Fig.01). These features included:
• L/24 de 75 mm
• Anti-aircraft gun
• Flak 43 L/89 de 37 mm in an armored turret
with a Panzer IV chassis
• 360° rotation
• Grab land system against bullet impact
• Nuclear reaction battery
Sketches and Final Concept
I already had a clear idea in my mind, so I didn’t
draw too many concepts. I wanted a robot
that was inspired by the Panzer, and looked
like a half-wolf, half-raptor, with large feet, a
good shock absorption system, jumping ability,
lightweight design and overwhelming speed
(Fig.02 – 03).

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 Chapter 6: Fighter Droid Designing Droids
Composition and Colors
At this stage, I tried to clarify the composition of
the illustration. I wanted to prioritize the full view
of illustration more than a 3/4 or cinematic view.
I thought a linear drive composition might be
very interesting in this case.

In terms of colors, I wanted to have a very

desaturated color scheme, contrasting with
the fighting and fire details that would fill the
illustration’s environment.

For that reason I chose a warmer palette to

show a “day-time war” atmosphere, with this
killing machine center stage (Fig.04 – 06).

Brushes
Brushes are a very frequent issue for an artist.
Which one do I use for this? Which one do I use
for that? Some people make it more complicated
than it should be. I personally opt to create my
own brushes and settings for each material
texture. I use the Calligraphy brushes, and
based on these brushes I create new ones, then
add texture and special dynamics for each one.

Here you can see an example of my brushes,

plus a graphic explanation of my realistic
illumination theory with natural colors (Fig.07).

Blitz Painting
This was a very simple stage. I used a big brush
to paint very quickly all over the canvas without
worrying about the details. I also did a quick
approximation of what would be in the painting
later.

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Designing Droids Chapter 6: Fighter Droid
Here you can see an example, plus the brushes
and key colors that I used at this stage (Fig.08).

Adding Photos
Sometimes it’s important to look to other
resources to help you with difficult details. In
this case, to expand my range of possibilities,
I had to turn to my girlfriend’s camera. I took
lots of pictures to help me with the background,
or weird details like the windows, buildings,
textures, etc.

To get a reference of houses destroyed by

war, I took lots of photos of huts in ruins. I also
photographed the structure of a dismantled car
and cloudy field landscapes.

To add a photo to an image is not hard; you just

have to consider a few things:

Lightning: The photos will naturally have their

own lighting and your painting another, therefore
you must make sure that they match. On this
matter, also make sure that the photo elements
are illuminated by a diffuse light source to avoid
creating harsh shadows.

Geometry: Try to take pictures in which the

textures or elements that are going to be
used are in a front view toward you, without
vanishing points, or perspectives that are hard
to transform. If this is not the case, you can edit
the geometry of your picture with Ctrl + T in
Photoshop.
Layers: Photoshop has many kinds of layers
and you can take advantage of these layer
behaviors to add photos to your painting in the
most realistic way possible. You can put your
photos in many modes like Hard Light, Dodge,
Linear Dodge, Pin Light, Linear Light, etc. Each
one has very different lighting behavior, so you
must find the one that best suits your needs.
The photographic elements in this illustration
are the windows, car structure and fire (Fig.09
– 12).
Finding the Right Materials
I’m a fan of materials; for that reason, when
I’m painting, I pay close attention to each of

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the materials in my illustration. I don’t have a
definitive creative process when it comes to
painting materials, because it’s like a “seek and
find” process where you use the photos to study
each of the different materials.
Here is a guide on how to paint the materials
that I used specially for this illustration. All these
materials are under the same hierarchy of
colors, and illumination system (Fig.13).
Mask
This is a very good tool for optimizing your
work and speed up your painting time. It’s very
simple: just select each item separately and
paint each one a different color. That way, when
you want to, you’ll be able to select them with
the Photoshop Magic Wand tool and paint them
separately (Fig.14).
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Chapter 6: Fighter Droid
The advantages to this technique are that you
can paint each item faster, with no worries about
crossing the boundaries of other close elements,
and you can get good definition in the details.
The disadvantages are that it’s a very
mechanical method and you can lose the flow of
the painting.
Legs
For this stage of the painting, I used the mask
method that I explained above, doing the
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Designing Droids
same for the materials, colors, etc. You can see
the step by step in Fig.15.
Silhouettes
The two soldiers are based on real WWII
photos. I tried to keep as close as I could to
these photographs to get a more realistic effect
with the poses and drawing structure (Fig.16).
Soldiers
These two men represent a remarkable
contribution to the narrative of the image. The
Chapter 06
Designing Droids Chapter 6: Fighter Droid
first soldier, who looks to the right, helps to
increase the feeling of advancing, as does the
linear composition of the illustration (Fig.17).

The second soldier in the background adds to

the narrative history of the piece and, along with
the sniper on top of the ruins, helps to generate
momentum within the image.(Fig.18).

Adjustments
To finish I edited the illustration, correcting
colors, editing element proportions and
retouching areas, etc. To do this I used a
number of filters including Levels, Color Balance
and adjustment layers.

Conclusion
To sum up, here are some final thoughts and
suggestions:
• When painting an image, make sure the
detail is sufficient in the areas that deserve
it. To ensure this, use big brushes at first
and then small brushes to add the detail.
• Using reference photographs for your
illustration is a good tool, but don’t abuse it. Christopher Peters
• Examining your process is a good way to Web: http://trejoeeee.deviantart.com/
improve your way of working. Email: trejoeeee@googlemail.com
• It is fascinating to see how the wit and
intelligence of man is freely discarded in
favor of our capacity for self-destruction
(Fig.19).

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Designing Droids Chapter 7: Pleasure Droid
Chapter 7: Pleasure Droid
Software Used: Photoshop

Stressed? Your back feels tight? Do your arms

hurt after long hours of making concept art for
the buck? Well, suffer no more! Simply ask
one of our latest I-pleasure 2000 robots for a
free back rub (relaxing music included) and we
guarantee you will feel in your twenties again!

Ideas
We start with a simple subject, in this case a
“pleasure robot”. First of all we have to sketch
some ideas on our canvas. As you can see in
Fig.01, I sketch some simple thoughts for the
robot. I choose a “massage robot”, so I decide
to add a vibrating massage device as the hands;
it is better than a couple of hands and keeps
the mood futuristic. In the back you can see a
big C battery type, to add humor to the design.
In the same line I decide that my robot needs a
face (as you can see it already has a camera),
so I choose a Japanese style for it and why not,
a weird, crazy painted face! In the sides of the
legs, I add a medic-kit and in the middle of the
chest, a kind of panel similar to the common
soda machines, so the person can insert a
coin and select the part of the body that needs
treatment.

Profiles
This step is very important in any production
illustration because the design can be used,
for example, by a 3D artist, or used to maintain
one style in a complex project. Usually I don’t
use this for a simple illustration, but in this case
I will show you the kind of style I use when a
client asks for it. If you can do a simple 3D base
in your favorite 3D program (for example, in
Google SketchUp – remember to catch my past
2DArtist tutorial with this great program!) it will
be a lot easier to work on the profiles.

I do a rough 3D model, as you can see in

Fig.02 and export the different views to Adobe
Photoshop. The common style for this kind
of work is line art. In the past I painted all the

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views, but several video game companies told
me that this is not necessary and they always
used a simple ink line. So forget anything about
light and shadow in this stage and call on your
interior inker. Check the final result of profiles in
Fig.03 – 04.
Color Illustration
I start with a rough sketch, which I select from
my mind. You can see how fast and quick the
strokes are in Fig.05. This is because I don’t
want to think too much about the illustration; I
have the idea and now it is time to drop it onto
the canvas. So, work fluidly and fast, think of
what you want to show and start to draw the
rough sketch as I have.
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Chapter 7: Pleasure Droid
Now it is time to define much more of our
illustration. In this step I add better lines and
a quick pass of grays to add volume to the
illustration. I’m not sure about the lighting,
but it is a good start. You can see how all the
elements work well together in the composition
in Fig.06. That’s because I did the first step, the
rough sketch. I think an empty robot battery on
the floor will be great to show how cheap this
Japanese massage house is, so I add this in.
Now it is time to add a simple base color, as you
can see in Fig.07. In this case I pick a brownish
one for the entire painting to accentuate the
poor hygiene of this establishment (don’t tell the
inspector!). The blue letters add a cold contrast
that works perfectly against the background
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Designing Droids
and the city behind is a good source of light for
our scene. But I’m still looking for the correct
lighting and this is an early stage, so I’ll probably
change the source later on.
You can see in Fig.08 how I’ve started to add
more color to our secondary robot and client.
But you don’t have to worry about detail in these
early stages, so work loosely over the painting
and don’t worry about the details at all.
I start to paint the foreground robot. I pick a
warm palette, but decide to add a little bit of cold
color to the hands, so I pick a violet palette for
them, but something is not working and I can
feel it. But as I said before, we can fix it later or
try other colors; just let the art flow. Sometimes
Chapter 07
Designing Droids Chapter 7: Pleasure Droid
this kind of exercise is better than thinking too
much about an illustration.

Check Fig.09 to see the rough palette. I’ve

changed the perspective of the front robot too,
but maybe it is too drastic. The face of the guy is
perfect because it shows how good the robot is
at doing its job!

The faces are done, as you can see in Fig.10,

and I add color to the panel’s lights. In the hands
I choose a green because I remember a similar
device I have at home, but I don’t know if this
will work for this illustration. I now have several
colors on the canvas and a nice cityscape
behind. I pick some photos of a city to add a
simple texture; I’ll paint over it later, of course.

Now we have a floor, a foreground plant and

some simple curtains behind. As you can see
in Fig.11 the green isn’t as strong now that you
can see the floor and the background curtains
behind, right? We have to keep working on it
and remember that we don’t need to worry too
much about details. Make big strokes and play
with the palette.

In Fig.12 we have the color scene complete, we

have the palette we’ve chosen, the characters
interacting with the robots and some simple
details on the curtains. I add a couple of objects
to make it more interesting; for example, a
carpet on the floor and a briefcase for one of
the clients. But now I have some problems.
The violet and the green are too strong to work
together; I want you to look at the robot, but
not just its hands and that’s exactly what is
happening now. The floor perspective doesn’t
look right and the light is a little boring.

So I start to think that maybe a good change

to the image would be to make the transition
to a night-time scene. It’s a cheap massage
house, the city will look better at night and the
glowing hands of the robot will look much better
as another light source. So at the last minute
I decide to change the ambient light. See how

www.3dtotal.com page 51 Chapter 07


the hands and the light in Fig.13 are now more
turquoise to integrate better with the scene
and I’ve added more detail in the face of the
client and a little puddle of drool on the table.
The panel’s lights are yellow now because I’ve
eliminated the green from the scene.
In Fig.14 you will see the extra details I’ve
added to the floor to accentuate the dirty place,
such as trash, papers and a cup. You can see
some reflections too from the lights I will add to
the ceiling.
Behind the background robot I put some offer
letters to show how commercial the massage
house is and put some extra detail on the robot,
such as graffiti on its body (Fig.15).
www.3dtotal.com
Chapter 7: Pleasure Droid
Now I darken the entire image with one layer
of overlay from the top of the canvas to cover
almost all the image. Remember to always use
a gradient to do this; don’t change the complete
painting.
So, with a military dark green on that overlay
layer, the painting changes to a night-time
image and now is just the time to add the extra
details. This is the fun part because you have
the final palette and you just have to add all the
details you want. As you can see in Fig.16 the
robot has some sparks on the neck because it’s
a very cheap model and a foggy ambience will
give our scene the mood we need. The cigarette
smoke I’ve added is a simple picture of smoke
on a layer in Screen mode; make sure you
page 52
Designing Droids
choose the correct opacity so as not to over-
saturate the image.
Well that’s the whole process! I hope you have
as much fun trying this one as I did. Remember
you can always improve or add modifications to
your pleasure robots; maybe even make small
ones for foot massages or toe nail treatment –
that’s up to you! See you in the next one; I’m off
for a massage!
Carlos Cabrera
Web: http://www.artbycarloscabrera.com/
Email: carloscabrera@gmail.com
Chapter 07
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