Join Brad Neal for an in-depth discussion in this video Drawing the tuning machine heads and logo, part of Technical Illustration: Creating a Cutaway.
Okay, with the basic outline of the shape complete, I'm now going to begin to draw the other components of the head stock. I'm going to work on the tuning machines now, so I'll start by creating a new layer, under the profile layer, or on top of the template layer, however you want to look at it. And I'll name this layer, MachinesBottom. So with the template layer selected, create a new layer, name it, MachinesBottom. Alright, working with the pin tool, I'm going to keep my red stroke.
I'm going to zoom in a little bit tighter on this back machine head. And begin laying my line work done. Now instead of just tracing the profile of this entire image, I'm going to draw each of these things as separate components. And I'll show you why here momentarily. For right now, I'll lay that in there. One thing I'd like to show you is, to take advantage of shortcuts in time. You'll notice that this barrel is shaped identical to this barrel. So what you can do, is steal a copy of this right now by simply using the command option drag feature.
And that will drag a copy out. And that'll save you from having to redraw that thing. I'm going to undo that, and we're going to come back over here. And I'm going to zoom in pretty tight on this because I want my anchor point placement to be as accurate as I can get 'em. And again, I'm placing an anchor point before the radius, and then right after the radius. And I'm trying to minimize the number of anchor points, so I keep my line segments nice and smooth, and that allows me a lot more control when I go back after the fact and try and clean things up. And we'll close this. Clean up the lines.
That looks pretty good. Now, I'll draw this collar in. Now I'll come back and finish the collar later, right now, I'm just going to draw the shape in. And I'm going to drag a copy of that. Again, we'll come back later and finish that off. And just so we can get an idea of a frame of reference in terms of the shape of this thing, I'm going to lay this line work down. We're actually going to come back and replace that with blends later. But that'll give us a starting point. Now there's one last corner piece over here I want to put in. It lies behind the barrel.
But right now, I'm drawing it over the top of the barrel, so I'll select that. We'll get it cut. Select the barrel, and Paste in Back. And now everything should be layered in their appropriate order. But we're not done yet. We have to group all of our objects that we've just drawn. And this is a really important step of the process. As this thing gets busier and busier and you're adding more and more components, if you don't keep things carefully grouped, it'll be very difficult to come back after the fact and isolate these shapes. So now that it's a group, I'm going to zoom out, and using the selection tool, you'll see that is selected as a group.
If I need to move that out of the way for any reason, I can simply bump it out of the way, do any detail work I need in here, re-select it, and drop it right back into place. So from there, I'll just go continue to work around the neck and finish the machine heads, but I'll get to that later. Right now let's import the Thomas Guitar logo and drop that into place. We'll do a File, Open. You can find the logo in your exercise files. O2_O3 logo. And I want to make sure that this is grouped.
And it is. So I'm going to copy this, edit, copy, re-select my original illustration tab, and then I'm going to select the binding layer which is in this case the top layer, create a new layer, and just name that logo. And then I'm going to do, paste. Alright, there's our logo, but it's upside-down. So this is one of my favorite tools, the Free Transform tool. I'm going to spin this thing around. Hold the Command key down, on a Mac, and drag this thing into a relative position, it's going to change quite a bit.
Click and hold, and scale it. Again, not precisely, but relatively. Click, and hold, Command. Click and hold. And you just keep finessing this thing, until you get it precisely where you want it. I would say that's pretty close. Alright, as you continue to build the illustration, remember, to create new layers as needed, and to group components in a logical cluster so you can come back later and understand what you've created and why.
And this'll help you keep your illustration nice and organized.
- Being technically accurate
- Choosing your style
- Researching reference artwork
- Creating the initial cutaway
- Working with blends and color
- Adding grain and final details