Metropolis

  • Your assignment is to redesign/draw the Maria Robot for a new Metropolis Poster.
  • Then redesign the poster itself for a contemporary re-release of the
    Metropolis movie.
  • Include all of the information found on the original poster.
  • 11 x 17 trim size print to 13 x 19 Epson enhanced matte inkjet paper with bleed
  • Metropolis posters and other graphic design for the original release by
    Friz Lang, 1927

The Six main tools for creating shading or 3D lighting effects

  • You must use the Mesh tool (be sure to read the mesh tool tips and tutorial at the bottom of this page)
  • In addition, you may also make use of any or all of the following to achieve a believable 3D look to the Maria robot.
  1. Mesh Tool
  2. Gradient Tool
  3. Blend Tool
  4. 3D Effect
  5. Lens Flare Tool
  6. Inner/outer Glow

Trailer

Maria’s Transformation (scene)

Pre-2010 restoration with Pink Floyd

 

Screen Shot 2016-02-22 at 10.37.09 AM

Heinz Shultz-Neuman, 1926

The gradient mesh tool is the single most effective tool in achieving a modeling/chiaroscuro effect. However, combinations of all gradient tools and special brushes are usually necessary to achieve a lifelike 3D form. Your 3 main tools or options for achieving shading in Illustrator are the mesh tool, the blending of two shapes, and the gradient fills. The blended shaded, versions of the morphs below relied heavily on the use of the gradient mesh.

Online tips and tutorials for getting the most from the Gradient MESH TOOL:

Illustrator Mesh Tool quick tutorial

  • First draw the main contours of the face and body
  • Using the gradient mesh tool click once on the location of the main highlight, usually the tip of the nose.
  • Adjust the resulting mesh lines so that the vertical one follows the middle of the nose up through the center of the forehead and down through the middle of the lips and chin.
  • You may have to delete a shape contour point in order to reposition a mesh contour point. Then add the shape contour point back if necessary, now on the other side of the mesh point.
  • Generally, add as few mesh lines as possible. Add them by clicking on an already existing mesh line and on a point where other facial highlights occur, for example on the cheek bones. Adjust the lines as necessary to follow the basic bone structure of the face.
  • Add separate shapes for ears, lips, nose eyes on top of the main face mesh.
  • Use radial gradients or blended shapes, or gradient meshes on these smaller individual feature shapes to give them dimension.
  • Smooth the value between these added features and the main mesh by sampling the values with the eyedropper. Then fine tune by adjusting points, and using feathering.
  • Add specific features such as mouth, eyes, ears for example, as separate shapes sitting on top of the main face gradient mesh. These specific features may have their own meshes or be shaded using the gradient or blended shape options instead.