Can you do this:
1. Use the Pen tool to draw a path that follows the centerline of the U, irregularity and all.
2. Increase the stroke weight of the path to approximate the width of the piping that it represents and apply the shadow color.
3. Paste a copy of the path in front (command-C; command-F) and reduce its weight (.25 pt or so) and apply the highlight color.
4. Select both paths and create a blend.
5. If need be, offset the top path (the highlight) so it isn't so perfect and reflects your light source.
Many users approach programs like Illustrator thinking there must be some instant feature specifically made for "metal on a curve" and so on, or some "trick" for accomplishing it. It's just not that way.
Very realistic renderings of metallic surfaces have been done in vector drawing programs since their beginning. It's one of the most frequently asked questions, so the web is chock full of examples. Just Google for "metallic" and "Illustrator" or "Corel Draw" or any other vector drawing program. The principles shown will be very much the same, regardless.
Conceptually, you work realistic surfaces the same way you do in any other medium, be it paint, airbrush, or Photoshop: You just draw the darks, lights, and reflections that you see within the limitations of the medium you are using. Giving specific how-to instructions is highly dependent upon seeing the example you are attempting to create, because rendering compound shaped metallic surfaces is more a matter of drawing reflections than anything else. Approaches to it are as varied as the lighting conditions and environments in which a metallic object may be found.
That's not a cop-out; it's just the way it is. By way of example, look at the various metallic surfaces in this drawing (mirror, rims, hubcaps, headlight bezels, shock springs...) and notice the very different treatments. This drawing is entirely just stacks of ordinary vector paths with grad fills and/or blends (no meshes, no autotracing). Again, upon each metallic object, you basically just draw the reflections, highlights, and shadows that you see as separate objects. There's not really any "clever trick" to it. (There are, of course, principles of rendering metal that would apply to any medium.)
You were on the right track when you were attempting Blends. In vector drawing programs, modeled shading is typically done with grads and blends, often in combination. (Grad meshes are a relatively recent construct, corresponding with the arrival of PostScript Level 3. But they are tedious and not particularly intuitive. Plus, you'll understand them better if you understand ordinary grads and blends first.)Normal grad fills are quite limited in their shapes (especially in Illustrator).
Blends are more work to construct, but can be made to conform to any shape. But again, think in terms of the shapes of the reflections and shadows and highlights as individual objects, not in terms of trying to make all the paths you draw in the shape of the overall object's outlines.
For basics, start this way:
1. Fill the object with a base color or general grad fill. Think of this as the "underpainting" of the object.
2. Draw the highlights in the shapes that you see them in the subject. Fill these with gradients that range from white to the base color (or from white to transparent, if the program supports that).
3. Similarly draw the shadows in the shapes that you see them in the subject. Fill these with gradients that range from a darker tone to the base color.
4. Add details such as the thin squiggly shapes that roughly parallel the edges of the object (and which are really dark reflections of the surroundings, like the ubiquitous horizon reflection that is so often drawn in chrome).
Don't kill yourself over the detail. Use artistic judgement. Add just enough shapes to suggest the reflections, etc., and achieve interest; let the viewer's eye fill in the rest.
Again, if you want to provide an image of a specific example that you want to render, some users here can help bump start you with a specific method; there are many "clever tricks" but there's no single "cookie cutter" method that works for every metallic situation, if convincing realism is what you are after.
A few basic pointers about rendering with blends:
- Blends work best if the two (or more) paths being blended have the same number of points and have the same direction.
- In Illustrator, use the Specified Steps option. Don't go nuts with the number of steps. Use common sense. For example, if the blend spans a quarter-inch, and the tonal range is 20%, ask yourself, "How many steps do I really need? Can I detect an edge that spans less than 10% of a quarter-inch? Can I detect a tone difference of 2%?"
- Realize that you can blend between two paths that have grad fills. For example, draw a kidney-shaped path. downscale a copy of it, inside the original. Select both and give them the same black-to-black grad fill. Blend them. Directselect just one path and change one of the black color stops to another color. Change the direction of the grad. Watch the interesting "satin" effects you can get this way.
- The same principle applies when blending grads as when blending paths: Best and most predictable results are achieved when the number of color stops are the same, even if adjacent color stops are the same color.
Thanks for the great suggestions. I have a bit to learn regarding blends, gradients, mesh, etc. Doug, your suggestion was very helpful and was definitely better than my previous attempts. I'll experiment a bit more with it. JET, I have yet to try your suggestions, but they make a lot of sense to me.
I appreciate the wonderful suggestions and will make use of them as I try to refine and close out this project. Good stuff going forward too.
Thanks again, guys.
Best reagards, Lou
Is there a tutorial which that car was created ?