教程:喂大象

你好!很榮幸能與你們分享我的創(chuàng)作過(guò)程。這是我在制作個(gè)人藝術(shù)品時(shí)通常會(huì)遵循的工作流程。本教程側(cè)重于從最初的想法到完成的藝術(shù)品。我開(kāi)始展示我是如何在草圖中探索想法，并慢慢地以最終的草圖和顏色進(jìn)步。我希望你會(huì)覺(jué)得它有用。

Hello guys! It's a pleasure to share with you my process in creating an illustration from my imagination. This is the workflow I would typically follow in making my personal artworks. This tutorial focuses on taking an illustration from an initial idea to the finished artwork. I begin by showing how I explore ideas in rough drawings and slowly progressing with the final sketch and color. I Hope you'll find it helpful.

第一步:想法和縮略圖

在這一點(diǎn)上，我不知道這個(gè)故事將會(huì)是什么，我只知道有一個(gè)大象和一個(gè)孩子在現(xiàn)場(chǎng)。作為熱身練習(xí)，我開(kāi)始使用Google圖片搜索來(lái)繪制一些亞洲象。在這個(gè)階段，保持粗糙是很重要的。我只專注于尋找一個(gè)有趣的故事。慢慢地，我開(kāi)始畫一個(gè)小孩（幾乎是一個(gè)簡(jiǎn)筆畫）與大象的縮略圖。

在幾張草圖之后，我把這幅畫畫給了一只大象。我決定繼續(xù)這個(gè)，因?yàn)槲蚁矚g這個(gè)想法，可讀性和草圖的整體形狀。

Step 1: Idea and Thumbnails

At this point I don't know what the story is going to be about I just know there has to be an elephant and a kid in the scene. As a warm up exercise I start drawing some Asian elephants using Google image search. It's very important to be rough at this stage. I am only focusing on finding an interesting story or staging at this point. Slowly I start to put a little kid (almost a stick figure) in the thumbnails with the elephant.

After a few rough drawings I make this sketch with the kid feeding an elephant. I decide to go forward with this one because I like the idea, the readability and the overall shapes in the sketch.

步驟2:框架

我在Photoshop上打開(kāi)一個(gè)新文件，導(dǎo)入縮略圖。然后我縮放它以適應(yīng)畫布，并決定草圖的框架，就像畫布的邊緣一樣。一旦我找到了一個(gè)框架，我就滿意了，我已經(jīng)準(zhǔn)備好繼續(xù)進(jìn)行粗略的草圖。

Step 2: Framing

I open up a fresh file on Photoshop and import the little thumbnail sketch. Then I scale it to fit the canvas and decide on the framing of the sketch with respect to the edges of the canvas. Once I find a framing I am satisfied with I am ready to go ahead with the rough sketch.

步驟3:建設(shè)

我將縮略圖的不透明度提高了50%，然后開(kāi)始在上面的新圖層上繪制。在這個(gè)階段，我試著用簡(jiǎn)單的形狀、保持形體和解剖學(xué)的方式來(lái)構(gòu)造角色。畫紅色讓我記住這不是最后的草圖，所以我不怕畫出寬松和骯臟。我還在研究這個(gè)舞臺(tái)上人物的姿勢(shì)，以及在背景中有一些樹(shù)木和植物的暗示。

Step 3: Construction

I push back the opacity of the thumbnail sketch by 50% on Photoshop and start drawing on a new layer on top. At this stage I am trying to construct the characters with simple shapes, keeping form and anatomy in mind. Drawing in red helps me to remember that this is not the final sketch, so I am not afraid to draw loose and dirty. I am also figuring out the posing of the characters in this stage and also a few hints of trees and plants in the background.

第四步:草圖

現(xiàn)在我們已經(jīng)算出了整體的姿態(tài)和我們形態(tài)的構(gòu)造，我將草圖的不透明度再次降低了50%。我開(kāi)始密切關(guān)注這些表達(dá)式，并在較大的圖形中定義較小的形狀;耳朵上的皺褶，面部肌肉，樹(shù)葉，樹(shù)枝等等。在這個(gè)階段，我要記住我的形象的焦點(diǎn)，就是大象從小男孩身上拿走香蕉。

Step 4: Rough Sketch

Now we have figured out the overall gesture and the construction of our forms, I reduce the opacity of the sketch again by 50%. I start paying close attention to the expressions and defining the smaller shapes within the bigger ones; the folds on the ears, facial muscles, leaves, branches etc. Throughout this stage I'm keeping in mind the focal point of my image, which is the elephant taking the bananas from the little boy.

第五步: 繪畫

現(xiàn)在我已經(jīng)有了一個(gè)大致的場(chǎng)景，我準(zhǔn)備向它展示一些朋友的反饋。其中一人指出坐在大象頂端的那個(gè)人正把注意力從故事和圖像的角度轉(zhuǎn)移開(kāi)。所以我決定把它移走，把孩子放大一點(diǎn)，再放大一點(diǎn)。我不能強(qiáng)調(diào)把你的工作展示給別人的重要性;有時(shí)候，它會(huì)讓你發(fā)現(xiàn)一些你沒(méi)注意到的明顯錯(cuò)誤。

Step 5: Inking

Now that I have a rough sketch of my scene and I am ready to show it some friends for their feedback. One of them pointed out the guy sitting on top of the elephant was taking the focus away from the point of the story and image. So I decide to remove the guy, scale up the kid a little bit and zoom in a bit more into the composition. I cannot emphasize enough the importance of showing your work to others; sometimes it makes you discover obvious mistakes which you fail to notice.

再一次，我將粗略的草圖減少了50%，開(kāi)始做我的最后一行藝術(shù)和在一個(gè)新層上的繪畫。在這一點(diǎn)上，我只擔(dān)心我的線條的流暢性。嘗試從最后一個(gè)版本改進(jìn)設(shè)計(jì)和形狀是非常重要的，而不僅僅是跟蹤圖像。

Once again, I reduce the rough sketch by 50% and start doing my final line art and inking on a new layer. At this point, I am only worrying about the fluidity of my lines. It's very important to try to improve the design and shapes from the last version and not just trace the image.

第六步:情緒

現(xiàn)在我們有了最終的線條我們可以從顏色開(kāi)始。我添加了一種基本的色調(diào)，最能代表整個(gè)場(chǎng)景的基調(diào)。在這種情況下，我要去一片郁郁蔥蔥的綠色森林。線條藝術(shù)層在多模式下保持在頂部。

Step 6: Mood

Now that we have our final line art we can start with the color. I add a basic tone with the color that best represents the overall mood of the scene. In this case, I am going for a lush green forest scene. The line art layer stays on top in Multiply mode.

步驟7：地方色彩

我在場(chǎng)景中添加了地方色彩。不要太擔(dān)心燈光在這一點(diǎn)上，只是場(chǎng)景中的每一個(gè)物體的真實(shí)顏色——都在一層，非常粗糙和快速。

Step 7: Local Color

I add the local colors in the scene. Not worrying too much about the lighting at this point, just the actual color of every object in the scene- all in one layer, really rough and quick.

第八步:光與陰影

在這一點(diǎn)上，我想要在場(chǎng)景中找到光的方向。在這種情況下，它是從左上角開(kāi)始的。在一個(gè)新圖層中，我在陰影中畫出光的方向和陰影如何落在不同的窗體上。我在圖像的焦點(diǎn)上加了一個(gè)亮點(diǎn)，以確保這是我圖像中最亮的部分。我還添加了一點(diǎn)背光，以使字符彈出。

Step 8: Light and Shadows

At this point I want to find the light direction in the scene. In this case it's lit from the top left side. In a new layer, I paint in the shadows thinking about the direction of light and how the shadow would fall on the various forms. I add a bright spot light on the focal point of the image to make sure that's the brightest part of my image. I also add a little bit of backlight to make the characters pop out.

步驟9:色彩校正

現(xiàn)在我們已經(jīng)勾畫出了我們場(chǎng)景中整體的顏色和光線，我想做一點(diǎn)顏色校正來(lái)調(diào)整場(chǎng)景的對(duì)比度。我一般喜歡在這個(gè)階段做，而不是把它留到最后。我也在一些新圖層的陰影中作畫。

Step 9: Color correction

Now that we have a sketched out the overall color and light in our scene, I want to do a bit of color correction to adjust the contrast of the scene. I generally prefer to do at this stage and not leave it till the end. I also paint in some contact shadows on a new layer.

步驟10:渲染和清理

我將我的線條藝術(shù)層的不透明度降低了50%，并在上面新建一個(gè)圖層，然后開(kāi)始繪畫。在這一點(diǎn)上，我正在清理圖像，讓某些區(qū)域更容易讀，我通過(guò)放大圖像來(lái)繪制細(xì)節(jié)。這一步并不需要太多的腦力，所以我在Netflix上做了一個(gè)節(jié)目，我在上面花了幾個(gè)小時(shí)思考。

Step 10: Rendering and Cleanup

I decrease the opacity of my line art layer by another 50% and create a new layer on top and start painting over. At this point I am cleaning up the image by making certain areas more readable and some less, I paint in the details by zooming on the image. This step does not require a lot of brain power so I put on a show on Netflix while I'm noodling around on the image for few hours.

步驟11:細(xì)節(jié)和色彩校正

我們差不多了。我把一些細(xì)微的細(xì)節(jié)放在草地和樹(shù)葉上，做一些色彩校正，增加對(duì)比度。我在背景森林中添加了一點(diǎn)冷色調(diào)，與溫暖的前景形成了微妙的對(duì)比。

Step 11: Details and Color Correction

We are almost there. I put in some subtle details on the grass and leaves and do some color correction and increase the contrast a bit more. I add a bit of cool tone on the background forest to have a subtle contrast with the warm foreground.

一位朋友指出，照片背面的圖像太亮了，正與焦點(diǎn)競(jìng)爭(zhēng)。所以我把背景調(diào)暗一些，這樣我的注意力就停留在我想讓人們看的地方。再一次，總是要從一雙額外的眼睛中得到幫助。

A friend pointed out that the image was a bit too bright on the back and it was competing with the focal point. So I made the background slightly darker, so that the attention stays on where I want people to look. Once again, always take help from an extra pair of eyes.