制作“夢”第一部分

創(chuàng)作：紋理和手勢

Dream是完全使用Corel Painter X創(chuàng)建的。從一張空白的白色帆布開始，在腦海中形成了一個模糊的想法，我開始用Sharp Chalk從我的自定義紙張上挖掘紋理（圖01）。 使用紙張只是Painter的諸多優(yōu)點之一，在這篇文章中，我有目的地創(chuàng)作并開發(fā)了各種各樣的紙張，這些紙張將與圖像背后的靈感息息相關。

The Creation:Texture & Gesture

Dream was completely created using Corel Painter X. Starting with a blank, white canvas, with an obscure idea of the image forming in my mind, I began to dig the texture from my custom papers with a Sharp Chalk (Fig.01). Using papers is just one of Painter's many strengths, and for this piece I purposefully created and developed various assorted papers which would be in touch with the inspiration behind the image itself

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使用來自不同國家，性質和技術的建筑圖像，我把它們“融合”成拼貼畫。 從那張大拼圖中，我剪下了幾張紙。 盡管不是很明顯，紙張紋理在打造圖像的基礎方面做得非常出色，為最終效果增添了豐富性和生命力，這是任何良好的基礎應該完成的。 使用這些文件可以創(chuàng)建一些非常有趣的抽象圖案和形狀，但最重要的是，它們允許圖像由與其含義相關的事物組成。

Using images of architecture from various countries, natures and technologies, I "melted" them all into a collage. From that large collage I cropped and made several papers. Though not obvious, the paper textures did a fantastic job in building the foundation of the image, adding richness and life to the final result, which is what any good foundation should accomplish. Using the papers made it possible to create some very interesting abstract patterns and shapes, but most importantly, they allowed the image to be comprised of things relevant to its meaning.

我希望圖像能夠流暢地流動，所以每一個筆畫都非常快速和流暢，沒有太多的思考，完全沒有機會。我的行為純粹是因為那一刻我的感受，以及我在腦海中看到的形象是如何讓我感覺到的。所以，手頭上的這些元素，我盡我??所能把它們翻譯成畫布。

I wanted the image to flow with energy, so each stroke made was very quick and fluent, without much thought, and entirely left up to chance. I acted purely on just how I felt at that moment and how the image I saw in my mind made me feel. So with those elements at hand, I did my best to translate them to the canvas.

顏色和構成

對能量的強調，不僅是圖形的“S”型曲線，圖像內高密度的圖案和紋理，還有顏色。顏色背后的主要思想是有一個流動的贊美 - 最初從黃色到紅橙色，從藍色到綠色。我所追求的平衡是在溫暖中充滿活力和充滿希望，在冷靜中平靜溫柔。融合在一起，我希望在形象上有和平，在生活中有一種享受的感覺 - 抽象的和未知的。

Color & Composition

The emphasis on energy came in the form of, not only the swooping "S" type curve of the figure and the highly dense patterns and texture within the image, but in the colour. The main idea behind the colour was to have a flowing compliment - initially yellow to red-orange, versus blue to green. The balance I aimed for was invigorating and hopeful in the warms, with calm and gentleness in the cools. Fused together, I hoped to have peace in the image and a sense of enjoyment in life itself - the abstract and unknown.

充分利用我的調色板，我已經混合了畫布上的顏色來豐富圖像。我把綠色和暖融合在一起，創(chuàng)造出自然的東西。重要的是不要過分，因為音調的感覺是所有需要的;顏色的合并而不是嚴格的調色板的補充。

Making full use of my palette, I blended colours already on the canvas to enrich the image. I fused the greens with the warms to create earthy tones which sat very well on the natural side of things. It was important not to overdo it because the feel of the tones was all that was needed; a merging of colour rather than an addition to the strict palette.

創(chuàng)作過程

這件作品的創(chuàng)作并不系統，在創(chuàng)作作品時，我不是很循序漸進，只是零星地聚集在一起。我來回走了，每隔幾分鐘就在一個不同的地方工作。我喜歡讓我的自然流動接管，去我想去的地方。我知道它最終會聚到一起。如果需要，我總是可以自覺地采取技術方法，這實際上是我工作的最后一個階段。經過這樣的不確定性，探索，驚喜和沖擊，最后階段包括清理和更技術性的方法。我堅信，無論做什么都需要平衡。

Creative Process

The creation of this piece was not systematic; I am not very step-by-step oriented when creating my work, it all just comes together sporadically.A I go back and forth, working on a different area every few minutes. I love letting my natural flow take over, going where my mind wants to go. I know it will come together in the end.A  If needs be, I can always consciously take a technical approach, which is actually the last phase of my work. After all that uncertainty, exploration, surprise and shock along the way, the final stage consists of a cleanup and a more technical approach. I do strongly believe that a balance is always needed in whatever is done.

技術說明：后臺階段

我開始用質地，形狀和圖案填充畫布。對于每個方面，我使用了三種不同的工具：紋理，我使用了畫家的紙張工具;對于使用Painter的漸變工具使用“油漆桶”工具的形狀，以及使用“Painter模式”工具的模式。

Technical Notes:Background Stage

I started off filling the canvas with texture, shapes and patterns. For each aspect I used three different utilities: for texture, I used Painter's Paper utility; for the shapes I used the Paint Bucket tool with Painter's Gradient utility and for patterns I used Painter's Pattern utility.

對于第一階段，我堅持我的調色板，但保持中性飽和度，留下更大的增強空間 - 畢竟，這只是一個開始。

For this first stage, I stuck to my colour palette, but kept it rather neutral in saturation, leaving room for greater enhancements later - after all, this was just the beginning.

我添加了紋理，形狀和圖案，直到我感到滿意為止，然后我開始根據自己的喜好調色區(qū)域，以便使它更具凝聚力。進一步，并達到一個點，大膽的時間，并增加一些重量 ，我在圖像中實現了一些黑暗，直到我的體重開始對我有了很大的改善。

I added texture, shapes and patterns until I felt satisfied, and then I began tinting areas to my liking in order to make it more cohesive.A  Going a bit further, and reaching a point where it was time to get bold and add some weight, I implemented some darks into the image, until the weight started to read a lot better for me.

為了獲得不同的視角，我旋轉了畫布，開始使用更多形狀。無論是使用“選框”工具還是“漸變”實用工具，目的都只是為了制作形狀并增加趣味性。 我繼續(xù)添加形狀和紋理，直到我對畫布的感覺滿意為止。 然后...我把它摧毀了！

To get a different view of things, I rotated my canvas and started playing with more shapes.A  Whether I used the Marquee tool or the Gradient utility, the aim was simply to make shapes and add interest. I continued to add shapes and texture until I was satisfied with the feel of my canvas. And then... I destroyed it!

在結合紋理，形狀和圖案的樂趣之后，我通過用深綠色對整個畫布進行著色，使它成為一個凝聚的形象。 即使是有色的，最初的顏色仍然透出，并很好地融合在一起，給我一個非常豐富和深刻的背景來建立。

After all that fun with texture, shape and pattern, I made it one cohesive image by tinting the entire canvas with a dark green. Even though it was tinted, the initial colours still showed through and blended nicely together, giving me a very rich and deep background to build upon.

Mid-Ground階段

在這個階段，我不太愿意像我一開始那樣使用紙張作為紋理方法。 相反，我更關注這些模式，因為我能夠完全控制流量，并且可以更加有目的地在我想看到的位置。

Mid-Ground Stage

At this stage, I was less inclined to use paper as a texturing method as heavily as I did in the beginning. Instead, I focused more on the patterns, because I was able to have full control of the flow and could be a lot more purposeful at this point in what I wanted to see.

我把注意力集中在圖像的重量流動上，，我建立了從圖像底部向上流動的圖案，所有的圖案都是向上的俯沖，讓人有一種運動的感覺和一種向上的能量。

Staying focused on the intended weight flow of the image, I built up patterns which flowed from the bottom of the image upwards, all following a swooping upwards stroke which gave a feeling of motion and an uplifting energy.

色溫從熱到冷的過渡是形式向上的一個關鍵方面。 這種顏色轉換有助于在整個圖像中傳遞能量流。 我給表單添加顏色的方法很簡單。 當我使用圖案粉筆工具（圖30）應用我的圖案時，我創(chuàng)建了一個新圖層，并制作了我所需的圖案。 起初，圖案只有一種顏色，所以為了獲得我的級別，我設置了圖層以保持其透明度，然后以我想要的任何方式將我的顏色噴成形狀。 我發(fā)現Painter中的Digital Airbrush（圖31）是非常逼真的，它提供了非常柔軟和模糊的微小飛濺，更像是一把真正的噴槍，讓色彩更加美麗。 由于非常微妙的色彩積聚，它非常有吸引力。

The transitioning of colour temperature, from hot to cold, as the forms progress upwards was a key aspect in the piece. This transition of colour helps to communicate the flow of energy throughout the image. The method in which I added colour to the forms was quite simple. When I applied my patterns using the Pattern Chalk tool (Fig.30), I created a new layer and made my desired pattern. At first, the pattern was only one colour, so in order to get my gradations, I set the layer to preserve its transparency and then airbrushed my colour into the shapes, in whatever manner I desired. I find the Digital Airbrush in Painter (Fig.31) to be realistic in the way that it provides the tiny spatters, which aren't digitally soft and blurry, but much more like a real airbrush, allowing the colour to blend beautifully. It is very optically attractive because of the so-very-subtle build up of colour.

此時，我坐了一會兒，觀察了這個圖像，這樣我就發(fā)現了我想要建立的區(qū)域。我在圖像中看到的第一件事來自于背景，它是一個耳朵的圖像。所以我從耳朵開始計算這個數字，然后按我的方法計算。

At this point, I sat back for a while and observed the image, and in doing so I spotted areas that I wanted to build upon. The first thing I saw in the image came from the background, and it was the image of an ear. So I actually started the figure from the ear and worked my way around.

我向上擴展了畫布，因為它開始變得狹窄，而且這個形象需要更多的空間。 看著圖案的流動，我得到了身體的感覺，所以開始嘗試形式和顏色。 我在展開的畫布上添加了紋理，也指示了角色的頭發(fā)姿態(tài)。

I expanded my canvas upwards, since it was starting to get cramped and the figure needed more room. Looking at the flow of patterns, I got the feel of a body and so began experimenting with form and colour. I added texture to the expanded canvas, also indicating a gesture of hair for the character.

片刻之后，我重新思考了這個角色，但是這并不符合我的喜好，因為這個角色是錯的，我所瞄準的情緒已經被破壞了。 所以我知道我需要退后一步，在這個階段更有意思。

For a moment I re-thought the character, but it didn't work to my liking as the flow was all wrong and the emotion that I was aiming for had been destroyed. So I knew that I needed to step back and be much more purposeful at this stage