“維多利亞時(shí)代的巫女”制作過程

介紹

Introduction

有了這件作品，我正在尋找喜怒無常的東西。 我想要一件混合了一些不祥之物的東西，然后我想出了一個(gè)讓維多利亞時(shí)代有點(diǎn)巫毒氣味的想法。 當(dāng)我決定要繪畫的時(shí)候，我把一個(gè)隨機(jī)的顏色層放下來，因?yàn)閷?duì)顏色的處理更容易。 過了一會(huì)兒，一張白色的帆布看起來有些苛刻。 我在Photoshop中使用了詳細(xì)的草圖將所有內(nèi)容全部畫出來，以使我的想法變得簡單（圖01）。 當(dāng)然，如果我發(fā)現(xiàn)其他東西看起來更好，或者能夠更好地工作，我知道事情可能會(huì)有所改變。

With this piece I was going for something moody. I wanted a piece that mixed something foreboding with something a little sweet, and I came up with the idea of paring Victorian fashion with a bit of voodoo flavor. After I decided what I wanted to paint, I put a random color layer down because it's easier for me to work on color. A white canvas is a bit harsh to stare at after a while. I drew everything out with a detailed sketch in Photoshop to get my ideas down (Fig.01). Of course, I knew things could change along the way if I found something else that looked or worked better.

圖 01

鋪設(shè)線

Laying Down Lines

一旦我把線條畫下來，在一個(gè)單獨(dú)的圖層上，我在草圖圖層下面鋪上一層不同的顏色，以給自己一些啟發(fā)。我在腦海中形成了一個(gè)色彩范圍的基本計(jì)劃，我選擇了一種顏色作為背景，這與那個(gè)計(jì)劃一致。我制定的基本價(jià)值觀和顏色,但一段時(shí)間后我不喜歡她的位置,所以我畫了她臉。我喜歡在低透明度和分層的情況下保留部分草圖，因?yàn)槲蚁矚g記錄所有東西放置的位置。當(dāng)我需要的時(shí)候，我也可以打開或關(guān)閉它。

Once I got my lines down, on a separate layer I put a layer of a different color underneath the sketch layer to give myself something to start with. I formed a basic plan of color range in my mind and I chose a color for the background that would go with that plan. I laid down the basic values and colors, but after a while I decided I didn't like the position she was in, so I painted her to face straight on. I like to keep parts of a sketch in low opacity and on separate layers as I like to keep track of where everything is placed. Also I can then toggle it on and off when I need it. 

當(dāng)我對(duì)她的定位感到滿意時(shí)，我就定下了頭發(fā)的位置。我用紅色/橙色使它與圖像的其他部分區(qū)分出來(圖02)。

Once I was happy with her positioning, I laid down the basics of the hair. I used red/orange to make it pop from the rest of the image (Fig.02).

圖 02

第一個(gè)細(xì)節(jié)

First Details

當(dāng)畫頭發(fā)時(shí)，我會(huì)用一層黑色的頭發(fā)來確定我的頭發(fā)形狀。 一旦我有了這一層，我選擇一個(gè)稍輕的顏色，一個(gè)較小的刷子，并給頭發(fā)布置大塊。 我使用軟筆刷，并將其設(shè)置在低透明度，以幫助淡化和混合。 一旦完成，我選擇一個(gè)輕一點(diǎn)的陰影，并使用稍小的筆刷。 在整個(gè)繪畫過程中，我始終把整個(gè)過程繼續(xù)下去，直到我認(rèn)為我已經(jīng)完成了所有的細(xì)節(jié)。如果我失去了一些較暗的區(qū)域，我就會(huì)回到暗色調(diào)，并在圖像中添加一些陰影(圖03)。

When painting hair I lay down a dark layer to establish my basic hair shape. Once I have that layer I choose a slightly lighter color, a smaller brush and lay out chunks of hair. I use a soft brush and set it at a low opacity, to help fade and blend the ends out if they come across too harsh. Once that is done I pick a shade that's a bit lighter and use a slightly smaller brush. I keep this whole process up throughout the painting until I think I have it as detailed as I want it. If I lose some of the darker areas I go back in with the dark color and add some more shades back into the image (Fig.03).

圖 03

筆刷

Brushes

在這個(gè)階段，我添加了一些更多的基本顏色和形狀做頭發(fā)配件。 我也做了一些背景顏色和照明。我還在整個(gè)作品中添加了更多的顏色。 當(dāng)我的筆觸看起來有些過于粗糙時(shí)，我喜歡使用的一個(gè)小技巧就是使用中值來幫助他們更好地融合。 在這一點(diǎn)上，我還在決定是否讓她皺眉或微笑（圖04）。

In this stage I added some more basic colors and shapes for the accessories in her hair. I played a bit with the background color and lighting as well. I also added more colors throughout the piece. A little trick I like to use when my brush strokes are looking a little too rough, is to use median to help them blend a little better. At this point I was still deciding if I wanted her to be slighting frowning or slightly smiling (Fig.04).

圖04

我不斷地改變著她的臉，給這幅畫增添了更多的深度。我還在她的頭發(fā)和臉周圍形成了更多的基本形狀。我喜歡用定制的筆刷在我的作品中達(dá)到不同的效果，主要是在皮膚和背景中。另外，它們也很有趣。在這個(gè)階段，我增加了更多的斑點(diǎn)和斑點(diǎn)的紋理還有顏色，以增加更多的興趣;我還遮住了她眼睛的一些形狀(圖05)。

I was constantly changing her face and adding more depth to the piece. I was also forming more of the basic shapes in her hair and around her face. I like to make custom brushes to achieve different effects in my work, mostly on skin and in my backgrounds. Plus they are just fun to make. In this stage I added more splotches and spots of texture and colors to add more interest; I also blocked out a bit of her eye shapes as well (Fig.05).

圖 05

更多細(xì)節(jié)

 More Details

我喜歡在畫畫的時(shí)候跳著畫，所以現(xiàn)在我跳到頭發(fā)上去畫一些東西。 在這一點(diǎn)上，孔雀頭骨沒有多少顏色，但是我想我將會(huì)用一個(gè)顏色層和添加更多的顏色在整個(gè)圖像中。 我添加了一些肉桂棒，白孔雀羽毛，八角，還有一些更奇特的物品，來幫助你擺脫巫毒教的觀點(diǎn)。 然后，我繼續(xù)繪制背景，并決定保持簡單的風(fēng)格，因?yàn)榻巧�有很多�?xì)節(jié)。 我決定添加一條淺色的線，以表明她身后還有一個(gè)光源（圖06-07）。

I like to skip around the painting, so now I jumped to painting out some of the objects in her hair. At this point the peacock skull didn't have many colors in it, but I figured I would go in with a color layer and add more colors throughout the whole image later. I added some cinnamon sticks, white peacock feathers, Star Anise, and some more strange items to help pull off the voodoo vibe. I then moved on to playing around with the background and decided to keep it simple since the main focus had so much detail. I decided to add a light colored line to give off the appearance that she has a light source behind her as well (Fig.06-07).

圖 06

圖07

我按照我的畫畫習(xí)慣在整幅畫上跳來跳去。 我在她的脖子上增加了一些紋理和陰影，看起來好像她有某種項(xiàng)鏈，但是我想讓它和她的皮膚融合在一起。 我不停地添加細(xì)節(jié)，直到我終于完成（圖08）。

I kept up with my usual process of hopping around the whole painting. I added some texture and darkness to her neck to make it seem like she has some sort of choker on, however I wanted it to blend in with her skin. I kept adding details here and there until I thought I was finally finished (Fig.08).

圖 08

最后完成

 Final Touches

離開了一會(huì)兒后，我又回到了這張照片，我意識(shí)到我讓她的臉和膚色太過苛刻和死板了。 雖然我想要一個(gè)令人毛骨悚然的氛圍，我也希望她有一個(gè)甜美的外觀，所以我給她的皮膚添加了暖色，讓她的臉變得柔和一些，并在這里和那里增加了一些顏色。 我添加了另一個(gè)圖層設(shè)置為顏色層，并降低透明度。 然后我決定最后把這個(gè)作品完成（圖09）。

I came back to the image after leaving it for a while, to realize I had made her face and skin tone too harsh and dead. Although I wanted a creepy vibe I also wanted her to have a sweet look, so I added warmth to her skin, softened her face a bit, and added a few more colors here and there. I added another layer set to Color and applied the colors at low opacity so it wouldn't be so bold. Then I decided to finally call the piece finished (Fig.09).

圖 09