制作“墜毀X翼”

概念藝術家阿爾瓦羅卡爾沃埃斯庫德羅（CalveEscudero）帶領我們完成了他用來制作他的星球大戰(zhàn)風格的墜毀X翼的工作流程。

Concept artist alvaro Calvo Escudero takes us through the workflow he used to create his Star Wars-inspired crashed X-Wing...

在一場等待的比賽中，我想要展示一個有趣而輕松的“星球大戰(zhàn)”時刻，戰(zhàn)斗結束之后，加上日落的氣氛。 我將通過我的過程的基本步驟，并分享如何傳達這種心情的一些技巧。

In A game while waiting, I wanted to show a fun and relaxed Star Wars moment, after the end of a battle, reinforced with a sunset ambience. I will go through the basic steps of my process and share some tricks on how to convey this kind of mood.

第1步：縮略圖

作為藝術家，我們永遠不能忘記傳統(tǒng)媒體的力量：坐下來放松，用墨水和紙張。 從發(fā)展你的想法開始，用簡單的筆觸和標記來演奏，在大眾中思考。 在這個階段你可以勇敢，因為這不是細節(jié)的時間。 捕獲一個基本的想法和很酷的組成應該是你的目標。 當你確定作品的時候，收集一些照片的參考資料來做一個收藏，但是只挑選一些，因為以后很容易迷路。 在這里，你可以看到我的縮略圖戰(zhàn)斗機擊落的場景。

Step 1: Thumbnails

As artists, we should never forget the power of traditional media: take a seat, relax, and use ink and paper. Start by developing your idea, playing with simple strokes and marks, thinking in big masses. In this stage you can be brave, as it's not the time for fine details. Capturing a basic idea and cool composition should be your goal here. When you are sure of the composition, gather some photo references to make a collection, but only pick out a few, as it's very easy to get lost later. Here you can see my thumbnails for a scene with a downed fighter craft.

第2步：3D基地

現(xiàn)在，您可以將您的想法轉化為3D程序。 你只需要渲染中的基本形式和逼真的太陽光來建立結構。把我的主要元素分成了面具，考慮了前景，中間地帶和背景。 這樣做可以確保您稍后繪畫時始終具有清晰銳利的形式。

Step 2: 3D base

Now you can translate your idea into a 3D program. You only need basic forms and a realistic sun light in your render to establish the structure. I divide my main elements into masks, thinking in terms of the foreground, middle ground, and background. Doing this ensures that you'll always have clean and sharp forms when painting later.

第3步：基本的繪畫

花點時間研究你的照片參考并應用它們。 你會發(fā)現(xiàn)什么樣的價值在光影方面？ 這些條件下材料的行為是什么？ 我總是開始畫天空，我總是先畫天空，因為它告訴我太陽的直接光線是如何工作的，以及來自云的間接照明。 使用你的面具來繪畫，從幾個基本的筆刷開始尋找紋理。 用主色和灰色進行試驗，以獲得良好的價值，并且不要忘記光的性質和它如何在場景中反射。關注這些細節(jié)會讓你的形象更加可信。

Step 3: Basic painting

Take a moment to study your photo references and apply them. What kind of values would you find on the light and shadow sides? What is the behaviour of the materials in these conditions? I always start by painting the sky, as it tells me how the direct light from the sun is going to work, as well as the indirect illumination from the clouds. Paint using your masks, starting with a few basic brushes to find textures. Experiment with main colors and grays to get good values, and don't forget the properties of the light and how it might be bouncing in the scene. Attending to these details will make your image more believable.

第4步：添加紋理

一旦你感覺到基色的工作，你可以添加一些照片紋理來推進繪畫，獲得時間和現(xiàn)實主義。 使用Photoshop的“曲線”和“匹配顏色”工具將紋理調整為您的照明條件，這是您可以使用的最佳武器。 也使用圖層混合選項，但要注意你在做什么; 很容易使場景超負荷，破壞你的謹慎價值，失去形象的本質。 請記住，您處理的工具，而不是相反。

Step 4: Adding textures

As soon as you feel the base colors work, you can add some photo textures to advance the painting, gaining time and realism. Adapt the textures to your lighting conditions using Photoshop's Curves and Match Color tools, which are the best weapons you can use. Use layer blending options too, but be conscious of what are you doing; it's easy to overload the scene, damaging your careful values and losing the essence of the image. Remember that you handle the tools, not vice versa.

第5步：詳細說明

好好利用你的時間。 了解您可以在多大程度上解決圖片所需的細節(jié)，這一點非常重要，并且始終牢記少了多了。 你的作品必須清潔明了，盡可能不損壞你的表現(xiàn)力和形象的魔力。 想象一下，這個過程的每一步對其他人來說都是可以理解的。

Step 5: Detailing

Use your time well. It's important to know how far you can go to resolve the details that the image needs, and always remember that less is more. Your work must be clean and clear without damaging your expressiveness and the magic of the image as much as you can. Imagine that each step of the process has to be understandable for others.

第6步：添加角色

為什么我們現(xiàn)在添加角色？ 如果我在我的場景中有一個非常清晰的想法和主要焦點，我總是會介紹這個角色。 以這種方式繪制基本的風景，而不會分心，這樣會更舒服。 我把角色作為一個隱藏層的基本草圖，所以我偶爾可以檢查一下，看看它是否與圖像的其他元素一起工作，直到我準備好處理它為止。 在這里你可以看到我如何建立人物; 雖然他很小，我不需要介紹太多的細節(jié)，但我仍然試圖清楚地使用他的輪廓，并給他正確的比例。

Step 6: Adding the character

Why are we adding the character now? If I have a very clear idea and main focus in my scene, I always introduce the character later; it's much more comfortable to paint the basic landscape this way, without being distracted. I keep the character as a basic sketch on a hidden layer, so I can occasionally check to see if it's working with the other elements of the image, until I am ready to work on it. Here you can see how I build up the character; although he's small and I don't need to introduce much detail, I still try to use his silhouette clearly and give him the correct proportions.

第七步：調整場景

現(xiàn)在所有的元素都是正確的細節(jié)和平衡，但我需要做一些改變。 并修改一些我不相信的部分。 我已經(jīng)失去了一些反射來自天空的光線，所以我介紹了一個設置為硬光模式的圖層。 中間的地方看起來太近了，所以我用曲線降低了對比度，并增加了一些灰塵效果。 最后，我使用Levels輕微增加天空中的光線，并在圖像的每個平面上獲得更清晰的結構。

Step 7: Adjusting the scene

Now all the elements are correctly detailed and balanced, but I need to make some changes. And modify some little parts that I'm not convinced by. I've lost some of reflecting light from the sky, so I introduce a layer set to Hard Light mode. The middle ground looks too near, so I lower its contrast using Curves and add some dust effects. Finally, I use Levels to slightly increase the light in the sky and achieve a clearer structure in each plane of the image.

第8步：最終的形象

調整完成后，我合并圖層，復制所得圖層，并使用Photoshop的“鏡頭校正”來獲得更鮮艷的色彩。 最好不要過頭，因為它會在場景的邊緣產(chǎn)生強烈的紅色或綠色像差。 最后，我添加一個帶有噪聲過濾器的中間灰色圖層，設置為疊加圖層模式，添加一些紋理。 如果您認為合適，請使用此圖層的不透明度。現(xiàn)在簽署你的形象！

Step 8: Final image

When the adjustments are complete, I merge the layers, duplicate the resulting layer, and use Photoshop's Lens Correction to achieve more vibrant color. It is best not to overdo this, as it can create hard red or green aberration on the edges of the scene. Finally I add a middle-gray layer with a noise filter, set to Overlay layer mode, to add some grain. Play with the opacity of this layer as you see fit. Now sign your image!