《天堂與地獄》的制作

這一系列的圖片將展示我創(chuàng)作“天堂和地獄”的方法。每張圖片都有一個簡短的描述，描述了正在發(fā)生的事情以及我是如何工作的。

This series of images will show the general method that I used to create my painting "Heaven and Hell". Each image has a brief description of what was going on and how I was working. Should you want to see a more detailed Image, click on the picture and you will be taken to a larger version.

首先，我要用彩色紙創(chuàng)建一個新文檔。然后創(chuàng)建一個新層。在這一層，我畫出我最初的草圖。一切都很不確定，隨時可能發(fā)生變化。我還沒有確定最后的尺寸，但是我的腦海中確實有一個清晰的圖像。我用記號筆進行繪制。

I begin by creating a new document with a colored paper. I then create a new layer. On this layer I sketch my initial figure. Everything remains very fluid and subject to change. I have not determined the final size at this point but I do have a clear Image in my mind of where I am going. I do my sketching with a variation of the marker brush.

我用燈光照亮背景。這是獲得顏色的最簡單的方法。我擋住了身材和頭發(fā)。在最終的形象上，我試圖達到顏色和價值一致的關(guān)系。我仍然在透明層上畫畫。我也在分別處理這些標(biāo)記，但應(yīng)用同樣的燈光保持圖像的一致性。

I apply lighting to the background. This is the easiest way to get some color going. I block in the figure and hair. I try to arrive at color and value relationships that will work in the final Image. I am still painting on the transparent layer. I am also working on the figures separately but applying the same lighting to keep a consistency in the Images.

在這張照片里，我開始給她的皮膚添加一些紋理，讓她看起來更恐怖。

 In this Image I have started to add some texture to her skin to give her a little more creepy look.

我必須調(diào)整我的畫布大小，為第二個角色提供足夠的空間。這兩個角色是分開的層，很容易找到我想要的圖層。當(dāng)我確定他們的位置時，我將兩層結(jié)合在一起。我開始研究背景，并把這些角色結(jié)合起來。

I have to resize my canvas to make enough room for the second figure. Both figures are on separate layers making it easy to position them just how I want them. When I think they are positioned, I combine the two layers. I begin to work on the background and integrating the figures together.

這里是背景。我總是試圖讓事情保持順暢，并隨時改變，我開始想象我在這一點上想要的最終感覺。

Here's the background without the distracting figures. I always try to keep things fluid and subject to change but I am beginning to envision the final feeling that I want at this point.

在這一點上，我把這些角色放在背景上。我繼續(xù)改進這兩個角色。我把煙熏的火加在黑暗天使的手掌上。我在煙霧中作畫，然后用筆刷給它繪制旋轉(zhuǎn)的外觀。

At this point I drop the figures on to the background. I continue to refine both figures. I add the smoking fire to the dark angel's palm. I paint in the smoke and then use the turbulence brush to give it the swirling look.

我細化角色。我在白色天使后面的背景中加入云彩。我把蝴蝶涂在一個新的圖層上，主要使用噴槍。我只畫了一半的蝴蝶。然后復(fù)制，粘貼，翻轉(zhuǎn)得到另外一半蝴蝶。然后我把兩層都折疊起來。我把蝴蝶放在我想要的地方。在這一點上，我還去掉了畫右邊的一些畫布。

I refine both figures. I add the clouds to the background behind the white angel. I paint the butterfly on a new layer using mainly airbrush variations. I only paint half the butterfly. I copy, paste, and flip horizontally the half butterfly. I then collapse both layers to one. I position the butterfly where I want it. At this point I have also removed some of the canvas on the right side of the painting.

我復(fù)制圖像。在復(fù)制版本中，我開始在背景中添加火。我用噴槍和噴槍的自定義變種來畫大部分的火。我一點也不擔(dān)心角色的重疊。當(dāng)火完成后，我將這個角色從原來的地方復(fù)制回來。我開始在黑暗天使身上形成反射光。

I clone the Image. In the clone version, I begin adding the fire in the background. I paint most of the fire with the airbrush and custom variations of the airbrush. I do not worry about overlapping the figures at all. When the fire is finished, I clone the figure back in from the original. I begin to develop the reflected light on the dark angel.

更多的背景被繪制出來。同樣，這是畫家創(chuàng)作的缺陷。出于某種原因，我已經(jīng)開始用TIF格式保存所有東西。

More background development. Again, there is the flaw that painter is generating. For some reason, I have begun saving everything in TIF format also.

最后的圖像。如果你有什么特別的問題，盡管問我。

The final painting. If you have any specific questions, don't hesitate to ask me.