xiao_q | 17年1月11日|343关注
Characters are by far my favorite subject to paint, so when tasked with doing just that there's always a little buzz about it for me! The sky is the limit with character painting, but in this case I do have a buzz word to give a little guidance, which is "gaunt".
When I first started painting creating characters was an exciting prospect and I wanted to make them as original as I could. So, naturally, I pelted my characters with ten thousand things; earrings, belts, accessories, feathers, satchels, boots, beads? you name it, they had to have it! A few years on and I've learnt a few lessons. The most obvious being that to create a character you don't need to give them an identity by saddling them with a ridiculous amount of stuff. It's my opinion that nothing is really original anymore. I don't mean that in a depressing way, it's just that I often find myself in the confusing situation of wanting to create an original character, rather than a good character. Creating an original character is one way to set yourself a goal you'll probably constantly battle with, whereas creating one that is good, well that's not so scary.
当我第一次开始创作人物角色时，这是一个令人兴奋的前景，我想让他们的原始，我可以。 所以，自然地，我给我的角色用一万件东西。耳环，皮带，配件，羽毛，书包，靴子，珠子？ 你命名它，他们必须有它！几年后，我学到了一些教训。 最明显的是，创造一个角色，你不需要给他们一个身份，通过用可笑的数量的东西装备他们。 这是我的意见，没有什么是真正的原件了。 我不是说在一个令人沮丧的方式，这只是，我经常发现自己在想要创造一个原始的字符，而不是一个好的字符的混乱的情况。 创建一个原始角色是一种方式来设置自己一个目标，你可能会不断与战斗，而创建一个是好的，这不是那么可怕。
Let me also say that I don't think any character I create is the greatest thing I've ever done, not by a long shot, but there is something I like about each and everyone one of them. There's also a ton of things I don't, but I'm not focusing on that right now!
So here I am with a blank page and the word "gaunt" floating around in my head. At this point I have no idea what I want to create. So, as I so often do, I take a fairly light gray color and just start blocking in a silhouette ? this is how I begin a painting 90% of the time. If you're not a hundred percent sure about what you want, it can be a really good way of "finding" the image. Having settled on a rough shape I begin to draw a more detailed sketch above it (in a slightly darker tone). I kind of like the rough sketch at this point! It's fairly messy and she's obviously missing some limbs, but the general suggestion is there for me to work on. It's fine to work the sketch up a little more if you're more comfortable with it (Fig.01).
所以我这里有空白页，“憔悴”浮在我的脑海。在这一点上，我不知道我想创建什么。 所以，我经常这样做，我采取相当浅灰色的颜色，只是开始阻止在一个轮廓？ 这是我如何开始绘画90％的时间。 如果你不是百分之一百确定你想要什么，它可以是一个很好的方式“找到”的形象。 已经在一个粗糙的形状，我开始绘制一个更详细的草图上面（在一个稍微更深的色调）。 我就像这样的粗略草图！ 这是相当混乱，她显然缺少一些肢体，总的建议是让我继续工作。 如果你让它更合适，可以把草图做得更多一些。
There is an absolute plethora of different custom brushes available in every corner of the internet and whilst some of them are great, I've always thought you can't go wrong with a basic brush. For the entire sketch and painting, I'll be using the standard Photoshop brush 23 (chalk 23 pixels).
I merge the silhouette and sketch layer together and set that layer to Multiply, making it transparent. Then on a layer below I start to block in some base colors. They're very crude at this point and I am not trying to be neat. It's just about setting a mood with the colors. I'm also not entirely sure where I want to go with the color scheme at this point, so these blue/gray tones are fairly neutral and can be worked into different colors easily enough (Fig.02).
我将剪影和草图层合并在一起，并将该图层设置为乘法，使其透明。 然后在下面的一层我开始阻止在一些基本颜色。 他们在这一点上非常粗糙，我不想整洁。这只是关于设置的情绪色彩。 我还不能完全确定在这一点上我想使用配色方案，所以这些蓝色/灰色色调是相当中性的，可以很容易地加工成不同的颜色。
From this point onwards everything I paint is above the sketch layer. I also flatten the layers throughout the painting process, which isn't essential; it's just my preference. During this process I rarely stay on one section for too long. I hop to different features just to make sure I don't get too bored working on the same section for too long. It also helps to come back to sections later on as you'll notice the mistakes more easily (Fig.03).
从这一点开始，我画的一切都在素描层之上。 我也在整个绘画过程中压平了层，这不是必要的; 这只是我的偏好。 在这个过程中，我很少在一个部分停留太久。 我想到不同的功能，以确保我不会太累的工作在同一部分太长时间。 它也有助于以后回到部分，因为你会更容易地注意到错误。
The section that I will always work on first, however, is the face. This is the point when I need to think about my buzz word; "gaunt". This is a chance to bring out her features, giving her a gaunt appearance. Normally, if I was painting a young lady I'd give her a relatively smooth face; this character, on the other hand, obviously needs to look gaunt. To do this, I'm giving her some pretty harsh shadows as part of her facial structure, especially around her cheekbones. I'm also adding in highlights along the top of her cheek and giving her fairly dark eyes and shadows underneath too, to emphasize her eye sockets (Fig.04).
然而，我将始终工作的部分是面部。 这是我需要考虑我的热门词汇的时候; “憔悴”。 这是一个机会，提出了她的功能，给她一个.unt的外观。 通常，如果我画一个年轻的女士，我会给她一个相对光滑的脸; 这个角色，另一方面，显然需要看起来憔悴。 为了做到这一点，我给她一些相当阴暗的阴影作为她的面部结构的一部分，特别是在她的ek骨。 我还在她脸颊的顶部添加了亮点，给她下面相当黑暗的眼睛和阴影，以强调她的眼窝。
As I refine the details of the painting you'll notice subtle changes to her face (Fig.05). Throughout this process I'm adding more highlights and shadows, adding to her gaunt appearance. I also add in some pinkish tones on her lips and a little on her cheeks. This adds a bit of warmth to her face. Although I want her to look gaunt, I don't want her to look like a total corpse! So I'm warming up the tones just a touch.
当我细化绘画的细节，你会注意到她的脸的微妙的变化（图05）。 在整个这个过程中，我添加更多的亮点和阴影，增加了她的憔悴的外观。 我还在她的嘴唇上加了一些粉红色的色调，有点在她的脸颊。 这给她的脸增添了一点温暖。 虽然我想让她看起来憔悴，我不想让她看起来像一个完整的尸体！ 所以我的温暖的色调只是一个触摸。
Don't forget to flip your image! Flipping is a great way to gain a new perspective on a painting (Fig.06). It really helps you notice mistakes. (Image > Image Rotation > Flip Canvas Horizontal).
I said earlier that I don't think you need to give a character a large number of accessories to give them an identity. That isn't to say that I don't think they should have any. It can be a great way of adding interest, like a little spark to grab your attention (Fig.07).
You can see I've added in a pin to her cape. These elements can be read into differently by different individuals, which is good because I like people to be able to make their own judgments about things (Fig.08).
It could be a family crest on her pin, a symbol of a society or something else. Whatever you want it to be! I add in a little red ribbon/sash too; it adds in a little splash of color (Fig.09).
Hands can be the bane of an artist's existence, especially when learning. I know I struggled with them quite a lot. Naturally, practice helps. So don't cover them up or hide them away, paint them! When I first sketched out the rough idea, one hand was holding up a section of the dress and the other was holding some sort of staff (although it didn't take me too long to change my mind about that) (Fig.10 ? 12).
手可以是一个艺术家的痛苦之源的存在, 特别是在学习时。自然，实践帮助。 所以，不要掩盖他们或隐藏他们，油漆他们！ 当我第一次勾画出这个粗略的想法时，一只手拿着一件衣服，和其他持有某种工作人员（虽然我没有花太多时间来改变我的想法）。
It felt a bit cheesy, so I'm opting for no staff at all, and a fairly relaxed gesture for both hands. For each hand I start with a very rough dabbing of paint, just to try and pin down the pose of the hand. Then I gradually build up the structure of the hand and add in some highlights around the knuckles and thumb, and also some pinkish tones on the tips of her fingers. I'm also keeping in mind my buzz word, "gaunt", giving her fairly boney fingers。
感觉有点俗气，所以我选择没有工作人员，和一个相当轻松的手势，双手。 对于每一只手，我开始一个非常粗糙的涂料，只是试图和钉住手的姿势。 然后我逐渐建立手的结构，并在指节和拇指周围添加一些亮点，以及在她的手指的一些粉红色的色调。我也记住我的热词，“憔悴”，给她相当瘦骨嶙峋的手指。
Try and think about the structure of the bones when painting, I personally find that it helps. Look at your own hands and if you're struggling there are plenty of references available.
Fabric is something that I love to work on, which is quite obvious with the amount of dresses I paint! You can see from the first sketch I don't really bother to detail clothing all that much, I prefer to just paint it in. I tend to block in the colors and very crudely start to add in the folds of the fabric, just by adding in basic highlights (Fig.17 ? 19).
From there I refine in my usual manner, gradually working up details and more folds. I add a little stitching detail in places, and I also make the seams of the fabric a little rough around the edges. I don't want it to look too perfect. Again, if fabric is a sticking point, use references, your own clothes or have a look at stock.
Things are coming together and are pretty much finished at this point. For some final touches, I add in some ruffles around her sleeves which tie in with the lace on her dress (Fig.20).
You might also notice that the colors in the background are a little stronger. I've added in some warmer peachy tones on an overlay layer (Fig.21).
There are also a few specs/orbs in the same color over the lower section of the dress which helps to tie it into the background.
I hope you enjoyed my tutorial and have fun painting your own characters (Fig.22).
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