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冰怪物设计概念

sunliang | 17年5月18日|170关注

尤娜的绘画 观看预览

尤娜的绘画

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相信喜欢尤娜的朋友是相当多的!我们一起学习临摹技术,让你从细节到整体都画的有模有样!绘画其实就是这么简单。

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自1987年以来,我一直在为好莱坞动漫产业设计人物和动物,包括动画片《阿尔夫》,《极限捉鬼敢死队》,《哥斯拉》,《星际战舰》:《粗暴的编年史》和《伊戈尔电影》。我的PS图象处理软件技术都是很基本的,因为我是自学的,一部分是因为我开始与PS图象处理软件十年前,当它是一个非常简单的和强大的项目工作。
Since 1987 I have been designing characters and creatures for the Hollywood animation industry, including the Animated Alf show, Extreme Ghostbusters, Godzilla: Heatseekers, Starship Troopers: Roughneck Chronicles and the Igor movie. My Photoshop techniques are pretty basic, partly because I am self-taught, and partly because I started working with Photoshop ten years ago when it was a much simpler and less robust program. Old habits, you know.

The Ice Creature was requested by a producer two days after Xmas 2005; she was rushed and needed to have something to show an investor. So I finished the image in four days and was happy to stop at this point (Fig.01 - left side) and move onto the other creatures. However she then had me modify it for a further 10 days, tweaking such minor details as the ice spines. She wanted the image to look like a photo, so I added textures from elephants for skin and polar bears for fur (right side). Adding photographic textures was a new technique for me back then, and one that I've since improved upon. Because it was speculative work, I wasn't paid and my request to at least put my name on the artwork was refused. I never liked the changed version and so put the experience behind me. More than five years later I rediscovered the file and wanted to show my version to 3DTotal to see if it was a suitable gallery piece. I'm very grateful for the positive response; it has been a nice little vindication.
2005年圣诞节后两天,制片人要求制作生物。需要给投资者展示一些东西。所以我在四天内完成了这幅画,很高兴在这一点上停下来(图01 -左边),然后移动到其他生物上。然而,她又让我修改了10天,调整了这些小细节,如冰刺。她希望这张照片看起来像一张照片,所以我增加了大象的纹理和皮毛(右侧)。添加摄影纹理对我来说是一种新的技术,而我之后已经改进了。因为这是一个投机的工作,我没有得到报酬,我的要求至少把我的名字写在艺术品上被拒绝了。我从来都不喜欢这个改变的版本,所以把我的经验放在后面。五年多以后,我重新发现了这个文件,想把我的版本展示给3DTotal看它是否是一个合适的画廊。我积极响应非常高兴;这是一个很好的小的辩护。
Fig. 01图1
I began with a pencil sketch (Fig.02) which I scanned into Photoshop. I changed the layer to Multiply and color adjusted it to purple.
我开始用铅笔素描(图02)扫描到Photoshop。我改变了图层,将颜色调整为紫色。
Fig. 02图2
On a new layer underneath I used the Pencil tool to create what I call a selection layer (Fig.03 - top left). I had Anti-Alias clicked off on all of my selection tools: Wand, Lasso, Marquee and even the Paint Bucket tool so that there wasn't any bleeding. I started with the big shapes, like separating the creature from the rock with two colors, and then selected the creature's color and blocked in the details. Here is how the two layers looked as I worked on them (top right). On a new layer I started to figure out the highlights. I didn't use any special brushes; in fact, I was still using the Pencil tool at this point (lower left). On a new Multiply layer I roughed in the shadows using the Brush tool, the basic one with hardness at 0%. I probably had the opacity at 70% to build it up (lower right).
在我下面的一个新图层上,我用铅笔工具创建了一个选择层(图03 -左上角)。我在所有选择工具上点击了反别名:Wand,Lasso,Marquee甚至Paint Bucket工具,以便没有出血。我从大的形状开始,就像用两种颜色把生物从岩石中分离出来,然后选择该生物的颜色并在细节中被阻挡。下面是我在上面做的两层图(右上角)。在一个新图层上,我开始找出最精彩的部分。我没有使用任何特殊的笔刷;事实上,我还在使用铅笔工具(左下)。在一个新的多层图层上,我用画笔工具粗略地画出了阴影,最基本的一个是硬度为0%的。我可能有70%的不透明度来构建它(右下)。
Fig. 03图3

By this stage I had the background color already established. I began with a simple two color gradient for the sky and then blocked in the basic colors for the mountains, using the Pencil tool (Fig.04 - left side). To push it back I Gaussian blurred the whole thing and smudged it a little to suggest wind (right side).
到这个阶段我已经建立了背景色。我开始用一个简单的两色的天空渐变,然后用铅笔工具(图- 04 -左边)在基本的颜色上挡住了山的颜色。为了把它推回去,我把整个东西都弄模糊了,并把它弄脏了一点,以表示风(右边)。
Fig. 04图4
For the foreground, I took a basic rock texture and stamped the darker part of the image to make shadow areas (Fig.05 - top left). On a new layer, with the Brush tool on 100% hardness and opacity, I blocked in the shadow color for the snow (top right). On a new layer the highlights were painted with the softer edged brush, but with the opacity changed to somewhere like 60% (lower left). On a new multiply layer I painted the shadows with the opacity on the brush down to about 40% (lower right). I had the entire foreground in a group folder with a layer mask applied that I'd taken from the selection layer I made at the start and the end result was this (Fig.06).
对于前景,我拍摄了一个基本的岩石纹理,并压印了图像的较暗部分,以制作阴影区域(图05 - 左上角)。 在一个新的层面上,刷子工具的硬度和不透明度为100%,我在阴影中挡住了雪(右上角)。 在一个新的层面上,亮点涂上了柔软的边缘刷子,但是不透明度改变到60%左右的地方。 在新的乘法层上,我将画笔上的不透明度的阴影画成约40%(右下)。 我把一个组合文件夹中的整个前景应用到我从开始时所做出的选择层中取出的层掩码,最后的结果是这样(图06)。
Fig. 05图5
Fig. 06图6
Putting it all together it looked like the top-left of Fig.07. By this stage I had worked the creature up with some more fur work and used the selection layer to select his skin and adjust its highlight color.
把它放在一起看起来就像图07的左上角。在这个阶段,我开始制作皮毛,并使用选择层来选择他的皮肤并调整突出的颜色。
Fig. 07图7


When I came back to it years later I spruced up the clouds to give some movement to the piece, intensified his eyes and added some spittle (Fig.08).
云层给了一些动作,,使它有一些运动,使他的眼睛更加明亮,并增加了一些唾沫(图08)。
Fig. 08图8
Generally I'm happy with the final result; however, there is one area I have never solved to my satisfaction. There is a peak in the lower right that is supposed to be an out cropping that his hand is behind, however it always seems to appear like it's part of the ridge he is standing on and his hand is strangely pincered over it. One day I might get around to solving this issue, but no one seems to notice so I might as well save my energies for working on another piece, but it bugs me, so one day...
总的来说,我对最终的结果很满意。然而,有一个领域我从来没有解决过。右下角有一个高峰,这是他的手在后面的一种露出来的东西,然而它看起来似乎是他所站立的山脊的一部分,而他的手却奇怪地夹在上面。有一天我可能会着手解决这个问题,但似乎没有人注意到,所以我不妨把精力放在另一件事上,但这让我很烦,所以有一天……
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1741785608!!!

1741785608!!!

普通会员

很棒的设计

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17年5月18日

黎嘉裕

黎嘉裕

普通会员

怪物挺有特色啊,

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17年5月18日

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