eter Braeley demonstrates how he followed the basic rules of principles, perspective and shapes to create his image, Sacrifice.
我正在浏览我的日常缩略图画，并开始画画。 我从非常松散的大形状开始，把焦点放在图像的中心，带有一个球体和角色。 我又一次知道，这是关注的焦点所在，以及这将如何影响其余的形象。
I was going through my daily thumbnail paintings and started painting away. I started off with very loose big shapes, focusing in on the center of the image with a sphere and character. Again I knew that this is where the center of attention is going to be and how that is going to affect the rest of the image.
我没有花太多时间在这个缩略图上。 老实说，我已经进入了下一个阶段，因为我非常兴奋，这部戏将如何演变。 于是我开始封锁形状，找出某些物体和兴趣在哪里。 只是保持简单，最后对我来说很好。
I didn't spend a lot of time on this thumbnail; honestly I was already jumping into the next step because I was so excited how this piece was going to turn out. So I started blocking out the shapes and figuring out where certain objects and interests are going to play; just keeping things simple works well for me at the end.
During the process of this step I wanted to the viewer to feel as if they were immersed in the scene, as if the camera was a third point of view and that the next second would be the aftermath of the story leaving the viewer on edge and wanting to know what would happen next. That was the set plan on this piece.
Then I laid out a simple perspective grid just to help me with the focal point and give a sense of balance and weight to the image. At first I had the idea of having a destructive city in the background and you're in an interior looking out, but it felt too busy for me so I added in ships to give a better sense of space and room for storytelling.
Once I decided to change the background into this vast sky I added the ships to allow more attention on the centre focal point. I added some clouds, sky and painted in some fill color into the scene for believability, make sure it's not too empowering.
I painted the ships with simple basic shapes and some base painting. I added textures to the bigger and closer ships; some of the smaller ships had some sky fill pushing them back further into space. I also started adding some fire and debris into scene. This gave me a chance to add more drama and create conflict in the scene. I kept staring at the sphere and how empty it was, so it was time to move on.
This was a lot of fun to do; I wanted the sphere to look like it was organic, gentle, yet mechanical and empowering. The first thing I did was fill it with a core shadow and light fill just to give it some depth. I started working on the outer part and inner center of sphere, adding a texture that gave me repetitive shapes and a mechanical look. I also duplicated the layer for the center as well.
I painted the outer rim with a teal blue color and added a gritty texture for the organic appeal; I also started masking out the sphere to make it look damaged and decayed. Then I focused on painting in the lighting effects to make it look alive and responsive.
In this part I wanted the cubes to be a warning system that protects the sphere, like a swarm of bees protecting their queen. I started masking out the edges then I began to fill dark and light colors and some tech lines integrated into the body for that mechanical design.
我用油漆纹理进一步深入研究，给予一些勇气和可信度。 我必须设计每个立方体的前面给他们不同的个性，但他们仍然感觉作为一个单位。 最后，我专注于用红色的眼睛照明和绘画，看起来很警惕，我选择去掉一些立方体，因为它变得压倒性和忙碌。 然后添加额外的细节，以推动有机的感觉。
I dive into them further with paint textures to give some grit and believability; I had to design the front of each cube to give them different personalities but so they still feel as one unit. Lastly I focus on lighting and painting in red eyes for that alert look and I made a choice to remove some cubes as it was getting overwhelming and busy. Then extra bits of detail were added to push that organic feel.
I decide the foreground would be an interior part of the ship for our big epic conflict with the sphere drawn in by the ship or the character.
我开始工作，确保视角是正确的。 我使用多边形套索工具制作了一些平坦的颜色，用一些肮脏和粗糙的纹理来绘制形状，并在左右墙上使用相同的技术。 记住不要过度填充内部从焦点分心。 最后，我掩盖了边缘，打破了内部的损坏和污垢的影响。 飞片和碎片也被添加进来。
I started working the ground making sure the perspective was correct. I laid down some flat color using the Polygonal Lasso tool to make the shapes, painted in some dirty and grit textures and used the same technique on the left and right walls; keeping in mind not to over populate the interior to distract from the focal point. At the end I masked in the edges to break up the interior for that damaged and dirt effect. Flying pieces of paper and debris were added in as well.
角色是图像的最后部分之一。 我把它着重于图形的形状。 然后，我使用直升机驾驶舱的照片添加了一些纹理，并将其夹在数字轮廓内。 然后，我扭曲它，翻转它，并将其拉伸，寻找有趣的形状，然后在西装上绘制。 然后我画了靴子，在背部和胳膊上增加了喷气背包。
The character was one of the last parts of the image. I painted right into it focusing on the shape of the figure. I then added some textures using a photo of a helicopter cockpit and clipped it inside the figures outline. Then I distorted it, flipped it and stretched it to look for interesting shapes for the suit to then paint on top. Then I worked on painting the boots, adding the jet pack light in the back and the arm as well.
I used a photo reference for the head and I painted the hair in with a grass single blade brush. I then painted in some touches ups with the lighting and fill color for the overall look.
This is one of my favorite stages of the piece because I get to see it all coming together. Once everything was laid in I went back to the background and started adding in lasers effects, explosions, fire, debris and atmosphere.
Then I moved on to the midground, adding in a smoke effect behind the cubed robots. Some extra attention was paid to the character adding dust particles and lighting from his suit, and burning the interior of the ground causing fire. This added more depth to the narrative.
I played with Color Balance, Brightness and Contrast, as well as adding a Photo filter layer and cropping the image to achieve a cinematic feel. Lastly I added a Smart filter for some edge details.
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