xiao_q | 18年1月10日|371关注
Dream是完全使用Corel Painter X创建的。从一张空白的白色帆布开始，在脑海中形成了一个模糊的想法，我开始用Sharp Chalk从我的自定义纸张上挖掘纹理（图01）。 使用纸张只是Painter的诸多优点之一，在这篇文章中，我有目的地创作并开发了各种各样的纸张，这些纸张将与图像背后的灵感息息相关。
Dream was completely created using Corel Painter X. Starting with a blank, white canvas, with an obscure idea of the image forming in my mind, I began to dig the texture from my custom papers with a Sharp Chalk (Fig.01). Using papers is just one of Painter's many strengths, and for this piece I purposefully created and developed various assorted papers which would be in touch with the inspiration behind the image itself
使用来自不同国家，性质和技术的建筑图像，我把它们“融合”成拼贴画。 从那张大拼图中，我剪下了几张纸。 尽管不是很明显，纸张纹理在打造图像的基础方面做得非常出色，为最终效果增添了丰富性和生命力，这是任何良好的基础应该完成的。 使用这些文件可以创建一些非常有趣的抽象图案和形状，但最重要的是，它们允许图像由与其含义相关的事物组成。
Using images of architecture from various countries, natures and technologies, I "melted" them all into a collage. From that large collage I cropped and made several papers. Though not obvious, the paper textures did a fantastic job in building the foundation of the image, adding richness and life to the final result, which is what any good foundation should accomplish. Using the papers made it possible to create some very interesting abstract patterns and shapes, but most importantly, they allowed the image to be comprised of things relevant to its meaning.
I wanted the image to flow with energy, so each stroke made was very quick and fluent, without much thought, and entirely left up to chance. I acted purely on just how I felt at that moment and how the image I saw in my mind made me feel. So with those elements at hand, I did my best to translate them to the canvas.
对能量的强调，不仅是图形的“S”型曲线，图像内高密度的图案和纹理，还有颜色。颜色背后的主要思想是有一个流动的赞美 - 最初从黄色到红橙色，从蓝色到绿色。我所追求的平衡是在温暖中充满活力和充满希望，在冷静中平静温柔。融合在一起，我希望在形象上有和平，在生活中有一种享受的感觉 - 抽象的和未知的。
The emphasis on energy came in the form of, not only the swooping "S" type curve of the figure and the highly dense patterns and texture within the image, but in the colour. The main idea behind the colour was to have a flowing compliment - initially yellow to red-orange, versus blue to green. The balance I aimed for was invigorating and hopeful in the warms, with calm and gentleness in the cools. Fused together, I hoped to have peace in the image and a sense of enjoyment in life itself - the abstract and unknown.
Making full use of my palette, I blended colours already on the canvas to enrich the image. I fused the greens with the warms to create earthy tones which sat very well on the natural side of things. It was important not to overdo it because the feel of the tones was all that was needed; a merging of colour rather than an addition to the strict palette.
The creation of this piece was not systematic; I am not very step-by-step oriented when creating my work, it all just comes together sporadically.A I go back and forth, working on a different area every few minutes. I love letting my natural flow take over, going where my mind wants to go. I know it will come together in the end.A If needs be, I can always consciously take a technical approach, which is actually the last phase of my work. After all that uncertainty, exploration, surprise and shock along the way, the final stage consists of a cleanup and a more technical approach. I do strongly believe that a balance is always needed in whatever is done.
I started off filling the canvas with texture, shapes and patterns. For each aspect I used three different utilities: for texture, I used Painter's Paper utility; for the shapes I used the Paint Bucket tool with Painter's Gradient utility and for patterns I used Painter's Pattern utility.
对于第一阶段，我坚持我的调色板，但保持中性饱和度，留下更大的增强空间 - 毕竟，这只是一个开始。
For this first stage, I stuck to my colour palette, but kept it rather neutral in saturation, leaving room for greater enhancements later - after all, this was just the beginning.
I added texture, shapes and patterns until I felt satisfied, and then I began tinting areas to my liking in order to make it more cohesive.A Going a bit further, and reaching a point where it was time to get bold and add some weight, I implemented some darks into the image, until the weight started to read a lot better for me.
为了获得不同的视角，我旋转了画布，开始使用更多形状。无论是使用“选框”工具还是“渐变”实用工具，目的都只是为了制作形状并增加趣味性。 我继续添加形状和纹理，直到我对画布的感觉满意为止。 然后...我把它摧毁了！
To get a different view of things, I rotated my canvas and started playing with more shapes.A Whether I used the Marquee tool or the Gradient utility, the aim was simply to make shapes and add interest. I continued to add shapes and texture until I was satisfied with the feel of my canvas. And then... I destroyed it!
After all that fun with texture, shape and pattern, I made it one cohesive image by tinting the entire canvas with a dark green. Even though it was tinted, the initial colours still showed through and blended nicely together, giving me a very rich and deep background to build upon.
At this stage, I was less inclined to use paper as a texturing method as heavily as I did in the beginning. Instead, I focused more on the patterns, because I was able to have full control of the flow and could be a lot more purposeful at this point in what I wanted to see.
Staying focused on the intended weight flow of the image, I built up patterns which flowed from the bottom of the image upwards, all following a swooping upwards stroke which gave a feeling of motion and an uplifting energy.
色温从热到冷的过渡是形式向上的一个关键方面。 这种颜色转换有助于在整个图像中传递能量流。 我给表单添加颜色的方法很简单。 当我使用图案粉笔工具（图30）应用我的图案时，我创建了一个新图层，并制作了我所需的图案。 起初，图案只有一种颜色，所以为了获得我的级别，我设置了图层以保持其透明度，然后以我想要的任何方式将我的颜色喷成形状。 我发现Painter中的Digital Airbrush（图31）是非常逼真的，它提供了非常柔软和模糊的微小飞溅，更像是一把真正的喷枪，让色彩更加美丽。 由于非常微妙的色彩积聚，它非常有吸引力。
The transitioning of colour temperature, from hot to cold, as the forms progress upwards was a key aspect in the piece. This transition of colour helps to communicate the flow of energy throughout the image. The method in which I added colour to the forms was quite simple. When I applied my patterns using the Pattern Chalk tool (Fig.30), I created a new layer and made my desired pattern. At first, the pattern was only one colour, so in order to get my gradations, I set the layer to preserve its transparency and then airbrushed my colour into the shapes, in whatever manner I desired. I find the Digital Airbrush in Painter (Fig.31) to be realistic in the way that it provides the tiny spatters, which aren't digitally soft and blurry, but much more like a real airbrush, allowing the colour to blend beautifully. It is very optically attractive because of the so-very-subtle build up of colour.
At this point, I sat back for a while and observed the image, and in doing so I spotted areas that I wanted to build upon. The first thing I saw in the image came from the background, and it was the image of an ear. So I actually started the figure from the ear and worked my way around.
我向上扩展了画布，因为它开始变得狭窄，而且这个形象需要更多的空间。 看着图案的流动，我得到了身体的感觉，所以开始尝试形式和颜色。 我在展开的画布上添加了纹理，也指示了角色的头发姿态。
I expanded my canvas upwards, since it was starting to get cramped and the figure needed more room. Looking at the flow of patterns, I got the feel of a body and so began experimenting with form and colour. I added texture to the expanded canvas, also indicating a gesture of hair for the character.
For a moment I re-thought the character, but it didn't work to my liking as the flow was all wrong and the emotion that I was aiming for had been destroyed. So I knew that I needed to step back and be much more purposeful at this stage
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