但是，我知道还有很多需要改变的地方。 但在这一点上，形象是我所需要的，所有的怀疑都被抛弃了。 我找到了我的设计 现在我只需要改进它。
My next step was sketching in the figure to suit the emotive intent of the image, and to fit it within the boundaries that the textures and patterns had built for me. After I quickly sketched in the figure, I basically found the feeling that I had desired for the first shot.
However, I knew there were still a lot of changes to be made. But at this point, the image was where I needed it to be and all doubts were cast away; I had found my design now I only needed to refine and polish it.
Having found my design, I blocked in the silhouette of the figure to see if the composition was to my liking. I did find the composition to my liking and so started to develop the figure, making the necessary enhancements.
在这一点上，我觉得有必要进一步尝试，把这些元素更多地放在景。 我再次尝试了纹理，形状和图案，但是用他们塑造造型的思维。 我喜欢我所看到的，并收到了创造性的信号，将其全力投入到图像中。
At this point I felt the need to further experiment, bringing the elements more into the foreground. I experimented again with texture, shape and patterns, but with the mindset of using them to sculpt form. I liked what I saw and received the creative signal to go full force into the image.
这个阶段是荣耀阶段，它开始得到清理，事情进展得非常快。 事实上，事情进展缓慢，但在现阶段，我已经深入了解了很多事情，然后才放松了自己的形象。 在这个阶段，我进行了大量的视觉跳跃，但这只是一个继续试验和工作的过程，直到他们觉得正确。我开始通过添加更多的视觉兴趣来巩固这个图形，引入深度来从背景中拉出图形，同时也增加了图形本身的体积。在这一点上，我把注意力集中在颜色的平衡上，将更多的蓝色引入到图像的上部，开始从暖化到冷却的过渡。
This stage was the glory stage, where it all started to get cleaned up and things went by really fast. Actually, things went by slowly, but at this stage I was so into the piece that a lot got done before I eased up from the image. At this point in the stages of progression, I took huge visual jumps, but it was just a matter of continuing the process of experimenting and working things until they felt right. I started to solidify the figure by adding more visual interest, introducing depth to pull the figure out from the background and also adding volume to the figure itself. At this point, I focused on the balance of colour, introducing more blue into the upper portion of the image, starting the transition from the warms to the cools
然后，我到了这个过程的乏味部分，在那里我开始清理 - 但这真是太好玩了！ 对于边缘，我使用了一个封面铅笔。 这是我清理边缘的首选工具，我并不想要锋利而又非常紧密。 使用Scratchboard工具 我最喜欢的工具之一 我继续添加细节的图像，同时使用其剃刀锋利的线条和大线变化能力清理。 Scratchboard工具可以将非常干净的矢量线质量添加到图像中，而且它是一个手绘工具。 我继续在图像中添加细微的细节，使用图案粉笔增强身体的曲线，并继续使用Scratchboard工具细化边缘。 我花了一些时间确保脸部是正确的，镜像了几次之后，我找到了我需要的线条并最终确定了脸部。
I then arrived at the tedious part of the process, where I started to clean up - but it was oh so much fun! For the edges, I used a Cover Pencil. This is my tool of choice for cleaning up edges which I don't actually want to be razor sharp, but yet very tight. Using the Scratchboard tool one of my favourite tools I continued adding detail to the image, whilst simultaneously cleaning up using its razor sharp lines and large line variance ability. The Scratchboard tool has the ability to add that very clean vector line quality to the image, with the advantage of it being a freehand tool. I continued to add subtle details all over the image, enhancing the curves of the body using the Pattern Chalk, and continuing to refine the edges with the Scratchboard tool. I spent time making sure the face was correct, and after mirroring the image a few times I found the line I needed and finalise the face.
I started to very slightly blend the sketch lines into the image, just enough so that it wasn't so harsh and had a better consistency. Along with blending the sketch lines, I refined the lines for the facial features using the Cover Pencil, so it was sharp but not razor sharp.
在这一点上，我真的进入了清理脸部的过程，通过使用封面铅笔来改变每种可变颜色的形状。 这是一个非常非常乏味的过程，但我实现了我想要的确切外观。 我继续添加小细节使用模式粉笔在耳朵和沿着眉毛，美化图像中的其他细节。
At this point I really went into the process of cleaning up the face, by sharpening every shape of variable colour using the Cover Pencil. This was a very, very tedious process, but I achieved the exact look that I wanted. I continued to add minor details using the Pattern Chalk around the ear and along the eyebrow, to compliment the other details in the image.
现在形象已经到了最后，只剩下一点感触：在一些地方增加一些微妙的深度。 为此我使用了数字水彩工具（图52）。 我总是使用数字水彩工具来上釉，并为我的图像添加深度。 我微妙地在暗处添加我认为需要的区域，这样图像就可以更“弹出”一些。 这个图像现在已经完成了。
The image was now at its end, with just one more touch left: adding some subtle depth in areas. For this I used the Digital Watercolour tool (Fig.52). I always use the Digital Watercolour tool for glazing and adding depth to my images. I go around subtly adding darker areas where I think it needs it, so that the image can "pop" a bit more. The image, at this point, was now complete.
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