第1步：粗略的草图
一如既往，我从一个粗略的草图开始。 有时我会先做一些缩略图，但对于这件作品，我从一开始就清楚自己想要什么。 对我来说，草绘阶段是非常重要的。 这是我计划一整件的地方。 在这一点上，你应该毫不怀疑你的构图或主题，如果它能够很好地作为一个素描，将希望通过完成的作品。 这里要记住的重要一点是，粗略的草图应该被视为粗糙的，不需要漂亮的，这只是一个让你确定你的计划最坚实的方法。
Step 1: Rough sketches
As always I start with a rough sketch. Sometimes I'll do a few thumbnail sketches first but for this piece I had a pretty clear idea in my head of what I wanted right from the start. To me the sketching phase is really important; it's where I plan out an entire piece. At this point you should have no doubts about your composition or subject matter, if it's working well as a sketch that will hopefully carry through to the finished piece. What's important to remember here is that a rough sketch should be treated as rough, it doesn't need to be beautiful, it's just a way for you to make sure that your plan is solid.
第2步：颜色
在这一点上，我正在投入一些粗糙的颜色。 正如你所看到的，我已经用了一个非常柔和的调色板。 我希望通过保持低水平的饱和度会增加作品的悲观情绪。 它仍然是丰富多彩的，但它绝对不是一个选择的颜色，呼喊幸福和兴奋。
Step 2: Color block out
At this point I'm throwing in some rough colors. As you can see I've gone for a very muted color palette. I'm hoping that by keeping my saturation levels low it will add to the gloominess of the piece. It's still colorful, but it's definitely not a choice of colors that shouts about happiness and excitement.
第3步：刷子的选择
画笔可以是非常具有描述性的。 我希望我的画笔能真正赞美这里的主题。 我选择非常结构化的画笔，模拟油画颜料的大部分插图的外观，但我使用标准的Photoshop圆刷与柔软设置来制作她的脸和手。 这些较为柔和的部分是我最后要改进的部分。 用环绕着噪音的软刷画她，会给她一种微妙的感觉，让你觉得尽管她已经死了，但她仍然脆弱。
Step 3: Choice of brushes
Brushes can be very descriptive. I want my brushes to really compliment the subject matter here. I'm opting for very textural brushes that simulate the look of oil paints for most of the illustration, but am using the standard Photoshop round brush with the softness set to full to work on her face and hands. These softer areas are the parts of the piece that I'll be refining the most later on as they are where I want the viewer to be engaging with our victim. Painting her with soft brushes surrounded by noise is going to give her a sense of delicacy, making you feel that although she's dead, she's still vulnerable.
第四步：棺木
我希望棺材感觉好像是她的一部分。 要做到这一点，我决定在木材中使用大量的灰色，事实上，我已经直接从她的皮肤中挑选了大部分灰色。 我从我为树叶奠定的基本颜色，一点点橙色和尘土飞扬的粉红色，采取了木材的温暖色调。 我在木头上使用质地刷，而不是担心在这里很干净，因为主要的重点将放在她和她的手上。 这意味着我们可以保持笔画的美观和宽松，因为我真的只想要这些作品补充绘画的其余部分，而不需要它们太精炼。
Step 4: Coffin wood
I'd like the coffin to feel like it's very much a part of her. To do this I decide to use a lot of grays in the wood, in fact I've color picked most of the grays directly from her skin. The warmer tones in the wood I take from the base colors I've laid down for the leaves, little bits of orange and dusty pinks. I'm using a textural brush on the wood, not too worried about being very clean here as the main focus is going to be on her and her hands. This means that we can keep strokes nice and loose as I really just want these bits to compliment the rest of the painting without needing them to be too refined.
第5步：绘画描述
在这里，我使用各种纹理画笔粗略地开始感觉到叶子。 这真是一团糟，用不同的画笔，但这正是我想要做的。 画一整片叶子可能听起来令人望而生畏，但事实并非如此。 当你站在落叶的田野里时，你的眼睛不会集中在每片叶子上。 你吸收的东西更像是一片叶子的感觉，而不是许多单独的叶子。 如果这就是我们在现实生活中所看到的那么那正是我要画的东西。 不是每个单独的叶子，而是描述大量叶子的颜色和纹理的混乱。
Step 5: Painting descriptively
Here I use various textured brushes to roughly start getting the sense of leaves. It's a mess really, big strokes with different brushes, but that's exactly what I'm trying to do. Painting a whole mass of leaves may sound daunting, but it's not really. When you're standing in a field of fallen leaves your eyes don't focus on each individual leaf. What you absorb is more like a sense of a field of leaves, rather than many individual leaves. If that's how we see in real life then that's precisely what I'm going to paint. Not every individual leaf, but rather a mess of color and texture that describes a mass of leaves.
第6步：从混乱中拉出形状
为了让地面变得更薄，我想开始定义几个形状，不是很多，只是足以让人们确信他们正在盯着覆盖在树叶上的地板。 我通过在粗略的笔画中找到形状并对其进行细化，而不是以新的形状进行绘画。 从某种意义上说，我正在从这里已经存在的笔触中抽出叶子。 要做到这一点，最简单的方法是在黑暗的边缘添加一个或者两个你正在“拔出”的形状，就好像在投影一样。
Step 6: Pulling shapes out of the mess
To be able to make the ground feel leafier I want to start defining a few shapes, not many, just enough to really convince someone that they're staring at a floor covered in leaves. I do this by finding shapes within the rough strokes and refining them rather than painting in new shapes. In a sense I am pulling the leaves out of the brushstrokes that already exist here. The easiest way to do this is by adding in a darker edge to one or two sides of the shape you're "pulling out", almost as if it's casting a shadow.
第七步：小细节问题
在这一点上，我将添加一些细节，使图片中的所有元素更好地融合在一起。 叠加棺材盖上的草和盖子和棺材两侧的污垢让人觉得这些不同元素之间有一种联系。
Step 7: Small details matter
At this point I'm adding in a few details that will make all the elements in the picture fit together better. Adding grass overlapping the coffin lid and bits of dirt on the lid and the sides of the coffin make it feel like there is a relationship between those various elements.
第8步：画面纱
为了面纱，我再次使用非常纹理的画笔。 我想让它感到灰尘和一点点磨损。 这里使用质地刷子有助于使织物感觉像网眼，而不是像雪纺绸般光滑。 有很小的斑点，非常轻，看起来像个人的线程捕捉光。 织物也变得越来越不透明，越过它本身的密度越高，越难以透过面纱的这些部分，并强调这是一个透明的织物这一事实。
Step 8: Painting the veil
For the veil I'm again going to use very textural brushes. I want it to feel dusty and a little bit worn. Using textural brushes here helps to make the fabric feel like mesh instead of something smooth like chiffon. Having tiny spots that are very light make it look like individual threads are catching the light. The fabric also becomes more opaque towards the ends where it's folded over itself in denser layers, making it harder to see through those parts of the veil and emphasizing the fact that it's a transparent fabric.
第9步：阴影
我通过简单地使用棕色软刷并将混合模式设置为“强光”来创建阴影。 当你做这样的事情时要小心不要使用黑色。 你想要一个插图的最黑暗的部分是黑色的，因为在现实生活中不会出现纯黑色，这是非常罕见的。 将纯黑色添加到某种东西中，真的吸引了观众的注意力，因为它绝对没有光线。 在这里，我希望阴影感觉很自然，好像场景的环境光线正在影响它。 使用此混合模式以纯黑色或白色进行绘制将导致颜色转为纯黑色或白色，而使用中色调颜色将导致较亮的颜色变浅并使较暗的颜色变暗，使“强光”真的可用于将高光和阴影添加到 一个图像。
Step 9: Shadow
I create the shadow by simply using a brown soft brush with the blend mode set to "Hard Light". Be careful not to use black when you do something like this. It's very rare that you want the darkest parts of an illustration to be black because pure black simply doesn't occur in real life. Adding pure black to something really draws the viewers attention to it as it's an absolute absence of light. Here I want the shadow to feel quite natural, as if the ambient light of the scene is affecting it. Painting in pure black or white using this blend mode will result in the color turning pure black or white, whilst using midtone colors will result in lighter colors lightening and darker colors darkening, making "Hard Light" really useful for adding both highlights and shadows to an image.
第十步：最后的细节
最后我加入一些最后的细节。 我在棺材的盖子和两侧加了一些叶子，让它们感觉更像是它们周围的一部分。 我也加入了更多的绿色和蓝色的手和草来统一颜色好一点。
Step 10: Final details
Lastly I add in a few final details. I've added in some leaves on the coffin lid and sides to help make them feel more like they're a part of their surroundings. I've also added in more greens and blues to her hand and the grass to unify the colors a bit better.
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