研究
我的许多研究都是针对其他艺术家的作品，这些作品是当代数字艺术家和老派迪士尼艺术家的混合体。我甚至看了那家旧磨坊，并把截图作为参考。如果你想成为一个艺术家，那么你必须找到比你更好的艺术作品，并学习这些艺术家如何诠释光线、形式、肌理等等，并试图将灵感的部分画进你制作的每一幅画中。除了艺术参考，我还研究了旧风车、荒野、树木和马车的真实照片。
Research
A lot of my research was aimed at other
artists' work which was a mixture of current digital artists and old-school
Disney artists. I even watched The Old Mill and took screenshots for reference.
If you want to improve as an artist, and who doesn't, then you have to find art
work that is better than yours and learn how those artists interpret light,
form, texture and so on, and try to draw parts of that inspiration into each
painting you make. Besides the art reference, I also researched actual
photographs of old windmills, moors, trees and carriages.缩略图
所以我有一些东西要放在缩略图里：南瓜、建筑（最好是风车）和几百年前的乡村环境。奇怪的缩略图可能略有偏离，但这是核心简介。我还希望有好的灯光和一些漂亮的边缘灯。于是我就用老式木房子、篱笆、树木等强烈的剪影来展示这个历史悠久的万圣节氛围，然后用薄雾和边缘灯光来渲染幽灵般的气氛。最终，我在第二组左下方缩略图上找到了答案。因为我喜欢一个人穿越场景的想法，所以我们可以和它联系起来。Thumbnailing
So I had a few things I wanted to lock down
in the thumbnail; pumpkins, a building (ideally a windmill) and a rural setting
of a couple hundred years ago. The odd thumbnail may have strayed slightly but
that was the core brief. I also wanted good lighting with the opportunity for
some nice rim light. So I played with strong silhouettes of old wooden houses,
fences, trees and so on, to get that historical Halloween vibe, and then played
with mist and rim lights to really punch the spooky mood. Eventually I settled
on the bottom-left thumbnail in the second set of thumbs as I liked the idea of
a person travelling through the scene so we could relate to it. The overall
composition here gives a 1-2-3 triangular read between the moon, the mill, and
the carriage.天空的想法
我将缩略图文件（包括所有的图层）上传到全尺寸（大约4000像素），我做的第一件事就是开始在天空中工作，这样我就可以知道全局光照方案是如何工作的。
在大多数户外场景中，天空是首先锁定的，因为它是最大的光源。 我会去设置一个直接的光线，这将是非常柔软的，因为虽然它是从月球来的，它会通过一些阴霾和云。 于是我开始在一片阴郁的天空中随着一些喜怒无常的云彩涂鸦，调色板开始成形。Sky ideas
I up-res the thumbnail file, including all
the layers, to full size (around 4,000px) and the first thing I do is start to
work in the sky so I can then know how the global light scheme will work. In
most outdoor scenes, the sky is the first thing to lock down as it's the
biggest source of light. I'll be going for a direct light set up and it will be
pretty soft because although it's coming from the moon it'll pass through a bit
of haze and cloud. So I begin scribbling in a rough sky with some moody clouds
and the color palette starts to take shape.设置天空和剪影
我终于得到了天空的要点，我不得不承认，这需要一些尝试。我解决了这种三明治形状的乌云轮廓的底部，然后顶层将坐在上面，也得到一些边缘光。唷。这是一场相当激烈的战斗，但现在我可以放松一下，继续渲染。Setting the sky and silhouettes
I eventually get the gist of the sky done
and I have to admit, it took a few attempts. I settled on this kind of sandwich
shape of dark cloud silhouettes on the bottom, kind of in front, and then the
top layer would sit just above and a bit behind the mood so I can up-light it
and get in some rim light too. Phew. It was quite a battle, but now I can relax
a little and just get on with rendering.一致的形态语言
这可能是微妙的，但我开始创造一些形状语言在这个阶段的创作。你会注意到这种圆形的椭圆形，从月亮的圆形发射出来，然后通过云层反射出来，然后跟着风车的轮廓（注意轻微的曲线）。现在我已经准备好了，整个场景我都会跟进。这将有助于给场景的构图提供一个舒适的流程。Consistent shape language
It might be subtle but I'm starting to
create some shape language by this stage in the creation. You'll notice this
kind of rounded oval shape that emanates from the roundness of the moon and
echoes out through the clouds, and then is followed by the contour of the
windmill (notice the slight curve). Now that I've set that up I'll be following
it throughout the scene. This will help give a comfortable flow to the scene's
composition.中间地面渲染
所以，虽然中间地带很无聊，主要是长满草的荒地，但是我放在路上的道路有一个很好的回流路线，向右边开出来，然后再向左边弯，然后再往右边弯，
让我们看到风车。 这将在组成上给我们一个很好的扫描路线，通过绘画到我们的目的地 - 风车。Mid-ground rendering
So while the mid ground is pretty boring
and is mainly open grassy moorland, the road that I placed on it has a nice
flowing switchback which shoots out to the right, then cuts back to the left,
before bending back around to the right again, sending our eye to the Windmill.
This will, compositionally, give us a nice sweeping route through the painting
to our destination - the windmill.前景的渲染
所以我渲染了前景，增加了一些水坑和反射，增加了真实感，并在底部放置了一些更亮的蓝色，这样它们就不会在天空中聚集起来。它还允许我引导观众的进入画面。您还会注意到，以前的形状语言已被应用到树的曲线中。我添加了一些额外的幽灵剪影围栏。它给我们一种年龄感，增加了情绪，但也使我们进入了现场。最后，我添加了一个前景滚动地面/驼峰一些额外的深度。现在我们真的是从强大的，滚滚向前到深的背景。Foreground rendering
So I rendered out the foreground, adding some puddles and reflections for added realism and to place some of the brighter blues at the bottom so they're not all bunched up in the sky. It also allows me to guide the viewer's eye into the painting like arrows. You'll also notice that shape language from before has been implemented into the curve of the trees. I added the fence for some extra spooky silhouette goodness. It gives us a sense of age and adds mood but also points us into the scene. Finally, I added a foreground rolling ground plane/hump for some extra depth. Now we really flow from strong, rolling fore into deep background.渲染树木和风车
现在是简单而有趣的部分 - 渲染怪异的古树！ 我希望这些树的颜色和纹理都是黑色的。完全死去。但也有他们有点潮湿和光泽，真正拿起尖锐的边缘照明。 然后，我把风车翻过来，加上破旧的风帆，撕裂的材料正像手指指向我们的主要构图元素之一 - 月亮。Rendering the trees and windmill
Now for the easy and fun part - rendering spooky old trees! I wanted the trees to be pretty much black in terms of their local color/texture. Quite dead. But also have them a little damp and shiny to really pick up sharp rim lighting. I then rendered the windmill and added old, tatty sails where the torn material is pointing like fingers toward one of our main compositional elements - the moon.马车的渲染
这是我避免画的那些方面之一，因为我认为画一个马车是非常棘手的。事实证明它相当简单。我对马车的身体一个四四方方的形状，确信它是透视然后加轮子。Carriage rendering
This was one of those aspects of the painting that I'd avoided as I figured painting a carriage would be very tricky. It actually turned out to be fairly simple. I made a boxy shape for the body of the carriage, made sure it was in perspective and then added wheels. The reflection really helps sell it.最后的润色
本来我想在路的两边都点燃南瓜灯，但是看起来不太合适。 我觉得他们有点分心。 所以我让他们静静地坐在阴影里。 我在接近前景的地方添加了一个破碎的南瓜，作为向迪士尼原创动画片致敬的地方，那里有与电影关闭相似的图片。 最后，再次向Ichabod漫画的致敬，在接近尾声的一个特别的场景中添加了一些沼泽的香蒲。 我对于最终结果感到非常满意，很高兴能够从我从小喜爱的一部电影中得到灵感。Final touches
Originally I wanted to have lit jack-o-lanterns on either side of the road but they just didn't look right. I think they were a little distracting. So I made them muted and sitting in the shadows. I added a broken pumpkin in the near foreground as an homage to the original Disney cartoon where there's a similar image as the movie closes. Finally, again as a tribute to the Ichabod cartoon, I added some swampy cattails in the foreground which feature in a spooky scene near the end. I'm really pleased with the end result and it was nice to paint something inspired by a movie that I've loved since childhood.
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