制作南瓜树

这可能是整个过程中最重要的一步。有时你可以制作出大量的缩略图，试图把你的脑袋里的东西涂在画布上。在最右上角的图像中，我喜欢场景中的深度和南瓜树的表情。然后在左上方的缩略图上，我对他的震惊表情感到非常兴奋，这让我觉得他可能会在场景中被别人吓到，因此最后的缩略图我添加了一个小技巧或者处理器。这篇作文也很大胆，很生动，我想要它是关于男孩和树的，其他所有的东西都应该支持它，然后坐好。

thumbnail

This might be the most vital step in the whole process. Sometimes you'll nail it sooner and sometimes you can be churning out lots of thumbnails trying to get what's in your head onto the canvas. In the top right image in the set of four I started to feel like I was getting warm. I liked the depth in the scene and the pumpkin tree's expression. Then in the top left thumbnail on the set of three I really warmed to his shocked expression and it made me think he could be scared of someone else in the scene, hence the final thumbnail where I added a little trick-or-treater. This composition is also very bold and graphic, I wanted it to be about the boy and the tree and everything else should support that and sit well back.

工作

首先，我将文件从2000px提升到4000px。这幅画的工作流程很重要的一点是，缩略图真的把所有东西都钉在了一起，所以所有的重大决定都已经做出来了。这并不总是这样的，当你从一个小到大的时候，某些事情会随着各种各样的问题变得更加明显。

Working big

First I up-res the file from about 2000px to 4000px. What's great about the workflow of this particular painting is that the thumbnail really nailed everything, so all the major decisions had already been made. This is not always the case as sometimes, when you go from small to big, certain things can fall apart as various problems are more noticeable.

So I take all the separate layers which I'd used in the thumbnail and start to apply some basic layers of paint just to lay down approximate colors. Nothing fancy and no layer modes or effects except maybe a dodge around the flames.

所以我把缩略图中用到的所有图层都放在缩略图上，开始涂上一些基本的颜料，只是为了画出近似的颜色。没有什么奇特的，没有层模式或效果，除非在火焰周围躲闪。

修正量

我现在正试着确保物体正确地阅读，地面飞机有形状和维度，树坐在上面，看起来就像在三维空间里。所以我用草刷创造了一层草。我使用隐含照明，首先显示一些点燃的剪影树的黑暗的形式,然后空间照明的草会给我们黑暗的一个阅读空间,然后再回到前景深草对一些绿色的轮廓与光草。所有这些都创造了良好的地面纹理。我还决定把这棵树从地上抬起来，好像他有腿似的，这使他更有个性。

Correcting volume

I'm now trying to make sure things read properly and that the ground plane has form and dimensionality and that the tree sits atop with it all looking like it sits in 3D space. So I created layers of grasses using a grass stamp brush. I used the implied lighting from the mouth to give me an excuse to show first some lit silhouettes against the darker form of the tree, then a space of illuminated grass which will give our dark headstones a read, then back into the foreground darker grass again for some more grassy silhouettes to read against the light grass. All this creates nice ground texture and also sells the lighting because it's landing on objects in the scene. I also decided to lift the tree off the ground, almost as though he has legs, which further personifies him.

二次照明

我想所有的艺术家都知道建立颜色对比的重要性，所以这里我要采取必要的步骤来对暖场进行冷却。即使没有一个大的蓝色天空来提供二次光，我想我还是会把它放在一起，因为它不仅有助于描述一个三维的形式，而且还能增加情绪。当温度降低时，我们可以更欣赏温暖。我开始在树的光区添加纹理和形式。我想让他有一种老而粗糙的树皮。

Secondary lighting

I think all artists know how important it is to set up some color contrast and so here I'm taking the necessary steps to play some cools against the warms. Even if there wasn't a big blue sky to provide a secondary light, I think I'd just put one in regardless as it not only helps to describe a three-dimensional form but also adds mood. We can appreciate the warms even more when they're set against the cools. I'm beginning to add texture and form in the light areas of the tree too. I wanted him to have old, gnarly bark.

火和皮肤

所以这一步很有趣，因为我们在画一棵树，但也要记住它不只是一棵树，而是一个雕刻的南瓜，里面有火。我做了一些研究，看了一下杰克灯的照片，看看我如何能在一些次表面散射和半透明状态下工作。这确实有助于说明他是什么——一个被掏空了的南瓜树!为了达到这个目的，我把他的嘴巴和眼睛稍微厚一点(像南瓜的肉)，然后巧妙地把道奇工具应用到任何一个很薄的地方，坐在光源的前面。这主要是在他的牙齿上看到的，它有一个很好的橙色光。

Fire and flesh

So this step is pretty fun because we're painting a tree, but also remembering that it's not just a tree, but a carved pumpkin that has a fire inside. I did a little research and looked at photos of jack-o-lanterns to see how I might work in some sub-surface scattering and translucency wherever I could. This really helps to illustrate what he is - a hollowed out, well, pumpkin tree! To that end I gave his mouth and eyes a little thickness (like a pumpkin's flesh) and then went about subtly applying the dodge tool to any areas that were thin and sitting right in front of the light source. This is mainly going to be seen in his teeth, which have a nice orange glow to them.

组成框架

在这里，我感觉我们好像被放大了一点，所以我稍微缩小了一点。与右边的对比也有很大的差别，与左边的对比也不够。在左边我们可以看到他的轮廓，主要是在上肢。这似乎平衡了整个构图，所以它不是很明显地集中在树和男孩的脸上。我也开始在树本身中画更多的细节。

Composition framing

Here I just felt like we were zoomed in a little tight, so I shrunk everything down slightly. There was also too much contrast to the right and not enough contrast to the left. On the left we can now see his silhouette that bit more, mainly in the upper limbs. This seems to balance the overall composition so it's not too obviously focused on the face of the tree and the boy. I've also started to paint in more detail into the tree itself.

进一步的变形

这对我来说可能是最有趣的方面——在树的美的纹理上，用一种温暖/凉爽的灯光，让更小的表格更容易阅读。我给了他一种肋状的、凹凸不平的树皮，它能很好地包裹在形状上，给人的印象是他大概是一个圆柱体。当它转向月亮时，它只会拾取一点边缘光。我还在上面点了一些树皮，这些树皮通常会给人一种令人毛骨悚然的感觉。

Further texturing

This might be the most fun aspect for me - noodling away on the yummy texture of the tree with a nice warm/cool lighting set up to make it easy for smaller forms to read. I gave him a sort of ribbed, bumpy bark which wraps nicely around the form and helps to give the impression that he's roughly a cylinder shape. As it turns toward the moon it'll pick up just a touch of rim light. I also up-lit some of the bark that pushed out which always tends to give a spooky vibe to a painting.

背景元素

现在我对树的纹理感到满意了，我强迫自己把它放下(渲染是如此的有趣)，然后继续清理其他的环境。所以得到了一些常春藤，我增加了这个小男孩的尺寸，因为他很小。

Background elements

Now that I'm happy with the tree texture, I force myself to put it down (rendering is such fun) and get on with cleaning up the rest of the environment. So the graves get some ivy and I increase the size of the little guy as he was pretty tiny.

小细节

所以一旦所有主要的组件都完成了，我就开始在所有的小细节中工作，在一个很大程度上是大胆的，简单的形状的场景中增加一个复杂性。这是大的，中等的，小的形状原理，直到现在我一直在做大的和中等的。我给男孩加了一些颜料，给他一个冰球面具，一把木制的剑，还有一个小捣蛋的袋子。如果你仔细看，袋子上有一个小小的南瓜脸。我觉得加入蝙蝠和小红眼睛只会增加万圣节的情趣。这幅画的最后一个音符是，男孩和右边的树有一个非常微妙的边缘。这只是一点点，但它确实有助于展示剪影和可信度的灯光。

Small details

So once all the main components are done, I start to work in all the little details, adding a sprinkling of complexity to a scene that's largely bold, simple shapes. It's the big, medium, and small shapes principle and up until now I've been working on the big and medium. I add some paint to the boy and give him a hockey mask and a wooden sword as well as a little trick-or-treat bag. If you look closely there's a tiny pumpkin face on the bag. I thought the addition of bats and little red eyes would just give that extra layer of Halloween spice. One final note on painting here - there's a very subtle rim light on the boy and the right side of the tree. It's only a little, but it really helps to sell the silhouettes and the believability of the lighting.

第二遍

所以在做这件作品之后，我回过头去更新它，因为有一些东西在困扰着我。 我不喜欢树左侧的轮廓，我也觉得颜色可以推得更多一点。 所以我拿出文件，纠正了这些问题。 最后的一点就是为这件作品添加一些维度 - 深度的场景效果加入到背景和前景中，真正将注意力吸引到需要的地方。

Second pass

So a while after I made this piece, I went back to update it as a couple of things were bothering me. I wasn't keen on the silhouette of the left side of the tree and I also felt the colors could have been pushed a little more. So I got out the file and corrected these issues. And one final touch just to add some dimensionality to the piece - a depth of field effect added to the background and foreground to really pull the attention to where it's needed.