这是我对埃及神何鲁斯的看法。在我看来，幻想和神话一直是一个巨大的灵感源泉，让我能够享受这个过程，并有很多乐趣，找到一个吸引人的设计。在这个过程中，我将向您展示如何使用Photoshop和Daz3D等其他资源来构建一个稳固的作品。
This is my take on the Egyptian god Horus. In my view fantasy and mythology have always been a huge source of inspiration which allows me to enjoy the process and have a lot of fun finding an appealing design. In this making of I will be showing you how I use Photoshop and other resources like Daz3D to build a solid piece.
步骤1：来源
创建新项目时最重要的阶段之一是获得相当多的参考。如果你没有一个视觉库来滋养你的设计思维，你就不会得到吸引人的结果。我通常花两个小时寻找不同来源的灵感和视觉参考，如材料，窗帘，灯光，摆姿势，以及我期待的艺术家作品。 一旦我有了图像，我把它们放在一个通常被称为情绪板的文件上。
Step 1: Moodboard
One of the most important phases when you are building a new project is to get a decent amount of reference. If you don't have a visual library to feed your design thinking you won't get an attractive result. I usually spend two hours minimum searching for different sources of inspiration and visual reference like materials, drapery, lighting, posing, and pieces from artists that I look up to. Once I have the images I put them together on a file that is usually known as a moodboard.
步骤2:草图时间!
首先，我要把那些坏主意放在一边，避免重复我的大脑从不同的时刻储存的东西，比如电影、视频游戏，或者只是关于这个主题的一般想法。我建议你先用基本的形状，试着用不同的尺寸来推动它们，想想新的方法来接近解剖学或服装和一般的剪影，让它看起来很有趣。我通常在这个过程中使用Photoshop，但灵感会随时影响你，所以我总是保留一个速写本。
Step 2: Sketching time!
First, I sketch to put away the bad ideas and avoid repeating the things that my brain has stored from various moments, maybe movies, videogames, or just the general thoughts about the subject. What I recommend is using basic shapes at first and trying to push them with different sizes, thinking about new ways to approach the anatomy or the attire and the general silhouette to make it look interesting. I usually use Photoshop for this process but inspiration can hit you any time so I always keep a sketchbook.
第三步:摆姿势
一旦我有了一个我认为很吸引人的草图，我就会寻找一个姿势来支持我的设计，以保持一致的态度;这部分可能需要一段时间，有很多方法可以找到姿势:搜索谷歌图像或Pinterest，你也可以找到为各种目标提供姿势的网站。如果我在网上找不到我需要的东西，我就会拍下自己的照片，或者使用一种叫Daz3D的软件，让我可以摆出一个虚拟的身体，在它周围移动一个摄像头。
Step 3: Posing
Once I have a sketch that I consider appealing, I search for a pose that supports my design regarding a consistent attitude; this part could take a while, there are many ways to find poses: search on Google images or Pinterest, you can also find websites that provide poses for various goals. If I don't find what I need on the web I take photos of myself or use a software called Daz3D which allows me to pose a virtual body and move a camera around it.
步骤4: 单位
寻找颜色可能是最困难的一步。我喜欢直接用颜色来定义所有的局部音调而不考虑数值，这个过程被称为单位。从技术上讲，我把颜色分成几层。这样做可以从一开始就给我一个彩色的全景图，并让我更好地控制调色板。
Step 4: Flats
Finding color is probably the most difficult step. I like to start directly with color defining all the local tones without thinking about values, this process is known as FLATS. Technically speaking I divide the colors in layers. Doing it this way gives me a chromatic panorama from the beginning and gives me a better control over the palette.
第五步:光的情况
决定哪种照明更适合你的设计是非常重要的:你想让它看起来引人注目还是描述性的?当我的目标是呈现一个角色时，我倾向于描述性更强，并试着展示所有细节，即使我选择了我想要更重要的元素，并将它们定义为更强的光的焦点。
Step 5: Light situation
It is very important to decide what kind of lighting suits your design better: do you want it to look dramatic or descriptive? When my goal is to present a character I tend to be more descriptive and try to show all the details, even though I choose the elements that I want to be more important and define them as a focal point with a stronger light.
第六步:灯光、阴影和色彩
这是最棘手的部分，首先我决定了主光源的来源，如它是热的或者冷的，之后我会使用其他的照明条件，比如:形成阴影，投下阴影，填充光，反射光线，反射等等，但是颜色呢?为了确保一个好的结果，我运用了温暖vs酷的规则:如果我的灯是温暖的，我的影子将会很酷，反之亦然。填充光是选择阴影颜色的关键，始终牢记这一原则: 没有光线就是另一种光的存在。
Step 6: Lights, shadows and color
This is the trickiest part, First I decide where the main light is coming from and if it's warm or cool, after that I use the other conditions of lighting like: form shadow, cast shadows, fill light, bounce light and reflections, etc. But what about the color? To ensure a nice result I apply the rules of warm vs cool: If my lights are warm my shadows will be cool and viceversa. The fill light is key to choose the color of the shadows, always have in mind this principle: The absence of a light is the presence of another.
步骤7:检查值
当你直接用颜色绘制时，很容易失去对这些值的跟踪，所以你总是可以在Photoshop中使用一个调整图层，把它设置为“黑白”。“这将显示出你的作品的灰度，这样你就可以看到对比度在哪里不合适了。”
Step 7: Checking the values
When you paint directly with color it's very easy to lose track of the values, so you can always use an adjustment layer in Photoshop and set it to "BLACK AND WHITE." This will show you the grayscale of your piece so you can see where the contrast might not be working.
步骤8:调整和添加细节
你可以随时改进你的设计。在这一点上，我觉得有些东西不见了，所以我决定把一些东西推得更远一点，给我的角色添加新的布，让它看起来更有气势和优雅，而不是改变整体看起来太多。我也越来越注意细节，现在我可以专注于那些小的部分。
Step 8: Making adjustments and adding detail
You can always improve your design as you go. At this point I felt that something was missing, so I decided to push some forms a little further and to add new pieces of cloth to my character in order to make it look more imposing and elegant, not changing the overall look too much. I'm also getting more careful with the detail, and now I could concentrate on those little parts.
第九步:最后的触动
一旦你完成了你的画，你就可以把整个作品带在一起，对色彩校正做一些额外的调整，并在背景中添加一些微妙的元素，比如灯光、边缘光和灰尘的小颗粒。最后，你可以使用混合模式，比如颜色减淡来强化一些轻的区域，给你的设计的次要部分模糊一些。我希望这篇文章对你们所有人都有用，谢谢你们的阅读。
Step 9: Final touches
Once you are done with your painting you can bring together the entire piece with some extra adjustments regarding color correction, and adding subtle elements to the background such as lights, rim light, and little particles of dust. Finally, you can use blending modes like color dodge to intensify some light zones and give a little blur to secondary parts of your design. I hope this article come in handy to all of you, thank you for reading and feel free to contact me.
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