在本教程中，我将带您浏览创建从草图到完成绘画的梦幻插图的过程。尽管我用油画颜料作画，但无论你画的是哪种颜料，无论是传统的还是数字的，我描述的步骤都是有用的。
In this tutorial, I will take you through my process for creating a fantasy illustration from sketch to finished painting. Though I paint with oils, the steps I describe can be useful no matter what medium you paint in, traditional or digital.
第1步：缩略图和设计草图
在深入研究颜料之前，弄清楚要渲染的主题和构图是很重要的。 在素描本中，我记下了一些关于我对绘画感兴趣的东西，并开始创建小小的“缩略图”来确定可能的构图。
我决定了“通过遗迹追踪大型的异世界生物”这个主题，并在几个缩略图上完善基本构图。 我在右下方的缩略图草图中倾斜地平线，以获得更加动感和令人不安的生物视图。 在左边的页面上，我画出了一些生物的粗略设计来告诉我最后的绘画。
Step 1: Thumbnails and Design Sketches
Before diving in with paint, it is important to figure out the subject and composition you want to render. In a sketchbook I jot down a few notes about what I am interested in painting, and begin to create tiny 'thumbnail' drawings to determine possible compositions.
I settle on the subject of "a large otherworldly creature stalking through ruins", and refine the basic composition over a few thumbnails. I tilt the horizon line in the bottom right thumbnail sketch for a more dynamic and unsettling view of the creature. On the left page, I sketch out a couple rough designs of the creature to inform my final drawing.
步骤2: 最终场景图
在你对你的主题有了清晰的认识之后，是时候创建一个更详细的最终场景图了。我使用斯特拉斯多布里斯托纸，因为它光滑的表面易于接受细节，并可以使用各种铅笔。当我工作的时候，我喜欢在我周围有物理的参考，并从我的收藏品中使用一些头骨和骨头来告知这个生物的设计。我从缩略图中改变了这个生物的姿势，并将前腿向前推来创造更多的强制视角。通常，我需要擦除和重画几次，然后才能看到我想要的图形。
Step 2: Final Drawing
After you get a clear idea of your subject, it's time to create a more detailed drawing of the final scene. I use Strathmore Bristol paper for its smooth surface which is receptive to detail, and draw with a variety of pencils. I like to have physical reference around me while I work, and used a few skulls and bones from my collection to inform the design of the creature. I changed the creature's pose from the thumbnail, and brought the front leg forward to create more forced perspective. Often, I need to erase and redraw a few times before I get the drawing to look the way I want it to.
第3步：安装图纸
一旦绘图完成，它需要安装和密封。 一个坚硬的表面会给你的绘画支持，在这里我使用了中密度纤维板。 在安装之前，在通风良好的区域内喷涂一层可操作的固定涂层，防止其在以后再摩擦。
用一个大刷子将木板涂在一层厚厚的透明丙烯酸哑光介质上并小心翼翼地将你的图样排列在上面。用压板或橡胶刮刀把你的纸牢牢压在纸板上，并挤出多余的介质。 这种介质在下面就像一个胶水，最后一层涂在图面上，为油画提供了良好的基础。
Step 3: Mounting the Drawing
Once the drawing is complete, it needs to be mounted and sealed. A rigid surface will give your painting support, and here I used a MDF Panel. Before mounting, spray a coat of workable fixative over your drawing in a well ventilated area to prevent it from rubbing away later.
Coat the board in a thick layer of transparent acrylic matte medium using a large brush, and carefully align your drawing on top. Use a brayer or squeegee to press your paper firmly to the board, and to squeeze out any excess medium. This medium acts like a glue underneath, and a final coat applied over the drawing seals the surface and provides a good ground for oil painting.
第4步：底纹
绘制完成后，您可以应用您的第一层油漆。 在最初的绘画中，你应该把自己限定在暖色调的灰色调中，这将会设定你的整体的价值。更重要的是，这一阶段有助于消除页面上绝大部分的空白。
在这里，我用一个大刷子在天空中用凉灰和一个小刷子在这个生物的黑暗色调中工作。离观者更近的物体总是比远处的物体有更高的对比度，这是很好的早期发现。这很早就建立起来了。
Step 4: Underpainting
After the drawing is mounted, you can apply your first layer of paint. During this initial underpainting, you should limit yourself to warm and cool grey tones, which will set the overall value ad tone of your piece. More than anything, this stage helps to get rid of the overwhelming white of the page.
Here I used a large brush to block in the sky with cool grays, and a smaller brush to work in some darker tones in the creature. Objects closer to the viewer will always have higher contrast than those in the distance, and it's good to establish this early on.
第5步：颜色研究
在一张新的纸上，创建一些你的作品的缩略图副本。 然后混合几组天空，地面和生物的颜色，并进行实验。 有了这些，我试图决定一个整体温暖的色调（1），一个有一个凉爽的蓝色背景和温暖的前景（2），一个用温暖的光源（3）照亮一个凉爽的灰色天空。 这可能需要十几个快速的实验才能找到正确的，但所有这些计划都可以帮助您避免最终绘画中的混乱。我认为第3号是最有趣的天空，并以此作为我最终的基础。
Step 5: Color Studies
On a new piece of paper, create a few tiny thumbnail copies of your composition. Then mix a few sets of sky, ground, and creature colors and experiment with their placement. With these, I was trying to decide between a composition with an overall warm tone (1), one with a cool blue background and warm foreground (2), and one with a cool grey sky illuminated by a warm light source (3). It can take a dozen quick experiments to find the right mood, but all this planning will help you avoid confusion in the final painting. I decided that number 3 had the most interesting sky, and used it as a basis for my final.
第6步：天空
一般来说，在前景之前绘制背景是一件好事，这样你就不必在以后的主题中仔细地画任何细节了。 我用一个大的平刷来遮挡这些云层，用一个较小的软刷来完善它们。 在绘制背景的同时，如果在前景中覆盖绘图的某些元素，不要太担心。 只要您有原始图形的照片供您参考，您可以稍后再绘制这些元素。
Step 6: The Sky Comes First
As a general rule, it's good to paint your background before the foreground, so that you don't have to carefully paint around any detailed forms in your main subject later. I used a large flat brush to block these clouds in, and a smaller soft brush to refine them. While painting the background, don't worry too much if you cover some elements of the drawing in your foreground. As long as you have a photo of your original drawing to reference, you can paint these elements back in later.
第7步：封锁焦点
早期封锁绘画的焦点可能会有所帮助，因为这是最重要的领域。 在这种情况下，焦点是空灵生物的头部，以及错综复杂的嘴巴结构。 用各种各样的画笔，我开始用这种比较薄的颜料以温暖的色调来吸引观众的目光。 我禁止自己在这个阶段增加最亮的亮点，并把焦点放在生物背部较大的光线面和背面的黑色光线上。
Step 7: Block in the Focal Point
It can be helpful to block in the focal point of your painting early on, because it is the most important area to get right. In this case, the focal point is the head of the ethereal creature, and its intricate overlapping mouth structure. Using a variety of brushes, I began to lay in warm tones in this form with relatively thin paint to draw the viewer's eye. I restrain myself from adding the lightest highlights at this stage, and focus on larger planes of light on the creature's back and dark on its underside.
第8步：其他背景元素
随着遥远的背景和最近的焦点被封锁，绘画将开始走到一起。 远处的物体，比如这个场景中的纯金字塔，随着它们在太空中的进一步移动，逐渐变得不那么细致和松散。 同样重要的是要注意，物体阴影面上最轻的亮度应该比物体亮面上最黑暗的暗。这就产生了一种三维形式的错觉。
Step 8: Other Background Elements
With the distant background and nearest focal point blocked in, the painting will begin to come together. Objects in the distance, like the stark pyramids in this scene, become progressively less detailed and loose contrast as they move further away in space. It is also important to note that the lightest light tone on the shadow side of an object should be darker than the darkest dark on the light side of the object. This creates the illusion of a three dimensional form.
第9步：充实焦点
有了所有的背景对象，您可以再次把注意力转移到前景。 此时，，我把剩下的东西都给了出来，把脚下的瓦砾堆起来。 由于该生物的身体非常苍白，因此在底面添加一点绿色反射的颜色是有道理的。光的物体通常从其周围的阴影侧吸收色彩笔记，而较暗的非反射物体则不吸收。 你可以通过绘画从生活中学习很多关于这些原则，并仔细观察反射光在不同材料上的表现方式。
Step 9: Fleshing out the Focus
With all of the background objects in place, you can again turn your attention to the foreground. At this point, I rendered out the rest of the creature, and painted the rubble strewn hill under its feet. Since the creature's body is very pale, it made sense to add a bit of green reflected color from the ground on its underside. Light objects usually absorb color notes from their surroundings on their shadow side, while darker non reflective objects do not. You can learn a lot about these principles by painting from life, and carefully observing the way reflected light behaves on different materials.
第10步：定义和细化
在所有的事情都被阻止之后，是时候加入最后的细节和最重要的亮点。我在这个贫瘠的城市里定义了远处的建筑，并在那生物的背上加入了一缕缕的烟雾。我给生物的下面带来了一些温暖的阴影，并为它的下巴和甲壳添加了明亮的亮点。
尽管有计划阶段，但这幅画对我来说实际上是一场争斗，在我做这件事的时候，我不得不重新定义了很多方面。 每幅画都是可以挽救的，总可以找到一个解决方案。
Step 10: Defining and Detailing
After everything has been blocked in, it's time to bring in your final details and lightest highlights. I defined the distant buildings in the sterile city, and added ethereal wisps of smoke cascading from the creature's back. I brought some warmer shadows into the creature's underside, and added bright highlights to its jaws and carapace.
Despite the planning stages, this particular painting was actually a bit of a struggle for me, and I had to redefine quite a few areas while I worked on it. Every painting is salvageable, though, and there's always a solution to be found.
重要提示：拆分主调色板
当我画画时，我使用了一个拆分的小调色板，这意味着我使用了一种温暖而凉爽的黄色，温暖而凉爽的红色，以及温暖而清凉的蓝色（再加上钛白色和那不勒斯黄色）。 使用这个系统，你可以混合任何颜色。
Top tip: Split Primary Palette
I work with a split primary palette when I paint, meaning I use a warm and cool yellow, warm and cool red, and warm and cool blue (plus Titanium White and Naples Yellow). Using this system, you can mix just about any color.
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