一个好的漫画应该抓住的不仅仅是这个主题的表面特征。 只要有可能，它应该包括主体的个性，并声明他们是谁。
A good caricature should capture more than just the superficial features of the subject. Whenever possible, it should encompass the subject's personality and make a statement about who they are.
我知道我想做的是一件更专注于福特自我毁灭的作品，而不仅仅是他公开展示的小丑形象。在大多数情况下，在我开始一幅新画之前，我做的第一件事就是快速画一组草图，以便弄清楚这个想法。但在这种情况下，我的脑海中有一个强烈的印象，那就是最终的作品会是什么样子的，我有足够的信心从一张宽松的草图开始。我快速地在谷歌搜索了一些关于福特的照片，以完成我的形象，我已经准备好了。
I knew I wanted to do a piece that focused more on Ford's self-destructive nature than just the clownish persona he had been showing publicly. In most cases, the first thing I do before I start a new painting, is draw a series of quick thumbnail sketches in order to figure out the idea. But in this case I had such a strong image in my mind of how the final piece would look I felt confident enough to start with a loose sketch. I did a quick Google search for some photo references of Ford in order to shore up the likeness and I was ready to go.
第1步：从草图开始
Step 1: Start with a sketch
我用Ditlev的笔刷画草图(你可以通过搜索谷歌找到它)。我保持素描松散，并将图层模式设置为Mulitply。我用绿色的渐变填充了下面的图层。绿色基色将有助于设置整个图像的整体色调。
I do my sketching using Ditlev's pencil brush (you can find it by searching Google). I kept my sketch loose and set the layer mode to Mulitply. I filled the layer below that one with a greenish gradient. The green base color will help set the overall tone for the entire image.
第2步：基本颜色
Step 2: Blocking Base Colors
我在草图下面创建另一个图层，使用硬圆笔刷，绘制基本颜色。 我为每个基色选择一个暗的中间色调。 我会在绘画过程中将笔刷放大。 这可以让我工作得更快，而不是被细节所困扰。
I create another layer below the sketch and, using a hard round brush, I block in my base colors. I choose a dark mid-tone for each base color. I'll avoid zooming for some time over the course of my painting. This allows me to work faster and not get hung up with the details.
第3步：建模形式
Step 3: Modeling Forms
我逐渐开始用其他颜色来进行绘制，并从第一步的深度来给出平面的颜色。 我很早就决定要从上面进来一个主要的光源，所以我画了很深的阴影，给他一个阴险的外表。
I gradually begin working in other colors to model the forms and give the flat colors from the first step some depth. I determined early on that I wanted to have one of the main light sources coming in from above, so I paint in some deep shadows, giving him a sinister appearance.
第4步：细化形状
Step 4: Refining the shapes
我继续渲染形式来进一步创作。 我觉得他的耳朵太大了，所以我用套索工具选择了那个部分，把它缩小了。你可以看到与素描层相比缩小了有多少。 我已经开始在硬圆刷和标准的Photoshop毛边刷之间进行切换。
I continue rendering the forms to create the illusion of depth. I also decided his ear was too big, so I selected that part with the lasso tool and shrunk it down. You can see how much compared to the sketch layer. I've started switching between the hard round brush and one of the standard Photoshop rough edged brushes.
第五步:画头发
Step 5: Painting the Hair
我终于可以轻松地删除素描图层，放大并处理更精细的细节。 随着我逐渐收紧细节，我逐渐使用更小的笔刷。 我也决定开始做头发了。 我总是在它自己的层上画头发，这样如果我犯了任何错误，很容易擦掉。
I'm finally comfortable enough to delete my sketch layer and also zoom in and work the finer details. I use progressively smaller brushes as I go along to tighten up the details. I've also decided to start working on the hair. I always draw hair on its own layer, so that if I make any mistakes it's easy to erase.
Step 6: Bringing the Fire
我从一开始就计划制作一个描绘福特内心愤怒的效果。 我觉得这样做会很有趣，看起来他的愤怒就像是在他的领子下方放了一个炉子。 在一个新的层面上，我开始在领口周围绘制一个明亮的橘红色，把它和下面的阴影混合在一起。
My plan from the beginning was to create a visual metaphor depicting Ford's inner rage. I thought it would be fun to make it look like his rage was emanating like a furnace just below his collar. On a new layer, I begin working a bright fiery orange in around the neckline, blending it in with the shadows on the layer below.
Step 7: Close Up Details
眼睛和嘴巴是最重要的两个细节。我把脸放大，继续锐化和提炼这些细节。你可以看到我从下面采集了一些橙色的颜色，然后把它加工成一些可以捕捉到相同反射光的区域。
The eyes and mouth are two of the most important details to get right on a caricature. I've zoomed in very tightly on the face and continued to sharpen and refine these details. You can see where I've sampled some of the orange color from below and worked it into some of the areas that would catch a bit of the same reflected light.
Step 8: Dodge and Burn
为了让他的领口周围的火热区域真的燃烧起来，我在已经铺好的橙色上创建了另一层，并将此图层设置为线性减淡。 我用亮黄色的颜色画。 我使用柔软的橡皮擦去除一点亮黄色，使其与下面的图层更好地融合。 我使用另一个线性减淡层做类似的背景。
In order to make the fiery area around his neckline really pop, I create another layer above the orange color I've already laid down, and set this layer to Linear Dodge. I paint in a bright yellow orange color. I use a soft edged eraser to remove a little of the bright yellow to blend it better with the layer below. I use another Linear Dodge layer to do something similar with the background, only there I paint in a layer of atomic yellow green color.
Step 9: Painting Some Smoke
Among the many brushes I've collected over the years are a huge set by the illustrator named Yang Xueguo, better known as Blur. Among this huge set is a terrific smoke brush that I use to paint columns of smoke coming out from under Ford's collar.
Step 10: Adding the pipe
我做的最后一件事就是用Adobe Illustrator中的钢笔工具绘制管道图标。 我将这几次复制粘贴到Photoshop文档中，以创建一个模式。 我合并这些图层，然后使用Transform> 变形，使图案自然环绕领带。 我在图案上添加一个图层蒙版，然后在低透明度上使用柔软的圆形笔刷轻轻擦除一些图案，以使其自然融合。
The last thing I do is draw a pipe icon with the pen tool in Adobe Illustrator. I copy and paste this several times into the Photoshop document to create a pattern over the tie. I merge those layers, then use Transform > Warp to make the pattern wrap naturally around the tie. I add a layer mask over the pattern then use a soft round brush on a low opacity to lightly erase some of the pattern, in order to make it blend naturally.
最终图像
The final image
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