介绍
Introduction
有了这件作品，我正在寻找喜怒无常的东西。 我想要一件混合了一些不祥之物的东西，然后我想出了一个让维多利亚时代有点巫毒气味的想法。 当我决定要绘画的时候，我把一个随机的颜色层放下来，因为对颜色的处理更容易。 过了一会儿，一张白色的帆布看起来有些苛刻。 我在Photoshop中使用了详细的草图将所有内容全部画出来，以使我的想法变得简单（图01）。 当然，如果我发现其他东西看起来更好，或者能够更好地工作，我知道事情可能会有所改变。
With this piece I was going for something moody. I wanted a piece that mixed something foreboding with something a little sweet, and I came up with the idea of paring Victorian fashion with a bit of voodoo flavor. After I decided what I wanted to paint, I put a random color layer down because it's easier for me to work on color. A white canvas is a bit harsh to stare at after a while. I drew everything out with a detailed sketch in Photoshop to get my ideas down (Fig.01). Of course, I knew things could change along the way if I found something else that looked or worked better.
图 01
铺设线
Laying Down Lines
一旦我把线条画下来，在一个单独的图层上，我在草图图层下面铺上一层不同的颜色，以给自己一些启发。我在脑海中形成了一个色彩范围的基本计划，我选择了一种颜色作为背景，这与那个计划一致。我制定的基本价值观和颜色,但一段时间后我不喜欢她的位置,所以我画了她脸。我喜欢在低透明度和分层的情况下保留部分草图，因为我喜欢记录所有东西放置的位置。当我需要的时候，我也可以打开或关闭它。
Once I got my lines down, on a separate layer I put a layer of a different color underneath the sketch layer to give myself something to start with. I formed a basic plan of color range in my mind and I chose a color for the background that would go with that plan. I laid down the basic values and colors, but after a while I decided I didn't like the position she was in, so I painted her to face straight on. I like to keep parts of a sketch in low opacity and on separate layers as I like to keep track of where everything is placed. Also I can then toggle it on and off when I need it.
当我对她的定位感到满意时，我就定下了头发的位置。我用红色/橙色使它与图像的其他部分区分出来(图02)。
Once I was happy with her positioning, I laid down the basics of the hair. I used red/orange to make it pop from the rest of the image (Fig.02).
图 02
第一个细节
First Details
当画头发时，我会用一层黑色的头发来确定我的头发形状。 一旦我有了这一层，我选择一个稍轻的颜色，一个较小的刷子，并给头发布置大块。 我使用软笔刷，并将其设置在低透明度，以帮助淡化和混合。 一旦完成，我选择一个轻一点的阴影，并使用稍小的笔刷。 在整个绘画过程中，我始终把整个过程继续下去，直到我认为我已经完成了所有的细节。如果我失去了一些较暗的区域，我就会回到暗色调，并在图像中添加一些阴影(图03)。
When painting hair I lay down a dark layer to establish my basic hair shape. Once I have that layer I choose a slightly lighter color, a smaller brush and lay out chunks of hair. I use a soft brush and set it at a low opacity, to help fade and blend the ends out if they come across too harsh. Once that is done I pick a shade that's a bit lighter and use a slightly smaller brush. I keep this whole process up throughout the painting until I think I have it as detailed as I want it. If I lose some of the darker areas I go back in with the dark color and add some more shades back into the image (Fig.03).
图 03
笔刷
Brushes
在这个阶段，我添加了一些更多的基本颜色和形状做头发配件。 我也做了一些背景颜色和照明。我还在整个作品中添加了更多的颜色。 当我的笔触看起来有些过于粗糙时，我喜欢使用的一个小技巧就是使用中值来帮助他们更好地融合。 在这一点上，我还在决定是否让她皱眉或微笑（图04）。
In this stage I added some more basic colors and shapes for the accessories in her hair. I played a bit with the background color and lighting as well. I also added more colors throughout the piece. A little trick I like to use when my brush strokes are looking a little too rough, is to use median to help them blend a little better. At this point I was still deciding if I wanted her to be slighting frowning or slightly smiling (Fig.04).
图04
我不断地改变着她的脸，给这幅画增添了更多的深度。我还在她的头发和脸周围形成了更多的基本形状。我喜欢用定制的笔刷在我的作品中达到不同的效果，主要是在皮肤和背景中。另外，它们也很有趣。在这个阶段，我增加了更多的斑点和斑点的纹理还有颜色，以增加更多的兴趣;我还遮住了她眼睛的一些形状(图05)。
I was constantly changing her face and adding more depth to the piece. I was also forming more of the basic shapes in her hair and around her face. I like to make custom brushes to achieve different effects in my work, mostly on skin and in my backgrounds. Plus they are just fun to make. In this stage I added more splotches and spots of texture and colors to add more interest; I also blocked out a bit of her eye shapes as well (Fig.05).
图 05
更多细节
More Details
I like to skip around the painting, so now I jumped to painting out some of the objects in her hair. At this point the peacock skull didn't have many colors in it, but I figured I would go in with a color layer and add more colors throughout the whole image later. I added some cinnamon sticks, white peacock feathers, Star Anise, and some more strange items to help pull off the voodoo vibe. I then moved on to playing around with the background and decided to keep it simple since the main focus had so much detail. I decided to add a light colored line to give off the appearance that she has a light source behind her as well (Fig.06-07).
图 06
图07
我按照我的画画习惯在整幅画上跳来跳去。 我在她的脖子上增加了一些纹理和阴影，看起来好像她有某种项链，但是我想让它和她的皮肤融合在一起。 我不停地添加细节，直到我终于完成（图08）。
I kept up with my usual process of hopping around the whole painting. I added some texture and darkness to her neck to make it seem like she has some sort of choker on, however I wanted it to blend in with her skin. I kept adding details here and there until I thought I was finally finished (Fig.08).
图 08
最后完成
Final Touches
离开了一会儿后，我又回到了这张照片，我意识到我让她的脸和肤色太过苛刻和死板了。 虽然我想要一个令人毛骨悚然的氛围，我也希望她有一个甜美的外观，所以我给她的皮肤添加了暖色，让她的脸变得柔和一些，并在这里和那里增加了一些颜色。 我添加了另一个图层设置为颜色层，并降低透明度。 然后我决定最后把这个作品完成（图09）。
I came back to the image after leaving it for a while, to realize I had made her face and skin tone too harsh and dead. Although I wanted a creepy vibe I also wanted her to have a sweet look, so I added warmth to her skin, softened her face a bit, and added a few more colors here and there. I added another layer set to Color and applied the colors at low opacity so it wouldn't be so bold. Then I decided to finally call the piece finished (Fig.09).
图 09
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