《小丑》的制作

 自由插画家Khasis Lieb向我们展示了他在漫画书《超级恶棍，小丑》中所使用的一步步的工作流程。

Freelance illustrator Khasis Lieb shows us the step-by-step workflow he used to paint the comic book supervillain, The Joker...

在这幅画中，我们将看到许多东西。我们将会看到如何构建一个角色的姿势，以及如何在保持真实的解剖学的同时增强一些特征(即使这个角色看起来是畸形的，它在体积上是可信的)。然后我们将专注于灯光和色彩——如何选择光源，以及如何使用光来增强一种创造感觉一种氛围。

In this project of painting a portrait of The Joker we will see many things. We will see how to construct a character pose and how to enhance some features while keeping realistic anatomy (even if the character seems deformed, it stays believable in its volumes). Then we will concentrate on lighting and coloring - how to choose light sources to describe volume and how to use light to enhance a feeling and create an atmosphere.

步骤1:缩略图和最终草图

Step 1: Thumbnails and final sketch

当它不是一幅漫画的时候，我总是花时间在我的写生簿上画小的缩略图来尝试创作。

To start an illustration when it's not a caricature, I always spend time making small thumbnails in my sketchbook to try several compositions.

我没有绘制很多草图,因为我知道我想让小丑在看着我们,但我尚未决定我们将看到和我将如何撰写他的形态等等。我试着确定他的位置,但我决定保持古典风格。但重要的是要试着看看到底是什么在起作用。

I didn't make many sketches because I knew I wanted to make a portrait of The Joker looking at us, but I had yet to decide how much of his body we will see and how I would compose him in the page etc. I tried positioning him off center and I tried landscape, but I settled on the idea to stay classical. But it's important to try and see what really works.

所以当我对一个概念图感到满意时，我将它发展成一个草图。对我来说，没有什么公式可以让它变得更精致，每次都是不同的。这取决于我脑子里是否有一个清晰的想法，或者我只是想顺其自然。但大多数时候，我试着不去“完成”太多。如果我把太多的时间花在素描上，那之后就很难去掉这部分了。

So when I'm happy with a thumbnail, I develop it into a sketch. There's no formula for me about how I want it refined, it's just different every time. It depends if I have a clear idea in my head or if I just want to go with the flow. But most of the time I try to not "finish" it too much. If I put too much time in a sketch, it will be harder to get rid of parts afterward.

最终的草图。我选择从这一步开始画。

The final sketch. I choose to start painting from this step.

步骤2:意图

Step 2: Intentions

现在是开始画画的时候了。我在我的草图下面创建了一个新的图层，然后用一个普通的颜色或者一个渐变填充它来选择我的背景环境。

Now it's time to start painting. I create a new layer underneath my sketch and fill it with a plain color or a gradient to choose my background ambiance.

然后我在上面创建一个图层，然后开始用大的笔画来选择我的照明和配色方案。在这里，我想向经典的小丑、紫色西装、白皮肤和绿色头发致敬。主光来自左上方。

Then I create a layer on top of that one and start putting large strokes to choose my lighting and color scheme. Here the colors were a no brainer as I wanted to make a tribute to the classic Joker, purple suit, white skin and green hair. The main light comes from the top left.

在这里，我把我想到的一般光和颜色的意图放在这里。

Here I put the general light and color intention I had in mind.

步骤3:初稿

Step 3: Block-in

我添加了颜色以得到不同部分的基块。我增强主光源(左上方)，并开始在图像右下方标记一些边缘照明。

I added colors to get the base tone of the different parts. I enhance the main light (top left) and started to mark some rim lighting from the bottom right side of the image.

然后我在草图上画了一个新图层，开始画部分区域。我用这个步骤来重塑形状，让我更喜欢整体的外观。几乎总是在开始画草图的时候，我喜欢用眼睛来表达。

Then I created a new layer on top of the sketch this time, to begin to painting parts. I use this step to rework the shapes, and get more of an overall look that pleases me. As almost always when starting to paint over the sketch, I start with the eyes to get the expression.

改善照明和颜色。并开始描绘这些特征。

Refining the lighting and colors. And starting to paint the features.

第四步:慢慢地把草图去掉

Step 4: Slowly get rid of the sketch

这里的主要目标是慢慢地覆盖草图，并使用灯光来创造一种体积感。

The main goal here is to slowly cover the sketch and use the lighting to create a sense of volume.

由于我的主光很冷，我想用温暖的第二光来平衡它。这里的想法是通过将两种不同的光线从两种不同的角度来提高小丑和他的精神分裂症的人格。它可能不会进入观众的脑海，但感觉会在那里。

As my main light was cold, I wanted to counterbalance it with a warm second light. The idea here is to enhance the personality of the Joker and his schizophrenic mind by putting two really different lights from the two different sides. It's something that may not pop into the viewer's mind, but the feeling will be there.

当我在画上画的时候，线稿慢慢地消失了。

As I paint over and over the sketch slowly disappears to let place for volume and light.

第五步:返工、重组和调整。

Step 5: Rework, recompose and adjust

我认为小丑总是处于崩溃的边缘。所以，是时候退一步，让这幅画搁置几个小时了。我继续绘制，尝试不同的肩膀位置和头部尺寸等…手也太大了，所以通过扩大头部，它的合成效果更好，表现得更好，比例更大。我在背景中添加了一些光线，让眼睛变得更精致，在素描上又画了一遍。

I imagine the joker to always be on the verge of snapping. So it was time to take a step back to let the painting aside for a few hours. I came back to it and tried different shoulder positions and head sizes etc... The hands were also too big, so by enlarging the head, it worked better compositionally, expressively, and proportionally. I added some light in the background, refined the eyes and painted over the sketch again.

背景是用来增强灯光效果的。比例也发生了变化。

The background is used to enhance the lighting. Also proportions changed a bit.

第六步:颜料

Step 6: Paint

在这一步中，我继续像传统绘画一样添加颜料。实际上，我的数字工作流是我的油和水彩工作流程的混合。我用油灯来建造灯，但我用水彩的方式将颜料涂得更厚。

In this step I continue to add paint as I would with traditional media. Actually my digital workflow is kind of a mix between my oil and watercolor workflows. I build up the light as with oils, but I layer paint more in a watercolor way.

所以这里的重点是继续用光线来构建脸部的体积，尤其是右边的光线，随着绘画的继续，它几乎成了我的主要光源。我终于把更多的注意力放在了这盏灯上，因为从下面开始那张脸更有威胁性，而且更加疯狂。

So the point here is to continue to build the volume of the face with the light, especially the right side light which became almost my main light source as painting goes on. I finally put more emphasis on this light because a face lit up from the beneath is more menacing and adds to the craziness.

随着草图消失，油漆和光线变得更加锐利。

As the sketch disappears the paint and light get sharper.

第七步:覆盖光

Step 7: Overlaying light

我开始改变背景，所以它更符合我的照明并且我添加一些笔刷纹理。然后用覆盖层和笔触增加了与图像的对比和增强灯光。

I began by changing the background, so it is more coherent with my lighting and I add some brush texture. Then with an Overlay layer and strokes going from large to very thin, I add contrast to the image and enhance the lighting.

我画了头发、鼻子、脸颊和嘴唇的阴影来增加立体感。用柔软的笔刷，我画出了微妙的环境遮挡(自然的阴影在没有直接光线的情况下随处可见)，因为它给作品增添了大量的体积和现实主义色彩。覆盖层帮助我“燃烧”一些区域，就像相机胶卷一样。

I painted the drop shadows of the hair, nose, cheek and lips to add volume. And with a soft brush I painted subtly ambient occlusion (the natural shadows that occur everywhere without direct light) as it adds a great deal of volume and realism to a piece. The overlay helps me "burn" some areas, as it would do with a camera film.

有了覆盖层和另一层油漆，灯光达到了一个更完整的外观。

With an Overlay layer and another layer of paint the lighting is reaching a more finished look.

第八步:最后的修改

Step 8: Final Touches

调整细节的是关键。首先我改变了耳朵;我选择让他们有一点疯狂。我对手仍然不满意，因为我觉得他们缺乏感染力。我改变了他们，做了一个更有力的手。

The finals stage of adjusting and detailing can take the longest. First I changed the ears; I chose to make them pointy to add a little insanity. I still wasn't happy with the hands as I felt they were lacking in storytelling. I changed them to make a stronger statement.

由于手的作用，肩膀也要改变，所以他的整个身体都是紧张的。我把脸稍微改变了一点，在整个图像中添加了更多的对比度。

With the hands the shoulder had to change too, so his entire body was tenser. I deform the face a little bit more and added more contrast to the whole image refining the details as I went.

在最后的触碰中，我加入了一些大的笔触，让他的身体更融入背景，吸引更多的注意。

For the final touch I added some big brush strokes to blend his body in more with the background and to attract more attention to the face.

最后和最长的阶段，细化调整和添加细节。

The final and longest stage, refining adjusting and adding detail.

小贴士:点亮一只眼睛

Top tip: Lighting an eye

要照亮一只眼睛，必须了解它的体积。由于透镜是透明的，有两个不同的部分受到光的影响，一个凸起(巩膜，白色部分)和凹面(虹膜)。所以是自然地，如果光线来自左边(就像在这幅图中一样)，它会影响到巩膜的左侧，以及虹膜的右侧。

To light an eye one must understand the volume of it. As the lens in transparent, there are two different parts that are affected by light, a convex (the sclera, the white part) and a concave (the iris). So naturally, if the light comes from the left (as in the piece), it affects the left part of the sclera, and the right side of the iris.

除此之外，眼睑有两种效果:阴影(前面讨论的直接投影和环境遮挡)和反射，这也会导致镜面反射(更明亮的反射)。

Adding to this, the eyelids have two effects, shadows (direct drop shadow and ambient occlusion as discussed earlier) and reflections, which also cause the specular (brighter reflection).

不要忘记眼睛的体积和光线如何照射它。受直射光影响的区域由箭头指向。

Don't forget the volume of an eye and how light hits it. The zones affected by direct light are pointed to by the arrows.