“炮兵警卫”的制作

嗨，我的名字是Bartosz BieA ，我是人物艺术家，我是3D角色艺术家，但我决定在家里练习我的2D技能，所以我创造了这个形象。因为我玩的一些游戏，我想创造一些疯狂的精英士兵，所以我想把拿破仑式的士兵和一些黑暗的幻想联系起来会很好。

Hi, my name is Bartosz Bie, and I'm character artist in People Can Fly, Poland. Professionally I'm a 3D character artist, but I decided to I wanted to practice my 2D skills at home and so I created this image. I was in Napoleonic mood, because of some games I was playing, and I wanted to create some mad, elite soldier so I thought that would be nice to connect this Napoleonic style soldier with some dark fantasy.

当我意识到这一点的时候，我开始收集一些来自那个世纪的士兵的资料。然后我做了我的第一个快速草图的士兵(图01)。

When I had this in my mind I started by collecting some references of soldiers from that century. And then I made my first quick sketches of this soldier (Fig.01).

图 01

然后我选择了一个适合我的动作，然后我开始做这个素描。那时候，我有一个随机的非纯白色背景，我的画布大小相当小(图02)。

I then picked a pose that suited me best and I started further work on this sketch. At that moment I had a random none-pure-white background, and my canvas size was rather small (Fig.02).

图 02

我对它的进展很满意，所以我把画布扩大到更大的尺寸，开始清理草图，为这个士兵添加一些特征细节(图03)。在画草图的时候，我对我的士兵的设计很满意。他看起来很生气很生气，你肯定不想惹他!

I was happy with this where it was going and so I increased my canvas to a bigger size and started cleaning a sketch and adding some characteristic details for this soldier (Fig.03). With the sketching done, I was quite happy with the design of my soldier. It came out the way I wanted him to look. He looks angry and pissed and you definitely don't want to mess with him!

图03

现在我准备添加一些颜色。在这一点上，我使用了标准的Photoshop画笔。我的速写层被锁上了，并开始增加颜色。我把这层锁上了，因为我不想再画草图了。我发现锁定层对我非常有用。

Now I was ready to add in some color. At this point I used standard Photoshop brushes. My sketch layer was locked and set to Multiply. I locked this layer because I didn't want to paint on the sketch anymore. I find locking layers very useful for me.

所以草图被锁定，我在这个图层下工作。起初我创建了一个整体形状的面具;这在我处理这个图像的时候帮了我很多。在一个单独的图层上，我用士兵的平面颜色填充了形状(图04)。

So the sketch was locked and set to Multiply, and I was working under this layer. At first I created an overall shape mask; this helped me a lot while working on this image. On a separate layer I filled the shapes with the flat colors of my soldier (Fig.04).

图 04

在整个绘制过程中，我尽量不使用太多的层。如上所述，对于这幅图像，我在所有的东西上面都画了一个草图，然后再合并。然后我有一个剪影图层，我用它快速地选择了那个家伙，一个有主图像的基层，以及我画的一个图层。当我对结果感到满意时，我将它与基层合并，并重新绘制了一个新的。

I try to not use too many layers during the whole drawing process. As mentioned above, for this image I had the sketch layer on top of everything, set to Multiply. I then had a silhouette layer that I used to quickly select the guy, a base layer that I had the main image on, and a layer that I painted on. When I was happy with the result I merged it with the base layer and painted again on a new one.

对于绘画，我主要用的是一种附在杂志上的刷子(想象)。它有一幅非常好看的油画，我非常喜欢。因为有了画笔，在Photoshop中画的画看起来不那么数字化(图05)。

For painting I mainly use a brush that was attached to a magazine (ImagineFX). It has a very nice painterly look that I like very much. Because of that brush, paintings made in Photoshop don't look so digital (Fig.05).

图05

然后我决定了主光源的位置，开始着色。起初我画的是影子的平均值，然后是光的平均值。我选择了一种暖色调的光线，并为阴影部分选择了一种冷色。在花了一些时间来精炼这个疯狂的士兵后，我意识到他的手有问题(图06)。在草图上，手的整体形状看起来还不错，但当我开始增加价值时，肯定是出了问题。所以我尽快重新设计了这只手，并继续使用这些值。

Then I decided where the main light would be and started shading. At first I painted average for the shadow, then average for the light. I picked a warm color for the light and, for a contrast, a cool color for the shaded areas. After spending some time refining this mad soldier I realized that there as something wrong with his mutated hand (Fig.06). The overall shape of a hand looked alright on a sketch, but when I started to add value there was definitely something wrong. So I redesigned the hand as soon as possible and moved on with the values.

图06

我为他做的越来越多，给他更多的3D效果。当细化照明区域和阴影区域时，最好不要在没有休息的情况下工作。我有很多休息时间!这让你的眼睛焕然一新。当我在工作的时候，我总是使用Flip水平的工具，因为这会给你一个不同的视角，而且容易发现错误。

I worked on him more and more to give him more 3D look. When refining lit areas and shaded areas, it is good idea to not work without a break. I had a lot of breaks! This gives the eye a fresh look on your work. While I'm working I'm always using Flip Horizontal tool as this gives you a different point of view, and it is easier to spot mistakes.

我为他的外套和帽子制作了一个简单的毛刷(图07)。这把刷子使它变得更容易绘制。

I created a simple brush for painting fur on his coat and his cap (Fig.07). This brush made it a lot easier and faster.

图 07

当我在处理这些值、颜色和灯光的时候——添加了越来越多的细节——我也减少了草稿层的不透明度。过了一段时间，草图上的线条不再需要了，因为我从这些值中得到了足够的形状信息。我添加了一个阴影，这有助于把他固定在地面上，我开始在背景中添加一些值，简单的东西，仅仅是把一些东西合并在一起(图08)。

While I was working with the values, colors and lighting - adding more and more detail - I also decreased the opacity of my sketch layer. After some time the lines from the sketch were no longer needed, because I had enough information about the shapes from the values. I added a shadow that he is casting on the ground, which helped to attach him to the ground I started to add some values to the background, simple stuff, just to merge things together a little bit more (Fig.08).

图 08

我从后面加了一盏蓝色的灯，让他的形状更容易读懂，并给场景增添了更戏剧性的效果。

I added a blue light from the back, to make his shapes more readable, and to add a more dramatic look to the scene.

我更多地使用了背景，我使用了一些自由的画笔，有树和草的图案，并在背景中调整了光线。我在最后的锚上加了链子，他正在挣扎着。我创建了一个链，使用转换工具来增加重量和重力，然后复制它(图09)。

Working more with the background, I used some free brushes with patterns of trees and grass and adjusted a light in the background. I added chains attached to the anchor at the end, which he is struggling with. I created one string of chains, used the Transformation tool to add more weight and gravity, and then I duplicated it (Fig.09).

图 09

我添加了一些更全面的细节，特别是在手上。我不喜欢他的外套和帽子上画的皮毛，所以我用了一件毛皮的纹理样本。我在这些部分上叠加了这个纹理，并将不透明度设置为一个看起来不错的水平。然后我提炼出更多的背光的形状(图10)。

I added some more overall detail, especially on the hand. I didn't like the look of the painted fur on his coat and a cap, so I used a texture sample of a fur. I overlayed this texture on top of these parts and set the opacity to a level where it looked good. Then I refined more shapes that were backlit (Fig.10).

图10

图像基本完成了。我用颜色平衡工具调整了整体的颜色。我让阴凉的地方变得更蓝更冷，与前面温暖的主光形成对比。最后，我在我的角色周围添加了一些碎片，使场景更具活力，包括前面的一些石头。最后，我裁剪了图像以得到最好的组合，并决定添加一些纹理重叠在所有的顶部，不透明度设置为5%。然后，我打开了我的草图，使用非常低的不透明度。这给了我们第一张草图的生命和能量，并帮助它看起来不那么数字化(图11)。

The image was basically done. I tweaked some overall color with a Color Balance tool. I made shaded areas even more bluish and colder, to contrast with the warm main light from the front. At the end I added some debris around my character to make the scene more dynamic, including some stones in the front. Finally I cropped the image to get the best composition and decided to add some textures overlayed on top of everything with an opacity set to 5%. I then switched on my sketch layer on a very low opacity. This gave the image the life and energy of the first sketch, and helped it not to look so digital (Fig.11).

图 11

总的来说，我对这个形象很满意;它有我想要的能量和黑暗的心情。我希望你喜欢这个制作并且觉得它有用!

Overall I'm quite happy with this image; it has the energy and dark mood that I wanted. I hope you enjoyed this Making Of and find it useful!

最终图像

Final Image