美女形象刻畫

人物是我最喜歡的主題畫，所以當任務只是這樣，總是有一點關于我的嗡嗡聲！天空與人物畫的限制，但在這種情況下，我有一個時髦的詞，給一點指導，這是“憔悴”。

Characters are by far my favorite subject to paint, so when tasked with doing just that there's always a little buzz about it for me! The sky is the limit with character painting, but in this case I do have a buzz word to give a little guidance, which is "gaunt".

When I first started painting creating characters was an exciting prospect and I wanted to make them as original as I could. So, naturally, I pelted my characters with ten thousand things; earrings, belts, accessories, feathers, satchels, boots, beads? you name it, they had to have it! A few years on and I've learnt a few lessons. The most obvious being that to create a character you don't need to give them an identity by saddling them with a ridiculous amount of stuff. It's my opinion that nothing is really original anymore. I don't mean that in a depressing way, it's just that I often find myself in the confusing situation of wanting to create an original character, rather than a good character. Creating an original character is one way to set yourself a goal you'll probably constantly battle with, whereas creating one that is good, well that's not so scary.

當我第一次開始創(chuàng)作人物角色時，這是一個令人興奮的前景，我想讓他們的原始，我可以。 所以，自然地，我給我的角色用一萬件東西。耳環(huán)，皮帶，配件，羽毛，書包，靴子，珠子？ 你命名它，他們必須有它！幾年后，我學到了一些教訓。 最明顯的是，創(chuàng)造一個角色，你不需要給他們一個身份，通過用可笑的數(shù)量的東西裝備他們。 這是我的意見，沒有什么是真正的原件了。 我不是說在一個令人沮喪的方式，這只是，我經(jīng)常發(fā)現(xiàn)自己在想要創(chuàng)造一個原始的字符，而不是一個好的字符的混亂的情況。 創(chuàng)建一個原始角色是一種方式來設置自己一個目標，你可能會不斷與戰(zhàn)斗，而創(chuàng)建一個是好的，這不是那么可怕。

Let me also say that I don't think any character I create is the greatest thing I've ever done, not by a long shot, but there is something I like about each and everyone one of them. There's also a ton of things I don't, but I'm not focusing on that right now!

讓我說，我不認為我創(chuàng)造的任何人物是我做過的最偉大的事情，不是一個很長的鏡頭，但有我喜歡每個人。還有我不知道的東西，但我現(xiàn)在不關注這一點！

So here I am with a blank page and the word "gaunt" floating around in my head. At this point I have no idea what I want to create. So, as I so often do, I take a fairly light gray color and just start blocking in a silhouette ? this is how I begin a painting 90% of the time. If you're not a hundred percent sure about what you want, it can be a really good way of "finding" the image. Having settled on a rough shape I begin to draw a more detailed sketch above it (in a slightly darker tone). I kind of like the rough sketch at this point! It's fairly messy and she's obviously missing some limbs, but the general suggestion is there for me to work on. It's fine to work the sketch up a little more if you're more comfortable with it (Fig.01).

所以我這里有空白頁，“憔悴”浮在我的腦海。在這一點上，我不知道我想創(chuàng)建什么。 所以，我經(jīng)常這樣做，我采取相當淺灰色的顏色，只是開始阻止在一個輪廓？ 這是我如何開始繪畫90％的時間。 如果你不是百分之一百確定你想要什么，它可以是一個很好的方式“找到”的形象。 已經(jīng)在一個粗糙的形狀，我開始繪制一個更詳細的草圖上面（在一個稍微更深的色調）。 我就像這樣的粗略草圖！ 這是相當混亂，她顯然缺少一些肢體，總的建議是讓我繼續(xù)工作。 如果你讓它更合適，可以把草圖做得更多一些。

There is an absolute plethora of different custom brushes available in every corner of the internet and whilst some of them are great, I've always thought you can't go wrong with a basic brush. For the entire sketch and painting, I'll be using the standard Photoshop brush 23 (chalk 23 pixels).

在互聯(lián)網(wǎng)的每個角落都有絕對多種不同的定制畫筆，而其中一些是偉大的，我一直認為你不能出錯的基本刷。 對于整個草圖和繪畫，我會使用標準的Photoshop畫筆23（粉筆23像素）。

I merge the silhouette and sketch layer together and set that layer to Multiply, making it transparent. Then on a layer below I start to block in some base colors. They're very crude at this point and I am not trying to be neat. It's just about setting a mood with the colors. I'm also not entirely sure where I want to go with the color scheme at this point, so these blue/gray tones are fairly neutral and can be worked into different colors easily enough (Fig.02).

我將剪影和草圖層合并在一起，并將該圖層設置為乘法，使其透明。 然后在下面的一層我開始阻止在一些基本顏色。 他們在這一點上非常粗糙，我不想整潔。這只是關于設置的情緒色彩。 我還不能完全確定在這一點上我想使用配色方案，所以這些藍色/灰色色調是相當中性的，可以很容易地加工成不同的顏色。

From this point onwards everything I paint is above the sketch layer. I also flatten the layers throughout the painting process, which isn't essential; it's just my preference. During this process I rarely stay on one section for too long. I hop to different features just to make sure I don't get too bored working on the same section for too long. It also helps to come back to sections later on as you'll notice the mistakes more easily (Fig.03).

從這一點開始，我畫的一切都在素描層之上。 我也在整個繪畫過程中壓平了層，這不是必要的; 這只是我的偏好。 在這個過程中，我很少在一個部分停留太久。 我想到不同的功能，以確保我不會太累的工作在同一部分太長時間。 它也有助于以后回到部分，因為你會更容易地注意到錯誤。

The Face

The section that I will always work on first, however, is the face. This is the point when I need to think about my buzz word; "gaunt". This is a chance to bring out her features, giving her a gaunt appearance. Normally, if I was painting a young lady I'd give her a relatively smooth face; this character, on the other hand, obviously needs to look gaunt. To do this, I'm giving her some pretty harsh shadows as part of her facial structure, especially around her cheekbones. I'm also adding in highlights along the top of her cheek and giving her fairly dark eyes and shadows underneath too, to emphasize her eye sockets (Fig.04).

臉

然而，我將始終工作的部分是面部。 這是我需要考慮我的熱門詞匯的時候; “憔悴”。 這是一個機會，提出了她的功能，給她一個.unt的外觀。 通常，如果我畫一個年輕的女士，我會給她一個相對光滑的臉; 這個角色，另一方面，顯然需要看起來憔悴。 為了做到這一點，我給她一些相當陰暗的陰影作為她的面部結構的一部分，特別是在她的ek骨。 我還在她臉頰的頂部添加了亮點，給她下面相當黑暗的眼睛和陰影，以強調她的眼窩。

As I refine the details of the painting you'll notice subtle changes to her face (Fig.05). Throughout this process I'm adding more highlights and shadows, adding to her gaunt appearance. I also add in some pinkish tones on her lips and a little on her cheeks. This adds a bit of warmth to her face. Although I want her to look gaunt, I don't want her to look like a total corpse! So I'm warming up the tones just a touch.

當我細化繪畫的細節(jié)，你會注意到她的臉的微妙的變化（圖05）。 在整個這個過程中，我添加更多的亮點和陰影，增加了她的憔悴的外觀。 我還在她的嘴唇上加了一些粉紅色的色調，有點在她的臉頰。 這給她的臉增添了一點溫暖。 雖然我想讓她看起來憔悴，我不想讓她看起來像一個完整的尸體！ 所以我的溫暖的色調只是一個觸摸。

Flip

Don't forget to flip your image! Flipping is a great way to gain a new perspective on a painting (Fig.06). It really helps you notice mistakes.  (Image > Image Rotation > Flip Canvas Horizontal).

別忘了翻轉你的形象！翻轉是在繪畫中獲得一個新的視角的一個好方法（圖6）。它真的可以幫助你注意到錯誤。（圖像>旋轉>翻轉畫布水平）。

Details

I said earlier that I don't think you need to give a character a large number of accessories to give them an identity. That isn't to say that I don't think they should have any. It can be a great way of adding interest, like a little spark to grab your attention (Fig.07).

細節(jié)

我之前說過，我不認為你需要給一個字符大量的配件，給他們一個身份。這并不是說，我不認為他們應該有。它可以成為一個偉大的方式,增加興趣,像一個小火花來吸引你的注意力。

You can see I've added in a pin to her cape. These elements can be read into differently by different individuals, which is good because I like people to be able to make their own judgments about things (Fig.08).

你可以看到我已經(jīng)添加到她的披肩針。這些元素可以讀到的不同個體,這很好,因為我喜歡的人們能夠做出自己的判斷的事情。

It could be a family crest on her pin, a symbol of a society or something else. Whatever you want it to be! I add in a little red ribbon/sash too; it adds in a little splash of color (Fig.09).

這可能是她家族的家族紋章，象征著一個社會或別的什么。無論你想要它是什么！我加上一點紅絲帶/腰帶；它增加了一個小顏色。

Hands
Hands can be the bane of an artist's existence, especially when learning. I know I struggled with them quite a lot. Naturally, practice helps. So don't cover them up or hide them away, paint them! When I first sketched out the rough idea, one hand was holding up a section of the dress and the other was holding some sort of staff (although it didn't take me too long to change my mind about that) (Fig.10 ? 12).

手

手可以是一個藝術家的痛苦之源的存在, 特別是在學習時。自然，實踐幫助。 所以，不要掩蓋他們或隱藏他們，油漆他們！ 當我第一次勾畫出這個粗略的想法時，一只手拿著一件衣服，和其他持有某種工作人員（雖然我沒有花太多時間來改變我的想法）。

It felt a bit cheesy, so I'm opting for no staff at all, and a fairly relaxed gesture for both hands. For each hand I start with a very rough dabbing of paint, just to try and pin down the pose of the hand. Then I gradually build up the structure of the hand and add in some highlights around the knuckles and thumb, and also some pinkish tones on the tips of her fingers. I'm also keeping in mind my buzz word, "gaunt", giving her fairly boney fingers。

感覺有點俗氣，所以我選擇沒有工作人員，和一個相當輕松的手勢，雙手。 對于每一只手，我開始一個非常粗糙的涂料，只是試圖和釘住手的姿勢。 然后我逐漸建立手的結構，并在指節(jié)和拇指周圍添加一些亮點，以及在她的手指的一些粉紅色的色調。我也記住我的熱詞，“憔悴”，給她相當瘦骨嶙峋的手指。

Try and think about the structure of the bones when painting, I personally find that it helps. Look at your own hands and if you're struggling there are plenty of references available.

嘗試和考慮的骨骼的結構，我個人覺得它的幫助。 看看你自己的手，如果你在努力，有大量的參考文獻。

Fabric

Fabric is something that I love to work on, which is quite obvious with the amount of dresses I paint! You can see from the first sketch I don't really bother to detail clothing all that much, I prefer to just paint it in. I tend to block in the colors and very crudely start to add in the folds of the fabric, just by adding in basic highlights (Fig.17 ? 19).

織物

面料是我喜歡的工作，這是相當明顯的數(shù)額我的衣服油漆！你可以看到從第一張素描我真的不費心詳細的服裝這么多，我喜歡只是繪制它。我傾向于塊的顏色和很粗糙的開始添加在織物的褶皺，只是通過增加基本要點。

From there I refine in my usual manner, gradually working up details and more folds. I add a little stitching detail in places, and I also make the seams of the fabric a little rough around the edges. I don't want it to look too perfect. Again, if fabric is a sticking point, use references, your own clothes or have a look at stock.

從那里我以我一貫的方式改進，逐漸地增加細節(jié)和更多的褶皺。我添加了一個小縫合細節(jié)，我也讓織物的接縫邊緣有點粗糙。我不想讓它看起來太完美。再次，如果面料是一個癥結，使用參考，你自己的衣服或看看備有的。

Final touches

Things are coming together and are pretty much finished at this point. For some final touches, I add in some ruffles around her sleeves which tie in with the lace on her dress (Fig.20).

最后的潤色

事情正在一起，并在這一點上幾乎完成。對于一些最后的潤色，我在她的袖子周圍添加一些皺紋，綁在她的衣服上的花邊。

You might also notice that the colors in the background are a little stronger. I've added in some warmer peachy tones on an overlay layer (Fig.21).

您可能還注意到，背景中的顏色有點強。我曾在一些溫暖的桃色音調加上覆蓋層。

There are also a few specs/orbs in the same color over the lower section of the dress which helps to tie it into the background.

還有一些規(guī)格/球體在相同的顏色在衣服的下部，有助于把它綁在背景。

I hope you enjoyed my tutorial and have fun painting your own characters (Fig.22).

我希望你喜歡我的教程，并有樂趣畫你自己的人物。