敘述教程：“掘墓人”的制作

第1步：粗略的草圖

一如既往，我從一個粗略的草圖開始。 有時我會先做一些縮略圖，但對于這件作品，我從一開始就清楚自己想要什么。 對我來說，草繪階段是非常重要的。 這是我計劃一整件的地方。 在這一點(diǎn)上，你應(yīng)該毫不懷疑你的構(gòu)圖或主題，如果它能夠很好地作為一個素描，將希望通過完成的作品。 這里要記住的重要一點(diǎn)是，粗略的草圖應(yīng)該被視為粗糙的，不需要漂亮的，這只是一個讓你確定你的計劃最堅實(shí)的方法。

Step 1: Rough sketches

As always I start with a rough sketch. Sometimes I'll do a few thumbnail sketches first but for this piece I had a pretty clear idea in my head of what I wanted right from the start. To me the sketching phase is really important; it's where I plan out an entire piece. At this point you should have no doubts about your composition or subject matter, if it's working well as a sketch that will hopefully carry through to the finished piece. What's important to remember here is that a rough sketch should be treated as rough, it doesn't need to be beautiful, it's just a way for you to make sure that your plan is solid.

第2步：顏色

在這一點(diǎn)上，我正在投入一些粗糙的顏色。 正如你所看到的，我已經(jīng)用了一個非常柔和的調(diào)色板。 我希望通過保持低水平的飽和度會增加作品的悲觀情緒。 它仍然是豐富多彩的，但它絕對不是一個選擇的顏色，呼喊幸福和興奮。

Step 2: Color block out

At this point I'm throwing in some rough colors. As you can see I've gone for a very muted color palette. I'm hoping that by keeping my saturation levels low it will add to the gloominess of the piece. It's still colorful, but it's definitely not a choice of colors that shouts about happiness and excitement.

第3步：刷子的選擇

畫筆可以是非常具有描述性的。 我希望我的畫筆能真正贊美這里的主題。 我選擇非常結(jié)構(gòu)化的畫筆，模擬油畫顏料的大部分插圖的外觀，但我使用標(biāo)準(zhǔn)的Photoshop圓刷與柔軟設(shè)置來制作她的臉和手。 這些較為柔和的部分是我最后要改進(jìn)的部分。 用環(huán)繞著噪音的軟刷畫她，會給她一種微妙的感覺，讓你覺得盡管她已經(jīng)死了，但她仍然脆弱。

Step 3: Choice of brushes

Brushes can be very descriptive. I want my brushes to really compliment the subject matter here. I'm opting for very textural brushes that simulate the look of oil paints for most of the illustration, but am using the standard Photoshop round brush with the softness set to full to work on her face and hands. These softer areas are the parts of the piece that I'll be refining the most later on as they are where I want the viewer to be engaging with our victim. Painting her with soft brushes surrounded by noise is going to give her a sense of delicacy, making you feel that although she's dead, she's still vulnerable.

第四步：棺木

我希望棺材感覺好像是她的一部分。 要做到這一點(diǎn)，我決定在木材中使用大量的灰色，事實(shí)上，我已經(jīng)直接從她的皮膚中挑選了大部分灰色。 我從我為樹葉奠定的基本顏色，一點(diǎn)點(diǎn)橙色和塵土飛揚(yáng)的粉紅色，采取了木材的溫暖色調(diào)。 我在木頭上使用質(zhì)地刷，而不是擔(dān)心在這里很干凈，因?yàn)橹饕�的重點(diǎn)將放在她和她的手上。 這意味著我們可以保持筆畫的美觀和寬松，因?yàn)槲艺娴闹幌胍�這些作品補(bǔ)充繪畫的其余部分，而不需要它們太精煉。

Step 4: Coffin wood

I'd like the coffin to feel like it's very much a part of her. To do this I decide to use a lot of grays in the wood, in fact I've color picked most of the grays directly from her skin. The warmer tones in the wood I take from the base colors I've laid down for the leaves, little bits of orange and dusty pinks. I'm using a textural brush on the wood, not too worried about being very clean here as the main focus is going to be on her and her hands. This means that we can keep strokes nice and loose as I really just want these bits to compliment the rest of the painting without needing them to be too refined.

第5步：繪畫描述

在這里，我使用各種紋理畫筆粗略地開始感覺到葉子。 這真是一團(tuán)糟，用不同的畫筆，但這正是我想要做的。 畫一整片葉子可能聽起來令人望而生畏，但事實(shí)并非如此。 當(dāng)你站在落葉的田野里時，你的眼睛不會集中在每片葉子上。 你吸收的東西更像是一片葉子的感覺，而不是許多單獨(dú)的葉子。 如果這就是我們在現(xiàn)實(shí)生活中所看到的那么那正是我要畫的東西。 不是每個單獨(dú)的葉子，而是描述大量葉子的顏色和紋理的混亂。

Step 5: Painting descriptively

Here I use various textured brushes to roughly start getting the sense of leaves. It's a mess really, big strokes with different brushes, but that's exactly what I'm trying to do. Painting a whole mass of leaves may sound daunting, but it's not really. When you're standing in a field of fallen leaves your eyes don't focus on each individual leaf. What you absorb is more like a sense of a field of leaves, rather than many individual leaves. If that's how we see in real life then that's precisely what I'm going to paint. Not every individual leaf, but rather a mess of color and texture that describes a mass of leaves.

第6步：從混亂中拉出形狀

為了讓地面變得更薄，我想開始定義幾個形狀，不是很多，只是足以讓人們確信他們正在盯著覆蓋在樹葉上的地板。 我通過在粗略的筆畫中找到形狀并對其進(jìn)行細(xì)化，而不是以新的形狀進(jìn)行繪畫。 從某種意義上說，我正在從這里已經(jīng)存在的筆觸中抽出葉子。 要做到這一點(diǎn)，最簡單的方法是在黑暗的邊緣添加一個或者兩個你正在“拔出”的形狀，就好像在投影一樣。

Step 6: Pulling shapes out of the mess

To be able to make the ground feel leafier I want to start defining a few shapes, not many, just enough to really convince someone that they're staring at a floor covered in leaves. I do this by finding shapes within the rough strokes and refining them rather than painting in new shapes. In a sense I am pulling the leaves out of the brushstrokes that already exist here. The easiest way to do this is by adding in a darker edge to one or two sides of the shape you're "pulling out", almost as if it's casting a shadow.

第七步：小細(xì)節(jié)問題

在這一點(diǎn)上，我將添加一些細(xì)節(jié)，使圖片中的所有元素更好地融合在一起。 疊加棺材蓋上的草和蓋子和棺材兩側(cè)的污垢讓人覺得這些不同元素之間有一種聯(lián)系。

Step 7: Small details matter

At this point I'm adding in a few details that will make all the elements in the picture fit together better. Adding grass overlapping the coffin lid and bits of dirt on the lid and the sides of the coffin make it feel like there is a relationship between those various elements.

第8步：畫面紗

為了面紗，我再次使用非常紋理的畫筆。 我想讓它感到灰塵和一點(diǎn)點(diǎn)磨損。 這里使用質(zhì)地刷子有助于使織物感覺像網(wǎng)眼，而不是像雪紡綢般光滑。 有很小的斑點(diǎn)，非常輕，看起來像個人的線程捕捉光。 織物也變得越來越不透明，越過它本身的密度越高，越難以透過面紗的這些部分，并強(qiáng)調(diào)這是一個透明的織物這一事實(shí)。

Step 8: Painting the veil

For the veil I'm again going to use very textural brushes. I want it to feel dusty and a little bit worn. Using textural brushes here helps to make the fabric feel like mesh instead of something smooth like chiffon. Having tiny spots that are very light make it look like individual threads are catching the light. The fabric also becomes more opaque towards the ends where it's folded over itself in denser layers, making it harder to see through those parts of the veil and emphasizing the fact that it's a transparent fabric.

第9步：陰影

我通過簡單地使用棕色軟刷并將混合模式設(shè)置為“強(qiáng)光”來創(chuàng)建陰影。 當(dāng)你做這樣的事情時要小心不要使用黑色。 你想要一個插圖的最黑暗的部分是黑色的，因?yàn)樵诂F(xiàn)實(shí)生活中不會出現(xiàn)純黑色，這是非常罕見的。 將純黑色添加到某種東西中，真的吸引了觀眾的注意力，因?yàn)樗�絕對沒有光線。 在這里，我希望陰影感覺很自然，好像場景的環(huán)境光線正在影響它。 使用此混合模式以純黑色或白色進(jìn)行繪制將導(dǎo)致顏色轉(zhuǎn)為純黑色或白色，而使用中色調(diào)顏色將導(dǎo)致較亮的顏色變淺并使較暗的顏色變暗，使“強(qiáng)光”真的可用于將高光和陰影添加到 一個圖像。

Step 9: Shadow

I create the shadow by simply using a brown soft brush with the blend mode set to "Hard Light". Be careful not to use black when you do something like this. It's very rare that you want the darkest parts of an illustration to be black because pure black simply doesn't occur in real life. Adding pure black to something really draws the viewers attention to it as it's an absolute absence of light. Here I want the shadow to feel quite natural, as if the ambient light of the scene is affecting it. Painting in pure black or white using this blend mode will result in the color turning pure black or white, whilst using midtone colors will result in lighter colors lightening and darker colors darkening, making "Hard Light" really useful for adding both highlights and shadows to an image.

第十步：最后的細(xì)節(jié)

最后我加入一些最后的細(xì)節(jié)。 我在棺材的蓋子和兩側(cè)加了一些葉子，讓它們感覺更像是它們周圍的一部分。 我也加入了更多的綠色和藍(lán)色的手和草來統(tǒng)一顏色好一點(diǎn)。

Step 10: Final details

Lastly I add in a few final details. I've added in some leaves on the coffin lid and sides to help make them feel more like they're a part of their surroundings. I've also added in more greens and blues to her hand and the grass to unify the colors a bit better.