風(fēng)車的制作

研究

我的許多研究都是針對(duì)其他藝術(shù)家的作品，這些作品是當(dāng)代數(shù)字藝術(shù)家和老派迪士尼藝術(shù)家的混合體。我甚至看了那家舊磨坊，并把截圖作為參考。如果你想成為一個(gè)藝術(shù)家，那么你必須找到比你更好的藝術(shù)作品，并學(xué)習(xí)這些藝術(shù)家如何詮釋光線、形式、肌理等等，并試圖將靈感的部分畫進(jìn)你制作的每一幅畫中。除了藝術(shù)參考，我還研究了舊風(fēng)車、荒野、樹木和馬車的真實(shí)照片。

Research

A lot of my research was aimed at other artists' work which was a mixture of current digital artists and old-school Disney artists. I even watched The Old Mill and took screenshots for reference. If you want to improve as an artist, and who doesn't, then you have to find art work that is better than yours and learn how those artists interpret light, form, texture and so on, and try to draw parts of that inspiration into each painting you make. Besides the art reference, I also researched actual photographs of old windmills, moors, trees and carriages.

縮略圖

所以我有一些東西要放在縮略圖里：南瓜、建筑（最好是風(fēng)車）和幾百年前的鄉(xiāng)村環(huán)境。奇怪的縮略圖可能略有偏離，但這是核心簡(jiǎn)介。我還希望有好的燈光和一些漂亮的邊緣燈。于是我就用老式木房子、籬笆、樹木等強(qiáng)烈的剪影來展示這個(gè)歷史悠久的萬圣節(jié)氛圍，然后用薄霧和邊緣燈光來渲染幽靈般的氣氛。最終，我在第二組左下方縮略圖上找到了答案。因?yàn)槲蚁矚g一個(gè)人穿越場(chǎng)景的想法，所以我們可以和它聯(lián)系起來。

Thumbnailing

So I had a few things I wanted to lock down in the thumbnail; pumpkins, a building (ideally a windmill) and a rural setting of a couple hundred years ago. The odd thumbnail may have strayed slightly but that was the core brief. I also wanted good lighting with the opportunity for some nice rim light. So I played with strong silhouettes of old wooden houses, fences, trees and so on, to get that historical Halloween vibe, and then played with mist and rim lights to really punch the spooky mood. Eventually I settled on the bottom-left thumbnail in the second set of thumbs as I liked the idea of a person travelling through the scene so we could relate to it. The overall composition here gives a 1-2-3 triangular read between the moon, the mill, and the carriage.

天空的想法

我將縮略圖文件（包括所有的圖層）上傳到全尺寸（大約4000像素），我做的第一件事就是開始在天空中工作，這樣我就可以知道全局光照方案是如何工作的。 在大多數(shù)戶外場(chǎng)景中，天空是首先鎖定的，因?yàn)樗�是最大的光源�?我會(huì)去設(shè)置一個(gè)直接的光線，這將是非常柔軟的，因?yàn)殡m然它是從月球來的，它會(huì)通過一些陰霾和云。 于是我開始在一片陰郁的天空中隨著一些喜怒無常的云彩涂鴉，調(diào)色板開始成形。

Sky ideas

I up-res the thumbnail file, including all the layers, to full size (around 4,000px) and the first thing I do is start to work in the sky so I can then know how the global light scheme will work. In most outdoor scenes, the sky is the first thing to lock down as it's the biggest source of light. I'll be going for a direct light set up and it will be pretty soft because although it's coming from the moon it'll pass through a bit of haze and cloud. So I begin scribbling in a rough sky with some moody clouds and the color palette starts to take shape.

設(shè)置天空和剪影

我終于得到了天空的要點(diǎn)，我不得不承認(rèn)，這需要一些嘗試。我解決了這種三明治形狀的烏云輪廓的底部，然后頂層將坐在上面，也得到一些邊緣光。唷。這是一場(chǎng)相當(dāng)激烈的戰(zhàn)斗，但現(xiàn)在我可以放松一下，繼續(xù)渲染。

Setting the sky and silhouettes

I eventually get the gist of the sky done and I have to admit, it took a few attempts. I settled on this kind of sandwich shape of dark cloud silhouettes on the bottom, kind of in front, and then the top layer would sit just above and a bit behind the mood so I can up-light it and get in some rim light too. Phew. It was quite a battle, but now I can relax a little and just get on with rendering.

一致的形態(tài)語言

這可能是微妙的，但我開始創(chuàng)造一些形狀語言在這個(gè)階段的創(chuàng)作。你會(huì)注意到這種圓形的橢圓形，從月亮的圓形發(fā)射出來，然后通過云層反射出來，然后跟著風(fēng)車的輪廓（注意輕微的曲線）�，F(xiàn)在我已經(jīng)準(zhǔn)備好了，整個(gè)場(chǎng)景我都會(huì)跟進(jìn)。這將有助于給場(chǎng)景的構(gòu)圖提供一個(gè)舒適的流程。

Consistent shape language

It might be subtle but I'm starting to create some shape language by this stage in the creation. You'll notice this kind of rounded oval shape that emanates from the roundness of the moon and echoes out through the clouds, and then is followed by the contour of the windmill (notice the slight curve). Now that I've set that up I'll be following it throughout the scene. This will help give a comfortable flow to the scene's composition.

中間地面渲染

所以，雖然中間地帶很無聊，主要是長(zhǎng)滿草的荒地，但是我放在路上的道路有一個(gè)很好的回流路線，向右邊開出來，然后再向左邊彎，然后再往右邊彎， 讓我們看到風(fēng)車。 這將在組成上給我們一個(gè)很好的掃描路線，通過繪畫到我們的目的地 - 風(fēng)車。

Mid-ground rendering

So while the mid ground is pretty boring and is mainly open grassy moorland, the road that I placed on it has a nice flowing switchback which shoots out to the right, then cuts back to the left, before bending back around to the right again, sending our eye to the Windmill. This will, compositionally, give us a nice sweeping route through the painting to our destination - the windmill.

前景的渲染

所以我渲染了前景，增加了一些水坑和反射，增加了真實(shí)感，并在底部放置了一些更亮的藍(lán)色，這樣它們就不會(huì)在天空中聚集起來。它還允許我引導(dǎo)觀眾的進(jìn)入畫面。您還會(huì)注意到，以前的形狀語言已被應(yīng)用到樹的曲線中。我添加了一些額外的幽靈剪影圍欄。它給我們一種年齡感，增加了情緒，但也使我們進(jìn)入了現(xiàn)場(chǎng)。最后，我添加了一個(gè)前景滾動(dòng)地面/駝峰一些額外的深度。現(xiàn)在我們真的是從強(qiáng)大的，滾滾向前到深的背景。

Foreground rendering

So I rendered out the foreground, adding some puddles and reflections for added realism and to place some of the brighter blues at the bottom so they're not all bunched up in the sky. It also allows me to guide the viewer's eye into the painting like arrows. You'll also notice that shape language from before has been implemented into the curve of the trees. I added the fence for some extra spooky silhouette goodness. It gives us a sense of age and adds mood but also points us into the scene. Finally, I added a foreground rolling ground plane/hump for some extra depth. Now we really flow from strong, rolling fore into deep background.

渲染樹木和風(fēng)車

現(xiàn)在是簡(jiǎn)單而有趣的部分 - 渲染怪異的古樹！ 我希望這些樹的顏色和紋理都是黑色的。完全死去。但也有他們有點(diǎn)潮濕和光澤，真正拿起尖銳的邊緣照明。 然后，我把風(fēng)車翻過來，加上破舊的風(fēng)帆，撕裂的材料正像手指指向我們的主要構(gòu)圖元素之一 - 月亮。

Rendering the trees and windmill

Now for the easy and fun part - rendering spooky old trees! I wanted the trees to be pretty much black in terms of their local color/texture. Quite dead. But also have them a little damp and shiny to really pick up sharp rim lighting. I then rendered the windmill and added old, tatty sails where the torn material is pointing like fingers toward one of our main compositional elements - the moon.

馬車的渲染

這是我避免畫的那些方面之一，因?yàn)槲艺J(rèn)為畫一個(gè)馬車是非常棘手的。事實(shí)證明它相當(dāng)簡(jiǎn)單。我對(duì)馬車的身體一個(gè)四四方方的形狀，確信它是透視然后加輪子。

Carriage rendering

This was one of those aspects of the painting that I'd avoided as I figured painting a carriage would be very tricky. It actually turned out to be fairly simple. I made a boxy shape for the body of the carriage, made sure it was in perspective and then added wheels. The reflection really helps sell it.

最后的潤色

本來我想在路的兩邊都點(diǎn)燃南瓜燈，但是看起來不太合適。 我覺得他們有點(diǎn)分心。 所以我讓他們靜靜地坐在陰影里。 我在接近前景的地方添加了一個(gè)破碎的南瓜，作為向迪士尼原創(chuàng)動(dòng)畫片致敬的地方，那里有與電影關(guān)閉相似的圖片。 最后，再次向Ichabod漫畫的致敬，在接近尾聲的一個(gè)特別的場(chǎng)景中添加了一些沼澤的香蒲。 我對(duì)于最終結(jié)果感到非常滿意，很高興能夠從我從小喜愛的一部電影中得到靈感。