敘事指南:逍遙法外的老鼠

插畫家和概念藝術(shù)家Gabriel Romero(Gaboleps)用充斥著老鼠的科幻小說來塑造他最新的復(fù)古風(fēng)格的插圖……

Illustrator & concept artist Gabriel Romero (Gaboleps) uses rat-filled sci-fi flash fiction to conjure up his latest retro-styled illustration...

步驟1:草圖

首先，我讀了課文，開始對任何我想到的東西做粗略的草圖。即使沒有意義，我也會做。 這是我最喜歡的一個。

Step 1: Sketches

First I read the text and start making rough sketches of anything that comes to mind. I do anything that comes out even if it does not make sense. This is the one I like most.

第二步:畫草圖

在這一步中，我嘗試盡可能多地獲得這個想法，并沒有應(yīng)用太多細(xì)節(jié)，而是定義了組合中的所有元素。我喜歡把大的元素連接起來，例如，杯子里的液體與老鼠的主要腳重疊，等等。如果我把它孤立出來，是因為它很小，就像右上角的老鼠。

Step 2: Working on the sketch

In this step I try to get as much of the idea as I can, not applying much detail, but defining all the elements in the composition. I like to connect the big elements, for example the liquid from the mug overlaps with the main rat foot, and so on with the rest of the elements. If I isolate something it is because it's quite small, like the rat in the upper-right corner.

第三步:對比

在定義了更多的想法之后，我嘗試著做一個很好的對比�；蛘咧辽�，看看我想走哪條路。所以我做了幾個版本，選一個我繼續(xù)畫的，不是太多。我不愿在這一步添加顏色。

Step 3: Contrast

After defining the idea more, I try to achieve a nice contrast. Or at least, see which way I'd like to go. So I make a couple of versions and pick one which I continue to paint, not too much. I would rather not add color in this step.

步驟4:添加一些顏色

時間點顏色!重要的是要在文本和圖像之間生成顏色之間的連接，所以我選擇藍(lán)色。如果我認(rèn)為自己是一個讀者，我喜歡在我的腦海和插圖之間找到那些巧合。我們都有自己獨特的心理現(xiàn)實，所以最好的辦法就是突出那些巧合。我喜歡互補的調(diào)色板，所以如果我選擇藍(lán)色，我也會選擇一些范圍的橙子。當(dāng)然，這取決于你想在你的藝術(shù)中表達(dá)什么。

Step 4: Adding some colors

Time for some color! It is important to generate a connection between the colors named in the text and the image, so I pick blue. If I think of myself as a reader, I like to find those coincidences between what I imagine in my mind and the illustration. We all have personal and unique psychic reality, so it is a good idea to highlight those little coincidences. I like complementary palettes, so if I pick blue, I am also picking some range of oranges. Of course that depends on what you want to express in your art.

第五步:紋理

有時我喜歡在紋理上畫畫，所以我把油畫和實驗畫上一點。這里是結(jié)果。就算是谷歌的圖片和使用也比較容易，我想要一些額外的傳統(tǒng)樂趣，但是是的，谷歌更容易更快。也許拍一張漂亮的墻和一幅畫，這也是個不錯的主意。我將紋理以淺藍(lán)色調(diào)色，并添加多重混合模式。然后我擦掉一些區(qū)域，克隆一些其他的。

Step 5: Texture

Sometimes I like to paint over a texture, so I take my oil paint and experiment a little. Here is the result. Even it is easier to Google an image and use that, I wanted to have some extra traditional fun, but yes, Google is easier and faster. Maybe taking a picture of a nice wall and painting over that would also be a nice idea. I colorize the texture with a light blue hue, and add Multiply blending mode. Then I erase some areas and clone stamp some others.

第六步:3層

我有一些關(guān)于基本圖紙的問題，所以我找一些參考來解決這個問題。如你所見，我的工作方式很混亂。我也不使用超過2或3層(節(jié)省時間，個人電腦運行得更快，我也不經(jīng)歷尋找任何特定圖層的惱人過程)。最壞的情況下，我只是像畫布一樣畫出來!

Step 6: 3 layers

I have some issues with the base drawing, so I look for some references to fix that a bit. As you can see, my way of working is quite chaotic. I also don't use more than 2 or 3 layers (saves time, the PC works faster, and I don't go through the annoying process of looking for any specific layer). Worst case scenario, I just paint over like a real canvas!

第七步: 筆刷

我繼續(xù)渲染，試著為簽名找一個地方，所以它是構(gòu)成的一部分;不是很重要的一步，但是很有趣。簡單地說，我盡量不使用它們，我寧愿保持簡單。如果我能在開始渲染太多之前選中它們就更好了。

Step 7: Brushes

I continue to render, trying to find a place for the signature so it's kind of part of the composition; not a very important step, but fun. To briefly mention brushes, I try not to use a lot of them, I prefer to keep it simple. It's even better if I can pick them before I start rendering too much.

第八步: 到達(dá)那里

在這一步中，我不斷地調(diào)整和改變小事情，就像在這個時候，大多數(shù)圖像只是需要時間來呈現(xiàn)，希望沒有發(fā)生根本性的變化。你可以從第一個彩色草圖到最終圖像，以及它如何保持草圖的大部分形狀。

Step 8: Getting there

In this step I keep tweaking and changing little things, as at this point most of the image just needs time to render with hopefully no radical changes. You can see here a process from the first color sketch to the final image, and how it keeps most of the shape from the sketch.

第九步:最后的形象

這是最后的圖像。我將紋理再次放置，但在柔和的光線模式下，透明度非常低。最后，我添加了一個銳化效果來顯示細(xì)節(jié)。我希望你能發(fā)現(xiàn)這是一個有用且容易遵循的方法，如果你有任何問題，請隨時評論!

Step 9: Final image

Here is the final image. I place the texture once again, but in Soft Light mode, with very low opacity. Finally I add a sharpen effect to pop the details a bit. I hope you find this making of useful and easy to follow, and please feel free to comment if you have any questions!