夢幻插圖的繪畫

在本教程中，我將帶您瀏覽創(chuàng)建從草圖到完成繪畫的夢幻插圖的過程。盡管我用油畫顏料作畫，但無論你畫的是哪種顏料，無論是傳統(tǒng)的還是數(shù)字的，我描述的步驟都是有用的。

In this tutorial, I will take you through my process for creating a fantasy illustration from sketch to finished painting. Though I paint with oils, the steps I describe can be useful no matter what medium you paint in, traditional or digital.

第1步：縮略圖和設(shè)計草圖

在深入研究顏料之前，弄清楚要渲染的主題和構(gòu)圖是很重要的。 在素描本中，我記下了一些關(guān)于我對繪畫感興趣的東西，并開始創(chuàng)建小小的“縮略圖”來確定可能的構(gòu)圖。

我決定了“通過遺跡追蹤大型的異世界生物”這個主題，并在幾個縮略圖上完善基本構(gòu)圖。 我在右下方的縮略圖草圖中傾斜地平線，以獲得更加動感和令人不安的生物視圖。 在左邊的頁面上，我畫出了一些生物的粗略設(shè)計來告訴我最后的繪畫。

Step 1: Thumbnails and Design Sketches

Before diving in with paint, it is important to figure out the subject and composition you want to render. In a sketchbook I jot down a few notes about what I am interested in painting, and begin to create tiny 'thumbnail' drawings to determine possible compositions.

I settle on the subject of "a large otherworldly creature stalking through ruins", and refine the basic composition over a few thumbnails. I tilt the horizon line in the bottom right thumbnail sketch for a more dynamic and unsettling view of the creature. On the left page, I sketch out a couple rough designs of the creature to inform my final drawing.

步驟2: 最終場景圖

在你對你的主題有了清晰的認(rèn)識之后，是時候創(chuàng)建一個更詳細(xì)的最終場景圖了。我使用斯特拉斯多布里斯托紙，因為它光滑的表面易于接受細(xì)節(jié)，并可以使用各種鉛筆。當(dāng)我工作的時候，我喜歡在我周圍有物理的參考，并從我的收藏品中使用一些頭骨和骨頭來告知這個生物的設(shè)計。我從縮略圖中改變了這個生物的姿勢，并將前腿向前推來創(chuàng)造更多的強制視角。通常，我需要擦除和重畫幾次，然后才能看到我想要的圖形。

Step 2: Final Drawing

After you get a clear idea of your subject, it's time to create a more detailed drawing of the final scene. I use Strathmore Bristol paper for its smooth surface which is receptive to detail, and draw with a variety of pencils. I like to have physical reference around me while I work, and used a few skulls and bones from my collection to inform the design of the creature. I changed the creature's pose from the thumbnail, and brought the front leg forward to create more forced perspective. Often, I need to erase and redraw a few times before I get the drawing to look the way I want it to.

第3步：安裝圖紙

一旦繪圖完成，它需要安裝和密封。 一個堅硬的表面會給你的繪畫支持，在這里我使用了中密度纖維板。 在安裝之前，在通風(fēng)良好的區(qū)域內(nèi)噴涂一層可操作的固定涂層，防止其在以后再摩擦。

用一個大刷子將木板涂在一層厚厚的透明丙烯酸啞光介質(zhì)上并小心翼翼地將你的圖樣排列在上面。用壓板或橡膠刮刀把你的紙牢牢壓在紙板上，并擠出多余的介質(zhì)。 這種介質(zhì)在下面就像一個膠水，最后一層涂在圖面上，為油畫提供了良好的基礎(chǔ)。

Step 3: Mounting the Drawing

Once the drawing is complete, it needs to be mounted and sealed. A rigid surface will give your painting support, and here I used a MDF Panel. Before mounting, spray a coat of workable fixative over your drawing in a well ventilated area to prevent it from rubbing away later.

Coat the board in a thick layer of transparent acrylic matte medium using a large brush, and carefully align your drawing on top. Use a brayer or squeegee to press your paper firmly to the board, and to squeeze out any excess medium. This medium acts like a glue underneath, and a final coat applied over the drawing seals the surface and provides a good ground for oil painting.

第4步：底紋

繪制完成后，您可以應(yīng)用您的第一層油漆。 在最初的繪畫中，你應(yīng)該把自己限定在暖色調(diào)的灰色調(diào)中，這將會設(shè)定你的整體的價值。更重要的是，這一階段有助于消除頁面上絕大部分的空白。

在這里，我用一個大刷子在天空中用涼灰和一個小刷子在這個生物的黑暗色調(diào)中工作。離觀者更近的物體總是比遠(yuǎn)處的物體有更高的對比度，這是很好的早期發(fā)現(xiàn)。這很早就建立起來了。

Step 4: Underpainting

After the drawing is mounted, you can apply your first layer of paint. During this initial underpainting, you should limit yourself to warm and cool grey tones, which will set the overall value ad tone of your piece. More than anything, this stage helps to get rid of the overwhelming white of the page.

Here I used a large brush to block in the sky with cool grays, and a smaller brush to work in some darker tones in the creature. Objects closer to the viewer will always have higher contrast than those in the distance, and it's good to establish this early on.

第5步：顏色研究

在一張新的紙上，創(chuàng)建一些你的作品的縮略圖副本。 然后混合幾組天空，地面和生物的顏色，并進(jìn)行實驗。 有了這些，我試圖決定一個整體溫暖的色調(diào)（1），一個有一個涼爽的藍(lán)色背景和溫暖的前景（2），一個用溫暖的光源（3）照亮一個涼爽的灰色天空。 這可能需要十幾個快速的實驗才能找到正確的，但所有這些計劃都可以幫助您避免最終繪畫中的混亂。我認(rèn)為第3號是最有趣的天空，并以此作為我最終的基礎(chǔ)。

Step 5: Color Studies

On a new piece of paper, create a few tiny thumbnail copies of your composition. Then mix a few sets of sky, ground, and creature colors and experiment with their placement. With these, I was trying to decide between a composition with an overall warm tone (1), one with a cool blue background and warm foreground (2), and one with a cool grey sky illuminated by a warm light source (3). It can take a dozen quick experiments to find the right mood, but all this planning will help you avoid confusion in the final painting. I decided that number 3 had the most interesting sky, and used it as a basis for my final.

第6步：天空

一般來說，在前景之前繪制背景是一件好事，這樣你就不必在以后的主題中仔細(xì)地畫任何細(xì)節(jié)了。 我用一個大的平刷來遮擋這些云層，用一個較小的軟刷來完善它們。 在繪制背景的同時，如果在前景中覆蓋繪圖的某些元素，不要太擔(dān)心。 只要您有原始圖形的照片供您參考，您可以稍后再繪制這些元素。

Step 6: The Sky Comes First

As a general rule, it's good to paint your background before the foreground, so that you don't have to carefully paint around any detailed forms in your main subject later. I used a large flat brush to block these clouds in, and a smaller soft brush to refine them. While painting the background, don't worry too much if you cover some elements of the drawing in your foreground. As long as you have a photo of your original drawing to reference, you can paint these elements back in later.

第7步：封鎖焦點

早期封鎖繪畫的焦點可能會有所幫助，因為這是最重要的領(lǐng)域。 在這種情況下，焦點是空靈生物的頭部，以及錯綜復(fù)雜的嘴巴結(jié)構(gòu)。 用各種各樣的畫筆，我開始用這種比較薄的顏料以溫暖的色調(diào)來吸引觀眾的目光。 我禁止自己在這個階段增加最亮的亮點，并把焦點放在生物背部較大的光線面和背面的黑色光線上。

Step 7: Block in the Focal Point

It can be helpful to block in the focal point of your painting early on, because it is the most important area to get right. In this case, the focal point is the head of the ethereal creature, and its intricate overlapping mouth structure. Using a variety of brushes, I began to lay in warm tones in this form with relatively thin paint to draw the viewer's eye. I restrain myself from adding the lightest highlights at this stage, and focus on larger planes of light on the creature's back and dark on its underside.

第8步：其他背景元素

隨著遙遠(yuǎn)的背景和最近的焦點被封鎖，繪畫將開始走到一起。 遠(yuǎn)處的物體，比如這個場景中的純金字塔，隨著它們在太空中的進(jìn)一步移動，逐漸變得不那么細(xì)致和松散。 同樣重要的是要注意，物體陰影面上最輕的亮度應(yīng)該比物體亮面上最黑暗的暗。這就產(chǎn)生了一種三維形式的錯覺。

Step 8: Other Background Elements

With the distant background and nearest focal point blocked in, the painting will begin to come together. Objects in the distance, like the stark pyramids in this scene, become progressively less detailed and loose contrast as they move further away in space. It is also important to note that the lightest light tone on the shadow side of an object should be darker than the darkest dark on the light side of the object. This creates the illusion of a three dimensional form.

第9步：充實焦點

有了所有的背景對象，您可以再次把注意力轉(zhuǎn)移到前景。 此時，，我把剩下的東西都給了出來，把腳下的瓦礫堆起來。 由于該生物的身體非常蒼白，因此在底面添加一點綠色反射的顏色是有道理的。光的物體通常從其周圍的陰影側(cè)吸收色彩筆記，而較暗的非反射物體則不吸收。 你可以通過繪畫從生活中學(xué)習(xí)很多關(guān)于這些原則，并仔細(xì)觀察反射光在不同材料上的表現(xiàn)方式。

Step 9: Fleshing out the Focus

With all of the background objects in place, you can again turn your attention to the foreground. At this point, I rendered out the rest of the creature, and painted the rubble strewn hill under its feet. Since the creature's body is very pale, it made sense to add a bit of green reflected color from the ground on its underside. Light objects usually absorb color notes from their surroundings on their shadow side, while darker non reflective objects do not. You can learn a lot about these principles by painting from life, and carefully observing the way reflected light behaves on different materials.

第10步：定義和細(xì)化

在所有的事情都被阻止之后，是時候加入最后的細(xì)節(jié)和最重要的亮點。我在這個貧瘠的城市里定義了遠(yuǎn)處的建筑，并在那生物的背上加入了一縷縷的煙霧。我給生物的下面帶來了一些溫暖的陰影，并為它的下巴和甲殼添加了明亮的亮點。

盡管有計劃階段，但這幅畫對我來說實際上是一場爭斗，在我做這件事的時候，我不得不重新定義了很多方面。 每幅畫都是可以挽救的，總可以找到一個解決方案。

Step 10: Defining and Detailing

After everything has been blocked in, it's time to bring in your final details and lightest highlights. I defined the distant buildings in the sterile city, and added ethereal wisps of smoke cascading from the creature's back. I brought some warmer shadows into the creature's underside, and added bright highlights to its jaws and carapace.

Despite the planning stages, this particular painting was actually a bit of a struggle for me, and I had to redefine quite a few areas while I worked on it. Every painting is salvageable, though, and there's always a solution to be found.

重要提示：拆分主調(diào)色板

當(dāng)我畫畫時，我使用了一個拆分的小調(diào)色板，這意味著我使用了一種溫暖而涼爽的黃色，溫暖而涼爽的紅色，以及溫暖而清涼的藍(lán)色（再加上鈦白色和那不勒斯黃色）。 使用這個系統(tǒng)，你可以混合任何顏色。

Top tip: Split Primary Palette

I work with a split primary palette when I paint, meaning I use a warm and cool yellow, warm and cool red, and warm and cool blue (plus Titanium White and Naples Yellow). Using this system, you can mix just about any color.