制作“夢”第二部分

我的下一步就是在圖中勾勒出適合圖像的情感意圖，并將其嵌入到紋理和圖案為我建立的邊界內(nèi)。 在我快速勾畫了這幅圖之后，我基本上找到了我想要的第一張照片的感覺。

但是，我知道還有很多需要改變的地方。 但在這一點上，形象是我所需要的，所有的懷疑都被拋棄了。 我找到了我的設(shè)計  現(xiàn)在我只需要改進(jìn)它。

My next step was sketching in the figure to suit the emotive intent of the image, and to fit it within the boundaries that the textures and patterns had built for me. After I quickly sketched in the figure, I basically found the feeling that I had desired for the first shot.

However, I knew there were still a lot of changes to be made. But at this point, the image was where I needed it to be and all doubts were cast away; I had found my design  now I only needed to refine and polish it.

在找到我的設(shè)計后，我擋住了這個人物的輪廓，看看這篇文章是否符合我的喜好。我確實找到了我喜歡的構(gòu)圖，于是開始發(fā)展圖形，做出必要的增強(qiáng)。

Having found my design, I blocked in the silhouette of the figure to see if the composition was to my liking. I did find the composition to my liking and so started to develop the figure, making the necessary enhancements.

在這一點上，我覺得有必要進(jìn)一步嘗試，把這些元素更多地放在景。 我再次嘗試了紋理，形狀和圖案，但是用他們塑造造型的思維。 我喜歡我所看到的，并收到了創(chuàng)造性的信號，將其全力投入到圖像中。

At this point I felt the need to further experiment, bringing the elements more into the foreground. I experimented again with texture, shape and patterns, but with the mindset of using them to sculpt form. I liked what I saw and received the creative signal to go full force into the image.

前景階段

這個階段是榮耀階段，它開始得到清理，事情進(jìn)展得非常快。 事實上，事情進(jìn)展緩慢，但在現(xiàn)階段，我已經(jīng)深入了解了很多事情，然后才放松了自己的形象。 在這個階段，我進(jìn)行了大量的視覺跳躍，但這只是一個繼續(xù)試驗和工作的過程，直到他們覺得正確。我開始通過添加更多的視覺興趣來鞏固這個圖形，引入深度來從背景中拉出圖形，同時也增加了圖形本身的體積。在這一點上，我把注意力集中在顏色的平衡上，將更多的藍(lán)色引入到圖像的上部，開始從暖化到冷卻的過渡。

Foreground Stage

This stage was the glory stage, where it all started to get cleaned up and things went by really fast. Actually, things went by slowly, but at this stage I was so into the piece that a lot got done before I eased up from the image. At this point in the stages of progression, I took huge visual jumps, but it was just a matter of continuing the process of experimenting and working things until they felt right. I started to solidify the figure by adding more visual interest, introducing depth to pull the figure out from the background and also adding volume to the figure itself. At this point, I focused on the balance of colour, introducing more blue into the upper portion of the image, starting the transition from the warms to the cools

然后，我到了這個過程的乏味部分，在那里我開始清理 - 但這真是太好玩了！ 對于邊緣，我使用了一個封面鉛筆。 這是我清理邊緣的首選工具，我并不想要鋒利而又非常緊密。 使用Scratchboard工具  我最喜歡的工具之一  我繼續(xù)添加細(xì)節(jié)的圖像，同時使用其剃刀鋒利的線條和大線變化能力清理。 Scratchboard工具可以將非常干凈的矢量線質(zhì)量添加到圖像中，而且它是一個手繪工具。 我繼續(xù)在圖像中添加細(xì)微的細(xì)節(jié)，使用圖案粉筆增強(qiáng)身體的曲線，并繼續(xù)使用Scratchboard工具細(xì)化邊緣。 我花了一些時間確保臉部是正確的，鏡像了幾次之后，我找到了我需要的線條并最終確定了臉部。

I then arrived at the tedious part of the process, where I started to clean up - but it was oh so much fun! For the edges, I used a Cover Pencil. This is my tool of choice for cleaning up edges which I don't actually want to be razor sharp, but yet very tight. Using the Scratchboard tool one of my favourite tools I continued adding detail to the image, whilst simultaneously cleaning up using its razor sharp lines and large line variance ability. The Scratchboard tool has the ability to add that very clean vector line quality to the image, with the advantage of it being a freehand tool. I continued to add subtle details all over the image, enhancing the curves of the body using the Pattern Chalk, and continuing to refine the edges with the Scratchboard tool. I spent time making sure the face was correct, and after mirroring the image a few times I found the line I needed and finalise the face.

我開始非常輕微地將草圖線融入到圖像中，恰到好處，以致它不那么苛刻，并且具有更好的一致性。隨著勾畫線條的勾畫，我用蓋子鉛筆細(xì)化了面部特征的線條，所以它很鋒利，而不是尖銳鋒利。

I started to very slightly blend the sketch lines into the image, just enough so that it wasn't so harsh and had a better consistency. Along with blending the sketch lines, I refined the lines for the facial features using the Cover Pencil, so it was sharp but not razor sharp.

在這一點上，我真的進(jìn)入了清理臉部的過程，通過使用封面鉛筆來改變每種可變顏色的形狀。 這是一個非常非常乏味的過程，但我實現(xiàn)了我想要的確切外觀。 我繼續(xù)添加小細(xì)節(jié)使用模式粉筆在耳朵和沿著眉毛，美化圖像中的其他細(xì)節(jié)。

At this point I really went into the process of cleaning up the face, by sharpening every shape of variable colour using the Cover Pencil. This was a very, very tedious process, but I achieved the exact look that I wanted. I continued to add minor details using the Pattern Chalk around the ear and along the eyebrow, to compliment the other details in the image.

現(xiàn)在形象已經(jīng)到了最后，只剩下一點感觸：在一些地方增加一些微妙的深度。 為此我使用了數(shù)字水彩工具（圖52）。 我總是使用數(shù)字水彩工具來上釉，并為我的圖像添加深度。 我微妙地在暗處添加我認(rèn)為需要的區(qū)域，這樣圖像就可以更“彈出”一些。 這個圖像現(xiàn)在已經(jīng)完成了。

The image was now at its end, with just one more touch left: adding some subtle depth in areas. For this I used the Digital Watercolour tool (Fig.52). I always use the Digital Watercolour tool for glazing and adding depth to my images. I go around subtly adding darker areas where I think it needs it, so that the image can "pop" a bit more. The image, at this point, was now complete.