制作漫畫的重要技巧

一個好的漫畫應(yīng)該抓住的不僅僅是這個主題的表面特征。 只要有可能，它應(yīng)該包括主體的個性，并聲明他們是誰。

A good caricature should capture more than just the superficial features of the subject. Whenever possible, it should encompass the subject's personality and make a statement about who they are.

我知道我想做的是一件更專注于福特自我毀滅的作品，而不僅僅是他公開展示的小丑形象。在大多數(shù)情況下，在我開始一幅新畫之前，我做的第一件事就是快速畫一組草圖，以便弄清楚這個想法。但在這種情況下，我的腦海中有一個強烈的印象，那就是最終的作品會是什么樣子的，我有足夠的信心從一張寬松的草圖開始。我快速地在谷歌搜索了一些關(guān)于福特的照片，以完成我的形象，我已經(jīng)準備好了。

I knew I wanted to do a piece that focused more on Ford's self-destructive nature than just the clownish persona he had been showing publicly. In most cases, the first thing I do before I start a new painting, is draw a series of quick thumbnail sketches in order to figure out the idea. But in this case I had such a strong image in my mind of how the final piece would look I felt confident enough to start with a loose sketch. I did a quick Google search for some photo references of Ford in order to shore up the likeness and I was ready to go.

第1步：從草圖開始

Step 1: Start with a sketch

我用Ditlev的筆刷畫草圖(你可以通過搜索谷歌找到它)。我保持素描松散，并將圖層模式設(shè)置為Mulitply。我用綠色的漸變填充了下面的圖層。綠色基色將有助于設(shè)置整個圖像的整體色調(diào)。

I do my sketching using Ditlev's pencil brush (you can find it by searching Google). I kept my sketch loose and set the layer mode to Mulitply. I filled the layer below that one with a greenish gradient. The green base color will help set the overall tone for the entire image.

第2步：基本顏色

Step 2: Blocking Base Colors

我在草圖下面創(chuàng)建另一個圖層，使用硬圓筆刷，繪制基本顏色。 我為每個基色選擇一個暗的中間色調(diào)。 我會在繪畫過程中將筆刷放大。 這可以讓我工作得更快，而不是被細節(jié)所困擾。

I create another layer below the sketch and, using a hard round brush, I block in my base colors. I choose a dark mid-tone for each base color. I'll avoid zooming for some time over the course of my painting. This allows me to work faster and not get hung up with the details.

第3步：建模形式

Step 3: Modeling Forms

我逐漸開始用其他顏色來進行繪制，并從第一步的深度來給出平面的顏色。 我很早就決定要從上面進來一個主要的光源，所以我畫了很深的陰影，給他一個陰險的外表。

I gradually begin working in other colors to model the forms and give the flat colors from the first step some depth. I determined early on that I wanted to have one of the main light sources coming in from above, so I paint in some deep shadows, giving him a sinister appearance.

第4步：細化形狀

Step 4: Refining the shapes

我繼續(xù)渲染形式來進一步創(chuàng)作。 我覺得他的耳朵太大了，所以我用套索工具選擇了那個部分，把它縮小了。你可以看到與素描層相比縮小了有多少。 我已經(jīng)開始在硬圓刷和標準的Photoshop毛邊刷之間進行切換。

I continue rendering the forms to create the illusion of depth. I also decided his ear was too big, so I selected that part with the lasso tool and shrunk it down. You can see how much compared to the sketch layer. I've started switching between the hard round brush and one of the standard Photoshop rough edged brushes. 

第五步:畫頭發(fā)

Step 5: Painting the Hair

我終于可以輕松地刪除素描圖層，放大并處理更精細的細節(jié)。 隨著我逐漸收緊細節(jié)，我逐漸使用更小的筆刷。 我也決定開始做頭發(fā)了。 我總是在它自己的層上畫頭發(fā)，這樣如果我犯了任何錯誤，很容易擦掉。

I'm finally comfortable enough to delete my sketch layer and also zoom in and work the finer details. I use progressively smaller brushes as I go along to tighten up the details. I've also decided to start working on the hair. I always draw hair on its own layer, so that if I make any mistakes it's easy to erase.

第六步：繪制火光

Step 6: Bringing the Fire

我從一開始就計劃制作一個描繪福特內(nèi)心憤怒的效果。 我覺得這樣做會很有趣，看起來他的憤怒就像是在他的領(lǐng)子下方放了一個爐子。 在一個新的層面上，我開始在領(lǐng)口周圍繪制一個明亮的橘紅色，把它和下面的陰影混合在一起。

My plan from the beginning was to create a visual metaphor depicting Ford's inner rage. I thought it would be fun to make it look like his rage was emanating like a furnace just below his collar. On a new layer, I begin working a bright fiery orange in around the neckline, blending it in with the shadows on the layer below.

第7步：關(guān)閉細節(jié)

 Step 7: Close Up Details

眼睛和嘴巴是最重要的兩個細節(jié)。我把臉放大，繼續(xù)銳化和提煉這些細節(jié)。你可以看到我從下面采集了一些橙色的顏色，然后把它加工成一些可以捕捉到相同反射光的區(qū)域。

The eyes and mouth are two of the most important details to get right on a caricature. I've zoomed in very tightly on the face and continued to sharpen and refine these details. You can see where I've sampled some of the orange color from below and worked it into some of the areas that would catch a bit of the same reflected light.

第八步:躲閃和燃燒

Step 8: Dodge and Burn

為了讓他的領(lǐng)口周圍的火熱區(qū)域真的燃燒起來，我在已經(jīng)鋪好的橙色上創(chuàng)建了另一層，并將此圖層設(shè)置為線性減淡。 我用亮黃色的顏色畫。 我使用柔軟的橡皮擦去除一點亮黃色，使其與下面的圖層更好地融合。 我使用另一個線性減淡層做類似的背景。

In order to make the fiery area around his neckline really pop, I create another layer above the orange color I've already laid down, and set this layer to Linear Dodge. I paint in a bright yellow orange color. I use a soft edged eraser to remove a little of the bright yellow to blend it better with the layer below. I use another Linear Dodge layer to do something similar with the background, only there I paint in a layer of atomic yellow green color.

第九步：畫一些煙

Step 9: Painting Some Smoke

多年來我收集的許多畫筆中，有一個名叫楊雪國的插圖畫家的作品，它被稱為Blur。在這個巨大的布景中，有一個很棒的煙刷，我用它來畫出從福特領(lǐng)子下冒出的煙柱。

Among the many brushes I've collected over the years are a huge set by the illustrator named Yang Xueguo, better known as Blur. Among this huge set is a terrific smoke brush that I use to paint columns of smoke coming out from under Ford's collar.

第10步：添加圖標

Step 10: Adding the pipe

我做的最后一件事就是用Adobe Illustrator中的鋼筆工具繪制管道圖標。 我將這幾次復制粘貼到Photoshop文檔中，以創(chuàng)建一個模式。 我合并這些圖層，然后使用Transform> 變形，使圖案自然環(huán)繞領(lǐng)帶。 我在圖案上添加一個圖層蒙版，然后在低透明度上使用柔軟的圓形筆刷輕輕擦除一些圖案，以使其自然融合。

The last thing I do is draw a pipe icon with the pen tool in Adobe Illustrator. I copy and paste this several times into the Photoshop document to create a pattern over the tie. I merge those layers, then use Transform > Warp to make the pattern wrap naturally around the tie. I add a layer mask over the pattern then use a soft round brush on a low opacity to lightly erase some of the pattern, in order to make it blend naturally.

最終圖像

The final image