傳奇英雄Uteg的制作

前一段時(shí)間，我正在集思廣益的想法來進(jìn)行世界建設(shè)。我會(huì)創(chuàng)造一個(gè)神話世界的傳奇英雄，創(chuàng)造風(fēng)味的小故事，然后把它們畫出來。 Uteg是其中一個(gè)頭腦風(fēng)暴的產(chǎn)物。這個(gè)想法是把這個(gè)角色描述為一個(gè)強(qiáng)大而有力的人物，他是人民的冠軍。我想要他堅(jiān)持經(jīng)典的幻想比喻，同時(shí)也設(shè)計(jì)一些獨(dú)特的生物和裝備。

A while back I was brainstorming ideas for a world-building exercise. I would create heroes of legend for a mythical world, create small stories for flavor, and then paint them up. U'teg is the product of one of those brainstorms. The idea was to present this character as a strong and powerful figure who was a champion of his people. I wanted him to adhere to classic fantasy tropes while also designing some unique creatures and gear.

從這里我會(huì)把你從我的縮略圖階段帶到畫面上，并完成一些調(diào)整層。我將向你展示一些很酷的技巧，可以幫助你避免在后期工作中遇到的重大問題和頭痛問題。開始了！

From here I will be taking you from my thumbnail stage to painting and finishing up with some adjustment layers. I will show you some cool techniques for beginning your painting that will help you avoid major issues and headaches in the later stages of your work. Here we go!

縮略圖！

你們大多數(shù)人都看過縮略圖，所以我不會(huì)太深入。當(dāng)你縮略圖的時(shí)候，你試著去觸摸一種心情或者一個(gè)快速一瞥就能讀懂的輪廓。簡(jiǎn)單，大的形狀就能解決問題。有一次我敲了幾下，我仔細(xì)看了一下，看到了一些我認(rèn)為我有承諾的東西。我想我可以帶這三個(gè)去別的地方。我把它們做得更完整，給了它們一些基本的陰影，以幫助在最后的圖像中設(shè)置我想要的基調(diào)。

Thumbnails!

Most of you have seen thumbnails, so I won't go too deep into it. When you thumbnail you try to hit a mood and or a silhouette that reads well at a quick glance. So simple, big shapes do the trick. Once I knocked out a few, I looked through them and saw some that I thought I had promise. These three were the ones I thought I could take somewhere. I rendered them more fully and gave them some basic shading to help set the tone I want in the final image.

三個(gè)最強(qiáng)大的縮略圖進(jìn)一步充實(shí)了

The three strongest thumbnails went on to be more fully fleshed out

細(xì)化，阻止，簡(jiǎn)單的背景

這個(gè)階段非常簡(jiǎn)單。我選擇了我覺得最有希望的粗糙的東西，我把它帶到藝術(shù)線條的最終版本。我改變圖像的比例，并定義我想讓這些生物看起來像什么，以及他的裝備和武器。從那里我用他的平底灰和他的龍的形狀（在不同的層次上）將它們從背景中分開。我添加了一些快速的顏色來幫助設(shè)置他身后的情緒。

Refine, blocking, simple background

This phase is pretty straightforward. I choose the rough that I felt had the most promise and I take it to a final version of the line art. I change the proportions of the image and define what I want the creatures to look like, as well as his gear and weapon. From there I block in his and the wyrm's shapes (on separate layers) with flat greys to pull them apart from the background. I add in some quick colors to help set the mood behind him.

我將圖像分為三個(gè)主要方面：主要焦點(diǎn)，次要焦點(diǎn)和背景

I separate the image into three major areas: main focus, secondary focus, and background

著色器

在這個(gè)階段，我明白了將大部分工作分解成更小，更易于管理的部分是最容易的。所以我取了所有的骨頭，皮革，金屬和多余的部分，為它們做了分層。我定下了一個(gè)基本的顏色，我將在稍后開始繪制主要細(xì)節(jié)。我使用剪貼蒙版將這些圖層（及其線條圖層）剪貼到U'teg的“基礎(chǔ)”圖層上。這使得當(dāng)我畫畫的時(shí)候，我永遠(yuǎn)不會(huì)離開他的輪廓。

Coloring flats

At this stage, I've learned it's easiest to break up big chunks of the work into smaller, more manageable sections. So I've taken all the bone, leather, metal and extra bits and made separate layers for them. I lay down a base color that I will start painting the main details over, at a later time. I use a clipping mask to clip these layers (and his line art layer) onto the "base" layer of U'teg. This makes it so that when I paint, I can never go out of bounds from his silhouette.

說明：提示：您可以右鍵單擊要剪輯的圖層上方的圖層，然后選擇“剪裁蒙版”，或者也可以在兩層之間按住Alt鍵（Mac的選項(xiàng)鍵）以實(shí)現(xiàn)相同的目標(biāo)

Caption: Tip: you can right-click the layer above a layer you want to clip to and select "make clipping mask", or you can just Alt-click (option key for Mac) between two layers to achieve the same goal

粗糙的顏色

這個(gè)階段非�？欤�但是非常重要。這是我要定義成品的樣子。我用一些真實(shí)的顏色，，粗略地給U'teg一些定義，早期的電影照明和紋理通過。當(dāng)我說粗糙時(shí)，我的意思是粗糙。在這一階段盡量不要讓自己走極端，在早期的階段，要盡量均勻地工作，以確保一切都“感覺”一樣。在這幅畫的這一階段，挑選出哪些作品是可行的，哪些是不可行的，要容易得多。

Rough colors

This stage is pretty quick, but it's very important. This is when I'm going to really define how the finished piece is going to look. I throw in some real colors and roughly give U'teg some definition, early cinematic lighting and texture pass. When I say rough, I mean rough. Try not to let yourself go overboard at this stage, always try to work evenly across a whole painting in the early stages to make sure everything "feels" the same. It's much easier to pick out what works and what doesn't at this stage of a painting.

快速添加一些近似的顏色，以幫助獲得心情

Quickly add some approximate colors to help get the mood

模糊，模糊，模糊！

一個(gè)超級(jí)簡(jiǎn)單，但對(duì)我來說非常重要的一步。在這一點(diǎn)上，我喜歡把我的藝術(shù)線條（剪裁到主色彩層），并將高斯模糊應(yīng)用到它上面。濾鏡>模糊>高斯模糊。模糊的數(shù)量將很大程度上取決于您自己的線條。這樣做的目的是讓自己的方式幾乎“欺騙”你的陰影和更小的細(xì)節(jié)。這在下一步中變得更加明顯。

Blur, Blur, Blur!

A super simple, but very important step for me. At this point, I like to take my line art (which is clipped to the main color layer) and I apply a Gaussian Blur to it. Filter > Blur > Gaussian Blur. The amount you blur by will largely depend on your own linework. The goal of this is to give yourself a way to almost "cheat" your shadows and smaller details. This becomes more apparent in the next step.

說明:這個(gè)小步驟可以為你節(jié)省大量的渲染時(shí)間。

Caption: This little step can save you a lot of time when it comes to rendering

涂料！

這是真正有趣的部分！我選擇了一部分的繪畫，并開始渲染！由于Utete是形象的中心部分，我真的想從他開始，并確定他的外觀。在我的早期，我決定給他一個(gè)盲人的眼睛，一些戰(zhàn)爭(zhēng)的疤痕，和一些奇怪的非人類的肌肉群。

Paint!

Here's the really fun part! I pick a part of the painting and just start rendering! Since U'teg is the central part to the image, I really wanted to start with him and nail down his look. Early on I decided to give him a blind eye, some battle scars, and some weird non-human muscle groups.

那些模糊的線條真的可以幫助我定義更小的細(xì)節(jié)。

Those blurred lines really help me define smaller details

重要提示:翻轉(zhuǎn)它!

我不斷地翻動(dòng)我的圖像，從早期的草圖到最終的渲染。在你一直盯著的東西看幾個(gè)小時(shí)的時(shí)候，給自己一個(gè)新的視角總是好的。

Top Tip: Flip it!

I constantly flip my image, from early sketch stages to final rendering. It's always good to give yourself a new perspective on something you have been staring at for hours.

清理

這是我真正把Utete作為整體渲染的地方確保我遵循了我之前為自己設(shè)置的表格，并且真正地確定了我在圖片前面為自己設(shè)置的燈光、陰影和顏色。我選擇繼續(xù)把紫色的龍皮放在他的脖子上，直到我明白我是怎么想要龍的樣子的。這給我們帶來了...

Clean it up

This is where I really push my rendering for U'teg as a whole. Making sure I follow the forms I set for myself earlier and really nailing the lighting, shadows, and colors I set up for myself earlier in the image. I chose to hold off on rendering the purple wyrm pelt around his neck until I figured out exactly how I wanted the wyrms to look. Which brings us to...

我真的是在推動(dòng)渲染，確保我堅(jiān)持自己設(shè)定的光源。

I really push that rendering, making sure I adhere to the light source I set for myself

Wyrms！

由于這些家伙是這件作品中的次要角色，所以我想讓他們繼續(xù)留在背景中，同時(shí)也能引導(dǎo)你的目光轉(zhuǎn)向他們。我選擇了一些吸引人注意力集中在頭上的黑色鱗片。為了進(jìn)一步強(qiáng)調(diào)這一點(diǎn)，我選擇了藍(lán)色的舌頭和大大的眼睛。

Wyrms!

Since these guys are the secondary characters in the piece I wanted to keep them relegated to the background, while also being able to guide your eye over to them. I opted to go for some black-tipped scales that draw your eye to focus on their heads. To further accentuate that point, I go for blue tongues and large freaky eyes.

我真的希望他們?cè)谠O(shè)計(jì)方面獨(dú)立，而把他們放在背景角色之中

I really wanted them to stand on their own in terms of design while relegated them to background characters

重要提示:模糊!

我真的很喜歡我的線條藝術(shù)的模糊魔術(shù)。它有助于指導(dǎo)我的工作，所以我不會(huì)偏離軌道。我強(qiáng)烈建議你也試一試。

Top Tip: Blur it!

I really do love that Blur trick for my line art. It helps guide my rending so I don't get off track. I highly advise you try it too.

最后的細(xì)節(jié)

現(xiàn)在一切都在一起了!我把剩下的wyrms和油漆呈現(xiàn)在一個(gè)巖石嶙峋的荒蕪的背景中，讓它們生活在那里。U'teg不是把這些東西都?xì)⒘耍�所以我給他們加了一些戰(zhàn)斗的傷口和血。選擇藍(lán)色來真正讓它與深紫色結(jié)合起來。

Final details

It's all coming together now! I render out the rest of the wyrms and paint in a rocky, craggy desolate background for them to live in. U'teg didn't talk these wyrms to death, so I add some battle wounds and blood to them. Choosing blue to really make it pop against that dark purple.

我確信所有的東西都被渲染到相同的細(xì)節(jié)水平，并最終通過!

I make sure that everything is rendered to mostly the same level of detail and make one final pass!

調(diào)整層

一旦我對(duì)所有的渲染感到滿意，我就會(huì)在整個(gè)圖像上添加一個(gè)暗漸變貼圖，這樣就能使陰影更深。當(dāng)我作畫時(shí)，當(dāng)我畫的時(shí)候，我發(fā)現(xiàn)我的陰影和對(duì)比變得很淺。然后加入亮度/對(duì)比度圖層模式，將亮度調(diào)高約30點(diǎn)。這是為了確保圖像在監(jiān)視器或打印時(shí)不太暗，我應(yīng)該選擇這樣做。這樣，我就在上面打上我的名字，今天就到此為止!

Adjustments layers

Once I'm satisfied with all of my renderings I add a dark gradient map over the whole image to really make those shadows deep. As I painted I found that my shadows and contrast became very shallow. Then I go in and add a Brightness/Contrast layer mode above the whole thing and bring the brightness up by about 30 points. This is to make sure that the image isn't too dark for monitors or print should I choose to do so. And with that, I slap my name on it and call it a day!

最后的形象！

The final image!