《小丑》的制作

 自由插畫家Khasis Lieb向我們展示了他在漫畫書《超級惡棍，小丑》中所使用的一步步的工作流程。

Freelance illustrator Khasis Lieb shows us the step-by-step workflow he used to paint the comic book supervillain, The Joker...

在這幅畫中，我們將看到許多東西。我們將會看到如何構(gòu)建一個角色的姿勢，以及如何在保持真實的解剖學(xué)的同時增強(qiáng)一些特征(即使這個角色看起來是畸形的，它在體積上是可信的)。然后我們將專注于燈光和色彩——如何選擇光源，以及如何使用光來增強(qiáng)一種創(chuàng)造感覺一種氛圍。

In this project of painting a portrait of The Joker we will see many things. We will see how to construct a character pose and how to enhance some features while keeping realistic anatomy (even if the character seems deformed, it stays believable in its volumes). Then we will concentrate on lighting and coloring - how to choose light sources to describe volume and how to use light to enhance a feeling and create an atmosphere.

步驟1:縮略圖和最終草圖

Step 1: Thumbnails and final sketch

當(dāng)它不是一幅漫畫的時候，我總是花時間在我的寫生簿上畫小的縮略圖來嘗試創(chuàng)作。

To start an illustration when it's not a caricature, I always spend time making small thumbnails in my sketchbook to try several compositions.

我沒有繪制很多草圖,因為我知道我想讓小丑在看著我們,但我尚未決定我們將看到和我將如何撰寫他的形態(tài)等等。我試著確定他的位置,但我決定保持古典風(fēng)格。但重要的是要試著看看到底是什么在起作用。

I didn't make many sketches because I knew I wanted to make a portrait of The Joker looking at us, but I had yet to decide how much of his body we will see and how I would compose him in the page etc. I tried positioning him off center and I tried landscape, but I settled on the idea to stay classical. But it's important to try and see what really works.

所以當(dāng)我對一個概念圖感到滿意時，我將它發(fā)展成一個草圖。對我來說，沒有什么公式可以讓它變得更精致，每次都是不同的。這取決于我腦子里是否有一個清晰的想法，或者我只是想順其自然。但大多數(shù)時候，我試著不去“完成”太多。如果我把太多的時間花在素描上，那之后就很難去掉這部分了。

So when I'm happy with a thumbnail, I develop it into a sketch. There's no formula for me about how I want it refined, it's just different every time. It depends if I have a clear idea in my head or if I just want to go with the flow. But most of the time I try to not "finish" it too much. If I put too much time in a sketch, it will be harder to get rid of parts afterward.

最終的草圖。我選擇從這一步開始畫。

The final sketch. I choose to start painting from this step.

步驟2:意圖

Step 2: Intentions

現(xiàn)在是開始畫畫的時候了。我在我的草圖下面創(chuàng)建了一個新的圖層，然后用一個普通的顏色或者一個漸變填充它來選擇我的背景環(huán)境。

Now it's time to start painting. I create a new layer underneath my sketch and fill it with a plain color or a gradient to choose my background ambiance.

然后我在上面創(chuàng)建一個圖層，然后開始用大的筆畫來選擇我的照明和配色方案。在這里，我想向經(jīng)典的小丑、紫色西裝、白皮膚和綠色頭發(fā)致敬。主光來自左上方。

Then I create a layer on top of that one and start putting large strokes to choose my lighting and color scheme. Here the colors were a no brainer as I wanted to make a tribute to the classic Joker, purple suit, white skin and green hair. The main light comes from the top left.

在這里，我把我想到的一般光和顏色的意圖放在這里。

Here I put the general light and color intention I had in mind.

步驟3:初稿

Step 3: Block-in

我添加了顏色以得到不同部分的基塊。我增強(qiáng)主光源(左上方)，并開始在圖像右下方標(biāo)記一些邊緣照明。

I added colors to get the base tone of the different parts. I enhance the main light (top left) and started to mark some rim lighting from the bottom right side of the image.

然后我在草圖上畫了一個新圖層，開始畫部分區(qū)域。我用這個步驟來重塑形狀，讓我更喜歡整體的外觀。幾乎總是在開始畫草圖的時候，我喜歡用眼睛來表達(dá)。

Then I created a new layer on top of the sketch this time, to begin to painting parts. I use this step to rework the shapes, and get more of an overall look that pleases me. As almost always when starting to paint over the sketch, I start with the eyes to get the expression.

改善照明和顏色。并開始描繪這些特征。

Refining the lighting and colors. And starting to paint the features.

第四步:慢慢地把草圖去掉

Step 4: Slowly get rid of the sketch

這里的主要目標(biāo)是慢慢地覆蓋草圖，并使用燈光來創(chuàng)造一種體積感。

The main goal here is to slowly cover the sketch and use the lighting to create a sense of volume.

由于我的主光很冷，我想用溫暖的第二光來平衡它。這里的想法是通過將兩種不同的光線從兩種不同的角度來提高小丑和他的精神分裂癥的人格。它可能不會進(jìn)入觀眾的腦海，但感覺會在那里。

As my main light was cold, I wanted to counterbalance it with a warm second light. The idea here is to enhance the personality of the Joker and his schizophrenic mind by putting two really different lights from the two different sides. It's something that may not pop into the viewer's mind, but the feeling will be there.

當(dāng)我在畫上畫的時候，線稿慢慢地消失了。

As I paint over and over the sketch slowly disappears to let place for volume and light.

第五步:返工、重組和調(diào)整。

Step 5: Rework, recompose and adjust

我認(rèn)為小丑總是處于崩潰的邊緣。所以，是時候退一步，讓這幅畫擱置幾個小時了。我繼續(xù)繪制，嘗試不同的肩膀位置和頭部尺寸等…手也太大了，所以通過擴(kuò)大頭部，它的合成效果更好，表現(xiàn)得更好，比例更大。我在背景中添加了一些光線，讓眼睛變得更精致，在素描上又畫了一遍。

I imagine the joker to always be on the verge of snapping. So it was time to take a step back to let the painting aside for a few hours. I came back to it and tried different shoulder positions and head sizes etc... The hands were also too big, so by enlarging the head, it worked better compositionally, expressively, and proportionally. I added some light in the background, refined the eyes and painted over the sketch again.

背景是用來增強(qiáng)燈光效果的。比例也發(fā)生了變化。

The background is used to enhance the lighting. Also proportions changed a bit.

第六步:顏料

Step 6: Paint

在這一步中，我繼續(xù)像傳統(tǒng)繪畫一樣添加顏料。實際上，我的數(shù)字工作流是我的油和水彩工作流程的混合。我用油燈來建造燈，但我用水彩的方式將顏料涂得更厚。

In this step I continue to add paint as I would with traditional media. Actually my digital workflow is kind of a mix between my oil and watercolor workflows. I build up the light as with oils, but I layer paint more in a watercolor way.

所以這里的重點是繼續(xù)用光線來構(gòu)建臉部的體積，尤其是右邊的光線，隨著繪畫的繼續(xù)，它幾乎成了我的主要光源。我終于把更多的注意力放在了這盞燈上，因為從下面開始那張臉更有威脅性，而且更加瘋狂。

So the point here is to continue to build the volume of the face with the light, especially the right side light which became almost my main light source as painting goes on. I finally put more emphasis on this light because a face lit up from the beneath is more menacing and adds to the craziness.

隨著草圖消失，油漆和光線變得更加銳利。

As the sketch disappears the paint and light get sharper.

第七步:覆蓋光

Step 7: Overlaying light

我開始改變背景，所以它更符合我的照明并且我添加一些筆刷紋理。然后用覆蓋層和筆觸增加了與圖像的對比和增強(qiáng)燈光。

I began by changing the background, so it is more coherent with my lighting and I add some brush texture. Then with an Overlay layer and strokes going from large to very thin, I add contrast to the image and enhance the lighting.

我畫了頭發(fā)、鼻子、臉頰和嘴唇的陰影來增加立體感。用柔軟的筆刷，我畫出了微妙的環(huán)境遮擋(自然的陰影在沒有直接光線的情況下隨處可見)，因為它給作品增添了大量的體積和現(xiàn)實主義色彩。覆蓋層幫助我“燃燒”一些區(qū)域，就像相機(jī)膠卷一樣。

I painted the drop shadows of the hair, nose, cheek and lips to add volume. And with a soft brush I painted subtly ambient occlusion (the natural shadows that occur everywhere without direct light) as it adds a great deal of volume and realism to a piece. The overlay helps me "burn" some areas, as it would do with a camera film.

有了覆蓋層和另一層油漆，燈光達(dá)到了一個更完整的外觀。

With an Overlay layer and another layer of paint the lighting is reaching a more finished look.

第八步:最后的修改

Step 8: Final Touches

調(diào)整細(xì)節(jié)的是關(guān)鍵。首先我改變了耳朵;我選擇讓他們有一點瘋狂。我對手仍然不滿意，因為我覺得他們?nèi)狈Ω腥玖�。我改變了他們，做了一個更有力的手。

The finals stage of adjusting and detailing can take the longest. First I changed the ears; I chose to make them pointy to add a little insanity. I still wasn't happy with the hands as I felt they were lacking in storytelling. I changed them to make a stronger statement.

由于手的作用，肩膀也要改變，所以他的整個身體都是緊張的。我把臉稍微改變了一點，在整個圖像中添加了更多的對比度。

With the hands the shoulder had to change too, so his entire body was tenser. I deform the face a little bit more and added more contrast to the whole image refining the details as I went.

在最后的觸碰中，我加入了一些大的筆觸，讓他的身體更融入背景，吸引更多的注意。

For the final touch I added some big brush strokes to blend his body in more with the background and to attract more attention to the face.

最后和最長的階段，細(xì)化調(diào)整和添加細(xì)節(jié)。

The final and longest stage, refining adjusting and adding detail.

小貼士:點亮一只眼睛

Top tip: Lighting an eye

要照亮一只眼睛，必須了解它的體積。由于透鏡是透明的，有兩個不同的部分受到光的影響，一個凸起(鞏膜，白色部分)和凹面(虹膜)。所以是自然地，如果光線來自左邊(就像在這幅圖中一樣)，它會影響到鞏膜的左側(cè)，以及虹膜的右側(cè)。

To light an eye one must understand the volume of it. As the lens in transparent, there are two different parts that are affected by light, a convex (the sclera, the white part) and a concave (the iris). So naturally, if the light comes from the left (as in the piece), it affects the left part of the sclera, and the right side of the iris.

除此之外，眼瞼有兩種效果:陰影(前面討論的直接投影和環(huán)境遮擋)和反射，這也會導(dǎo)致鏡面反射(更明亮的反射)。

Adding to this, the eyelids have two effects, shadows (direct drop shadow and ambient occlusion as discussed earlier) and reflections, which also cause the specular (brighter reflection).

不要忘記眼睛的體積和光線如何照射它。受直射光影響的區(qū)域由箭頭指向。

Don't forget the volume of an eye and how light hits it. The zones affected by direct light are pointed to by the arrows.