painter6国外优秀作品步骤Making of the Donkeyskin.docx

painter6国外优秀作品步骤Making of the Donkeyskin.docx

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painter6国外优秀作品步骤MakingoftheDonkeyskin

MakingoftheDonkeyskin by ChrisBeatrice,USA

Iusuallystartwithareallyroughandsimplesketch,about4"x5",toestablishthebasiccomposition.Thispicturewasnodifferent. 

Inthestorythegirlisfleeingintothenightfromaterriblesituationathome.Hercastle,herformerhomeloomsinthedarknessbehindher,asshefollowsawindingpathlitonlybythelanternsonherwagon.Hersheep,hersolecompanion,guidestheway.

Ithendidatighterdrawing,andlaidinsomeveryroughcolorstoestablishthemoodandbasiclighting. 

ForreferenceatthispointIlookatlotsofpicturesofoldwagonsandcarts,anddifferentkindsofsheep.Itrytofillmyheadwithasmuchimageryaspossible,thenIamfreetocreatewithoutlookingatpictures.

AftersomeexperimentationIdecidedtogowithjustonelantern.Thiscreatedmoredramaticshadows,andastrongerfocalpoint.Ispentafairamountoftimeredrawingthewagonalittlemorecarefully.Thewayittiltstoonesideandnegotiatestheturn,andthecominghill,wereimportantdynamicstogetrightbeforepainting.

Ilayinsomeopaquecolors,andstarttosuggestthegrasstexture.Withaclearideainmymindofhowthelightilluminatesthescene,Iquicklygetthebasicvaluerelationshipsandshapesinplace. 

Thesketchisstillvisibleasamultiplylayeroverthepaintinglayer.

Itypicallybegintherealpaintingworkonthelargestareasofthepicture,becausethatgivesmeasolidenvironmentorcontextinwhichtofittherestoftheimagery.Thegrasswasalittlechallengingtogetright,soIusedseparatelayersforafewstepsoftheprocess（whichIrarelydo）.Theskyandroadhelpedestablishthepurplishambientlight.Iexperimentedwithagreaterdegreeofsaturation,butpulledbackabitfromareallystrongpurple. 

IalsomovedthecastletotheoppositesideofthegirlbecauseIfeltitstrengthenedthecomposition.

HereIhidethesketchlayerandswitchovertojustthepaintinglayer.ThesheepisthefirstareaofdetailIbegintoworkon.

Ialsoaddaneffectslayerforthelanternhaloandsometexturingovermuchofthebackground.Thisisjustacompositeofawholebunchofoldpaintings,basicallycreatinganabstracttexturepattern,thenaddedasanoverlaylayer.

Nowthepaintingisfirmlyestablished,andIworkoveralltheareasofdetailbitbybit. 

Ittakesabitofplayingaroundtogetthelightingonthesheepjustright-itsnotreceivingmuchdirectlightfromthelantern,butit'salsofairlylight,soneedstopickupafairamountofambientlightfromtheskyandmoon. 

Thegirlisalsoroughedinprettyquicklyhere.

Asfor"style"Isetoutverydeliberatelytoreturntoasmearywetlook,asinTheGirlintheIronShoes.Ialsoworkwithbristlebrushes（inPainter）,whichformemakesexecutingapaintingmuchquicker,butthelookisconsequentlyalittle"scratchy."SoforthispictureIstuckwithabasicroundbrush,withlotsofbleed.TheonlyrealvariationissometimesIdropthegrainabit,forsometexture,andoccasionallysqueezethebrushshapeintoanellipseforthingslikethebladesofgrass.

Thegirl'sfaceanddressaretightenedupabitmore.Thesheepdidn'tfeellikehewaspullingasmuchasheshouldbeonthathill,soItilthisheaddownabit. 

AtthispointIdecidedthecastlereallywasn'tapowerfulenoughcomponentoftheimagery,soIredidthewholething.Ididawholenewsketch,thenlaidinthebasiccolorsandshapes.

HereIaddsomedetailtothelineoftrees,andgivealittletilttothecastle（onemoregreatthingaboutdigitalpainting!

）.

FinallyIdecidethatthelanternisn'tquiteworking.Iwantedtheshapetoberounderand"cuter,"andalsotoputalittlemoreeffortintothelightrayscomingfromit. 

Afewmorecolorandvalueadjustments,andI'mdone.ButhavealookatthestepsinvolvedinthecloseupofGirl,sheepandcastle.

Steps:

GirlCloseup

Thisisthepencilroughasamultiplylayer,laidoverthebasicunderpaintingforthegirl.Allthat'simportantatthisstageistogetaroughideaofthevaluerelationships,andtoacertainextentthecolors.

WhenI'mreadytoreallystartpaintingthefigure,Igetridofthesketchlayerandlayinthebrightlylitareasaswellasthereallydarkdarks（thecrevassesandcranniesthatgetalmostnolight）.Asyoucansee,thisisdoneveryquickly.NormallyI'mstillworkingatabout25%zoomlevel.

HereIstarttotacklesomeofthedetailsoftheface.I'mgoingforakindofstunnedfear,almostablankstare,andittakesafewtriestogetitright. 

Thereisalotgoingonintermsofthecolorsinthecostume,withseveraldifferentlightsourceshittingit,soatthispointIdosomeexperimentingwithvariousreds,oranges,yellowsandpinks.Thelanternlightissortofan"equalizer,"pullingeverythingithitstowardawarmsaturatedcolor（yellow/orange）.Butatthesametime,thevarious"localcolors"oftheobjectsinthesceneneedtodifferentiatethemselvesfromoneanother. 

Thehumaneyeismuchmoresensitivetovariationsinhueandsaturationinthisareaofthespectrum,sosomeofthesecolorshiftsarereallyminute,yetthedress,faceandcushionstillreadasverydifferentcoloredobjects.

Stillworkingonthatfacialexpression,Iaddmoredetailtothefacialfeatures,andtrytomaintainthatwideeyedexpressionintheprocess.Ialsopaintinthelightandshadowonthecushion,tohelpframethegirl.ThenIroughinaheadbandorsomething（atthispointI'mnotsureexactlywhatit'sgoingtobe,butIwantedtoroundouttheformofherheadabit,andalsomakehercostumealittlemore"royal"looking）.

Ithinkthefaceislookingprettygoodhere.It'sstillprettyloose-youcanseetheseparatecolorshapesprettyclearly,butthat'showIlikeit.Also,evenprintedatfullsize（8"x10"at300dpi）,alotofthedetailishidden,soit'susuallyawasteoftimetoworkinalotofdetailat100%zoom.

Nowontothedress.Ijustcontinuetorefinethebasicshapeslaidininitially.SometimesIsmeararoundtheshapesthatarealreadythere,makingroughovalshapespointedortriangular,etc.-whateverisneededtocarveouttheforms.Ialsosubdivideshapesandaddfinerwrinklestothedresshereandthere.Thispartisfun!

Igentlybringinasecondarylightonthegirl'srightsleeve（onourleft）,andrefinethetrimonthedressalittle.Thedarkgray/blackbandrunningdownthefrontofthedressisalmostcompletelywashedawaybythesaturatedlight,makingitappearlikeadullyelloworange. 

Afewhighlightsinthehair,somedetailtotheheadband,andIdecidetoleaveitatthat!

Steps:

SheepCloseup

Thisisthepencilroughofthesheeponamultiplylayer,laidovertheroughedincolor.Itypicallypaintononelayer,soIcansmearandbleedtheedgesofthedifferentobjectstogether.YoucanseeherehowIletthegrassenterprettyfarintothesheep'sarea.That'sbecausewithatexturelikethat,youcan'treallygobackandpaintitrightuptothesheep（atleastit'snoteasy...）.SoIpaintthegrassfirst,thenthesheepontop.IfIpaintoversomegrassandneedtogetitbacklater,Ijustopenanearliersaveandpasteitbackin,thenerasearounditwithalayermaskandmergedown.BecauseofhowPainter'sbleedandresaturationcontrolswork,youreallyneedtopaintonasinglelayertogetthisparticularwet,smearylook.

Iknowit'sgoingtotakeabitofworktogetthesheepright.It'snotjustaquestionoffiguringouthowit's"supposedtolook"inthegivenlightingconditions-it'salsoaboutwhatkindofaroleIwantittoplayinthepicture.Idon'twantthesheeptobetoobrightorwhite,oritwilldrawtoomuchattentiontoitself.Itneedstoframethelowercornerofthepicture,butalsoleadoffthepageaswell. 

Thelanternismakinganarrowedgelightonthebackofthesheep,buttheskyisalsoilluminatingthesheepfromabove.AtthispointImakemyfirstpassatabasicwooltextureandroughinthecolorsandvalues.

HereIdarkenthesheepabit,andmakethelightonhisbackabitmoresaturated.ThenIaddsomedetailtohisharness.Thelanternlighthitsthebackofhisear,whichisverythin,soitappearstoglowwithsomeprettysaturatedorangesandreds.

WhenIshouldbedone...Idecidetotiltthesheep'sheaddownandcompletelychangehisstance,formoreforwardthrust.ItwasabittrickytosettleonastancethatwouldalsoproducetheparticularshadowshapesIwanted.

Alotofbeginningartiststhinkthisprocessisaboutdecidingonaposeandpicturearrangement,thenjustfiguringouthowthelightingandshadowswouldlookforthoseconditions.Butreallyitisabackandforthprocessofestablishingposesandarrangementsoflightingandobjectsinthescenethataregoingtoproducethetwo-dimensionalshapesyouwantforthecompositionalimpactyouareafter.

Steps:

CastleCloseup

WhenIfirstpaintedthecastleIwasn'texpectingittoplayquitesuchanimportantroleinthescene.ButasitturnedoutthecastleneededabitmoreattentionthanIoriginallydevotedtoit. 

Withallmyarchitecturalandcostumedesigns,Itrytostickprettyclosetohistoricalauthenticity,withjustatouchofthefantastictocreatethesenseofanalternatetimeandplace.Ithinkit'simportantthattheimageryremainveryaccessible（atleastformypictures）soIdon'tletthingsgettoofarfetched. 

ForthiscastleIfoundsome